Monolithic statues (moai) of Rapa Nui (Easter Island) are three-dimensional objects and unique to the ancient public art of Eastern Polynesia. The primary purpose here is to summarize the specific landscape and statue production contexts of moai 156 and moai 157 in Rano Raraku, the statue quarry, demonstrating that they are embellished with rock art applied post-production (sixteenth to seventeenth centuries) and after they were upright and partially buried by colluvium in a named quarry chamber. Secondly, motif analysis reveals that crescents are present on moai 156 and 157 and incorporated into other motif types at 'Orongo, Rano Kau. The crescent is the central motif in a diagrammatic schema of Rapa Nui design development. Thirdly, iconographic norms allow controlled comparison with other moai for applied rock art. Although Hoa Hakananai'a differs in material, size, and situation from all others, the motifs on it are within the conventions of the iconographic corpus. Rano Raraku and Rano Kau are validated as ritual places on the dualistic, regionalized Rapa Nui landscape. The internal affinities and overall continuity of Rapanui cultural expression is established within an evolving anthropogenic environment during the sixteenth and seventeenth centuries.

中文翻译：

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挖掘的巨石雕像 (moai)、Rano Raraku 雕像采石场、Rapa Nui（复活节岛）的岩石艺术：背景、年表和新月主题

Rapa Nui（复活节岛）的整体雕像 ( moai ) 是三维物体，是东波利尼西亚古代公共艺术中独有的。这里的主要目的是总结石像采石场 Rano Raraku 的moai 156 和moai 157 的具体景观和雕像制作背景，证明它们在后期制作（16 至 17 世纪）和之后的岩石艺术中进行了点缀。在一个命名的采石场中直立并部分被崩积层掩埋。其次，基序分析表明，摩艾石上有新月形。156 和 157 并在 'Orongo, Rano Kau 并入其他图案类型。新月是 Rapa Nui 设计开发图解模式的中心主题。第三，图像规范允许与应用岩石艺术的其他moai进行有控制的比较。虽然 Hoa Hakananai'a 在材料、大小和情况上与其他所有不同，但其上的主题在图像语料库的惯例之内。Rano Raraku 和 Rano Kau 被确认为二元、区域化的 Rapa Nui 景观中的仪式场所。拉帕努伊文化表达的内在联系和整体连续性是在 16 和 17 世纪不断演变的人为环境中建立起来的。