Since the Solomon Islands are the peaks of submerged mountain ranges, low coastal plains lead up to high mountainous interiors. Peoples inhabiting the rugged interior succeeded for a long time in repelling European intrusion, whereas their coastal neighbors were vastly altered by contact with missionaries, traders, and European government administrators. For the most part, the traditional way of life has now been so disrupted that objects of native art are no longer made.

     The most important art producing islands are Buka, Bougainville, Treasury, Choiseol, Vel la LaVella, New Georgia, Guadalcanal, Ulawa, and San Cristobal. Common characteristics of Solomon Islands art are the general use of shell inlay, a predominance of borders in both shell and paint, and the great importance given to the human head. There is also a prevalence of seated or squatting figures, and the frequent use of black as an all over color. Although masks are conspicuously absent, there is a great deal of decorative carving on clubs, paddles, canoes, slit-gongs, spears, and small betel nut mortars. Shell ornaments for the breast, ear, and forehead were also made throughout the Solomons.

     Large figure carvings seem to have been comparatively uncommon, except for life-size female figures of natural proportions made for female initiation rites on a small island off the north coast of Bougainville. Other large figures were used on Guadalcanal as guardians surrounding a necropolis. Figurines, called "kasai", measured about three feet and were carried by a carved handle during boy's initiation rites on Bougainville. The meaning and function of these figures are obscure. They probably represented spirits, but were not particularly feared or revered. Among the strongest of Solomon Island sculptures are small (two feet high) figures carved at the top of ceremonial canoe house posts on Ulawa. Reported to have had decorative value only, these sculptures have a formal sobriety which represents an important sculptural tradition found also on a few other islands scattered throughout the archipelago.

     Finely shaped paddle clubs from the western islands are carved in this same tradition. Many of the clubs are surmounted by a small head, or two heads placed back to back. Frequently straight lines and simple geometric designs composed to zigzag, pieced out with white, decorate the lower part of the club. The sculptures in this style have a controlled intensity of expression, clarity of modeling, and strong sculptural rhythm. Balance, volume, weight, and surface combine to create an effect of force in repose, and there is little to suggest the terrifying and awesome spirits of the dead.

     Head-hunting practices in the central islands gave rise to a group of powerful, dramatic carvings. Raids against nearby islands were carried out in large, decorated canoes, which sometimes measured more than ninety feet and accommodated forty men. A small figure called a "musumusu" lashed to the bow just above the waterline was said to be a protective figure on the lookout for shoals. It seems more likely, however, that it was the incarnation of one of the strong spirits whose cooperation was necessary to insure success on a dangerous quest. Head-hunting in the central Solomons replaced the dramatic performances typical of other regions of Melanesia. The acquisition of heads gave individual prestige, and through the securing of the power of the victims which resided in their heads, insured perpetuation of the spiritual and physical well being of the community. The expedition in itself was a dramatic performance. Canoes set out with streamers of leaves, flowers, and feathers tied to the bow and stern, while the invading warriors wore feathers, paint and shell ornaments. Upon their successful return, the raiders were welcomed ceremonially, and the heads, powerful, lurking spirits of the dead, were gratefully received by the tribe.

     Solomon Islands art combines elegance with boldness and intensity. A great variety of local styles exists, but an underlying similarity of shapes, decorative motifs, and expression give to this art a high degree of homogeneity.

For further information:
Linton, Ralph, Paul S. Wingert, and Rene D'Harnocourt. Arts of the South Seas. New York: The Museum of Modern Art (Simon and Schuster), 1946.