作业代写：卡米哈米哈一世披风的象征意义分析
由于禁止作为夏威夷人行为和传教准则的tapu (kapu)系统，这种斗篷的宗教和神圣品质已经减弱。然而，一些夏威夷人仍然穿着这些斗篷作为头衔和等级的象征。看到如此繁忙的工作，夏威夷人不愿意放弃权力和威望的宝贵象征。在波利尼西亚早期，红色是神圣的皇家颜色，它的羽毛是最珍贵的。夏威夷语中的“红色”与“ulu”一词组合而成，库克船长(Libal)时代的统治者使用过这个词。马莫鲜亮的黄色羽毛和淡黄色的羽毛因为这种树叶的稀缺性而受到珍视。头盔和斗篷的设计和颜色都很漂亮，制作复杂，是用不同寻常的材料制成的。为了增加它们的吸引力，它们被用来作为战斗装甲头盔，足以承受头部的打击。这样的披风就像防弹衣一样，可以对付弹弓石之类的武器(小猎犬洞)。然而，这些斗篷再也不会有人穿了。由纤维构成的网状结构是目前非常脆弱的结构。三个不同的网片巧妙地连接在一起构成一个框架。用来把这些羽毛固定成小束并放在网里的线。画框是从底部开始的，所以每一排都隐藏着羽毛的羽毛刺(莱特纳)。然而，由于天气、经济和社会的变化，这种斗篷随着时间的推移失去了其重要性。
今天，这些羽毛披风是世界各地博物馆和工艺美术中心的装饰品。就像所有其他形式的艺术，这些羽毛斗篷成为博物馆的装饰。今天的工匠们愿意以前所未有的方式忘记这些羽毛斗篷。如今的羽毛帽带价格从100美元到1000美元不等，有的只是简单的染色鹅毛带，有的则是闪闪发光的绿松石精致山鸡羽毛带。工艺品商店和博览会，如Kamuela帽子公司和库克的发现在怀米亚位于大岛。位于夏威夷群岛各处的其他几家礼品精品店，都有关于这些来自过去的遗产的故事，给穿着者一种庄严的外观。即使在今天，游客和工匠们仍然享受和庆祝夏威夷文化。夏威夷的艺术和工艺品是每一个访问这些岛屿或居住在那里的人所庆祝的(莱特纳)。工匠、工匠、游客和普通民众装饰夏威夷文化，参观博物馆，更多地了解他们的艺术和文化;但是，是的，当所有的艺术品到达工匠或游客的家中时，它们的命运都是一样的。有时它们会被挂在家里的墙上，或者作为夏威夷的礼物放在车库的抽屉里。艺术品收藏者会庆祝并装饰它们，但过一段时间后，他们也会卖掉它们。
夏威夷人的威望和荣誉的象征，现在在世界各地的博物馆里都装饰着捕鸟人的杰出作品。这些捕鸟人住在瓦科勒(高地森林)的森林深处，那里是鸟类的栖息地。他们使用的技术被称为kahekahe。这项技术被用来修剪ohi ‘ a树的树枝，其中大部分的花是胶状的，其他的是从面包果的粘性汁液中获得的。这只鸟过去常常被欧喜花吸引，然后就粘在花上，很容易被抓住。在鸟类羽毛的清除过程中，我们得到了很多的关注，并使用了药膏来帮助这只鸟痊愈(龟广)。人们花了很多精力来制作这些羽毛披风，现在这些披风只是博物馆的装饰。
作业代写：卡米哈米哈一世披风的象征意义分析
Because of banning of tapu (kapu) system which was the Hawaiin code of conduct and missionization, the religious and sacred quality of such cloaks has weakened. However, some Hawaiin still wear these cloaks as sings of title and rank. Seeing the hectic work involved, Hawaiians were reluctant to trade away the valued symbol of power and prestige. During the time of early Polynesia, red was sacred royal color whose feathers were most valued. Ahu ulu, which means red in Hawaii combined with the word Ulu, was used by rulers at the time of Captain Cook (Libal). The mamo lively yellow feathers and pale yellow feathers were treasured because of scarcity of such leaves. The helmets and cloaks which were beautiful in design and color, and were crafted complicatedly were made from unusual materials. To bring more to their attractiveness, they were used in battle armour as helmets robust enough toward the blows of head. Such cloaks acted just like flak jackets against weapons such as sling stones (Beaglehole). However, these cloaks will never be worn by anyone again. The netting made up of fibre which composes the basic structure is very fragile now. Three distinct netting pieces were joined skillfully to make one framework. Threads used to fasten such feathers into small bundles and on the netting. The frame work begins from bottom, so every novel row hides quills of such feathers below (Lightner). However, due to weather, economic and societal changes, such cloaks lost their importance with time.
Today these feather cloaks are an adornment of the museums and Arts and Crafts Centers all across the world. Just like all other forms of arts, these feather cloaks became the embellishment of museums only. Artisans of today are willing to forget these feather cloaks as never before. The feather hatbands today range from $100 for simple band of dyed goose feathers to about $1000 for shimmering turquoise delicate pheasant feathers. Craft shops and fairs such as Kamuela Hat Company and Cook’s Discoveries in Waimea located on Big Island. Several other gift boutiques situated all over the Hawaiian Islands, carry tales of these legacies from the past which give wearer a majestic appearance. Even today, tourists and artisans relish and celebrate the Hawaiian culture. Hawaiian art and crafts is celebrated by everyone who either visits these Islands or live there (Lightner). Artisans, Craftsmen, tourists and general people adorn the Hawaiian culture and visit museums to learn more about their art and culture; but yes, the fate of all artifacts is the same when they reach the home of the artisans or tourists. Either they are adorned on walls in their homes for sometimes, or kept away as gifts from Hawaii in some drawers in the garage. Collectors of artifacts celebrate and decorate them, but they also sell them after sometime.
The symbol of Hawaiian prestige and honor, now embellished all over the world in museums were remarkable works of the bird catchers. These bird catchers lived in the deep forests of wao kele (upland forest) which was the birds’ habitat where they hunted. The technique they used was known as kahekahe. This technique was used to prune branches of ohi’a tree where most of the flowers were gummed and others were obtained from sticky sap of ‘ulu (breadfruit). The bird used to get attracted from ohi’a blossom and then used to get stuck to it and became easy to catch. A lot of care was obtained in eradicating feathers from bird, and salve was applied to assist this bird to heal (Kamehiro). A lot of effort was put in to make these feather cloaks which are now the embellishment of museums only.
