The art of New Caledonia consists almost entirely of wood sculpture; painting was used only to accentuate, in red and white, details of the carvings, which were otherwise entirely blackened. The central feature of every village was a circular ceremonial house with low walls and a towering conical thatched roof. These houses were equipped with a wealth of architectural sculpture. On either side of the door stood a massive jamb with a stylized face at the top; the rest of the jamb was ornamented with geometric designs. The jambs were spanned by a lintel with abstract patterns, while a carved head stood between them as a sill. Inside the house, opposite the doorway, additional large figures served to demarcate special areas. The roof was crowned with a tall finial, which combined a face with stylized elements representing limbs and a headdress. Independent heads and figures of ancestors were carved on the tops of stakes planted in the ground near the ceremonial houses, at spots where their commemorative rituals had been carried out. All these architectural carvings could be claimed and carried off by the maternal relatives of the clan for which they were made; consequently, both the actual objects and their styles were widely dispersed.

The north of New Caledonia is the richest area of the island in sculpture. The masks made there are particularly striking. The long wooden faces have strongly arched eyebrows, glaring eyes (sometimes round but usually bean-shaped), and grinning, crescent-shaped, toothy mouths. The nose springs forward from between the cheeks like a great parrot beak. Other masks of the same general style have equally prominent bulging and rounded noses.

Masks from farther south are almost square; the features are flatter and angular, and the horizontal, slotted mouths are edged with red seeds. A beard of human hair hangs from the chin, and a cylindrical basket topped with a mop of human hair crowns the head. A cloak of black feathers completes the ensemble. The dancers who wore these costumes are said to have impersonated ancestral water spirits.

Similar faces and clothing can be seen on some of the figures carved onto the posts of ceremonial houses. Other figures have faces in the same styles but have domed, neckless heads; their bodies and limbs are cylindrical or ovoid and are markedly nipped in at the joints. A few small carvings show infants lying on baby carriers; they were used in magic for human fertility. Small carved heads used as a kind of currency and small heads carved on spear shafts complete the New Caledonian range of figure sculpture.

War clubs had stylized phallic, tortoise, and bird-head ornamentation. The ceremonial adz, an object unique to the island, consisted of a nephrite disk mounted on a decorated shaft; it served both as a symbol of chiefly office and as a cosmic symbol.

Fiji, Tonga, and Samoa

Ethnogeographically, Fiji is usually considered to be the easternmost island group of Melanesia. As a result of trade links and direct migration in both prehistoric and historic times, however, it has much in common culturally and socially with its Polynesian neighbours to the east, Samoa and Tonga. In fact, the arts of these three island groups can be discussed together.

The endemic nature of warfare in Fiji led to the production of great numbers of wooden clubs, which were the principal weapons. At least 10 types of clubs were made, each with several subtypes. Considerable care was lavished on the engraved designs that decorated the clubs; sometimes the designs were even inlaid with whale ivory, probably by Tongan craftsmen. Fewer types of clubs were made in Tonga, but they were often completely covered in fine geometric patterning interspersed with tiny silhouettes of human or animal figures. Samoa shared a few club types with Fiji but is more notable for its wooden spears, which have graceful, elaborate barbs.

Tapa cloth was made in vast quantities and in lengths up to hundreds of yards. It was generally left plain white for daily use and decorated for special occasions. But in Fiji black, brown, and reddish dyes derived from various barks were used to decorate even everyday cloth with bold, dense geometric designs. Several techniques were used; stenciling was the most prevalent in Fiji, but freehand drawing, rubbing, and block printing were also practiced.

In historic times, pottery was made only in Fiji. Bowls carved out of wood usually had four legs in Fiji but a dozen or so in Samoa. Fijian bowls, in particular, show considerable variety of form. Large food bowls were often in the form of turtles. Small, shallow, footed dishes used by priests were usually shaped like hearts, crescents, or abstract forms, but a few resemble canoes or highly stylized humans or flying ducks.

Surviving examples of figure sculpture from all three island groups are extremely rare, and all known examples are small in size. Wooden deity figures from Tonga generally have a stocky torso, which is set well forward of protruding buttocks and short sturdy legs. The arms are stiff and straight. The head is disproportionally large; the face is flat, with the features barely indicated. The whole surface is smooth. The Tongans also carved small female figures in whale ivory; the earliest examples known are tiny, indicating a sparing use of rare material. Some small examples were strung in groups as necklaces. Later pieces, probably carved after whaling made ivory more common, are somewhat larger. A few double figures were made as suspension hooks, and some were exported to Fiji. Wooden figures from Fiji and Samoa are in much the same style, but they are less clearly defined in form.