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How the tools and process of tāmoko changed The last men to be tattooed during this period died during the 1920s, but women from various districts continued to be tattooed through to the 1920s. This view particularly affected a young generation of Māori men specifically, and to a lesser extent women. From the book: A journal of a voyage to the South Seas, in his Majesty’s ship the Endeavour, 1784. Te Papa (RB000268/109a) Son of a New Zealand Chief, the curiously tataoued. Moko Māori tattooing designs Māori | Noun may also indicate social status, role, and expressions of identity though genealogy, but this remains unclear. The remaining elements were carefully chosen to accentuate and enhance the individual features, giving meaning to the expression Mataora, the living face. Nose nose Māori | Noun, cheek, and lower jaws, and the curvilinear rays on the forehead and from the nose to the mouth. Many of the design motifs are universal, especially the spiral elements applied to the ihu The meaning and significance of these design motifs appears to be a complex interplay between high aesthetic and a visual language that underscores artistic excellence, identity and role. This method of tāmoko applied to the face is a form of scarification, which in practice is very similar to wood carving, and is characterised by deep grooved furrows stained with dark pigment. This process was followed by the application of small, toothed uhi combs that applied the pigment. Uhi Tā Moko (tattooing instruments), 1800-1900, New Zealand.