North America
Object 1:
Medium: Wood and abalone
Current location: Provincial Museum of British Columbia
Image sourced from: Historica Canada . (2015, March 4th). Indigenous Art in Canada: Frontlet. Retrieved July 7th, 2016, from Historica Canada : http://www.thecanadianencyclopedia.ca/en/article/aboriginal-art-in-canada/
A product of the Tsimshan culture, this Frontlet features as one of many examples of North American aboriginal artistry. The frontlet has been suggested as one of the most noted art forms of the Iroquois civilization that occupied large swathes of Canada. The Iroquois created various abstractions of these Frontlets, also known as False Faces, and they were typically created to feature as sacred objects. As symbols of mythological beings, the False Faces fulfilled a variety of sacred purposes and were said to embody ‘the life force of the living tree’ (Historica Canada, 2016). Naturally, the False Faces came to expand in purpose and were celebrated as the ‘supernatural beings that taught mankind how to grow crops’. With little in terms of similarities to European counterparts, the False Faces would be most likely understood as important objects of idol worship. The use of intricate carving combined with abalone attest to the objects value as a highly desired and spiritual object of immense importance to the cultures that have produced such idols.
Object 2:
Medium: Cedar, pigment, nails, leather, metal plate
Current location: Brooklyn Museum
Image sourced from: Brooklyn Museum. (2016, Jan 1st). Thunderbird Transformation Mask. Retrieved July 6th, 2016, from Brooklyn Museum: https://www.brooklynmuseum.org/opencollection/objects/19432
The Thunderbird Transformation Mask resembles one of the most extraordinary examples of North American spiritual belief combined with aesthetic purpose. Transformation masks are said to belong to another plain of reality, in this case, the Thunderbird belongs to the sky world. The sky world ‘consists of Ancestral Beings that are transported to the heavens from where they can return as material beings in recognizable form such as human’ (Brooklyn Museum, 2016). According to Namgis clan folklore, the Thunderbird ‘flew out of the heavens in order to assist a man who had been transformed into a halibut, and when his assistance was finished, the Thunderbird removed his headdress and winged cape and became human’. The Namgis would wear masks like this one during Winter Ceremony potlatches; the person wearing the mask would open and shut the beak in order to reveal the human form within, whilst the rest of the body would most likely have been adorned with a cape and an array of feathers.
Central America
Object 3:
Medium: Ceramic and Pigment
Current location: The Art Institute of Chicago
Image sourced from: The Art Institute of Chicago . (2016, Jan 2016). Water-Lily Vessel. Retrieved July 7th, 2016, from The Art Institute of Chicago : http://www.artic.edu/aic/collections/artwork/126858?search_no=5&index=46
Crafted out of ceramic and decorated with a variety of pigment, this Water-Lilly vessel attests to the aesthetic aptitude of the Mayan people. The vessel features a selection of geometric fine stencilling, whilst black pigment water lilies stand alone on the white ceramic background. Dating back to the late 8th century AD, this object has a notable primary purpose as a container for substance, most likely water due to the attributed name and supporting aesthetic decoration included on the containers surface. In terms of spiritual understanding, the Maya believed that ‘water lilies were symbolic of the watery surface of the underworld and the earth’s regenerative powers’ (The Art Institute of Chicago, 2016). This particular object has a unique story in that the name of the artist can be found inscribed on the object itself, whilst declaring himself of the royal lineage of Naranjo. Further vessels found within the objects find location have also uncovered similar inscriptions.
Object 4:
Medium: Basalt
Current location: The Art Institute of Chicago
Image sourced from: The Art Institute of Chicago. (2016, Jan 1st). Coronation Stone of Motecuhzoma II . Retrieved July 7th, 2016, from The Art Institute of Chicago: http://www.artic.edu/aic/collections/artwork/75644?search_no=2&index=10
Singular in terms of production, this basalt coronation stone commemorates the beginning of the reign of Emperor Motecuhzoma II and was said to have been originally located within the Aztec ‘capital’ of Tenochtitian, where it was more commonly known as the ‘stone of five suns’. Drawing attention to the interplay between Aztec history and the wider cosmic world, the stone highlights the signs of five successive cosmic eras, labelled as ‘suns’ within the Aztec language. The stone displays a constant circle of creation and destruction beginning with the ‘jaguar’ in the bottom right hand corner and proceeding counter clockwise through wind rain and water; the middle hieroglyph focuses on the present era and is represented through the symbol of ‘movement’ (The Art Institute of Chicago, 2016). The stone would have been used as a wider tool of spiritual belief in the cosmos and gods as well as to legitimize the ruler in the eyes of the cosmos and of the people.
South America
Object 5:
Medium: Gold with turquoise inlay
Current location: The Art Institute of Chicago
Image sourced from: The Art Institute of Chicago. (2016, Jan 1st). Chimu. Retrieved July 7th, 2016, from The Art Institute of Chicago: http://www.artic.edu/aic/collections/artwork/18757?search_no=1&index=7
The ceremonial knife or Tuml is one of the more prevalent objects within the archaeological record and varies in type and aesthetic. Despite this, the large semi-circular blade edge can be considered a usual feature within sacrificial blade designs and would have been used according to specific ritual practice with the sacrifice of animals. The figure on top of the blade is said to resemble the heroic founder-colonizer, Naymlap, of Peru’s northern edge. As well as the blades practical uses that were usually confined to copper editions of this example, the Tuml would have held symbolic qualities and would have been carried around by dynastic rulers as a symbol of spiritual authority. The use of turquoise within this object marks its value in terms of decorative and ceremonial aesthetic, however, for the peoples of Peru, turquoise also conveyed the worship of water and the sky (The Art Institute of Chicago, 2016). The tuml utilises an array of metalworking qualities that attest to its ceremonial value as an object of divine authority carried by its ruler.
Object 6:
Medium: ceramic and pigement
Current location: The Art Institute of Chicago
Image sourced from: The Art Institute of Chicago. (2016, Jan 1st). Moche. Retrieved July 7th, 2016, from The Art Institute of Chicago: http://www.artic.edu/aic/collections/artwork/6963?search_no=5&index=42
Located in the region of North Peru, the Moche civilization is considered a precursor to the early Chimu civilization within the same area, with both sharing a rich cultural heritage. This particular example carved out ceramic portrays a fisherman in a reed boat. This image was most likely resonate of the usual day-to-day activities of the Moche people as was therefore considered as a conscious subject within aesthetic and craft work. As suggested, this object contains a functional use as a vessel for holding or carrying food or water. However, the object may have further uses as a primitive era toy; if displaced with enough water, the object should float and resemble that of the fisherman, who can be seen here as riding his boat over the sea that is stencilled on to the bottom of the vessel. If considered in context of the latter, the object then may have other significant spiritual or practical connotations as part of ceremonies and rituals.
Pacific Rim
Object 7:
Medium: Wood
Current location: The Metropolitan Museum, Manchester, England
Image sourced from: The Metropolitan Museum. (2016, Jan 1st). House Post Figure (Amo). Retrieved July 7th, 2016, from The Metropolitan Museum: http://www.metmuseum.org/toah/works-of-art/1979.206.1508/
The House post figure (Amo) represents a frequent aesthetic tradition within the consciousness of the Maori people. Large communal meetinghouses served as important focal points for the community among the Maori people and were usually adorned with an array of carvings depicting ancestors and other figures featuring in Maori oral tradition. Wood was selected as the primary material for such constructions firstly due to abundance, but also due to its organic nature and connection with the natural world; a variety of female and male figures would adorn such communal areas. Panels such as this one depict ancient warriors; the stance and overall stylization of this example suggest that this figure is engaged within a war dance with his tongue thrust out in order to intimidate enemies.
Object 8:
Medium: Whale ivory, pearl shell, fiber
Current location: The Metropolitan Museum, Manchester, England
Image sourced from: The Metropolitan Museum. (2016, Jan 1st). Breastplate (Civanovonovo). Retrieved July 7th, 2016, from The Metropolitan Museum: http://www.metmuseum.org/toah/works-of-art/1978.412.746/
This Fijian styled breastplate would have been worn exclusively by male chiefs and were considered incredibly desirable in terms of the precious materials involved in their creation. The breastplates held considerable social authority and were a precious object for ceremonial attire. The breastplate would be laced from both sides and worn around the neck whilst a third cord would help to hold the object in place when engaged in other strenuous activities. ‘When worn into battle these ornaments were said to make the warrior invulnerable to his enemies’ (The Metropolitan Museum, 2016). Whilst, the materials used within the breastplate were designed in order to demonstrate prestige in the face of the owner’s subjects, ivory and pearl held other more spiritual properties. Many examples of ivory carved breastplates resemble crescent moons and stars that allude to associations with the cosmos.
Sub-Saharan Africa
Object 9:
Medium: Bronze
Current location: Not known (from Ife, Nigeria)
Image sourced from: Yoruba Bronze Head Sculpture . Yoruba copper mask of Obalufon from the city of Ife. Unknown, Ife, Nigeria. Image taken from: https://upload.wikimedia.org/wikipedia/commons/1/1d/Yoruba-bronze-head.jpg
Crafted by the culture of Yoruba, bronze masks such as these represented a crucial part of sub-Saharan African art and stylization and were most commonly associated with the royal courts. Differing from the more abstract styles found within the Pacific and Americas, these masks focused on depicting human faces that resemble a more human exterior. When examining spiritual traditions of people of Yoruba, it is important to note that they worship a large pantheon of deities similar to that of Greece and Rome, as a result, many images and idols are created in order to represent such deities, or to perform tasks that are likely to invoke the favour of such deities. Traditions of masking vary regionally within Africa and the range of mask types vary depending on particular festivals and celebrations.
Object 10:
Medium: Wood, kaolin, pigment, paint
Current location: Michael C. Carlos Museum
Image sourced from: Michael C. Carlos Museum . (2016, Jan 1st). Sub-Saharan African Art: Shrine Figure, "Mami Wata". Retrieved July 7th, 2016, from Michael C. Carlos Museum : http://carlos.emory.edu/COLLECTION/AFRICA/africa02.html
The figure of “Mami Wata” has been considered one sub-Saharan Africa’s most influential mythological figures and has been a motif that has been consistently reused. Carved out of wood, this figurine was likely to have been designed as part of a public ceremony or shine from which indigenous populations would worship in order to seek good fortune and wealth. This figure represents the mythological water spirit to the Ibibio culture and is said to have the ability to bless or inflict those who meet her near streams or rivers where she dwells. The Ibibio people are said to believe that the spirit brings material wealth to their people, at the cost of a loss of fertility. The image is usually depicted as a mermaid like creature and associated with snakes which liken the image to that of a medusa like creature that has to be appeased or avoided, and is considered widespread in terms of her prevalence on the consciousness of the people of Nigeria even today.
Works Cited
Brooklyn Museum. (2016, Jan 1st). Thunderbird Transformation Mask. Retrieved July 6th, 2016, from Brooklyn Museum: https://www.brooklynmuseum.org/opencollection/objects/19432
Historica Canada . (2015, March 4th). Indigenous Art in Canada: Frontlet. Retrieved July 7th, 2016, from Historica Canada : http://www.thecanadianencyclopedia.ca/en/article/aboriginal-art-in-canada/
Michael C. Carlos Museum . (2016, Jan 1st). Sub-Saharan African Art: Shrine Figure, "Mami Wata". Retrieved July 7th, 2016, from Michael C. Carlos Museum : http://carlos.emory.edu/COLLECTION/AFRICA/africa02.html
The Art Institute of Chicago . (2016, Jan 2016). Water-Lily Vessel. Retrieved July 7th, 2016, from The Art Institute of Chicago : http://www.artic.edu/aic/collections/artwork/126858?search_no=5&index=46
The Art Institute of Chicago. (2016, Jan 1st). Chimu. Retrieved July 7th, 2016, from The Art Institute of Chicago: http://www.artic.edu/aic/collections/artwork/18757?search_no=1&index=7
The Art Institute of Chicago. (2016, Jan 1st). Coronation Stone of Motecuhzoma II . Retrieved July 7th, 2016, from The Art Institute of Chicago: http://www.artic.edu/aic/collections/artwork/75644?search_no=2&index=10
The Art Institute of Chicago. (2016, Jan 1st). Moche. Retrieved July 7th, 2016, from The Art Institute of Chicago: http://www.artic.edu/aic/collections/artwork/6963?search_no=5&index=42
The Metropolitan Museum. (2016, Jan 1st). Breastplate (Civanovonovo). Retrieved July 7th, 2016, from The Metropolitan Museum: http://www.metmuseum.org/toah/works-of-art/1978.412.746/
The Metropolitan Museum. (2016, Jan 1st). House Post Figure (Amo). Retrieved July 7th, 2016, from The Metropolitan Museum: http://www.metmuseum.org/toah/works-of-art/1979.206.1508/
Unknown. Yoruba Bronze Head Sculpture . Yoruba copper mask of Obalufon from the city of Ife. Unknown, Ife, Nigeria.
