Monthly Archives: May 2014

Plumes: The Creative Museum at the Musée des Arts d’Afrique et d’Asie

In its second collaboration with the Museum of African and Asian Arts in Vichy, The Creative Museum has been invited to participate in the exhibition, PLUMES.

Human fascination with birds begins when their freedom of flight captures our imaginations. We watch birds soar and glide freely, as their beautiful, feathered wings catch gusts of air. Can we explore birds’ connection to the human soul in other cultures?

The exhibition PLUMES investigates five civilizations: India, China, the Ivory Coast, Papua New Guinea, and North America to show how art reflects human reverence for each culture’s emblematic bird.


Click on the image to go to the exhibition

From India: The peacock is India’s national bird and holds an important place in Hindu epic poetry and mythology. In Rajasthan’s miniature paintings, peacocks provide companionship to wistful nayikas. They are heroines in the Natya Shastra, written by Bharata, c. 100 BC. The Creative Museum’s silver-gilded comb comes from Rajasthan. The well contains perfume, which drips into the user’s hair, and is adorned with two peacocks.

From China: Tian Tsui is the art of cutting and gluing the kingfisher bird’s iridescent blue feathers to gilt silver. The feathers are so small, it is a painstaking task. The term literally means “dotting with kingfishers” and has been a traditional Chinese art for 2000 years. The Creative Museum’s magnificent diadem uses tian tsui. The flowers are topped with three symbolic child figures with painted bone faces.

From the Ivory Coast: The hornbill kaloa bird is the mythological founder of the Senoufo people. One opportunity for young tribal men is to join the Poro Society, a school where most carvings and masks are made. Statues combine human and animal elements. The bird’s horned beak is elongated, as it touches the fertilized, swollen belly. This comb from The Creative Museum shows the beak-belly relationship, as a man wears a kaloa-bird mask, perhaps for an initiation ceremony.

From Papua New Guinea: The Dani People from the Highlands have a fable. Once, a snake and a bird engaged in a great race to decide the fate of human beings. If the snake won, men would shed their skins and live forever. If the bird won, men must die. The bird won. The Creative Museum’s male headdress from the Dani is made of cassowary bone and feathers, crocodile claws, and warthog teeth. It was most likely worn by a warrior.

From North America: The Tlingit are an indigenous tribe who live along the Pacific Northwest coast: now Oregon and Washington in the USA; British Columbia in Canada. Modern-day Tlingit also live in Alaska. Before Christian conversion, they were animists. Their totem poles narrated stories, legends, and myths. The Tlingit have raven clans and eagle/wolf clans. As the eagle’s beak is curved, The Creative Museum’s bone hair pin with a totem pole eye probably belonged to an eagle-clan shaman.

With these five distinct cultural interpretations, The Creative Museum’s contribution to the Plumes exhibit at the Museum of African and Asian Arts in Vichy shows how bird mythology lives on in headdresses around the world.

कंघी

For more scholarly research, please examine our Resource Library and The Creative Museum’s publications and these books:


Kingfisher Blue: Treasures of an Ancient Chinese Art

Powerful Headdresses: Africa and Asia

Ethnic Jewellery and Adornment

The Gold Crowns of Mycenae, Bactria, and Silla

According to archeological finds by Heinrich Schliemann, an elliptical gold diadem with removable crown-ornaments was first discovered in a Mycenaean funerary mound called Grave Circle A, or the “Grave of Women”, c. 1600-1500 BC.


from the National Archaeological Museum in Athens

The Mycenaeans were an Indo-European people who settled in Southern Greece along the Agean Sea in the Bronze Age (1600-1100 BC). They came in contact with other cultures through conquest, creating a society based on a warrior aristocracy that Homer immortalized in The Iliad. The Mycenaeans were an agricultural people. However, after the Thera eruption weakened Crete’s Minoan civilization, the Mycenaeans conquered the sea-trading culture, c. 1420 BC.

A hypothesis: Sea peoples could have spread this crown design to land-trading equestrian nomadic tribes through commerce and war as early as 1420 BC.

Narrower bands comprise the next evidence we find. After Alexander the Great died in 323 BC, his empire spanned three continents. It was split up among his generals, the Diadochi, who at first wore white ribbons and then gold bands called diadems.


1) Diadotus Soter, governor of Bactria c. 250 BC, wearing a white ribbon. 2) Diadem, 300 BC, from the National Archaeological Museum in Athens

Before Alexander conquered it, Bactria (now in present-day Afghanistan) was located in the eastern part of the Achaemenid Persian Empire and connected eastern and western cultures through trade and war. The Silk Road, which began during the Han Dyansty, c. 206 BC, brought traders, merchants, and nomads to Bactria. In war, the Yuezhi, a nomadic tribe who supplied jade to the Han Chinese, moved south to conquer Bactria after they were defeated by the Xiongnu, c 124 BC.

This gives us a significant connection between the Greeks and Han Chinese, as well as the Central Asian and Scytho-Siberian nomads, when it comes to the gold crown from Tillya-Tepe in Bactria. It was found in the tomb of a nomadic Saka woman, c. 100 AD. A plethora of round gold pendants adorns the band and ornaments, which come off easily so they can be packed away.

The Silk Road is also how this multi-cultural-influenced design must have arrived in the Silla Kingdom of Korea, c. 400 AD. Lasting from 57 BC to 935 AD, Silla was renowned for its gold. Along with jade decorations, three prongs forming the Chinese character 山 “mountain” shape the front ornaments. This crown was excavated from the north mound of Hwangnam Daechong Tomb and resides at the Gyeongju National Museum in South Korea.

Crowns like this were cut from a thin sheet of gold and were so delicate, some speculate they were worn only for ceremonial occasions or made as a burial ornament. In nomadic fashion, here is how the crown pendants were detached from the band. I also see a Scytho-Siberian nomadic influence in the tiny mirrored gold pendants. What a startling impression that must have made when those pendants reflected sunlight, linking the king with the sun on Earth.

In the Ancient World, crowns represented nobility, conquest, religious significance, cultural tradition, and the exchange of ideas. Before the helmet design, they were made like this. Both ways of thinking seem so unrelated, but in tracing the history of this ancient design, we can map the development of ideas in a world we could hardly imagine.

कंघी

For more scholarly research, please examine our Resource Library and these books:


Silla: Korea’s Golden Kingdom (Metropolitan Museum of Art)

Afghanistan: Crossroads of the Ancient World. Edited by Fredrik Hiebert and Pierre Cambon

Ethnic Jewellery and Adornment