Shaping Identity - Detroit Institute of Arts

Detroit Institute of Arts
Shaping Identity
November 12, 2013
Galleries and Works of Art
Use this map
to:
…orient
students to size
and geographic
diversity of
continent
… show
diversity of
people and
cultures in
Africa
Clockwise from
Upper Left:
Fulani (Nomadic
from North Africa)
Cameroon
Bamana from Mali
Masai from Kenya
Baule from Cote
d’Ivoire
Hausa from
Northern Nigeria
Tanzania
Contemporary
artist from Ghana
Zaire/Kongo
Bedu from North
Africa
Kenya
Benin from
Nigeria
AFRICA
• Over 700 million people
• Over 2,000 cultures
• About 110 cultures represented
in DIA collection
Things to think about:
• If the person “reading” the art knows what s/he is reading they will get the
message
• Some common images or colors can have different meaning depending on
culture, it is NOT universal
• The wood itself is thought to have spiritual qualities – Iroko, the wood used
by Olówè of Isé is used only for spiritual art
• Raffia is associated with ancestors – important!
CULTURAL IDENTITY
Nok Culture New!
Bust of a Man
about 200 BCE – 195 CE
2012.74 Shaping Identity
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Pronounced “nawk”
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We do not know what unified the Nok culture,
or their system of belief.
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Nok is a village in north-central Nigeria.
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Common characteristics of Nok sculpture:
• Sweeping eyebrows
• Almond-shaped eyes
• Perforated pupils, nostrils, ears, mouth
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What we can determine about this sculpture:
• The rows of beadwork, beaded necklace,
and large bead pendants symbolize an
important figure.
• Enlarged breasts signify an elderly male.
CULTURAL IDENTITY
Djenne Culture
Warrior Figure
1300-1400
78.32 Shaping Identity
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Pronounced “djen-nay”
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Oldest known city in sub-Saharan Africa
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Located in central Mali
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Equestrian figure
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Elongated chin and multiple eyelids are
characteristics of Djenne sculpture
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Cap with braids attached to beard are
associated with the military
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The beard is indicative of Islam
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Whip and dagger on left arm and shoulder
New!
Akan Culture, Ghana
Gold Dust Container
Late 1800s
2007.231.A-B
Akan Culture, Ghana
Gold Weights
Late 1800s
CULTURAL IDENTITY
Shaping Identity
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Kuduo – “koo-dwo” – a brass-cast container used to hold gold dust and nuggets.
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Made in different sizes. The wealthier the owner was, the larger the container.
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Locally made but were sometimes traded.
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Gold used for trading by Akan – the more gold you have the greater your prosperity.
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Imagery: Leopard mauling an antelope. Proverb: “I am the leopard and you are the
antelope” or big animals will take care of the small animals.
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Proverbs become conversation starters when object is used for trade.
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Gold weights bought from Akan and then sold to Arab traders.
New!
Akan Culture, Ghana
Gold Dust Container
Late 1800s
2007.231.A-B
Akan Culture, Ghana
Gold Weights
Late 1800s
CULTURAL IDENTITY
Shaping Identity
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Mande, “man-day” speaking people brought weights to the Akan – they were itinerant
traders from Sudan Grasslands – Islamic.
North African weights had geometric designs
Akan had both geometric and figures relating to proverbs
All of the symbols mean something but some of the meaning is now lost
King’s court would speak in proverbs back and forth with guests and visitors
Proverbial knowledge was needed to converse and trade with merchants and the court
Bird proverbs – Bird touching beak to back: “If you don’t know where you’ve been you
won’t know where you’re going.” Birds touching beaks: “Arguments should not lead to
bloodshed.”
PERSONAL IDENTITY / CULTURAL IDENTITY
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Kongo culture
Funerary Figure
Late 19th century
2000.87 Shaping Identity
Portrait of a chief of the Kongo kingdom in central
Africa
He is wearing a European-style coat, hat and boots
and he is carrying a gun
Shows contact with Europeans, a sign of status and
prestige
The statue is a memorial to the deceased leader
European imports can have more than one meaning:
He may seem to be a “stranger” or outsider to some
of his people as he is wearing clothing associated
with Europe
Western-style clothing establishes his status
because of their cost and rarity
Firearms were present in the Kongo since the 1500s
– they can be seen not only as a status symbol, but
also as a warning to keep bad spirits away
Mangbetu Culture
Double Effigy Vessel
Late 19th Century
76.80
Magdalene Odundo
Untitled
1994
1997.16
CULTURAL IDENTITY
Shaping Identity
Left:
• The double vessel depicts a woman with an elaborate hairstyle.
• A symbol of beauty and nobility, the traditional Mangbetu people of the Democratic
Republic of Congo were known to bind the skull to change its shape – a practice
that is less common today.
• The Mangbetu are known for their striking treatment and adornment of the body.
Right:
• Contemporary Kenyan artist Odundo based her sculpture on this same traditional
hairstyle.
• Odundo is interested in women’s bodies, especially the elaborate ways in which
bodies are altered for reasons of style and fashion.
CULTURAL IDENTITY
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Chokwe culture
Chair
20th
century
1985.39
Shaping Identity
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Pronounced “chock-way”
Africanized version of European chair.
Majority of African works carved from single block of
wood but this is a composite piece.
Royal couple on back: male figure = chief
(headgear); female figure = queen mother, elaborate
hair, earrings, but also maternity figure.
Figures on bottom rung: Members of royal retinue to
support the king.
Brass tacks brought by Europeans, the African
leaders found them appealing.
Feet on legs either animal or human.
Probably symbolic – kings behind barely touched it to
validate it. Could have been carried in ceremonies to
show who owned it.
The Chokwe: About 100,000 now live in Angola,
Zambia and Zaire.
They originated in the southern savannahs of South
Central Africa and were hunters and farmers.
Benin Art
• Benin kingdom was founded in the 15th century
by a people called the Edo. Edo people reside in
south-central Nigeria.
• Benin artists produced sculptures in terracotta,
ivory, and brass mostly for the kings.
• Benin bronze-casters used a technique known
as “Lost-wax” or cire perdue.
• Most bronze or brass sculptures, such as the
horse rider, were placed on the altars dedicated
to the memory of each deceased king.
CULTURAL IDENTITY
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Benin culture
Horse and Rider
Early 17th century
1992.290 Shaping Identity, ADP, VTS
Made to commemorate a specific deceased king
Would have been placed on an altar
Every king had to erect an altar in memory of his
predecessor
The brass-red color is symbolic of the king’s fiery
temperament
Red is an attribute of the king
The durability of brass and bronze is symbolic of
the durability of royal leadership
Pedestal = kingship
Interlacing motif on shield and elsewhere also an
attribute of royalty
Could be representative from northern grassland
because of the horse
Horses are rare due to the fatal bite of the tsetse
fly. They were only owned by kings.
CULTURAL IDENTITY
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Benin culture
Horse and Rider
Early 17th century
1992.290 Shaping Identity, ADP, VTS
In Benin art, the king is both human and
demigod.
He has broad powers over life and death, spiritual
and economic.
The Kingdom of Benin had guilds for bronze,
gold, wood, etc.
Benin is one of the longest running dynasties.
In 1897 the British sacked and looted the
kingdom.
The king was sent into exile.
This piece is very rare – there are only 4 or 5 in
the world!
PERSONAL IDENTITY / CULTURAL IDENTITY
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Benin Culture
Royal Portrait
c.1750-1850
26.180
Shaping Identity
Cockerel (rooster) headdress - symbol for
Queen Mother.
Rooster is sacrificial animal not associated
with aggression – symbol of hospitality and
domesticity.
This is counterpoint to king being leopard of
the home.
Coral beads around neck – accumulation of
wealth.
Shown in case next to red coral king’s cap &
whisk.
Red coral is symbol for the fiery
temperament of the king.
Portuguese traded coral and copper from
Indian Ocean.
Portuguese took ivory, slaves, animal skins
and spices.
New!
Akan, Asante, Ghana
Royal Ceremonial Sword
Late 19th Century
2005.2
CULTURAL IDENTITY
Shaping Identity
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Handle is carved wood covered in gold leaf.
Metal blade inside sheath – sheath is leather and rayfish skin which
are ritual objects.
Rayfish skin is covered in white chalk pigment marking it as a ritual
object.
Carried upside down – sign that it was never intended to be seen or
used.
Carried with imagery facing you.
Carried by priests or sword-bearers who are responsible for rituals.
Used for festivals and ceremonies.
Proverb: Bird with wisdom
knot – “A great leader goes
to war with full armor,
swiftness, and wisdom.”
Bird is carrying a keg of
gunpowder and cannons
OLÓWÈ OF ISÈ,
A Yoruba Sculptor to Kings
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Carving in extremely high relief
Distinctive treatment of human
figures– long necks, individualized
faces and hairstyles (portrait-like)
Illusion of movement, placement
of feet
Human figures look out, as if
interacting with viewer
Textured backgrounds, using
incised lines, dots, etc.
Applying paints to carved surfaces
Imagery relates to patron’s status
Genre activities, religious themes
CULTURAL IDENTITY / PERSONAL IDENTITY
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Olówè of Isè
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Palace Door
c. 1920
1997.80
Shaping Identity, VTS
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Pronounced – “o-low-way of ee-say”
Iroko – “ear-oh-ko” - wood used by Olowe of
Ise
Olówè was unknown before 1925.
Great Britain had an exhibition of his work –
door like this shown.
British Museum obtained the door – ours is
the replacement that was made for the
kingdom.
Olówè’s technique has not been replicated in
African art.
Faces on door have distinct features – could
have been people he knew.
Bird figures on king and queen –
pronounced beak shows it’s a bird
associated with witchcraft. Either a gray
heron or fish eagle – both birds are nocturnal
hunters.
Eshu – “Ay-shoo” - god of opposites – the
face is both young and old, male and female,
looks forward and backward.
Red and green are the colors of Eshu.
SPIRITUAL
LIFE
COURT / VILLAGE LIFE
Musicians
Diviner with
chain
King, Wife, Attendants
Diviner with
tray
Wives or dancers
Objects
brought for
rituals
Daily Activities of Court /
Village: Figure picking
kola nuts
Daily Activities of Court /
Village: Wrestlers
ESHU
PERSONAL IDENTITY
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Carved by Olówè of Isè, a prominent Yoruba artist who
fulfilled many commissions by kings.
Owned by Chief of Diviners.
Only the Diviner has the power to counteract witchcraft.
CULTURAL IDENTITY
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Olówè of Isè
Royal Presentation Bowl
Early 20th century
2007.118 Shaping Identity, VTS
Bowl used to transport royal gifts to important people;
advertised prestige and power of king and his court.
This is a bowl and a lid, representing the two halves of
universe, the sky and the realm of water and earth,
covered with imagery that explains the Yoruba
understanding of cosmos.
Lid has four mothers of society walking around the tree
and supporting the Diviner.
Sky is the domain of powerful, elderly women known as
“mothers of society”; magical powers.
Society depends on goodwill of these elderly mothers
to survive.
On top of tree, bird pecking (usually eyes out of
human) refers to the magical powers of the king.
Olówè of Isè
Royal Presentation Bowl
Early 20th century
2007.118
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Lower bowl represents the realm of water
and domain of humans, earth spirits and the
dead
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Head in center rolls around; no space big
enough to insert or remove it
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Head refers to king’s power to behead
enemies; his power over life and death
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Meant to intimidate the recipient – still
inferior to the king and his power.
Artist’s “Signature” on Bowl
NEW!
Olówè of Isè, Yoruba Culture, Nigerian
Chief’s Throne
1925-1938
2008.47
CULTURAL / PERSONAL IDENTITY
Shaping Identity
Olówè of Isè, Yoruba Culture, Nigerian
Chief’s Throne
1925-1938
2008.47
• The carvings on the front of the throne serve as a
visual language communicating messages about
Prince Ilori’s power.
• To Europeans: commemorates the 1910 visit by the
British district commissioner to the palace of a
nearby king (rare, most kings were made to come to
them).
• To the Yoruba: Each time the Yoruba prince sat in
this throne, his arms rested above the symbol for
European power.
• In the 1930s, the people who approach this throne from the rear were members
of the royal household, few others would have seen it.
• The British are exerting political control over the Yoruba people and have been
since they colonized Nigeria in 1897.
• Every Yoruba leader has to walk the line between cooperating with the British
colonizers and holding on to his traditional status as a sacred ruler.
• One way Yoruba rulers achieve this balance is through this throne.
• A Yoruba viewer would have recognized the
roles of these figures.
• Important women of the palace are on the top
tier, but behind the throne – this may have been
the artist’s clever way of pointing out the
powerful but behind-the-scenes position of
women. Without them, the king cannot survive.
• The bearded men have beads over their
shoulders; this identifies them as diviners.
• The men carrying trunks on their heads are
surrounded by men holding guns. These trunks
are filled with wealth that supports the ruler’s
power – and the prisoners who carry them are
the lowest rung on the social ladder.
PERSONAL IDENTITY / CULTURAL IDENTITY
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Bamgboye of Oda-Owa
Epa Cult Mask, Yoruba
1920-1930
77.71
Shaping Identity
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Pronounced “ep-ah”
Annual performance for the well-being of the
community; it can also be used for ancestral
celebrations and in collaboration of a leader who
has passed
Social perspective is very African – largest figure is
most important
Bulging eyes and indigo blue are references to
supernatural power
As many as 30 masks are used at one
performance. All are different and commissioned
by families.
Most masquerades happen during dry seasons
just before cultivation and planting; ensures good
growing season.
These masks weigh 80-100 pounds.
At the end of this dance, the masker has to jump
up on a 3-foot mound while balancing the mask.
If the dancer falls, bad luck for the community so
maskers must be sure-footed and careful.
A stumble or bad landing could result in a broken
neck for the masker.
Metal bar inside is “bitten” to hold it in place during
the masquerade.
CULTURAL IDENTITY
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Pronounced “ee-goon-goon”
Performed annually to celebrate ancestors.
3 to 4 layers of fabric make up this mask.
Indigo and white are most sacred colors.
Red is the color associated with ancestors.
Rich fabrics include silk, vintage brocade, velvet – adds
spiritual quality and makes it most valuable.
During masquerade, the masker flaps the strips of fabric
which is a manifestation of the spirit.
At this point, the masker speaks “from the ancestors.”
Strict rules on who can be a masker – they are purified and
go through a ritual.
The tailors who make the masks are also purified and have
gone through a ritual.
The adjacent video shows a clip of this dance.
The small masker in the video is a child.
Note: This mask must rotate off-view occasionally
Yoruba, Nigerian
Egungun Mask
Before 1950
2005.28
Shaping Identity
ROYAL KUBA MASKS
CULTURAL IDENTITY
Shaping Identity
Kuba Culture
Mukyeem Mask
19th/mid
1997.40
20th
century
Kuba Culture
Nagaady-A-Mwaash Mask
20th Century
1992.215
Kuba Culture
Maboom Mask
19th-20th century
1994.79
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Mwashambooy or Mukyeem
Mukyeen – “Moo-cheem”
Mwashambooy – “Mwa-shom-boo-ee”
Our mask is technically Mukyeem but
name is used interchangeably with
Mwashambooy.
Elephant symbolism – physical power and
wisdom.
Raffia at bottom of mask associated with
ancestors – provides structure for glass
beads and shells.
Raffia is closest to the skin and covered –
a sign that it is a ritual material.
Traces of leopard skin = predatorial.
Parrot feathers = spiritually endowed,
communicates with spirits and ancestors.
Cowrie shells and beads = economic
power of the king.
Every ruler since Woot is considered a
manifestation of Woot, the mythical royal
ancestor and founder of the Kuba
kingdom.
Ngaady a Mwash
Pronounced: “in-gah – dee – a – mwash”
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Decorated with trade beads and cowrie shells, the painted
face is a symbol for a beautiful woman.
Outsiders came in and threatened Woot and the royal
family – they wanted to take the land.
This mythical royal family started farming.
Once married to Woot, created culture of exclusivity.
Mboom
Pronounced: “im – boom”
• Made to look unflattering – unsure if this is deliberate.
• Attempt to caricature.
• Represents original population that lived on the land.
• Competed with Woot for love of Ngaady-a-Mwash, Woot
won.
CULTURAL IDENTITY
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Kongo Culture
Nail Figure (Nkonde)
1875-1900
76.79
Shaping Identity
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N’kisi N’konde – “in-kee-see in-kahn-day”
Figure is historical document which records the number
of problems it has solved.
Figure is kept in care of Nganga – “in-gon-gah”, a ritual
specialist who presides over the rituals for N’kisi.
If Nganga passes away, N’kisi becomes useless (sort of
like not having the password to your computer).
This N’kisi still has its power but is inactive or dormant
due to no Nganga.
Different N’kisi do different things – depends on the
Nganga.
Stance is aggressive, which signals awareness and
alertness, power or authority.
Filed teeth elevate the figure to an elite status.
Staring eyes may indicate clairvoyance, mystical vision,
or the presence of ancestors.
Chief’s cap indicates wisdom.
Knob on top allows passage of supernatural secrets to
protect him from spirits.
Bracelets symbolize power to give or take life.
Pierced ears make him receptor for all problems.
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Kalabari Ijo NEW!
Ancestral Screen
Late 19th century
2003.21
Shaping Identity
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“cal-a-bar-ee ee-joe” – from Delta Region of Nigeria
Called nuden fobara – “un-dwen fo-bar-a” = forehead
of ancestor.
Accomplished traders who established trading
houses.
Had acolytes who ran the business.
Screen commemorates an ancestor who achieved a
successful trading business.
Placed on altar or next to other of previous
generations.
Large figure in center: ancestor wearing a hat
inspired by European top hat.
Hats often festooned with feathers an indicator of
wealth and status.
Large head on central figure = point of entry and exit
for the spirit.
Ancestor wears stylized European tail coat.
Small figures at bottom = family members or young
men that were part of trading house.
They wear straw hats which is typical hat worn by
young men.
Small heads at top = masks that resemble secret
society to which ancestor belonged.
Note: Extremely rare object – all but 11 burned by Christian
missionaries who thought they were idolatrous.
New!
CULTURAL IDENTITY
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Rare object – all pieces exist and are together
The tunic is boiled in herbs to give it its color and its
first level of protective powers
Leather encases amulets, which are sewn on to the
tunic.
Inside amulets can be herbs, animal skin, medicines,
or special materials that add protection for the wearer.
Some amulets contain inscriptions from the Qur’an.
Islam has existed in Africa since the 7th century due to
Arab trade.
The written word, to many of the Asante, is very
precious.
Islam, in West Africa especially, was far more tolerant
of local traditions than were other religions.
Asante Culture, Ghana
Warrior’s Tunic, 1800s
2005.59.1
Shaping Identity
Note: This object has pieces that rotate on and
off view – not all pieces are shown here. Other
pieces can include a cap, flywhisk, medicine bag.
African Milestones Gallery In-depth
BIG IDEA:
The works of art in this gallery
mark, celebrate, and reflect on
crucial milestones in human life
• birth,
• puberty
• marriage
• death
CULTURAL IDENTITY
Xhosa Culture
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Pronounced: “khosa”
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Pronounced: “ma-pond-doe”
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Very few sculptures exist from this area.
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This set has 432 components, 105 are on view.
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The weight and number of your beads is
equivalent to the respect for the ancestors and the
wealth of the family – the beads are imported from
Europe.
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Strings and weight of beads represents presence
of ancestors --- this is the union of two families.
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Beadwork done by women.
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Found materials are incorporated – commercially
produced bottles and cans are covered in beads.
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Sometimes beads and adornment are passed
from mother to child.
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Decoration commemorates passage to adult and
again into marriage.
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Textiles on view are museum-made reproductions
Mpondo Bride and Groom Ensembles of the original garments in the DIA’s collection –
1950s
2004.1 and 2004.2 Shaping Identity
allows it to remain on view.
CULTURAL IDENTITY
Mende Culture
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Worn by women in public ceremony that celebrates
girls’ initiation into womanhood
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Masks reaffirm characteristics of ideal womanhood in
the Mende culture (both the way women should look
and behave).
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Beauty: shiny, dark skin, scars, small features.
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Nearly closed eyes: scrutiny of older women who
prepare young girls for adulthood.
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Closed mouth: discretion and spiritual power of
silence.
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Closed ears: she will not hear sounds or talk that
might lead to unacceptable behavior.
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Neck rolls: prosperity, beauty. Also associated with
the goddess Sowo who emerges from the water in
symbolic rebirth just as a girl becomes a woman
through puberty.
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Hairstyles are unique to the dancer and reflect her
status; simpler hairstyles are higher ranking.
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Large forehead: where prosperity enters; she is
ready to meet challenges, is wise and powerful.
Sowo Mask
19th – 20th century
1990.268
Mende Culture
Sowo Mask
c. 1850-1900
F76.119
Shaping Identity
Egypt
Egyptian
Relief of Peasants Driving Cattle
CULTURAL IDENTITY
Old Kingdom (2345-2181 BCE)
30.371
Shaping Identity, ADP, VTS
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Images such as this one were placed in tombs to ensure the quality of life in the afterlife.
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On the left is a scene of cattle crossing a canal. The lead heifer is following her calf which
is held in the arms of the lead figure while the rest of the herd follows the heifer.
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Men on the right are fishing from a raft (looks like a slab).
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The shaved heads and kilt style shown here was worn by both herdsmen and fishermen.
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Notice the carving – steer’s horns and eyes are frontal but the animals are in profile so
they can be identified.
CULTURAL IDENTITY / PERSONAL IDENTITY
Egyptian
Relief of a Ramesside Ruler
about 1301-1234 BCE
65.2
Shaping Identity
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A depiction of one of the King Ramses, possibly
King Ramses II.
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The shape of the beard and the head cloth with
cobra, indicate that the figure was the pharaoh.
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The king’s name is written in a cartouche (cartoosh), the oval-shaped rope to the left.
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Figure holds a vessel for incense and is putting
incense pellets into it – an illusion to motion.
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Look at the carving – face in profile, eyes and
body are frontal, right hand on left arm –
important parts are showing.
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Depictions such as this ensured that this activity
would continue in the after life.
PERSONAL IDENTITY/CULTURAL IDENTITY
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Egyptian
Ba-Ba-F
T1984.201 and T1984.02
Shaping Identity
These ka statues are meant to be a resting place
for the ka or spirit of the deceased.
Ba-Ba-F had seventy of these in his tomb.
Each one shows him at a different point in his life.
The one on the left is the older, “retired”, Ba-Ba-F
(notice the tummy flab).
The one on the right is the younger, “still working
out”, Ba-Ba-F.
His name is carved in a cartouche located by his
front foot.
PERSONAL IDENTITY
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Painted while she was young and alive, placed
over face when entombed.
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Shows her individuality, not a “type.”
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What does this communicate about her
personality?
CULTURAL IDENTITY
Egyptian
Head of a Woman
c. 130-160 CE
25.2 Shaping Identity
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These were called Fayum portraits, after the
region in Egypt where they were most popular.
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Egypt was under control of Rome at this time;
she wears Roman hairstyle and jewelry,
representing wealth.
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Mummies were a status symbol in ancient
Egypt, as they were costly to create.
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Since Roman styles borrowed from ancient
Greece, we see Greek, Roman and Egyptian
influences here.
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Example of how cultural traditions blend and
combine across the globe.
GALLERY OF ISLAMIC ART
THE SILK ROAD
These dishes show the artistic exchange
between China and the Middle East
Islamic, Turkey
Charger
c. 1480-1500
2006.58
Ming (Chinese)
Dish
c. 1403 - 1424
47.370
MING DISH
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Made of porcelain, and was produced at the kilns of Jingdezhen, in Jiangxi Province, China
between 1403 and 1424.
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Porcelain is a man-made material created by Chinese artists who discovered that kaolin (a
clay mineral) helped achieve the impermeability, thinness, whiteness, hardness, and
durability that made it much appreciated in the Middle East, where the Chinese exported it in
large quantities.
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The Chinese aesthetic combination of cobalt
(for the blue color) on a porcelain white surface
was held in high regard, and was collected by
royal treasuries in the Middle East. The color
scheme of the Iznik dish was inspired by
Chinese prototypes.
IZNIK CHARGER
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The shape of the Iznik Charger is derived from
brass and silver serving dishes from a Turkish
context. Large, flat dishes were among the most
prized, as they were used for communal feasting in
the Islamic context.
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People from across central Asia and Europe sought
the secrets of porcelain. The potters at Iznik were
able to re-create the look of porcelain, though they
couldn’t replicate the materials.
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The material from which the Iznik dish is made – mainly ground quartz with a small amount of
white clay – was the most successful imitation of Chinese porcelain made in the early modern
period, and probably the source for nearly contemporary European imitations (i.e. Medici
porcelain). This type of dish is called fritware.
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Despite the magnificence of the Iznik dish, in the Ottoman royal palace at Istanbul, Chinese
porcelain always had pride of place and was reserved for special occasions, while the pottery
from Iznik was used in the palace kitchens for daily food service.
Carpets
This case has frequent object rotations – the main points are…
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These carpets come from various locations including Turkey, Iran, and India.
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They are made from different materials, including wool, silk, velvet, and cotton.
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Design elements include floral scrolls, medallions, lotus blossoms, and animals.
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These carpets were made in three different contexts:
o Cottage Industry: carpets were sold and used locally (most in everyday
settings) – most often made by women.
o Commercial Industry: carpets were sold in urban centers to be exported made by both men and women.
o Court Industry: carpets were made for and used by court patrons – most often
made by men.
Turkish
Summer Carpet
about 1650-1700
48.137
Shaping Identity
CULTURAL IDENTITY
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Carpets were woven by both men and women, depending on who they were made for and
where they were made.
These carpets were made on large looms that often required more than one weaver. There
could be anywhere from one to seven weavers working on a single carpet. On some of the
carpets, you can see slight differences on each side which provides evidence of each
weaver’s understanding of the design.
Some of the carpet designs are symmetrical both horizontally and vertically. Others are
symmetrical either horizontally OR vertically (bi-lateral symmetry). Others have no
symmetry and follow a free form design (these are the most difficult to produce because
they do not contain any repeating designs).
Weavers adapted the design in different ways to create carpets of varying sizes.
Some of the carpets were exported to Europe where they were often used as table
coverings (not floor coverings – see ter Borch).
Questions about the depiction of animals and other figures in Islamic art?
Sacred Writings
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This lavish Qur’an was probably commissioned
by a prince for donation to an important mosque.
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It is written on Chinese paper that has been
tinted with 10 different colors and flecked with
gold. The paper is of such high quality that it has
survived nearly unaltered for almost 600 years
(hemp and flax fibers).
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Rolls of Chinese paper were sent to the Mongol
conqueror Timur (Tamerlane) by the Ming
Emperor of China as part of a diplomatic gift. The
paper rolls were stored in a treasury.
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After Timur’s death, his sons acquired the paper
which was used to create this Qur’an.
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The calligraphy and illuminated designs in the
margins were done by an unknown master of the
1400s, possibly from the royal court in today’s
Afghanistan.
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Such a large manuscript would have rested on a
Qur’an stand in order to be read.
Islamic, Iranian
Qur’an
about 1450-1560
30.323
Shaping Identity, ADP
PERSONAL IDENTITY/
CULTURAL IDENTITY
Nice layered label with this object.
Islamic/Uzbek
Jewel Box Inscribed “Amir Bukhara”
1909/10
F74.21
Shaping Identity
PERSONAL IDENTITY / CULTURAL IDENTITY
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This jeweled box is made of white gold and is decorated with various gems
including diamonds and rubies.
The elaborate decorations and jewels indicate wealth and prestige.
The box is inscribed with the name of the person who commissioned it: Amir
Bukhara (the last ruler of the Emirate of Bukhara whose name was
Mohammed Alim Khan).
The Emirate of Bukhara was a city-state that existed from 1785-1920. It
occupied the land between the Amu Darya and the Syr Darya rivers which
included the territory that is now Uzbekistan, Tajikistan, and parts of
Turkmenistan and Kazakhstan.
Mohammed Alim Khan may have commissioned the jeweled box as a
diplomatic gift for the Romanovs (the imperial dynasty of Russia).
Mohammed Alim Khan (b. 1880, d. 1944) ruled the Emirate of Bukhara from
January 3, 1911 to August 30, 1920. He was supposedly a direct descendant
of Genghis Khan, the first great leader of the Mongol empire in Central Asia
and China.
Ancient Middle East
• The current installation is temporary! The new gallery for Ancient Middle
Eastern Art will go on-view during the fall of 2014 in the current location.
Watch for gallery disruptions during 2014 for construction and installation.
• This is a critical area for middle school students.
• Kings, deities, strength, and the movement of peoples whether by expulsion
or conquering neighbors – are all a part of the identity of the area.
• For all three objects depicted here – these represent the earliest works from
the earliest peoples in this region.
• The modern map of the Middle East was drawn after World War I.