Object: Hat

E/1964/7/1
Mariana Islands (Saipan)
Oceania
ca. 1950
Materials: Banana leaves

This object is an open top hat made from banana leaves. It was produced on the island of Saipan in the Mariana Islands of Oceania.

Fourteen islands comprise the Mariana Islands archipelago, including Saipan, Rota, and Tinian. The Mariana Islands are a commonwealth in political union with the United States, and indigenous inhabitants have citizenship in the United States. The islands are home to two indigenous populations–the Carolinian and the Chamorro. The populations of both cultures were greatly reduced by disease and relocation when Europeans occupied the islands in the 1700s. Additionally, tropical storms reduced numbers of Caroline and Chamorro peoples.

The climate in the Mariana Islands is tropical, and temperatures are steady throughout the seasons. Tourism is an important part of the local economy on many islands, though agriculture and exports contribute as well. Items made from natural resources in the environment, such as the hat above, are important to preserving cultural practices. In recent years, some of the islands have experienced cultural revivals and returned to practicing and teaching traditional songs and dances. Teachers of stick dances, for example, were recently recognized by the National Endowment for the Arts for their contributions in maintaining the cultural relevancy of traditional ceremonial activities.

[Lauren Simons]

Object: Effigy Jar

E/1956/6/5
Owl Effigy Jar
Pueblo of Zuni
North America: New Mexico
ca. 1912
Material: Ceramic

This object is an effigy jar in the form of an owl. It was produced by the Pueblo of Zuni around 1912 in present-day New Mexico. It measures 12.25 inches tall by 10 inches wide and is made from two separate pieces. Jars like this one are decorated with pottery slips, a method in which ceramic vessels are dipped in colored clay (see video below). The body of the jar has two wing-like projections on each side and a tail-like projection on the rear. There are also two horned projections on the head. Two frogs decorate the breast of the figure and may serve as symbols of rain. According to some Zuni artists, ceramic owl effigies have been in production for at least 400 years and have been used for ceremonial purposes. Among the Zuni, owls are often viewed as messengers of alertness. The Zuni people refer to themselves as A:shiwi and maintain a linguistically unique language that is unrelated to other languages in the area. The Pueblo of Zuni has been one of the most often visited groups of Native Americans by anthropologists and European surveyors. The pueblo has undergone many changes in pottery production, land holdings, and government. In the past century, the arts market has flourished, while over 450,000 acres of land holdings have been accumulated in Arizona and New Mexico, and the Zuni government has changed from a theocracy to a secular tribal council government.

[Lauren Simons]

Object: Statuette

E/1955/18/18
Ivory Carving of Buddha
Dynastic China
ca. Qing Dynasty 1644-1949
Materials: ivory, red stain

This object is a small, carved statuette of Buddha. It came from dynastic China and was collected sometime during the Qing Dynasty between 1644 and 1949. It is probably carved from elephant ivory. The figure depicts Buddha seated on lotus petals, holding a small ball in his left hand. This object has also been stained red. Ever since China was introduced to Buddhism by way of India during the Han Dynasty (206BC-220AD), the depiction of Buddha has become a major theme in Chinese art.

The elements of the statue and the Buddha figure can be linked to Buddhist beliefs. The main focus of Buddhism is to rid oneself of desire, which can lead to suffering, and become an enlightened person of the world. The ivory figure reflects this as the dot on the statue’s head represents wisdom and all-seeing power. The figure is positioned on lotus petals. Lotus flowers are a symbol of things that are pure and good because they grow out of water and mud to become beautiful pink flowers. Buddhist beliefs suggest that Buddhist followers, like lotus flowers, can rise above ugliness to achieve enlightenment. The figure is depicted in a meditative stance. In Buddhism, the way for followers to achieve enlightenment is to pray and meditate. [Brittany Teel]

Object: Cartonnage Fragment

C/1956/8/1
Fragment of a mummy cartonnage
Egyptian
18th dynasty (1570-1314 BCE)
Materials: linen or papyrus

This object is a multi-colored fragment of a mummy cartonnage possibly from the 18th Dynasty. Cartonnage was used for personal funerary ornaments such as mummy masks. The masks would cover the head, shoulders, and upper chest of the mummy to protect the face of the deceased. This particular piece was likely from the chest portion of a cartonnage mummy mask.

Cartonnage was made from thin, layered pieces of linen or papyrus. Once a shape had begun to form one side was coated with gesso (a mixture of glue and whiting plaster) to harden the shape. This coating allowed the maker to use detailed paint or gold leafing on the front side.

Each individual had their own design for their mask. Usually, the design would indicate something about the deceased. For instance, the mask may have been a representation of what the person looked like or enjoyed doing. An example of a gilded mummy mask can be seen at the British Museum.

[Brittany Teel]

Object: Kantharos

C/1958/1/5
Replica, Kantharos with wreaths, fillets, thyrsi
Hildesheim Germany
Roman
ca. 100 CE
Materials: silver

This object is a replica of a silver kantharos found in Germany in 1868. The original was a part of a large treasure of about 50 silver pieces found by Prussian soldiers in Hildesheim, Germany. Now known as the Hildesheim Treasure, there are numerous replicas in museums. The reason such a large amount of Roman silver was buried outside of Roman territory is unclear. Many scholars have attributed the objects to a Roman general who may have buried the treasure to keep it safe. Also, dating the pieces is difficult but many are thought to date back to the 1st century C.E.

Named for its shape, the kantharos has two handles on each side. The design on the piece depicts Dionysus, who was the Greek god of wine. The design also incorporates masks, grapevines, and lion decorations, typical of items associated the cult of Dionysus. Before World War II, the original pieces of silver are in Berlin. Replicas such as this one allow students and scholars to study pieces of art that are located in far away places or no longer exist.

[Brittany Teel]

Object: Votive replica

C/1953/42/4
Cast Replica, Votive of Snake Goddess
Crete, Palace of Knossos
Minoan
ca. 1750-1580 B.C.E.
Materials: original of faience

This object is a cast replica of a votive found in the excavation of the Palace of Knossos on the island of Crete in 1903. The leader of the excavation was Sir Arthur Evans. The original statue was found in an area of the palace named the Temple Repositories. Evans named the figure in this votive the Snake Goddess because of the repeated theme of snakes throughout the palace compound. For the Minoans, snakes were honored for their ability to shed their skins and resurrect themselves. This votive was found with another statue of a woman with snakes, and the two are thought to be a pair. However, the two objects have definite distinctions between them.

The original votive shows the woman with a full bell skirt, short apron, tight shirt exposing the chest, and arms raised above her head. The other statue shows a woman in a similar shaped skirt and tight shirt but her arms are raised out in front of her instead over her head. Some scholars still debate, which representation of the woman is the snake goddess and which is the snake princess.

As a method of understanding the Minoan culture, objects such as this one have been helpful, since scholars do not have a complete written record for the Minoans. Current research indicates that literacy was not widespread in Minoan culture and may have been strictly confined to the palaces. Additionally, most of the evidence of Minoan writing (Linear A) is found only on seals. Many think that because the figure of the Snake Goddess is prevalent in the palace artwork then they may have been a matriarchal society and worshiped primarily female deities. This has been used as evidence that Minoan society focused on fertility instead of warfare, and has given Minoan culture a much more peaceful reputation than their mainland counterparts, the Myceneans.

Presently, the original votive is located in the Heraklion Museum, but replicas like this help visitors all over the world see what Minoan artwork was like.

[Brittany Teel]

Object: Tray

E/1982/11/450
Hopi: Basket Tray
North America
c. 1930
Materials: Grasses, Yucca, Devil’s Claw

This object is a basket tray made by the Hopi Indians of northern Arizona. The Hopi people are considered one of the oldest indigenous tribes of North America. The term “Hopi” comes from the name Hopituh Shi-nu-mu, which means “The Peaceful People.” Hopi are known for their production of high-quality art such as dolls, jewelry, ceramic, and baskets. This basket tray is made of a primary coil of grasses and a secondary coil of yucca, willow, and devils claw. There is a small handle on the top of the tray for hanging the basket in a display or as a plaque on the wall. The design on the basket is a pictorial of a Kachina or Katsina figure woven in devil’s claw. The devil’s claw is an integral part of the artistic design.

Yellow-flowered perennial devil's claw blossom.

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There are literally thousands of species of beautiful wildflowers in North America, but some of the loveliest and most interesting are called devil’s claws. They produce bizarre seed-pods that attach to the feet and legs of large animals, and include some of the largest hitchhiker fruits in the world.

Seed capsules - Proboscidea althaeifolia (Benth.) Decne.

The devil’s claw fruit is technically a drupaceous capsule with a woody inner part surrounded by a fleshy layer. The rather sinister common name of “devil’s claw” refers to the inner woody capsule that splits open at one end into two curved horns or claws. Each capsule contains about 40 black seeds that are gradually released when the claws split apart.

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[Loree Mcdonald and Lauren Simons]

Object: Basket

E/1979/1/17
Akimel O’odham: Basket
North America
c. 1920
Material: Yucca, devil’s claw

This is an Akimel O’odham (or Pima) basket from the early 20th century. It is made of coiled yucca and devil’s claw. The Akimel O’odham are known for their skilled basket-weaving as well as the use of Squash Blossom and similar designs like the one on this basket. The Akimel O’odham are a group of American Indians living in an area consisting of what is now central and southern Arizona (USA) and Sonora (Mexico). The name means “river people.” They are thought to be culturally descended from the group archaeologically known as the Hohokam. The term Hohokam is a derivative of the O’odham words “Huhugam” (pronounced hoo-hoo-gahm) which is literally translated as “those who have gone before” but meaning “the ancestors.”

Currently, the majority of the population is based in the Gila River Indian Community (GRIC), although in historic times a large number of Akimel O’Odham migrated north to occupy the banks of the Salt River and formed the Salt River Pima-Maricopa Indian Community. Both tribes are confederations of two distinct cultures that include the Maricopa.

[Loree Mcdonald]

Object: Basket

E/1993/1/3
Tohono O’odham: Coiled Basket
North America
19th Century
Materials: Grasses, Yucca, Devil’s Claw

This is a Tohono O’odham basket coiled in the shape of a duck. The Tohono O’odham currently reside in southwest Arizona and northern Mexico, though historically they occupied a much larger land base known as the Papagueria. For this reason, the Tohono O’odham were often referred to as “Papago” tribes by early European settlers.

This basket measures approximately 10 inches long and 4 inches high. It is constructed from grasses, yucca, and devil’s claw and features closed-coil stitching. In closed-coil stitching, the coiled grasses are completely covered by the outer stitch and are not visible through the stitching. Baskets made with closed-coil stitching require more time and detail than those bound together with open stitches. In this basket, strips of white yucca cover the coils of grasses that make up the body of the duck. Additionally, dark strips of devil’s claw are used to stitch a geometric design into the basket.

While Tohono O’odham baskets are used to carry things and prepare food, this basket was probably made for the tourist market. Basketmakers can spend days, if not weeks, on the production of a single basket. Common techniques used in Tohono O’odham basketmaking include stitching horizontal lines, parallel lines, and vertical frets as seen here. More baskets like this one are expected to be displayed at SNOMNH in the coming spring; plan a visit and enjoy getting to know the Story Behind the Object!

[Lauren Simons]

Object: Lekythos

C/2001/1/42
Red Figure Lekythos
Southern Italy, Apulia
Apulian
Attributed to the Choes Painter
ca. 350 BCE
Materials: ceramic

This object is a red figure Apulian lekythos that is believed to have been painted by the Choes Painter. The Choes Painter is part of the Lecce Group of Apulian Red Figure vase painters. A similar lekythos, attributed to the Thrysus painter (also part of the Lecce Group) can be found in the Ure Museum, of the University of Reading.

Red Figure vase painting was developed in Athens around 530 BCE and quickly surpassed Black Figure vase painting in popularity. Attic Red Figure vases were highly prized trade items and by the mid-5th century BCE workshops specializing in Red Figure pottery began to be found in Greek colonial areas such as Southern Italy. Before long the Red Figure vases of Apulia were comparable in artistic quality with those produced in Athens.

Apulian vase painting is commonly divided into two main styles, the “Plain” style and the “Ornate” (or “Rich”) style. The “Ornate” style is found mainly on large vessels like volute kraters or amphorae and, like the name suggests, is characterized by elaborate painted scenes sometimes containing up to twenty human figures. “Ornate” style decoration also tends to use a wider range of colors in its decoration, including lots of yellow and white painted areas. Meanwhile, “Plain” style vases tend to be small and the decoration is kept simple, with typically no more than a few human figures. [Kate Barr]