1985.164 Pendant depicting a frontal bird flanked by profile birds (Colombia, Tairona)

GENERAL DESCRIPTION

The pre-Hispanic goldwork of Colombia is traditionally classified by archaeological zones, or regions, each with stylistic associations, varying in iconography and technology: Zenú (Sinú) and Tairona in northwestern Colombia; Muisca in the central highlands southeast of Bogotá; and in the southwest, Quimbaya, Calima, Tolima, and Nariño. The richly varied works were primarily objects of personal adornment. Pendants, headdress elements, pectorals, bracelets, anklets, and nose and ear ornaments probably functioned as ceremonial regalia for elite men. Tairona goldworkers produced some of the most elaborate gold objects made in the Americas—featuring delicate spirals, intricate line-work, and braided elements in cast filigree, Tairona ornaments often emphasize volume and three-dimensional form, as seen in this example.

Made to be suspended around the neck, the image on this gold pendant is flattened and bilaterally symmetrical for maximum decorative effect. Although not visible from the front, suspension loops are located on the reverse between the eyes of the bird head—craftsmen thus also cleverly adapted the natural forms of totemic creatures to the functional demands of the jewelry. This pendant depicts a frontal bird flanked by profile birds; the smaller bird forms the beak of the larger bird face, and large decorated wings extend from either side, while the crescent-shaped base forms the long outspread tail of the figure. Though it in unclear what type of bird is represented, it is likely a bird of prey, indicated by the sharply hooked beak.

Bird pendants, common among the cultures of Intermediate Central America, are found in a variety of sizes and styles and represent a number of different bird species. Both single and double bird pendants are common, though their exact meaning is unknown. Pendants were likely worn on ceremonial occasions, and similar pendants were still being worn at the beginning of the 16th century conquest. Bird imagery remained important to indigenous peoples of the region into the 20th century. For many peoples of the ancient Americas, birds were likely mythic figures, often considered intercessors between sky and land. Bird pendants may have offered protection to the wearer, and when represented in gold, such as this example, they are even more powerful. When worn together, as many of these personal gold ornaments undoubtedly were, they would have created a dazzling golden image.

Drawn from

Bonnie Pitman, ed., "Ceremonial mask (1976.W.321)," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 33.
Bonnie Pitman, ed., "Headdress ornament with heads flanked by crested crocodiles (1976.W.319)," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 34.
Carol Robbins, "Ceremonial mask (1976.W.321)," in Dallas Museum of Art: A Guide to the Collection, ed. Suzanne Kotz (Dallas, TX: Dallas Museum of Art, 1997), 178.
Anne R. Bromberg, Dallas Museum of Art: Selected Works (Dallas, TX: Dallas Museum of Art, 1983), 45.
Carol Robbins, Label text [1976.W.298; 1976.W.297; 1976.W.292], A. H. Meadows Galleries.
"Nose Ornament (1979.206.545)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.http://www.metmuseum.org/toah/works-of-art/1979.206.541,.545/. (August 2009).
"Eagle Pendant (1977.187.22)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.http://www.metmuseum.org/toah/works-of-art/1977.187.22/. (August 2009).

NOTES

1000–1550, Tumbaga, updated by KJones in TMS on 06/19/14 and 01/14/16.

Catalogue essays

Artist/designers

Cultures

Native Coastal Ecuadorian and Colombian styles: AAT: 300017980

Pre-Columbian Colombian styles: AAT: 300017422

Pre-Columbian (American): AAT: 300016619

Tairona: AAT: 300017998

Geography

Intermediate Central America

Colombia (nation): TGN: 1000050

Parque Tayrona (Tairona National Park): TGN: 8697573

Sierra Nevada de Santa Marta (mountain range / Colombia): DMA

Process/materials

Colombian Goldwork

tumbaga: AAT: 300248834

gold: AAT: 300011021

annealing: AAT: 300053886

casting (process): AAT: 300053104

chasing (metalworking): AAT: 300054016

embossing (technique): AAT: 300053826

repoussé: AAT: 300054023

solder: AAT: 300010993

sheet metal: AAT: 300223016

metalwork: AAT: 300015336

hammering (metal finishing): AAT: 300054098

Historical periods

Individuals

Subject terms

worn costume accessories: AAT: 300209274

jewelry: AAT: 300209286

pendants (jewelry): AAT: 300046002

shiny (shine): AAT: 300065244

figures (representations): AAT: 300189808

sitting (seated): AAT: 300263970

birds (animals): AAT: 300266506

birds (motifs): AAT: 300375751

heads (representations): AAT: 300262520

faces (animal or human components): AAT: 300251798

bicephalic (two-headed / double-headed): DMA

wings (animal components): AAT: 300375053

beaks (animal components): AAT: 300400475

tails (animal components): AAT: 300251800

ornaments: AAT: 300266794

geometric motifs: AAT: 300009764

dots (geometric motif): AAT: 300010145

circles (plane figures): AAT: 300055627

lines (geometric concept): AAT: 300056279

braids (motifs): AAT: 300400658

zigzags (geometric patterns): AAT: 300165028

crescent (motif): AAT: 300165510

ceremonial costume: AAT: 300210387

nobility (nobles / aristocracy): AAT: 300025942

power: AAT: 300374809

prestige: AAT: 300343604

social status: AAT: 300065206

symmetry: AAT: 300056249

mythical or legendary beings: AAT: 300375725

Falconiformes (order / diurnal birds of prey): AAT: 300310286

raptors (birds): AAT: 300250055

owls (birds/animals/strigiformes order): AAT: 300310290

deities: AAT: 300343850

supernatural (concepts): AAT: 300055947

protection: AAT: 300164923

duality (concepts): DMA

RELATED OBJECTS

PROVENANCE

Until 1976: Nora and John Wise, New York [1], [2], [3]

1976-1985: Dallas Museum of Fine Arts, on long-term loan from the above [1], [2], [3]

From 1985: Dallas Museum of Art, gift of Nora Wise [1], [2], [3], [4], [5], [6]

[1] The main source for this provenance was existing information in TMS (in Dallas Museum of Art Digital Collections Records Object Files). Exceptions and other supporting documents are noted.

[2] The main source for this provenance is letter from Nora Wise to John Lunsford, Senior Curator at the Dallas Museum of Art (dated October 21, 1985, copy in Dallas Museum of Art Collections Records Object File). Exceptions and other supporting documents are noted.

[3] The main source for this provenance is Dallas Museum of Fine Arts Catalogue Worksheet (n.d., copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.

[4] The main source for this provenance is letter from John Lunsford, Senior Curator at the Dallas Museum of Art, to Nora Wise (dated December 11, 1985, copy in Dallas Museum of Art Collections Records Object File). Exceptions and other supporting documents are noted.

[5] The main source for this provenance is Acquisition Record (dated December 04, 1985, copy in Dallas Museum of Art Collections Records Object File). Exceptions and other supporting documents are noted.

[6] The main source for this provenance is Deed of Gift (dated December 20, 1985, copy in Dallas Museum of Art Collections Records Object File). Exceptions and other supporting documents are noted.

AUDIO ASSETS

VIDEO ASSETS

IMAGE ASSETS

WEB RESOURCES

ARCHIVAL RESOURCES

FUN FACTS

TEACHING IDEAS

RULES

Apply to objects where number equals 1985.164

General Description

The pre-Hispanic goldwork of Colombia is traditionally classified by archaeological zones, or regions, each with stylistic associations, varying in iconography and technology: Zenú (Sinú) and Tairona in northwestern Colombia; Muisca in the central highlands southeast of Bogotá; and in the southwest, Quimbaya, Calima, Tolima, and Nariño. The richly varied works were primarily objects of personal adornment. Pendants, headdress elements, pectorals, bracelets, anklets, and nose and ear ornaments probably functioned as ceremonial regalia for elite men. Tairona goldworkers produced some of the most elaborate gold objects made in the Americas—featuring delicate spirals, intricate line-work, and braided elements in cast filigree, Tairona ornaments often emphasize volume and three-dimensional form, as seen in this example.

Made to be suspended around the neck, the image on this gold pendant is flattened and bilaterally symmetrical for maximum decorative effect. Although not visible from the front, suspension loops are located on the reverse between the eyes of the bird head—craftsmen thus also cleverly adapted the natural forms of totemic creatures to the functional demands of the jewelry. This pendant depicts a frontal bird flanked by profile birds; the smaller bird forms the beak of the larger bird face, and large decorated wings extend from either side, while the crescent-shaped base forms the long outspread tail of the figure. Though it in unclear what type of bird is represented, it is likely a bird of prey, indicated by the sharply hooked beak.

Bird pendants, common among the cultures of Intermediate Central America, are found in a variety of sizes and styles and represent a number of different bird species. Both single and double bird pendants are common, though their exact meaning is unknown. Pendants were likely worn on ceremonial occasions, and similar pendants were still being worn at the beginning of the 16th century conquest. Bird imagery remained important to indigenous peoples of the region into the 20th century. For many peoples of the ancient Americas, birds were likely mythic figures, often considered intercessors between sky and land. Bird pendants may have offered protection to the wearer, and when represented in gold, such as this example, they are even more powerful. When worn together, as many of these personal gold ornaments undoubtedly were, they would have created a dazzling golden image.

Drawn from

Bonnie Pitman, ed., "Ceremonial mask (1976.W.321)," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 33.
Bonnie Pitman, ed., "Headdress ornament with heads flanked by crested crocodiles (1976.W.319)," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 34.
Carol Robbins, "Ceremonial mask (1976.W.321)," in Dallas Museum of Art: A Guide to the Collection, ed. Suzanne Kotz (Dallas, TX: Dallas Museum of Art, 1997), 178.
Anne R. Bromberg, Dallas Museum of Art: Selected Works (Dallas, TX: Dallas Museum of Art, 1983), 45.
Carol Robbins, Label text [1976.W.298; 1976.W.297; 1976.W.292], A. H. Meadows Galleries.
"Nose Ornament (1979.206.545)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.http://www.metmuseum.org/toah/works-of-art/1979.206.541,.545/. (August 2009).
"Eagle Pendant (1977.187.22)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.http://www.metmuseum.org/toah/works-of-art/1977.187.22/. (August 2009).

Fun Facts

Archival Resources

Web Resources

Notes