1984.9 Bird-form pendant (Linea Vieja, Costa Rica)

Among the societies of Central America, gold ornaments were important symbols of power and prestige that expressed authority and status in life and in death. Made to be suspended around the neck, gold pendants were still worn by local inhabitants of the Caribbean coast when Europeans encountered them at the turn of the 16th century. 

The image on this gold pendant is flattened and bilaterally symmetrical for maximum decorative effect. The suspension loop is located on the reverse at the back of the bird head—craftsmen thus cleverly adapted the natural forms of totemic creatures to the functional demands of this jewelry. Large wings extend from the side of the bird head, 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 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. The principal deity of the present-day Bribri of Costa Rica, Sibo or Sibu (Creator of all things), takes the form of either a kite or buzzard with a collar around its neck, similar to the birds in this example. 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.

Late Period V-VI, 800–1550 CE (noted on TMS), NOT updated by KJones.

Costa Rican styles: AAT: 300386018

Pre-Columbian (American): AAT: 300016619

Costa Rica (nation): TGN: 7005364 

gold: AAT: 300011021

goldwork: AAT: 300044045

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

worn costume accessories: AAT: 300209274

jewelry: AAT: 300209286

pendants (jewelry): AAT: 300046002

shiny (shine): AAT: 300065244

figures (representations): AAT: 300189808

sitting (seated): AAT: 300263970

animals (Animalia kingdom): AAT: 300249395

birds (animals): AAT: 300266506

birds (motifs): AAT: 300375751

wings (animal components): AAT: 300375053

beaks (animal components): AAT: 300400475

tails (animal components): AAT: 300251800

necklaces: AAT: 300046001

collars (neckwear): AAT: 300210058

ornaments: AAT: 300266794

geometric motifs: AAT: 300009764

lines (geometric concept): AAT: 300056279

crescent (motif): AAT: 300165510

funerary objects: AAT: 300234126

ceremonial costume: AAT: 300210387

power: AAT: 300374809

prestige: AAT: 300343604

social status: AAT: 300065206

symmetry: AAT: 300056249

myth: AAT: 300201023

mythical or legendary beings: AAT: 300375725

kites (equipment): AAT: 300218777

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

raptors (birds): AAT: 300250055

deities: AAT: 300343850

supernatural (concepts): AAT: 300055947

protection: AAT: 300164923

duality (concepts): DMA

Until 1953: Don Victor Manuel Iglesias [1], [2]

1953-1984: Carr and Estelle Pritchett, acquired from the above [1], [2]

From 1984: Dallas Museum of Art, gift of Carr and Estelle Pritchett [1], [2], [3], [4]

[1] The main source for this provenance is existing provenance information in TMS. Exceptions and other supporting documents are noted.

[2] 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.

[3] The main source for this provenance is Acquisition Record (dated February 29, 1984 copy in Dallas Museum of Art Collections Records Object File). Exceptions and other supporting documents are noted.

[4] The main source for this provenance is Deed of Gift (dated March 21, 1984 copy in Dallas Museum of Art Collections Records Object File). Exceptions and other supporting documents are noted.

Apply to objects where number equals 1984.9