1976.W.473 Pectoral: Three Birds (Colombia, Muisca) | DMA Staging Content Management System

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: Muisca in the central highlands southeast of Bogotá; Zenú (Sinú) and Tairona in northwestern Colombia; 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. In contrast, however, Muisca gold objects consist primarily of votive offerings. Muisca gold objects were usually comprised of a concentrated copper-gold alloy, known as tumbaga, and created by lost-wax casting. Objects often had multiple parts, and the surface was often left unpolished. Since the Muisca region lacked a source of gold, they traded other precious materials to acquire the metal.

Made to be suspended around the neck, the image on this gold pendant is flattened and bilaterally symmetrical for maximum decorative effect. It features three bird heads with undecorated wings that extend from either side of the outer two bird heads, while the crescent-shaped base forms the long outspread tail. Human faces decorate the base of each bird body. Though it in unclear what type of bird is represented, it is likely a bird of prey, indicated by the sharply hooked beak. Although not visible from the front, the suspension loop is located on the reverse at the base of the center bird head—craftsmen thus also cleverly adapted the natural forms of totemic creatures to the functional demands of the jewelry. It would have originally been worn hanging over the chest and would have created a dazzling golden image.

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 multiple and in gold, such as this example, they are even more powerful.

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: Dallas Museum of Art, 1997), 178.
"Bird Pendant (1979.206.509)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.http://www.metmuseum.org/toah/works-of-art/1979.206.509/. (August 2009).
"Bird Pendant (1992.121)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.http://www.metmuseum.org/toah/works-of-art/1992.121/. (August 2009).

NOTES

Muisca, 1200–1500, NOT updated by KJones in TMS; no period noted.

Catalogue essays

The Nora and John Wise Collection of Ancient South American Art

Artist/designers

Cultures

Muisca (Chibcha) Region

Native Coastal Ecuadorian and Colombian styles: AAT: 300017980

Pre-Columbian Colombian styles: AAT: 300017422

Muisca (Chibcha): AAT: 300017986

Geography

Intermediate Central America

Colombia (nation): TGN: 1000050

Process/materials

Colombian Goldwork

gold: AAT: 300011021

goldwork: AAT: 300044045

annealing: AAT: 300053886

repoussé: AAT: 300054023

casting (process): AAT: 300053104

chasing (metalworking): AAT: 300054016

embossing (technique): AAT: 300053826

solder: AAT: 300010993

sheet metal: AAT: 300223016

metalwork: AAT: 300015336

hammering (metal finishing): AAT: 300054098

Lost-wax process: AAT: 300053113

tumbaga: AAT: 300248834

filigree: AAT: 300220293

Historical periods

Individuals

Subject terms

worn costume accessories: AAT: 300209274

jewelry: AAT: 300209286

pectorals (jewelry): AAT: 300211902

shiny (shine): AAT: 300065244

figures (representations): AAT: 300189808

birds (animals): AAT: 300266506

birds (motifs): AAT: 300375751

wings (animal components): AAT: 300375053

beaks (animal components): AAT: 300400475

tails (animal components): AAT: 300251800

faces (animal or human components): AAT: 300251798

geometric motifs: AAT: 300009764

lines (geometric concept): AAT: 300056279

bands (decorative): DMA

triangles (polygons): AAT: 300009806

diamonds (motifs): AAT: 300009791

zigzags (geometric patterns): AAT: 300165028

crescent (motif): AAT: 300165510

myth: AAT: 300201023

mythical or legendary beings: AAT: 300375725

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

raptors (birds): AAT: 300250055

deities: AAT: 300343850

supernatural (concepts): AAT: 300055947

protection: AAT: 300164923

ceremonial costume: AAT: 300210387

nobility (nobles / aristocracy): AAT: 300025942

power: AAT: 300374809

prestige: AAT: 300343604

social status: AAT: 300065206

symmetry: AAT: 300056249

RELATED OBJECTS

PROVENANCE

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

From 1976: Dallas Museum of Fine Arts, The Nora and John Wise Collection, gift of Mr. and Mrs. Jake L. Hamon, the Eugene McDermott Family, Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, and Mr. and Mrs. John D. Murchison [1], [2]

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

[2] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.

AUDIO ASSETS

VIDEO ASSETS

IMAGE ASSETS

WEB RESOURCES

ARCHIVAL RESOURCES

FUN FACTS

TEACHING IDEAS

RULES

Apply to objects where number equals 1976.W.473

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: Muisca in the central highlands southeast of Bogotá; Zenú (Sinú) and Tairona in northwestern Colombia; 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. In contrast, however, Muisca gold objects consist primarily of votive offerings. Muisca gold objects were usually comprised of a concentrated copper-gold alloy, known as tumbaga, and created by lost-wax casting. Objects often had multiple parts, and the surface was often left unpolished. Since the Muisca region lacked a source of gold, they traded other precious materials to acquire the metal.

Made to be suspended around the neck, the image on this gold pendant is flattened and bilaterally symmetrical for maximum decorative effect. It features three bird heads with undecorated wings that extend from either side of the outer two bird heads, while the crescent-shaped base forms the long outspread tail. Human faces decorate the base of each bird body. Though it in unclear what type of bird is represented, it is likely a bird of prey, indicated by the sharply hooked beak. Although not visible from the front, the suspension loop is located on the reverse at the base of the center bird head—craftsmen thus also cleverly adapted the natural forms of totemic creatures to the functional demands of the jewelry. It would have originally been worn hanging over the chest and would have created a dazzling golden image.

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 multiple and in gold, such as this example, they are even more powerful.