GENERAL DESCRIPTION
Paracas musical instruments are rare, yet music almost certainly figured in Paracas religious festivals. The sounds of ceramic trumpets such as this one may have accompanied these celebrations. The remarkable length of this instrument must have necessitated either an extra person or a brace to support it when it was played.
The trumpet represents one of the styles of fineware pottery characteristic of the Paracas cultural tradition. The clay was coiled into a long tapering shaft, and a figure was incised on the flaring bell. The instrument was fired and then painted with resin paints. The human representation that decorates the bell has some of the attributes of a mythical figure called the Oculate Being, including large multiple-circle eyes and long, curved streamers (two with serpent-head finials) that emanate from the head. This disproportionately large head may represent a mask of the supernatural. Whether a depiction of an Oculate Being or of a human being costumed as one, the presence of a supernatural image on the trumpet elevates the function of the instrument to a ritual realm.
Excerpt from
Label text, A. H. Meadows Galleries.
NOTES
- Paracas, Early Horizon, c. 300–200 B.C.E. (noted on TMS), updated by KJones on TMS, 11/13/13 and 02/26/16.
- Added unlisted exhibition history - 1967: "Ancient Peruvian sculpture," Arts of the Four Quarters, Ltd., New York, New York, November 30 - December 9, 1967, cat. 58, p. 30.
- Fun Facts Sources: V.J. Bortolot, 1986; TMS, Notes / Text Entries, Remarks; John Lunsford, Acquisition Checklist (dated March 25, 1986, copy in Dallas Museum of Art Collections Records Object Files).
- General Description drawn from: DMA Label Copy (1986.23), n.d.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
n.d.: Alan C. Lapiner, New York [1]
Until 1973: Andre Emmerich Inc., New York [1]
1973-d. 1984: Betty B. Marcus (d. 1984), Dallas, purchased from the above [2]
1984-1985: Estate of Betty B. Marcus (Nash Flores and Theodore Hochstim) [2]
From 1985: Dallas Museum of Art, anonymous gift in honor of John Lunsford, acquired at auction, "Pre-Columbian, American Indian, Tribal Art and Antiquities," Christie's, New York, November 25, 1985, lot 52 [3], [4], [5]
[1] The main source for this provenance was existing provenance information in TMS. This provenance is also noted in the following auction catalog, though no associated dates are provided: Pre-Columbian, American Indian, Tribal Art and Antiquities, November 25, 1985 Edition (New York: Christie's New York, 1985). Exceptions and other supporting documents are noted.
[2] The main source for this provenance is Loan Agreement between the Estate of Betty B. Marcus (Nash Flores and Theodore Hochstim) and the Dallas Museum of Art (dated October 11, 1984, copy in Dallas Museum of Art Collections Records Object Files). Exceptions and other supporting documents are noted.
[3] The main source for this provenance is Acquisition Record (dated April 09, 1986, copy in Dallas Museum of Art Collections Records Object Files). 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 Mrs. John W. O'Boyle (Nancy O'Boyle), donor (dated April 17, 1986, copy in Dallas Museum of Art Collections Records Object Files). Exceptions and other supporting documents are noted.
[5] The main source for this provenance is Object Information Card, 1986.23 (n.d., copy in Dallas Museum of Art Collections Records Object Files). Exceptions and other supporting documents are noted.
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
The Metropolitan Museum of Art~Read more about music in the Andes.
ARCHIVAL RESOURCES
FUN FACTS
- A thermoluminescence test, which can be used to date buried objects, was conducted 2/28/86 by V.J. Bortolot at DAYBREAK Nuclear and Medical Systems, Inc. (Guilford, CT). Results indicated that the sample was last fired between 1,900 and 4,500 years ago.
- Although a few other Paracas ceramic trumpets are known, this one is almost certainly the largest and in the best condition. Both qualities make it eminently desirable as a Museum exhibition piece. The primary image on the flared bell of the trumpet is the "occulate being," a name derived from the prominence given his eyes in all representations. It is likely that this deity has close connections with agricultural success.
TEACHING IDEAS
RULES
Apply to objects where number equals 1986.23
Category
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General Description
Paracas musical instruments are rare, yet music almost certainly figured in Paracas religious festivals. The sounds of ceramic trumpets such as this one may have accompanied these celebrations. The remarkable length of this instrument must have necessitated either an extra person or a brace to support it when it was played.
The trumpet represents one of the styles of fineware pottery characteristic of the Paracas cultural tradition. The clay was coiled into a long tapering shaft, and a figure was incised on the flaring bell. The instrument was fired and then painted with resin paints. The human representation that decorates the bell has some of the attributes of a mythical figure called the Oculate Being, including large multiple-circle eyes and long, curved streamers (two with serpent-head finials) that emanate from the head. This disproportionately large head may represent a mask of the supernatural. Whether a depiction of an Oculate Being or of a human being costumed as one, the presence of a supernatural image on the trumpet elevates the function of the instrument to a ritual realm.
Excerpt from
Label text, A. H. Meadows Galleries.
Fun Facts
- A thermoluminescence test, which can be used to date buried objects, was conducted 2/28/86 by V.J. Bortolot at DAYBREAK Nuclear and Medical Systems, Inc. (Guilford, CT). Results indicated that the sample was last fired between 1,900 and 4,500 years ago.
- Although a few other Paracas ceramic trumpets are known, this one is almost certainly the largest and in the best condition. Both qualities make it eminently desirable as a Museum exhibition piece. The primary image on the flared bell of the trumpet is the "occulate being," a name derived from the prominence given his eyes in all representations. It is likely that this deity has close connections with agricultural success.
Archival Resources
Web Resources
The Metropolitan Museum of Art~Read more about music in the Andes.
Notes
- Paracas, Early Horizon, c. 300–200 B.C.E. (noted on TMS), updated by KJones on TMS, 11/13/13 and 02/26/16.
- Added unlisted exhibition history - 1967: "Ancient Peruvian sculpture," Arts of the Four Quarters, Ltd., New York, New York, November 30 - December 9, 1967, cat. 58, p. 30.
- Fun Facts Sources: V.J. Bortolot, 1986; TMS, Notes / Text Entries, Remarks; John Lunsford, Acquisition Checklist (dated March 25, 1986, copy in Dallas Museum of Art Collections Records Object Files).
- General Description drawn from: DMA Label Copy (1986.23), n.d.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
n.d.: Alan C. Lapiner, New York [1]
Until 1973: Andre Emmerich Inc., New York [1]
1973-d. 1984: Betty B. Marcus (d. 1984), Dallas, purchased from the above [2]
1984-1985: Estate of Betty B. Marcus (Nash Flores and Theodore Hochstim) [2]
From 1985: Dallas Museum of Art, anonymous gift in honor of John Lunsford, acquired at auction, "Pre-Columbian, American Indian, Tribal Art and Antiquities," Christie's, New York, November 25, 1985, lot 52 [3], [4], [5]
[1] The main source for this provenance was existing provenance information in TMS. This provenance is also noted in the following auction catalog, though no associated dates are provided: Pre-Columbian, American Indian, Tribal Art and Antiquities, November 25, 1985 Edition (New York: Christie's New York, 1985). Exceptions and other supporting documents are noted.
[2] The main source for this provenance is Loan Agreement between the Estate of Betty B. Marcus (Nash Flores and Theodore Hochstim) and the Dallas Museum of Art (dated October 11, 1984, copy in Dallas Museum of Art Collections Records Object Files). Exceptions and other supporting documents are noted.
[3] The main source for this provenance is Acquisition Record (dated April 09, 1986, copy in Dallas Museum of Art Collections Records Object Files). 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 Mrs. John W. O'Boyle (Nancy O'Boyle), donor (dated April 17, 1986, copy in Dallas Museum of Art Collections Records Object Files). Exceptions and other supporting documents are noted.
[5] The main source for this provenance is Object Information Card, 1986.23 (n.d., copy in Dallas Museum of Art Collections Records Object Files). Exceptions and other supporting documents are noted.
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VIDEO ASSETS
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