A SELECTION OF IMPORTANT EXHIBITS

Transcription

1 A SELECTION OF IMPORTANT EXHIBITS

2 Feather head-dress Mexico, Aztec, early 16 th century Quetzal, Cotinga, roseate spoonbill, Piaya feathers; wood, fibres, Amate paper, cotton, gold, gilded brass In the early 16 th century the Spaniards sent examples of Mexican craftsmanship back to Europe: gold and silver objects, featherwork artifacts, wood carvings, mosaics etc. The Spaniards compiled detailed lists of these official consignments. The most famous was the first shipment dispatched to Charles I (V) in However, none of the feather headdresses mentioned in the packing lists for this shipment can be identified beyond any doubt as the one now in Vienna. Its flat presentation is the result of the erroneous assumption that the object had originally served as a standard. Many of the feathers were added during the restoration carried out in The long green Quetzal feathers, the red and brown feathers, and some of the blue ones at the bottom are original. Of the small metal pates c. 75 % are original.

3 The Resplendent Quetzal (Pharomachrus mocinno) The Resplendent Quetzal(Pharomachrus mocinno) lives in the montane cloud forests of Central America where it is found at c metres above sea level. The tail covers of breeding males can grow to 80 cm; these feathers played a seminal role in Pre-Columbian civilizations and were used in ritual headdresses. Both deforestation and hunting have greatly decimated the Resplendent Quetzal population, making the bird an endangered species.

4 Quetzalcoatl Mexico, Atztec, 15 th or early 16 th century stone The sculpture of a feathered rattlesnake depicts Quetzalcoatl, one of the most important deities in Central America. The name comprises two parts: Quetzal, a reference to the Respelendent Quetzal that is generally translated as feathered but can also mean shining or precious. Coatl is generally translated as serpent but can also mean close ties or twin. In the feathered serpent heaven and earth are combined. Quetzalcoatl was also venerated as the god of fertility, or the Creator Deity.

5 Fan or standard Central Mexico, 1 st half of the 16 th century, Blue-and-Yellow-Macaw and Scarlet Macaw feathers, Amate paper, reeds In the inventory of the collection at Ambras compiled in 1596 the artifact is described as Mer ain grosser runder Windtmacher mit langen stil, ist durchsichtig. vmb die runde mit Plawen federn in der mitte mit roten Federn, oben am stil angheft etliche grien federn hangen. (more a large round fan with a long handle; it is transparent, with concentric circles of blue and red feathers, a number of green feathers are suspended from the handle). In 1799, it was listed as a sun shade, after 1818 as an Indian fan, and in 1882 as Mexican?. The mosaic comprises feathers - some of them dyed - glued onto bark paper. One side is decorated with a butterfly, the other with a flower. The European handling suggests it was made during the colonial period. In Mexican illustrated manuscripts such objects are identified as badges of rank or symbols of deities, messengers, ambassadors or travelers. It is the only extant Mexican featherwork object of its kind in the world.

6 Shield Central Mexico, early 16th century Roseate spoonbill, Cotinga, Quetzal, Black-necked Aracari, Great-Tailed Grackle (?) feathers; gold, reed weaving, leather, cotton, hare skin, In the inventory of the collection at Ambras compiled in 1596 the artifact is described as Mer ain Rundell von Roten federn, darynnen ist gestückht von grober Arbait, ain Plawer Drackh. mit gulden Plech versezt (more a circular object with red feathers, inside a coarsely-made blue dragon, set with gold foil). All later inventories identify it as a shield, except the one compiled in 1788; in the latter it is called a Chinese sun shade. In 1818 it was assumed to be of Indian, in 1882 of early Mexican origins. This shield was probably sent by Cortés in 1522 to the Bishop of Palencia; it then passed into the possession of Ferdinand I and later entered the collections at Ambras. Only four feather shields have survived worldwide. Two of them are now at Stuttgart, one was dispatched from Mexico to Vienna by Maximilian of Mexico in The shield is probably decorated with the picture of a coyote. Note in front of the creature s mouth the symbols for water and fire, a reference to war. The shield comprises a number of materials: the base are made of reeds covered with cotton fleece; to this feathers of various birds were attached with glue made of orchids. The gold appliqués are sown on with strong thread.

7 A Bishop s Mitre Mexico, Spain, Purépecha?, c AD Hummingbird, Scarlet Macaw, Military Macaw, flamingo, roseate spoonbill, Red-crowned Amazon (?) Montezuma oropendola (?), Great-Tailed Grackle (?) feathers In the inventory of the collection at Ambras compiled in 1596 the artifact is described as Mer ain Bischofsinnfl. von federn auf der ain seiten der Stammen Israhell, auf der andern seiten Cristus am Creüz. mit seinen Apostlen vnd Euangelisten. mit Roten Carmesin Atlas gefuetert, in den zwen stollen sein gleiche wappen gemacht, mit Cardinalhuet (more a bishop s mitre with feathers on one side with the tribes of Israel and the crucified Christ on the other, with His Apostles and Evangelists; lined with red carmine atlas, the same coats of arms in the two bands, with a cardinal s hat). The colonial period marked the end of the pre-columbian tradition of creating ritual featherwork garments and objects used for human sacrifices, deities, priests, rulers and warriors. The ritual traditions evolved to produce bishop s mitres, liturgical vestments and images of Christ, the Virgin and Christian saints.

8 The Virgin and Child Mexico, 16th century Hummingbird, Scarlet Macaw, Military Macaw, flamingo, Great Egret (?), roseate spoonbill (?), Montezuma oeopendola (?), Great-Tailed Grackle (?) feathers, paper, wood, gilded In the inventory of the collections at Ambras compiled in 1596 this artifact is described as Mer ain Täfele darinnen unser liebe Frau mit dem Kindl Ihesu gemacht, von Paradeißvögel. (more a panel with the Virgin and Child, made of birds of paradise). The Virgin played a pivotal role in the missionaries Iberian-Catholic tradition. The featherwork picture is executed on a base of agave paper that was then attached to a wooden panel and set in a wooden frame with glass. The red and yellow colours of the feathers in the upper part of the image are original; the iridescent colours of the hummingbird feathers in the lower part have probably suffered greatly from being touched by the faithful. Today they are but a dull brown. The Virgin s robe was originally a vivid yellow, her upper garment bright green.