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Artwork Details
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Title:Pectoral Ornament
Date:late 19th–early 20th century
Geography:Attributed to Central Asia or Iran
Medium:Silver, carnelian and turquoise
Dimensions:H. 6 7/8 in. (17.5 cm) W. 4 in. (10.2 cm)
Classification:Jewelry
Credit Line:Gift of Marshall and Marilyn R. Wolf, 2017
Accession Number:2017.693.1
Three Cordiform Pendants with Overall Decoration (2014.714.2, 2017.693.1, and 2006.544.2)
In contrast to the Teke style, where the vegetal arabesque is the principal element of decoration, these cordiform pendants are embellished with overall designs of applied or punched lozenges, half-lozenges, or rosettes.
No. 2014.714.2 is typical of the Yomut aesthetic, with gilt appliqués or floral rosettes on Surface A and lozenges on Surface B. In contrast to recent Yomut pieces that feature brilliant glass stones in a wide range of hues, this piece exhibits a subtle color sense, using single-color dark carnelians.
This decorative program illustrates the love of splendor and richness—the amor infiniti[17]—found in so many Islamic artworks. The decoration may initially appear haphazard, but it is in fact carefully aligned around the central carnelian on Surface B, and is arranged in a more open placement of scattered rosettes and half-rosettes on Surface A. The appliqués are treated like filigree and precious jewels in the tradition of Islamic gold jewelry, which differs from Teke pieces where arabesques recall a metalwork approach to design (see fig. 26, page 35 in this volume). The rosettes are delicate, almost feminine, in contrast to the monumentality and power of most Teke designs.
In no. 2017.693.1 punching creates a lively design of overlapping circles and whorls, accented by leaf-shaped appliqués, decorative wire and skillfully set stones.Like the previous example, this piece has never before been published. The decorative approach here, which seems similar to Art Nouveau, may represent a foreign influence, as was suggested for no. 2012.206.1. In a similar development, the imperial czarist motif on the double-headed eagle was adopted for the dagdan, a traditional Turkmen pectoral pendant form.
No. 2006.544.2 might be described as a somewhat feminine piece, due to the delicacy of its ornament. The two sides of the pendant are embellished with an applied design of hundreds of minute whorls, roundels, and double teardrops (Surface A), and rosettes and cruciform shapes (Surface B) in red and turquoise-colored synthetic resin inlays. The stones are disposed across the surface skillfully so the pattern can be read in a variety of ways. Visual interest is created by the kaleidoscope of small forms and varied hues and by the sense of depth achieved by the raised appliqués on the flat surface. This textilelike approach may be inspired by embroideries such as those produced by the Lakai tribe, which feature a composite design of heart or ram’s-horn shapes known as kasa kalkhan, similar to the design of Surface B.[18] Strapwork is used to encircle the central stone and reinforce the power of the center.
Layla S. Diba in [Diba 2011]
Footnotes:
17. Baer, Eva. “Ornament and Pattern V: Islamic Lands.” In The Dictionary of Art, pp. 556–64. Oxford, 1996, p. 563.
18. Kalter, Johannes. The Arts and Crafts of Turkestan. New York, 1983, pp. 158–59, fig. 182.
Marshall and Marilyn R. Wolf, Toronto, Canada (by 2006–2017; gifted to MMA)
Diba, Layla S. "Silver Ornaments from the Marshall and Marilyn R. Wolf Collection." In Turkmen Jewelry. The Metropolitan Museum of Art, 2011. no. 52, pp. 98–101, ill. (color).
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