Search Results (8)

The article begins with a detailed description of a brief and rare film clip of Indian dancer Ram Gopal applying his black kājal eyeliner in front of the mirror in his dressing room before a performance, giving us an intimate glimpse into a dancer’s essential and careful preparation. Material objects related to dance performance such as make-up, mirrors and costumes are often essential to the presentation of Indian dance, especially in that historical period, but are often overlooked as significant artefacts or objects of dance. In considering this short clip of preparatory make-up, I argue how the materiality of cosmetic stage make-up together with dramatic stage costumes (in particular headdresses) and other material objects assist the process of alteration from dancer into a Hindu deity (Śiva) or mythological character on stage. I examine the process of making up, asking how it might manipulate what comes to be seen on stage and what affect is created through such a process. This article takes an imaginative look at the affective register of selected dance objects and their power to create transformation, drawing on theoretical evidence from philosophy and psychology relating to mirror image and the aesthetics of making up and the use of mirrors in early Indian art. Full article

One of the indicators of high social status of women in ancient societies is the funerary costume, whose main element is the headgear. In our previous work, we drew attention to several female burials in the first half of the 6th century BC, which featured funerary headdresses adorned with gold plaques of several types. All of them come from the territory of forest-steppe Scythia. During recent excavations at one of the largest necropoleis of the Bilsk hillfort, a burial mound of the last quarter of the 6th century BC yielded another grave of a member of the local elite, whose funerary headdress was decorated with gold plaques. Among the objects placed in the grave was a unique set of Central European leather items (a belt and a cap), which, although not belonging to the funerary costume proper, were nevertheless used in the funerary rite. Being found among sacred objects, the belt and the cap may be attributed to female ceremonial dress, emphasizing the special position of the deceased woman in society. The state of preservation of these items makes it possible to reconstruct their shape; trace a number of features of cut and manufacturing technique, as well as the design of a previously unknown type of Central European headdress of the Hallstatt period; propose their reconstruction; discuss the probable place of manufacture of these unique artifacts and the mechanism by which they reached the barrow necropolis of forest-steppe Scythia; and extend the chronological framework of the period of burials of elite women in this region. Full article

This article examines the transcultural and transmedial transformation of the kalavinka motif along the Silk Road, situating its development within the interpretive framework of the Indian kinnara/kinnarītradition. It asks how a figure associated with wondrous sound and devotional praise in Buddhist cosmology came to function as a wearable ornament without losing its religious identity. Through close formal analysis of Dunhuang murals from the Tang period (618–907 CE), the study identifies three interrelated visual processes that prepared the motif for mobility across media: the fusion of gendered pairs into an androgynous form, the progressive elongation and ornamental stylization of the tail, and the reorientation of bodily pose into compact, suspension-friendly configurations. These mechanisms are then examined in relation to eleventh-century painted and excavated materials, including donor adornment in Western Thousand Buddha Cave 16, a Khara Khoto scroll, a Liao (916–1125 CE) gold kalavinka earring, and a Western Xia linked-pearl headdress. Comparative visual and material analysis shows that kalavinka imagery circulated in parallel across mural, painted, and metal media, where scale, material, and bodily placement re-coded rather than erased its sacred associations. The study argues that this process is best understood as material translation, and it proposes a model for linking formal change, sensory affordance, and religious function in the arts of the Silk Road. Full article

Among the antiquities of the archaic period of Forest-Steppe Scythia, a group of elite burials of women, possibly endowed with priestly functions during their lifetime, stands out. Until recently, only two unrobbed burial complexes were known to contain the main burials of women of high social rank, in whose graves golden costume elements were found—primarily expressive details of headdresses. The barrows (kurgans) were discovered at the end of the 19th century when amateur excavations were actively carried out on the right bank of the Dnipro. As a result of research conducted by the author at the Skorobir necropolis (in the area of the Bilsk fortified settlement, on the left bank of the Dnipro), two similar graves were recently discovered, which provided new material that significantly expanded the known geographical distribution of this phenomenon. The materials are closely analogous to the previously discovered elite female burials of the Middle Dnipro (barrow 100 near the village of Syniavka, barrow 35 near the village of Bobrytsa) and allow us to highlight a number of stable elements of the funeral costume of noble women and the sets of objects that complemented them. In this article, we consider the social and cultural significance of female attire in elite burials and delimit the chronological framework of this previously understudied phenomenon within the first half of the 6th century BCE. The new finds offer unprecedented insight into the form and meaning of one type of female headdress which researchers have tried to reconstruct for over a century. Full article

Two of the most significant cases of extant 16th-century featherwork from Mexico are the so-called Moctezuma’s headdress and the Ahuizotl shield. While the feathers used in these artworks exhibit lightfast colors, their assembly comprises mainly organic materials, which makes them extremely fragile. Printed media, including books, catalogs, educational materials, and fine copies, offer an accessible means for audiences to document and disseminate visual aspects of delicate cultural artifacts without risking their integrity. Nevertheless, the singular brightness and iridescent colors of feathers are difficult to communicate to the viewer in printed reproductions when traditional pigments are used. This research explores the use of effect pigments (multilayered reflective structures) and improved halftoning techniques for additive printing, with the objective of enhancing the reproduction of featherwork by capturing its changing color and improving texture representation via a screen printing process. The reproduced images of featherwork exhibit significant perceptual resemblances to the originals, primarily owing to the shared presence of structural coloration. We applied structure-aware halftoning to better represent the textural qualities of feathers without compromising the performance of effect pigments in the screen printing method. Our prints show angle-dependent color, although their gamut is reduced. The novelty of this work lies in the refinement of techniques for printing full-color images by additive printing, which can enhance the 2D representation of the appearance of culturally significant artifacts. Full article

Among the burials of horse herders who lived in the 4th–3rd centuries BCE Altai Mountains of South Siberia were some that contained small wooden figures of four-legged hoofed animals that represent horses, deer, or hybrid creatures. They decorated headgear buried with select commoners of the Pazyryk Culture. Although the people, material possessions, and horses of the elites were frequently ornamented with imagery often associated with the so-called Scytho-Siberian animal style, these figurines are generally more realistic and less stylized representations of natural creatures, either cervids or horses. There is, however, ambiguity in these representations; in some cases, figures that are horses have inset recesses on the tops of their heads, in addition to holes for ear inserts. This recalls the elaborate headdresses on some horses outfitted with large displays of antlers or horns made of wood, leather, and felt buried with the Pazyryk leaders. The implication of this ambiguity is explored here. Horses were “cultural capital and tokens of clout” (see Andreeva Introduction, this volume) in the Pazyryk Culture, as well as the base of the economy. Deer were foundational to older belief systems in Siberia. The commingling of horse, mountain goat/ibex, and deer features in Pazyryk Culture imagery has inspired this study. Full article

In this paper, two different objects from the ethnographic collection of the museum of the Congregation of the Sacred Hearts of Jesus and Mary (Rome), a Polynesian barkcloth (tapa) and a Polynesian headdress in feathers (pa’e ku’a), were investigated to characterize the materials, to evaluate their state of conservation and address the restoration activities. Imaging methods such as multispectral imaging, 3D ultraviolet induced fluorescence and scanning electron microscopy have been integrated with analytical techniques such as X-ray fluorescence spectroscopy, Fourier transform infrared and surface enhanced Raman spectroscopy. Imaging investigations allowed us to differentiate constitutive materials and study their distribution, such as the yellow dye in the tapa used to trace the geometrical pattern and the psittacofulvins responsible for the feathers’ colors in the headdress. The combination of molecular spectroscopy, supported by observation under a scanning electron microscope, allowed us to propose a characterization of the organic painting materials (Morinda citrifolia, Curcuma longa) used for the tapa, and of the type of feathers (from Vini kuhlii bird) and vegetal fibers (Cocos nucifera L.) used to realize the headdress, as well as enabling the identification of degradation products and microorganisms affecting the artifacts before restoration. Fourier transform infrared spectroscopy detected the organic materials used as adhesives for the tapa and headdress: a polysaccharide, probably starch, for the tapa and a natural rubber from Cerbera manghas L. for the headdress. The results of the multi-analytic diagnostic campaign enabled the choice of proper restoration materials, compatible with the original ones, and helped us develop effective protocols for the artifacts’ conservation, such as laser cleaning of the feathers. Full article

Elephants were first deployed in warfare by Indian and Persian armies. The Greco-Macedonian troops first encountered these fearsome creatures in battle during the campaign of Alexander the Great. Subsequently, the Successors and later Hellenistic rulers similarly used elephants in battle. From this time, the animal began to appear in Greco-Roman art. Tracing the appearance of the elephant in Hellenistic history and art, I suggest that the elephant not only continued to be associated with its Asian and African origins and came to symbolize military triumph over exotic foes, it retained religious and mythic proportions as a fearsome, fabulous monster connected with the martichora and unicorn, griffon and sphinx, dragon and hippocampus. In particular, I re-examined the posthumous portrait of Alexander the Great in which he wears an elephant scalp as a headdress, similar to Heracles’ lion scalp. This deified portraiture not only depicts Alexander as descendant of Heracles and Dionysus, both sons of Zeus, but also—through connections with Ammon and Indra—as the legitimate ruler of the three continents of the known world, Europe, Africa, and Asia. Full article