- 800–1550 CE
- MATERIAL AND TECHNIQUE:
- 3/4 × 7/8 × 1/4 in. (1.91 × 2.22 × 0.64 cm)
- Arts of the Americas
- Ancient Art of the Americas - A. H. Meadows Galleries, Level 4
- CREDIT LINE:
- Dallas Museum of Art, gift of Carr and Estelle Pritchett
- Image courtesy Dallas Museum of Art
- OBJECT NUMBER:
Among the societies of Central America, gold ornaments were important symbols of power and prestige that expressed authority and status in life and in death. Made to be suspended around the neck, gold pendants were still worn by local inhabitants of the Caribbean coast when Europeans encountered them at the turn of the 16th century.
The image on this gold pendant is flattened and bilaterally symmetrical for maximum decorative effect. The suspension loop is located on the reverse at the back of the bird head—craftsmen thus cleverly adapted the natural forms of totemic creatures to the functional demands of this jewelry. Large wings extend from the side of the bird head, while the crescent-shaped base forms the long outspread tail of the figure. Though it in unclear what type of bird is represented, it is likely a bird of prey, indicated by the hooked beak.
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. The principal deity of the present-day Bribri of Costa Rica, Sibo or Sibu (Creator of all things), takes the form of either a kite or buzzard with a collar around its neck, similar to the birds in this example. 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 gold, such as this example, they are even more powerful.
Bonnie Pitman, ed., "Pendant with two frogs (1976.W.292), Pendant bell depicting a turtle (1976.W.301), Pendant depicting a batlike mask (1976.W.237)," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 35.
Anne R. Bromberg, Dallas Museum of Art: Selected Works (Dallas, TX: Dallas Museum of Art, 1983), 45.
Carol Robbins, Label text [1976.W.298; 1976.W.297; 1976.W.292], A. H. Meadows Galleries.
"Double Eagle Pendant (1979.206.907)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.http://www.metmuseum.org/toah/works-of-art/1979.206.907/. (August 2009).
"Eagle Pendant (1977.187.22)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.http://www.metmuseum.org/toah/works-of-art/1977.187.22/. (August 2009).