Object of the Week: New Ireland Carving of a Fish Spirit

Fish Spirit, 20th century
Artist Ben Sisia (1931- ); New Ireland
Wood, natural pigments and shell; 38.5 x 15 in.
Purchased with funds provided by Trude Jordan
Bowers Museum #2006.7.1a,b

This evil fleshless fish spirit is said to always be found swimming alone. Here his vicious fangs are thoroughly exposed and his eyes, made of shell, are full of malicious intent. Early New Ireland sculptures were destroyed or sold to collectors after they served their singular purpose as Malagan ceremonial items where they served as mythical representations in festivals to strengthen relationships and functioned in the memorial rites for the dead. In this way thousands of sculptures have found their way into public and private art collections. Sculpture is the predominant art form in New Ireland with a long tradition of carving made by the artist from memory. In fact, sculptors typically were hired by elders who gave verbal instructions for the design of an object; the artists’ dreams solidified the rest of the appearance. Still, the overall appearance and artistic traits of New Ireland sculpture has changed little over the years.

The artist Ben Sisia’s works are inspired by dreams of mystical images and visions. Sisia keeps the tradition of Malagan wood carving alive strengthening the ties between the living and spirit world.

Object of the Week: Mission Indians Dispatch Pouch

Dispatch Pouch, c.1780-1820
Mission Indians, Southern California
Leather and California Black Bear Fur
Gift of Deborah L. Anderson
Bowers Museum # 97.20.1

String bags such as this were used to carry messages from one California mission station to another by Native American runners. Few dispatch bags have survived. Its construction is Indian, in nature, with European influence in the unique and intricate embroidery and fringe application. The body of the bag is leather with three internal compartments. The main chamber was used to house documents, and the two smaller compartments provided a space in which the runner could carry food such as nuts, seeds, berries, grain, herbs or dried fish. The outer flap is trimmed with the fur of the California Black Bear. This trim, along with being ornamental, was effective in protecting dispatches during inclement weather. Runners were chosen by the mission padres for their speed and stamina. It was considered a great honor to be the bearer of religious doctrine. Dispatch letters, new teachings in theology, convert statistics from mission to mission, and ground work for mission expansion were the types of documents transported in this bag. Native peoples who converted to Christianity simply became "Mission Indians" in spite of their tribal affiliation. Some of the tribes represented were: Pomo, Hupa, Yokuts, Miwok, Maidu, Wintun, Shasta, Karok, Yurik, Costanoan, Salinan, Chumash, Cahuilla, Chemehuevi, Panamint and Mono.

All text and images under copyright. Please contact the Collection Department for permission to use.

Object of the Week: Egyptian Ibis Sculpture

Ibis
Egyptian; 24th Dynasty – Ptolemaic Period (c. 727 – 30 BC)
Wood, bronze; 5.5 x 8 in.
Gift of Mr. and Mrs. Richard F. McCarthy
Bowers Museum #80.60.5

This excellent artistic rendition of a crouching ibis captures the elegance of the long-legged, curved-billed wading bird. The ibis is associated with the Egyptian god Thoth, the scribe of the gods, measurer of time and inventor of numbers. In the judgment hall of Osiris, Thoth records the results of the weighing of hearts which determines the deceased’s entry or refusal into eternal life. Egyptians attributed animal traits to gods and a composite of animal-human god representations or, the animal as an incarnation of a god itself is common. Several Egyptian archaeological sites have revealed over a million mummified ibises, some of which have been found with decorative wrappings.

All text and images under copyright. Please contact the Collection Department for permission to use.

Object of the Week: Miao Silver Head Ornament

Head Ornament, 20th century
China; Guizhou Province; Miao Culture, Dandu Style
Silver and linen; 13 x 22 in.
Gift of Danny and Anne Shih
Bowers Museum #2005.32.2

This intricately designed head ornament was worn as part of a Miao woman’s costume for festive occasions. In a technique called repoussé the thin silver was embellished by hammering the opposite side to create each of the detailed patterns and motifs. Included in the design is a butterfly (an ancestor of the Miao), and other meaningful symbols including pheasants, fish, dragons, flowers, and yin-yang symbols. The linen cord still attached to one side of the forehead plate was used to secure the ornament in place. Overall the object is very light in weight and would have been easy to wear. Round attachments on the back of each of the three arms of the object would have held small bird feathers, sometimes in combination with colorful yarn, that added additional height, color and movement.

Dandu style is an attribution given to the group of Miao living in the Sandu, Duyun and Danzhai counties of China’s southeastern province of Guizhou. This group’s festival clothing includes the particular type of three-pronged festival head wear pictured here and batik-dyed spiral on yellow cloth jackets.

All images and text under copyright. Please contact Collection Department for permission to use.

Object of the Week: Statue of Saint Anthony

Statue of Saint Anthony of Padua, c. 1800
Made in Mexico; Used in Southern California
Wood, gesso, paint, cloth, glass, and silver; 60” height
Gift of Rosita Yorba Locke
Bowers Museum #20786

One of the most treasured objects of the Bowers Museum is the beautiful and historically significant hand carved wooden statue of Saint Anthony, the patron saint of lost items, the poor and oppressed, and travelers. Carried from Mexico in the late 18th century the statue was bought for 60 pesos by the Mission San Juan Capistrano in 1801 and placed in the Serra Chapel. Infant Jesus rests in Saint Anthony’s left arm, a characteristic common to most representations of the Saint since the 17th century. The details of the head and hands are executed in gesso and the areas of the exposed skin are finished by an enamel-like appearance created through the application of successive layers of thin gesso. The eyes are made of glass covered with opaque paint. A careful examination of the robe reveals slight impressions of a floral design indicating that at one time it had a covering of fabric, probably mixed with gesso and pressed onto the figure. Around the waist of the figure is a cord, a personal item of Father Joseph Thomson, to which 35 small votive silver offerings called milagros (miracles) suspend. These miniature silver charms in the shape of arms, legs, coins and medallions are the expressions of thanks and devotion left with the Saint for his intervention in matters that relate to each milagro's form.

In the first half of the 19th century the Mission and its residents suffered from a terrible drought that left the land parched and killed off livestock. Facing starvation, they were relieved by land owner Bernardo Yorba who relieved the situation by delivering cattle and spring water from his ranch. The statue was gifted to Yorba by the Mission padres of San Juan Capistrano in gratitude. It remained in the Yorba family until it was gifted to the Bowers Museum in 1954.

Postcard of Statue of Saint Anthony of Padua at Bowers Museum, c. 1960
Artvue Post Card Co.; NY
Printed paper; 3.5 x 5.5





















All images and text under copyright. Please contact the Collection Department for permission to use.