Tag Archives for " ancient figurines "

Jan 04

Seen But Not Heard: What Museums Tell Visitors About Figurines

By Victoria | Archaeological interpretation , ASOR Meeting 2014 , Figurine Interpretation , Figurines Displayed , Museums and Exhibitions , Trip to USA , Women and weaving

I have just returned from a wonderful five and a half weeks in the US where I visited approximately ten museums of archaeology and anthropology.

I say ‘approximately’ because the final museum, which I visited three times, the Metropolitan Museum of Art in New York, is considerably more than ten museums rolled into one! I had thought that it would be the greatest of all the museums I visited and while it takes the cake for the number of objects on display, all the museums I visited, large and small, had many things of value to view, think about and enjoy, not least the manner of their display.

When I left Australia, the purpose of my trip to America was primarily to attend the American Schools of Oriental Research annual meeting in San Diego. As I’ve written previously, this was a pretty big step for me back into archaeology. I’ll be posting about some of the sessions I attended shortly.

Me presenting my poster at ASOR 2014.

Me presenting my poster at ASOR 2014

 

The idea of a tour of great archaeological museums occurred to me as an extension of that initial purpose. Australia has some wonderful museums of archaeology (link to websites) (and I’m even now thinking of taking some time to visit them), but the opportunity of being in the US opened the possibility of viewing some ‘old friends’ – familiar objects of study from my university days. My object was simple, walk slowly round the museum, enjoying the displays, particularly of figurines, take photos, reflect and re-immerse myself in the ancient world.

I chose the following museums and visited them in this order:

  1. Archaeological Museum of the Oriental Institute, Chicago
  2. Kelsey Museum of Archaeology, University of Michigan, Ann Arbor
  3. Semitic Museum, Harvard University
  4. Peabody Museum, Harvard University
  5. Harvard Art Museums
  6. Museum of Natural History, Smithsonian Institute
  7. Freer Sackler Museums, Smithsonian Institute
  8. Museum of Archaeology and Anthropology, University of Pennsylvania, Philadelphia
  9. Metropolitan Museum of Art, New York

Of course, there are many others I could have chosen, but these were the nine that seemed to, well, come up on my google search, to be honest!

At first, my aims were simple, just to locate, ponder, photograph and basically enjoy the figurines I found on display. I used my camera and notebook to record what I saw, figurines as objects in a display cabinet. I read some of the information panels, but not all. The purpose was just to look at figurines with a view to researching the more interesting looking ones and possibly blog about them.

Some of the visits included personal trips down memory lane (Assyria to Iberia, a wonderful exhibition at the Metropolitan Museum of Art. Here you can find the blog kept by the curators and I’ll soon be posting my own reflections on it.

Assyria to Iberia exhibition poster at the Metropolitan Museum of Art, New York (own photo)

Assyria to Iberia exhibition poster at the Metropolitan Museum of Art, New York (own photo)

Seeing once again objects from my undergrad days, such as the material from the UR III Tombs on display at the University of Pennsylvania Museum of Archaeology and Anthropology was delightful.

Bull-headed lyre from Ur III tombs.

Bull-headed lyre from Ur III tombs. Read more about it here.

There were also exciting first-time meetings (for example, the black figure vase showing women weaving kept at the Met) of objects I knew so well but had never seen. I was thrilled to be there, happy to be surrounded by fascinating archaeological artefacts once more.

Vase depicting women weaving. Read more about it here.

Vase depicting women weaving. Read more about it here.

As I moved down my list of museums, I found myself not only looking at the figurines, but in the manner of their display and the information provided to the visitor. I began to pay more attention to the information provided to the viewer about the figurines, the other objects they were placed with and the section of the museum they were housed in.

Some interesting ideas started to form in my mind. None of these ideas is as yet fully formed even now; I am still reflecting on them and will post in full soon.

Here is an incomplete list of some of these ideas:

  1. Whether archaeological artefacts are pieces of ‘art’ and indeed what is meant by a ‘museum of art’. What’s the difference between a ‘museum of art’ and an ‘art gallery’? What is being said about an archaeological artefact when it is displayed in an institute with ‘art’ in its name? Are figurines works of art anyway?

 

  1. Whether objects without provenance, obtained by museums via a method other than scientific excavation, need to be displayed in some other way than simply as pieces of ‘art’? What message is the public receiving (if any) about the value of archaeological objects by having those without known context on display? What information choices are being made to describe figurines without context in museums?

 

  1. Female figurines are almost without exception interpreted in museum displays as having something to do with ‘fertility’, either as a votive offering, a depiction of a goddess or a worshipper, or a protective or magical device (at the Natural History Museum of the Smithsonian Institute female figurines are housed within a section focussed on the development of human creativity and imagination along with writing and symbolic behaviour).

 

  1. The role of the archaeologist in the design of exhibits, particularly those including female figurines. Do curators study archaeology? What is the value of a museum studies or curatorial course?

 

  1. How can museum displays be more engaging for visitors, especially those involving figurines?

 

Now, I am quite sure that the questions above are hardly original. But I am not a museum professional, just a museum visitor with a special interest in how figurines are displayed and the information offered to other visitors about them.

Regarding figurines, there does appear to be a disconnection between innovative interpretations of figurines being developed by archaeologists and either the knowledge of those ideas by museum professionals or the decisions made by curators or exhibition designers to offer these interpretations to the public. On the other hand, as the fertility cult theory is still so pervasive in Near Eastern archaeology, perhaps curators believe this is the current, unquestioned theory.

I’m wondering about how figurines displayed in museums relate to archaeological theory and practice.

Do you visit museums? Have you ever wondered about the information provided to you about objects or paintings? Have you ever come away from a display thinking ‘but why’?

Leave a comment and tell us of your experiences with figurines (or other objects) in museums!

May 26

Context is Crucial!

By Victoria | Ancient Figurines from Ancient Near East , Context , Figurine Interpretation , Theory

Archaeologists need to think about many different contexts when they interpret any ancient object. Because it is sometimes difficult to know what some objects were used for just by looking at them, archaeologists can use evidence such as the archaeological context in which it was found (under the floor, next to a wall, beside an oven), other objects it was found close to (knives, pots, bodies), the functional context in which it was found (in the kitchen, on an industrial site), the cultural context (Egyptian, Phoenician colony in the west), the historical context (Neo-Assyrian, Archaic Greek).

Archaeologists can also look at the site within the landscape to determine generally how it might have functioned. This can also help identify the uses of the objects found there. Archaeologists need to call upon many strands of evidence to reach their conclusions about how the artefacts they find were used by the people who made them.

Let’s take a look at a similar object found in some homes today.

Plastic dolls used for crocheting. From www.australiancrochet.com

Plastic dolls used for crocheting. From www.australiancrochet.com

Small plastic (usually intended to be female) may be used in different ways around the house. Plastic doll bases, such as the ones below (interestingly without legs, like the Tell Ahmar figurines!) have a multitude of uses. They can be found in toilets, sitting on the cistern dressed in a flouncy dress. The purpose of these dolls appears to be to eradicate the need to have undisguised extra rolls of paper in the toilet. Perhaps this is considered unseemly by some.

Toilet paper doll from yours.co.uk

Toilet paper doll from yours.co.uk

The same dolls can be found on the beds presumably for decorative purposes, though Laura, from the blog Inherited Values, recalls that her mother gave her the bed doll in the hope that it might encourage Laura to make her bed each morning.

Bed doll. From Inherited Values blog.

Bed doll. From Inherited Values blog.

A final example of the varied uses of this plastic doll bodies is in the baking of special birthday cakes, usually for little girls. Cakes could, of course be served in living or dining rooms, as well as kitchens, but it would be unusual to serve a birthday cake in a bath or bedroom.

Doll cake from www.cdncakecentral.com

Doll cake from www.cdncakecentral.com

Thus, the same plastic doll can be found in the kitchen, the bedroom and the toilet of western houses today. The following represents some general thoughts around the issue of physical context in which objects are found and its relationship with use of those objects.

It is clear that the context in which the dolls are used is critical to its purpose though the appearance of each doll, without clothes, is identical. It is possible, of course, that a bed doll could be used in a living room as a decoration, but it would not have the same meaning as the same doll placed on a bed. A bed doll in a living room may be a toy, a collectable, a much-loved gift, a display item or of course, or many other uses but it could not be used as a bed doll without the presence of a bed.

It could still be a bed doll, however a bed doll out of place. Such nuances of context and object usage may be tricky to discern at an archaeological site from a remote period of time.

Houses are living things and objects within them get moved about all the time. Moreover, objects that look the same often do have many uses. A cup in the kitchen holds coffee, at a neighbour’s it is filled with sugar, on the dining room a few daisies from the garden.

So where do all these thoughts leave the archaeologist?

Confused? Cautious? Unable to say anything about object usage from context?

No, I don’t believe all is lost; it is possible and indeed critical to use context as one source of data for the interpretation of figurines. Being aware of how easy it is to interpret physical context according to one’s interpretation of the objects found within it and thereby creating a circular argument for all such objects despite their context is crucial. For me, this was one of the bugbears I constantly faced in my research of ancient figurines from the Near East; figurines are religious and therefore their contexts are cultic. Really?

One context not mentioned in the introduction to this post was personal or individual context and by this I mean the context of the makers’ own identity and lived experienced. The relationship of the person who made the figurine to herself, himself and others is possibly the key context to consider when interpreting figurines. And it nicely takes care of the religious/cultic theory!

But I’ll leave those fun and games for another post!

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