British Museum blog

The power of gold: communication, identity and transformation


Elisenda Vila Llonch, curator, British Museum

While admiring the stunning works of art in the exhibition Beyond El Dorado: power and gold in ancient Colombia, you might ask yourself who commissioned, owned and used such magnificent gold objects. In most cases, they were mainly in the hands of the powerful elites. However, depending on their final shape, they could have a very different function and meaning. In the exhibition we explore three of the main uses for these gold artefacts.

Tunjo representing a warrior with bow, arrows and a trophy head in his hand. (exh. cat. p. 120). © Museo del Oro O00296

Tunjo representing a warrior with bow, arrows and a trophy head in his hand. (exh. cat. p. 120). © Museo del Oro – Banco de la República, Colombia O00296

Some were created as offerings to the gods, placed in rivers, lakes (such as Lake Guatavita), caves and other liminal places in the landscape, to mediate for the community. Votive offerings, which included ceramics, stones, and gold figures and scenes, were probably intended to petition the gods or to thank them for their intervention in favour of an individual, group or the wider community. These figurines, known as tunjos, give us a wonderful window into the life of those ancient people, portraying images that ranged from female figures with children to musicians, warriors and chiefs.

Gold objects were also widely used as body adornments. As such they marked the belonging of an individual to a group through a very specific style and type of ornament. They also indicated the status and rank of the wearer within the group. Gold objects acted as very public displays of power and identity with an incredible range of styles and shapes that included diadems, nose rings, ear spools and earrings, pectorals, necklaces, bracelets and anklets. Each group also mastered specific metalworking techniques that gave the final character and look to their pieces.

Crocodile-shaped pendant, 700 BC - AD 1600, Late Quimbaya, gold alloy (exh. cat. p. 147). © Museo del Oro, O05928

Crocodile-shaped pendant, 700 BC – AD 1600, Late Quimbaya, gold alloy (exh. cat. p. 147). © Museo del Oro – Banco de la República, Colombia O05928

Anthropomorphic bat-man staff finial, AD 900-1600, Tairona, gold alloy (exh. cat. p. 157). © Museo del Oro O26176

Anthropomorphic bat-man staff finial, AD 900-1600, Tairona, gold alloy (exh. cat. p. 157). © Museo del Oro – Banco de la República, Colombia O26176

But perhaps the most complex and intriguing use of gold was in rituals, ranging from musical instruments, paraphernalia used as part of the consumption of powerful plants, such as the chewing of coca leaves, to the rituals of transformation. In ancient Colombia people believed that by changing one’s physical appearance one would undergo a total transformation and take on the characteristics of the creature. But what did ancient Colombian people want to transform themselves into? Spiritual leaders wished to transform themselves into the powerful animals that surrounded them, such as jaguars, birds and even bats, to experience the world from a very different perspective. This transformation was aided by gold objects that helped in the long process that might have taken months or even years to achieve. Wonderful necklaces, impressive masks and body piercings, spectacular pectorals and other body adornments helped leaders take those magical journeys to gain knowledge of the world from a very different point of view and later recount back to the community all they has learned and experienced.

In ancient Colombia, gold was a powerful metal, which not only allowed people to communicate with the supernatural and display one’s identity as a member of a community, but it also allowed you to gain a new one.

The exhibition Beyond El Dorado: power and gold in ancient Colombia, organised with Museo del Oro, is at the British Museum until 23 March 2014.
Sponsored by Julius Baer.
Additional support provided by American Airlines.

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  1. Reblogged this on Ace History News 2014 and commented:
    #AHN2014

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  2. shirley kay says:

    we won the prize for tickets see the” beyond el dorado” we would like to thank Kate Carter of the British Museum we enjoyed our trip to London and the museum is marvellous never even managed to touch the sides of seeing the exhibits brilliant experience for all x

    Like

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This week we’re highlighting the work of our #AfricanRockArt image project. The project team are now in the third year of cataloguing, and have uploaded around 19,000 digital photographs of rock art from all over #Africa to the Museum’s collection online database.

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Follow the link in our bio and explore 30,000 years of stunning rock art from Africa. Watch the incredible discovery of this colossal statue, submerged under the sea of thousands of years. This colossal 5.4-metre statue of Hapy was discovered underwater in what was the thriving and cosmopolitan seaport of Thonis-Heracleion. It once stood in front of a temple and would have been an impressive sight for traders and visitors arriving from the Mediterranean.

Come face to face with the ancient Egyptian god Hapy for yourself in our‪ #SunkenCities exhibition, until 27 November 2016.

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A bilingual decree found in 1881 refers in its Greek inscription to ‘the Temple of Heracleion’ and in hieroglyphs to ‘the Temple of Amun-Gereb’. Together these objects revealed that Thonis and Heracleion were the same place.

Learn more about the deep connections between the great ancient civilisations of Egypt and Greece in our #SunkenCities exhibition.
Stela commissioned by Nectanebo I (r. 380–362 BC), Thonis-Heracleion, Egypt, 380 BC. © Franck Goddio/Hilti Foundation. For centuries nobody suspected that the #SunkenCities of Thonis-Heracleion and Canopus lay beneath the sea. Recorded in ancient writings and Greek mythology, the ancient Egyptian cities were believed to be lost.

Over the last 20 years, world-renowned archaeologist Franck Goddio and his team have excavated spectacular underwater discoveries using the latest technologies. The amazing rediscovery of these lost cities is transforming our understanding of the deep connections between the great ancient civilisations of Egypt and Greece.

See more magical moments of discovery in our #SunkenCities exhibition, until 27 November 2016. © Franck Goddio/Hilti Foundation.

#archaeology #diving #ancientEgypt This week we’re highlighting some of the incredible clocks and watches on display in the Museum. Mechanical clocks first appeared in Europe at some time between 1200 and 1300. Their introduction coincided with a growing need to regulate the times of Christian prayer in the monasteries. Telling the time with a sundial was especially difficult in western Europe with its unreliable weather. From the end of the 13th century, clocks were being installed in cathedrals, abbeys and churches all around Europe.

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See this incredible clock in Rooms 38-39 
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This photograph shows a detail from a night clock by Pietro Tomasso Campani made in 1683. When it is dark, light from an oil lamp behind the dial shines through the cut-out Roman numerals enabling the time to be read. Each hour, the numeral for that hour moves round the dial. This ‘wandering hour’ dial was invented by the makers of this clock.

You can see this clock in a new display of clocks and watches in our Members’ Room, just one of the many benefits of becoming a Member of the British Museum. Find out more about Membership at www.britishmuseum.org/membership
#clock #watch #nightclock #horology
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