Lozenge Pectoral Ornament

Creator

Preview

Creation Date

Late 19th or early 20th century

Geography

Iran or Central Asia

Culture

Turkmen

Medium

Teke silver, fire-gilded, slightly-domed carnelian, decorative wire, chains, and embossed pendants

Dimensions

Pendant height × width: 3 ½ × 4 ⅞ in. (8.9 × 12.4 cm)

Tassel/Bangle length: 3 ⅜ in. (8.6 cm)

Chain length: 15 in. (38.1 cm)

Weight: 129.1 oz. (4.554 g)

Credit Line

Bequest of David P. Harris ('46), 2020

Accession Number

2020.18

Provenance

Purchased by David P. Harris from the Guthaim Gallery Inc. in New York on March 20, 1980.

References

Brad Hostetler, with Ani Parnagian, "From Private to Public: The Collection of David P. Harris," in Ethiopian Objects in the Blick-Harris Study Collection: Art, Context, and the Persistence of Form, eds. Brad Hostetler, and Lynn Jones, Peregrinations: Journal of Medieval Art & Architecture 8, no. 1 (Spring 2022): 5–25. https://digital.kenyon.edu/perejournal/vol8/iss1/1/

Description

The pendant takes the shape of a rhombus (lozenge), and its width is greater than its height. It is highly detailed, containing extensive geometric openwork and interlace. The pendant features five small inlaid carnelians: one in each corner and another in the center. Eleven smaller fish-shaped pendants are hung from the bottom of the rhombus; nine are suspended by chains, while the other two (which are third from left and right respectively), are suspended by metal lozenges with inlaid carnelians. All of the carnelians are almond-shaped and slightly domed. The pendant itself is suspended from a long chain that would have been placed around the wearer’s neck.

The main pendant is in the shape of a rhombus which follows in the tradition of geometric motifs in Turkmen jewelry. According to Noruzi and Kermani, these shapes were so prevalent because rhombuses were supposed to prevent the “evil eye.” We see other geometric motifs continuing into the design on the rhombus’ middle band that contains a strip of repetitive triangles. Similar to rhombuses, triangles also are used to prevent the evil eye. In addition to geometric motifs we also see animal motifs decorating the rhombus. The upper outer border of the rhombus is lined with an abstract ram’s horn. As Noruzi and Kermani state, the ram’s horn motif was used to convey the power of fertility and birth. Additionally, the hanging pendants also contain traditional Turkmen animal motifs as they are highly stylized fish. Similar to the ram’s horns, these fish are common symbols of fertility and specifically rebirth. Finally, in the center of our object we see a prominent celestial motif as there are 4 “star” shapes placed in each of the inner corners of the rhombus. In addition the interior space surrounding these 4 stars is filled with little swooshes that give the impression of shooting stars. As discussed by Noruzi and Kermani, celestial motifs were often used on jewelry because they are symbols of luck and good fortune.

Overall, the presence of these three different Turkmen jewelry motifs illuminates the cultural and spiritual values of the Turkmen tribe, and specifically the women who would have worn a piece such as this. The animal motifs that emphasize fertility and birth demonstrate a reverence of femininity and the source of female power. Additionally, the geometric and celestial motifs demonstrate a deep spirituality related to luck and preventing misfortune. While this was not a religious item per say, we can see how a piece of jewelry such as this connects femininity and spirituality for the wearer.

Further Reading

Layla S. Diba, Turkmen Jewelry: Silver Ornaments from the Marshall and Marilyn Wolf Collection (New York: Metropolitan Museum of Art, 2011).

Hossein Noruzi, and Imanzakariai Kermani, “Concepts of Motifs in Culture: a Review of the Jewelry of Turkmen Women,” Chitrolekha International Magazine on Art and Design 5, no. 2 (2015): 13–26.

Rory Engel ’26, Sileas Morton ’23, Annie Specker ’26, Dorothy Yaqub ’26