Gold Pendant of a Costumed Shaman Holding Two Snakes - FJ.6253, Origin: Costa Rican/Panamanian Border Area, Circa: 500 AD to 1550 AD, Dimensions: 3.25" (8.3cm) high,  More »

Gold Pendant of a Costumed Shaman Holding Two Snakes - FJ.6253, Origin: Costa Rican/Panamanian Border Area, Circa: 500 AD to 1550 AD, Dimensions: 3.25" (8.3cm) high, Catalogue: V24, Collection: Pre-Columbian, Style: Pre-Columbian, Medium: Gold. Just as contemporary role models are placed on posters and billboards, the ancient people of Costa Rica sought to immortalize their "heros" through the art of gold ornaments. Their purpose was somewhat different from ours, in that the figures of great importance, such as chiefs and especially shamans, were crucial in holding together the fabric of society through secular and sacred means. It is known that warriors wore gold into battle to inspire awe; and shamans also used ornaments of gold as symbols of special powers. This extraordinary and very beautiful pendant depicts what is most likely a shaman in ritual costume performing in a ceremony. He wears a gorgeous and flamboyant headdress composed of three sections--one conical shape pointing straight up from the center, while the other two curve dramatically towards the man's pointed shoulders. The mask he wears is crocodile-like and intended to be fierce; as the jaguar image on his stomach. Most significant are the two snakes he holds by the necks. The handling of snakes without harm may have enhanced the spiritual or social power of a shaman; and would have been fantastic entertainment at the same time! This pendant may commemorate such an event when a powerful sorcerer thrilled the people with his skills; just as we are thrilled by the skills of a talented goldsmith.   « Less

Diquis Gold Pendant of a Man Dressed in an Avian Costume - FJ.6254, Origin: Costa Rican/Panamanian Border Area, Circa: 500 AD to 1550 AD, Dimensions: 3" (7.6cm) high x 3.25"  More »

Diquis Gold Pendant of a Man Dressed in an Avian Costume - FJ.6254, Origin: Costa Rican/Panamanian Border Area, Circa: 500 AD to 1550 AD, Dimensions: 3" (7.6cm) high x 3.25" (8.3cm) wide, Catalogue: V24, Collection: Pre-Columbian, Style: Diquis, Medium: Gold. Though the goldsmiths of the Diquis region are well known for their avian (bird) pendants; they also produced objects that show a man in a bird form. The significance of such symbolism opens us to the world of the shaman and their prominence in Costa Rican society. By studying this fabulous pendant we can learn something about the ancient sorcerer, and at the same time appreciate the brilliant artistry of a master goldsmith. The male figure on this pendant is about to take flight. His elegant wings are spread, his knees bent as if ready to spring from the ledge he stands upon. He is naked except for an ornamental band around his chest and knees. His genitals are exposed, which is probably intended to demonstrate his courage and apparent invulnerability. The headdress is a spendid arrangement of two mythical heads looking in opposite directions. This constitutes the top section of what is probably a helmet mask with the image of a parrot or vulture. The man's pigeon chest is not only characteristic of birds, it is also a physical attribute of shamans. With stunning expertise and refined sensibilities, both artist and shaman came together long ago to create a work of art that literally seems not of this world.   « Less

Gold Pendant of a Bird Eating a Double-Headed Snake - FJ.6255, Origin: Costa Rican/Panamanian Border Area, Circa: 500 AD to 1550 AD, Dimensions: 3" (7.6cm) high x 2.75"  More »

Gold Pendant of a Bird Eating a Double-Headed Snake - FJ.6255, Origin: Costa Rican/Panamanian Border Area, Circa: 500 AD to 1550 AD, Dimensions: 3" (7.6cm) high x 2.75" (7.0cm) wide, Catalogue: V24, Collection: Pre-Columbian, Style: Pre-Columbian, Medium: Gold. As part of the complex iconography of Costa Rican gold, the image of bird and man is often mingled to a greater or lesser degree; sometimes with more human attributes, other times with more of the avian. This graceful pendant falls into the latter category; and goes a step further in presenting a highly abstract bird figure with shamanic overtones. The elegance of line and lovely curves of this pendant show true refinement. The wings are formed from two crescent shapes each with a textured border on the bottom. The main body sweeps down from the wings, narrows at the waist, then fans out into short horizontal bars representing feet or flared tails. The headdress is reminiscent of exotic birds with brilliantly colored plumes, composed of a two tiers of spirals and a fine crest in the center. In its sharply curved beak the bird holds a rope, which has two snake-like heads at the ends. There is sense of dominance and mastery, as if the bird has just conquered its prey and about to devour it. In this context birds were seen as a symbol of shamans (sorcerers) and the snake a creature of evil spirits which must be vanquished by courage and cunning; a concept marvelously symbolized in a work of art that is potent, pure and very beautiful.   « Less

Veraguas Gold Avian Pendant - FJ.6269, Origin: Varaguas Region of Panama, Circa: 1000 AD to 1600 AD, Dimensions: 3.5" (8.9cm) high x 4" (10.2cm) wide, Collection:  More »

Veraguas Gold Avian Pendant - FJ.6269, Origin: Varaguas Region of Panama, Circa: 1000 AD to 1600 AD, Dimensions: 3.5" (8.9cm) high x 4" (10.2cm) wide, Collection: Pre-Columbian, Style: Veraguas, Medium: Gold. When Columbus passed along the coast of Bocas del Toro in 1502, his son Ferdinando remarked having seen Indians who were stark naked except for gold mirrors and eagle pendants around their necks. This type of ornament was further described by a Spanish priest as 'made like eagles, with open wings and a long, curved beak.' The spread eagle motif was used for centuries in Panamanian pottery and went through many changes, from highly geometric to very realistic. This lovely pendant, known as a aguilas, shows a stylixed eagle or parrot with a vertical tail and wings arched as if pulled inwards during flight. Its crest is formed with similar curved bands. The unadorned effect is contrasted to the spirals and curves of the ears, eyes and cap-like coils on its head. Curiously, there is a strap around the chin, which then curls around the eyes. Veraguas eagles are sharp-edged with a clean outline. They were made to be worn, in life and in the afterlife, soaring through one realm into the other with dazzling brilliance.   « Less

Gold Pendant of Two Shamans Wearing Saurian Masks - FJ.6274, Origin: Costa Rican/Panamanian Border Area, Circa: 500 AD to 1550 AD, Dimensions: 2.5" (6.4cm) high x 3.75"  More »

Gold Pendant of Two Shamans Wearing Saurian Masks - FJ.6274, Origin: Costa Rican/Panamanian Border Area, Circa: 500 AD to 1550 AD, Dimensions: 2.5" (6.4cm) high x 3.75" (9.5cm) wide, Collection: Pre-Columbian, Style: Pre-Columbian, Medium: Gold. In the vast field of Costa Rican iconography, it is the gold jewelry which offers more detailed examples of shamanic ritual posture and paraphernalia than in any other medium. Advanced skills in metallurgy and the malleability of gold itself allowed for more intricate elaboration than in stone or terracotta. It is thus possible to witness shamans performing in ritual costume as if we are seeing a scene on a mural painting. This remarkable pendant is just such a case in point. The two male figures are bound by two heavy cords; one at shoulder level, the other over the lower abdomen. The upper cord has triple strands which the figures grip onto very tightly. They are identical, each wearing a crocodile mask joined at the side by a lovely ornamental band. Their triangular head ornaments are nicely balanced by the twin blades and trapezoidal feet. These blades are ceremonial axes, used as symbols of authority. The men are naked and their genitals are cleverly depicted as snake heads, a symbol of sexuality and fertility. Extremely pointed ears attached to the masks add the final dramatic touch. What we are seeing here are two shamans involved in an important ritual, perhaps related to a fertility cult. The fact that the pair are nearly identical, (with exception of the nose pieces), suggests they may represent only one person seen in the dual nature of positive and negative, good and evil foeces. The pendant is so beautifully balanced it too indicates the shamatic principle of union of opposites, where contrary forces come together in a harmonious whole. What has certainly come together is the artistry of a master goldsmith in creating a work of art of timeless beauty.   « Less

Diquis Gold Pendant of a Double-Headed Crocodile - FJ.6276, Origin: Costa Rican/Panamanian Border Area, Circa: 500 AD to 1550 AD, Dimensions: 4" (10.2cm) high x 2.25" (5.7cm)  More »

Diquis Gold Pendant of a Double-Headed Crocodile - FJ.6276, Origin: Costa Rican/Panamanian Border Area, Circa: 500 AD to 1550 AD, Dimensions: 4" (10.2cm) high x 2.25" (5.7cm) wide, Collection: Pre-Columbian, Style: Diquis, Medium: Gold. Diquis goldsmiths developed a style of art that is truly unique and very beautiful. Whether the inspiration originated from the artists themselves, or was a result of established religious iconography is unknown. Along with the jaguar, the crocodile was one of the most popular themes. Here we see a two headed crocodile joined at the body and by short 'ropes' attached to their arms. The highly stylized elements very cleverly depict scaly skin by using a pattern of double spirals curled inwards along the spine. Rows of sharp 'thorns' along the outside edge of the arms and on the snouts continue the reptilian image. The most interesting aspect is each crocodile is biting into a monkey-like figure. Other pendants from the same period show human figures being chewed by alligators. There may be a symbolic meaning behind this depiction other than showing the struggle of the animal kingdom. Diquis pendants are not simple representations of nature, but are the outward expression of a complex world of symbolism with its own inherent logic and order. And though this system may never be fully understood, the absence of precise information does not take away from the gold's luster, and adds its own aura of mystery. L.   « Less

Pre-Columbian Art / Diquis Gold Bell Pendant Featuring a Bird - FJ.6314, Origin: Costa Rican/Panamanian Border Area, Circa: 500 AD to 1550 AD, Dimensions: 1.25" (3.2cm) high,  More »

Pre-Columbian Art / Diquis Gold Bell Pendant Featuring a Bird - FJ.6314, Origin: Costa Rican/Panamanian Border Area, Circa: 500 AD to 1550 AD, Dimensions: 1.25" (3.2cm) high, Collection: Pre-Columbian, Style: Diquis, Medium: Gold. For centuries master goldsmiths of Costa Rica passed on their skills from one generation to the next, making certain both style and high quality were preserved. The style of Diquis gold jewelry continues to intrigue scholars and delight collectors. It is a unique combination of elaborate abstraction and realism, blended with images of apparently religious meaning. The indigenous wild life of the rain forest were frequent subjects for jewelry, either for their ritualistic significance (such as the jaguar), or simply for their natural beauty. Avian (bird) pendants are frequent since they were seen as a creature of this world, yet able to fly beyond it, as shamans (sorcerers) were reputed to be able to do. This delightful bell pendant has a charming bird (perhaps a parrot) sitting on top. He is arched as if about to take off, his wings pulled back in a beautiful curve nearly touching the perky tail. Birds were greatly admired in ancient Costa Rica, as were pendants used as bells, here combined in a work of art which has its own music like a wild bird of the jungle.   « Less

Pre-Columbian Art / Diquis Gold Bell Pendant Featuring a Squirrel - FJ.6315, Origin: Costa Rican/Panamanian Border Area, Circa: 500 AD to 1550 AD, Dimensions: 1" (2.5cm)  More »

Pre-Columbian Art / Diquis Gold Bell Pendant Featuring a Squirrel - FJ.6315, Origin: Costa Rican/Panamanian Border Area, Circa: 500 AD to 1550 AD, Dimensions: 1" (2.5cm) high, Collection: Pre-Columbian, Style: Diquis, Medium: Gold. From a study of Costa Rican gold jewelry, it is immediately apparent there was a demand for objects which were not only beautiful, but also made noise when rattled. This suggests they were intended for use during ritual ceremonies, where brilliant ornamentation combined with the jangling of bells created an impressive sight. This delightful pendant, when worn with many others, would have made an entrancing sound, especially if the wearer was involved in dance. Though Diquis goldsmiths utilized many indigenous rain forest animals and sea life in their jewelry, the squirrel is quite rare as subject matter. He sits very confidently on the bell, eating a nut, with his sassy tail curled around just touching the top of his head. The charm of this pendant is so great, we may imagine it having been worn by a child during ceremonies, perhaps given as a gift by proud parents. Whatever its original significance, this bell pendant is a work of art, full of wit, whimsy and artistic skill that will last for ages to come.   « Less

Diquis Gold Pendant of a Shaman Wearing a Saurian Mask - FJ.6316, Origin: Costa Rica/Panama, Circa: 500 AD to 1550 AD, Dimensions: 3.25" (8.3cm) high, Collection:  More »

Diquis Gold Pendant of a Shaman Wearing a Saurian Mask - FJ.6316, Origin: Costa Rica/Panama, Circa: 500 AD to 1550 AD, Dimensions: 3.25" (8.3cm) high, Collection: Pre-Columbian, Style: Diquis, Medium: Gold. Anthropomorphic figures form the core of iconographic representation in Costa Rican gold jewelry. The depiction of man as a jaguar or crocodile is most common. In the case of this beautiful pendant the figure is wearing a crocodile mask. Other ritualistic attributes are the crown (which may signify the person is a shaman-chief), and the braided belt over his waist attached to the under part of the arms. The fact he is naked is also a regular feature with his genitals exposed. Some scholars believe the woven belt symbolizes the snake, with its sexual connotations, used in fertility rites. The figure bas the trapezoidal feet, solid stance, and spiral ears characteristic of Diquis style. It can be postulated this pendant represents an actual shaman involved in a ritual dance, captured forever in gold radiant as the powers of ancient magic.   « Less

Diquis Gold Pendant of a Lobster - FJ.6319, Origin: Costa Rica/Panama, Circa: 500 AD to 1550 AD, Dimensions: 3.5" (8.9cm) high, Collection: Pre-Columbian, Style: Diquis,  More »

Diquis Gold Pendant of a Lobster - FJ.6319, Origin: Costa Rica/Panama, Circa: 500 AD to 1550 AD, Dimensions: 3.5" (8.9cm) high, Collection: Pre-Columbian, Style: Diquis, Medium: Gold. The artists/goldsmiths of ancient Costa Rica loved the mystery and allure of their natural environment. In their jewelry they combined ritualistic significance with aesthetic beauty to create some of the most intriguing works of art in the ancient world. This very delightful lobster pendant is so precisely made its purpose seems to extend beyond the decorative. Real elements are blended with the abstract-- its body is segmented imitating the lobster' s flexible shell, then suddenly merges into a fan tail design, typical of Diquis style. The two c1aws stretch around in a lovely curve, each holding a pellet. Above the horizontal legs are units of twisting S-shaped bands on either side attached to the lower portion of the c1aws. This pattern ingeniously gives the impression of movement, and even of water sweeping over the crustacean. The head is spiny, and its eyes protrude scanning the surroundings. It is most probable this pendant was worn for ornamentation rather than for ritual purposes. And now it can be worn again, brought into the light once more after being buried for centuries.   « Less