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Image for Raptorial Bird Effigy Vessel, Possibly a Falcon
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Image for Raptorial Bird Effigy Vessel, Possibly a Falcon
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Image for Raptorial Bird Effigy Vessel, Possibly a Falcon
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Image for Raptorial Bird Effigy Vessel, Possibly a Falcon
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Raptorial Bird Effigy Vessel, Possibly a Falcon Thumbnail
Raptorial Bird Effigy Vessel, Possibly a Falcon Thumbnail
Raptorial Bird Effigy Vessel, Possibly a Falcon Thumbnail
Raptorial Bird Effigy Vessel, Possibly a Falcon Thumbnail
Raptorial Bird Effigy Vessel, Possibly a Falcon Thumbnail
Raptorial Bird Effigy Vessel, Possibly a Falcon Thumbnail
Raptorial Bird Effigy Vessel, Possibly a Falcon Thumbnail
Raptorial Bird Effigy Vessel, Possibly a Falcon Thumbnail
Raptorial Bird Effigy Vessel, Possibly a Falcon Thumbnail
Raptorial Bird Effigy Vessel, Possibly a Falcon Thumbnail
Raptorial Bird Effigy Vessel, Possibly a Falcon Thumbnail
Raptorial Bird Effigy Vessel, Possibly a Falcon Thumbnail

Raptorial Bird Effigy Vessel, Possibly a Falcon

Guanacaste-Nicoya (Artist)
1000-1350 CE (Period VI)
earthenware, slip, paint
(Ancient Americas )

This masterful portrayal of a shaman's raptorial bird spirit form relies on a skillful integration of modeling and painting to achieve a convincing composition. The bird's head, including the raptor's deadly pointed beak, and the tips of its wings and tail are indicated by modeled, three-dimensional flanges that extend beyond the contours of the vessel. The artist then painted details of wing and tail feathers as panels extending below the modeled forms to complete their renderings. The painted red and white design on the vessel's pedestal support mimics the colors of the painted wings, thereby accentuating the harmonious whole. Each of the sides of this extraordinary vessel are painted with a human form. Their skillful integration into the bird's body reveals the true significance of the vessel as the depiction of a shaman's spirit form. Each of the two figures grasps a staff surmounted by a human skull, the staff perhaps making reference to the shaman's spiritual transformation being likened to death and rebirth.

The colors are still bright and fresh on the vessel, which is part of a group of ceramics in what is known as the "Papagayo Polychrome" style.

Provenance
Provenance (from the French provenir, 'to come from/forth') is the chronology of the ownership, custody, or location of a historical object. Learn more about provenance at the Walters.

Enrique Vargas; purchased by John G. Bourne, 1990s; by bequest to Walters Art Museum, 2017.

Exhibitions

2018-2019 Transformation: Art of the Ancient Americas. The Walters Art Museum, Baltimore.
2015 Gold of the Ancient Americas. The Walters Art Museum, Baltimore.
2012-2013 Exploring Art of the Ancient Americas: The John Bourne Collection Gift. The Walters Art Museum, Baltimore; Frist Center for the Visual Arts, Nashville.
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Geographies

Nicaragua (Place of Origin) Costa Rica, Guanacaste, Greater Nicoya (Place of Origin)

Measurements

H: 12 x W: 7 3/16 x D: 8 13/16 in. (30.48 x 18.29 x 22.35 cm)

Credit Line

Bequest of John G. Bourne, 2017

Location in Museum

Not on view

Accession Number

In libraries, galleries, museums, and archives, an accession number is a unique identifier assigned to each object in the collection.

2009.20.282

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Hours

  • Wednesday—Sunday: 10 a.m.—5 p.m.
  • Thursday: 1–8 p.m.
  • Monday—Tuesday: Closed

Location

600 N. Charles St.
Baltimore, MD
21201

Phone

410-547-9000

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