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Pendant: Saint Anthony of Padua

Pendant: Saint Anthony of Padua. Culture: Kongo peoples; Kongo Kingdom. Dimensions: H. 4 in. (10.2 cm). Date: 16th-19th century. This brass pendant of St. Anthony of Padua holding the infant Christ is an exceptional example of the casting prowess of Kongo artists. The diminutive size of this brass object and the loop posited at the tip of its inverted triangular hood indicate that it is a pendant. Originally cast with crisp detail, portions of the figure are now shiny and worn, suggesting that the pendant came into contact with the skin through active wear, or that it was repeatedly handled. Altogether, the saint's impression is one of calm alertness, like that of the wide-eyed Christ child, who looks forward as he stretches out his arm across the chest of the elder saint, gesturing towards the outlined crucifix in the saint's right hand. Though only an infant, Christ is half the size of the saint, emphasizing his importance in Christian theology. His physical proximity to the cross alludes to his future sacrifice, as does the goldfinch he holds, a symbol of both his crucifixion and resurrection. He stands upon an open book, an allusion to a story in which Christ is said to have appeared out of the book that St. Anthony was meditating over. Each figure has bare feet, and wears a robe whose folds have been indicated by carefully incised parallel lines. The toes and fingers are articulated with simple lines. St. Anthony stands feet shoulder width apart, toes pointed out, on a circular base with vertical hatching. His habit has been carefully observed and replicated, from the double-band at the neck to the sweeping cape that falls to his feet, framing the garment beneath. The detail of his triple-knotted belt shows not only the sculptor's powers of observation, but also hold symbolic power as representations of the three vows of the Franciscan order (poverty, chastity, and obedience). The saint's eyes are formed by circular outlines framed by high arching eyebrows that flow directly into the triangular nose. Above his short forehead, his head is bald except for a ring of hair. Known as a tonsure, this shaved hairstyle represented an act of religious humility. A dark black resin and green patination have also accumulated in the crevices of the carving, and around the figures' feet. The interior of the hanging loop is worn from use, indicating that something was threaded through the loop to suspend the pendant form. Examinations performed in 2001, 2002, and 2013 by Conservator Ellen Howe, Conservator Leslie Gat, Conservation Scientist Mark Wypyski, Conservation Scientist Adriana Rizzo, and Conservation Fellow Ainslie Harrison, suggest that the brass pendant was cast using the lost wax casting technique. The pendant is similar to another example in the Met's collection, incorporated into a Kongo crucifix, an unusual depiction of the saint. Catholic since the late fifteenth century, the Kongo Kingdom fostered devotion to many saints. St. Anthony was among the most popular, and was called Toni Malau ("Anthony of Good Fortune") for his purported powers of healing and good luck. The figure's attributes confirm his identity: the cross held in his proper right hand, the Christ child balanced on the low curve of his left elbow, and his simple habit. The additional iconography of the goldfinch and book are indicative of early models of the saint; these attributes generally grew smaller, or completely disappeared in later models. The popularity of Saint Anthony in Kongo was part of an early modern phenomenon in which the saint was equally popular in Europe, South America, and Africa. Born in Lisbon, Portugal in 1195, the Franciscan brother Anthony was canonized just one year after his 1231 death in Padua, Italy. Claimed as a patron saint by both Portugal and Italy, religious missionaries from both regions spread his cult globally. Soon after their 1645 arrival in Kongo, Italian Capuchin fathers began to spread the cult of St. Anthony. While most early images of the saint were brought from Europe, some came to Africa via other sources. Most missionaries traveled indirectly to Africa via Brazil, where they sometimes purchased religious sculptures from Portuguese colonial workshops. In the Kongo kingdom, locally made figures of Saint Anthony based on European prototypes became common around the eighteenth century. The practice most likely related to the saint's popularity in the kingdom, and was possibly tied to the short-lived Antonian movement, during which the Kongo noble woman Beatriz Kimpa Vita gained a significant political following after declaring herself the reincarnation of St. Anthony. To the chagrin of European missionaries, the Antoniens adopted the metal, ivory, and wooden images of St. Anthony, wearing the sculpture of the saint they called Toni Malau as a sign of their allegiance and as a protective amulet. Known as "Little Anthonies," her followers occupied the capital and traveled throughout the Kongo kingdom wearing their medallions, spreading the message of Dona Beatriz, who believed that Africanizing the church would strengthen the Kongo state, which was in disarray after a series of civil conflicts and the rising effects of the Transatlantic slave trade. While the Antonien movement was successfully put down in 1706, St. Anthony remained popular long after. Considered the "Saint of Good Fortune" or the "Saint of Prosperity," Toni Malau figures continued to be used prominently in Kongo as forms of protection from illness, the troubles of childbirth, or other problems. Kristen Windmuller-Luna, 2016 Sylvan C. Coleman and Pam Coleman Memorial Fund Fellow in the Department of the Arts of Africa, Oceania, and the Americas.
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Título: Pendant: Saint Anthony of Padua
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Traducción automática: Colgante: San Antonio de Padua. Cultura: Pueblos Kongo; Reino Kongo. Dimensiones: H. 4 pulg. (10,2 cm). Fecha: Siglo XVI-XIX. Este colgante de latón de San Antonio de Padua sosteniendo al niño Cristo es un ejemplo excepcional de la destreza de fundición de los artistas del Kongo. El diminuto tamaño de este objeto de latón y el lazo colocado en la punta de su capucha triangular invertida indican que se trata de un colgante. Originalmente moldeada con detalles nítidos, partes de la figura ahora son brillantes y desgastadas, lo que sugiere que el colgante entró en contacto con la piel a través del uso activo o que fue manipulado repetidamente. En conjunto, la impresión del santo es de calma y alerta, como la del niño Jesús con los ojos muy abiertos, que mira hacia adelante mientras extiende su brazo sobre el pecho del santo mayor, señalando el crucifijo delineado en la mano derecha del santo. Aunque es sólo un niño, Cristo mide la mitad del tamaño del santo, lo que enfatiza su importancia en la teología cristiana. Su proximidad física a la cruz alude a su futuro sacrificio, al igual que el jilguero que sostiene, símbolo tanto de su crucifixión como de su resurrección. Se encuentra sobre un libro abierto, en alusión a una historia en la que se dice que Cristo apareció del libro sobre el que meditaba San Antonio. Cada figura está descalza y viste una túnica cuyos pliegues han sido indicados por líneas paralelas cuidadosamente grabadas. Los dedos de las manos y de los pies están articulados con líneas simples. San Antonio está de pie, con los pies separados a la altura de los hombros y los dedos de los pies apuntando hacia afuera, sobre una base circular con sombreado vertical. Su hábito ha sido cuidadosamente observado y replicado, desde la doble banda en el cuello hasta la amplia capa que cae hasta sus pies, enmarcando la prenda debajo. El detalle de su cinturón de triple nudo muestra no sólo los poderes de observación del escultor, sino que también tiene un poder simbólico como representación de los tres votos de la orden franciscana (pobreza, castidad y obediencia). Los ojos del santo están formados por contornos circulares enmarcados por cejas altas y arqueadas que desembocan directamente en la nariz triangular. Por encima de su corta frente, su cabeza es calva excepto por un mechón de pelo. Conocido como tonsura, este peinado afeitado representaba un acto de humildad religiosa. También se ha acumulado una resina negra oscura y una pátina verde en las grietas de la talla y alrededor de los pies de las figuras. El interior del lazo para colgar está desgastado por el uso, lo que indica que se pasó algo a través del lazo para suspender la forma del colgante. Los exámenes realizados en 2001, 2002 y 2013 por la conservadora Ellen Howe, la conservadora Leslie Gat, el científico conservacionista Mark Wypyski, la científica conservacionista Adriana Rizzo y la becaria conservacionista Ainslie Harrison, sugieren que el colgante de latón se fundió utilizando la técnica de fundición a la cera perdida. El colgante es similar a otro ejemplo de la colección del Met, incorporado a un crucifijo Kongo, una representación inusual del santo. Católico desde finales del siglo XV, el Reino del Congo fomentó la devoción a muchos santos. San Antonio estaba entre los más populares y lo llamaban Toni Malau ("Antonio de la buena fortuna") por sus supuestos poderes curativos y de buena suerte. Los atributos de la figura confirman su identidad: la cruz sostenida en su mano derecha, el niño Jesús en equilibrio sobre la curva baja de su codo izquierdo y su sencillo hábito. La iconografía adicional del jilguero y el libro son indicativas de los primeros modelos del santo; Estos atributos generalmente se hicieron más pequeños o desaparecieron por completo en modelos posteriores. La popularidad de San Antonio en el Congo fue parte de un fenómeno moderno temprano en el que el santo fue igualmente popular en Europa, América del Sur y África. Nacido en Lisboa, Portugal en 1195, el hermano franciscano Antonio fue canonizado apenas un año después de su muerte en 1231 en Padua, Italia. Considerado santo patrón tanto por Portugal como por Italia, los misioneros religiosos de ambas regiones difundieron su culto por todo el mundo. Poco después de su llegada al Congo en 1645, los padres capuchinos italianos comenzaron a difundir el culto a San Antonio. Si bien la mayoría de las primeras imágenes del santo fueron traídas de Europa, algunas llegaron a África a través de otras fuentes. La mayoría de los misioneros viajaron indirectamente a África a través de Brasil, donde a veces compraban esculturas religiosas en talleres coloniales portugueses. En el reino del Congo, las figuras de San Antonio de fabricación local basadas en prototipos europeos se hicieron comunes alrededor del siglo XVIII. La práctica probablemente estaba relacionada con la popularidad del santo en el reino, y posiblemente estuvo vinculada al efímero movimiento antoniano, durante el cual la noble del Congo, Beatriz Kimpa Vita, ganó un importante seguimiento político después de declararse la reencarnación de San Antonio. Para disgusto de los misioneros europeos, los Antonien adoptaron las imágenes de metal, marfil y madera de San Antonio, llevando la escultura del santo al que llamaron Toni Malau como señal de su lealtad y como amuleto protector. Conocidos como los "Pequeños Antonios", sus seguidores ocuparon la capital y viajaron por todo el reino del Congo luciendo sus medallones, difundiendo el mensaje de doña Beatriz, quien creía que africanizar la iglesia fortalecería el Estado del Congo, que se encontraba en desorden tras una serie de conflictos civiles. conflictos y los crecientes efectos de la trata transatlántica de esclavos. Si bien el movimiento Antonien fue sofocado con éxito en 1706, San Antonio siguió siendo popular mucho después. Consideradas el "Santo de la Buena Fortuna" o el "Santo de la Prosperidad", las figuras de Toni Malau continuaron utilizándose de manera destacada en el Congo como forma de protección contra enfermedades, problemas del parto u otros problemas. Kristen Windmuller-Luna, becaria del Sylvan C. Coleman y Pam Coleman Memorial Fund 2016 en el Departamento de Artes de África, Oceanía y las Américas
Pendant: Saint Anthony of Padua. Culture: Kongo peoples; Kongo Kingdom. Dimensions: H. 4 in. (10.2 cm). Date: 16th-19th century. This brass pendant of St. Anthony of Padua holding the infant Christ is an exceptional example of the casting prowess of Kongo artists. The diminutive size of this brass object and the loop posited at the tip of its inverted triangular hood indicate that it is a pendant. Originally cast with crisp detail, portions of the figure are now shiny and worn, suggesting that the pendant came into contact with the skin through active wear, or that it was repeatedly handled. Altogether, the saint's impression is one of calm alertness, like that of the wide-eyed Christ child, who looks forward as he stretches out his arm across the chest of the elder saint, gesturing towards the outlined crucifix in the saint's right hand. Though only an infant, Christ is half the size of the saint, emphasizing his importance in Christian theology. His physical proximity to the cross alludes to his future sacrifice, as does the goldfinch he holds, a symbol of both his crucifixion and resurrection. He stands upon an open book, an allusion to a story in which Christ is said to have appeared out of the book that St. Anthony was meditating over. Each figure has bare feet, and wears a robe whose folds have been indicated by carefully incised parallel lines. The toes and fingers are articulated with simple lines. St. Anthony stands feet shoulder width apart, toes pointed out, on a circular base with vertical hatching. His habit has been carefully observed and replicated, from the double-band at the neck to the sweeping cape that falls to his feet, framing the garment beneath. The detail of his triple-knotted belt shows not only the sculptor's powers of observation, but also hold symbolic power as representations of the three vows of the Franciscan order (poverty, chastity, and obedience). The saint's eyes are formed by circular outlines framed by high arching eyebrows that flow directly into the triangular nose. Above his short forehead, his head is bald except for a ring of hair. Known as a tonsure, this shaved hairstyle represented an act of religious humility. A dark black resin and green patination have also accumulated in the crevices of the carving, and around the figures' feet. The interior of the hanging loop is worn from use, indicating that something was threaded through the loop to suspend the pendant form. Examinations performed in 2001, 2002, and 2013 by Conservator Ellen Howe, Conservator Leslie Gat, Conservation Scientist Mark Wypyski, Conservation Scientist Adriana Rizzo, and Conservation Fellow Ainslie Harrison, suggest that the brass pendant was cast using the lost wax casting technique. The pendant is similar to another example in the Met's collection, incorporated into a Kongo crucifix, an unusual depiction of the saint. Catholic since the late fifteenth century, the Kongo Kingdom fostered devotion to many saints. St. Anthony was among the most popular, and was called Toni Malau ("Anthony of Good Fortune") for his purported powers of healing and good luck. The figure's attributes confirm his identity: the cross held in his proper right hand, the Christ child balanced on the low curve of his left elbow, and his simple habit. The additional iconography of the goldfinch and book are indicative of early models of the saint; these attributes generally grew smaller, or completely disappeared in later models. The popularity of Saint Anthony in Kongo was part of an early modern phenomenon in which the saint was equally popular in Europe, South America, and Africa. Born in Lisbon, Portugal in 1195, the Franciscan brother Anthony was canonized just one year after his 1231 death in Padua, Italy. Claimed as a patron saint by both Portugal and Italy, religious missionaries from both regions spread his cult globally. Soon after their 1645 arrival in Kongo, Italian Capuchin fathers began to spread the cult of St. Anthony. While most early images of the saint were brought from Europe, some came to Africa via other sources. Most missionaries traveled indirectly to Africa via Brazil, where they sometimes purchased religious sculptures from Portuguese colonial workshops. In the Kongo kingdom, locally made figures of Saint Anthony based on European prototypes became common around the eighteenth century. The practice most likely related to the saint's popularity in the kingdom, and was possibly tied to the short-lived Antonian movement, during which the Kongo noble woman Beatriz Kimpa Vita gained a significant political following after declaring herself the reincarnation of St. Anthony. To the chagrin of European missionaries, the Antoniens adopted the metal, ivory, and wooden images of St. Anthony, wearing the sculpture of the saint they called Toni Malau as a sign of their allegiance and as a protective amulet. Known as "Little Anthonies," her followers occupied the capital and traveled throughout the Kongo kingdom wearing their medallions, spreading the message of Dona Beatriz, who believed that Africanizing the church would strengthen the Kongo state, which was in disarray after a series of civil conflicts and the rising effects of the Transatlantic slave trade. While the Antonien movement was successfully put down in 1706, St. Anthony remained popular long after. Considered the "Saint of Good Fortune" or the "Saint of Prosperity," Toni Malau figures continued to be used prominently in Kongo as forms of protection from illness, the troubles of childbirth, or other problems. Kristen Windmuller-Luna, 2016 Sylvan C. Coleman and Pam Coleman Memorial Fund Fellow in the Department of the Arts of Africa, Oceania, and the Americas
Técnica/material: Partially hollow cast brass
Museo: Metropolitan Museum of Art, New York, USA
Crédito: Album
Autorizaciones: ? Cesión de modelo: No - ? Cesión de propiedad: No
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Tamaño imagen: 2801 × 4256 px | 34.1 MB
Tamaño impresión: 23.7 × 36.0 cm | 1102.8 × 1675.6 in (300 dpi)
Palabras clave: AFRICA • ALEACIÓN DE COBRE • COLGANTES • DEMOCRATIC REPUBLIC OF THE CONGO • DEMOCRATIC REPUBLIC OF THE CONGO; REPUBLIC OF THE CONGO; ANGOLA • ESCULTURA • LATON • METAL • METROPOLITAN MUSEUM OF ART, NEW YORK, USA