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<\/p>\nWhat is looking and how do we do it? For many of us we do it without thinking; we look, but we do not always know what we are looking at. This tour is meant to illuminate the difference between a passing glance and close looking, and to share minute but precious details that may easily be missed. Through this tour, visitors will discover how the smallest detail can change the way we see and understand an artwork.<\/p>\n
Tour by Naomi Romm, Hampshire College \u201916, Institute for Curatorial Practice Intern, Summer 2016<\/p>\n
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1.<\/strong><\/span><\/p>\n Woman’s saddle with stirrups<\/em>, late 19th\u2013early 20th century, Aps\u00e1alooke (Crow), leather, glass beads, paint and iron, Joseph Allen Skinner Museum, Mount Holyoke College<\/strong><\/span><\/p>\n Patches of animal hide have been stitched together to create the graceful shape of this saddle. Looking closely at the border, where the saddle would sit atop the horse’s back, you will notice a decoratively scalloped edge. This smaller saddle was intended for use by a female member of the Aps\u00e1alooke tribe of the Yellowstone river valley. Horse riding allowed for more efficient hunting and transportation. The large herds which the Aps\u00e1alooke kept were central to their sustenance. Horses, as well as the saddles used to ride them, could signify prestige and strength.<\/p>\n Look closely at the intricate bead-work which creates an hourglass shape with curvilinear, leaf-like forms that comprise the negative space. This stitch-work is known as an “overlay”, or “crow stitch” and its invention is often attributed to the\u00a0Aps\u00e1alooke. The stitch can fill in large areas with parallel lines and is especially tight and secure. Blue, like the various tones seen in this beaded pendant, was a popular color for bead-work since it was often symbolic of the sky. Surrounded by a field of white beads, the hourglass shape is made especially evident and the colors appear remarkably vibrant. Smaller details, including two strings of alternating blue and white beads, a few jingling bells, and a red feather give the saddle its individual character.<\/p>\n 2.<\/strong><\/span><\/p>\n Handled jug with princely figures<\/em>, late 12th\u2013early 13th century (Seljuq Period, 1037\u20131196), Persian, stonepaste with white glaze, overglaze enamel pigments, and gold (mina\u2019i ware), Gift of the Arthur M. Sackler Foundation, 2012.40.15<\/strong><\/span><\/p>\n This piece of turquoise mina\u2019i<\/em> ware is decorated with a band of ten, seated royal figures. Look closely at these men. What do you\u00a0notice about their dress?\u00a0 Their royalty is indicated by the presence of tiraz<\/em>\u2014the gold arm bands worn on their upper arms. Tiraz were honorific embroidered bands given to courtiers and other dignitaries by the ruler. Walk around this object and look closely at the individual figures. Although almost identical, each figure is distinguished by the unique fabric of their robe, decorated variously with geometric shapes, cloud scrolls, and other patterns typical of the period. Do you see any other forms of decoration on this drinking vessel? There are two calligraphic inscriptions around the outside of the rim and on the rim\u2019s interior. On a vessel like this, calligraphy usually offers good wishes, fortune, and luck to the owner of the object.<\/p>\n![\"\"](\"https:\/\/commons.mtholyoke.edu\/mhcamjourneys\/wp-content\/uploads\/sites\/233\/2016\/07\/mh_sk_k_65_v1_01-207x300.jpg\")
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