Aesthetics of the Amur taken a more artistically universal and aesthetic approach in the presentation. Why is that? D. C.: I have intentionally avoided a “classical” discourse that would have dictated a presentation based on type or ethnic origin. The primary reason for this was my desire to go beyond the specifics of each of the peoples concerned (Nivkh, Ainu, Nanai, Orokh, Ngidal, Ortoch) in order to emphasize the common bond that exists when a lifeway is based on hunting and fishing, animist principles, and a special ritual relationship with the bear (see sidebar box). The exhibition focuses on decorative art that expresses these peoples’ relationships with the material and spiritual worlds. Thus garments, accessories, and containers for household goods all address the notion of the material and symbolic barriers that exist between visible and invisible forces in the heart of which men live. Objects protect from cold and wind, but also from the attack of nefarious entities that could devour vital life force and bring misfortune. These beings must be dealt with carefully and respectfully, just as every other element in nature must be, whether animal, vegetal, or mineral. The particular relationship these peoples of the salmon have with life is at the heart of the Amur aesthetic. Ideas of beauty and of the creation of an object as an act of love that also serves as a structure for dialog have great importance here, since it seems to me that aesthetic response provides a perfect entryway, or at least a trigger, that allows us both to be able to appreciate and become curious about that which we do not know. As such, it was vital to me to present the pieces in such a way as to make it possible for them to be appreciated by eyes outside the cultures in which they were created—in this case, those of Western visitors. Accomplishing that involved a severalstage process. First of all, the pieces were made “beautiful” for the occasion. They are often made of fragile organic materials, so they have been the objects of a meticulous and extensive restoration effort sponsored by Vacheron Constantin and the Lévi-Strauss Circle. One millimeter at a time, each fold, each scale, was worked on to bring out its best qualities. Then we dealt with producing a quiet and modern presentation environment, one with a focus on the individual display of pieces that would sublimate their utilitarian purposes and highlight their unique qualities. That having been said, it was also important to me that aesthetic response—one that I hope will be personal and FIGS. 12a (full view) and b (detail): Volute pouch for a fire striker. Nivkh, Amur River basin, far-eastern Siberia, Russian Federation. Late 19th or early 20th century. Sakhalin sturgeon skin. Musée du Quai Branly, Paris. © MQB. Photo: Claude Germain. Among the Siberian peoples, knives and fire strikers are among the indespenasble tools of everyday life and are always carried on the belt. Here, the fire striker itself is at the ends of the volutes, set in a case of Sakhalin sturgeon skin, the star pattern of which is quite characteristic. This is an object of great value to the Nivkh, never intended to leave its owner, even in death.
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