71 objects. The men remove the bark from the trees, which is delicate work because incisions have to be made without allowing sap to fl ow. The women then give shape to the objects and, most importantly, decorate them with highly refi ned linear and volute designs. T. A. M.: These designs must be replete with meanings. D. C.: Indeed they are. The arts of the peoples of the Amur are distinctly ornamental in character, whether we are dealing with coats, containers, or spoons, to name just a few examples. Much of the decoration on these objects may be created through the superposition of similar materials, or they may be ones of different origin, such as the skins of various species of fi sh, deer hide, and birch bark. From a design standpoint, the ornamentation is based on the principle of intertwining lines and volutes. These talismanic designs may be symbols of clan association or may represent wishes for a happy life, children, and protection against misfortune. They create an outer skin that is in dialog with the invisible world. T. A. M.: Since it is capitalized in the title of the exhibition, the word “Amur” (spelled “Amour” in French but identically pronounced) clearly refers to a people and a geographic area rather than the French word for love, which it brings to mind. But one might expect that the exhibition also deals with love between people. Is this the case? D. C.: Not really in a direct way. There is an affective emotional dimension to be sure, one of investment of the individual in a creative relationship that results in contact with another living thing, be it vegetal, animal, or even mineral. There is a love of objects, which has to do with the care taken in making them, as well as with their daily use. Relationships do develop between people and their objects, and the latter are often their faithful companions throughout entire lifetimes and even after death. There is also the “curatorial” emotion, which the museum staff member in charge of preserving these objects feels. To me, this affective dimension of our profession is important to recognize, and it is only natural that it should fi nd expression in the exhibition. FIGS. 15a and b: Fish platter. Nivkh, Amur River basin, far-eastern Siberia, Russian Federation. Second half of the 19th century. Wood. Musée du Quai Branly, Paris. © MQB. Photo: Claude Germain. Fish is the daily bread of the people of far-eastern Siberia. Utensils that come into contact with it are essential implements and are often adorned with protective motifs. Here, the volutes form a stylized snout with grasping jaws. The incised motifs are darkened with soot. Aesthetics of the Amur
•TribalPaginaIntera.indd
To see the actual publication please follow the link above