Through the Looking Glass: Models and Miniatures of History
I’ve always been fascinated with miniatures–Lego sets and action figures have been part of my life for as long as I can remember, and I know the same goes for almost everyone. As children we played with toy cars and action figures to give us power typically reserved for the adults in our lives. (The Masters of the Universe toy line’s 1980s advertising slogan “I have the power!” comes to mind.) As adults we turn to model trains or war dioramas to infuse our chaotic lives with order, setting up elaborate scenarios that won’t change unless the table gets bumped. These ideas are not new to human history–the idea of taking something large and creating an equally detailed version of it, but ten times smaller, has been the subject of human fascination for thousands of years.
Throughout history, humans turned to the miniature as an escape from the terrifying world around us. In his book In Miniature: How Small Things Illuminate the World, journalist and miniature historian Simon Garfield puts it best when he says that “we may not play in the World Cup…but there is always a [foosball] table…What is a drone if not a modern remote-controlled aeroplane?” This is why when, while walking through a museum, you’ll likely find that many ancient art pieces are on a smaller scale.
The three dimensionality of these objects make the viewer feel like a giant in ways that traditional, two-dimensional art simply can’t. The physical nature of models and miniatures also allows the viewer to gain a greater understanding of scale and space, as well as provides a birds eye view of the historical events, locations, or characters being depicted in these pieces.
Additionally, while I absolutely do not condone doing this in most museums, the ability to reach out and touch these tangible objects allows the viewer to form a better connection to the object, as opposed to just looking at, and feeling distant from a two-dimensional image on a wall. It is this reason that leads me to state that three dimensional sculptures–specifically miniature recreations and models of objects that are/were much larger in real life–are one of the best forms of art to convey what society and culture was like in the past. Ancient Roman philosopher Titus Lucretius Carus had it right when he said that “A small thing may give an analogy of great things, and show the tracks of knowledge.”
The importance of these small art pieces lies mainly in the wide range purposes for each object and the way they were designed. What materials were used, how the creators utilized the small volume, and, of course, what is being depicted in the models, for example. In terms of purposes, not all of these objects were used as architectural models in the traditional sense of being used in the design process. Met Museum curator Joanne Pillsbury notes that many were used more as “the embodiment of ideas for ritual purposes…presumably placed in burials” and other religious sites.
This exhibit, which I’ve titled “Through the Looking Glass: Models and Miniatures of History,” will showcase some of the notable miniatures and models from throughout history, from various cultures around the world in an engaging and informative way that will appeal to museumgoers of all ages. Inspired by imagery from Walt Disney’s 1951 film Alice in Wonderland, the exhibit will begin by taking patrons through multiple doors, each shrinking in size to give the immersive effect of growing and becoming giants, viewing these tiny scenes from high above. Then, inside the exhibition room, the six of the seven total pieces will be arranged in a timeline, displaying them in chronological order, with a seventh, larger piece serving as a centerpiece for the exhibit.
The other six pieces include “Offering #4” from La Venta, Han-Dynasty era architectural models, a Korean “Pensive Bodhisattva,” a brass crucifix from the Congo, a prototype monument to the hot air balloon, and a finial of an Ashanti spokesperson’s staff.
The first piece, the main display piece, is the ancient Egyptian “Model of a Granary with Scribes.” The model will be the first object people see when they walk into the main exhibition room, with the others lined up behind it. This piece is the centerpiece of the exhibition because it is the largest of all the pieces, measuring about 30 inches by 22 inches by 14 inches, and has one of the most full, detailed scenes being depicted, with multiple human figures and props.
The Model of a Granary with Scribes (MGS) was originally found in a hidden chamber near a side passageway that leads into the tomb of Egyptian royal chief steward Meketre. Meketre served under King Nebhepetre Mentuhotep II from Dynasty 11 to Dynasty 12. The model, as one could guess, depicts a granary operated by nine men holding papyrus and wooden boards who keep track of the accounting, and six men holding sacks of grain. These figures stand almost eight inches tall and are amazingly detailed with painted facial features. The interior of the model is split into two main sections, one where the grain is stored, and one where the accounting is done.
If we were to go to the site of an ancient Egyptian granary now, it would be nothing but an archeological site, possibly even in ruin, with no human activity. When looking at the MGS, being able to walk around and view it from all angles–including directly top down–we are able to gain a greater understanding of the way these ancient sites operated in their time, as depicted by people who were actually there. This is why the MGS is the first thing people see–it’s the perfect embodiment of how useful miniatures are when trying to gain an understanding of the past.
Aside from MGS, the first object that will be seen in chronological order is “Offering #4” from La Venta. La Venta is a Middle Formative period (1500-900 B.C.E.) Olmec culture site located in the Mexican state of Tabasco. This piece is considered one of the more dramatic collections of Olmec stone figures discovered to date. It consists of seventeen small stone figures arranged in a semicircle facing a row of six celts (smooth flat cutting implements usually made from stone) made of jade. In this model, however, the celts are clearly decorative objects, and were not used as utilitarian axes. Unlike the figures from MGS, the people depicted here are much more stylized, with elongated heads and exaggerated facial features, often referred to as the “baby face.” The importance of this piece can be seen in, among other things, the material used for the figures, greenstone, which was valued by Mesoamericans above all other materials.
To this day, the exact nature of the scene portrayed in Offering #4 is still a mystery, but it’s commonly believed that the formation of the figures represents a spiritual event. Dr. Billie Follensbee posits that it’s “[portraying] a group of priests involved in an important ritual…to honor a visiting dignitary…or to prepare a human sacrifice.”
Previously, the Olmec of the Early Formative period focused on making larger stone structures, but as they moved into the Middle Formative period, smaller, portable sculptures became more common. Just as with the MGS, while the exact details are still unclear, viewing this small model from above and all angles allow us, in the present, to gain a greater understanding of ancient Mesoamerican society.
Next we have Chinese, Han Dynasty-era architectural models from within the 221 B.C to 200 AD. range. While this was originally a collection of models that shared many characteristics, in this exhibition only the “Model of a Multistory House” will be featured. This is a 68 by 64 by 32 inch model of a seven story main building, with a four story auxiliary building connected by a “sky bridge.” The piece consists of thirty-one detachable parts, and includes a figure of a man carrying crops with a watchdog for scale.
In real life, at full scale, back then buildings with many stories were quite the engineering feat. What’s so interesting about this piece is that unlike other miniatures that were meant to be a ritual object or depict scenes from history, this piece was meant to (somewhat) accurately depict the architectural prowess of the Eastern Han, showing off how impressive the buildings were, albeit at a smaller scale, making them an eventual part of the building design process, much like today. To that end, many of these models may have been put inside tombs to symbolize how powerful the deceased was in their time.
Next, from mid 7th century Korea, the “Pensive Bodhisattva” will be displayed. This bronze model measures just over eight inches tall and depicts a crown-wearing bodhisattva seated atop some sort of pedestal covered in cloth. A bodhisattva, in Mahayana Buddhism, is a person who is “able to reach nirvana, but delays doing so out of compassion in order to save suffering beings.” The figure’s crown is topped with an “orb-and-crescent” motif, something that is commonly associated with Central Asian influence. Imagery of bodhisattva seated in meditation have been prevalent all throughout East Asia between the fifth and eight centuries, with multiple, similar statues being produced. Of the many similar statues produced, this one is one of the smallest. Others are created as large as three feet tall. Despite these statues’ small size, they have a powerful presence in the temples in which they reside.
In any form of art, big or small, there are sure to be religious objects, and it’s no different in the case of miniatures. The next object included is a brass Crucifix from the 16th or 17th Century, from the Democratic Republic of the Congo. While the object itself stands almost ten inches tall, a somewhat average size for a crucifix, we’re focusing on the tiny models embellished along the face and resting along the top edge.
In 1484, Portuguese explorers arrived in the Kongo kingdom, and, in addition to bringing material goods and establishing a strong trade relationship, they brought Christianity with them. The religion soon was widely adopted among the Kongo rulers and it was established as the official state religion in the early 16th Century. Of course, with these changes, the Kongo people began to infuse their uniquely African art with Christian iconography, hence this interesting piece.
While the depiction of Christ with both arms extended is typical of Western iconography, the face of the central figure is distinctly African. Additionally, at the apex, base, and along the top edge of the cross are four smaller figures with clasped hands. These additions are a notable departure from the usual iconography, and are represented in a much more abstract way, as opposed to the more standard treatment of Christ. Because of their size, they have limited body features, but still are clearly in a praying pose, showing devotion to the central figure.
Going further in history, we have a model for a proposed monument to commemorate the invention of the hot air balloon. After the first successful flight of the hot air balloon by the Montgolfier brothers in 1793, the “French crown” wanted to create a monument to this momentous occasion. Seven talented sculptors competed to design this monument. French sculptor Claude Michel, also known as Clodion, was one of those seven to complete a model.
His work, a Rococo piece made from terracotta, stands 43 inches tall and is incredibly ornate, featuring a large pedestal covered in countless angelic, winged babies (“Putti”) ascending to the clouds, some holding baskets full of hay. It is heavily Baroque in style, and is topped with a model of the balloon itself guided by Fame and propelled upwards by Aeolus himself.
What’s so interesting about this piece is that, while it is a beautiful sculpture, the original purpose was to be a prototype of a much larger monument, falling in line with other architectural models. Humorously enough, by the time Clodion finished this piece, hot air balloons were so commonplace, the monument was scrapped altogether!
Lastly we have a model that’s much more recent, a “finial of a spokesperson’s staff,” or “okyeame poma” in Catalan. This piece originally came from Ghana in the 20th century and was meant to sit atop a large cane or staff. The miniature depicts a figure sitting atop a platform, holding an egg in its outstretched hand. This imagery comes from an old Ashanti proverb which states that “Political power is like an egg. Grasp it too tightly and it will shatter; hold it too loosely and it will slip from your fingers.”
Whenever a okyeame, or spokesperson, from Ghana would speak to the ruler of that city or relaying information from them to others, this miniature was held before them, symbolizing the possible use and misuse of power. Though the original artist is unknown, it is said to have been carved in the 1960s or 1970s by Kojo Bonsu, the son of Osei Bonsu, a famous wood carver who died in 1977.
Made of wood and gold–a major resource of power for the Ashanti peoples of Ghana–it is a perfect example of the art of leadership. I felt this piece is a worthy inclusion simply because of the deep meaning behind the figure. It demonstrates how much symbolism and importance can be held within such a small object, reminding those who carry it to use their power wisely.
The practice of creating miniatures for various purposes has not stopped back then, however–modelmaking is still an extremely popular medium, and elements of the craft make their way into various other fields, such as toy making, architecture, filmmaking, and scientific studies. Of course, nowadays the techniques involved in creating these small objects have evolved significantly, the design principles of scaling large objects down have largely remained the same. Contemporary model maker Bill Robertson says that miniature making is “about mechanics, engineering, art and science all rolled into one,”
Through this collection of small objects, it’s clear that humanity’s fascination with miniatures is not a new phenomenon, and shows no signs of stopping in the near future. Through the Looking Glass aims to provide the history of this fascination to contemporary audiences, and I look forward to seeing everyone there!
Bibliography
Alaimo, Carly. 2018. “The Beauty Is in the Details: A Peek inside the Amazing World of a Miniature Maker |.” Ideas.TED.com. TED. January 19, 2018. https://ideas.ted.com/the-beauty-is-in-the-details-a-peek-inside-the-amazing-world-of-a-miniature-maker/.
Garfield, Simon. 2019. In Miniature : How Small Things Illuminate the World. New York, Ny: Atria Books, An Imprint Of Simon & Schuster, Inc.
Cartwright, Mark. 2017. “Etruscan Civilization.” Ancient History Encyclopedia. Ancient History Encyclopedia. February 24, 2017. https://www.ancient.eu/Etruscan_Civilization/.
Clarke, Christa. 2006. “Crucifix (Kongo Peoples).” Khan Academy. The Metropolitan Museum of Art. 2006. https://www.khanacademy.org/humanities/art-africa/central-africa/democratic-republic-of-the-congo/a/crucifix-kongo-peoples.
Follensbee, Billie. n.d. “Offering #4, La Venta (Article) | Olmec.” Khan Academy. https://www.khanacademy.org/humanities/art-americas/early-cultures/olmec/a/offering-la-venta.
Garfield, Simon. 2018. “Small World: Why We Love Tiny Things.” The Guardian. November 4, 2018. https://www.theguardian.com/global/2018/nov/04/small-world-why-we-love-tiny-things.
Leidy, Denise Paltry. 2013. “A Pensive Treasure.” Metmuseum.org. Metropolitan Museum of Art. December 2, 2013. https://www.metmuseum.org/blogs/now-at-the-met/features/2013/pensive-treasure.
Merriam-Webster. n.d. “Bodhisattva.” In Merriam-Webster. Merriam-Webster. Accessed November 22, 2020. https://www.merriam-webster.com/dictionary/bodhisattva.
Met Museum, “Model of a Granary with Scribes,” Metmuseum.org (Metropolitan Museum of Art), accessed November 19, 2020, https://www.metmuseum.org/art/collection/search/545281#.
Met Museum. n.d. “Model for a Proposed Monument to Commemorate the Invention of the Balloon.” Metmuseum.org. Metropolitan Museum of Art. Accessed November 24, 2020. https://www.metmuseum.org/art/collection/search/199410.
Met Museum. n.d. “Model of a Multistory House.” Metmuseum.org. Metropolitan Museum of Art. Accessed November 22, 2020b. https://www.metmuseum.org/art/collection/search/640945.
Met Museum. n.d. “Pensive Bodhisattva.” Metmuseum.org. Met Museum. https://www.metmuseum.org/art/collection/search/65397.
Met Museum. n.d. “Model of a Granary with Scribes.” Metmuseum.org. Accessed November 24, 2020. https://www.metmuseum.org/art/collection/search/545281#:~:text=This%20model%20of%20a%20granary.
Pillsbury, Joanne. 2016. “Big Ideas Behind Small Things.” Metmuseum.org. July 7, 2016. https://www.metmuseum.org/blogs/now-at-the-met/2016/big-ideas-behind-small-things.
Robinson, Lisa. 2010. “A BRIEF HISTORY OF MODERN MINIATURES.” San Lorenzo Valley Museum. http://www.slvmuseum.com/docs/HistoryOfMiniatures.pdf.
Stokstad, Marilyn, and Michael W. Cothren. 2018. Art History. 6th ed. Upper Saddle River: Pearson.
Tourmaline. 2019. “A Timeline of the History of Miniatures: From Ritual and Religious Object to Plaything And….” Medium. May 9, 2019. https://medium.com/@tourmalinenow/a-timeline-of-the-history-of-miniatures-from-ritual-and-religious-object-to-plaything-and-b7a6c95f2851.
Weiss, Werner. n.d. “Yesterland: Alice in Wonderland.” Www.Yesterland.com. Accessed November 18, 2020. https://www.yesterland.com/alice.html.
