Priest’s robes
Cotton; Ethiopia; before 2000; purchased by F. Meskel; TM-5861-4a, b,c
The Ethiopian Orthodox Church is one of the oldest Christian churches in Africa. The Tewahedo Church, as it is known, is the only Sub-Saharan church that dates from before European colonisation. As in other Christian churches, gold is associated with the divine. These robes, woven in gold brocade, are worn by a priest during services and processions, who often carries a parasol as a symbol of the dome of heaven.
1, 2. Gold pendant and box
Gold, enamel; Saudi Arabia; 2000-2026; 7071-1a, -b
Jewellery with images of the Ka’ba or the Mosque of the Prophet in Medina are popular pilgrims’ souvenirs. These are treasured mementoes, a visible sign that the person in question has completed the pilgrimage. But they also have economic value, particularly if they are as heavy as this pendant, which weighs 54 grammes. The gold retains its value, independently of the symbolism. This pendant is very valuable, but cheaper alternatives are available for less wealthy pilgrims, made of gold-coloured metal and in the form of the Ka’ba.
3. Shaman pendant
Gold, platinum, lapis lazuli; Manteño or Tolita/Tucamo. Jama, Ecuador; 500-800; purchased from Berkeley Galleries; WM-50410; courtesy of the Rembrandt Association
The striking thing about this lavishly decorated shaman is that his ribcage is displayed. This might refer to the symbolic death he undergoes when travelling to another world in a trance. To be able to make the journey, the shaman might also take on the shape of an animal that can shift between worlds, like the snake, which moves rapidly on land and can swim in water.
4. Anthropomorphic pendant
Tumbaga; Tairona; Colombia; AD 1000 – 1600; courtesy of MAS – Museum aan de Stroom
The goldsmithing work of the Tairona who lived near Santa Marta (Colombia) is distinctive for its complex three-dimensional design and many refined decorative elements. This pendant features an animal’s face and a semi-circular headdress.
5. Breast ornament in the form of a bird
Gold; Diquis or Chiriqui; Costa Rica or Panama; AD 700 – 1520; courtesy of MAS - Museum aan de Stroom
Birds cast in gold were common in pre-Columbian Costa Rica and Panama. It is difficult to identify this bird, as it is presented in stylised form, but the long bill with the sac beneath it suggests it might be a frigatebird. Shamans were drawn to animals that can exist in two worlds; in this case, our world and the upper world.
6. Breast ornament in the form of a stylised human figure
Goud; Tolima; Colombia; AD 500 – 1000; courtesy of MAS - Museum aan de Stroom
Tolima figure ornaments are perhaps the most iconic examples of shamanistic transformation in pre-Columbian metal art. A shaman could only undergo transformation once he had been purified, by fasting for days, for example. Shamans sometimes used hallucinogenics such as the seeds of the cojóbana tree to ease their transition to the spirit world.
7. Crosier
Jacques van der Mey (design) and Noud Willeken (goldsmith); gold, silver, ivory, agate, sapphire; Amsterdam; 1937; courtesy of Museum Catharijneconvent
A crozier is used in the Roman Catholic church to reflect the dignity of bishops and abbots. The staff is in the form of a shepherd’s crook, symbolic of their pastoral care of the congregation. The crosier is carried only during mass. This one comes from the former St. Paul’s Abbey in Oosterhout. In the curl of the crosier there is an image of the annunciation, when the Angel Gabriel told Mary that she would give birth to the son of God.
8. Cross pendant
Gold; Netherlands, Volendam; 1890-1900; courtesy of the Dutch Open Air Museum Arnhem
9. Pectorale
Gold alloy; Netherlands, Noord-Brabant; c. 1860; courtesy of the Dutch Open Air Museum Arnhem
10. Cross pendant
Gold; Netherlands; 1853-1906; courtesy of the Dutch Open Air Museum Arnhem
This cross is decorated with Christian symbols back and front. On one side there is a monstrance, in which the host is kept during the Roman Catholic mass, and on the other side there is an image of the Lamb of God surrounded by angels. The Lamb of God symbolises Jesus, who sacrificed himself to absolve humans of their sins.
11. Pectorale
Made by Antonio Tanfani; gold, silver, amethyst, semi-precious stone; Italy; 1900-1924; courtesy of Museum Catharijneconvent
This lavishly decorated pectorale, which belonged to Cardinal Willem Marinus van Rossum, is also a reliquary. The arms of the cross contain four bone relics from four saints.
12. Cardinal’s ring
Made by Antonio Tanfani; gold, citrine; Italy; 1911; courtesy of Museum Catharijneconvent
Pope Pius X appointed Willem Marinus van Rossum cardinal in Vatican City in 1911. Cardinals assist and advise the pope. The day after his appointment, Van Rossum received this ring. The pope’s coat of arms appears on the inside. Roman Catholics sometimes kiss the cardinal’s ring as a sign of respect for the wearer.
13. Helmet
Gilded bronze; Nepal; 17th century; purchased from L.H.F. Groenhuizen; RV-3096-1
This priest’s helmet, worn by a Vajracharya priest from Nepal, features four of the five Dhyana Buddhas. Each one represents a compass direction and an aspect of the priest’s personality. There are also images of four goddesses, and a vajra, a sceptre in the shape of a bolt of lightning, on the top of the helmet.
14. Mama Aisa
Boris van Berkum (b. 1968, Rotterdam); gold, plastic; 2022; courtesy of the artist
In 1998 Winti priestess Marian Markelo received a request from her ancestors to restore the visual art tradition that had almost disappeared in Suriname during the slavery era. She asked artist Boris van Berkum to help her.
Their collaboration led to this image of the mother goddess of Winti: Mama Aisa. She is the patron of art, medicine, trade and all flora and fauna. Markelo posed for the sculpture. Mama Aisa enjoys showing off her finery, gold jewellery and batik fabrics. Her colour codes are shades of brown, copper and gold. Versions of this sculpture exist in several sizes and colours.
15. Buddha statue with the right hand in bhumisparsha mudra
Gilded metal, clay, mica; Thailand; 19th century; purchased from H. Fruhstorfer; RV-1344-133
16. Statues of the gods Batara Wisnu and Dewi Sri
Gold leaf, wood; Bali, Indonesia; before 1971; gift of J. van der Waa; TM-4024-1, -2
These small statues, known as arca lingga, serve as temporary repositories for deities who are invited to earth during a Hindu temple ceremony. These are the statues of Batara Wisnu, the god of prosperity and protection, and of Dewi Sri, goddess of rice, fertility and beauty. During the ceremony, offerings and supplications are made to the deity. The ceremony ends with the ritual bathing of the statues. They are then asked to return to their home above Mount Agung, a sacred mountain in Bali.
17. Buddha
Gilded metal; Thailand; 19th century; gift of H. Fruhstorfer; RV-1419-11
Here, the Buddha sits on a rock, as an elephant and a monkey kneel before him. The scene refers to a story. When the Buddha was in Kaushambi, a dispute arose between the monks in the city. The Buddha realised that monks are also just people. He decided to withdraw into the forest until the monks had learned their lesson. While he was in the forest, an elephant gave him water, and a monkey brought him a honeycomb.
18. Buddha
Gilded wood; Chiang Mai, Thailand; before 1973; acquisition arranged by F. Cowan; TM-4113-456
19. Buddha
Gilded tin, mica; Thailand; 19th century; purchased from the International Colonial and Export Exhibition; RV-415-14
The statue of the Buddha has both hands in abhaya mudra. This double-handed gesture is known as ‘calming the ocean’ in Thailand. This type of Buddha statue is part of a group of seven in Thailand that correspond to the days of the week. People pay special tribute to the Buddha that belongs to the day on which they were born. The Buddha making this gesture is associated with Monday.
20. Buddha with the right hand in bhumisparsha mudra.
Gilded tin, mica; Thailand; 19th century; purchased from the International Colonial and Export Exhibition; RV-415-20
The bhumisparsha mudra hand gesture symbolises the moment that the Buddha achieved enlightenment, and called upon the earth to bear witness.
21. Buddha Bun-Su
Wood; China; 1886-1890; purchased from J. J. M. de Groot; RV-1092-29
22. Relief with image of Sutasoma carried by Kalmasapada
Gold; Java, Indonesia; 1293-1400; exchanged with University of Amsterdam; TM-2960-319; courtesy of the Rembrandt Association
This piece depicts Prince Sutasoma seated on the shoulders of the king-demon Kalmasapada. The demon Kalmasapada has long unruly curls, bulging eyes and fangs, symbolising his wild and unrestrained character. He is abducting Prince Sutasoma, who has neatly styled hair and fine facial features, which denote self-control and a noble character.
23. Part of a head ornament
Gold, ruby; Bali, Indonesia; gift of F. Liefkes; RV-liefkes-346
This ornament, in the form of a bird’s head, garuda mungkur, is set with six rubies. The garuda mungkur was worn on the back of a headdress to protect the wearer from evil approaching from behind. Priests in Bali also wear these headdresses. Dance costumes often feature a garuda mungkur on the back of the dancer’s crown.
24. Decorative object
Gold; Java, Indonesia; 750-1550; exchanged with University of Amsterdam; TM-2960-317; courtesy of the Rembrandt Association
This decorative gold object is from the Indo-Javanese period (750-1550). It is made of gold sheet that was been hammered into shape before the finer details were applied. The position of the hands suggests that this is not a deity. It is more likely to be a portrait of a Javanese king.
25. Statue of a god in a box
Gilded lacquerwork, wood; Edo period; Japan; before 1837; purchased from P. F. B. von Siebold; RV-1-3595
Buddhist deities are worshipped not only at temples, but also at home and on the road, hence the ring on this small travel altar, through which a cord could be passed. When the doors are opened, a statue of Fudō Myōō, the Immovable King of Wisdom, is revealed. The gold, symbol of purity, illuminates the sacred figures when it reflects the sunlight.
26. Relief of Medusa
Gold; Nikopol, Ukraine; 400 – 200 BC; courtesy of the National Museum of Antiquities
Gold relief plaques like this were worn on the cloths as amulets to ward off evil. The symbol of Medusa’s head was very appropriate. Medusa had the ability to turn opponents to stone by looking at them. In classical antiquity, the coastline of the Black Sea was inhabited by Greeks, who brought with them myths about Medusa and other characters.
27. Decorative plate featuring images of Neptune, Poseidon, Amphitrite, a nymph and a sea bull
Gold; Southern Italy; 300 – 200 BC; courtesy of the National Museum of Antiquities
Amphitrite was a beautiful sea nymph. She did not wish to marry, but her beauty attracted the attention of Poseidon, god of the sea. Though she fled far away, a dolphin managed to persuade her to marry Poseidon. Once she had agreed, a wedding procession with a multitude of different sea creatures took place. This gold plaque, probably part of the fittings from a jewellery box, shows Poseidon and his bride seated on the back of a sea bull. Another sea nymph can be seen in the background.
28. Aegis featuring Sekhmet
Gold, bronze; Egypt; New Kingdom or later; courtesy of the National Museum of Antiquities
The ancient Egyptians thought that the flesh of their gods was made of gold. It was therefore regarded as a sacred and powerful material, and was often used to depict gods. This aegis (a protective shield) has an image of the goddess Sekhmet, who can be identified by the lion’s head and the gold disc surrounding her head.
29. Isis or Hathor figure
Gold; Egypt; early Third Intermediate Period or later; courtesy of the National Museum of Antiquities
This small figure depicts Isis or Hathor (both of these goddesses have a sun disc and the horns of a cow). Hathor was the daughter of the sun god Re and was therefore regarded as the embodiment of gold. She was also known as the ‘Golden One’. Isis and her sister Nephthys were often depicted seated on the hieroglyph for gold.
30. Eros ear pendant
Gold; Turkey; 300 – 200 BC; courtesy of the National Museum of Antiquities
Both men and women would wear jewellery in antiquity. But ear pendants, often featuring charming images, were exclusively for women. Many pendants depicted the goddess of love, Aphrodite, and her young son Eros. This gold Eros was part of a larger ear ornament, which might also have included an image of his mother Aphrodite.