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ETHIOPIAN NECK CROSSES FROM THE COLLECTION OF JOSEPH AND MARGARET KNOPFELMACHER. ILLUSTRATED CHECKLIST BY ROBERT J. AND AUDREY KOENIG. MAY 7, 2006 THROUGH JANUARY 8, 2007.

Ethiopian Neck Crosses from the Collection of Joseph and Margaret Knopfelmacher features 170 beautiful examples from one of the best collections in the world. The Knopfelmachers have been collecting for over fifty years.

'Since the fourth century, the beliefs and rituals of Christianity have had a great impact on Ethiopia's culture and history. In AD 324, Ezana, ruler of what was then the Aksumite Kingdom, converted to Christianity. Aksum was at that time a well-established state with trading ties to Egypt, Arabia and the eastern Mediterranean. These connections would be enhanced over the centuries, leading at times to harmonious ties with Christian countries in the West, such as Italy and Portugal, and at other times, to war with neighboring Islamic lands. For most of its history, Ethiopia has been ruled by a king or emperor. However, during the revolution of 1974, Emperor Hailie Salassie (reigned 1930-74) was deposed, resulting in the transformation of the Christian Kingdom into a secular republic. Haile, Getatchew. Daily Life and Religious Practices in Ethiopia in Ethiopian Art. Walter Art Museum, Baltimore, 2001. The history of neck crosses in Ethiopia can be traced back to the fifteenth century, when Emperor Zara Yacob decreed that every Christian in the empire wear one. Very few of the early bronze, copper or gold crosses have been preserved, but later silver ones are abundant.

During and after the nineteenth century, the silver was obtained by melting down Maria Theresa thalers. Traditionally, neck crosses were cast in the lost-wax technique (cire perdue), but the cross might also be cut from flattened metal. Typically these were incised. Designs are varied and intricate. There are very simple crosses forged from iron, but there are also very elaborate ones with intricate incised or filigreed designs. Crosses may be framed in circles, lozenges or stars; they may be closed, looped, barbed and with straight or flared arms. There are some Latin crosses in the collection, but the Greek Cross predominates.
In the Latin cross, the segment below the crossing 'arm' is longer than the segment above it; in the Greek cross, they are equal). In the traditional form, the figure of Christ is never shown on the cross.

Ear spoons or ear picks are as exquisitely crafted as neck crosses and frequently incorporate the cross as part of their design. It has been speculated that while they could be indeed used to remove wax from the inner ear, they were also used to transport substances which enhanced the religious experience to the mouth or nose. The Star of David was worn much like the neck cross and emphasized the relationship of Christian Ethiopians to Israel, King Solomon and the Queen of Sheba.

Two important New Exhibitions, AFRICAN MUD CLOTH: THE BOGOLANFINI ART TRADITION OF GNELI TRAORE OF MALI and ETHIOPIAN NECK CROSSES FROM THE COLLECTION OF JOSEPH AND MARGARET KNOPFELMACHER open at the African Art Museum of the SMA FATHERS on Sunday, May 7th. There will be a reception, open to the public, from 4 to 6 p.m. AFRICAN MUD CLOTH will continue through september 4th, 2006; and ETHIOPIAN NECK CROSSES through November 19th, 2006.