2002.50.171: Ornament in the shape of Karagoz Shadow Puppet, "Hacivat" Character

Identification and Creation

Object Number

2002.50.171

Title

Ornament in the shape of Karagoz Shadow Puppet, "Hacivat" Character

Classification

Recreational Artifacts

Work Type

puppet

Date

20th century

Places

Creation Place: Middle East, Türkiye (Turkey), Istanbul

Period

Modern

Persistent Link

https://hvrd.art/o/146192

Physical Descriptions

Medium

Painted leather

Dimensions

14 x 6.8 cm (5 1/2 x 2 11/16 in.)

Provenance

Recorded Ownership History

Stanford and Norma Jean Calderwood, Belmont, MA (by 1998-2002), gift; to Harvard Art Museums, 2002.

Acquisition and Rights

Credit Line

Harvard Art Museums/Arthur M. Sackler Museum, The Norma Jean Calderwood Collection of Islamic Art

Accession Year

2002

Object Number

2002.50.171

Division

Asian and Mediterranean Art

Contact

am_asianmediterranean@harvard.edu

Permissions

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Descriptions

Description

Shadow plays were first performed in the Ottoman Empire during the sixteenth century, with the popular form known as Karagöz (Black Eye) developing in the 1600s. These plays were put on mainly in the evenings during Ramadan, the month of fasting, as popular entertainment. Although Karagöz theater was essentially comedic, political satire was an important component; the stories and characters represented a broad cross-section of Ottoman culture in Istanbul. The popularity of shadow plays declined in the twentieth century with the advent of cinema, radio, and television. A single puppeteer assisted by one or two apprentices performed the Karagöz shadow play, moving the puppets behind a screen of white cloth. When the puppeteer pressed the painted, translucent-leather figures to the screen, oil lamps or candles behind them would cast their colorful shadows. The puppets were usually made in three parts—head, body, and feet—and joined together with pieces of gut threaded through holes. The single or double horizontal rods by which they were moved were attached to reinforced socket-like holes in their necks or upper bodies. While performing, the puppeteer, behind the cloth screen, could hear but not see his audience. He would be the voice of each figure regardless of its age, gender, or regional accent and would sing, recite poetry, and improvise all the lines, since there was no written script.

The figure represented here, Hacivat acts as the foil for Karagöz. With a pointed, turned-up beard, he represents a learned man who uses Arabic and Persian prose and professes encyclopedic knowledge of music, spices, gardening, and etiquette, although his erudition is regularly proven to be superficial. His reasoning limits his actions, often leading a frustrated Karagöz to beat him with an oversized arm.

This and the four other figures in this group represent major characters in the Karagöz stories. They are considered ornamental replicas, because they lack the holes necessary for the attachment of the puppeteer’s rods, have no moving parts, and are appreciably smaller than authentic puppets, which range in height from twenty-five to thirty-five centimeters.

Publication History

• Mary McWilliams, ed., In Harmony: The Norma Jean Calderwood Collection of Islamic Art, exh. cat., Harvard Art Museums (Cambridge, MA, 2013), p. 271, cat. 147, ill.

Exhibition History

• 32Q: 3620 University Study Gallery, Harvard Art Museums, Cambridge, 08/31/2019 - 01/08/2020

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