Volume II

3. Catalogue Entries

3.1 General Entries

In addition to the general classifications, each catalogue reference includes nine entries: catalogue number; museum number; plate reference; description; material; technique; size; old catalogue number; and reference to the two MDAFA volumes in the following manner:

• Catalogue N
• Plate
• Description
• Material
• Technique
• Size
• Marks
• Reference
• Old Cat. N°
• Museum Number

‘Catalogue number’ reflects the subject classification as noted in the conspectus. ‘Plate’ refers to the illustrations of the finds in this Volume (II). The ‘Description’ entry is concise, since the illustration affords a direct view of the depictions. The ‘Material’ reference where possible mentions whether a particular piece was identified as bone or ivory. The ‘Size’ entry speaks for itself. The ‘Marks’ entry shows a facsimile of marks which appear on the reverse of some of the objects. And to assist the reader in cross-checking entries with the two excavation reports, a ‘Reference’ is given to the excavation number and year [9], pages and illustrations number of the particular find in the MDAFA volumes. In addition, to further assist the reader the ‘Old Catalogue N°’ as well as the ‘Museum N° [10]’ of the carving is given.

These above entries are straightforward and need no further explanation. However, ‘Museum N°’ and ‘Technique’ entries are denoted by abbreviations which need elaboration, which is offered in the following section 3.2.

3.2 Museum and Technical Abbreviations

Each ‘Museum number’ catalogue entry which was archived in the Kabul Museum carries a number, preceded by the capital letters MK. Those pieces stored in Musée Guimet are denoted by either MG or MA (Musée Asiatiques [11]). Those entries which stem from the Cleveland Museum of Art and are designated there solely by a number have been provided with the letters CMA to further identify them.

As discussed in Volume I, section 2.3, Hackin organized the distinct carving techniques first into three main divisions which he referred to a A, B and C, and second into intermediate stages referred to as techniques Abis and Ater. Technique A was, according to Hackin, the simplest version with an incised decoration. Technique Ater, characterized by greater hollowing-out of the undecorated parts, formed the intermediate stage between the simple incised version A and technique B, with its presentation of flat relief. Technique Abis formed another transition from simple incised pieces and was characterized by stronger incisions of the contours and by the gouging-out of the decorated part, creating a relief in reverse. Technique C, in Hackin’s classification, was technique Abis at its zenith.

As discussed in Volume I, section 2.3, Hackin’s classification can become confusing since many pieces such as those carved in high relief, are left out of the classification scheme and are referred to as variations on a theme. Also, Hackin’s classification implies a degree of ‘perfection’ or ‘development’, which fits the early and widespread presumption that the ivory and bone pieces were carved in different eras. However, since this thesis departs from the generally accepted notion that these objects formed part of a ‘treasure’ hoarded over time and instead proposes that they were contemporaneous and probably part of merchants’ stock, the following different set of technical distinctions is offered which does not imply a linear ‘progress’ of techiques:

• Incised or Engraved (I or E) [12]
• Various relief: Light Relief (LR), Flat relief (FR), High relief (HR)
• Openwork (OW)
• Double faced (DF)
• In the round (R)

The distinction between incised (I) and engraved (E) is admittedly minor, with the latter having deeper contour lines and more gouging-out of the undecorated parts. The decoration of the plaques carved in flat relief (FR) stand out against a sunken ground, with the decorative parts remaining unmolded. The plaques with high relief also stand out against a sunken ground but the decorative parts have been molded as well. Some very high relief plaques are carved almost in the round, though the backs remain uncarved. The plaques with openwork, which are in high and light relief, have the undecorated part completely gouged out. This technique is often used in plaques carved on both sides, resulting in another category of double-faced plaques. The last technical distinction is that of objects carved fully in the round.

Footnotes

[9] Although the exact room, 10 or 13, in which the ivory and bone carvings were found are not noted, room N° 10 was excavated in 1939, and room N° 13 in 1954. Thus, the ‘Reference’ entry will alert the reader to the location.

[10] The museum N°s of Kabul Museum were collected by Dr. Francine Tissot, former curator of Musée Guimet, and noted by hand in Musée Guimet’s copies of the two MDAFA volumes.

[11] When part of the present Musée Guimet collection was in the Louvre.

[12] The abbreviations are offered to save space in the catalogue entry when an object has been carved with a combination of techniques.

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