Welcome to Mountain Tattooed Mountain Women and Spoon Boxes of Daghestan Blog

Published by Bennett and Bloom

As you may know, Tattooed Mountain Women and Spoon Boxes of Daghestan came a close second in the Diagram/Bookseller contest to find the strangest title of 2007. Well here is a chance to find out what lies beneath such a fascinating title. Below are answers (with additional comments) to some FAQ, as explained by co-author Robert Chenciner to John Humphreys on BBC Today Programme on Saturday 10 March 2007. Why not write in and put your questions to the publishing team and author or simply share your comments?

Why do women's tattoos and spoon boxes feature in the same book?

As Robert Chenciner, co-author of Tattooed Mountain Women and Spoon Boxes of Daghestan, explained to John Humphreys on BBC Today Programme on Saturday 10 March 2007:

The reason why womens’ tattoos and spoon boxes share a book is given by the book’s subtitle ‘Magic medicine symbols in silk, stone, wood and flesh.’ Both ward off the evil eye, which is the cause of all sorts of misfortune.

The tattoos found mainly on village women (rather than men, excepting some who were ill as young boys) are a mark of initiation often first applied about puberty and the tattoos have magic effects to ensure the health and fertility and prowess (i.e. fleet of foot) of the woman and her family.

The spoon boxes are part of the ritual furniture/ objects that include the hearth, again there to reinforce the well-being and strength of the ‘house’ and family.

What is the most popular tattoo?

Robert Chenciner, co-author of Tattooed Mountain Women and Spoon Boxes of Daghestan, explains

It’s the ‘adoration’ pose miniature male figurine which was on breasts, between breasts, forearm, wrist, hands and insteps of 18 women out of the 109 who had tattoos, page 24. It was to ensure that they had a healthy baby to carry on the family. There is a spoon box with an ‘adoration’ man carved in relief, page 73 and it is found in stucco protecting the entrance/ threshold of houses, and on carved tombstones, page 65. The adoration figurine is most often found in ancient 7-8cm high lost-wax copper alloy figurines found in mountain villages, and which, according to metal content analysis and other archaeological evidence were made before 5th century AD, page 17.

What are spoon boxes?

The spoon boxes feature in our book are up to one metre high, made of adzed and chip- and relief-carved wood and often painted. They hang near the hearth where the hearth-chain page 56 and steam from the boiled mutton link the house with heaven and the ancestors who are revered. As a residual sacrifice, page 58, the vapou, page 60, connects with animist deities. The great column pages 47, 50, 51 and 53, similarly symbolises the strength of the house and is a microcosmic symbol of separation of heaven and earth.

The ritual meal of boiled mutton in broth with ‘khinkal’ cylindrical sausage-shaped dumplings is accompanied by crushed garlic sauce and crushed walnut sauce, pages 62 and 63. The carved wood spoons have bowls across the half, in contrast to usual spoons which have bowls along the haft, are for eating the dumplings. The ritual meal is traditionally offered to guests who are the recipient of legendary hospitality which includes protection and honorary kinship and which brings honour to the host and his family.

The spoon box’s microcosmic shape often includes a sun sign on the back plank, topped with a sunbird finial. The triple-box section decorated front has carved figures such as warriors, rams, peacocks, arabesques, arches, sun-signs and so on. There are usually shaped feet beneath. It’s easier to look at any of the colour pictures in the book, on pages 64-89.