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Paul Spencer Sochaczewski

Why Do We Collect?

Posted on 12. Dec, 2021 by in Ganesha and Collecting

Why Do We Collect?
Deep Psychological Need or Harmless Pastime?

The Evolution of Stuff, from Searching for Ganesha.

Barbie dolls. Porcelain chickens. Medieval armor. Stamps. Toothpaste tubes. Fossils. Butterflies. What is behind this widespread need to collect?  Does quantity matter? What do the psychoanalysts say — harmless pastime or dangerous obsession? 

I was a semi-nerdy kid growing up in northern New Jersey.  Like many youngsters, I suppose, I collected stuff — baseball cards, rocks, and North American arrowheads. (As an adult I run across other men of my Baby Boom generation who collected these artefacts. Were there really so many arrowheads floating around in 1950s-suburbia?) 

My primary interest, though, was Roman coins. My favorite is a dupondius of Augustus and Agrippa celebrating the military victory against the combined forces of Mark Antony and Cleopatra at the Battle of Actium in 31 BCE. This coin, which cost me my modest weekly allowance, set the stage for Gaius Octavius to become the first Roman emperor, Caesar Augustus. The reverse shows a crocodile chained to a palm tree (pretty obvious Egyptian symbolism, even to a 15-year-old boy) with the legend col nem, indicating that it was minted in Nemausus (now Nimes, in southern France). I like to hold such coins and wonder what stories they could tell from 2,000 years ago. 

 

Pride of my collection — a dupondius, c. 31 BCE, celebrating the victory of Augustus and Agrippa over the forces of Marc Antony and Cleopatra.

* * * 

Everyone has stuff. Some of it is basic and essential to provide shelter, food, transport, and clothing. But stuff has a tendency to expand.  Essential stuff can too easily branch off into too-much stuff, which becomes clutter. The stuff might then grow a metaphorical tree limb and become an obsession, leading to hoarding. Or, in turn, the stuff might acquire emotional value and become a collection. 

Sigmund Freud, the father of modern psychoanalysis, was what I call a “magpie” collector.  His consultation room in London, now a museum, is filled with some 3,000 varied antiquities, including a fifth-century BCE sphinx, a reproduction of Michelangelo’s Dying Slave, African tribal sculptures, Egyptian mummy bandages, and plenty of phalluses (make of that what you will).  Pride of place went to a bronze of the goddess Athena, the female deity of wisdom, which he said protected him during his self-exile from Vienna. He reportedly told Carl Jung, “I must always have an object to love.”  

Freud suggested that a chronic gatherer and organizer is locked in an anal-retentive mode, unwilling to let go, unable to touch his emotions.  Writers Benjamin Poore and Harriet Agerholm described Freud’s theory: “Our sense of ourselves — the ‘I’ that we each imagine ourselves to be — is made up of all the people and things we have once cherished and then lost or abandoned. Your identify is the accumulated heap of lost love objects. Which is to say, if you were to wander around your psyche, it might look rather like a room stuffed to the gunnels with dusty old artefacts, some tarnished, and now unloved, some recently rearranged, or polished; rather, in fact, like Sigmund Freud’s study.” 

The desk of Sigmund Freud. He was a keen collector; he suggested that a chronic collector is unwilling to let go, unable to touch his emotions.

Werner Muensterberger, an ethno-psychiatrist, amassed an important collection of African masks. He wrote: “Observing collectors, one soon discovers an unrelenting need, even hunger, for acquisitions. This ongoing search is a core element of their personality. It is linked to far deeper roots … which derives from a … sense memory of deprivation and a subsequent longing for substitution, closely allied with moodiness and depressive leanings.” 

Carl Jung felt that accumulations represent a collective, unconscious need to hoard “nuts and berries” once needed for survival by our early ancestors. 

Carl Jung thought collecting related to the precarious survival of our ancestors — a psychological hoarding of “nuts and berries.”

This psycho-babble can be tiring.  Perhaps the answer is simple. Might a collection be a litmus test to determine how people react? Maybe a collection a way of self-individuation, a way to say:  Hey, I’m different. I’m interesting. Attention must be paid.

Some collectors think size matters, and go to great lengths to win a Guinness World Record. Some of my favorites:

  • Garden gnomes. 2,032. Ann Atkin, UK
  • Beer cans. 96,000. Jeff Lebon, USA
  • Stuffed toy cows. 1,679. Emeline Duhautoy, France
  • Banana labels. 21,000. Becky Martz, USA
  • Airline sickness bags. 6,290. Niek Vermeulen, The Netherlands
  • Bottles of hot sauce. 11,000. Vic Clinco, USA
  • Toothpaste. 1,400. Val Kolpakov (a dentist), USA

Ann Atkin holds the Guinness World Record for the largest collection of garden gnomes — 2,032.

I particularly admire off-the-beaten-track collectors, interested more in the stories they tell more than the quantity:

  • Vintage photographs of people kissing: (Barbara Levine, USA). Barbara says she has “a lot.” She also has a writer’s sensibility: “I hope these photos reveal something not seen at first glance. With kissing photos, we immediately start creating a story: Who are they? What do they see in each other? Is it mutual? Are they kissing the way I kiss or want to be kissed? Who was the invisible photographer who had access to the intimate moment? I began and will continue to collect because the best found photographs transcend time and place to speak to contemporary questions and sensibilities.”
  • Famed writer Vladimir Nabokov had a drive to collect butterflies, saying “literature and butterflies are the two sweetest passions known to man.” During a 1941 family road trip along Route 66 he collected some 300 North American specimens, which he donated to the American Museum of Natural History. Nabokov not only served for six years as curator of Harvard’s Museum of Comparative Zoology’s Lepidoptera wing but developed an evolutionary theory related to his study of the Polyommatus genus of butterflies, commonly called “blues.” He was so taken by butterflies that he gushed unabashedly in his memoir, Speak, Memory: “Let me also evoke the hawkmoths, the jets of my boyhood! Never have I waited with such a keen desire… ‘Catocala adultera!’ I would triumphantly shriek…as I stumbled home to show my captures to my father.”

Vladimir Nabokov was a passionate and serious butterfly collector.

  • Victorian polymath Alfred Russel Wallace was an extraordinary collector of “natural productions.” During the eight years he spent in the Malay archipelago (now Malaysia, Singapore, Indonesia, and Timor Leste) Wallace collected a haul of 125,660 specimens, including 900 new species of beetles, 50 new species of butterflies, 212 new species of birds, and, perhaps most astonishingly, 200 new species of ants. He collected for three reasons. First, he was self-funded, and selling natural history specimens to collectors in Europe was his only source of income. Second, he was a self-taught taxonomist (he left school at the age of 14) and not only did an exemplary job of identifying new forms of birds and insects, but he studied their geographic distribution which informed his writing on biogeography, island endemism, and his theory of evolution by natural selection, which he developed prior to, and independently of, Charles Darwin. But the third element was, for me, the most interesting. Unlike other 19th-century explorers, Wallace gushed with excitement when he found new critters. Much like Nabokov, when he discovered the great birdwing butterfly (Ornithoptera poseidon) he wrote: “I trembled with excitement … lost in admiration … [I gazed] upon its fresh and living beauty, a bright gem shining out amid the silent gloom of a dark and tangled forest. The village of Dobbo held that evening at least one contented man.” And when he caught his first golden birdwing butterfly (Ornithoptera croesus) he enthused: “The beauty and brilliancy of this insect are indescribable … On taking it out of my net and opening the glorious wings, my heart began to beat violently, the blood rushed to my head, and I felt much more like fainting than I have done when in apprehension of immediate death. I had a head-ache the rest of the day, so great was the excitement produced by what will appear to most people a very inadequate cause.”

The capture of Ornithoptera poseidon caused Alfred Russel Wallace to “tremble with excitement.”

I enjoy the friendship of museum curators. They are affable and have travelled widely and with purpose. These men and women are always ready with a fun anecdote. Two of my favorite museum-related collection-tales:

  • String: An assemblage allegedly found in the study of a retired curator at the Natural History Museum in London. The shoe box was neatly labelled “pieces of string too short for use.” The curator-collector had not classified the pieces by length, color, or material, which would place this random grouping more in the taxonomic realm of a hoard rather than a collection.
  • Dust: An unnamed French entomologist collected historic dust. According to my friend Chris, himself a museum curator: “The scientist consulted at the world’s great natural history museums, and every time he visited a new collection, he would take a sheet of paper, thinly cover it with glue, and lay it face-down on the top of the tallest cabinet. His rationale was that this collection would include the skin fragments of most of the famous entomologists, and thus — I suppose, since he did not explore this further with me — would bring him closer to their genius. Sadly, he died some years ago now, and I have no idea what became of his collection. Given that he worked in the Muséum national d’Histoire naturelle in Paris, I am certain that it is still there, although almost certainly unlabeled.”

* * * 

Can we judge the quality of a collection by size (Guinness World Record!)? Does a collection need to be catalogued and put into taxonomic categories?  Do we acquire a new piece based on whether it is rare (or expensive), fashionable, or beautiful?  Does each object strike an emotional chord? 

I now collect statues, amulets, and images of Ganesha, the Hindu sweet-loving elephant-headed god who removes obstacles and supports writers. 

I don’t worship Ganesha. I’m fascinated by him, how he was created by Hindu marketing experts and retro-fitted into the pantheon, and why he has become one of the world’s favorite deities. 

But behind my modest collection of some 150 Ganesha-related pieces lies the nagging question.  Why? After all, I have just one mountain bike. One toaster. One garden hose. Surely one Ganesha should be enough? 

Each of my Ganesha statues tells me a story. And I, in turn, can tell stories about each one. How I acquired it. The aesthetic buzz I get by a statue’s sinuous form, the intellectual zing I get when trying to unravel a panel’s iconographic subtleties. With each piece I recall the people who influenced me during my quest.

I appreciate Ganeshas with mysteries. Many of my favorite Ganeshas are objets d’incertitude as much as they are objets d’art. What demon is Ganesha trampling in this bronze statue, and why? What’s a cowherd milking a cow doing in a portable shrine showing Ganesha with a Shiva lingam and a Parvati yoni? Why is Ganesha proudly holding an upside-down animal, which might be a dog? Why is Ganesha shown with the fierce form of his father, Shiva? Is this piece a somewhat-valuable antique or is it a lovely lost-wax reproduction made a few years ago by talented artisans in a cluttered village workshop?

I’ve contacted dozens of scholars for clarification on such confusing pieces. Some experts tried to help, but there was little consensus. Some offered wild theories, pulled out of the air. Some didn’t reply at all, perhaps reluctant to get involved in a fray in which they might be proved wrong. A few experts treated me like a simplistic amateur, replying with emailed smirks that barely concealed their bemusement why anyone would waste his time with a Ganesha that doesn’t meet classic-approved design specifications.

Some of my favorite Ganeshas in my collection. Clockwise from top left:

  • Baby Ganesha with Bhairava, the fierce form of his father Shiva. Wood. Nepal
  • Baby Ganesha with his mother Parvati. Terracotta. Tamil Nadu, India
  • Baby Ganesha with his mother Parvati. Wood. Nepal
  • Standing Ganesha with two rats entwined. Bronze. Himachal Pradesh, India
  • Standing Ganesha holding an animal by its legs. Unusual posture and symbolism. Bronze. Central Java, Indonesia
  • Crouching Ganesha, a rarely seen posture, with extensive handwritten yatra (sacred Khmer prayers). Wood. Isaan, Thailand
  • Ganesha seated in royal posture with five protective Nagas, in the style of traditional Vishnu images. Wood. Isaan, Thailand
  • Large Ganesha seated in Padmasana posture. Traditional Javanese motifs and symbols. Wood. Central Java, Indonesia

* * * 

For me, what counts in appreciating a piece of art is the chase, the “get” story, followed by the analysis and understanding of why, where, and how an object was created, and then, by the comfort of a winter fire, holding the treasure, precious only in sentimental, but rarely in financial terms, and sighing, “yup, pretty special.” 

The collection hasn’t taken over my life (or my house, to the relief of my wife).  But it has made life more interesting and, as Ganesha should, opened a few important doors to adventures and friends. 

But sometimes I wonder if collecting is a diversion, and that I should pay more attention to the wisdom of the Dalai Lama, who wrote:  “People assume that happiness stems from collecting things outside of yourself, whereas true happiness stems from removing things from inside of yourself.” 

Some day I will give away my Ganesha collection.  But for now, my accumulation of fat, skinny, multi-armed, one-tusked, sitting, standing, reclining, and dancing Ganeshas simply gives me pleasure.  That’s something Freud never mentioned. 

The 14th Dalai lama suggests that instead of accumulating things we remove clutter from inside of ourselves.

HOW MANY GANESHAS ARE ENOUGH?

And the record for most Ganeshas? Like Ganesha origin myths, it depends on who you ask.

  • Ganesha idols: 125,000 (Rama Shah, Mumbai, India). This is more of a factory production line than a disciplined, curated collection, since she made most of them herself. She once crafted 999 idols in one 24-hour burst, including nine she made blindfolded.
  • Ganesha-related objects: 19,022 idols, 20,426 photographs, 1,098 posters, 200 key chains, and 201 audio and videocassettes — he holds the Guinness World Record (Pabsetti Shekhar, Hyderabad, India).
  • Ganesha-photographs: 73,800 (Veena Suresh Oza, Indore, India).

My collection numbers around 150, about half of which are small Ganesha amulets. And, for the record, I wouldn’t trade a single one of my carefully selected Ganeshas for the largely anodyne statues and images in the large collections listed above. With collections, size doesn’t matter.

 


This article is excerpted from Searching for Ganesha: Collecting Images of the Sweet-Loving Elephant-Headed Hindu Deity Everyone Admires.

ISBN: Print: 978-2-940573-37-0
E-Book: 978-2-940573-38-7

 

 

“A treasure. Pure intellectual homage, part personal journey, part sheer whimsy. A noble tip of the hat to one of the world’s favorite gods.” 

Ro King, chair, Global Heritage Fund and chair emeritus, Indonesian Heritage Society.

 

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