Felines of the Global Renaissance: Fierce or Friendly?

Throughout history, felines have been prominent in the natural world, ranging from lions and jaguars to simple housecats, and everything in between. Felines in general have been both wild and domesticated animals for thousands of years and have played a significant role in human society throughout history. They have been revered as sacred animals in some cultures, reviled as pests in others, and celebrated as beloved companions in many.

For one, in ancient Egypt, cats were considered sacred animals and were often depicted in art. They were associated with the gods and goddesses and often the subjects of statues dedicated to pharaohs, like the Great Sphynx of Giza. (Diesel 78-83) Similarly, in the Americas, wild felines like jaguars were associated with great strength and power, and were often the symbols of royalty. On the other hand, in medieval Europe, cats were often associated with witchcraft and the devil, leading to the widespread persecution of cats. (Mark)

In turn, cats eventually became a useful and celebrated tool following the Medieval period to control rodents and other pests, not only in Europe but throughout Asia as well. Rather than being associated with witchery and evil sorcery, they became key symbols of idealistic domestic life throughout the global renaissance, often showing high social status and power of those associated with the felines. (Brown, 113, 117) This transition led to the spread of cats around the European and Asian continents and their eventual popularity as pets. Other felines such as jaguars and leopards were depicted in art as symbols of power and strength, donned by powerful leaders and featured in monuments in American and African empires such as the Aztecs and Benin. Simultaneously, during the global renaissance, felines became symbols of beloved companionship as well as courage and power when depicted in art.

This hanging paper scroll from the Edo period is currently held in the Metropolitan Museum of Art. (Fig. 1) A peaceful, chubby-looking cat is arranged as the main subject, painted with soft brushstrokes of ink and added dimension through more distinct details of whiskers and striped fur. From the frontal view, the face of the cat is unmistakably in a state of deep sleep. (Fig. 2) Its legs are comfortably tucked in, causing its form to appear very round and symmetrical. Additionally, the use of soft, muted colors adds to the overall sense of serenity and calmness, suggesting a peaceful and contented state of being. To the left of the feline, three columns of script are written, translated as the following poem:

Deep asleep the cat lies  as if amid ‘deep grasses’ of peony blossoms,  perhaps having a dream  in which he is a butterfly! (Fig. 3)

This poem, written by the artist himself, references a very famous Japanese philosophical idea known as “Zhuang Zhou dreaming he is a butterfly,” and by conjoining this imagery with words referencing peonies and butterflies, he highlights these favorite themes of East Asian painting. (The Metropolitan Museum of Art)

On another note, the artist Hōzōbō Shinkai was a Buddhist monk of the Edo period in Japan. (The Metropolitan Museum of Art) During this period felines were frequently the subject of the works of painters, printmakers, and calligraphers, but additionally, cats were kept as companions in Buddhist temples to kill rodents that often had the habit of eating through the parchment of manuscripts. (Brown 116) In the early seventeenth century, there were even government orders in place to release all private ownership of cats in order to protect the silkworm industry from rodents. (Brown 115)

In essence, felines of the East Asian world were symbols of prosperity, mindfulness, and meditation in Japanese culture and were often celebrated for their useful skills and the beauty of the feline form. The effect of Shinkai’s work is one that delicately expresses the serenity of the feline through the slight humor of his word and simple, but intricate brushstrokes.

The Ocelotl Cuauhxicalli, which is currently housed in the Museum of Anthropology, Mexico City, has a rather sinister purpose in contrast to other artworks, like the Dreaming Cat of the Japanese Edo period. (Fig. 4) In Aztec culture, a “cuauhxicalli” was a vessel used to store the hearts of sacrificed victims, often sculpted in the form of animals like the jaguar, or “ocelotl.” (Aguilar-Moreno) This sculpture is of large scale, measuring 34.5 x 30.7 x 74.5 feet, creating a “larger than life” effect on those who surround it. (Google Arts & Culture) This particular cuauhxicalli jaguar is crouched and alert, bearing its ferocious teeth. On its back, there is a hollow space carved for the purpose of holding sacrificial items. It is noted that while the jaguar holds an intense expression with wide eyes that may suggest ferocity alone, its purpose is more of a somber nature, acting as a vessel related to the act of sacrifice and death. (Aguilar-Moreno 179)

The significance of the jaguar in Aztec culture is representative of not only royalty and status symbols but also the Earth and the Underworld, where one’s physical corpse would be buried and where their soul would travel after death. In essence, the jaguar “stands for the Earth receiving sacrificial offerings." (Aguilar-Moreno 179)

An additional detail that can be found in a hollowed out carving on the cuauhxicalli’s back are two figures with striped bodies and skeletal jaws. (Fig. 5) The figures are carved in an abstract style common to Aztec sculpture, with an almost grotesque arrangement of limbs, rather than being depicted from naturalistic perspective. This is believed to be a reference to the Aztec peoples’ value of ancestry, as the figures appear to be performing rituals similar to those of past kings. The vessel, commissioned by Motecuhzoma II, likely served the secondary purpose of linking his reign to pasts rulers and gods. (Aguilar-Moreno 179) The ferocity of the sculpture and its relation to the Aztec culture makes it clear that jaguars had a close symbolic relationship with social status, royalty, and spiritual and political power.

The Old Woman with the Cats is an etching by Jacques Callot, who was a renowned French printmaker and draftsman of the 17th century. (Fig. 6) This etching is part of the series The Beggars (Les Gueux), a collection of etchings that depict various marginalized individuals from different social classes, including beggars, thieves, and prostitutes. (Princeton University) The Old Woman with the Cats particularly stands out as a poignant representation of an elderly woman in a state of poverty, surrounded by feline companions.

The old woman is seated on a stool with her back turned and hunched, warming her hands while in the company of two resting cats. Her tattered clothing suggests a state of destitution and the precise etchings of the wrinkles on her hands emphasize that she’s been worn down by the barren lifestyle. (Fig. 7) Yet, despite all of this, the two cats surround her peacefully, offering a source of comfort and love. At the base of her feet and atop her lap lie two peaceful cats, with restful expressions similar to the one portrayed in Dreaming Cat. (Fig. 8) In contrast to the Aztec cuauhxicalli, the presence of these felines is an inviting one rather than fear-inducing.   

Their presence adds a sense of intimacy and companionship to the scene, suggesting that the cats are the woman's sole source of comfort and companionship in her difficult circumstances. These themes are consistent with Renaissance depictions of cats as domesticated, friendly animals. Ironically, in most Dutch and French Renaissance art, cats were often depicted in the possession of high-ranking women and incorporated them into the paintings as status symbols. (Brown 117) Yet, Callot’s placement of these felines helps to humanize the beggars and other lower-class figures that he sympathetically depicts within his art.

As previously stated, The Old Woman with the Cats is part of Callot's series The Beggars (Les Gueux). This collection of etchings also included The Blind Man and his Dog, depicting a blind beggar and his canine companion. Similarly to the cats accompanying the hunched Old Woman, the Blind Man's dog is tranquil yet alert at his side, suggesting a sense of solace and protection for his fatigued owner. According to the Princeton University Art Museum, rather than allegories or metaphors, these pets are sources of comfort and love. These two similar etchings suggest dignity and humility in their subjects, highlighted by their feline and canine companions.

Prior to our visit to Philadelphia, I did some light research on the Benin bronzes after being introduced to them during class. Within many of the pieces, animals such as snakes, alligators, and even felines were depicted and were used to symbolize many different things. At the Penn Museum, the vast collection of these bronzes made it simple for me to find a piece that could relate to my research of felines in the Global Renaissance. One that stood out to me immediately was a hip-pendant designed in the form of a leopard's face. Like the many other bronzes we discussed in class, this pendant mask had patterns finely carved upon the abstracted facial features of the leopard. Similarly to the Ocelotl Cuauhxicalli, the leopard has intense-looking eyes and bears its incisors fiercely. I thought it was fascinating how different these two compositions appeared on the surface level, yet their implications and symbolism were nearly the same. According to the Penn Museum, chiefs in Benin would wear these decorative pendants at their hips as part of their official regalia. They often showed symbols of the Oba's authority, including leopards, like this one. Overall, the field trip further proved to me that large felines like jaguars, leopards, and lions were often interpreted in similar ways during the Global Renaissance, despite the range of cultures they populated.