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Journal articles on the topic 'Clay figurines'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Biruta Loze, Ilze. "Small anthropomorphic figurines in clay at Ģipka Neolithic settlements." Documenta Praehistorica 32 (December 31, 2005): 155–65. http://dx.doi.org/10.4312/dp.32.11.

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Miniature Neolithic figurines in clay are a special topic of research. This especially concerns areas where their representation has so far been poor. While carrying out archaeological excavations in Northern Kurzeme, the north-west coastal dune zone of Rīga Bay, a ritual-like complex was recovered at Ģipka A site belonging to the local Culture of Pit Ceramics. It consists of several large and smaller fireplaces and pits, with the finds of fragmentary clay figurines recovered under the palisade that surrounded the settlement. The head and body of the miniature anthropomorphic figurines in clay have original modelling. It is possible to single out two types of figurine: with rather broad cheekbones, and oval modelling of face. The large amount of ochre found in the settlement and the purposeful breaking of figurines are evidence of their role during a rite. Clay figurines have a symbolic meaning, and the signs depicted on them, incised walking stick-shape and other motifs, are the symbols of early farmers.

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Makowski, Maciej. "Zoomorphic clay figurines from Tell Arbid. Preliminary report." Polish Archaeology in the Mediterranean XXIV, no. 1 (February 28, 2016): 627–56. http://dx.doi.org/10.5604/01.3001.0010.0118.

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The collection of clay zoomorphic figurines from Tell Arbid, a site in the Khabur river basin in northern Mesopotamia, comprises nearly 600 specimens, dated mainly to the 3rd and first half of the 2nd millennium BC. It consists of solid figurines and the much less numerous wheeled figurines and hollow figurines/zoomorphic vessels, as well as a single rattle in the form of a zoomorphic figurine. The animals represented include chiefly equids, sheep, goats, cattle, dogs and birds. The find context usually does not permit anything but a very broad dating, but an analysis of details of execution makes it possible to establish the chronology of particular objects. Identified chronological assemblages illustrate the character of zoomorphic representations in particular periods. A comparative analysis reveals, among others, diachronic changes in the popularity of representations of particular kinds of animals. These changes are considered in comparison with the results of an examination of the osteological material in an effort to observe whether they could reflect processes taking place in the animal economy of Tell Arbid.

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Morris, Christine, Alan Peatfield, and Brendan O’Neill. "‘Figures in 3D’: Digital Perspectives on Cretan Bronze Age Figurines." Open Archaeology 4, no. 1 (March 1, 2018): 50–61. http://dx.doi.org/10.1515/opar-2018-0003.

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Abstract The largest corpus of clay figurines from the Cretan Bronze Age comes from ritual mountain sites known as peak sanctuaries. In this paper, we explore how the ‛Figures in 3D’ project contributes to our understanding of these figurines, aiding in the study of the technologies of figurine construction and the typological analysis of distinctive styles. We discuss how the project has, more unexpectedly, begun to create new dialogues and opportunities for moving between the material and the digital by taking a multifaceted approach that combines the data from 3D models and 3D prints with experimental work in clay.

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Ramirez Valiente, Paz. "Red Ladies of Clay." Documenta Praehistorica 50 (September 25, 2023): 2–12. http://dx.doi.org/10.4312/dp.50.15.

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Colour and decoration were prominent features of Neolithic figurines. However, many such details and colours have faded over time, and it is only on close inspection that traces of colour are visible. This paper presents the innovative application to figurines of a technique based on the treatment of images with DStretch, a valuable tool for recovering the visualization of fainted pigments in clay figurines examined from Knossos. The method has the potential to illuminate aspects such as gender, age, status, identity or group affiliation through the study of colour in Prehistoric figurines.

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Rassamakin, Yu Ya. "THE SEREZLIIVKA TYPE FIGURINES AS AN EVIDENCE OF CONTACTS DURING THE LATE ENEOLITHIC." Archaeology and Early History of Ukraine 39, no. 2 (September 30, 2021): 338–49. http://dx.doi.org/10.37445/adiu.2021.02.22.

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The author analyzes the find of a new clay figurine of the Serezliіvka type at the Maikop culture settlement «Chekon» in the Kuban region. This find can be compared with figurines from burials of the Late Eneolithic in the interfluve of the Dnieper and the Southern Bug rivers. 25 figurines in 10 burials were found in this region. One figurine is known from the Trypillia settlement of Sandraki on the Southern Bug river (period Trypillia C/II). Two figurines are known in the burial on the Black Sea coast and one another in the Crimea. Figurines of the Serzliivka type are typical for the local Dnieper-Bug cultural group of the Late Eneolithic. This local group is characterized by features of the Lower Mikhailivka and Kvitiana cultures, as well as elements of the Latest Trypillia. The character of the clay of the statues is very close to the Tripolye ceramics and is not typical for the steppe ceramic traditions. The figurines have three form options in the design of the head and specific ornamentation of the drawn lines. The author notes the special features in the form, ornament and technology of making a figurine from the settlement «Chekon» in comparison with the Dnieper-Bug region. This figurine is an imitation of «classic» figurines from region between the Dnieper and Southern Bug rivers. The mobile population, which left on the territory of the Black Sea steppe burials of the Zhyvotylivka-Vovchansk type, could be the mediators in the emergence of this type of anthropomorphic sculpture so far from the main zone of its distribution. In this context, it is very important to note that ceramic products were found in the settlement, analogies of which are known in the settlements of Trypillia C/II. These artefakts from the settlement are important for the development of the concept of coexistence of the steppe population of the Late Eneolithic in the context of the development of agricultural societies.

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Yengibaryan, Nora. "Clay figurines from Agarak." ARAMAZD: Armenian Journal of Near Eastern Studies 16, no. 1-2 (December 31, 2022): 502–8. http://dx.doi.org/10.32028/ajnes.v16i1-2.1846.

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The archaeological site of Agarak is located southwest of a homonymous village in the Aragatsotn province of the Republic of Armenia. The excavated segment of the Agarak site is the northern rock platform which is divided into two parts by the Yerevan-Gyumri highway. The site was excavated during 2001-2014. Systematic excavations of Agarak revealed that the occupational phases of the stie date from the 29th century BC to the Late Middle Ages. This article discusses the Early Bronze Age figurines discovered in the L10 quadrant of the site. The figurines were found from the surroundings of the retaining wall bordering the rock platform, within disturbed cultural layers outside the retaining wall, resulting from later human activity. The pottery fragments inside the cracks of the rock platform and the lower layer of a dwelling built from cobblestone attest to Early Bronze Age human habitation on the rock platform.

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Kim, Dabin, and Gyoengseon Min. "A Facet of Geumgwan gaya society through their Clay Dolls." Yeongnam Archaeological Society, no. 84 (May 30, 2019): 31–58. http://dx.doi.org/10.47417/yar.2019.84.31.

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Clay Dolls, which means a doll made of earth, was excavated from the Silla area, mainly in Gyeongju. Accordingly, research on clay figurines in Silla has been carried out actively and it would not be too much to say that it was mostly Silla’s clay figurines which have been mostly studied so far. The study of clay figurines of Gaya has been relatively slow, probably due to the fact that the cases of excavations are very limited. Recently, various types of clay figurines have been excavated from the presumed royal palace site of Geumgwan Gaya under the excavation and investigation by the National Research Institute of Cultural Heritage. Earlier in Gimhae, a variety of clay figurines, including character clay figurines, were excavated in an excavation to create a site for a hanok living experience center. Based on these new data, this paper tries to infer the different characters, roles and significance of clay figurines in Gaya society, by studying various kinds of clay figurines excavated from Geumgwan Gaya territory. Bonghwang-dong, which is believed to be the center of Geumgwan Gaya, is a complex of relics including living facilities, hospitality facilities, trading facilities, workshop sites and earthen fortresses. Various clay figurines were excavated at the main sites of Bonghwang-dong s historical site, from which that the people of Gaya used clay dolls to perform ceremonial acts there can be inferred. In Bonghwang-dong sites other than the presumed royal palace ruins, horse shaped clay dolls and the clay dolls resemble utensils used in rituals are usually found. human figured clay dolls, animal figured clay dolls, house figured clay dolls have been excavated around the presumed royal palace ruins within Bonghwang-dong site which differentiates this region from the rest of the site. Along with the presumed royal palace ruins, there is a tendency of various clay figurines being found in the other ruin in the hanok living experience center with multiple purpose relics. In conclusion, there is a possibility that clay dolls had been used to wish for the well-being of the family members by the ruling group, or the well-being of the community at importance areas like the presumed royal palace ruins and the hanok living experience center ruins. This kind of tendency is found in many ruins around the Ancient Gimhae Bay(Gogimhae-Man), which leads to an assertion that various rituals and ceremonial acts had been carried out using clay dolls throughout that area.

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Kawashima, Takamune. "Another aspect of figurine function." Documenta Praehistorica 32 (December 31, 2005): 177–85. http://dx.doi.org/10.4312/dp.32.13.

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In Japan, it is suggested that clay figurines were produced for deliberate fragmentation. However, the distribution of clay figurines was limited to some sites, and the total number of fragmented figurines is relatively small. This article tries to present some new arguments about the function of figurines, based on data from Angyo period, late and latest Jomon. I suggest that the function of figurines needs further discussion.

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Νινιού-Κινδελή, Βάννα. "Ενεπίγραφες κεφαλές ειδωλίων από ιερό στα Χανιά (Κρήτη)." Fortunatae. Revista Canaria de Filología, Cultura y Humanidades Clásicas, no. 32 (2020): 505–17. http://dx.doi.org/10.25145/j.fortunat.2020.32.33.

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This article presents two inscribed clay figurines of bulls. The figurines were found at Poseidon’s open-air sanctuary, in south-west Crete, which flourished during the Hellenistic period and continued its function throughout the Roman times. Several hundreds of clay figurines were the main offering to the god, all depicting the bull, the animal symbolising power and fertility strongly connected with Poseidon since the Prehistoric times. Only two figurines, out of the total volume found, are inscribed and reveal the names of their donors.

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Khrustaleva, Irina, and Aivar Kriiska. "Inside the Dwelling: Clay Figurines of the Jägala Jõesuu V Stone Age Settlement Site (Estonia)." Baltic Journal of Art History 20 (December 27, 2020): 11–57. http://dx.doi.org/10.12697/bjah.2020.20.01.

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Sculpted clay figurines were widespread in Stone Age Europe. Theywere common in the hunter-gatherer communities in the territoriesof Sweden, Finland, Estonia, Latvia, Western and NorthwesternRussia. In these territories they were mainly associated with theComb, Pitted and Pit-Comb Ware cultures, ca 4000–2000 yearscalBC. This paper examines clay sculptures from the Jägala JõesuuV Comb Ware culture settlement site in northern Estonia, where 91fragments of figurines were found, making it the most abundantdeposits of clay figurines and their fragments in the eastern Baltic.Among them, three different types of image were distinguished:one zoomorphic (harbour porpoise) and two anthropomorphic. Allthe figurines were fragmented intentionally in ancient times, asdetermined by microscopic and experimental research. Most of thefragments were situated in the filling of a pit-house, which indicatesthat the dwelling had a sacral as well as a habitational dimension.During the research process, Stone Age clay figurines from nine moreComb Ware culture sites of Estonia and Ingria were catalogued. Thecatalogue contains 13 previously published and 21 newly discoveredinstances and radiocarbon dates taken at the sites, some of whichare being published for the first time.

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11

Tairov, Alexander D., and Aleksey D. Shapiro. "New anthropomorphic figurines from the forest-steppe Trans-Urals." Ufa Archaeological Herald 24, no. 2 (June 2024): 333–47. http://dx.doi.org/10.31833/uav/2024.24.2.019.

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Two villagers from the Kunashak region of Chelyabinsk oblast donated the State Historical Museum of the Southern Urals (Chelyabinsk) two anthropomorphic figurines. They were found near Karino Village, Kunashakskiy District, on the right bank of the Sinara River. Besides, there is another anthropomorphic figurine probably originating from this area. The exact location of it discovery is not known. All three figurines were cast by an ancient master using the same model, but different sand-clay (earthen) molds. The model was a standing male warrior. A quiver hangs on his belt. The man’s legs are spread wide, his arms are spread and down. A long, slightly curved object extends upward from the warrior’s right shoulder. A bird sits on the left shoulder. After casting, the figurines were not further processed. The properties of the molds material and the metal determined the differences in the details of the figurines. The figurines from Karino are closest to the anthropomorphic figurines from the Sapogovskiy treasure, Elevator Village and the outskirts of Dalmatovo. The authors of the article combine them into the Sapogovskiy type of anthropomorphic metal-plastic art of the forest-steppe Trans-Urals. The anthropomorphic figurines of the Sapogovskiy type were compared with anthropomorphic metal-plastics of the second half of the first millennium BC from the neighboring regions (Middle and Lower Ob region, Kama region, Middle Volga region) and show their outstanding authenticity. The anthropomorphs of the Sapogovskiy type also differ from the anthropomorphs of the Itkul culture of the Trans-Urals. The research analyses the locations of the anthropomorphic figurines finds. It concludes that the warrior figurine from Elevator village is an isolated find that is in no way connected with the Sapogovskiy treasure. All figurines of the Sapogovskiy type were found in the area of the Gorokhov archaeological culture. All of them were created by bearers of the Gorokhov archaeological culture. The figurines represent various strata of the Gorokhovsky society. These figurines bear the peculiarities of the worldview of the Gorokhovskaya population. These peculiarities are determined by the genesis of the Gorokhov culture and the mixed Ugro-Iranian roots of its bearers.

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Saribekyan, Mariam. "Zoomorphic clay figurines from the Early Bronze Age settlement of Harich." ARAMAZD: Armenian Journal of Near Eastern Studies 16, no. 1-2 (December 31, 2022): 378–90. http://dx.doi.org/10.32028/ajnes.v16i1-2.1839.

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Harich is one of the Early Bronze Age archaeological sites of Armenia. The site is also known with its anthropomorphic and zoomorphic figurines dated to that period, the subject-matter of this article. These figurins that are now kept in the archaeological funds of the History Museum of Armenia could serve as an important group of artefacts that would help us to deepen our knowledge about the lifestyle and beliefs of the ancient population of that period.

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Papadopoulos, Costas, Yannis Hamilakis, Nina Kyparissi-Apostolika, and Marta Díaz-Guardamino. "Digital Sensoriality: The Neolithic Figurines from Koutroulou Magoula, Greece." Cambridge Archaeological Journal 29, no. 4 (July 9, 2019): 625–52. http://dx.doi.org/10.1017/s0959774319000271.

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The image-based discourse on clay figurines that treated them as merely artistic representations, the meaning of which needs to be deciphered through various iconological methods, has been severely critiqued and challenged in the past decade. This discourse, however, has largely shaped the way that figurines are depicted in archaeological iterations and publications, and it is this corpus of images that has in turn shaped further thinking and discussion on figurines, especially since very few people are able to handle the original, three-dimensional, physical objects. Building on the changing intellectual climate in figurine studies, we propose here a framework that treats figurines as multi-sensorial, affective and dynamic objects, acting within distinctive, relational fields of sensoriality. Furthermore, we situate a range of digital, computational methods within this framework in an attempt to deprive them of their latent Cartesianism and mentalism, and we demonstrate how we have applied them to the study of Neolithic figurines from the site of Koutroulou Magoula in Greece. We argue that such methodologies, situated within an experiential framework, not only provide new means of understanding, interpretation and dissemination, but, most importantly, enable researchers and the public to explore the sensorial affordances and affective potential of things, in the past as well as in the present.

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Liu, Tianchi. "Coloristic Features of Huishan Clay Figurines." Университетский научный журнал, no. 65 (2022): 121–27. http://dx.doi.org/10.25807/22225064_2021_65_112.

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'Amr, Abdel-Jalil. "Ten Human Clay Figurines from Jerusalem." Levant 20, no. 1 (January 1988): 185–96. http://dx.doi.org/10.1179/lev.1988.20.1.185.

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Garcia, Santiago Andrés, Maritza Arciga, Eva Sanchez, and Robert Arredondo. "A Medical Archaeopedagogy of the Human Body as a Trauma-Informed Teaching Strategy for Indigenous Mexican-American Students." Association of Mexican American Educators Journal 12, no. 1 (May 11, 2018): 128. http://dx.doi.org/10.24974/amae.12.1.388.

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In this article, three co-authors share their narratives and clay figurines sculpted during the Mesoamerican Figurine Project of Rio Hondo College (Garcia, in press-a). Through reflective writing exercises and the sculpting of small-scale clay figurines, Los Angeles-based Mexican-American students unearthed parts of their Mesoamerican ancestry and materialized their stories of displacement and violence to assist in meeting student learning outcomes (SLOs). After interpreting these data alongside the medical tools observed on the four Tezcatlipocas of Mesoamerica (Acosta, 2007), the supposition is that Indigenous Mesoamerican students benefit when engaged through the following topics: 1) land and cosmology, 2) trauma and medicine, 3) resiliency and self-determination, and 4) community and family. To support all students’ educational and mental health goals, and to prevent further trauma accumulation, the Mesoamerican figurine is modeled as a pedagogical tool with a wide range of therapeutic values. By employing a critical autoethnographic approach (Ohito, 2017), Instructor Garcia’s ancestral knowledge—combined with his students’ insights—enabled his conceptualization of a medical archaeopedagogy of the human body as a trauma-informed teaching strategy (Cole, Eisner, Gregory, & Ristuccia, 2013) to begin to address the mental health challenges prevalent in the Mexican-American community related to the cultural genocide of Native Americans.

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Клещенко, А. А., Я. Б. Березин, В. А. Бабенко, А. Р. Канторович, and В. Е. Маслов. "NEW FINDS OF ANTHROPOMORPHIC FIGURINES OF THE NORTH CAUCASIAN CULTURE IN THE CENTRAL FORE-CAUCASUS." Краткие сообщения Института археологии (КСИА), no. 264 (December 3, 2021): 30–49. http://dx.doi.org/10.25681/iaras.0130-2620.264.30-49.

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Статья посвящена публикации погребальных комплексов с алебастровыми и глиняными антропоморфными статуэтками развитого и позднего этапов северокавказской культуры (XXVIII - нач. XXV в. до н. э.), обнаруженными в Центральном Предкавказье в 2000-2014 гг. В работе приводятся описание и датировка пяти погребений, содержавших 14 таких статуэток (рис. 1-3). На основе анализа общей источниковой базы (9 погребений, 21 статуэтка) рассматриваются закономерности расположения захоронений со статуэтками в насыпях курганов и самих статуэток внутри погребений, возрастной состав погребенных, классификация статуэток по материалу изготовления, форме, размерам и орнаментации (рис. 5). Далее приводятся аргументы в пользу происхождения антропоморфных статуэток северокавказской культуры от культовой пластики так называемого серезлиевского типа Северного Причерноморья (конец IV тыс. до н. э.). В заключение на основе картографирования находок статуэток на территории Центрального Предкавказья (рис. 4) предлагается название для данной серии культовых предметов: статуэтки «подкумского» типа. This paper publishes funerary assemblages with alabaster and clay anthropomorphic figurines of the developed and late stages of the North Caucasian culture (XXVIII - early XXV centuries BC) discovered in the central Fore-Caucasus in 20002014. The article describes and dates five graves containing 14 figurines (Fig. 1-3). Based on the analysis of the overall source database (9 graves, and 21 figurines), the paper explores the location pattern of the graves with the figurines in the kurgan mounds and the figurines themselves inside the graves, age composition of the deceased, classification of the figurines by material they are made from, size and decoration (Fig. 5). The authors provide arguments that help trace the origin of the Northern Caucasus figurines to religious cult figurines of the so called Serezlievka type in the North Pontic region (late IV mill. BC). In the final section of the paper this series of the religious cult figurines is proposed to be called the Podkumok type of figurines based on the mapping of the figurine finds from the Central Fore-Caucasus.

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Cornell, Collin. "The Forgotten Female Figurines of Elephantine." Journal of Ancient Near Eastern Religions 18, no. 2 (November 26, 2018): 111–32. http://dx.doi.org/10.1163/15692124-12341296.

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Abstract In spite of renewed scholarly interest in the religion of Judeans living on the island of Elephantine during the Persian period, only one recent study has addressed the religious significance of the fired clay female figurines discovered there. The present article seeks to place these objects back on the research agenda. After summarizing the history of research, it also makes a new appraisal of the role of these objects in the religious life of Elephantine Judeans. Two factors prompt this reevaluation: first, newly found examples of the same figurine types; and second, Bob Becking’s recent research on Elephantine Aramaic texts attesting the phenomenon of “lending deities.”

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Abdelhafez, Ahmed. "The social role of women in prehistoric Egypt: an analysis of female figurines and iconography." Journal of Historical Archaeology & Anthropological Sciences 9, no. 1 (2024): 62–68. http://dx.doi.org/10.15406/jhaas.2024.09.00299.

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Female figurines from most periods of ancient Egyptian history occur in a variety of contexts. These images were often fashioned from clay, faience, ivory, stone, and wood. Of these, female figurines discovered in funerary contexts are highly interesting: Did they represent family members of the deceased, or was it a sort of ritual that entailed placing a feminine model with deceased males to serve them in the afterlife? In this paper, I will primarily analyze the social role of women in prehistoric Egypt. Additionally, I will also assess artistic renditions and the overall iconography of feminine figurines from that period. The following questions will help to unravel the aspects: Why were female figurines placed in tombs? What are the artistic features specific to female figurines? What can we learn from the positions in which female figurines were placed? This paper will study examples of female figurine their artistic and social styles and draw comparisons to understand their development. As for the Feminine iconography in this period, we will show the depiction of woman on the antiquities since the age of Badari, with a discussing of the development of the feminine iconography, until the early dynastic era. Through these depictions, we will be able to-functional and social role through the depicted scenes on pottery vessels, mace heads, and tombs. The presence of feminine figurines and iconography in this early stage of the development of ancient Egyptian culture is indicative of the prominent role women essayed in daily life - as mothers, wives, and servants- an aspect the deceased wished to carry forward into the next world.

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Anokhina, Evgeniia. "Two Clay Female Figurines in the Pushkin State Museum of Fine Arts, Moscow." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2022): 245. http://dx.doi.org/10.31857/s086919080017602-9.

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The paper continues a series of publications of female nude figurines from the Ancient Egyptian collection of the Pushkin State Museum of Fine Arts. It deals with two unusual handmade clay figurines of the late Middle Kingdom and the early New Kingdom (I, 1a 5889, I, 1a 7076) which are examined in the context of other figurines of this type. Their iconography is characterized by a disproportionate head with discoid headdress, broad shoulders, small breasts, arms stretched along body, slim waist, broad hips, marked enlarged pubic triangle, navel, dimples above the buttocks, prominent rounded buttocks, long legs, poorly developed hand and feet. The face has generalized features: large carelessly drawn eyes without pupils, a protruding beak-shaped nose, pierced ears. Special attention is paid to hairstyles and jewelry. The headdress consists of a a convex disk pierced with three to six holes which likely held linen threads imitating hair with clay, mud, faience beads, shells. As for the jewelry, the figurines usually depicted: a ribbon/fillet on the forehead surrounding a convex disk, incised girdles, incised bracelets on the hands, incised body chains, one-, two-and less often three-partite modelled necklaces with or without patterns, incised necklaces of one or more rows of dots, rarely earrings in the ears. The article considers the issues of the figurines origin and the influence of Nubian and Middle Eastern cultures on their emergence. The authors conclude that despite the possible impact of other cultures the clay figurines in question were centrally produced in the Nile Valley and were close in their iconography and meaning to other female images of Ancient Egypt.

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Hamilton, Naomi. "Can We Interpret Figurines?" Cambridge Archaeological Journal 6, no. 2 (October 1996): 281–307. http://dx.doi.org/10.1017/s0959774300001748.

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Figurines—miniature human representations modelled in clay or stone — are one of those key categories of prehistoric material which no archaeologist who finds one can ignore. Whether working in central America or southeast Europe, or in any of the many other contexts in which figurines abound, they form a central class of material which generates a heightened level of interest and attention. But however numerous and how-ever intriguing, prehistoric figurines have another crucial quality — that of ambiguity. Without the help of textual evidence, can prehistoric figurines be confidently interpreted or understood? Can we ever hope to know what an individual figurine was meant to represent, or why it was modelled in the way it was? Yet the challenge of interpretation can hardly be refiised. For figurines illustrate self-awareness, which is a unique human characteristic. It is this dilemma — the impulse to interpret, but the difficulty of doing so convincingly — which is the focus of the present Viewpoint.Figurines are found in many (though not all) regions and periods of prehistory. The earliest — the female forms once referred to as ‘Venus figurines’ — date back to the Upper Palaeolithic. At the other end of the scale, figurines are still in active production today, in the form of dolls, models and statues. In a prehistoric context, figurines have multiple dimensions of interest and meaning. In first place, there is the issue of sex and gender. Many figurines are clearly female, yet their gender significance, in both social and cognitive terms (rather than in simplistic notions of Mother Goddess or sex object), has only recently begun to be considered in a serious and critical way. Then there is the aspect of human self-awareness which the figurines so vibrantly express. Figurines also encode important cognitive elements in the modelling and representation of the human form, their makers frequently exaggerating some features or concealing others. Nor, ultimately, can we avoid the question of belief, and the ritual context in which so many figurines were made or used.The contributors to this Viewpoint feature all believe that figurines can indeed be interpreted. But they also lay stress on the vital importance of context and definition. Prehistoric figurines cannot be understood as isolated artefacts, but must be seen as products of particular societies. How far we can penetrate into their meanings — and into the minds of their prehistoric makers — is the fundamental question which underpins this discussion. Can we interpret figurines? And if so, how should we go about it?

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Fittock, Matthew G. "Broken Deities: The Pipe-Clay Figurines from Roman London." Britannia 46 (June 3, 2015): 111–34. http://dx.doi.org/10.1017/s0068113x15000148.

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ABSTRACTPipe-clay figurines are an important but under-examined category of Roman material culture in Britain. This paper presents the first typological catalogue of the 168 deity, animal and human figures imported to Roman London from Gaul during the first and second centuriesa.d. As in many other collections Venus figurines are the most common type, although there is considerable diversity in form. Comparison with continental collections highlights distinctive patterns of consumption between London, the rest of Britain and Gaul, with the city displaying relatively high numbers of exotic/unusual types, as appears to be typical ofLondiniumin general. The spatial distribution of the figurines is mapped across the settlement, while their contexts and social distribution on habitation, trade and religious sites throughout the city are explored. Whole specimens from burials and subtle patterns of fragmentation also provide a direct insight into the religious beliefs and symbolic practices of the people of Roman London.

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Makowska, Agnieszka. "Ushebtis of the Third Intermediate Period from the Chapel of Hatshepsut in the Queen’s temple at Deir el-Bahari." Polish Archaeology in the Mediterranean XXIV, no. 2 (January 31, 2016): 137–60. http://dx.doi.org/10.5604/01.3001.0010.0180.

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A collection of 619 whole and fragmentary ushebti figurines dating from the Third Intermediate Period was recovered between 2004 and 2007 by the Polish team excavating in the Chapel of Hatshepsut, an integral part of the Queen Pharaoh’s mortuary temple in Deir el-Bahari. The figurines include objects of faience, clay and painted clay, all relatively small and roughly modelled. They represent a category of objects that is seldom published separately. The paper presents a typology of the ushebtis based primarily on the material from which they were produced, discussing their chronology and find contexts as well.

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Turova, Natalia. "Clay figurine of an owl of the Lower Pritobolye." Genesis: исторические исследования, no. 12 (December 2021): 133–46. http://dx.doi.org/10.25136/2409-868x.2021.12.37014.

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The object of this research is the clay figurine of an owl discovered in the course of archaeological excavations in the Yurtobor 9 hillfort on the right bank of the Tobol River. The goal lies in introduction of in the scientific discourse of the new unique sample of small clay plastic, as well as in preliminary determination of the functional purpose of the item. The following tasks were set: morphological and stylistic description of the item; description of the context of discovery of the figurine; establishment of the chronological framework of existence of the item, its cultural affiliation; familiarization with the history of studying the regional clay figurines in the Russian archaeological science; search for analogies in the archaeological sites of Siberia and other territories; assessment of the semantic connotation of the image of an owl in the traditional culture of Ob Ugrians (Khanty and Mansi). To article employs the traditional methods, such as comparative-historical, typological, comparative-typological, formal-stylistic, semantic methods, as well as method of analogies. As a result of the conducted research, the clay figurine of an owl is attributed to the Yudinskaya archaeological culture and dated within the framework of the XI – XII centuries. It is established that it is the only item in Western Siberian region depicting a bird in the technique of small clay plastic. Based on the analysis of ethnographic literature and medieval archaeological finds, it is established that for a long period of time, the image of an owl had positive semantic connotation due to its high sacred status. The author assumes on the use of figurine of an owl in religious rites associated with hearth and home.

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Guryanov, Valerii, and Arthur Chubur. "Ceramic Animals of Forest Settlements: Games of Adults with Gods or Children’s Toys?" Stratum plus. Archaeology and Cultural Anthropology, no. 3 (June 20, 2023): 15–26. http://dx.doi.org/10.55086/sp2331526.

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The authors believe that the clay zoomorphic plastic figurines from the Early Iron Age settlements of the forest zone (the areas of the Yukhnovskaya, Milogradskaya, Verkhneokskaya and Dyakovskaya cultures) are not votive elements of agrarian cults but children’s toys. These toys as well as miniature vessels, ceramic models of things, clay loaves could be made by children themselves while learning the process of ceramic production. The use of images of wild animals especially predators and toads in agrarian rituals is doubtful. The dominance of horse images in the Milograd-Yukhnovo area seems to be an Indo-European trait associated with mythology and not with farming. In the area of the Dyakovskaya culture with developed horse breeding, attributed to the Finno-Ugric antiquities, there are clay figurines of animals except horses. Profane toys can carry sacred images since myth and fairy tale are closely connected with each other and a toy for a child has many faces and can situationally play the role of a mythical character, a fairy-tale hero, a usual domestic animal. Some figurines become votive objects at the final stage of existence. Toys were sacrificed during initiation into adulthood as in ancient Greece and Rome. Fragments of figurines in ashtrays formed during the annual ritual and sanitary burning of winter straw bedding from houses and stables are often taken as sacrifices. Household garbage trapped in a “cleansing” bonfire is not a meaningful sacrifice.

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Andreescu, Radian Romus, and Mirea Pavel. "Uncommon practice of Gumelniţa. Zoomorphic clay figurines modelling." Cercetări Arheologice 11, no. 1-2 (2000): 611–13. http://dx.doi.org/10.46535/ca.11.29.

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Kletter, Raz. "Clay Figurines and Scale Weights from Tel Jezreel." Tel Aviv 24, no. 1 (March 1997): 110–21. http://dx.doi.org/10.1179/tav.1997.1997.1.110.

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Franken, H. J. "2. Human Clay Figurines From Jerusalem: A Note." Levant 21, no. 1 (April 1, 1989): 197. http://dx.doi.org/10.1080/00758914.1989.12096547.

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Smits, Lieke. "Small Pipe-Clay Devotional Figures: Touch, Play and Animation." Das Mittelalter 25, no. 2 (November 10, 2020): 397–423. http://dx.doi.org/10.1515/mial-2020-0044.

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AbstractSmall, mass-produced pipe-clay figurines were popular devotionalia in the late medieval Low Countries. In this paper, focusing on representations of the Christ Child, I study the sensory and playful ways in which such objects were used as ‘props of perception’ in spiritual games of make-believe or role-play. Not only does this particular iconography invite tactile and playful behaviour, the figurines fit within a larger context of image practices involving visions and make-believe. Through such practices images were animated and imbued with a divine power. Contemporary written sources suggest that, especially for women, ownership of and sensory engagement with small-scale figures provided them with agency.

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Siddall, Luis R. "Apotropaic Figurines from Nimrud (Calah) in the Australian Institute of Archaeology Collection." Buried History: The Journal of the Australian Institute of Archaeology 57 (January 1, 2022): 3–8. http://dx.doi.org/10.62614/02yhtj64.

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There are two clay figurines in the Australian Institute of Archaeology’s collection, which were excavated by the British School of Archaeology in Iraq in the 1953 season at Nimrud (ancient Calah/Kalḫu). The figurines were discovered in the foundations of the Burnt Palace and date approximately to the reign of Adad-nīrārī III (810–783 BCE). Their function was a part of an apotropaic ritual to protect places of residence from evil spirits and enemies. This paper aims to bring to light these figurines in the Institute’s collection by offering a descriptive catalogue and an explanation of their use in Assyrian magic for the journal’s readership.

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G. O. Boroffka, Nikolaus, and Leonid Sverchkov. "Anthropomorpohic Figurines of the Yaz I Period." Stratum plus. Archaeology and Cultural Anthropology, no. 2 (April 25, 2023): 133–42. http://dx.doi.org/10.55086/sp232133142.

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Two groups of unusual objects from contexts of the Early Iron Age Yaz-I period at the site of Maydatepa, southern Uzbekistan, are presented. The first group is interpreted as abstract anthropomorphic figurines. They are small rod-shaped clay objects (fired and unfired), with plastic noses and impressed eyes, sometimes with sparse additional ornaments. The second group is a collective find (and one separate individual object) from a closed pit context from the same site. The collective find consists of five, partly fragmentary, stele-like roughly hewn limestone objects, some of which have a marked off head. In view of the abstract clay objects, these small stelae can also be interpreted as anthropomorphic representations. The individual stone object is a stalagmite, which was brought intentionally to the site. Because of the natural grooved erosion at the top, which may represent hair, this object is included here. The entire collection contradicts the presumed lack of figurative art in the Early Iron Age Yaz-I communities, but it is also radically different from the preceding art of the Bronze Age.

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Borrero, Mario, Luke Stroth, and Geoffrey Braswell. "THE CLASSIC PERIOD MAYA FIGURINES OF THE SOUTHERN BELIZE REGION: A COMPARISON OF NIM LI PUNIT, PUSILHA AND LUBAANTUN." Research Reports in Belizean Archaeology 18 (2023): 375–84. http://dx.doi.org/10.62064/rrba.18.32.

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Figurines are small, portable pieces of art that were popular in the ancient Maya world. Typically made of fired clay, they portray individual humans, animals, and mythic beings in an assortment of poses and scenes. We report the results of an iconographic analysis of 215 whole and fragmentary figurines excavated in the last 20 years at three Late Classic period sites in the southern Belize region: Nim li Punit, Pusilha, and Lubaantun. Although Early Classic figurines were often modeled, the Late Classic saw a shift to mold-made figurines. This allowed higher levels of production and the repetition of certain motifs. The study of this dataset contributes to our understanding of household activities, gender, and social roles. Together, these collections reveal strong interest in everyday women’s work, warfare, and, especially, athletic ritual. The widespread distribution of figurines and the range of subjects they display provide an opportunity to view Maya life from the perspectives of commoners and elites, and from the mundane to the supernatural. We argue that figurines in the Southern Belize Region were more heavily focused on public spectacles of ritual as opposed to private domestic rituals.

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Liu, Tianchi. "Chinese Clay Figurines: Heritage of the Founder of Tianjin “Niren Zhang” Clay Sculpture." Университетский научный журнал, no. 63 (2021): 176–87. http://dx.doi.org/10.25807/22225064_2021_63_176.

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Ratnagar, Shereen. "A critical view of Marshall’s Mother Goddess at Mohenjo-Daro." Studies in People's History 3, no. 2 (November 25, 2016): 113–27. http://dx.doi.org/10.1177/2348448916665714.

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There has been a tendency since the time of initial excavation of Mohenjo-daro by John Marshall to apply some familiar notions about early religions to the finds at Harappan sites, so that clay figurines of women found in various domestic structures were taken to represent the seemingly universal ‘Mother Goddess’. We are now learning that bronze-age ‘religions’ could have assumed immensely varied forms of ritual, belief and physical representations. There could have been varieties of shamanistic or other forms of ritual to ward off evil spirits or sources of harm. The female clay figurines were, therefore, likely to have been home-made representations of women of the house kept to ward off evil forces, rather than being idols of the Mother Goddess, as has been so far largely accepted.

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Ayten, Ebru Gizem, and Çiğdem Atakuman. "Zoomorphic imagery and social process during the Early Bronze Age." Documenta Praehistorica 50 (August 4, 2023): 2–21. http://dx.doi.org/10.4312/dp.50.13.

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Through the agency of animals, we think about our identity, landscape and society, and therefore animal imagery holds a special place in approaches to human thought. Through a study of the zoomorphic figurine assemblage recorded at the Early Bronze Age site of Koçumbeli-Ankara, we argue that the zoomorphic figurines of this time period were produced through a meaningful linking of particular images and raw materials to particular use contexts. For example, the ambiguously sexed zoomorphic figurines of clay are usually found within the settlement contexts, whereas the rest of the zoomorphic imagery, in the form of elaborately decorated and often male-sexed metal statues and standards, are found in ‘elite’ burials located in cemeteries. This occurs on the background of an emergent form of ritual control, which was negotiated through the separation of cemetery and settlement. In these contexts, the authority of the past was invoked via ancestral imagery through the careful employment of new raw materials, such as metals, that equally became agential in the separation of age, gender and class-based differences within society, at the eve of the centralization process in Anatolia.

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Tsatsouli, Konstantina, and Elisavet Nikolaou. "The ancient Demetrias figurines: new insights on pigments and decoration techniques used on Hellenistic clay figurines." STAR: Science & Technology of Archaeological Research 3, no. 2 (December 15, 2017): 341–57. http://dx.doi.org/10.1080/20548923.2018.1424302.

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Hudson, Mark J., and Mami Aoyama. "Waist-to-hip ratios of Jomon figurines." Antiquity 81, no. 314 (December 2007): 961–71. http://dx.doi.org/10.1017/s0003598x00096046.

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The authors show that the Jomon clay figurines made by hunter-gatherers use imagery that emphasises a narrow waist and full hips, showing that a female construct was part of the symbolism of these possibly shamanistic objects. In creating these figurines, prehistoric people were no doubt turning a recognition of health and fertility into more cultural icons. Admirers of the female form will be interested to learn that preference for the fuller, curvaceous ‘hourglass’ shape ‘has probably been the norm over much of human evolution’.

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Kaczanowicz, Marta. "Clay funerary figurines from tombs MMA 1151 and MMA 1152 in Sheikh Abd el-Gurna." Polish Archaeology in the Mediterranean 27, no. 2 (December 21, 2018): 259–73. http://dx.doi.org/10.5604/01.3001.0013.3311.

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A significant number of clay ushebtis comes from two Middle Kingdom tombs MMA 1151 and 1152 investigated by a Polish team in Western Thebes. The funerary figurines belong to a later phase of tomb reuse in the first millennium BC. Nine types were distinguished: six of baked clay and three of unbaked clay. The types and their distribution in the Theban necropolis are discussed in this paper, including the implications of these findings for the debate on the existence of workshops manufacturing funerary goods in Thebes

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Emerson, Thomas E., and Randall E. Hughes. "Figurines, Flint Clay Sourcing, the Ozark Highlands, and Cahokian Acquisition." American Antiquity 65, no. 1 (January 2000): 79–101. http://dx.doi.org/10.2307/2694809.

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AbstractAt the pinnacle of Eastern Woodlands’ prehistoric cultural development, Cahokia has been interpreted as a political and economic power participating in prestige-goods exchanges and trade networks stretching from the Great Plains to the South Atlantic. Among the more spectacular of the Cahokian elite artifacts were stone pipes and figurines made from a distinctive red stone previously identified as Arkansas bauxite. In this research, we used a combination of X-ray diffraction, sequential acid dissolution, and inductively coupled plasma analyses to establish the source of the raw material used in the manufacture of the red figurines and pipes that epitomize the Cahokian-style. Our research demonstrates that these objects were made of locally available flint clays. This finding, in conjunction with other evidence, indicate Cahokian exploitation of many mineral and stone resources focuses on the northern Ozark Highlands to the exclusion of other areas. These findings indicate that we must reassess the direction, extent, and role of Cahokian external contacts and trade in elite goods.

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Guba, Szilvia. "Bronze Age Anthropomorphic Clay Figurines from Nógrád County (Northern Hungary)." Slovenská archeológia LXVIII, Suppl. 1 (December 31, 2020): 179–89. http://dx.doi.org/10.31577/slovarch.2020.suppl.1.14.

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Woo, Jung-Youn. "Re-examination of Silla Pottery-attached Clay Figurines in Gyeongju." Korean Ancient Historical Society, no. 101 (August 30, 2018): 89–124. http://dx.doi.org/10.18040/sgs.2018.101.89.

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Artzy, Michal, and Noa Sheizaf. "Clay figurines caches found underwater: a phoenician ex voto practice?" Complutum 30, no. 1 (May 28, 2019): 155–63. http://dx.doi.org/10.5209/cmpl.64512.

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In this study results of two underwater excavations in the Eastern Mediterranean, namely in the vicinity of Shavei Zyyon (Linder 1973:182-187) and Tyre (Seco-Alvarez 2011:79-94) where a hoard of clay figurines dating to the Persian Period and associated with Phoenician are dealt with. There may be other hoards, although they are represented by examples sold and bought by private collectors and museums or have, so far, not been published. Both hoards have been associated with possible wrecks, although in both cases, no signs of the wrecks were located. We propose yet another consideration of the hoards which are not associated with shipwrecks, namely a practice of mariners’ ex-voto.

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HUDSON, MARK J., MAMI AOYAMA, TAKAMUNE KAWASHIMA, and TAKAYUKI GUNJI. "Possible steatopygia in prehistoric central Japan: evidence from clay figurines." Anthropological Science 116, no. 1 (2008): 87–92. http://dx.doi.org/10.1537/ase.060317.

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Carrot, F., C. Dardenne, N. Deschamps, Ch Lahanier, and G. Revel. "Determination of optimum conditions for INAA of archaeological clay figurines." Journal of Radioanalytical and Nuclear Chemistry Articles 168, no. 2 (February 1993): 287–96. http://dx.doi.org/10.1007/bf02040509.

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Joyce, Rosemary A., Julia A. Hendon, and Jeanne Lopiparo. "WORKING WITH CLAY." Ancient Mesoamerica 25, no. 2 (2014): 411–20. http://dx.doi.org/10.1017/s0956536114000303.

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AbstractEvidence from sites in the lower Ulua valley of north-central Honduras, occupied betweena.d.500 and 1000, provides new insight into the connections between households, craft production, and the role of objects in maintaining social relations within and across households. Production of pottery vessels, figurines, and other items in a household context has been documented at several sites in the valley, including Cerro Palenque, Travesía, Campo Dos, and Campo Pineda. Differences in raw materials, in what was made, and in the size and design of firing facilities allow us to explore how crafting with clay created communities of practice made up of people with varying levels of knowledge, experience, and skill. We argue that focusing on the specific features of a particular craft and the crafter's perspective gives us insight into the ways that crafting contributed to the reproduction of social identities, local histories, and connections among members of communities of practice who comprised multicrafting households.

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James, N., and Juliet Chippindale. "Figurine enigmas: who's to know?" Antiquity 84, no. 326 (November 25, 2010): 1172–76. http://dx.doi.org/10.1017/s0003598x00067168.

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Should a public archaeology exhibition focus on objects as objects, or should it also explain something of where they come from and processes of interpreting them? If background is necessary, then how much is needed to make sense of the exhibits? Two recent exhibitions offered different answers. The first was largely descriptive, the second theoretical, and specifically, ‘post-processualist’. Both featured prehistoric anthropomorphic figurines of fired clay. Whether or not because ‘themore human, the less intelligible’ (Hawkes 1954: 162), figurines are among the most intriguing and enigmatic finds. What were they for, and what did they mean? Why do they captivate us today; and how should archaeologists cater for that interest?

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BAUBEC-FELEA, Ioana-Cristina. "Valorificarea expoziţională și educaţională a colecţiei de figurine Cucuteni-Ariușd din situl arheologic Păuleni-Ciuc - Dâmbul Cetăţii, jud. Harghita. Proiect de educaţie muzeală/ Exhibition and educational valorisation of the Cucuteni-Ariușd figurine collection from the archaeological site Păuleni-Ciuc - Dâmbul Cetății, Harghita County. Museum education project." ANGVSTIA 26, no. 1 (December 30, 2022): 187–208. http://dx.doi.org/10.36935/angvstia_v26_7.

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The valorisation, for the benefit of the museum public and the community, of the collection of anthropomorphic and zoomorphic figurines/statuettes belonging to the Cucuteni-Ariușd Cultural Complex (5th-4th mill. BC), is carried out by the team of the National Museum of the Eastern Carpathians (NMEC) in Sfântu Gheorghe, Covasna County, through several cultural products. The collection of Cucuteni-Ariușd figurines consists of anthropomorphic and zoomorphic representations, pendants, objects of different shapes and sizes, mostly made of clay, but there are also some pieces made of red deer antler and bone. The archaeological material presented in this article was discovered in the archaeological site of Păuleni-Ciuc-Dâmbul Cetății, Harghita County through systematic investigations. Anthropomorphic and zoomorphic figurines are an essential chapter in the context of the Cucuteni-Ariușd communities, closely linked to religious, cultic and ritual manifestations and as part of cult elements of monumental dimensions. The collection of Cucuteni-Ariușd figurines forms the basis for the development of unique educational programmes specific to the museum. The target audience of an educational museum service can be extremely varied, and museum education activities must be adapted to each category of beneficiaries. Anthropomorphic and zoomorphic figurines can form the basis for the development of materials and products for both the virtual environment and exhibition activities. The archaeological material presented in this article is particularly important in the context of the Cucuteni-Ariușd finds in Romania; anthropomorphic and zoomorphic figurines have the potential to convey many interesting stories about ancient times.

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Stavreva, Vanya. "Anthropomorphic Figurines with Hunched Backs and Deformed Breasts in Kodjadermen–Gumelniţa–Karanovo VI Culture." Archaeologia Lituana 23 (December 30, 2022): 157–75. http://dx.doi.org/10.15388/archlit.2022.23.10.

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A number of unusual anthropomorphic figurines featuring hunched backs and conical protrusions on their chests have been unearthed in several settlements that belong to the area of the Kodjadermen–Gumelniţa–Karanovo VI culture. The figurines have not been subject to a special study in scholarly literature so far and hence, no attempt at their interpretation has ever been made.The study discusses the possibility that these unusual images reflect a physical disability caused by Pott’s disease. Anthropologic research on skeletal remains of the Eneolithic population of Europe has established pathological changes that are consistent with this disease. Its cause, Mycobacterium tuberculosis, has been identified also through biomolecular study of human bones, which confirms the spread of tuberculosis in this period. The author furthermore argues about the possible use of this type of figurines in magic rituals. In addition, some ethnographic data is supplied for the use of clay anthropomorphic images in health-bringing and healing rites.

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Breunig, Peter, Gabriele Franke, and Michael Nüsse. "Early sculptural traditions in West Africa: new evidence from the Chad Basin of north-eastern Nigeria." Antiquity 82, no. 316 (June 1, 2008): 423–37. http://dx.doi.org/10.1017/s0003598x00096915.

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Thanks to a number of well-stratified sequences, the authors can offer a new history of clay image-making in West Africa. From the first known human occupation in the second millennium BC, the shaped clay figurines remain remarkably conservative, suggesting their use as offerings, toys or in games or some role rooted in domestic everyday life. Only in the late first millennium BC and in one area (Walasa) does a more formal art emerge in north-eastern Nigeria, a development contemporary with the famous Nok culture further south.

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AKAMATIS, NIKOS, and NADHIRA HILL. "Transition to the underworld." Karanos. Bulletin of Ancient Macedonian Studies 4 (December 13, 2021): 59–77. http://dx.doi.org/10.5565/rev/karanos.70.

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In 1979, excavations in the eastern cemetery of Pella brought to light, among other finds, a small clay disc that depicts a three-headed deity. This rare object was found with several vases and figurines that allow its dating in the early Hellenistic period. In this article, after a short description of the find, and an examination of its context, special emphasis is given to the identification of the depicted deity and her most probable relation with the goddess Hekate. The clay disc possibly had a magic-protective character related with the passage of the dead to the underworld.

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