Relevant bibliographies by topics / Figured terracottas

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Academic literature on the topic 'Figured terracottas'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Figured terracottas"

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Burn, L. M. "Hellenistic Terracotta Figures of Cyrenaica: Greek Influences and Local Inspirations." Libyan Studies 25 (January 1994): 147–58. http://dx.doi.org/10.1017/s0263718900006300.

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Terracotta figures have been uncovered in vast quantities in the cemeteries of the Greek cities of Cyrenaica from the mid-nineteenth century onwards. While the terracottas from more recent excavations have of course remained in Libya, the majority of those brought to light in the nineteenth century are now divided between the national museums of three European capitals: Paris, Madrid and London. The Louvre collection is the largest of the three, consisting of some 400 pieces, mostly acquired by the consul M. Vattier de Bourville in the cemeteries of Cyrene and Benghazi in 1848; the majority are of the Hellenistic period, and have recently received full publication in the final volume of Mme Simone Besques' monumental catalogue. The Cyrenaican terracottas in Madrid, purchased from the collection of one Tómas Asensi in 1876, are about ninety in number, and of these roughly half are Hellenistic in date; the few given a provenance are said to come from the cemeteries of Cyrene. The Madrid terracottas were published by Alfred Laumonier in 1921, and the descriptions and photographs in his catalogue are still useful.The British Museum has around 300 terracotta figures from Cyrenaica, of which approximately 180 whole figures or fragments can be counted as Hellenistic. The archaic and classical figures were published by Dr Reynold Higgins in the first volume of his catalogue of British Museum terracottas, while a significant proportion of the later pieces were included by H. B. Walters in his earlier catalogue. However, the entire collection of post-classical Cyrenaican material will be treated in greater detail in the new catalogue of the British Museum's Hellenistic terracottas, currently in preparation.
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Maxwell-Hyslop, K. R. "The Goddess Nanše an attempt to identify her Representation." Iraq 54 (1992): 79–82. http://dx.doi.org/10.1017/s0021088900002515.

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Two unpublished terracottas from Ur, now in the British Museum, and a terracotta from Ur, now in the University Museum, Philadelphia, deserve attention for the contribution they can make to the problem of identifying the well known “goddess on a goose”. I am grateful to Carole Mendleson for the catalogue descriptions for Nos. 1–2.(1) B.M. 127484. U. 17163 (Diqdiqqah), Plate VIIa. 60 × 78 mm. Chair relief. Bottom part only remaining. A figure, almost certainly the same goddess as No. 2 below), wearing a flounced and pleated skirt. She is seated on a standing “goose” and faces to the right with her feet resting on a seated “goose”. The entire scene is on a platform. This appears to be a sideways view of the scene shown in B.M. 1933–10–13, 215 (see No. 2 below) though there is no sign of flowing streams. The relief is well made with details of the standing bird's feathers clearly shown.Smooth reddish clay, buff on the outside; feet of the chair broken off.
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Tsetskhladze, Goca Revazovic, and N. V. Vashakidze. "Terracotta figures of Animals from Colchis." Dialogues d'histoire ancienne 20, no. 1 (1994): 109–25. http://dx.doi.org/10.3406/dha.1994.2148.

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Catling, H. W. "A Mycenaean terracotta figure from the Menelaion." Annual of the British School at Athens 90 (November 1995): 183–93. http://dx.doi.org/10.1017/s0068245400016142.

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An LH III wheelmade terracotta female figurine, found in the 1910 excavations at the Menelaion, Sparta, is illustrated and described. The context can be dated no later than LH III. An earlier suggestion that the piece is ‘provincial’ is discounted in the light of new material, particularly the so-called Lady of Phylakopi. Recent views on the nature of such figures are discounted. A summary list of comparable wheelmade figures of women, and of animals, is appended.
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Martínez Sánchez, Rafael María, and Ricardo García Benavente. "Una terracota figurada del IV milenio AC en la vega media del Guadalquivir." Trabajos de Prehistoria 66, no. 1 (June 30, 2009): 115–22. http://dx.doi.org/10.3989/tp.2009.09015.

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Solovyev, Aleksandr I., and Sergey A. Komissarov. "Terracotta Warrior: Image or Person?" Oriental Studies 20, no. 4 (2021): 9–22. http://dx.doi.org/10.25205/1818-7919-2021-20-4-9-22.

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The article investigates the problem of the so-called portraiture of personages presented in the terracotta army of the First Qin emperor. The results of analytical work of foreign colleagues were explored (namely, on restoration of the full spectrum of paints on the surface of the clay figures, or comparative studies of the forms of terracotta soldiers’ ears because this part of the human face is absolutely unique and therefore used in modern forensic practice for identification purposes). On the base of visual analyses of the material that could be obtained, taking into account the serial production of the big details (torsos, feet, heads) for assembling of the whole figures, as well as traces of the different instruments on faces of these figures, and after personal experience in working with elastic materials such as clay, the authors proposed a hypothesis that the reconstruction of face details (ears, noses, eyebrows, mustaches, etc.) which complete the assemblage was of the same type of serial mass production. Occasional or intentional deformation of face details in the process of their fixation, supplemented with elements such as coiffures and accentuated sections of face hair served as a basis for visible diversity in the clay soldiers and officials. However, we cannot say much about the personal characteristics of the real representatives of Qin society. We see only a reproduction of the appropriate image, but not the distinct person in the emperor’s army or court. The observations received indicate sheer haste and even negligence in the work of the craftsmen during the final stages of constructing this enormous funeral complex that never reached the level of the preliminary plans.
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Hayden, Barbara J. "Terracotta Figures, Figurines, and Vase Attachments from Vrokastro, Crete." Hesperia 60, no. 1 (January 1991): 103. http://dx.doi.org/10.2307/148229.

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Li, Xiuzhen Janice, Andrew Bevan, Marcos Martinón-Torres, Thilo Rehren, Wei Cao, Yin Xia, and Kun Zhao. "Crossbows and imperial craft organisation: the bronze triggers of China's Terracotta Army." Antiquity 88, no. 339 (March 2014): 126–40. http://dx.doi.org/10.1017/s0003598x00050262.

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The Terracotta Army that protected the tomb of the Chinese emperor Qin Shihuang offers an evocative image of the power and organisation of the Qin armies who unified China through conquest in the third century BC. It also provides evidence for the craft production and administrative control that underpinned the Qin state. Bronze trigger mechanisms are all that remain of crossbows that once equipped certain kinds of warrior in the Terracotta Army. A metrical and spatial analysis of these triggers reveals that they were produced in batches and that these separate batches were thereafter possibly stored in an arsenal, but eventually were transported to the mausoleum to equip groups of terracotta crossbowmen in individual sectors of Pit 1. The trigger evidence for large-scale and highly organised production parallels that also documented for the manufacture of the bronze-tipped arrows and proposed for the terracotta figures themselves.
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PILAFIDIS-WILLIAMS, KORINNA. "A MYCENAEAN TERRACOTTA FIGURE FROM MOUNT OROS ON AIGINA." Bulletin of the Institute of Classical Studies 40, Supplement_63 (January 1, 1995): 229–34. http://dx.doi.org/10.1111/j.2041-5370.1995.tb02115.x.

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Barclay, Craig. "James C.S. Lin and Xiuzhen Li (2018). China’s First Emperor and the Terracotta Warriors." British Journal of Chinese Studies 8, no. 2 (March 15, 2019): 162–64. http://dx.doi.org/10.51661/bjocs.v8i2.15.

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In February 2018 a new exhibition entitled China’s First Emperor and the Terracotta Warriors opened at the World Museum, in Liverpool. Organised in collaboration with the Shaanxi Provincial Cultural Relics Bureau and Shaanxi History Museum, this did not of course represent the first visit of the Terracotta Army to these shores. In terms of public engagement, however, it was undoubtedly a major coup for Liverpool: a small selection of the figures drew some 225,000 visitors to the City Arts Centre in Edinburgh in 1985; whilst the British Museum’s blockbuster 2007-8 exhibition attracted crowds that had not been seen since the ground-breaking Tutankhamun exhibition in 1980. The Liverpool exhibition showcased some 180 items, over half of which had not previously been seen in the UK. Given the range of material on display and the undoubted widespread popular interest in Qin Shi Huang’s Terracotta Army, it is accordingly not surprising that National Museums Liverpool took the decision to produce a new publication to accompany the exhibition
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Dissertations / Theses on the topic "Figured terracottas"

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Berriola, Riccardo. "Les terres cuites figurées de la collection Raffaele Gargiulo au Musée National de Naples : recherches sur le goût et le marché de l'art dans la première moitié du XIXe siècle." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100194.

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La these analyse la collection de terre cuite de Raffaele Gargiulo (1785-après 1864), céramiste et restaurateur affirmé, personnage de première importance du Musée de Naples, marchand napolitain d'antiquité des années 20 et 30 du XIXe siècle. La proposition de vente de sa collection au Musée de Naples est faite en décembre 1852. Après deux années de dures négociations le 29 mai 1855 la vente se conclut pour 6000 ducats. Pour comprendre le personnage de Gargiulo en tant que marchand d'oeuvre d'art, 315 documents, conservés dans l'Archive d'État de Naples et la Surintendance de Naples, ont èté analysés. L'étude de 11 arrêtés royaux entrés en vigueur entre 1807 et 1852, ont permis de reconstruire le cadre législatif en vigueur de l'époque. La petite plastique, la classe la plus nombreuse, représente environ les trois quarts de la collection de terre cuite. En ce qui concerne les provenances, les Pouilles et la Campanie sont largement dominantes avec 578 objets (95.54% de la collection entière): dans le détail on note que les localités se trouvant aux premières places sont aussi bien les Pouilles (Gnathia, Ruvo et Canosa) que la Campanie (Capoue et Calès), plus célèbres pour les fabrications coroplastiques. Le matériel architectonique va de la fin du VIe s. av. J.- C. au I Ier s. ap. J.-C., le matériel coroplastique se situe entre la moitié du IVe s. et la fin du IIIe s. av. J.-C., la céramique à décoration plastique et polychrome et celle achrome entre le IVe et le IIIe s. av. J.-C., alors que la chronologie des vases modelés va de la fin du VIe et le IIIe s. av. J.-C. Enfin, les lampes à huile sont toutes datées entre la première moitié et le dernier quart du Ier s. ap. J.-C
The thesis analyzes the collection of terracottas of Raffaele Gargiulo (1785-after 1864), ceramist and restorer, leading figure of the Museum of Naples, neapolitan merchant of antiquity in the twenties and thirties of the 19th century. The proposed sale to the Museum of Naples of his collection is made in December 1852, but only after more than two years of hard deals it comes to the purchase on May 29th, 1855, for 6000 ducats. In order to understand the figure of Gargiulo as merchant of art 315 documents, kept in the State Archive of Naples and in the Historical Archive of the Archaeological Superintendence of Naples, have been analyzed. By the study of 11 royal decrees dated between 1807 and 1852 the legislative framework in force at the time was rebuilt, as part of the trade and export of archaeological and art objects. In the Gargiulo’s collection of terracottas the little plastic (443 specimens, 73.88%) is the most documented class, accounting for about three-quarters of the collection. About the provenances, Apulia and Campania with 578 items, the 95.54%, prevail. At the top lie the towns, both in Apulia (Gnathia, Ruvo and Canosa) and Campania (Capua and Cales), most famous for the coroplastic products. If the architectural material is dated from the end of the 6th century BC to 1st century AD, the coroplastic material lies mostly between the mid-4th century BC and the end of the 3rd BC. The pottery ranges between the 4th century and 3rd century BC, especially the plastic and polychrome decoration and the achromatic ceramic; the chronology of plastic vessels is more varied, between the late 6th and 3rd centuries BC. The lamps, finally, are dated to 1st century AD
La tesi analizza la collezione di terrecotte di Raffaele Gargiulo (1785-post 1864), ceramista e restauratore affermato, figura di primo piano del Museo di Napoli, grande mercante napoletano di antichità degli anni Venti e Trenta dell'Ottocento. La proposta di vendita al Museo di Napoli della sua collezione viene fatta nel dicembre del 1852, ma dopo oltre due anni si giunge all'acquisto, il 29 maggio 1855, per seimila ducati. Per inquadrare la figura del Gargiulo come mercante di opere d'arte sono stati analizzati 315 documenti custoditi nell'Archivio di Stato di Napoli e nell'Archivio Storico della Soprintendenza Archeologica di Napoli. Attraverso lo studio di 11 regi decreti tra il 1807 e il 1852 si è ricostruito il quadro legislativo in vigore all'epoca nell'ambito del commercio e dell'esportazione di reperti archeologici e oggetti d'arte. Nella collezione Gargiulo di terrecotte la piccola plastica (443 esemplari, pari al 73.88%) è la classe più documentata, rappresentando circa i tre quarti della collezione. Tra le provenienze prevalgono la Puglia e la Campania con 578 oggetti, il 95.54%. Ai primi posti si collocano le località, sia pugliesi (Egnazia, Ruvo e Canosa) che campane (Capua e Cales), più celebri per i prodotti coroplastici. Se il materiale architettonico va dalla fine del VI a.C. al I d.C., quello coroplastico si colloca per lo più tra la metà del IV e la fine del III a.C. La ceramica spazia tra il IV e il III secolo a.C., soprattutto per la ceramica a decorazione plastica e policroma e per quella acroma, più varia è la cronologia dei vasi plastici, tra la fine del VI e il III a.C. Le lucerne, infine, si datano nell'ambito del I secolo d.C
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Thurston, Caroline A. "The co-occurrence of terracotta wheelmade figures and handmade figurines in mainland Greece, Euboea, the Dodecanese, the Cyclades and the Northern Aegean islands, 1200-700 BC." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:e2b05fce-bd02-4f8b-bcf4-a55f46f0a452.

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This thesis addresses the lacuna in the study of Greek terracotta figures and figurines corresponding to the transitional period between the Late Bronze and Early Iron Ages (1200-700BC). It provides a comprehensive synthesis of all available data, with particular reference to material from recently excavated sites in mainland Greece and its islands (Euboea, the Northern Aegean islands, the Dodecanese and the Cyclades). The study is framed according to the relationship between terracotta figures (those made on the potter's wheel) and figurines (those made by hand). The observation that the technological distinction between these two types is reflected in their different and separate functions has been sustained in scholarship for the past three decades, but only for the Mycenaean period. Handmade figurines and wheelmade figures occurred in different and restricted contexts in the Mycenaean world: the former in settlements, cemeteries and religious locations, and the latter exclusively in religious contexts. It is therefore inferred that they had different socially embedded values or 'meanings'. However, the extent to which such a distinction applies to figures and figurines in the Early Iron Age has hitherto not been explored. Initial evidence indicates that by the 8th century, handmade figurines and wheelmade figures were deposited together at selected sites, suggesting that their inherent socially embedded meanings were the same, and that they represented "different levels of [financial] investment in what is essentially the same category of votive". This thesis therefore determines the levels of co-occurrence of wheelmade figures and figurines, thus identifying how distribution relates to usage. Changes are observed over time and space and between different types of functional contexts, and the meanings of these patterns are investigated. The results of this study provide a chronological and geographical overview of the distribution of figures and figurines, and also indicate that figures and figurines had consistently multivariate relevance in multiple types of contexts. The functional dichotomy of figures and figurines observed for the Mycenaean period cannot be sustained beyond 1200 BC. Moreover, study of the contexts from which the material originates indicates that the significance of secondary deposits of religious nature has been consistently overlooked, and that figures and figurines were used in an active and meaningful sense even during the act of their discard. This type of activity is a distinctive one that can be characterised and defined functionally, geographically, temporally and quantitatively. The socially embedded meaning of figures and figurines was fluid and related to an action being performed; their meaning was not linked exclusively to an aspect of the object itself, and was therefore not static.
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Martin, Nathalie. "Voiler son visage en Grèce ancienne : étude d'iconographie féminine." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3002.

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Le regard de l'autre est ce qui fait de nous des êtres humains. L'homme se nourrit de l'homme. Voiler son visage c'est priver l'autre de son image, c'est-à-dire de son identité naturelle et culturelle. Les motifs de femmes aux visage voilé apparaissent à Athènes au début du Ve siècle sur des vases à figures rouges. Des « mantel dancers » aux femmes trônantes différentes façon de voiler son visage ont été représentées. Ces images ont été découvertes de l'Asie mineure à l'Italie et de la mer Noire à la Cyrénaïque et à l'Egypte et dont les significations sont peu connues. La prise en compte des informations fournies par les documents d'autres natures, qui présentent un programme iconographique complet (céramiques, fresques, bijoux) a permis d'isoler sept groupes autour des différentes façons d'être voilé. Ils ont été datés et contextualisés. La prise en compte de toutes les variations que présentent les motifs, ainsi que des données fournies par les documents d'autres natures ont permis de donner un sens à un matériel, parfois issu de fouilles anciennes au contexte archéologique imprécis, et surtout de faire émerger des associations récurrentes porteuses de sens. Associée à un travail sur la valeur du geste et le sens du voile dans la société grecque, cette étude a permis de lier ces statuettes, longtemps objets d'interprétations différentes (femmes mariées, danseuses professionnelles, etc.), à des cérémonies féminines post-nuptiales liées à la fécondité, ainsi qu'avec certaines pratiques de cultes de type mystérique, comme celles du culte de Déméter ou de Cybèle
The way the others perceive us is what makes us human beings. Humans feed off each other. To veil one's face is to deprive others from one's image, i.e. of one's natural and cultural identity. Veiled women first appear in Athens in the early 5th Century on red-patterned vases. From « mantel-dancers » to enthroned women, several ways of veiling one's face have been depicted. Between the 4th century and the 1st Century BCE, earthworks reveal an important number of works dedicated to various types of veiled women, found in as many different locations as Asia Minor, Italy, the Black Sea, Cyrenaica and Egypt, the meaning of which is little known. The consideration of documents of other types, thus offering a complete iconographic program (ceramic, frescoes, jewellery) has allowed to identify seven types of veiling. They have been dated and contextualized. Considering all the variations of these patterns, as well as the data obtained from documents of other types, has allowed to derive meaning from the material – sometimes originating from old excavations with precious little in the way of archaeological context – and, particularly, to reveal recurring, meaningful associations. Combined with work on the importance of gesture and the significance of the veil in Greek society, this study allows for the establishment of a connection between those statues, which for a long time have been subject to various interpretations (such as married women, professional dancers, and so on), and post-nuptial feminine ceremonies related to fecundity, as well as with some aspects of mysteries, such as those devoted to Demeter or Cybele
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Juarez, Rodrigo Emmanuel. "La figura del detective nei romanzi Il cane di terracotta (1996) di Andrea Camilleri e Attenti al gorilla (2000) di Sandrone Dazieri." Bachelor's thesis, 2015. http://hdl.handle.net/11086/2295.

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Nel panorama del sistema letterario italiano degli ultimi sessant’anni, il genere poliziesco, a lungo emarginato perché considerato dai critici una storia di svago, inizia una sua migrazione dalla periferia del canone verso il centro di attenzione della critica dato che certi scrittori qualiGiorgio Scerbanenco e Leonardo Sciascia si avvalgono della sua architettura per riflettere e mettere luce su diversi problemi politici e sociali dell’Italia degli anni sessanta e ottanta del Novecento. Comunque, la Posmodernitá lascia impronte del tutto particolari nelle opere che verranno analizzate in questo Lavoro Finale, soprattutto sulla figura del detective, uno degli agenti che svolge la vicenda lungo la diegesi del romanzo poliziesco (l’altro sarà quindi il criminale che verrá oppure no, incarcerato)
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Books on the topic "Figured terracottas"

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Jupp, Mo. Terracotta figure 1988. [Harrow]: [Harrow College of Higher Education], 1989.

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Claudia, Wettstein, ed. Reading figures: Animal representations in terra cotta from royal building AK at Urkesh (Tell Mozan). Malibu: Undena Publications, 2006.

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Si lu hu ren wai lai feng: Tang dai hu yong zhan = Exotic flavor of the foreigners on the Silk Road : terracotta hu man of the Tang dynasty. Beijing: Wen wu chu ban she, 2008.

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Morris, Christine. Minoan and Mycenaean Figurines. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.033.

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This chapter explores the figurine traditions of the Bronze Age inhabitants of Crete (Minoan) and mainland Greece (Myceanean), covering c.3000–1100 bc. As in many cultures, Aegean figurines are predominantly made from terracotta or fired clay, but stone, ivory and bone, metal, and faience are also utilized. Early Minoan ‘vessel figurines’ and the votive figurines deposited on Middle Minoan Cretan peak sanctuaries in large numbers are presented as case studies for the Minoan terracotta tradition. The faience ‘Snake Goddesses’ and bronze figurines illustrate elite traditions and Minoan technical virtuosity. Restricted largely to the Late Bronze Age, Mycenaean terracottas can be characterized as figurines and figures. The former are small, handmade, and found across a range of contexts, while the latter have wheel-made bodies and are mostly restricted to sanctuaries. Discussion is framed around form, function, performance, and context, while keeping in mind issues of gender and identification.
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Anthropomorphe Gefässkeramiken aus Zaïre =: Anthropomorphic terracotta vessels of Zaïre. München: Galerie Fred Jahn Studio, 1987.

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Qin shi huang bing ma yong bo wu guan., Shanxi Sheng Qin ling kao gu dui., and Shanxi ren min mei shu chu ban she., eds. Selected heads of the terracotta figures at Qin shi huang's mausoleum. Xi'an, China: Shaanxi peoples's fine arts publishing house, 1996.

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Capon, Edmund. Qin Shihuang: Terracotta Warriors and Horses : Catalogue to the "Exhibition of the Terracotta Figures of Warriors and Horses of the Qin Dynasty of Ch. 3rd ed. Seven Hills Books, 1992.

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Malone, Caroline, and Simon Stoddart. Figurines of Malta. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.036.

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Figurative art developed in the Maltese islands during the Neolithic, as part of the Temple Culture that flourished c.3500–2500 bc. Anthropomorphic and zoomorphic figurines, carved from stone or modelled in terracotta represented, not only a distinct Maltese identity but also significant artistic competence. From very large to very small, the material ranges from objects used in burials to immense statues that decorated temple interiors. Some anthropomorphic figures are dressed, others naked, some obese, others stick-like, and another category associated with mortuary sites is represented lying and sitting on elaborate beds. The figurative art appears to fall into distinct categories of anthropomorphic and domestic creatures, alongside more speculative representations that focus on cold-blooded reptiles and fish, or feathered birds. The potential to interpret this ‘art’ as representative of a layer cosmology is explored within the context of a Neolithic island society.
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Banco de la Ciudad de Buenos Aires., ed. Subasta super especial: Grandes maestros de la plástica argentina y rioplatense pinturas, y esculturas, alhajas de estilo, platería, marfiles, figuras en terracota, europea y madera tallada, bronces y muebles : 4 de junio de 1998, 18 hs. Sala Santa María de los Buenos Aires. Buenos Aires: Banco Ciudad de Buenos Aires, 1998.

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Book chapters on the topic "Figured terracottas"

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"Theriomorphic Figures in Hellenistic and Roman Arcadia: Nostalgia and Ritual." In Hellenistic and Roman Terracottas, 165–79. BRILL, 2019. http://dx.doi.org/10.1163/9789004384835_012.

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Muzio, Ciro Lo. "Persian ‘Snap’: Iranian Dancers in Gandhāra." In The Music Road, 71–86. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0004.

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A series of reliefs from ancient Gandhāra (Peshawar Valley and neighbouring areas, North Pakistan) show dancers in Iranian (sometimes Hellenistic) attire accompanied by musical instruments of western (Near Eastern, Iranian, Greek) origins. A distinctive trait of these figures is the fact that each of them joins his/her hands to produce a snap (the ‘Persian snap’), meant to mark the time. The Gandharan reliefs are the starting point of an overview of the iconographic evidence of similar dance scenes in diverse artistic traditions (first and foremost, in Classical vase painting and Hellenistic terracottas), in which Iranian-garbed dancers, captured in postures closely comparable to those witnessed in Gandhāra, perform the ‘Persian snap’ which, however, had never been recognised as such in previous studies.
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Shapiro, H. A. "Periphrôn Pênelopeia." In New Directions in the Study of Women in the Greco-Roman World, 29–44. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190937638.003.0003.

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A fine marble torso of a seated woman was found in the ruins of the palace at Persepolis that was burned down by Alexander the Great’s army in 331 BCE. The statue, now in Teheran, has aroused considerable interest as a unique example of a work of High Classical Greek art that ended up at the Persian court. From comparison with fifth-century terracotta reliefs and vases, as well as Roman copies that must go back to a second, nearly identical, and now lost statue, the woman holding her head in a melancholy pose can be identified as Homer’s Penelope. A recent study by Hölscher has proposed an intriguing scenario, in which one of the two statues would have accompanied Kallias, as a diplomatic gift, when he went to negotiate a peace treaty with the Great King in 449, while the other stood on the Athenian Akropolis as Perikles’s monument to that peace. In both instances, the figure of Penelope would have symbolized the longing for peace of women, whether Greek or Persian, who waited fearfully for their husbands and sons to come home. This interpretation raises the question of the reception of Penelope in fifth-century Athens: What was she most remembered for? Was it mainly as the wife longing for her husband away at war? Did Athenian society, as Hölscher claims, increasingly see the burden of war as falling on women as the fifth century wore on? The chapter explores these questions through a combination of literary and iconographical evidence.
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Castelo Ruano, Raquel, Ana Mª López Pérez, Inmaculada Donate, Cruz Medina, and Ana Isabel Pardo. "A propósito de una terracota de Venus Curófoba procedente del El Saucedo (Talavera la Nueva, Toledo). Las imágenes de terracota de las divinidades protectoras y nutricias en la antigüedad hispana / Over a Terracota Figure of Venus from El Saucedo (Talavera la Nueva, Toledo). The Terracota Models of Protective and Nourishing Goddes in the Roman Hispania." In ANEJOS A CUADERNOS DE PREHISTORIA Y ARQUEOLOGÍA Nº 2: HOMENAJE A LA PROFESORA CONCEPCIÓN BLASCO BOSQUED, 315–34. UAM Ediciones, 2016. http://dx.doi.org/10.15366/ane2.blasco2016.023.

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"‘Thou Shalt Make Many Images of Thy Gods’: A Chaîne Opératoire Approach to Mycenaean Religious Rituals Based on Iconographic and Contextual Analyses of Plaster and Terracotta Figures." In Tracing Prehistoric Social Networks through Technology, 42–59. Routledge, 2014. http://dx.doi.org/10.4324/9780203156179-9.

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