CSIG NEWS - Announcements · of the CSIG that has generated or- ... l’abondance des couches «noires ... femmes nues assises) — ne

As we enter the New Year of 2010,the CSIG continues to grow in mem-bership, areas of interest, and nation-alities. While the strength of our or-ganization is indeed in its 111 world-wide members, it is just that aspectof the CSIG that has generated or-ganizational and procedural issuesthat should be addressed. The broadrepresentation of our constituencythat is spread around the globe pre-cludes personal interaction and face-to-face communication among mem-bers, but for the occasional confer-ence or scholarly meeting, and makesdialogue across our membership dif-ficult.

We have tried to address thatdifficulty by having regional meet-ings and focus groups, to the extentthat a nucleus of members can befound in one place at the same time,or are able to travel to attend suchmeetings. Thus, 14 CSIG membersmet at the Annual Meeting of theAmerican Schools of Oriental Re-search in New Orleans, Louisiana,this November, representing Israel,Japan, the United Kingdom, and theUnited States. A similar meeting washeld at the Annual Meeting of theArchaeological Institute of Americain Anaheim, California, in early Jan-uary, while local meetings for NewYork City, Athens, and possibly Ro-me are in the planning stages. Sug-gestions for other convenient venuesare most welcome. The broadest lev-el of democratic participation amongmembers is our goal, if the CSIG is

to develop even further as a vital,active, and even influential organi-zation. We look forward to initiativesfor increased communication comingdirectly from CSIG members thatcan be put into motion.

It has now become clear that abroader administrative structure alsois needed. It has been suggested thata Managing Committee be constitu-ted that could oversee decision mak-ing and the implementation of poli-cy. Ideally, such a committee shouldinclude representation from all ofour constituencies to ensure that allmembers can play a role in the CSIG.A suggestion also has been madethat we incorporate book reviewsinto the CSIG News and that willrequire a book review editor whowill be responsible for soliciting ap-propriate reviewers from among ourmembers.

The CSIG is only as strong as theactivity and involvement of its mem-bership. As 2010 unfolds before us Ilook forward to an even strongerorganization than we had at the be-ginning of 2009. I wish you all a pro-ductive and prosperous New Year!

Jaimee UhlenbrockChair, CSIGProfessor Emerita,Department of Art History,State University of New York

Contact: [email protected]

CSIG NEWS

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N E W S L E T T E R O F T H E C O R O P L A S T I C S T U D I E S I N T E R E S T G R O U P · N o . 3 , W I N T E R 2 0 1 0

In this Issue:

· Member Profiles and Projects· Exhibition Report· Announcements· Reports on Conferences in

New Orleans, USA, andRhodes, Greece

· List of Papers delivered byCSIG-Members

Special Thanks to

From the Chair:Entering a New Year

I have been trying to understand thevarious religious functions of terra-cotta figurines manufactured andsold at Christian saints’ shrines inEgypt and else-where in theeastern Medi-terranean worldof late antiquity.

At the greatpilgrimage cen-t e r o f A p a -Mena, west ofAlexandria, co-roplastic work-shops (whosesites have beenidentified ar-chaeologically)produced noton ly the socalled Menasampullae, whichcarried holy oilacross most ofthe late antiqueworld, but alsof i g u r i n e s o fwomen, somepregnant, someh o l d i n g o rsuckling infants,many paintedwith Christiansymbols (fig. 2).Since it is highlyunlikely thatthese figurinesdepict eithergoddesses or theVirgin Mary(whose lactansi c o n o g r a p h ywas not popularized at this time), Iam trying to identify a range of pos-sible ritual/spatial contexts in whichthe female figurines would havebeen meaningful. I suspect they serv-ed both as ex voto deposits at theshrines and as souvenirs of thesaint’s blessing on a family’s procre-ative fertility, to be set on a domesticaltar. A third context is suggested

by their occasional appearance intombs: as requests to an ancestor forprocreative fertility. But I remainmystified by the large, elaborately

painted figure allegedly to have beenfound in a tomb and now on displayin the Metropolitan Museum of Art’sCoptic art gallery (fig. 1, H. 38.3 cm).Roman Egypt, of course, has an ex-tensive range of terracotta figurines,using various Hellenistic details todevelop local features of Egyptiangods. The rich bibliography on thesetraditions include works by Françoi-

se Dunand, Laszlo Török, and myown Religion in Roman Egypt: As-similation and Resistance (Princeton,1998). I would be grateful for any

suggestions about the use of suchfigurines from Christian shrines, aswell as for any comparanda fromother coroplastic traditions in Chris-tianized cultures.

Contact:[email protected]

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NEWSLETTER OF THE COROPLASTIC STUDIES INTEREST GROUP – No. 3, WINTER 2010

David Frankfurter (Department of History, University of New Hampshire)

Terracotta Figurines at Christian Saints’ Shrines:Egypt and Palestine, ca. 400–700 CE

Fig. 2 Figurines excavated at Apa-Mena, Egypt, now in the Greco-RomanMuseum, Alexandria. Plate from C. M. Kaufmann, Die Menasstadt unddas Nationalheiligtum der altchristlichen Ägypter (1910), pl. 73.

Fig. 1 Figurine of a woman (backside),5th – 6th ct. CE, Metropolitan Museum of Art,New York, 12.185.4.

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The small, open-air cult place of Ka-ko Plaï on the Anavlochos mountainridge in eastern Crete has yielded aconsiderable amount of terracottasdating from the Protogeometric tothe Classical period. Situated in theproximity of a settlement occupiedfrom the LM III C period onwards,the cult place can be classified as asuburban sanctuary. After the settle-ment was abandoned in the course

of the 6th century BCE, the cult as-sumed an extra-urban character.

Apart from votive terracottas, thesanctuary also produced pottery,which included miniature vesselsand fragments of large pithoi as wellas a number of spindle whorls. Ex-cavated by Pierre Demargne in 1929,the findings were partly presentedin a brief report in 1931, but a fullpublication according to modernstandards of research is still a desid-

eratum. While the pottery finds arecurrently being studied by MichaelKrumme (German ArchaeologicalInstitute) and Maia Pomadère (Uni-versité de Picardie), my research fo-cuses on the ap-proximately 120fragments andcomplete speci-mens of terra-cotta figurinesand figure vases.The terracottasinclude hand-made human fig-urines dating tothe Geometricand, possibly,Protogeometricperiods. In ad-dition, there ares o m e h a n d -made animal fig-urines represen-ting bulls, ramsa n d h o r s e s .M o l d - m a d eplaques and fig-urines appearrelatively late incomparison with other Cretan sanc-tuaries, that is to say from the mid-7th century BCE onwards. The earlymold-made terracottas depict nakedand dressed female figures with orwithout a polos. Interestingly, nudemale figures (kouros type), which areusually absent from terracotta assem-blages in this period, occur in a fewspecimens. Several seated kourotro-phoi dating to the late Archaic orearly Classical period have led to theassumption that the deity veneratedat Kako Plaï was concerned withpregnancy, childbirth and nursing.

A unique group of figure vasesundoubtedly constitutes the mostinteresting group of finds from thesanctuary of Kako Plaï. There are atleast nine hand-made heads, orrather busts (Fig. 1), which exhibittenons on their lower ends. Theseheads are fitted into wheel-made

“bodies”, as shown by the two com-plete specimens (Fig. 2). Since theheads demonstrate observable differ-ences, not only in a qualitative re-gard, but also in their stylistic devel-

opment, one can assume that thisgroup developed over a longer peri-od of time. The presence of singleheads that clearly belong to the My-cenaean tradition leads one to assu-me that the earliest examples of thegroup could have already been pro-duced in the Protogeometric period.At least to my knowledge, this u-nique group of figure vases has noexact typological parallels, neitherin Crete nor on the Greek mainland.Technical features such as the con-nection of a hand-made head witha wheel-made “body” point to Mi-noan craft tradition. Further researchwill hopefully clarify not only thechronological range of the group butalso the precise function of thesefigure vases.


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Oliver Pilz (Institut für Klassische Archäologie, Johannes Gutenberg-Universität Mainz)

Terracotta Figurines from the Sanctuary ofKako Plaï on the Anavlochos, Crete

Fig. 1 Bust with tenon, height 12,9 cm

Fig. 2 Figure vase (drawing R. Docsan)

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En 1970 et 1971, au cours del’exploration d’une nécropoleclassique-hellénistique, Vangjel Toçia recueilli, à l’emplacement d’un coldans la chaîne de collines de Dautë,au nord-ouest de Durrës (Albanie),l’antique Épidamne-Dyrrhachion,un mobil ier d’une r ichesseimpressionnante: des «petits objets»divers, quelques centaines demonnaies, plus d’une tonne defragments de vases, et surtout 1800kg de fragments de terres cuitesfigurées. Malgré leur intérêtexceptionnel, ces trouvailles sontrestées entièrement inédites. Aussi

une équipe albano-française a-t-elleété constituée, en 2003, dans le cadred’un accord entre l ’ Institutd’archéologie de la Républiqued’Albanie, l ’École françaised'Athènes et le centre de rechercheHalma (UMR 8142, CNRS, Lille 3,MCC), afin de mener à bien leurétude et leur publication. Après cinqcampagnes au cours desquelles ellea sauvegardé toute la documentationde fouille, examiné la totalité desfragments de terres cuites figurées,l’équipe est désormais engagée dansla rédaction des catalogues.Parallèlement, les monnaies ont été

restaurées et identifiées à partir de2005 et l’étude des vases engagéedepuis 2006.

Le faciès des céramiques, oùdominent les vases miniature, etcelui des terres-cuites figuréesdiffèrent totalement de celui de lanécropole toute proche; malgrél’abondance des couches «noires»riches de charbons de bois et larépétitivité des formes, l’absence deratés et l’abondance des monnaiesinterdisent d’y voir un dépotoird’atelier. Aussi le contexte destrouvailles est-il selon toutev r a i s e m b l a n c e c e l u i d ’ u n e


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Fatos Tartari, Shpresa Gjongecaj, Belisa Muka Skenderaj, Eduard Shehi, Ilia Toçi(Institut d’Archéologie de la République d’Albanie),

Arthur Muller, Marion Dufeu-Muller, Stéphanie Huysecom-Haxhi(HALMA-IPEL—UMR 8164 (CNRS, Lille 3, MCC)

Figurines en contexte: Les offrandesde l’Artemision d’Épidamne-Dyrrhachion

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accumulation d’offrandes déclassées,dans ou à proximité immédiate d’undes sanctuaires extra- ou péri-urbains de la cité. D’après lesmonnaies, les vases et les terrescuites, la fréquentation a commencédès l’époque archaïque et s’estparticulièrement intensifiée à partirdu ive s.; les objets les plus récentsdu dépôt datent du iie s. En dehorsde quelques représentationsmasculines (criophores, raresbanqueteurs et jeunes hommesdebout) , les f igurines sontexclusivement des représentationsféminines. Les protomés, sousdiverses formes (protomés-masque,«protomés-épaules» = shoulder bust,protomés-buste) et dans une grandevariété de types (avec ou sans voile,avec ou sans diadème, drapées ounues, avec ou sans avant-bras, avecou sans attributs), de dimensions (dequelques centimètres au visagepresque grandeur nature) et bien sûrde qualité (le meilleur côtoie le pire),constituent l’écrasante majorité(autour de 90 %) ; les statuettes enrevanche — quelques divinités, desfemmes drapées, trônantes oudebout, des femmes dans desattitudes rituelles (porteuses deplateau à offrande, de cruche; jeunesfemmes nues assises) — nereprésentent qu’une toute petitepartie du total.

Diverses observations permettentd’ores et déjà de caractériserl’artisanat qui est à l’origine de cettep r o d u c t i o n c o r o p l a t h i q u e .L’ensemble reflète diverses traditionset influences venues de Grèce(Athènes, Corinthe, Corcyre) pourle vie s. et l’époque classique, etsurtout d’Italie méridionale à partirdu ive s. En revanche, il semble bienqu’il faille renoncer à l’origine«illyrienne» d’un type de protomé-épaules à la coiffure originale.Plusieurs indices montrent que letout est la production d’une ou deplusieurs officines d’Épidamne-Dyrrhachion, qui utilisent toutes lesressources du moulage et dusurmoulage en vue d’une productionde masse, à la fois répétitive et variée,pour une clientèle généralement peusoucieuse de qualité.

Le répertoire de ces offrandes estcaractéristique d’un culte rendu pardes femmes à une divinité féminine,

protectrice des moments importantsde leur vie. On a voulu déduirel’identification de cette divinité decelle de l’offrande majoritaire dansle sanctuaire, la protomé féminine.Vangjel Toçi y reconnaissait desimages d’une «Aphrodite paysanned’origine illyriennne» et identifiait

donc le sanctuaire commeAphrodision, nom qui est passé dansses rares mentions bibliographiques.En revanche, si on reconnaît dansles protomés, comme on le faitsouvent en Italie méridionale, desimages de divinités chthoniennes etplus précisément de Korè-

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Perséphone, il faudrait identifier lesanctuaire où se trouvait le dépôtcomme celui de Déméter.

Mais on sait désormais que lesprotomés sont consacrées en nombrechez d’autres divinités féminines,tout simplement parce qu’elles nereprésentent pas la divinitédédicataire. Tout comme lesstatuettes des types iconographiquesdont elles ne sont que la formeabrégée, les protomés représententla mortelle qui en fait l’offrande dansdifférents statuts sociaux et familiauxque permettent de distinguerquelques marqueurs conventionnels,les mêmes que dans la grandeplastique:– protomé voilée = dame trônante,toujours voilée: épouse, mariagecomme statut;– protomé sans coiffe = korè deboutsans coiffe: jeune fille nubile;– protomé avec diadème = korè avecdiadème: mariée, mariage commemoment;– protomé buste nue = «poupée nue»assise: attitude rituelle (bain nuptial?).

Aussi faut-il se tourner vers lesreprésentations de déesses recueilliesdans ce dépôt. On n’a identifiéaucune Korè-Perséphone, quatre

Aphrodite en tout et pour tout (une«Aphrodite au livre» de la mêmesérie que celle du Louvre, et lesfragments de trois Aphroditesnaissant entre les valves d’uncoquillage). Le tri de la totalité destessons a surtout permis de réunirles fragments de quelques dizainesd’Artémis: les plus nombreuses d’untype iconographique bien connu enItalie méridionale et Tarente, dit«Artémis-Bendis» (la déesse porteun chiton court, une nébride, unecoiffe associant léontè et bonnetphrygien; elle est accostée d’un oudeux chiens); les autres simplementtrônantes et coiffées du bonnetphrygien. À cela s’ajoutent lesfragments d’une demi-douzaine depetits marbres et un petit bronzereprésentant également Artémis.L’hypothèse d’un Artémision, àlaquelle chacune de nos campagnesdonnait plus de corps, a reçu en 2006une confirmation épigraphique. Lenettoyage d’un tesson de grandskyphos, simplement enregistré en1971 comme «tesson décoré à figurerouge», a fait apparaître uneinscription exceptionnelle: elle estpeinte sous le bord du vase dans latechnique de la figure rouge, en

lettres hautes de 1,5 cm, soulignéesde rehauts rouges; on y lit la formuled’une dédicace à [A]rtémis. En 2008,c’est une dédicace à Hékate, réaliséedans la même technique, qui a étéretrouvée, ainsi qu’un graffitodonnant le nom d’Artémis. Cetteidentification du sanctuaire validedu même coup l’interprétationcomme mortelles des statuettes etprotomés proposée ci-dessus.

Cet Artémision dans les collinesde Dautë ne peut être que celuimentionné par Appien, Guerre civileII 60 : le récit de l’historien, quiévoque un coup de main de Césarcontre Dyrrhachion tenue par lesalliés de Pompée en 48, dit laproximité du sanctuaire et des portesde la ville. Cette localisation est unedonnée d’importance pour latopographie de Dyrrhachion, encoremal connue : elle montre uneextension de la ville grecque etromaine supérieure à ce que l’onadmettait, mais plus conforme auxdonnées du relief. Protectrice despassages de la vie des femmes,l’Artémis de Dyrrhachion est aussigardienne d’un col et d’un accèspotentiellement dangereux pour lacité.

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Albanien. Schätze aus dem Lande der Skipetaren (Cata-logue d’exposition, Hildesheim, 1988), Mayence,1988, p. 390–392, n° 306–308 et 310.

S. GETTEL COLE, «Landscapes of Artemis», ClassicalWorld 93.5 (2000), p. 471–481

S. HUYSECOM, A. MULLER, «Déesses et/ou mor-telles dans la plastique de terre cuite. Réponsesactuelles à une question ancienne», Pallas 75 (2007),p. 231-247

A. MULLER, F. TARTARI, I. TOÇI, «Les terres cuitesvotives du sanctuaire “d’Aphrodite” à Dyrrhachion.Artisanat et piété populaire», dans P. CABANES, J.-L. LAMBOLEY (éd.), L’Illyrie méridionale et l’Épiredans l’antiquité IV, Paris, 2004, p. 609–622

A. MULLER, F. TARTARI, M. DUFEU-MULLER, S.HUYSECOM, B. MUKA et I. TOÇI, « Les terres cuitesvotives du sanctuaire de la colline de Dautë à Dyrrha-chion. Projet d’étude et de publication », dans M.BUORA, S. SANTORO (éd.), Progetto Durrës. Atti del

secondo e del terzo incontro scientifico (Udine e Parma27-29 marzo 2003 ; Durrës 22 giugno 2004), AntichitàAlto-Adriatiche 58, Trieste, 2004, p. 463–485

A. MULLER, F. TARTARI, «L’Artémision de Dyrrha-chion : identification, offrandes, topographie», CRAI2006/1, p. 67–92

A. MULLER, «Le tout et la partie. Encore les protomés: dédicataires ou dédicantes ?», dans C. PRETRE &S. HUYSECOM-HAXHI (éd.), Le donateur, l’offrandeet la déesse. Systèmes votifs dans les sanctuaires de déessesdu monde grec. Actes du 31e colloque international organisépar L’UMR HALMA-IPEL, Lille, 13-15 décembre 2007,Kernos Suppl. 23 (2009), p. 81–95

Artémis à Epidamne-Dyrrhachion. Guides de Durrës 1,Tirana, 2009, 28 p., 107 fig.

A. MULLER, F. TARTARI, «Des figurines aux collines.Contribution à la topographie d’Épidamne-Dyrr-hachion», dans J.-L. LAMBOLEY (éd.), L’Illyrie méridi-onale et l’Épire dans l’antiquité V [à paraître en 2010]

Bibliographie

I completed my Ph.D. dissertationentitled Cyprus, from Basileis to Stra-tegos: Social Power and the Archaeologyof Religion at Trinity College Dublin,under the direction of Christine Mor-ris in 2008. I am currently holdingan Irish Research Council for theHumanities and Social Sciences(IRCHSS) Postdoctoral Fellowshipwith the aim of turning my disser-tation into a monograph.

By focusing on the archaeologyof religion, my research aims tounderstand how l’histoire événe-mentielle, namely the political tran-sition from segmented administra-tion by many Cypriot Basileis (Kings)to the unitary island-wide govern-ment by a foreign Ptolemaic corre-spondent, the Strategos (General),affected the socio-cultural infra-structure, the mentalité, of the island.The relation between socio-politicalstructures and religion, and the con-sideration of both elite and non-elite,as well as ‘inside’ and ‘outside’ struc-tures, remain its principal concernsthroughout. The interaction betweenpower, religion and ideology fromBasileis to Strategos is explored with

an attempt to redefine the involve-ment of Cyprus in the so-called Hel-lenistic ‘cultural koine’. It is concludedthat a sociologically/anthropolo-gically informed analysis could in-deed provide, through the prism of

social power and the longue durée, amore holistic and diverse approachto the character of this transition.

A section of my work involvesthe study of terracotta figurines. By‘reading’ the terracotta figurinesfound in Amathous, I attempt to ex-plore how the spread of the Helleni-

stic koine models affected Cypriottradition. Does this suggest a passiveacceptance of standard forms and auniformity of the artistic repertoire,especially in a place like Cyprus,which had a very ancient and distin-guished coroplastic tradition? Howare cultural and religious meaningsexpressed through this artistic pro-duction? In addition, could anychanges in the figurine repertoire beassociated with socio-politicalchange? The major types underdiscussion include figurines fromthe Cypro-Archaic to the Hellenisticperiod: ‘goddesses’ with upraisedhands, ‘Astarte’ plaques, figurinesholding a circular object, horsebackriders, terracotta masks and figurinesrepresenting persons wearing masks,korai figurines, figurines of Aphro-dite, Isis, Artemis, Eros, Dioscuri,Attis and various agents of cult. Inthis study of figurines the mode ofenquiry is shifted from stylisticchange towards social dynamics,religious change and politico-religious agency and ideology.

Contact: [email protected]

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Caitlin Barrett is a Post Doctoral Research Scholar atColumbia University for the 2009–2010 academic year.

Alexander Nagel is a Freer Fellow at the Freer Galleryof Art and the Arthur M. Sackler Gallery of theSmithsonian Institution for the 2009–2010 academicyear.

Theodora Kopestonsky will teach at DennisonUniversity in Spring 2010.

Belisa Muka completed her PhD at the University ofCharles-de-Gaulle – Lille 3 with her dissertation Terrescuites de type grec en Illyrie méridionale et en Épire duNord.

Maya Muratov has been appointed Assistant Professorof Art and Art History at Adelphi University.

Angela Bellia has won a research award for 2010 inthe Dipartimento di Storia e Metodi per laConservazione dei Beni Culturali in Bologna for herproject Per un repertorio delle raffigurazioni musicali nellacoroplastica greca (VI–III sec. a.C.): la Magna Grecia.

Giorgos Papantoniou was awarded an Irish ResearchCouncil for the Humanities and Social Sciences(IRCHSS) Postdoctoral Fellowship for the 2009–2010academic year for the revision of his dissertationCyprus, from Basileis to Strategos: Social Power and theArchaeology of Religion.

Announcements:

Giorgos Papantoniou (Department of Classics, Trinity College Dublin)

Cyprus, from Basileis to Strategos:‘Reading’ the Terracotta Figurines

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The archaeological survey conductedin 1908 by Paolo Orsi at Locri inCalabria revealed a votive depositat an extramural sanctuary dedicatedto Persephone. Here many pinakes,small clay votive tablets in relief, hadbeen dedicated. The production ofthese pinakes, part of the thrivingcraft production of Locri, was drivenby intense sacred activity that tookplace over the course of the 6th and

5th centuries B.C. The discovery ofthese clay tablets represents an im-portant contribution to the knowl-edge of the art of Magna Graecia andthe history of Greek religion.

The systematic study of the cor-pus of these Locrian pinakes hasbeen focused mainly on the work ofthe craftsman, from the conceptionof the compositional scheme to saleof the product. Four phases are evi-dent in the ‘production cycle’ of thepinakes that include the creation ofthe handmodeled prototype, themould, the addition of figurativeparticulars, and the application ofcolor.

The main figurative theme of thiscorpus is linked to the great mytho-logical cycle of the life of Persephone,with scenes that illustrate the storyof the passage of Kore to Persephone.These revolved around the abduc-tion of the goddess by Hades whenshe was still a virgin while pickingflowers in a meadow, her arrival in

the Underworld, the preparationsfor her wedding, and the feast of thepresentation of gifts to the goddess

seated on the throne as wife of Hadesand sovereign in the kingdom of theUnderworld.

These scenes on the pinakes werean expression of the worship of thegoddess in her dual capacity as god-dess of the Underworld and protec-tor of human fertility, as it waspracticed at the sanctuary of Locri.

The study of the representationsdocumented in the 5360 pinakesfound at Locri has enabled the iden-tification of 10 thematic “groups”that have been given paricular desig-nations. Each group consists of sever-

al iconographic “types”, totaling 197in all. To the first, third, eighth andninth “groups” belong eight “types”

that have scenes involving musicand dance.

In the ideology of the pinakes,especially in connection with theprenuptial sphere, we can see therole attached to music and its link tofemale rites of passage from adoles-cence to adulthood and marriagethat already was well established inthe Archaic period. The clearest ex-ample of the role of music in thisparticular ritual context is represen-ted on the pinakes with a choros ofdancing girls at the preparation ofthe wedding crown for Kore.

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Angela Bellia (Università di Bologna.Dipartimento di Storie e Metodi per la Conservazione dei Beni Culturali)

The Musical Representationsof the Pinakes of Locri Epizefirii

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Although not depicted with par-ticular frequency, musical instru-ments, musicians, or a musician,could play an important role both inritual scenes and in those alludingto the paideutica function of music inrelation to the universe of men. In

the representations of the ritual cer-emonies, the presence of a aulete, orfemale musician (fig. 3–4), canperhaps be understood when takinginto account the role allocated tomusic during festivities in the Greekworld, particularly those that celeb-rated the return of Kore from theUnderworld. During these moments,characterized by sacrifices and by afestive atmosphere, the written sour-ces also document the performanceof dances accompanied by the aulos.

In the education of the youngmale in both the athletic and themilitary spheres, the learning andperformance of music and songs,

and particularly the presence of thelyra, seems to be an attribute of Cas-tor. Although the Dioscuri were pre-Hellenic deities, they were closelyassociated with Laconia and werethe Spartans’ heroes of excellence. Itis possible that in Locri during the

Archaic period, given the relation-ship it had with the Laconian culturalsphere, a special value had been giv-en to music in military activities. Theusual combination of the two attrib-utes of Apollo, the bow and the lyra,in the presence of the UnderworldCouple presents a similar problem(fig. 1–2). The object, the bow, andthe musical instrument, the lyra,symbolically represent weapons, orwar, and intellectual, or poetic, acti-vities, two fundamental aspects ofhuman life, particularly in the mas-culine sphere.

Pinakes have been consideredonly occasionally for the documen-

tation of ancient Greek music. Mycurrent research is devoted to musi-cal representation in the pinakes ofLocri, a extraordinary resource formusic in Greek antiquity. This is thefirst attempt to utilize this particularresource, which has never been ana-lyzed from a musicological pers-pective. This study will be charac-terized by a comparison of thehypotheses advanced by archaeol-ogists and historians of religion andof art. These are based on the writtensources, both historical and literary,that reference the symbolic functionof musical instruments. In this way

one can better understand the roleof music in ritual and myth charac-teristic of this geographic area ofsouthern Italy between the sixth andfifth centuries BCE.Contact:[email protected]

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Bibliography

GRILLO, E., RUBINICH, M.,SCHENAL PILEGGI, R., in: LISSICARONNA, E., SABBIONE, C.,VLAD BORRELLI, L. eds. I Pina-kes di Locri Epizefiri, «Atti e Me-morie della Società Magna Gre-cia», s. IV, II, 1-5, 2000-2003.

BARELLO, F., CARDOSA, M.,GRILLO, E., RUBINICH, M.,SCHENAL PILEGGI, R., in: LISSICARONNA, E., SABBIONE, C.,VLAD BORRELLI, L. eds. I Pina-kes di Locri Epizefiri, «Atti e Me-morie della Società Magna Gre-cia», s. IV, III, 1-6, 2004-2007.

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At the Annual Meeting of the Amer-ican Schools of Oriental Researchheld in New Orleans, Louisiana,from November 18 to 21, 2009, therewere two sessions dedicated to re-search on terracotta figurines. Origi-nally, only one session was planned,but when the call for papers wasissued the response was such that asecond figurine session had to beadded to the program. Organizedby Stephanie Langin-Hooper, thesessions focused on new perspecti-ves, interdisciplinary dialogue, andcross-cultural comparisons withinthe area of coroplastic studies.

In the first session five paperswere presented. Adi Erlich discusseda unique group of conical figurinesfrom the Edomite site of Maresha inIsrael, proposing that they represent

a fusion of the multiple culturalforces that were at play in HellenisticIsrael. Elizabeth Waraksa presentedstandardized types of nude, femalefigurines from the Temple of Mut atKarnak that were consistently brokenduring magico-medical healing ritu-als. Jaimee Uhlenbrock introducedan unparalleled figurine excavatedfrom the Greek city of Cyrene, Libya,that appears to have originated atan as yet undetermined Near Easterncenter in Iron-Age Syria. Erin Darbyexamined a corpus of Judean pillarfigurines of the 8th to 7th centuryBC from Jerusalem in conjunctionwith Jerusalemite pottery productionin order to illustrate the likelihoodof specialized producers of religiousparaphernalia for separate elite andnon-elite consumers. Susan Downey

focused attention on images of divin-ities in both terracotta and stuccofrom the second to third centuriesAD at Dura Europos, Syria, explor-ing the implications of their typesand find-spots for the religious andcultural life of the city.

The second session originally hadfour papers scheduled, but one ofthe presenters had to cancel becauseof the inability to obtain a visa. Thus,three papers focused on materialfrom Jordan, Cyprus, and thesouthern Levant. Christopher Tuttlesummarized the synthetic methodol-ogy recently employed for the clas-sification and analysis of the complexcorpus of Nabataean terracottas andpresented an interpretive analyticalmodel for the identification and as-sessment of the varied functions andmeanings of these terracottas. ErinWalcek Averett argued that terra-cotta figurines, such as those fromthe rural sanctuary at Athienou-Malloura, Cyprus, were used asimportant symbols in the construc-tion and maintenance of importantsocial identities and institutionsduring the politically crucial time ofthe early Archaic period. Finally,Elizabeth M. Bloch-Smith focusedon the Judean pillar figurine fromthe late Bronze and early Iron Agesas a type to illustrate how this fig-urine type and biblical accounts ofwomen were both likely sponsoredby centralized religious and civilauthorities to promote the woman’srole as vulnerable, nurturing mother.

The response to these sessionswas enthusiastic and lively discus-sions followed each paper. A call forsubmissions focusing on coroplastictopics was immediately issued forthe upcoming 2010 ASOR AnnualMeeting in Atlanta, Georgia, inNovember.

Those wishing to submit a paperproposal should contact StephanieLangin-Hooper at [email protected].

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Coroplastic StudiesInterest Group Newsletter

No. 3 Winter 2010

Executive Editor:Alexander Nagel

Design & Production: Thomas Anker

Please address all correspondence andinquiries to the Newsletter Editor

Alexander NagelInterdepartmental Program in Classical Art and ArchaeologyUniversity of Michigan, Kelsey Museum of Archaeology434 South State Street, Ann Arbor, MI 48109-1390

Phone: 734 764 6323Fax: 734 763 8976E-mail: [email protected]

www.coroplasticstudies.org

Conference Report I, Jaimee Uhlenbrock

“Figuring Out” the Figurinesof the Ancient Near East I and II

Les figurines de Myrina conservéesau Musée du Louvre proviennentde fouilles archéologiques menée auXIXe siècle mais bien documentées.Cependant ce mobilier funéraire,dans son acheminement depuis laterre d’ensevelissement jusqu’auxvitrines du musée, a perdu son an-crage archéologique et le contexteprécis des découvertes a été peu àpeu effacé. Aussi, les études du XXesiècle ont été menées uniquementsur le matériel. S.Besques, puisD.Kassab, ont ainsi étudié soigneu-

sement le millier de figurines en terrecuite qui a été découvert dans lestombes. Mais ce n’est que très récem-ment que l’intérêt s’est porté sur lematériel pris dans son ensemble,dans le but d’y repérer une unitépossible où ancrer sa signification.

Nous sommes encouragés danscette voie par la découverte d’archi-ves inédites qui permettent d’ajouterplus d’une centaine de descriptionsde tombes à celles publiées en 1886.Outre une meilleure connaissance

de la localisation de la nécropole,des différents types de tombes et desrites funéraires, ces notes permettentde recontextualiser le matériel enidentifiant le mobilier des différentstombeaux. Ainsi, l’étude que je mènes’attache, d’une part à confronter lesfigurines en terre cuite au reste dumatériel, céramiques, verres ou bron-zes, et d’autre part, à relier lesdifférents types de figurines entreelles. Strigiles, miroirs, boîtes à fard,hameçons, bassins, perles, palettesà fard, unguenteria en verre ou enterre cuite… sont ainsi progressive-ment identifiés. On observe alorsl’importance du mobilier lié à la to-ilette, et donc à la sphère féminine,qui a été retrouvé avec les figurines.

La recontextualisation iconogra-phique déjà proposée lors d’une pe-tite exposition dossier qui s’est tenueau Louvre en 2007, invite à penser,comme l’a déjà fait D.Graepler, queles figurines prennent sens les unespar rapport aux autres comme avecl’ensemble des offrandes. La signifi-cation des figurines et la compréhen-sion de leur fonction dans ce contextefunéraire peut s’enrichir de nou-veaux regroupements. On a ainsireconstitué plusieurs mobiliersfunéraires soulignant, semble-t’il, lestatut social du défunt, lié à son gen-re, assurant son devenir dans le mon-de des morts.

L’étude systématique des contex-tes amène également à s’intéresserà des typologies négligées jusqu’àalors car relevant d’une productionde série. Sirènes et éros funérairessont ainsi des types importants, tantpar leur signification que pour l’é-tude des pratiques artisanales, dufait du nombre important d’exemp-laires intacts ou complets provenantd’un même contexte archéologique.La caractérisation de générations,de variantes et de versions à l’intéri-eur de cet ensemble homogène posela question de l’évolution du type,des sirènes par exemple, produitlocalement mais dans une variétédue aux différents ateliers rattachésà la cité de Myrina.

Une campagne d’analyses dé-butée en 2008 et prévue sur 2 ans,au Centre de recherche et de restau-ration des Musées de France, com-plètera la connaissance de ces figu-rines en argile de Myrina. Il s’agitdésormais de croiser les analyses depâte des figurines avec les rassemb-lements archéologiques par tombes,

les regroupements techniques parsérie de production et les ensemblessignés. Ainsi les séries des sirènesont été systématiquement analysées,puis le mobilier des tombeaux A etB, et les conclusions seront bientôtpubliées.

L’étude des pigments et des pra-tiques du décor peint, indispensableaujourd’hui, pourrait aussi être re-nouvelée par l’examen approfondiet systématique de la polychromiedes figurines de Myrina. Les étudesen cours montrent ainsi l’usage depigments locaux, pour le vert parexemple, qui n’ont pas encore étéidentifiés sur d’autres sites.Contact:[email protected]

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Néguine Mathieux (Musée du Louvre, Département des Antiquités grecques, étrusques et romaines)

Du Louvre à Myrina: les figurines et leurs tombes

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In November 2009 a group of Russi-an archaeologists initiated work onoutstanding collections of dogu—clay anthropomorphic figurines—(fig. 1), one of the brightest manifes-tations of the Jomon period in theLaboratory of Archaeology at Toho-ku University in Sendai, Japan. Thisis a part of a broad program of co-operation between the SiberianBranch of the Russian Academy ofSciences and Tohoku University.

In total, the Tohoku Universityarchaeological collection consists ofabout 200,000 specimens from rep-resentative Paleolithic sites in theJapanese archipelago that compriseshell middens and settlement sitesfrom the Jomon period, early far-ming villages in northeast Japan,ancient political centers, and templeremains in the Mutsu province.While there has been continuinginterest in these beautiful dogu figur-ines, most of the collections werenever studied as a cohesive phenom-enon, and exhibitions of these figur-ines outside of Japan have been ex-tremely rare, with the one exceptionof a major exhibition of dogu com-prising some 70 figurines at theBritish Museum this Fall. In anycase, in comparison with the hugenumbers of dogu found, this exhibi-tion presented only a minisculeamount.

Our work at Tohoku Universityfocused on a large collection of some250 figurines from such sites as theNumazu shell mound, Aso, Fujika-bu, Kamegaoka, Danoue, Takosinai,and Fukurohara. According to thechronology of the Jomon periodthese sites represent the so-calledLate (4000–3000 BP) and Final(3000–2400 BP) stages of this culture.Most of the figurines were foundfragmented or broken, which allo-wed some specialists to speculateabout the symbolic death of the ar-tifact that accompanied the death ofthe owner. Of course, this is just oneof the interpretations and there are

many others. It is clear that clay fi-gurines were closely connected withthe rich ritual and ceremonialpractices of the people. Dogu werefound both in dwellings and burials,broken and intact, in pairs, groups,and as single artifacts. There are fe-male, male and transsexual represen-tations. In fact, they may serve asthe “clay encyclopedia” of Jomonlife, depicting var-ious styles of dress,decoration of body and head, diffe-rent positions of arms and legs, and

enigmatic objects on the face, amongother aspects.

There are many regional stylesof dogu. The Tohoku region demon-strates one of the most complicatedof the styles, the so-called kamegaoka

(“goggle-eyed” in English). The fig-urines of this style have elaborateddress with spiral ornamentation andmasks on the face that have strange“coffee-bean”shaped eyes (figs. 2, 3).

Many hours were spent makingdrawings, photographs, and detaileddescriptions of these figurines.Preliminary results of our work willbe published in periodicals in Russiaand Japan in the near future.

Our visit to Japan also includeda series of excursions to Miyagi andYamagata prefectures, as well as thepresentation of two lectures aboutthe Paleolithic and Neolithic of theRussian Far East for graduate stu-dents and faculty, with a special fo-cus on the wide range of parallelsbetween continental and island cul-tures in pottery design, figurines,and ornamentation. We express ourgratitude to our Japanese colleaguesand hope to continue this fascinatingwork. The project is supported bythe special grant from the RussianFoundations for the Humanities.

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Elena A. Solovieva, Andrei V. Tabarev, Julia V. Tabareva(Institute of Archaeology & Ethnography, Novosibirsk, Russia)

The Riddles of Dogu: Work with collection ofJomon Figurines at Tohoku University, Japan

Fig. 1 Dogu figurines in the Laboratory of Archa-eology, Tohoku University, Sendai, Japan.

Fig. 2 Clay head with sophisticated ornamentationof the face (painting-? tattoo-?)

Fig. 2 Broken dogu of kamegaoka style.

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The University of Michigan’s exca-vations of 1924 to 1935 at Karanis,the Greco-Roman period site locatedin Egypt's Fayum oasis, uncoveredseveral hundreds of terracotta fig-urines. A small portion of these werekept by the excavators and now formpart of the collections of the KelseyMuseum in Ann Arbor. Both stylisticand materials studies of these pieceshave contributed to our knowledgeof Egyptian coroplastics from theFayum. However, due to industrial-scale farming of the site for sebakh,the Michigan dig operated as a typeof rescue operation, and thus onlygeneral contextual information wasrecorded for the majority of theseobjects. Even conclusions on thosepieces with well-recorded contextsare problematic for chronologicalstudies because of the expedition’sdating system, which has now beenshown to have significant inaccu-racies.

Renewed excavations at the siteof Karanis since 2004 by the Uni-versity of California at Los Angelesand the Rijksuniversiteit Groningen(UCLA/RUG) have uncovered anumber of comparable terracottafigurines. These pieces were exca-vated from various areas of the siteand in a variety of contexts, inclu-ding houses, streets, and granaries.Modern excavation methods, com-bined with a more advanced studyof site stratigraphy and ceramics,now should allow these objects tobe placed within a more meaningfulcontext. As well, because Michiganrecorded the general find locationof even those figurines they did notkeep, the project will use modernspatial analysis tools (GIS) to lookinto the site-wide distribution pat-terns of the figurines by iconographictype.


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Elaine Sullivan (University of California at Los Angeles)

New Finds of Terracottas from Karanis, Egypt

Figs. 1–2 Recently excavated fragments of figur-ines from Karanis, Egypt

Photo credit: author (1–2)

On November 11 an ex-hibition opened at the In-stitute for the Study of theAncient World (ISAW) atNew York University thatfocuses attention on some250 artifacts from the Ne-olithic cultures of OldEurope that flourished inBulgaria, Romania, andMoldova. Called The LostWorld of Old Europe: TheDanube Valley, 5000–3500BC, the exhibition featuresimposing and richly-decorated ceramics, objectsin gold and copper, shellornaments, and an im-pressive assemblage ofterracotta figurines, alldisplayed in the tworooms that comprise theexhibition galleries ofISAW.

This material is littleknown beyond the easternEuropean academic com-munity because of restric-tions that continued afterthe fall of the Iron Curtain.Its presence at ISAW rep-resents its first appearanceoutside the former SovietBloc and is the result of animpressive collaborationbetween Bulgarian, Ro-manian, and Moldovianmuseums and ISAW.

While the first room ofthe exhibition is devotedprincipally to pottery andsmall finds, the secondroom is dedicated exclu-sively to terracotta figu-rines, although large ter-racotta building models,figured vessels, and a fewother terracottas are foundin the first gallery as well.In all, figurines and figu-red vessels representingthe Neolithic cultures ofCucuteni, Hamangia,

Gumelnitca, Vinca, andVadastra provide an ex-cellent overview of therange of plastic expressionthat was characteristic ofOld Europe. Thus, fromthe Cucuteni culture ofRomania come intriguingfigurine groups dating ca.3700 BC that were madein two-part molds. Theserepresent long and slendern u d e f e m a l e s w i t hpinched heads, long necks,simple, flat, and schematicbodies without arms,pronounced hips andbuttocks, and attenuatedlegs tapering to a point.On occasion, the torso andlegs are embellished withrich, incised decoration(Fig. 1). A selection of thesefigurines is displayed in asingle case as a group thatunderscores their commoncharacteristics, while re-vealing the mass-pro-duction that was respon-sible for their man-ufacture. Another caseholds an architecturalmodel from Ghelaiestiwithin which 7 of thesefigurine types were found,of which one is male. Stillanother case displays a“set” of 21 earlier Cucutenifigurines of seated femalesof ca. 4700 BC that aredistinguished by exagger-atedly bulbous thighs andbuttocks and linear deco-ration. Ranging in sizefrom small to miniscule,they were found togetherwith 13 miniature chairsin a large vessel near the


14

CSIG Exhibition Report, Jaimee Uhlenbrock

Neolithic Terracotta Figurines on Displayin New York City

Fig. 1 Female Figurine, Fired Clay,Cucuteni, Draguseni, 4050–3900 BC,Botosani County Museum,Botosani: 7558.Ph

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A colloquium on Terracottas and SmallArtifacts in the Aegean Region from theGeometric to the Roman Period washeld in the memory of the lateDr. Eos Zervoudaki, a distinguishedmember of the Greek ArchaeologicalService. It took place in the city ofRhodes, on Rhodes Island, Greece,from the 26th to the 29th November2009 and was organized by the 22ndEphorate of Prehistoric and ClassicalAntiquities (KB EPKA), the HellenicMinistry of Culture and Tourism,the Lindos Acropolis Project Techni-cal Bureau, and the ArchaeologicalInstitute of Aegean Studies. The col-loquium attracted a large number ofGreek, Italian, and French partici-pants, who presented finds from mu-seums, as well as from old and recentexcavations.

The colloquium opened withhonorary speeches “In Memoriamof the late Eos Zervoudaki” on thefirst day. The papers of the first twosessions on the second day were de-voted to finds from the Dodecanese,the Cyclades, and north Aegean,those of the third session to northernGreece (Greek Macedonia and Thra-ce), and of the fourth to Thessaly inthe Greek mainland and to the islandof Euboea. Finds from Boeotia, Atti-ca, and the Peloponnese were pre-sented during the fifth session, onthe third day, followed by presenta-tions focusing on Sparta, Laconia,and the southeastern Mediterraneanin the sixth session. The last twosessions of the colloquium concen-trated on metal vases and jewelryfrom the Dodecanese and Greek

Macedonia. A large number of typesof terracotta figurines and groups ofmany periods were discussed, toge-ther with possible type origins anddispersion range of molds. Terracottafigurine contexts, such as their findspots in public sanctuaries, privatehouses, graves, or kiln sites, werealso presented, as well as productiontechniques, and coloring preservedin many cases. The Colloquium wasconcluded with a trip of the partici-pants to ancient Lindos, where, inrecent years, monuments of the an-cient acropolis have been systemati-cally restored on a scholarly andmodern scientific basis. The proceed-ings will be published.


hearth of a building at thesite of Poduri-Dealul Ghin-daru.

Completely different instyle are the figurines thatrepresent the Hamangiaculture of Bulgaria andRomania that date from5000 to 4600 BC. While alsodepicting nude females,these are bolder in thegreater plasticity andsimplicity of their forms,which tend toward simple,g e o m e t r i c v o l u m e s .Perhaps the most well-known of these is the so-called Thinker of Cerna-voda, a figure seated on alow bench whose elbowsrest on the knees while thearms are brought up to thehead (fig. 2).

A fully illustrated cat-alogue is available withchapters designed to illu-minate aspects of the ex-hibition. A chapter entitled“The Figurines of Old

Europe” is written byDouglass W. Bailey, whois critical of the earlier in-terpretations of these fig-urines as representationsof the divine. The exhibi-tion runs through April 25,2010. ISAW is located at 15East 84th Street in NewYork City and the exhibi-tion is open Tuesdaythrough Sunday.

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Conference Report II, Maria Chidiroglou (Hellenic Ministry of Culture, Greece)

A Colloquium on Terracottas andSmall Artifacts in Rhodes, Greece

Fig. 2 The ‘Thinker’ from Cernavoda,Fired Clay, Hamangia, Cernavoda,5000–4600 BC, National HistoryMuseum of Romania,Bucharest: 15906.

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Deliciae Fictiles IV. Architectural Terracottas inAncient Italy. Images of Gods, Monsters, and HeroesDutch Royal Institute in Rome, October 21–25, 2009

Anna Santucci (Università di Urbino), Maria ElisaMicheli (Università di Urbino), “Terrecottearchitettoniche dal territorio marchigiano: vecchieconoscenze, nuovi questioni.”

Laura Gasparri (Università degli studi di Torino). “Gliacroteri del tempio B di Himera”

Coroplastic and Small Finds from the GeometricPeriod to the Roman Era—Colloquium held in theMemory of Eos ZervoudakiRhodes, Greece, November 26–29, 2009

Alexandros Andreou (University of Athens), “ATerracotta Head from Miliades’ Excavations on theAthenian Acropolis South Slope. A Philosopher’sPortrait?”

Vasilios Aravantinos (Hellenic Ministry of Culture,9th Ephorate of Prehistoric and Classical Antiquities,Thebes); (Margherita Bonano-Aravantinos (Universitàdegli Studi di Roma 2); Kyriaki Kalliga (9th Ephorateof Prehistoric and Classical Antiquities, Thebes);Marcella Pisani (Università degli Studi di Roma 2),“Terracotta Figurines, Garlands, and Miniature Objects:Ex-votos from a Rural Sanctuary at Orchomenos,Boeotia.”

Maria Chidiroglou (Hellenic Ministry of Culture),“Terracotta figurines from Euboea in the NationalArchaeological Museum in Athens: Groups of Deitiesand Actors.”

Archéologie des espaces économiques.La concentration spatiale des activitéset la question des quartiers specializesUniversité Charles-de-Gaulle – Lille 3Lille, France, December 16–17, 2009

Marcella Pisani (Università degli Studi di Roma 2,Scuola Archeologica Italiana di Atene), “Fornaci perla produzione di terrecotte figurate in Sicilia: costantie distribuzione spaziale. Il caso di Camarina.”

American Schools of Oriental Research AnnualMeeting “Figuring Out” the Figurines of the AncientNear East I, IINew Orleans, LA, USA, November 18–21, 2009

Nancy Serwint (Arizona State University), “Cult andEthnicity in a Cypriot Sanctuary”

Adi Erlich (University of Haifa), “Double Faces,Multiple Meanings: The Hellenistic Pillar Figurinesfrom Maresha, Israel”

Elizabeth Waraksa (University of California at LosAngeles), “Female Figurines from the Mut Sanctuaryat Karnak: Evidence of Ritual Use.”

Jaimee Uhlenbrock, (SUNY, New Paltz), “A NearEasterner at Cyrene: Cross Cultural Implications at aGreek City in Libya”

Erin D. Darby (Duke University) and David Ben-Shlomo (The Hebrew University of Jerusalem), “Sugarand Spice and Everything Nice: Terracotta PillarFigurines and Jerusalemite Pottery Production in IronII Judea.”

Christopher Tuttle (American Center of OrientalResearch, Amman), “The Nabataean Coroplastic Arts:A Synthetic Methodology for Addressing a DiverseCorpus.”

Erin Walcek Averett (Creighton University), “TheRitual Context of Archaic Cypriote Figurines.”

Archaeological Institute of America Annual MeetingAnaheim, CA, January 6–9, 2010

Sarah Hawley (University of Southern California),“The Iconography of Empire: Figurines from Tell al-Judaidah.”

Jewish ‘Material’ Otherness? Ethnic, Religious andCultural Boundaries in Late Persian and EarlyHellenistic Times in the Southern LevantRuhr University, Bochum, Germany, January 15, 2010

Izak Cornelius (Universiteit van Stellenbosch),“Phoenician and Hellenistic influences on clay figurinesin the late Persian period.”

Papers delivered by CSIG memberson topics relating to coroplastic research

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