Abstracts

Papers collected by Michel Feugère, Ergün Lafli and Arthur Muller

Izmir, June 2007

Editorial Note to the Abstracts of the Terracottas Conference:

A Brief Introduction to Greek and Roman Coroplastic Studies

in the Eastern Mediterranean

Ergün LAFLI

Dr Ergün LAFLI (Izmir)

Dokuz Eylül Üniversitesi, Fen-Edebiyat Fakültesi, Arkeoloji Bölümü, Tınaztepe/Kaynaklar Yerleşkesi, Buca, TR-35160 Izmir, TURKEY.

<elafli@yahoo.ca>

The aim of this online Abstracts Booklet is to introduce the papers that will be presented at The Terracottas Conference to be held on 2-6 June 2007 at Dokuz Eylül University (DEU) in Izmir, Turkey. It also aims to give a summarised impression of recent innovations in coroplastic studies.

The main objective of this meeting is to report on the state of research concerning the terracotta figurines of Antiquity in a broad sense, between ca. 7th century B.C. and 4th century A.D. in the Greek and Roman Eastern Mediterranean. The geographical areas concerned are Turkey, Greece, Cyprus, Egypt, Syria, Israel, Lebanon, Jordan, the rest of the Near East and the Black Sea countries. The focus is, however, Asia Minor. To date 157 participants from more than 24 different countries have registered for the Terracottas Conference; 45 of whom will give a lecture and the rest will present posters. It seems that all the important issues concerning coroplastic studies will be discussed in a broad extension of the eastern Mediterranean geographical area. Main sections of the conference will be ‘generalities’, ‘workshops & production’, ‘distribution (i.e. Ionian koine)’, ‘production centres’, ‘iconographical types’, ‘domestic finds’, ‘funeral finds’ and ‘votives’.

The quantities of figurines that have come to light on numerous sites, as well as recent research on the various collections from the geographical area concerned, now allow us to make significant additions to the archaeological evidence to which we owe recent progress in coroplastic research in western Europe. Concentrating on unpublished finds or collections from the Eastern Mediterranean and Asia Minor, the colloquium aims to tackle a series of questions which can be grouped as four principal interlinked and overlapping themes: production and diffusion, iconography and function.

— Production: we include papers presenting and characterising production sites (from minor workshops to large manufacturies specialising in coroplastic production) with their installations and production tools (moulds). The moulding process, which was standardised in Greece from the 7th c. B.C. onwards, is now well understood, as are the manufacturing processes linked with it, such as derivative moulding; so one could produce evidence for particular or original production modalities, as for instance the phenomenon of the moulded ‘signatures’. Papers on other fabrication techniques (modelling, the potter’s wheel, mixed techniques), which are older or which survive when the moulding technique came into use, have also been included.

— Diffusion: in this area one could study the modalities of diffusion: distribution of objects, figurines and moulds, by trade or by itinerant craftsmen; derivative production and its transformations, through remoulding; simple imitation by modelling new prototypes directly inspired by existing products. In this way it might be possible to reconstruct ‘production series’ involving several production centres, and to follow the formation of a repertoire for a common shape, such as the so-called ‘Rhodo-Ionian’ koine for the Archaic period and especially the Tanagra style of the Hellenistic period. The reasons and the significance of their widespread and rapid diffusion should also be examined. On the other hand, the longevity of particular shapes or styles also needs explanation.

— Iconography: a large part of the immense coroplastic repertoire is well understood and easily interpreted, but a lot of elements are still problematic. There is, for instance, the case of rare objects, original creations with limited diffusion; and also the case of complete families of objects, the significance of which is still a matter of debate, such as the protomes or the numerous female figurines – were they goddesses or simply mortal women ? Moreover, it remains questionable if this significance is universal or changes from place to place, from period to period. Texts and other images, which are sometimes more explicit (vases, sculpture, engraved gems…), will sometimes be a useful aid for papers dealing with such questions.

— Function: through the abundant finds of certain well known sites, it generally seems that the votive and funerary functions of figurines is fully understood. However, the chronological and geographical extension of these practices often still needs to be defined, their recipients to be identified (deities, sex, age at death?), and their exact meaning and significance to be understood. As to finds from houses, their interpretation – “genre scene” and simple decoration, evidence for domestic cults, toys, magic or apotropaic objects ?— still very often remains problematic. This shows how much we need papers on precise archaeological contexts which could give us some answers in this field.

As mentioned above, special attention will be given to Asia Minor: until now little attention has been paid to coroplastic studies in Turkey. In this conference several different topics that are crucial for understanding the development of coroplastic studies in Turkey from its beginning in the 19th century until the present day will be presented. The most important problems can be summarised as follows:

1. difficulty in counting and processing such a large number of items;

2. problems facing the analysis of the material from the excavated contexts;

3. lack of contextual assistance in dating the figurines from the museum pieces;

4. lack of a standard language for the description of their stylistic analysis.

While these problems create difficulties in analyzing the material, they do not present insurmountable obstacles. For example, the lack of contextual evidence for certain types of figurines can be overcome by using well-documented figurines from other sites, such as Tarsus, Pergamon or Troy. Any further improvement of the dating must rely on both stylistic interpretation and comparisons with work in other media, such as stone and bronze; this has not yet been thoroughly explored. The figurines can be examined in view of their cultic context and can be looked at in relation to two parts: functional and symbolic. However, in most cases excavated materials in Turkey have been presented without any contextual analysis [this problem has been examined in Ergün Laflı, Les figurines romaines en terre cuite de Seleucia Sidera en Pisidie (Turquie), Orient-Express. Notes et nouvélles d´archéologie oriéntale 1998/3, pp. 73-78 in detail]. Through the medium of this conference we would like to provide a useful overview of Archaic, Classical, Hellenistic and Roman coroplastic techniques and focus on what the material from Asia Minor and the rest of the Eastern Mediterranean can add to the existing knowledge base. (For the state of current knowledge see Ergün Laflı, A Bibliography of Hellenistic and Roman Coroplastic Art from Asia Minor: <http://home.rhein-zeitung.de/~rzentral/anadecom/TurkishTerrakottas.htm>.) In addition, museums and their coroplastic collections will be examined.

We hope very much that the Proceedings of this Conference will be the standard reference for coroplastic studies in this area for some time to come and will break new ground with regard to the wider aspects of this subject.

January 26, 2007,

Izmir.

Les figurines de terre cuite de la ville hellénistique de Petres

(Macédoine occidentale)

Polyxène ADAM VELENI

Mrs Polyxene Adam VELENI (Thessaloniki)

Aristotle University of Thessaloniki, Thessaloniki, GREECE

<velenis@hist.auth.gr>

Petres est une une ville située à l’extrémité la plus occidentale de la Macédoine, dans la région de l’ancienne Eordée : tout indique qu’elle était un satellite de la capitale Pella, peut-être fondée par Philippe II. La phase d’occupation la plus ancienne observée remonte vers la fin du IV^e siècle avant notre ère. La période de prospérité de la ville commence à la fin du III^e siècle av. J.-C., se poursuit au II^e siècle et au début du I^er siècle av. J.-C. Durant cette période, son économie se transforme progressivement : de rurale elle devient agro-artisanale. La Via Egnatia a sans doute joué un rôle déterminant dans cette évolution : traversant la plaine au sud, elle a transformé la ville en nœud de communication Est-Ouest.

Au II^e et au I^er siècle av. J.-C., se développe un atelier de céramique dont la production ne se borne pas à la simple imitation fidèle des modèles des grands centres urbains de la Macédoine : au contraire, il produit également ses propres créations. Au II^e siècle av. J.-C. fonctionne également un important atelier de coroplathe. Un nombre élevé de moules pour la fabrication de figurines ainsi qu’un positif en terre cuite pour la fabrication d’un moule de statuette féminine n’offrent qu’un échantillon limité des productions de l’atelier. Les sujets les plus fréquents sont les figures féminines drapées dans le longs chitons, les bustes d’Enodia ou de Cybèle, les Éros et les représentations de Dionysos ou d’Aphrodite.

Les produits de cet atelier révèlent l’influence puissante d’un centre dynamique de production, la capitale macédonienne, Pella. Dans plusieurs cas, on soupçonne l’importation depuis Pella de moules originaux ou encore la prise de surmoules sur des figurines fabriquées dans les ateliers de la capitale. Des créations parfois maladroites mais en tout cas originales font également partie du répertoire de cet atelier. Sa production semble destinée au seul marché local, sans ambition plus lointaine.

Traduction: Arthur Muller

Bull Figurines from the Sanctuary of Apollon Clarios in Ionia

Duygu Sevil AKAR TANRIVER

Mrs Duygu Sevil AKAR TANRIVERDİ (Izmir)

T.C. Dokuz Eylül Üniversitesi, Fen-Edebiyat Fakültesi, Arkeoloji Bölümü,

Tınaztepe/Kaynaklar Yerleşkesi, Buca, TR-35160, Izmir, TURKEY.

<duyguakar2002@yahoo.com>; <duygu.akar@deu.edu.tr>

Between the years 2002-2004 a geometric round atlar, earthed by a further Archaic rectangular altar was found at Claros. This altar was abondened in 6th century B.C. after getting filled by stones and various cultic objects. Among others one of the most spectacular cultic object group found in this altar were bull terracottas of 8th and 7th centuries B.C. Most of these bull figurines are large sized and resemble to that of Samian Heraion. They were made by different techniques. Sizes of these figurines differ from miniature to hollow massive that were produced at wheels and therefore hollow. Most of samples have a simple band ornamentation, but in some cases careful geometric designs were also applied.

In this paper bull figurines from the round altar at Claros will be presented. Two main focus of this paper will be their production techniques as well as their typologies. Also the cult of Apollon Clarios at Claros will be subjected.

Translated by Ergün Laflı

Figurine de terre cuite en Numidie

Nouria AKLI

Mrs Nouria AKLI (Alger)

Université d’Algérie, Institut national d’archéologie d’Algérie, Sidi Bennour

Sidi Abdelah Zeralda Alger, ALGERIA.

<nokali2001@yahoo.fr>

La civilisation de la Numidie antique est ouverte sur la Méditerranée. Dès les temps les plus anciens, ses habitants ont montré un profond respect à l’égard de leurs morts. La tombe était avant tout conçue comme une maison, une demeure pour l’éternité, dans laquelle on prenait soin de déposer de la vaisselle, des aliments, et divers objets qui devaient permettre une vie dans l’au-delà. Les figurines de terre cuite, qui en général sont porteuses d’information sur les sociétés anciennes et leurs croyances, ne semblent cependant pas avoir constitué un élément privilégié du mobilier funéraire en Numidie, ce qui pose plus d’un problème d’interprétation.

Les rares figurines mises au jour en contexte funéraire n’ont pas été étudiées jusqu’à présent. Cette communication en proposera une approche typologique et essaiera d’en tirer de nouvelles données sur la société numide.

Archaeometrical Studies on the Surface Pottery from Galatian Hilltop Sites

Ali Akın AKYOL, Şahinde DEMİRCİ,

Asuman TÜRKMENOĞLU, Levent VARDAR

Ali Akın AKYOL (Ankara)/Şahinde DEMİRCİ (Ankara)

/Asuman TÜRKMENOĞLU (Ankara)/Levent E. VARDAR (Ankara)

Ankara Üniversitesi, Başkent Meslek Yüksek Okulu, Konservasyon Programı,

Dil ve Tarih-Coğrafya Fakültesi, Ek Bina, Zemin Kat, Sıhhiye,

TR-06100 Ankara, TURKEY.

<aliakinakyol@gmail.com>

In this contribution, 59 sherds from 22 fortification-settlements in Galatia are being examined. These archaeometrical studies concern physical characterization, mineralogical examination and petrographic analyses.

It seems that most of the sherds are common wares because of their porous feature as well as their capacity in water resistance. At these samples smektit, biotit, clorit and illit sort of clay minerals were observed. The fact that no high temperature minerals were observed indicates that their firing temperature should be 800-900°C. These sherds can be classified into 5 classes according to their mineral contents; according to the settlement type they can be divided into 4 sub-groups.

Strong variety among the sherds indicates that these pieces can belong to different cultures or they were using different raw materials. It is also possible to assume about a tide internregional exchange.

Translated by Ergün Laflı

Archaic East-Greek Terracottas in South Sicily: Old Problems and New Data

Marina ALBERTOCCHI

Prof. Marina ALBERTOCCHI (Venice)

Palazzo Bernardo Favero, San Polo 1977/A, I-30125 Venice, ITALY.

<marnick@tin.it>

Significant items for the study of distribution of Eastern Greek figurines in Archaic period in the Mediterranean certainly come from the analysis of the archaeological evidence from Sicily, a profitable market-place for the artisans of the Greek East. Recent publications concerning some classes of terracottas and votive contexts in Selinous and Akragas allow us to outline a reassessment of the chronological and typological picture of Eastern Greek imports in this area of the island. Moreover, research now in progress at Gela (see the paper of S. Bertesago), enrich our knowledge about the arrival of clay figurines on the southern coasts of Sicily, which according to the amount of published finds seems to offer a good sample for coroplastic researches. Aim of the paper is try to define which was the typological repertory most in vogue in Archaic Sicily, and to check the cultual value of specific iconographies widely widespread and favoured for a long period of time.

Les appliques et les bijoux en terre-cuites à Callatis

Maria ALEXANDRESCU VIANU

Prof. Maria ALEXANDRESCU VIANU (Bucharest)

Institute of Archaeology, H.Coanda str. 11, RO-010667, Bucharest, ROUMANIA;

and Str. Av. Nicolae Drossu 7, RO-012071 Bucharest, ROUMANIA.

<malexandrescu@gmail.com>

La communication traitera d’un complexe funéraire mis au jour dans la nécropole hellénistique de Callatis, comportant un grand nombre de bijoux et d’appliques de sarcophage en terre cuite et crue : on discutera ici l’origine de cet ensemble. La découverte est particulièrement intéressante du fait de l’appartenance de ce type de complexe funéraire à un horizon culturel fréquent sur les côtes nord et ouest du Pont, depuis la péninsule de Taman jusqu’à Apollonia Pontique, durant la deuxième moitié du IV^e s. av. J.-C. Le problème des relations entre la Mer Noire d’une part et la Macédoine et l’Italie de l’autre, dès le troisième quart du IV^e siècle, se trouve au centre de cette discussion.

Τerracotta Figurines from the Cemeteries of Chaironeia, in North Boiotia

Anna ALEXANDROPOULOU

Dr Anna ALEXANDROPOULOU (Athens)

Hellenic Ministry of Culture, Committee for the Preservation of Apollo Epikourios at Vassai,

c/o Arktinou 2, Athens, GREECE.

<anna.alexandropoulou@yahoo.gr>

Two important cemeteries, dating from the classical period, are brought into light by recent excavations in the wider area of Chaironeia.

Among the finds, there are many terracottas of well known boiotian types. But dominant are the peplophoroi with the tall polos, the protome (busts), the figures of young men holding or embracing cocks, and the figurines of animals. Less known types, such as the hermai, are also represented.

A consistent feature in the production of the terracottas from the cemeteries of Chaironeia is the use of worn moulds. Interestingly, some of the peplophoroi were made in the same mould. The gray clay and the low standard of firing that characterizes most of them, strongly point to local workshops as the place of origin of these terracotta figurines.

Archaic Architectural Terracottas from Euromos

Suat ATEŞLİER

Dr Suat ATEŞLİER (Aydın)

Adnan Menderes Üniversitesi, Fen-Edebiyat Fakültesi, Arkeoloji Bölümü, Aytepe,

TR-09010 Aydın, TURKEY.

<sateslier@adu.edu.tr>

This paper presents a preliminary report of the first stage on the architectural terracottas of archaic period found in the excavations of the Temple of Zeus at Euromos carried out from 1969 to 1975 under the direction of the Ümit Serdaroğlu. At the north-west corner excavation also revealed a large collection of close-packed archaic architectural terracottas (ca. 800 pieces). These terracottas must have been transported to bothros from an unknown Archaic sanctuary which probably have three or four buildings. Terracottas comprises a procession of the gods in the carriage pulled by winged horses; two pieces of high relief which shows a banquet scene, two men on a couch, probably belong to main frieze or pediment? Also, marvelous fragments of an acroterion with gorgon head; additionally pentagonal antefixes with gorgoneion, lion head and lotus flowers; eaves tiles carrying a reliefed and painted guilloche; a frieze of centauromachy, a frieze of spiral ornaments, many pieces of raking sima decorated with partridges and pieces of lateral simai ornamented with lotus flowers show excellent and different workmanship and form an interesting group. These terracottas points out probably three or four Ionic buildings perhaps located in same sanctuary. The childs and the dogs, who played a significant role and accompanied walking with the same tempo, and seriously in the procession of the gods in the carriage pulled by winged horses, make the frieze so different iconographically, and put forward our doubts that the archaic sanctuary may have been related with the cult of Artemis-Hecate. The identification of the gods is yet problematic and the represented figures lack attributes. The context and iconographic content of the procession bear specific features.

Die Figurinnen aus eine thrakische Stadt in Karaevlialtı

(antike Heraion Teichos) bei Tekirdağ

Neşe ATİK

Dr Neşe ATİK (Istanbul)

Mimar Sinan Güzel Sanatlar Üniversitesi, Fen-Edebiyat Fakültesi, Arkeoloji Bölümü, Meclis-i Mebusan Cad. 24, Orya Han B Blok, 85 B, Salıpazarı, TR-34427 Istanbul, TURKEY.

<atik@msu.edu.tr>

Die Ausgrabungen in Karaevlialtı bei Tekirdağ (Türkei), die eine Zusammenarbeit der Mimar-Sinan- Güzel-Sanatlar-Universität mit dem Tekirdağ Museum sind, wurden im Jahre 2000 begonnen und im Jahre 2001, 2004 - 2006 fortgesetzt.

Die Besiedlung liegt am Marmara Meer (antike Propontis) und ist etwa 15 km östlich von der modernen Stadt Tekirdağ entfernt. Die Höyük-Siedlung erstreckt sich über einem flachen ebene an der Küste, welche den Seehandel begünstigte, wovon heute nur noch im Mündungsgebiet des modernen Flussverlaufes die Reste eines Hafens zeugen. Das Schutzgebiet, welches in den vergangenen Jahren agrarisch genutzt wurde, schließt auch eine Nekropole mit ein, in welcher sich vier zum Teil zerstörte Tumuli-Gräber erkennen lassen. Die Kulturschichten dieser Höyük-Siedlung datieren durchgehend von die Bronzezeit bis Ende der byzantinischen Zeit. Nach antiken Beschreibungen sowie der Tabula Peutingeriana und da die Stadt an der Via Egnatia liegt läßt sich diese antike Besiedlung mit der thrakischen Stadt “Heraion Teichos” identifizieren. Wahrscheinlich bekam die Stadt diesen Namen während der Kolonizierung der Stadt Perinthos und ihrer Umgebung durch die Ionier aus Samos erst im 6 Jh. v.Chr. Dies spiegelt sich auch in der Namensgebung wieder, in welcher wir die Hauptgöttin der Samier wiederfinden.

Die Thraker das stämmenreiche Volk der Balkanhalbinsel waren - wie Herodot uns berichtet- nie einig. Wie es etwa seit dem Ende des 8. Jh. v.Chr bekannt ist, regierten mehrere Königtümer nebeneinander ihre Existenz wird bis Ende des 7. Jh n.Chr überliefert. Unter diesen herrschten die Odrysen in dem türkischen Teil Thrakiens, ihre Blütezeit war das 5. und 4. Jh. v.Chr., während nach der Regierungszeit des Königs Kersobleptes der langsame Verfall des Königtums stattfindet.

Nach den schriftlichen Quellen besaß König Kersobleptes eine Burganlage in Heraion Teichos, welche vom makedonischen König Philipp II. belagert worden ist. Durch die erste Sondage auf der Akropolis im Jahre 2000 kamen ein Teil einer 2.5 m starken Burgmauer und das Nordtor mit zwei Türmen ans Tageslicht. Aus einer Sondage, die auf dem höchsten Punkt der Akropolis vorgenommen worden ist, wurde die Fortsetzung der zum Teil zerstörten Burgmauer freigelegt. Sowohl an dieser Stelle, als auch um das Nordtor der Befestigung herum kamen viele Kleinfunde ans Tageslicht. Darunter sind die thrakische Münzen, der Odrysen-Dynastie (ab Hebryzelmes bis Rhoimetalkes), die schwarz- und rotfigurige Vasenfragmente und die tönerne Figurinnen in grösser Anzahl. Die tönerne Figurinnen dieser Burganlage lassen sich ohne stratigraphische Unterbrechung von der Mitte des 6. Jh. v.Chr. bis in das 1. Jh.n.Chr. datieren. Die Figurinen sind inhaltmäβig vielfältig: die sitzende, stehende männliche und weibliche Figuren, die Götter und die Götinnen und die Tiere.

In der Nähe des Nordtores, auf einer prominenten Stelle innerhalb der Burgmauer der Akropolis wurde ein Doppelhof freigelegt, der von mehreren Räumen umgeben ist. In diesem Bau, der durch die Münzen des thrakischen Königs Roimatalkes, die Tonfigurinen sowie die Sigillatascherben in das 1. Jh. v. und 1. Jh. n. Chr. datiert werden kann, kamen mehrere Gegenstände zu Tage, die mit kultischen Aktivitäten sowie dem praktizieren der Heilkunst in Verbindung zu bringen sind. Ein kleiner tönerner Ofen für Medizinherstellung, eine Reihe von Gefäßfragmenten z.B. ein Fragment aus einem tönernen Behälter mit der Inschrift Φαρμα= Medizin, ein kleines Siebgefäß und ein kleines Salbgefäß aus Ton, ein Meßlöffel aus Knochen, die in diesem Gebäudekompleks gefunden worden sind, sind für die Herstellung und Aufbewahrung der Medikamente erforderliche Gegenstände. Die Existenz mehrerer medizinischen Geräte wie z.B. ein Forseps, ein Spatül, ein Ohrlöffel, mehrere Haken sowie einer Nadel, im selben Gebäudekomplex lässt eine Praxis der Heilkunde in diesem Gebäude wahrscheinlich werden. Die gefundenen Votivfiguren aus Ton, die in der Antike dem Heilgott Asklepios geweiht wurden, weisen ebenso auf einen Kult- und Heilort in Heraion Teichos hin.

Die tönerne Figurinen, die in großer Zahl gefunden worden sind, deuten auf einen Kultort bzw. mehrerer Kultorte (durch vorhanden sein mehrererr Gottheiten aus Terra-Kotta), die durchgehend von der Mitte des 6. Jh. v.Chr. bis in das 1. Jh. n.Chr. im Betrieb waren, hin. Ebenso erhärten die gefundenen Votivfigurinen sowie die medizinischen Geräte den Verdacht, dass in Heraion Teichos neben einem Kultbetrieb auch praktische Heilkunst ausgeführt wurde.

Le projet de Corpus des outils de production des coroplathes grecs :

Objectifs, methodes, exemples

Christine AUBRY, Arthur MULLER

Mrs Christine AUBRY

IGE, centre de recherche Halma-Ipel – UMR 8164

Université Charles-de-Gaulle – Lille 3

BP 60149, F 59653 Villeneuve d’Ascq, FRANCE

<christine.aubry@univ-lille3.fr>

Prof. Arthur MULLER

Centre de recherche Halma-Ipel – UMR 8164

Université Charles-de-Gaulle – Lille 3

BP 60149, F 59653 Villeneuve d’Ascq, FRANCE

<arthur.muller@univ-lille3.fr>

Dans son approche de la coroplathie grecque, l’équipe du centre de recherche de Lille a jusqu’à présent souvent privilégié les questions techniques et plus généralement tout ce qui peut nous éclairer sur le fonctionnement d’un artisanat original dans l’antiquité, dans la mesure où il utilise le procédé fondamentalement mécanique du moulage. Il est donc logique que l’étude des produits mène maintenant à celle des outils de production, les moules. Par rapport au nombre de figurines recueillies, celui des moules reste modeste mais ne s’en compte pas moins en milliers d’objets ; surtout, ces objets sont dispersés (dans les musées et les publications) et lorsqu’ils sont étudiés, c’est presque toujours d’un point de vue iconographique, pour l’image qu’ils portent en creux, et non comme outil de production. Aussi avons-nous développé le projet de constitution d’un corpus international qui réunirait, d’un point de vue plus adapté, les outils de production d’objets céramiques moulés (moules de figurines surtout, mais aussi de lampes, de terres-cuites architecturales) connus à ce jour.

La communication présentera les objectifs visés par ce corpus (contribution à l’histoire de l’art et l’iconographie, mais surtout l’histoire des techniques, l’histoire économique), la méthode qui sera mise en œuvre (appel à collaboration internationale, constitution d’une base de données électronique), les outils déjà créés (lexique et bordereau d’analyse des moules), et présentera quelques exemples significatifs de moules insérés dans des « séries ».

Ateliers de coroplathes dans l’Égypte hellénistique et romaine.

État des recherches

Pascale BALLET

Prof. Pascale BALLET (Poitiers)

Université de Poitiers, 8, rue René Descartes, F-86022 Poitiers Cedex, FRANCE.

<Pascale.Ballet@univ-poitiers.fr> ; <pascale_ballet@yahoo.fr>

Depuis les travaux pionniers d’Evaristo Breccia, centrés sur les productions alexandrines, un certain nombre de recherches, menées sur le terrain et dans les musées, ont mis en évidence de nouveaux ateliers producteurs de figurines de terre cuite moulées (Tell Atrib, région de Péluse, Coptos), d’autres ont permis de mieux cerner les faciès alexandrins. En revanche, les centres présumés du Fayoum n’ont pas encore fait l’objet de recherches systématiques, ce qui laisse dans l’ombre une partie importante du matériel coroplathique de l’Égypte gréco-romaine. Enfin, la question des relations entre les ateliers des potiers et ceux de coroplathes doit être de nouveau soulevée (Bouto).

C’est un état des recherches, fondé sur un essai de caractérisation des argiles et des pâtes, qui sera donc présenté, destiné d’une part à cartographier les ateliers de coroplathes, d’autre part à souligner la richesse des composantes iconographiques et techniques du fonds documentaire égyptien.

Products of Argive Coroplastic Workshops

from the Archaic to the Hellenistic Period

Anna BANAKA

Mrs Anna BANAKA (Nafplion)

Hellenic Ministry of Culture, Ephorate of Prehistoric and Classical Antiquities, Syntagmatos Square, GR-21100, Nafplion, GREECE.

<chrysanthi.gallou@nottingham.ac.uk>

The subject of this presentation is the production of the coroplastic workshops at Argos and its wider region from the Archaic to the Hellenistic period, as this is attested in the excavations of the D’ Ephorate of Prehistoric & Classical Antiquities. The terracottas’s places of recovery (graves, sanctuaries’ bothroi, domestic contexts) are pointed out and the investigation of their use and interpretation (furnishing, offerings, ritual process, products of workshops) is undertaken. Brief reference will be made to their iconography and artistic style aiming at the determination of autonomous production or, when possible, at the location of coroplastic centres with direct or indirect influence.

Terracotta Figurines of Argive Coroplastic in the Archaic Period

Aikaterini BARAKARI

Mrs Aikaterini BARAKARI (Athens)

Ministry of Culture in the Ephorate of Paleonthropology and Speleology, c/o Ardittou 34 B, GR-11636 Athens, GREECE.

<protocol@eps.culture.gr>; <maria.spathi@web.de>

A great number of terracotta figurines comes from Argive coroplastic workshops. These figurines started at the end of seventh century B.C. and reached its zenith around the middle of the 6^th century until the turn of the 6^th-5^th century. There are two forms, handmade and mould-made, but both techniques may also be combined in the same figurine. There are two main types, standing and seated.

The first coherent and still the richest information about Argive types of terracottas comes from the Argive sanctuary of Hera, from other sanctuaries of Argolid (the sanctuary of Tiryns, the Mycenaen Agamemnoneion, the sanctuary of Apollon Maleata at Epidaure, the sanctuary of Asini) and from the ancient city of Argos (the Aphrodite sanctuary, the sanctuary of Apollon Pythios and graves material).

The excavations of French School of Antiquities and the Greek Archaeological Service in the ancient city of Argos added a lot of terracotta figurines of local characteristic types. These objects seem to have different functions and related with cult practice, funerary customs (from graves as offerings) or tomb cult.

The last few years new evidence from recent archaeological research comes from different places or settlement quarters in the city of Argos. The majority of the figurines comes from votive bothros and deposits, and indicate cult activity and ritual practice in the Archaic period.

Harpocrates on Rheneia:

Two Egyptianizing Terracotta Figurines from the Necropolis of Delos.

Caitlín Eilís BARRETT

Ms Caitlín Eilís BARRETT (New Haven, CT)

Yale University, P.O. Box 207241, New Haven, CT 06520, USA.

<caitlin.barrett@yale.edu>

During the Hellenistic period, numerous domestic contexts on Delos and some tombs from the Delian necropolis on Rheneia contained terracotta figurines depicting Egyptian or Egyptianizing deities. Although many houses and tombs produced terracotta figurines, only a minority contained Egyptianizing figurines. I propose to determine (1) what commonalities exist among the possessors of those figurines, and (2) what sort of social meanings and religious beliefs they were signifying through their possession and use of these Egyptianizing artifacts. To answer these questions, it is necessary to treat the figurines as artifacts in an archaeological context rather than isolated objets d'art. The most complete extant publication of these objects (Laumonier 1956) presents only summary descriptions of their findspots, making it difficult to determine how they were used and who used them, and dates them based exclusively on stylistic characteristics rather than stratigraphy, complicating the question of when they were used. However, an examination of the original field notebooks from the early excavations at Delos makes it possible to re-contextualize some of these artifacts and analyze them as part of larger assemblages of household finds, in order to investigate the cultural background and social position of the Delians who used these figurines. Additionally, an examination of the terracottas’ ceramic fabric and technological style can shed light on their likely places of manufacture and the cultural origins of the coroplasts who made them.

The present paper focuses on a specific subgroup of these figurines: phallic figurines of Harpocrates from funerary contexts on Rheneia. Such images are often dismissed as “grotesque,” yet a more detailed examination of their iconography and archaeological context reveals that they demonstrate a highly sophisticated understanding of Egyptian theological concepts. Furthermore, an analysis of the technological style and fabric of these figurines suggests that they were probably Egyptian imports rather than local productions.

Figurines with Musical Representation in the Sanctuary of Fontana Calda

in Greek Sicily (VI-III sec. B.C.).

Angela BELLIA

Dr Angela BELLIA (Agrigento)

Università degli studi di Bologna, Via Dante, 145, I-92100 Agrigento, ITALY.

<angelabellia1@virgilio.it>; <angelamaria.bellia2@unibo.it>

In the Sanctuary of the Fontana Calda in Butera, a town in the central-south of Siciliy, between Gela and Agrigento, they have brought to light a sacred deposit which is one of the richest of the Island. Among the many findings that have been discovered, the ones that stand out most are the statuettes of girls playing musical instruments. Today they are kept in the Regional Archaeological Museum of Gela.

The discovery, made in the 1950s, revealed, amongst many other things, hundreds of single statuettes of players of aulos, tympanon, kymbala and harp and groups of players of aulos and tympanon. They were statuettes made of clay by local craftsmen who used moulds. They were made for the local market. These can be put into two groups. In the first group we have statuettes with their heads covered by mantles. They can be dated back to between the end of the VI^th century B.C. and the beginning of the V^th century B.C. They are about 6 cm. high. In the second group we have statuettes with the typical hairstyle of the IV^th century B.C., with their hair put up on their heads. They are up to 15,5 cm. high.

Actually there are no studies that have tried to give an interpretation of «musical offerings» represented in these little clay figures whose production presents a continuity of about two centuries. Many other places in Sicily have discovered this particular kind of coroplastics, especially sanctuaries like Fontana Calda that were dedicated to “chthonic” divinities. If it is possible to explain the presence in the votive findings in Butera, of standing divinities and offerers holding a piglet or a torch, because they are sacred objects dedicated to Demeter, the problem concerning the function of the statuettes of the female musicians remains unsolved. The portrayals seem to refer to ceremonies where the protagonists were exclusively women: the musical instruments perhaps seem to evoke exact episodes of myth and the sorrowful search by the mother of Kore who had been abducted by Hades, King of the Underworld. Music was the background in every moment of the sacred ritual of which the female musicians of Fontana Calda offer a rich and singular repertory.

Terracotta Figurines from the Sanctuary of Demeter and Kore at Corinth

Agiatis BENARDOU

Ms Agiatis BENARDOU (London/Athens)

British School at Athens, Souedias 52, GR-10676 Athens, Greece.

<agiati.benardou@gmail.com>

This site of the Sanctuary of Demeter and Kore, located on the N slope of the Acrocorinth, displays perhaps the clearest evidence of expansion and innovation of the region of the Corinthia during the Classical period. Recent archaeological work and publications make it the best-studied sanctuary in the region and thus the surest foundation for study of the religious and cultic behaviour of the Corinthians in the Classical era.

The importance of this sanctuary lies in the nature of votive activity and also dining practice. The striking number of Classical terracotta votive figurines of the deities (numbering ca. 24,000) have recently been presented by Gloria Merker in her recent Corinth XVIII, iv. Corinth undoubtedly fits the pattern of a fifth-century rise in terracotta dedications globally in Greece, however the imagery on terracottas raises several questions. Moreover, terracotta figurines rise steadily through the V^th and IV^th centuries BC. This pattern of dedication is not followed by any other sanctuary in the region.

Discussion of the identification and classification of the figurines (fairly evenly spread between types) as well as comparative quantified analysis with votive finds from other sites in the region forms the core of the argument for Classical Corinthian shifts in votive practices in the fifth century.

Quantified discussion of sanctuary and funerary votives provides insights into Corinthian social structure and votive symbolism.

Archaic East-Greek Terracottas in South Sicily:

Korai holding a Dove from the Thesmophorion of Bitalemi (Gela)

Silvia Martina BERTESAGO

Ms Silvia Martina BERTESAGO (Venice)

Università Ca’ Foscari, Dipartimento di Scienze dell’Antichità e del Vicino Oriente Antico, Palazzo Bernardo Favero, S. Polo 1977, I-30125 Venice, ITALY.

<silvia.bertesago@libero.it>

The richness of the discoveries in the Thesmophorion of Bitalemi, an extra-urban sanctuary near Gela, offers the possibility for a deep study of the main aspects concerning the distribution of archaic East-Greek terracottas in sicilian colonies. Here, according to the so far published data, ionic figurines seem to meet the favour of customers and to find one of the places of largest diffusion. The abundance and variety of ionic types, the good state of conservation of many statuettes and the fact that they come from a well dated context, which is also certainly defined from the religious point of view, contribute in a significant way to rendering Bitalemi an excellent subject of study; this can help us to specify the frame of East-greek imports in South Sicily (for this aspect see Mrs M. Albertocchi’s paper), bringing moreover new important elements.

My paper will concern the analysis of the korai with dove, one of the most frequently attested subjects on the island and one of the most representative of East-greek terracottas, and will mainly deal with the following aspects: the presentation of the typological classification of the korai made on the base of production technology; the discussion on dating the single statuettes according to the sanctuary’s stratigraphic sequence, which will help to precise the time range of the ionic workshops’ exports to Gela and to a revision of the chronology of the various types of korai with dove; the study of the iconography related to the specific religious context of Bitalemi and to the ritual occasion of the dedication.

Indicatori cronologici e cultuali tra V e IV sec. a.C.

nella coroplastica del santuario di Demetra e Kore di Iasos

Fede BERTI, Antonella ROMUALDI

Prof. Fede BERTI (Ferrara)

Museo Archeologico Nazionale, Via XX Settembre 122, I-44100 Ferrara, ITALY.

<fberti@arti.beniculturali.it>

Mrs Antonella ROMUALDI (Firenze)

Polo museale fiorentino, Via della Ninna, Firenze, ITALY.

Le autrici prendono in esame il folto gruppo delle statuette rinvenute nella stipe del c.d. santuario di Demetra e Kore di Iasos (Caria) per puntualizzarne la molteplice composizione iconografica e tematica e per presentarne i cambiamenti e le variabili tra V e IV sec. a.C. Attraverso l'analisi dei votivi, la ricerca si prefigge lo scopo di verificare la funzione dell'edificio, da tempo ritenuto luogo di culto di Demetra e Kore.

Terracotta Figurines of the Roman Period from Novae (Moesia Inferior)

Andrzej B. BIERNACKI

Dr Andrzej B. BIERNACKI (Poznan)

Interdisciplinary Archaeological Expedition “Novae”, Adam Mickiewicz University in Poznan, Str. Sw Marcin 78, PL-61809 Poznan, POLAND.

<abbiernacki@yahoo.com>; <biernack@amu.edu.pl>

The Roman military camp of Novae (Svishtov, Northern Bulgaria) was among the largest settlements at the border in the region of the Lower Danube, of great importance for the Roman Empire’s political and economic activity. Regular excavation at Novae was started in 1960 by the Warsaw University (Poland). The Archaeological Expedition of the Adam Mickiewicz University of Poznañ (Poland) began the extensive interdisciplinary archaeological exploration of the Roman legionary camp of Novae in 1970. The long-term research has yielded abundant archaeological material. Among this material, terracotta represents only a small portion. Most of the terracotta fragments were uncovered on the levels of the 3^rd–4^th centuries. This fact could be explained by an increase in the production of terracotta in the ancient ceramic workshops discovered near the present town of Butovo (Northern Bulgaria). The terracotta items were made by hand in clay moulds. Prevalent among them are figures of Venus, foals, kids, busts of soldiers, etc. Since the local ceramic production was targeted at the Roman legionaries, the craftsmen of Butovo upheld the Asia Minor tradition in ceramic production. The local terracotta items represented the gods of the Greek-Roman pantheon. Among of them are Zeus, Hermes, Dionysus, etc. The statues were used for the purposes of private and public worship in the camp. Another category of terracotta represented various species of animals, e.g. horses and roosters. Due to the increasing danger of war, the representations of a horseman and a soldier with the facial features of a nomad became popular in the Lower Danube region in the mid-3^rd–4^th centuries. The horseman is represented with a varying degree of realism. The iconography is well known from the widespread relief of the Hero (a Thracian horseman). Beside the general features of the evolution of terra-cotta production in the Eastern Mediterranean, its production on the border of the Roman Empire also had its specific character.

The Polychromy of Hellenistic Terracotta Figurines

Clarissa BLUME

Ms Clarissa BLUME (Freiburg)

Archäologisches Institut der Albert-Ludwigs-Universität Freiburg, Fahnenbergplatz,

D-79085 Freiburg i. Br., GERMANY.

<clarissa.blume@web.de>

Research into ancient polychromy is not only of importance for sculpture, but also for minor art, such as terracotta figurines. In fact, good conservation seems to be an important pillar in that field of research.

It is known that Hellenistic terracotta figurines are incomplete when not coloured. In fact, the polychromy of Hellenistic terracotta figurines is often well-preserved. Nonetheless, the coat of colours has never been analysed concerning the information one can gain from it.

The results to be presented are based on the study of more than a hundred figurines from burial contexts and having their origin in Myrina, Tanagra and Canosa. After the general analysis of which colours were applied, what elements were coloured which way, and what elements were newly added with the colouring, further questions arose concerning the information produced by the polychrome coat.

The questions lead to three phenomena which might be of significance for our understanding of terracotta figurines from burial contexts. The first phenomenon is the garment worn by female figurines. Comparanda make it clear that the, sometimes elaborate, chitons and himations, as well as the jewellery, cannot be part of the dress of servants, but only of their mistresses. The second phenomenon is that most figurines are depicted with light skin. The skin colour indicates that figurines only represent children and adolescents, perhaps also adult women. In fact, adult men do rarely appear among figurines. Exceptions are, for instance, pedagogues accompanying a child or theatrical masks with bearded male faces. Indeed, their faces are coloured with a darker hue.

The third phenomenon shows up among the garments worn by young children. Children are often shown with the garments of ephebes or adult men. This garment can be a chlamys or a long mantle. Moreover, one well-preserved figurine of a boy is even depicted with military sandals, meant to be worn by adults. This adult-like representation of children among the figurines might be intended to reflect on the years and stages of life which the deceased child would miss because of early death. This suggestion is corroborated by the fact that terracotta figurines added to graves seem to be chosen according to the gender of the deceased, and maybe also according to the age.

As a result the study leads to the proposal that figurines in burial contexts might only represent children and adolescents, maybe also adult women. Furthermore, they are depicted as a particular social group and they might intend to give further messages to the observers which are readable from the way of their representation.

Figurines of Children from the Sanctuary of Demeter and Kore at Corinth

Olympia BOBOU

Ms Olympia BOBOU (Oxford)

Keble College of the University of Oxford, Oxford, OX1 3PG, GREAT BRITAIN

<olympia.bobou@keble.ox.ac.uk>; <olympia.bobou@gmail.com>

One of the most important sanctuaries of Corinth was that of Demeter and Kore. Among the finds was a significantly large number of statuettes of children dating from the late classical to the Hellenistic period. Unlike girls, boys are not associated with the rites of Demeter and Kore, the archetypal mother-daughter pair, and the presence of a large number of terracotta statuettes depicting boys has been seen as extraordinary and astonishing. In order to explain them, the figurines of boys have been connected with a change in ritual practices in the sanctuary, and the participation of boys in the rites of the goddesses.

However, when looking at the finds from other sanctuaries of Demeter and Kore we see that figurines of boys were commonly dedicated and are always found in larger numbers than the figurines of girls. Moreover, in sanctuaries of different deities where both statuettes of girls and boys have been found, we see the same discrepancy and difference in the ratio of figurines of boys and girls. This shows that we cannot talk of changes in ritual practice, but we must seek a different explanation for their presence.

Figurines of children are closely associated with the practices of the community, but these practices can be considered ritual in the broad sense of the world. Instead of reflecting the greater participation of boys in the life of the sanctuary of Demeter and Kore, they reflect a dedicatory pattern observed in sanctuaries of the Greek mainland and Asia Minor from the fourth century BC onwards, a pattern that highlights changes in the perception and importance of children, and families, within their communities.

The Tomb 404 from the North-Eastern Necropolis of Thebes (Boeotia)

Margherita BONANNO ARAVANTINOS

Prof. Margherita BONANNO ARAVANTINOS (Rome)

Dipartimento di Beni Culturali, Musica e Spettacolo-Facoltà di Lettere e Filosofia-Università degli studi di Roma “Tor Vergata”, Via Columbia 1, I-00133 Rome, ITALY

<margherita.bonanno@uniroma2.it>; <giuly1479@tiscali.it>

The sistematic excavations carried out between 2000 and 2001 by the IX Archaeological Ephorate for Prehistoric and Classical Antiquities of Boeotia in a sector placed about 2 km north-east from the centre of Thebes, digged out the most vast cemeterial area of the ancient city, known until today.

The excavation campaign began in consequence of the construction of a big railway tunnel by the Greek national railways company (O.∑.E.). 843 tombs of different typologies (pit-graves, cists, tile-graves, sarchopages, larnakes etc.) and several funerary enclosures, that certify the prolongued use of this extra-moenia sector from the late geometric to the roman-ellenistic age, have been found within an area of about 3000 sm. Until the II^nd century B.C. a rather extended and widespread funerary use of the area has been recorded, with frequent superimpositions and reutilizations.

The burials seem to become scattered beginning from the I^st century A.C., and this phenomenon becomes more marked over the following century. The investigations revealed rare burials dating back to the I^st century A.C., when the area was abbandoned.

The overall analysis of the necropolis, who’s study is still in progress, the examination of the burial typologies present and of their alternation during the several phases of use of the necropolis and especially the study of the rich funerary complements, which reveal a large number of terracotta figurines, supply significant informations that can increase our knowledge of the autonomy and vitality of coroplastic and pottery workshops in Thebes, of the networking with other production centres, of the funerary rites, of the economy and finally of the ancient city’s every day life.

The aim of this paper is to present certain tombs of classical age, and in particular tomb 404, a cist burial found in the southern sector of the north-eastern necropolis.

The funerary offerings, layed in the interior and barely on the outside and at top of the tomb, includes two big calyx craters of the red figure technique and an interesting group of terracotta figurines, most of them unpublished, more or less common to the beotian coroplastic. The subjects of the terracotta figurines are mainly feminine, exemplified by some replicas of enthroned jointed dolls, dancers and mantle dancers, standing female figures and peplophoroi holding various objects, as well as an Aphrodite-type. There is only one masculine figure, probably an Apollo. All the figurines are of high quality and cast in some very fresh moulds. Furthermore, the complex is stylistically so homogeneous to seem as the product of a single workshop. The iconographic types can make use of the whole of the data collected and of the accurate chronological chart (scheme) suggested by the association of the pottery found. This allows a more complete overall analysis than that given by the sole examination of the single pieces and moreover permits the explanation of the role of local workshops and of any grade of dependence on archetypes and external models.

A New Terracotta Figurine of Ionian Kouros Type

from the Temple of “Athena” at Karthaia, Keos Island

Leonidas C. BOURNIAS

Mr Leonidas C. BOURNIAS (Athens)

10 Anagnostopoulou Str., GR-10673 Athens Greece

<Le0@in.gr>

In 2005, in the course of limited restoration works that were carried out on the pronaos floor of the so called temple of Athena at Karthaia on Keos, we came upon an interesting chance find. At the fringe between the pronaos floor and the stylobate foundation, lay buried among chips of gneiss and limestone, a terracotta figurine of a draped kouros. It belongs to the standard Ionian type that is regularly encountered in the north of Greece, the northern Aegean, Asia Minor and the West but quite rare in the Cyclades and the mainland.

The purpose of this study is twofold: first to place the new find firmly in context examining aspects of its typology and date but also to discuss some thoughts about the distribution and meaning of the type, especially after the publication of a similar recent find from Despotiko, Antiparos. Second, to investigate the clues that might help us gain insight on some questions about the temple itself, its proposed date in the late 6^th c. B.C. and the course of its construction.

The Archaic Terracotta Figurines from the ‘Taxiarchis’/Didyma

Jan BREDER

Mr Jan BREDER (Bonn)

Akademisches Kunstmuseum Bonn, Am Hofgarten 21, D-53113 Bonn, GERMANY.

<janbreder@gmx.de>

Das Orakel-Heiligtum von Didyma ist das extraurbane Hauptheiligtum der antiken Metropole Milet. Archaische Terrakotten aus Didyma sind nach der Zerstörung der Funde der alten Grabungen (1918) kaum bekannt und nicht publiziert. Nachdem schon in den letzten Jahren auf dem Zeytin Tepe bei Milet außergewöhnlich reiche archaische Funde gemacht wurden, konnte auch in Didyma auf dem ‚Taxiarchis-Hügel’ ein ungestörter Heiligtumsbefund aufgedeckt werden. Die Weihgaben reichen chronologisch vom frühen 7. Jh. v. Chr. bis ins frühe 5. Jh. v. Chr. und liefern neben der Zerstörung des archaischen Apollontempels erstmals einen archäologischen Beleg für die historisch überlieferte Perserzerstörung von 494 v. Chr.

Aus topographischen Gründen gehörte der Kultplatz auf dem ‚Taxiarchis’ wohl nicht direkt zum Apollonheiligtum. Wahrscheinlich ist dieser Fundkomplex mit einem der epigraphisch bezeugten Heiligtümer zu verbinden, die bislang nicht lokalisiert werden konnten.

In diesem Beitrag soll zunächst das teils außergewöhnliche Repertoire an archaischen Terrakotten vorgestellt werden.

Unter den Terrakotten vom „Taxiarchis“ finden sich zahlreiche Figurentypen, die im ostionischen Kulturraum bekannt sind, aber auch solche, die als exzeptionell oder zumindest äußerst selten gelten können. Sie geben mit Aufschluß über den Charakter des HeiligtuMs Ihre Auffindung im stratigraphischen Befund kann Aussagen über Zeit und Verwendung der Terrakotten ermöglichen und neue Perspektiven in der Erforschung der Kulttopographie von Didyma eröffnen.

Les figurines en terre cuite d’Apollonia de Cyrénaïque

Jean-Sylvain CAILLOU

Dr Jean-Sylvain CAILLOU (Le Kram)

31, Rue Habib Thameur, TN-2015 Le Kram, TUNISIA

<jscaillou@wanadoo.tn>

Les fouilles menées depuis 2002 à l’extrémité occidentale de l’acropole d’Apollonia de Cyrénaïque ont permis de découvrir près de 500 fragments de figurines en terre cuite à proximité d’un important sanctuaire. Parmi ces figurines, datées entre le V^e et le III^e av. J.-C., figurent essentiellement des divinités féminines assises et debout avec des attributs locaux (silphion, etc.). On note aussi un grand nombre de temple-boys produits localement mais quasiment inédits en Cyrénaïque jusqu’alors. Le reste des figurines comprend de nombreux types (Vénus, Cybèle, Apollon, pseudo-poupée, Tanagréennes, etc.) mais chacun en peu d’exemplaires.

L’étude de ce lot et de son contexte archéologique permet d’améliorer sensiblement nos connaissances sur les productions et les importations de figurines en Cyrénaïque. Elle permet aussi de préciser la fonction et l’identité de certains types qui, bien que déjà trouvés en abondance à Apollonia et à Cyrène, restent discutés. Enfin, comme d’autres domaines, la coroplathie souligne l’importance des rapports entre la Cyrénaïque et le reste du monde grec et oriental.

A Contribution to the Study of the Coroplastic Workshops of Euboea, Greece

Maria CHIDIROGLOU

Ms Maria CHIDIROGLOU (Athens)

Department of Archaeological Sites, Monuments and Research,

Hellenic Ministry of Culture, Athens, GREECE.

<mchidiroglou@yahoo.gr>.

Among the terracottas stored and exhibited in the National Archaeological Museum at Athens, a group of Late Classical to Hellenistic clay figurines comes from Chalkis, Eretria and Karystos, the three main ancient city-states of the island of Euboea, Greece. These contain standing and seated female and male figures, animals, actors and acrobats, comic masks and figures of deities and were found in the early 20^th century excavations at these city sites.

This paper will attempt a first presentation of some unknown pieces and a re-evaluation of others, briefly mentioned in previous bibliography. These will be compared to similar finds from the salvage excavations conducted by the 11^th Ephorate of Prehistoric and Classical Antiquities especially in Southern Euboean ancient cemetery sites, during the last decade.

As a result of this research, main trade lines and mould transfer dynamics between the Aegean, Mainland Greek sites and Euboea will be discussed, as well as local original Euboean clay figurine creations. Finally, due attention will be paid to Euboean inter city-state and social phenomena, such as the spread of a particular worship or of theatrical activities on this island, also attested by inscriptional testimonies.

Aspects cultuels de l’utilisation des vases plastiques de la Grèce de l’Est en Sicile, Grande Grèce et Etrurie: le cas de la tête d’Acheloos

Maria Raffaella CIUCCARELLI

Dr Maria Raffaella CIUCCARELLI (Pisa)

Dipartimento di Scienze storiche del Mondo Antico – Università di Pisa, via L. Galvani, 1

(angolo via S. Maria), III piano, I-56126 Pisa, ITALY.

<rciuccarelli@libero.it>

Les vases plastiques de la Grèce de l’Est étaient recherchés non seulement pour l’huile parfumée qu’ils contenaient, mais aussi, selon toute probabilité, pour leur signification symbolique, soit pour les dédier dans un sanctuaire, soit pour les déposer dans une tombe.

En Étrurie (Cerveteri, Populonia) un certain nombre de vases plastiques représentant une tête d’Acheloos (sujet peu fréquent) sont déposés dans la première moitié du VIe s. dans des sépultures comme offrande funéraire ; le même sujet apparaît à partir du VIe siècle dans le décor ou la forme de plusieurs autres monuments funéraires à Tarquinia, Chiusi, Populonia. Cela suggère l’hypothèse que les vases plastiques à tête d’Acheloos étaient en Étrurie chargés d’une signification religieuse ou cultuelle précise. La personnalité d’Acheloos y était étroitement liée au monde chtonien et de l’au-delà, et constituait bien plus qu’un symbole de la nécessité de contrôler les eaux courantes.

Cette conception trouve peut-être son origine dans le milieu religieux de quelques colonies grecques d’Italie, en particulier Sélinonte (deux vases à tête d’Acheloos proviennent du sanctuaire de la Malophoros) et Locres Epizephiriennes (du sanctuaire de Perséphone à la Mannella proviennent peut-être deux vases plastiques et à Grotta Caruso est attesté le culte d’Acheloos et des Nymphes, avec des caractéristiques chthoniennes). La diffusion de cette interprétation d’Acheloos dans quelques colonies d’Italie est confirmée par la fréquence du dépôt de vases plastiques à tête du dieu dans des tombes de la première moitié du VIe s., comme à Syracuse (un exemplaire) et à Tarente (deux exemplaires).

Cette interprétation est réélaborée dans le sud de l’Italie, certainement dans le cadre du culte de Démeter et Perséphone, des Nymphes (étroitement liées à Acheloos et aux Deux Déesses), et peut-être d’Aphrodite Ourania. Elle arrive en Étrurie dans la première moitié du VIe s. par les voies commerciales de la mer tyrrhénienne : son adoption dans les centres étrusques méridionaux est manifestée par l’achat des vases plastiques et leur utilisation dans le mobilier funéraire.

L’intermédiaire pour l’Étrurie peut être représenté par un sanctuaire avec des caractéristiques de lieu d’échange comme Gravisca ; dès la seconde moitié du VIe s. cette interprétation d’Acheloos arrive même dans les autres sanctuaires importants d’Étrurie méridionale, comme Pyrgi et Veio. Ici s’ajoute selon toute probabilité une élaboration supplémentaire, qui s’enracine de plus en plus dans le milieu funéraire : elle est à l’origine d’une série de monuments funéraires de fabrication locale comportant la représentation figurée d’Acheloos (antéfixes de Populonia; cippes de Chiusi ; peinture de la Tomba dei Tori à Tarquinia ; lacunari en bronze ; sarcophages et urnes etc.).

Archaic Terracottas from the Louis Robert Excavations at Amyzon

Murat ÇEKİLMEZ

Mr Murat ÇEKİLMEZ (Aydın)

Adnan Menderes Üniversitesi, Fen–Edebiyat Fakültesi, Arkeoloji Bölümü, Aytepe,

TR-09010 Aydın, TURKEY.

<mcekilmez@adu.edu.tr>; <ephesus_21@hotmail.com> ; <mcekilmez@gmail.com>

Amyzon, a northwestern Carian site, situates on Asartepe, a hilltopsite between the villages Mersin Beleni, Gaffarlar and Akmescit in Koçarlı, at the province of Aydın. A temple dedicated to Apollon – Artemis, a theater, a cistern or storage building as well as some fortification buildings are the best known superstructures of this Greek polis.

The site has been researched since 19^th century; during 1949 – 50 J. and L. Robert excavated at the site. L. Robert has published the temple excavations at “Le sanctuaire d’Artemis a Amyzon’’ (1953, C.R.I.A.) and consequently he reported his excavations, coins and inscriptions in a monography, entitled “Fouilles d’Amyzon en Carie’’ (Paris 1983). Among others Robert has also found and published terracottas of Archaic period that did not being presented in detail yet.

The major aim of this communication is to present the terracottas from the excavations of J. and L. Robert at Amyzon. Three sitted woman figurines (two with polos), a female figurine in form of a bottle, an aryballos in bird form, a Bes and an architectural frize block with a kentauros are the most spectacular terracottas from Amyzon. These terracottas are similar in design and shape to those known from Miletus, Erythrai, Iasos, Clazomenai, Assos as well as other Carian sites.

Since Miletus and Amyzon situates at the same geographical line, the similarities between these two sites are enourmous. Two sanctuaries at Miletus at the 6^th cent. B.C., Artemis Khitone (Kalabaktepe) and Aphrodite (Zeytintepe), provide similar materials to that of at Amyzon that makes someone to think that they were produced at the same workshops. In this case it could be assumed that these terracottas from Amyzon were produced at Miletus.

The kentauros frize from Amyzon should be belonging to the archaic phase of the Artemis temple.

All of these terracottas should be dated to 560 – 520 B.C.

Translated by Ergün Laflı

The Archaic Terracotta Figurines and Protomes

from Panaztepe at Northern Izmir

Nazlı ÇINARDALI-KARAASLAN

Dr Nazlı ÇINARDALI-KARAASLAN (Ankara)

Hacettepe Üniversitesi, Edebiyat Fakültesi, Arkeoloji Bölümü, Beytepe,

TR-06800 Ankara, TURKEY.

<nazlic@hacettepe.edu.tr>

The excavations carried out at Panaztepe that is located north of Izmir, 13 km west of Menemen, considerably increased the knowledge about the prehistoric cultures of the region. Despite losing of its importance, Panaztepe itself is inhabited not only in the 2^nd millenium B.C. but also in the 1^st millenium B.C., as indicated by the evidence from the investigations. Although the monumental buildings dated to Archaic Period are striking architectural features which are brought to light during the fieldwork conducted at the so called Acropolis. The votive figurines and protomes that are uncovered in a building context have a significant role for not only the dating of the building but also the definition of the function of itself. On the other hand the function of the votive figurines themselves should also be reconsidered. In stylistic view, Panaztepe finds that are dated to end of 6^th century – 5^th century BC closely resemble the contemporary finds from Lindos, Halicarnasus, Miletus, Iasos, Myrina etc. Moreover it becomes significant evidence when it’s considered such votive figurines’ presence at Panaztepe, located so far in the Aiolis region; that produced by Ion style workshops indicates about the distribution of the products widely in the region and about the maritime trade that possibly Panaztepe also involved in. Besides these terracottas clearly indicate the continuity in the view of chronological sequence that they’re belonging to.

Panaztepe terracottas are produced by the moulding technique. The finds can be organised in two subgroups: one is female protomes that are polychrome painted, while the latter is the votive figurines. These can also be considered in two groups. While the first type represented with the female figurine wearing himation, sitting and holding child on her arms cons the latter is standing female figurine wears himation and carries her child over her shoulder. There is no any precise evidence mends us to match these votive figurines with divinities in particular. However it should be taken these figurines into account as represented the ordinary “family mothers”. Perhaps they can be seen as offerings that symbolises the fertility presented to the divinities as an expression of thanksgiving. It’s clear that such a tradition have found itself a place in Ion world which was adapted from Cyprus. However there’s no doubt in the matching of the Panaztepe protomes with the divinities.

Bendis —Was bedeuten die Terrakotten der Thrakerin in Kleinasien?

Maria DEOUDI

Dr Maria DEOUDI (Saarbrücken)

Archäologisches Institut der Universität des Saarlandes, Am Stadtwald,

D-66123 Saarbrücken, GERMANY.

<m.deoudi@mx.uni-saarland.de>

Bendis ist vor allem bekannt durch antike griechische Autoren. Sie galt ihnen als thrakische Göttin, nannten sie Basileia und sahen sie aller Wahrscheinlichkeit nach als große Muttergöttin.

Ebenso wie früheste schriftliche Überlieferung, stammen auch die ersten bildlichen Darstellungen über Bendis, die im anikonischen Thrakien beheimatet war, ausschließlich aus dem griechischen Kulturraum.

In dem von Griechenland und dabei vor allem im von Athen geprägten Bild erscheint die Göttin seit archaischer Zeit immer in phrygischer Mütze, mit Lammfell, hohen Stiefeln, als Attribut hat sie die Doppellanze, oft begleitet sie ein Hund oder ein Reh. Das Moment der Jagd davon weitergehend und auch das des Krieges dominieren in der Darstellung. Somit scheint das Bild der Bendis eine Interpretatio Graeca zu sein, die die antiken griechischen, Vorstellungen über das Volk im Norden widerspiegelt. Dieses Bild, das geprägt ist und durch die gleich bleibende attributiven Ausstattung wie auch die festen habituellen Merkmale ermöglichten in der Antike, wie auch heute, die Identifizierung der Göttin auf ganz unterschiedlichen Medien.

Sie belegen eine geographische Verbreitung die von Unteritalien über Griechenland bis an die Städte Kleinasiens wie Pergamon und Bithynien reicht. Die Frage ist, wurde sie in Athen und davon aufgehend auch in Kleinasien als Göttin der Jagd und Vertreterin ihres Volkes verehrt, wie man immer noch behauptet?

Zumindest für die Kolonien Kleinasien eröffnet sich eine andere Interpretation. Die schriftlichen Quellen belegen einerseits ihre die Bekanntheit und die exponierte Stellung der Thrakerin im Pantheon einzelner Städte Kleinasiens. Dennoch gelten die Abbildungen der Göttin als unspezifische Weihgaben, die weder mit einer Gruppe noch mit einem religiösem Bereich zusammenhängen. Tatsächlich entschlüsseln sich die kultischen Aufgaben sich als „Bild“ hinter dem offiziellen und vor allem chiffreartigen Bild.

Das ursprüngliche Wesen und das propagierte Bild treffen sich vor allem in den von öffentlicher Hand oder für offizielle Anlässe geschaffenen Bilder. Das Dekret aus Piräus (Kopenhagen), das Relief aus Athen (London), aber auch das Steinrelief aus Paros (nur in einer Umzeichnung erhalten) stehen stellvertretend dafür, wie sich verschiedene Aussageebenen verbinden. Bendis ist dargestellt als Göttin der Jagd wird aber verehrt als Göttin der Fertilität. Bendis war eine Göttin für Frauen und weibliche Fruchtbarkeit. Dieser Kult zu Ehren der Bendis Basileia, auf den sich auch in eine Stelle bei Herodot (IV 33) beziehen lässt, zeigt ein anderes Gesicht der Göttin, mag auch ihre Verbreitung in Griechenland, Kleinasien helfen zu erklären und zeigt neue Wege die kulturell geprägten und die ursprünglichen Gesichter einer Göttin von einander zu trennen.

Terracotta Rider Plaques from Neonteichus, Aiolis

Emel DEREBOYLU

Ms Emel DEREBOYLU (Izmir)

Ege Üniversitesi, Edebiyat Fakültesi, Arkeoloji Bölümü, Bornova, TR-35100 Izmir, TURKEY.

<e_dereboylu@hotmail.com>; <emeldereboylu@yahoo.com>

During the field surveys undertaken at Neonteichus in Aiolis in 1991 and 2006, several terracottas were collected. These fragmentary samples, today stored in the Archaeological Collection of the Ege University in Izmir, were left by antique looters of the site. One of the major group is the one with a rider representation.

These plaques are squared or rectangular and they were frequently distorted during the firing. Their back sides are made without much care. These moulded plaques were framed with a thin border.

Two columns bounded the main scene in the middle, thus an expression was given to the central figure. These columns usually with Ionian, Aiolian or composite capitals should be representing the façade of a temple or a sanctuary. The main scene on the plaques is horse riders.

Horses and riders can be represented either to the left or to the right position. In some of plaques reliefs are not precise enough due to the moulding. In these examples it seems that riders were clothed with a short tunic. Just to express that horse was in move the artist carved the khimation of the rider in a curly position. With one exception, body and head of the rider are always shown in profile. In one exceptional sample the body is represented in profile, but the head in frontal position. As filling ornaments wreaths were applied. These plain wreaths are variable and carelessly done.

These riders were represented without any weapon, which brings us to think that they were represented after the death. Serpents curled to the columns also support this idea. Serpents and horses were representing the subterranean and celestial world. For this matter, these objects can be grave goods.

Translated by Ergün Laflı

L’iconographie d’Apollon à Claros

d’après les statuettes en terre cuite (fin VI^e – II^e s. av. J.-C.)

Évolution stylistique et valeur cultuelle des images offertes au dieu

Martine DEWAILLY, Nuran ŞAHİN

Dr Martine DEWAILLY (Rome)

Ecole Française de Rome, Piazza Navona, 62, I-00186 Rome, ITALY.

<martine.dewailly@efrome.it>

Prof. Nuran ŞAHİN (Izmir)

Ege Üniversitesi, Edebiyat Fakültesi, Arkeoloji Bölümü, Bornova, TR-35100 Izmir, TURKEY.

<nuran.sahin@ege.edu.tr>

L’enquête archéologique de la mission française dirigée par Juliette de la Genière de 1988 à 1997 dans le sanctuaire de Claros s’est concentrée sur la recherche des témoignages architecturaux et cultuels les plus anciens, antérieurs aux vestiges hellénistiques et impériaux mis au jour par Louis Robert. La fouille a concerné essentiellement les aires consacrées à Apollon et à Artémis, comprises entre leurs temples et autels respectifs du II^e s. av. J.-C., et un segment de la voie sacrée située au sud de celles-ci.

L’exploration des strates archaïques, classiques et hellénistiques a livré une grande quantité de statuettes votives en terre cuite dispersées ou groupées et disposées en couches à l’intérieur de remblais successifs qui forment ainsi des contextes clos, bien datés ; la majorité des offrandes votives en terre cuite a été trouvée autour de l’autel de la divinité à laquelle elles avaient été dédiées. Cette intervention présente les trouvailles faites jusqu’en 1997.

Plus d’un quart de ces statuettes (environ 350) figurent Apollon, debout, tenant un barbiton, une lyre ou une cithare. Cette image spécifique d’Apollon est présente du dernier quart du VI^e au II^e s. av. J.-C. : le sanctuaire de Claros offre donc quatre siècles de témoignages coroplastiques de la représentation du dieu ; aucun autre sanctuaire d’Apollon de Grèce ou plus généralement de Méditerranée orientale et occidentale n’a restitué une telle continuité.

Le but de cette intervention est de tenter de comprendre quel est et comment évolue le rapport, pendant ces quatre siècles, entre ces images en terre cuite, le culte et la fonction oraculaire du dieu.

Cette recherche prendra en compte l’évolution des types coroplastiques et leur répartition chronologique, l’encadrement stylistique et les modèles iconographiques, l’étude de l’attribut du dieu et son rôle dans l'image d’Apollon à Claros.

Votive Terracottas from the Athena Temple at Pedasa, Caria

Adnan DİLER

Prof. Adnan DİLER (Muğla)

Muğla Üniversitesi, Fen-Edebiyat Fakültesi, Arkeoloji Bölümü, Kötekli, TR-48000, Muğla, TURKEY.

<adnandiler@yahoo.com>

Pedasa lies in the hills of Caria above Halikarnassus and it was one of the eight Lelegian towns mentioned by Strabo (611; ef. Plin., HN 5.107). The Pedasans offered strong resistance to the Persian Harpagos ca. 544 B.C. (Hdt. 1.175), and shortly after 499 another Persian army was ambushed and destroyed by the Carians near Pedasa (Hdt. 5.121). In the Delian Confederacy Pedasa paid two talents at first, reduced to one talent in the second period, but nothing thereafter. The town was incorporated by Mausolos into his enlarged Halikarnassus (Strab. l.c.), but continued to be occupied as a garrison post in Hellenistic times. It was perhaps occupied for a time by Philip V during his Carian campaign (Polyb. 18.44).

The site is assured by Herodotos' description of it as above Halikarnassos, and by the survival of the name at the neighboring village of Bitez.

Pedasa, one of the most important Lelegian settlements of the Bodrum Peninsula, is a city that was said by ancient sources to be the only city to have a temple among all the other Lelegian settlements.

In a hollow below the site on the southwest are remains which seem to be those of the Temple of Athena, as implied by an inscription found close by (CIG 2660). According to the interesting story retold by Herodotus in his first book about the city of Pedasa: the goddes Athena would grow a beard whenever an evil thing was going to happen to them or to their neighbors. This event took place three times throughout the city’s history. Outside the city walls of Pedasa Acropolis, the temple was used during the late Archaic and the Early Classical Period and reached its final design during the reign of Mausollos.

The only structure that can be named as the temple Herodotos calls the Athena Temple today is the remnant to 200 m southwest of the acropolis. The wall technique with its neatly cut bosage cuttings with its drafted corner blocks can be compared with the city wall of Halicarnassus, built during the earlier periods of the reign of Mausollos .

The monolithic column standing before the western wall of the building documents the significance of the structure.

The bothros opened by illegal excavators and investigated by us, supports the claim that the structure was a temple. Some terracotta figurines found here, date back to the late Archaic early Classical periods. However, we cannot reach a decision as to the real aim of its structure without carrying out an excavation. For the time being, the only thing we can say is that the bothros could be related to the structure that could be counted as a temple in Pedasa that might be dating back to times much more earlier than the times of Mausollos.

Terracotta Figurines Representing and Concerning Female Divinity

at the Sanctuary of Apollo at Claros, Ionia

Elçin DOĞAN

Ms Elçin DOĞAN (Izmir)

Ege Üniversitesi, Edebiyat Fakültesi, Arkeoloji Bölümü, Bornova, TR-35100 Izmir, TURKEY.

<doganelcin@hotmail.com>

Terracotta figurines concerning female divinity and found at the sanctuary of Apollo Clarios, indicate various cults at this site. One of the most popular female divinity is Aphrodite. Among the Aphrodite figurines, one of the most significant one is her representation with Eros. Furthermore she is being represented sitting on a dolphin, standing or sitting alone.

A further major group consist into Artemis Claria dedications. Among them, two Artemis Kourotrophoi types are observed. Another one which is carrying an animal in her right hand may be assumed as Artemis, in the frame of her cult of Potnia Theron. Draped female figurines found at the sector of Artemis at Claros will be examined in that group.

A further Kourotrophos Leto holding two children (Apollo and Artemis), not recovered from the 2001-2006 excavations, is important because of its evidence for the existence of this cult at the sanctuary.

A fourth group, Dionysiac, was recovered from a bothros. Hundreds of chous and Early Hellenistic temple boy figurines were recovered here with kourutophos figurines that might represent Kourotrophos Nymphe Nysa.

A seated Kybele Figurine with lion is also available in the group of female figurines. A Kybele cult is known by a cave sanctuary at “Demirli Mağara”, which is 1 km far from Claros. Around this cave, a relief representing standing Kybele had been found.

Translated by Ergün Laflı

Überlegungen zur Attributhäufung bei Götterdarstellungen

in der griechisch-römischen Koroplastik

Christina DREES

Ms Christina DREES (Münster)

Institut für Klassische Archäologie und Frühchristliche Archäologie/Archäologisches

Museum der Westfälische Wilhelms-Universität Münster, Domplatz 20-22,

D–48143 Münster, GERMANY.

<cdrees@uni-muenster.de>; <CD77737@aol.com>

Gegenstand meines Vortrages sind einige ausgewählte Terrakotten, die sich unter dem gemeinsamen Merkmal der sogenannten Attributhäufung vereinen lassen. Es handelt sich um Götterdarstellungen, die typologisch und ikonographisch zunächst einmal griechisch-römischen Vorbildern folgen. Neben den ihnen eigenen Beizeichen weisen sie in unterschiedlichem Maße allerdings auch Attribute auf, die im griechisch-römischen Bereich eigentlich anderen Gottheiten zukommen.

Attribute werden hier als Bildzeichen, als Elemente im Zeichensystem der antiken Bildsprache verstanden. Ganz allgemein können sie bestimmte Qualitäten, d. h. Fähigkeiten und Eigenschaften, verdeutlichen. Im Bereich der griechisch-römischen Götterikonographie kennzeichnen bestimmte Beizeichen nach einem relativ festgelegten System in der Regel einzelne charakteristische Wesensaspekte einer Gottheit.

Was es nun bedeutet, wenn unter Terrakotten aus hellenistisch-römischer Zeit Götterdarstellungen mit nach diesem Muster ungewöhnlichen Attributen vorkommen, soll anhand einiger exemplarischer Stücke erläutert werden. Zur Diskussion stehen vor allem ihre Typologie und Ikonographie sowie die Frage nach ihrer Benennung und Datierung, aber auch die mögliche Funktion und Verwendung.

Ein besonderes Augenmerk liegt auf dem beobachteten Umgang mit den einzelnen Attributen und auf der kontextuellen Einordnung der Stücke, insbesondere in bezug auf die dargestellten bzw. mit der Darstellung gemeinten Gottheiten.

Des terres cuites pour Déméter.

Observations sur la petite plastique du sanctuaire de Vamiès

(Itanos, Crète orientale).

Alain DUPLOUY, Alessia ZAMBON

Dr Alain DUPLOUY (Paris)

Université Paris 1 Panthéon-Sorbonne – UMR 7041 « Archéologies et Sciences de l’Antiquité », c/o Institut d'art et d'archéologie, 3 rue Michelet, F-75006 Paris, FRANCE.

<alain.duplouy@free.fr>

Ms Alessia ZAMBON (Paris)

Institut National d'Histoire de l'Art, 2 rue Vivienne, F-75002 Paris, France.

<alessia.zambon@inha.fr>

La prospection archéologique menée par l’École française d’Athènes à Itanos depuis plusieurs années a permis de mettre en évidence l’organisation d’une portion du territoire de cette cité de Crète orientale. À côté des vestiges d’habitat, les recherches menées sur le terrain ont également révélé un petit sanctuaire péri-urbain, dont le nettoyage a livré une collection de terres cuites votives s’étendant de l’époque archaïque à la période hellénistique. Préalablement à la publication finale de la prospection, il s’agit de ici présenter le matériel coroplastique dans son contexte de découverte et de proposer une identification de la divinité vénérée.

Terracotta Figurines from Adramytteion/Örentepe in Mysia

Figen ERDOĞDU

Dr Figen ERDOĞDU (Balıkesir)

Balıkesir Üniversitesi, Ayvalık Meslek Yüksek Okulu, Balıkesir Yolu Üzeri,

Ayvalık, Balıkesir, TURKEY.

<ffurtuna@hotmail.com>

The first excavations at Adramytteion, today Ören in the Burhaniye township of Balıkesir, begun in July 2001. Trenches of this first excavation season were “A” and “B” on the block 229, lots 8-9. It has been discovered that these trenches were a part of the necropolis. In later excavation campaigns excavations were extended towards the southwest and southeast of the trench, where a Early Byzantine church has been discovered.

During the excavation campaigns of 2001-2005, fragments of female figurines were found in a dispersed position. Their find situation makes it is difficult to guess their use, but one can still assume that there must have been a cultic area near the trench. Some of these fragments are a large female bust as well as a half figurine from Trench A in 2003, a very fragmentary bust from the Trench A2 in 2002, a female bust with torso near the western wall and a female bust from the Trench A3 in 2002. In addition to this, 7 torso fragments with drapery, as well as a leg fragment, were collected. Among these fragments an Eros fragment, only head and arm preserved, found at the Trenches A and B in 2003 and a very well preserved female head in Tanagrian style, a further female head in Tanagrian style from the Trench GI in 2004, a peacock from the Trench SI, three well preserved heads from the Trenches GI, GIII and SI, three crowned heads from BI and BII as well as numerous torsos with drapery are to be mentioned.

There figurines from Adramytteion are similar in iconography and technique to the other western Asia Minor find spots such as Phocaea, Pergamon, Smyrna and Myrina. They should be Hellenistic and Roman in date.

In this study the figurines from Adramytteion will be compared to other finds from Asia Minor.

Translated by Ergün Laflı

Terracotta Figurines from Israel: Greek Inspiration and Local Traditions

Adi ERLICH

Dr Adi ERLICH (Haifa)

Art History Department, Haifa University, Mount Carmel, IL-31905 Haifa, ISRAEL.

<adie10@bezeqint.net>

Recent excavations on different sites in Israel have yielded hundreds of Hellenistic terracotta figurines, many of them coming from the southern town of Maresha and the coast cities of Tell Dor and Acco. The figurines come from residences and favissae of shrines, and only seldom from graves. The Palestinian terracottas show diversity and regionalism, together with common features of provinciality reflected in the negligent technique and blurred style. Many of the figurines take part in the Hellenistic koine, while others present unique types and undefined iconography which reflect the local ancient coroplastic traditions. The Athena rhyton from Maresha is an example of both trends: it combines an Achaemenid ritual vessel together with a Greek iconography, made in a local negligent manner. The terracottas from Israel can serve as a test case for the meeting of two cultures: The Greek one, dominant in political terms, and the local mosaic of peoples, which mingled their old traditions with the new ruling culture.

Corruptions at Excavated Terracotta Objects and their Preservation Problems

Bekir ESKİCİ

Dr Bekir ESKİCİ (Ankara)

Ankara Üniversitesi, Başkent Meslek Yüksek Okulu, Konservasyon Programı, Dil ve Tarih-Coğrafya Fakültesi, Ek Bina, Zemin Kat, Sıhhiye, TR-06100 Ankara, TURKEY.

<beskici@humanity.ankara.edu.tr>

In this contribution, emphasis will be given to preservation and conservation problems of the terracotta objects. These problems can be classified under consolidation, classification, sun and high temperature factor, washing, bonding, storing, documentation and conservation. The author will question not only terracotta figurines, but generally all terracotta objects in terms of their practical conservation at sites.

Translated by Ergün Laflı

Les moules de Cività di Tricarico (Lucanie, Italie):

techniques et contexte de production.

Sophie FÉRET

Mrs Sophie FÉRET (Paris)

Musée du Louvre – Direction de l’architecture et de la muséographie
F-75058 Paris Cedex 01, FRANCE
<sophie.feret@yahoo.fr>; <sophie.feret@louvre.fr>

Civita di Tricarico est un site fortifié de Lucanie. Dans l’une des maisons fouillées entre 1996 et 2002 par l’Ecole Française de Rome, de nombreux fragments de moules ont été mis au jour. Ce contexte soulève des interrogations sur le dispositif structurel de l’atelier d’un coroplathe. En outre, il ressort de l’examen technique des moules des disparités de traitement et de mise en œuvre des outils de production. Ainsi, se dessinent à travers ces objets modestes quelques indices sur le mode de diffusion, de reproduction et d’interprétation par les artisans locaux des modèles hellénistiques, en particulier ceux de Tarente, Métaponte et Héraclée.

Terracotta Figurines in Funerary Contexts, Iconography and Functions

The Case of Elaiussa Sebaste’s Rock Tombs (1st c. B.C.- 2nd c. A.D.).

Adele Federica FERRAZZOLI

Dr Adele Federica FERRAZZOLI (Rome)

Universita’ degli Studi di Roma “La Sapienza”, Piazzale A. Moro, 5, I-00185 Rome, ITALY.

<adelefederf@tiscalinet.it>

Nel corso delle campagne di scavo ad opera della Missione Archeologica Italiana dell’Università di Roma “la Sapienza”, che opera ad Elaiussa Sebaste dal 1995, sono state portate in luce e scavate alcune tombe rupestri appartenenti alla fase più antica della necropoli della città. Le tombe, scavate nel pendio della collina appena al di fuori del perimetro urbano, furono obliterate nel II sec. d.C. dalla costruzione del teatro e si presentavano intatte: la ricchezza dei corredi in esse rinvenuti permettono di affrontare uno studio che prenda in esame la loro composizione; in ogni corredo si trovano oggetti in osso, metallo, vetro e ceramica. Rispetto alla produzione di oggetti in ceramica, si nota la q