scholarly journals Out of the Rock? Terracotta Figurines from Sagalassos in the Sadberk Hanım Museum in Istanbul

2020 ◽  
Author(s):  
Peter Talloen ◽  
G. Senem Özden-Gerçeker
Keyword(s):  
Terracotta Figurines

HARPOCRATES WITH ROYAL ATTRIBUTES AND HARPOCRATES-EROS: EGYPTIAN TERRACOTTA FIGURINES FROM THE COLLECTION OF THE PUSHKIN STATE MUSEUM OF FINE ARTS, MOSCOW

2020 ◽  
pp. 55-69
Author(s):  
Svetlana E. Malykh ◽  
◽  
Olga A. Vasilyeva ◽  
Keyword(s):  
Fine Arts ◽  
Wide Spread ◽  
Royal Power ◽  
Bronze Sculpture ◽  
Double Crown ◽  
State Museum ◽  
Roman Egypt ◽  
Terracotta Figurines ◽  
Museum Of Fine Arts

This article introduces five terracotta figurines acquired in Egypt by Vladimir S. Golenishchev and N. G. Ter-Mikaelyan and currently preserved at the Pushkin State Museum of Fine Arts. Three statuettes depict the child god Harpocrates with the attributes of royal power; two figurines demonstrate the identification of Harpocrates with the Greek god Eros. Most of the objects can be dated mainly to the Roman times, one is to be dated to the late Ptolemaic period. The places of finding or manufacturing of figurines are mostly unknown; however, according to a number of specific features, these could be towns of the Fayum Oasis, the Delta, and in one case — probably, Edfu. Terracotta figurines of Harpocrates with royal regalia are rare, especially in comparison with the wide-spread occurrence of terracottaе with Harpocrates holding a pot or cornucopia; all these data bring his functions as patron of fertility and defender of health to the fore. The presence of royal attributes seems to be a kind of secondary, partly decorative elements that only enhance the most popular aspects of terracotta images of Harpocrates. The type of figurines depicting Harpocrates sitting on a throne with the crown of the god Amun reproduces the iconography of small bronze sculpture. In other types of terracotta the royal attributes most frequently found are the double crown and — rarely — a nemes-headdress; the crown is usually surrounded by lotus buds, a favorite motive of Harpocrates’ iconography. The childish image of Harpocrates in the time of interaction between Eastern and Western cultures led to a natural synthesis of images of the child gods of Egyptian and Graeco-Roman worlds — Harpocrates and Eros. Apparently, such terracottaе, which had more Hellenistic than Egyptian features, were in demand by the population of different towns in Ptolemaic and Roman Egypt.

Ancient Greek Terracotta Sculpture

2022 ◽  
Keyword(s):  
Southern Italy ◽  
Hellenistic Period ◽  
Greek Life ◽  
Ancient Greek ◽  
Monumental Sculpture ◽  
First Millennium ◽  
Terracotta Figurines ◽  
The 19Th Century ◽  
Greek World ◽  
Material Form

The phrase “terracotta sculpture” refers to all figurative representations in fired clay produced in Greece and in the Greek world during the first millennium bce, (from the Geometric period to the end of the Hellenistic period), whatever their size (figurine, statuette, or statue), whatever their manufacturing technique (modeling, molding, mixed), whatever their material form (in-the-round, relief, etc.), whatever their representation (anthropomorphic, zoomorphic [real or imaginary], diverse objects), and whatever the limits of their representation: full figure (figurines, statuettes, groups), truncated or abbreviated representations, including protomai, masks, busts, half figures, and anatomical representations, among others. All these objects, with the possible exception of large statues, were the products of artisans who were referred to in ancient texts as “coroplasts,” or modelers of images in clay. Because of this, the term “coroplasty,” or “coroplathy,” has been used to refer to this craft, but also increasingly to all of its products, large and small, while research on this material falls under the rubric of coroplastic studies. Greek terracottas were known to antiquarians from the mid-17th century onward from archaeological explorations in both sanctuary and funerary sites, especially in southern Italy and Sicily. Yet serious scholarly interest in these important representatives of Greek sculpture developed only in the last quarter of the 19th century, when terracotta figurines of the Hellenistic period were unearthed from the cemeteries of Tanagra in Boeotia in the 1870s and Myrina in Asia Minor in the 1880s. These immediately entered the antiquities markets, where their cosmopolitan, secular imagery had a great appeal for collectors and fueled scholarly interest and debate. At the same time, sanctuary deposits containing terracottas also began to be explored, but scholarly attention privileged funerary terracottas because of their better state of preservation. For most of the 20th century, the study of figurative terracottas basically was an art-historical exercise based in iconography and style that remained in the shadow of monumental sculpture. It is only in the last four decades or so that coroplastic studies has developed into an autonomous field of research, with approaches specific to the discipline that consider modalities of production, as well as the religious, social, political, and economic roles that terracottas played in ancient Greek life by means of broad sociological and anthropological approaches. Consequently, this bibliography mainly comprises publications of the last forty years, although old titles that are still essential for research are also included.

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