This well-composed ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity. The goddess is standing on an integral  More »

This well-composed ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity. The goddess is standing on an integral base (partially restored) and is unusually well-and extensively detailed. The drapery is exceptionally well-rendered and preserved, with a long toga-like garment that reaches to the floor, and is gathered up by the left hand. It overlies a tunic that is visible in the mid-chest. The detailing of the slightly smiling face, the ornate hair-piece that flows into the robe and even the carefully-rendered fingers is exquisite. The general rendering is diagnostically Pre-Classical – rather austere and linear composition, with slightly naïve rendering of facial features – and reflects the archaic style of Greek sculpture that the Phoenicians inspired and with which this piece is contemporary. The piece still retains calcareous accretions (which can be removed if required), which attest to its long interment in the Mediterranean. The back of the piece is almost completely plain, implying that it was always meant to be viewed from the front rather than in the round: this is usual for figures designed for shrines.   « Less

This outstanding ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is also one of the  More »

This outstanding ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is also one of the largest, most dramatic and best-preserved such pieces we have seen. It depicts a standing male (?) figure dressed in flowing robes that reach to the floor, and sandals, which are just visible. The shoulders are comparatively broad, hence the assignation of male sex. The head is austere and very well-modelled, with sensitive rendering of facial features and hair. The neck is encircled with a decorative band – perhaps a necklace or the collar of the robe – and the drapery is extremely fine, resembling a tunic/toga arrangement with the end section draped over the left am. The right hand is raised in a gesture of benediction. His upright stance and austere pose are reminiscent of the Archaic Period Greek statues which the Phoenicians inspired, and with which this piece is roughly contemporary. The back of the piece is almost completely plain, implying that it was always meant to be viewed from the front rather than in the round, which is appropriate for figures destined for shrines. The piece retains some calcareous concretions from its long interment in the Mediterranean.   « Less

This imposing ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. Unusually – for the  More »

This imposing ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. Unusually – for the Phoenicians depicted more goddesses than gods – it represents a male figure standing on an integrated square base, resting his weight on his right leg in a somewhat casual manner, his left leg bent and flexed forward. He is wearing a long robe-like garment that runs over both shoulders down to the ground. His right hand is raised in what is considered to be benediction, his let tucked into his hip. The head is bare and seemingly bald; the features are clear and crisp, and have been protected by calcareous eminences. The pose of the personage is characteristic of Phoenician art, and also that of the Archaic period in Greece, which it helped inspire. The back of the piece is almost completely plain, implying that it was always meant to be viewed .from the front rather than in the round, which is appropriate for figures destined for shrines. The piece has attracted some calcareous encrustation from its long immersion in the Mediterranean.   « Less

This attractive ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It shows a goddess  More »

This attractive ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It shows a goddess standing on an unusually tall integral pedestal base (about one third of the total height of the piece), dressed in a long robe that covers the back of the ornate hair and stretches down to the ground. Her face is partially obscured by calcareous concretions (which can be removed if required), but the delicate modelling of her features can still be seen. Her hair is long, hanging to the shoulders, and her toes can just be seen protruding from the hem of her long robe. Her left hand is on her breast, her right raised in a gesture of benediction. The breasts are unusually prominent – they are typically obscured by textile and in any case much smaller – and the stomach is also very large. These characteristics of pregnancy are not uncommon in votive figures but the finesse with which the figure has been rendered is unusual. Examples in the main reference text for Phoenician art are typically very crude and purely notional fertility charms. This, by contrast, has true artistry. Her upright stance and austere pose are reminiscent of the Archaic Period Greek statues which the Phoenicians inspired, and with which this piece is roughly contemporary. The back of the piece is almost completely plain, implying that it was always meant to be viewed from the front rather than in the round: this is appropriate for figures designed for shrines.   « Less

This exceptional ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is a stylistically  More »

This exceptional ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is a stylistically remarkable example. It has a double-tiered pedestal base in the Egyptian style (i.e. elongated, with the figure placed towards the back) and a number of features that are atypical. Her headwear is classically Egyptian, with a tripartite headdress rather than the traditional Phoenician long robe that covers the bouffant hair. The robe is open and possibly absent (the moulding is unclear on this point) in this figure, exposing the protuberant breasts and stomach and what was probably a baby held in the crook of her left arm. The right arm is raised in a gesture of what is usually assumed to be benediction. The decidedly well-nourished shape of the woman is unusual, as goddesses are usually somewhat lissom or perhaps very slightly pregnant- looking. This individual, however, has outstanding hips and thighs as well as stomach and breasts, and invokes the notion of maternity figures much more strongly. The surface is glossy in placed, indicating either a partial glaze, or a long history of libations before its interment. The pose of the personage and the base show some affinity with Egyptian pieces, which inspired the Phoenicians’ artistic oeuvre. The back of the piece is almost completely plain, implying that it was always meant to be viewed .from the front rather than in the round, which is appropriate for figures destined for shrines. The piece has attracted some calcareous encrustation from its long immersion in the Mediterranean.   « Less

This outstandingly beautiful and well-preserved ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity. It depicts  More »

This outstandingly beautiful and well-preserved ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity. It depicts a goddess standing on an integral base, which bears an offerings bowl (partly obscured by calcareous concretions), her right hand raised and her left hand at her throat. However, it is the quality of the artistry and the almost miraculous preservation which makes this sculpture so remarkable, for most of the details that can be seen here have been eroded in other examples. The face is exceptional, carved with a serene expression and a half smile, with lidded eyes, a long nose and rounded cheeks. It is capped with a halo of ornate coiffure, which in turn is covered with a long veil that becomes one with her robe, extending down to her feet. The quality of the drapery is also striking, with pleats and folds in the cloth running vertically beneath her left arm and down her legs. Her left hand is at her throat, and, unusually, it is possible to see what she is doing. She appears to be handling a necklace which is in such low relief that it would not be visible in 99% of sculptures. The significance of this pose is not understood, but it must have been important to the Phoenicians as it has been found on many female figures. Her right hand is raised in what is generally assumed to be benediction. The clothes are open in the midline to expose a protuberant abdomen and notable breasts; this combination of traits usually implies pregnancy, with obvious symbolic significance for fertility and fecundity. There appears to be a faint line around the waist and loins, denoting a second layer of clothing underlying the first in the manner of a Roman toga and tunic. The left leg is straight and supporting her weight, while the right is flexed as if she were relaxing it or walking. This is unusual as these figures are typically rather austere and linear compositions, reflecting the archaic style of Greek sculpture that the Phoenicians inspired and with which this piece is contemporary. The piece still retains calcareous accretions (which can be removed if required), which attest to its long interment in the Mediterranean. The back of the piece is almost completely plain, implying that it was always meant to be viewed from the front rather than in the round: this is usual for figures designed for shrines.   « Less

This imposing ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is an unusual form for  More »

This imposing ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is an unusual form for the genre, and would seem to be a good example of the stylistic debt owed by the Phoenicians to the Egyptians of the Late Period. The piece comprises a bald man standing towards the back of an elongated oblong/oval tiered base, with his feet together and raised on a slight eminence. The figure is comparatively undifferentiated, with little surface detail. The mass is comprised of a long tunic that reaches down to the knees and to the wrists. The hands are damaged, but one seems to have been raised in what is usually assumed to be benediction, while the other rests on the hip/side. The neck is long, supporting a rounded head with a strong face, an angular nose, closed eyes and slightly pursed lips. The general “look” of the piece is unlike most other Phoenician shrine figures that we have seen. The rather austere, bald head, the knee-length tunic and the vertical pose on the elongated base are all Egyptian in origin; it is rare to find a Phoenician piece with such an overt debt to Egyptian styles, for while they are known to have borrowed from the Egyptians, their artworks usually have more in common with the Archaic Period Greek statues that their work indirectly inspired. The back of the piece is almost completely plain, implying that it was always meant to be viewed .from the front rather than in the round, which is appropriate for figures destined for shrines. The piece has attracted some calcareous encrustation from its long immersion in the Mediterranean.   « Less

This imposing ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It shows a goddess standing  More »

This imposing ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It shows a goddess standing on an ornate double integral pedestal base, dressed in a long robe that covers the back of the ornate hair and stretches down to the ground. Her face has been eroded with t passage of time, but still retains the graceful lines of forehead, eyes and jawline. An eminence on her left arm suggests that she was originally depicted as carrying a child; her right hand is raised in benediction. Her upright stance and austere pose are reminiscent of the Archaic Period Greek statues which the Phoenicians inspired, and with which this piece is roughly contemporary. The back of the piece is almost completely plain, implying that it was always meant to be viewed from the front rather than in the round, which is appropriate for figures destined for shrines. The piece retains some calcareous concretions from its long interment in the Mediterranean.   « Less

This beautiful ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It shows a goddess standing  More »

This beautiful ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It shows a goddess standing on a plain integral base, a receptacle at her feet, and dressed in a long toga-like robe with a central wide sash. The head is very finely rendered, with large, almond-shaped eyes, a long nose and a slight smile on finely-modelled lips. The style is reminiscent of the Archaic Period Greek statues with which it is roughly contemporary. The back of the piece is almost completely plain, implying that it was always meant to be viewed from the front rather than in the round, which is appropriate for figures destined for shrines. The condition of the piece is excellent, and it retains some calcareous concretions from its long interment in the Mediterranean.   « Less

This outstanding ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is unusually large,  More »

This outstanding ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is unusually large, detailed and well-preserved. It shows a male figure standing upon a tall, tiered pedestal base, decorated with a double ring at the bottom and another single at the top. The figure is unusually tall, wearing a tunic-like garment covered with a long, flowing robe that reaches to the feet and is gathered over the left wrist. The detailing of the textile is good. The pose is relaxed, even casual, with the weight taken on the left leg and the right bent at the knee as is strolling. The face is strongly-modelled and well-preserved, with high brows, pointed-oval eyes, a long nose and a gentle smile. The coiffure is unclear – it may be gathered back, or covered by the upper end of the robe. The right hand is truncated in the mid forearm, but it is likely that he was originally holding it up in benediction (a not uncommon pose for pieces such as this). The piece is certainly formal, but it is also more fluid in terms of composition than is usual for these sculptures, which are contemporary with the Archaic Period Greek statues which the Phoenicians helped to inspire. The back of the piece is almost completely plain, implying that it was always meant to be viewed from the front rather than in the round, which is appropriate for figures destined for shrines. The piece retains some calcareous concretions from its long interment in the Mediterranean, and a large shell attached to the left foot.   « Less