This imposing and beautifully-modelled ceramic sculpture is an exceptional votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician  More »

This imposing and beautifully-modelled ceramic sculpture is an exceptional votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is exceptional in terms of styling, composition and size. The base is double-tiered, with a four-legged, oblong section with discrete feet, topped by a second more cubic section upon which the figure stands. The sculpture represents a pregnant woman, with prominent stomach and breasts. The stance is full-square, the weight of the body spread between both feet. Hand positions are slightly out of the ordinary – the right hand (truncated) is raised in what is usually assumed to be benediction, while the left cups her breast. The left hand is usually holding up a fold of the robe, but in this case the robe is open and barely hangs from the shoulders, lending a sensual impression to the figure. The face is somewhat eroded, but nevertheless powerful in its series of smooth lines and preserved contours. Perhaps the most remarkable aspect of the piece is the headwear. Most Phoenician pieces are wrapped in robes that are more to do with the classical tradition than any more ancient inspiration. Yet in the current case the figure is clearly wearing an Egyptian headdress, which betrays one of the Phoenicians’ great sources of inspiration but that is rarely seen in such detail. 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. It shows a goddess (or  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 (or perhaps a god) standing on an ornate integral pedestal base, dressed in a long robe with flowing drapery down to the ground. Her face, while smoothed slightly by the passage of time, shows strong brows, a straight, narrow nose and an ornate hairstyle running into her clothing as a veil. A receptacle at her feet implies that offrenda must be given in order to curry favour with her. Her right hand is raised in benediction, her left tucked into her side. 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 stylishly-modelled ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is unusual in  More »

This stylishly-modelled ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is unusual in terms of detailing and styling. It depicts an elegantly-dressed woman standing on a quadrilateral base with straight sides and an upwardly-sloping anterior aspect, and decorated with a raised border. The figure’s silhouette is largely the outline of the long gown that reaches from the apex of the head to the ground. Within there are details such as a well-rendered tie belt that indicate another garment (probably a tunic) concealed beneath. Detailing of the garments is exquisite, with folds and drapery rendered with great care. The hair is gathered into a solid layer beneath the robe’s apex, with some fronds escaping to the figure’s right side. The stomach and breasts are fairly prominent although the position of the figure is not as “bold” as most fecundity-linked pieces. The fertility associations of this piece are reinforced by the child she is carrying on her crooked left arm, which appears to be breastfeeding from her. The other hand is upraised in what is generally assumed to be a gesture of benediction. The face is elegant and sensitively-rendered, with a long nose, a pursed mouth set in a half-smile, a strong chin and moulded cheeks. The rounded 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 attractive ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity (or perhaps a historically-significant  More »

This attractive ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity (or perhaps a historically-significant personage). The figure – which is of ambiguous sex – is standing on an integral circular then square (stacked) base, with an offering bowl anterior to the feet. The figure has been worn by its long immersion in the Mediterranean, but the graceful lines of the drapery and the delicacy of the facial features are still visible. The right hand is relaxing on the hip, while the right is raised upwards in a gesture of benediction. The action of sand and water has smoothed the detailing of the drapery, except for a sash-like eminence running across the abdomen. The general appearance of the figure is diagnostically pre-classical or archaic, from the rendering of the facial features to the austere pose. The piece still retains calcareous accretions (which can be removed if required), notably in the lower section of the figure where a piece of coral has become attached to the offerings bowl. 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 large and powerful ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is extremely  More »

This large and powerful ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is extremely unusual in terms of its size and manner of representation. Firstly, it is very stridently male – most figures tend to be female – with a powerful head and muscular proportions. Secondly, it is bare-headed and lacks the usual detailed drapery folds. It appears to be wearing a tunic that stops at the knees, making the legs seem somewhat short. The arms have been severed at what was probably the elbow, which brings more attention to the sculpture’s monolithic presence and the austere potency of its facial features. The head is angular and strongly modelled, with a strong nose and chin, and protuberant ears. The eyes and mouth are somewhat worn with the action of water. The smoothed details add to the powerful presence that the piece possesses, which has much in common 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.   « Less

This graceful 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  More »

This graceful 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, dressed in a robe that extends cowl-like from the apex of her head down to the floor. Much of the other drapery detail has been eroded by the piece’s long immersion in the Mediterranean, as have the small details of the face, but while the smaller points have been eroded, the confident, clean lines of the piece more than compensate for their loss. As is usual with sculptures of this sort, she has her right hand raised in benediction; her left arm is cradling an eminence that was probably originally a child. While the precise significance of this is unknown, the maternity/fertility associations are clear (see below). The general rendering is diagnostically Pre-Classical – rather austere and linear composition – 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 unusually well-rendered and harmonious ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity. Unusually, the  More »

This unusually well-rendered and harmonious ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a Phoenician deity. Unusually, the piece has no integral base, and is superbly detailed with near-perfect preservation. It is a female (?) figure standing in a strikingly dynamic pose with the head slightly bowed and a half-smile on her lips. Her pose is normal, with her left hand on her abdomen and her right hand raised in a gesture of benediction. She is dressed in an atypical manner, with a long robe reaching from her head to the floor but casually opened in the centre to reveal her slightly flexed legs and bare torso; the absence of apparent breasts leads to ambiguity in sexing, although it should be noted that breasts are only ever emphasised in Phoenician fertility statues. Her stomach is slightly convex but not seemingly pregnant. The quality of the drapery is exquisite, as is the rendering of the carefully lidded eyes, the slight smile and the rounded curves of the forehead and cheeks. 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 attractive 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  More »

This attractive 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 stepped base, with a small offerings bowl anteriorly. The figure’s profile is defined by the large robe which extends cowl-like over the bowed head and down to the floor, open from the shoulder to the waist. The thick hem of this garment is clearly visible – much of the other drapery detail has been eroded by the piece’s long immersion in the Mediterranean. While her face has lost some of its detail, it – and the rest of the piece – has become a masterwork of clean linear composition. As is usual with sculptures of this sort, she has her right hand raised in benediction; her left hand is brought up to her neck, perhaps explaining her bowed head. This pose is of unknown significance, but it must have been important to the Phoenicians as it was rendered in all manner of pieces from the reductivist to the hyper-realistic. The general rendering is diagnostically Pre-Classical – rather austere and linear composition – 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 very detailed and superbly preserved ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon.  More »

This very detailed and superbly preserved 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 – who seem to have had more goddesses than gods – it represents a male. The figure halts at about the level of the knees, and has been slightly restored so it stands correctly. The figure is dressed in what resembles a tunic and toga. The former drapes the individual from shoulder to base, and is denoted with vertically-oriented textile ripples. The latter seems to be draped around the figure, then pulled from the right side of the waist to under the left arm, passing over the shoulder and tucked back under itself to secure it in position. This is the only piece we have seen that preserved such details. The head is commensurately well-preserved, showing superb rendering of a covered hairstyle which frames a serene face with a long nose, high brows, almond eyes and a pursed mouth. The cheeks are full, the jaw is long and the ears break with the profile of the coiffure. The pose is very upright, with the right hand flexed upwards and the left resting on the hip. Unusually, the left hand appears to have originally had a hollow in the clenched fingers (since filled with calcareous matter) which implies that he might once have held a perishable item. Judging from its size and orientation, it was some sort of staff/weapon, which would have crossed his body at about 45 degrees. The face is supremely naturalistic and more sophisticated than most of the Greek Archaic Period sculptures that the Phoenicians 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 retains some calcareous concretions from its long interment in the Mediterranean.   « Less

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

This graceful ceramic sculpture is a votive figure from the middle of the first millennium BC, and represents a deity in the Phoenician pantheon. It is based upon a goddess standing full-square upon a short oblong integral base, wearing a robe (?) open at the front to expose her protuberant midriff and breasts. She is also fairly broad across the hips, thus boosting the “fertility” aspects of the piece. Her hair is covered with a band of textile that may or may not be part of her gown. The right arm is raised in a gesture of what is usually assumed to be benediction, while the left hand touches the neck – a gesture that is sometimes found in these pieces but which is currently not understood. The head is cast slightly down, with delicate brows, a linear nose and full cheeks. The features are smoothed by the action of sand and water, which serves to produce a more refined, linear sculptural presence. The pose of the personage is characteristic of Phoenician art, and also that of the Archaic period in Greece, which they 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