The ancient Cycladic culture flourished in the islands of the Aegean Sea from c. 3300 to 1100 BCE.Along with the Minoan civilization and Mycenaean Greece, the Cycladic people are counted among the three major Aegean cultures. Cycladic art therefore comprises one of the three main branches of Aegean art.
The best known type of artwork that has survived is the marble figurine, most commonly a single full-length female figure with arms folded across the front. The type is known to archaeologists as a "FAF" for "folded-arm figure(ine)". Apart from a sharply-defined nose, the faces are a smooth blank, although there is evidence on some that they were originally painted. Considerable numbers of these are known, though unfortunately most were removed illicitly from their unrecorded archaeological context, which seems usually to be a burial.
Almost all information known regarding Neolithic art of the Cyclades comes from the excavation site of Saliagos off Antiparos. Pottery of this period is similar to that of Crete and the Greek mainland. Sinclair Hood writes: "A distinctive shape is a bowl on a high foot comparable with a type which occurs in the mainland Late Neolithic."
The best-known art of this period are the marble figures usually called "idols" or "figurines", though neither name is exactly accurate: the former term suggests a religious function which is by no means agreed on by experts, and the latter does not properly apply to the largest figures, which are nearly life size. These marble figures are seen scattered around the Aegean, suggesting that these figures were popular amongst the people of Crete and mainland Greece.Perhaps the most famous of these figures are musicians: one a harp-player the other a pipe-player. Dating to approximately 2500 BCE, these musicians are sometimes considered “the earliest extant musicians from the Aegean.”
The majority of these figures, however, are highly stylized representations of the female human form, typically having a flat, geometric quality which gives them a striking resemblance to today's modern art. However, this may be a modern misconception as there is evidence that the sculptures were originally brightly painted.A majority of the figurines are female, depicted nude, and with arms folded across the stomach, typically with the right arm held below the left. Most writers who have considered these artifacts from an anthropological or psychological viewpoint have assumed that they are representative of a Great Goddess of nature, in a tradition continuous with that of Neolithic female figures such as the Venus of Willendorf. Although some archeologists would agree, this interpretation is not generally agreed on by archeologists, among whom there is no consensus on their significance. They have been variously interpreted as idols of the gods, images of death, children's dolls, and other things. One authority feels they were "more than dolls and probably less than sacrosanct idols."
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Suggestions that these images were idols in the strict sense—cult objects which were the focus of ritual worship—are unsupported by any archeological evidence.What the archeological evidence does suggest is that these images were regularly used in funerary practice: they have all been found in graves. Yet at least some of them show clear signs of having been repaired, implying that they were objects valued by the deceased during life and were not made specifically for burial. Furthermore, larger figures were sometimes broken up so that only part of them was buried, a phenomenon for which there is no explanation. The figures apparently were buried equally with both men and women. Such figures were not found in every grave. While the sculptures are most frequently found laid on their backs in graves, larger examples may have been set up in shrines or dwelling places.
Early Cycladic art is divided into three periods: EC I (2800–2500 BCE), EC II (2500–2200 BCE), and EC III (2200–2000 BCE). The art is by no means strictly confined to one of these periods, and in some cases, even representative of more than one of the Cycladic islands. The art of EC I is best represented on the islands of Paros, Antiparos, and Amorgos, while EC II is primarily seen on Syros, and EC III on Melos.
The most important earliest groups of the Grotta–Pelos culture are Pelos, Plastiras and Louros. Pelos figurines are of schematic type. Both males and females, in standing position with a head and face, compose the Plastiras type; the rendering is naturalistic but also strangely stylized. The Louros type is seen as transitional, combining both schematic and naturalistic elements.Schematic figures are more commonly found and are very flat in profile, having simple forms and lack a clearly defined head. Naturalistic figures are small and tend to have strange or exaggerated proportions, with long necks, angular upper bodies, and muscular legs.
The Pelos type figurines are different than many other Cycladic figurines as for most the gender is undetermined. The most famous of the Pelos type figurines are the "violin"-shaped figurines. On these figurines there is an implied elongated head, no legs and a violin-shaped body. One particular "violin" figurine, has breasts, arms under the breasts, and a pubic triangle, possibly representing a fertility goddess. However, since not all the figurines share these characteristics, no accurate conclusion can be made at this time.
The Plastiras type is an early example of Cycladic figurines, named after the cemetery on Paros where they were found.The figures retain the violin-like shape, stance, and folded arm arrangement of their predecessors but differ in notable ways. The Plastiras type is the most naturalistic type of Cycladic figurine, marked by exaggerated proportions. An ovoid head with carved facial features, including ears, sits atop an elongated neck that typically takes up a full third of the figure's total height. The legs were carved separately for their entire length, often resulting in breakages. On female figures the pubic area is demarcated by an incision and the breasts are modeled. Representations of males differ in structure, but not remarkably, possessing narrower hips and carved representations of the male sexual organs. The figures are typically small in size, usually no larger than thirty centimeters, and are not able to stand on their own, as the feet are pointed. Surviving figurines have been carved from marble, but it is suggested by some that they may also have been carved from wood.
The Louros type is a category of Cycladic figurines from the Early Cycladic I phase of the Bronze Age. Combining the naturalistic and schematic approaches of earlier figure styles, the Louros type have featureless faces, a long neck, and a simple body with attenuated shoulders that tend to extend past the hips in width. The legs are shaped carefully but are carved to separation no further than the knees or mid-calves.Though breasts are not indicated, figures of this type are still suggestive of the female form and tend to bear evidence of a carved pubic triangle.
The Kapsala variety is a type of Cycladic figure of the Early Cycladic II period. This variety is often thought to precede or overlap in period with that of the canonical Spedos variety of figures. Kapsala figures differ from the canonical type in that the arms are held much lower in the right-below-left folded configuration and the faces lack sculpted features other than the nose and occasionally ears. cm in length. Evidence suggests that paint is now regularly used to demarcate features such as the eyes and pubic triangle, rather than carving them directly. One characteristic of note of the Kapsala variety is that some figures seem to suggest pregnancy, featuring bulging stomachs with lines drawn across the abdomen. Like other figures of the Early Cycladic II period, the most defining feature of the Kapsala variety is their folded-arm position.Kapsala figures show a tendency of slenderness, especially in the legs, which are much longer and lack the powerful musculature suggested in earlier forms of the sculptures. The shoulders and hips are much narrower as well, and the figures themselves are very small in size, rarely larger than 30
The Spedos type, named after an Early Cycladic cemetery on Naxos, is the most common of Cycladic figurine types. It has the widest distribution within the Cyclades as well as elsewhere, and the greatest longevity. The group as a whole includes figurines ranging in height from miniature examples of 8 cm to monumental sculptures of 1.5 m. With the exception of a statue of a male figure, now in the Museum of Cycladic Art Collection, all known works of the Spedos variety are female figures. Spedos figurines are typically slender elongated female forms with folded arms. They are characterized by U-shaped heads and a deeply incised cleft between the legs.
The Dokathismata type is a Cycladic figure from the end of the Early Cycladic II period of the Bronze Age. With characteristics that are developed from the earlier Spedos variety, the Dokathismata figures feature broad, angular shoulders and a straight profile. Dokathismata figures are considered the most stylized of the folded-arm figures, with a long, elegant shape that displays a strong sense of geometry that is especially evident in the head, which features an almost triangular shape. These figures were somewhat conservatively built compared to earlier varieties, with a shallow leg cleft and connected feet.Despite this, the figures were actually quite fragile and prone to breakage. The return of an incised pubic triangle is also noted in the Dokathismata variety of figures.
The Chalandriani variety is a type of Cycladic figure from the end of the Early Cycladic II period of the Bronze Age. Named for the cemetery on the island of Syros on which they were found, these figures are somewhat similar in style and mannerism to the Dokathismata variety that preceded them. Chalandriani figures, however, feature a more truncated shape in which the arms are very close to the pubic triangle and the leg cleft is only indicated by a shallow groove.
One feature of note with the Chalandriani variety is that the strict right-below-left configuration found in previous figures seemed to have relaxed, as some sculptures have reversed arms or even abandonment of the folded position for one or both arms. The reclining position of previous figures is also challenged, as the feet are not always inclined and the legs are somewhat rigid. The shoulders were expanded even further from the Dokathismata variety and were quite susceptible to damage as the upper arms and shoulders are also the thinnest point of the sculpture. The head is triangular or shield-shaped with few facial features other than a prominent nose, connected to the body by a pyramidal-shaped neck. Like figures of the Dokathismata variety, some Chalandriani figures appear to be presented as pregnant. The defining feature of these figures is their bold and exaggerated indication of the shoulders and upper arms.
Koumasa figurines, from the Early Minoan II cemetery at Koumasa on Crete, are very small and flat. The folded-arm figures typically have short legs and broad shoulders,and were prone to breakage given their delicate build.
The local clay proved difficult for artists to work with, and the pottery, plates, and vases of this period are seldom above mediocre.Of some importance are the so-called 'frying pans', which emerged on the island of Syros during the EC II phase. These are round decorated disks, which were not used for cooking, but perhaps as fertility charms or mirrors. Some zoological figurines and pieces depicting ships have also been found.
Besides these, other forms of functional pottery have been found. All pottery of early Cycladic civilization was made by hand, and typically was a black or reddish color, though pottery of a pale buff has also been found. The most common shapes are cylindrical boxes, known as pyxides, and collared jars.They are crude in construction, with thick walls and crumbling imperfections, but sometimes feature naturalistic designs reminiscent of the sea-based culture of the Aegean islands. There are also figurines of animals.
The Cyclades are an island group in the Aegean Sea, southeast of mainland Greece and a former administrative prefecture of Greece. They are one of the island groups which constitute the Aegean archipelago. The name refers to the islands around the sacred island of Delos. The largest island of the Cyclades is Naxos, however the most populated one is Syros.
Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts. Durable sculptural processes originally used carving and modelling, in stone, metal, ceramics, wood and other materials but, since Modernism, there has been an almost complete freedom of materials and process. A wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or moulded or cast.
African art describes the modern and historical paintings, sculptures, installations, and other visual culture from native or indigenous Africans and the African continent. The definition may also include the art of the African diasporas, such as African American, Caribbean or art in South American societies inspired by African traditions. Despite this diversity, there are unifying artistic themes present, when considering the totality of the visual culture from the continent of Africa.
Cycladic culture was a Bronze Age culture found throughout the islands of the Cyclades in the Aegean Sea. In chronological terms, it is a relative dating system for artefacts which broadly complements Helladic chronology and Minoan chronology (Crete) during the same period of time.
The Venus of Willendorf is an 11.1-centimetre-tall (4.4 in) Venus figurine estimated to have been made 30,000 BCE. It was found on August 7, 1908, by a workman named Johann Veran or Josef Veram during excavations conducted by archaeologists Josef Szombathy, Hugo Obermaier, and Josef Bayer at a paleolithic site near Willendorf, a village in Lower Austria near the town of Krems. It is carved from an oolitic limestone that is not local to the area, and tinted with red ochre. The figurine is now in the Naturhistorisches Museum in Vienna, Austria.
A Venus figurine is any Upper Palaeolithic statuette portraying a woman, usually carved in the round. Most have been unearthed in Europe, but others have been found as far away as Siberia, and distributed across much of Eurasia.
Amorgos is the easternmost island of the Cyclades island group and the nearest island to the neighbouring Dodecanese island group in Greece. Along with several neighbouring islets, the largest of which is Nikouria Island, it comprises the municipality of Amorgos, which has a land area of 126.346 square kilometres and a population of 1,973.
The sculpture of ancient Greece is the main surviving type of fine ancient Greek art as, with the exception of painted ancient Greek pottery, almost no ancient Greek painting survives. Modern scholarship identifies three major stages in monumental sculpture in bronze and stone: the Archaic, Classical (480-323) and Hellenistic. At all periods there were great numbers of Greek terracotta figurines and small sculptures in metal and other materials.
Aegean art is art that was created in the lands surrounding, and the islands within, the Aegean Sea during the Bronze Age, that is, until the 11th century BC, before Ancient Greek art. Because is it mostly found in the territory of modern Greece, it is sometimes called Greek Bronze Age art, though it includes not just the art of the Mycenaean Greeks, but also that of the non-Greek Cycladic and Minoan cultures, which converged over time.
For the modern utensil, see frying pan. For the flower, see Eschscholzia lobbii.
Tau-, Psi- and phi- type figurines date back to 1450-1100 BC in Mycenaean Greece. They were typically small in size, made of terracotta, although a group of ivory figurines has been found, and were found in tombs, shrines and settlement areas. They are classified by their shape and a resemblance to the Greek letters of tau (τ), psi (ψ) and phi (Φ), according to a typological system created by Arne Furumark in 1941.
Most African sculpture was historically in wood and other organic materials that have not survived from earlier than at most a few centuries ago; older pottery figures are found from a number of areas. Masks are important elements in the art of many peoples, along with human figures, often highly stylized. There is a vast variety of styles, often varying within the same context of origin depending on the use of the object, but wide regional trends are apparent; sculpture is most common among "groups of settled cultivators in the areas drained by the Niger and Congo rivers" in West Africa. Direct images of African deities are relatively infrequent, but masks in particular are or were often made for traditional African religious ceremonies; today many are made for tourists as "airport art". African masks were an influence on European Modernist art, which was inspired by their lack of concern for naturalistic depiction.
The nude, as a form of visual art that focuses on the unclothed human figure, is an enduring tradition in Western art. It was a preoccupation of Ancient Greek art, and after a semi-dormant period in the Middle Ages returned to a central position with the Renaissance. Unclothed figures often also play a part in other types of art, such as history painting, including allegorical and religious art, portraiture, or the decorative arts.
The Wrestler is a basalt statuette, which some believe to be one of the most important sculptures of the Olmec culture. The near life-size figure has been praised not only for its realism and sense of energy, but also for its aesthetic qualities. Since 1964, the sculpture has been part of the collection of the Museo Nacional de Antropología in Mexico City.
Xochipala is a minor archaeological site in the Mexican state of Guerrero, whose name has become attached, somewhat erroneously, to a style of Formative Period figurines and pottery from 1500 to 200 BCE. The archaeological site belongs to the Classic and Postclassic eras, from 200-1400 CE.
The Sounion Kouros is an early archaic Greek statue of a naked young man or kouros carved in marble from the island of Naxos around 600 BCE. It is one of the earliest examples that scholars have of the kouros-type which functioned as votive offerings to gods or demi-gods, and were dedicated to heroes. Found near the Temple of Poseidon at Cape Sounion, this kouros was found badly damaged and heavily weathered. It was restored to its original height of 3.05 meters (10.0 ft) returning it to its larger than life size. It is now held by the National Archaeological Museum of Athens.
Ancient Greek art stands out among that of other ancient cultures for its development of naturalistic but idealized depictions of the human body, in which largely nude male figures were generally the focus of innovation. The rate of stylistic development between about 750 and 300 BC was remarkable by ancient standards, and in surviving works is best seen in sculpture. There were important innovations in painting, which have to be essentially reconstructed due to the lack of original survivals of quality, other than the distinct field of painted pottery.
The Keros-Syros culture is named after two islands in the Cyclades — Keros and Syros. This culture flourished during the Early Cycladic II period of the Cycladic civilization. The trade relations of this culture spread far and wide from the Greek mainland to Crete and Asia Minor.
The Cycladic frying pan is a ceramic item from the Bronze Age Cycladic civilization. It dates to the early Cycladic period, between the 28th and 23 centuries BC. The frying pan derives from grave 74 of Chalandriani cemetery on the Cycladian island of Syros. It was discovered in 1889/90 during excavations led by Christos Tsountas, along with other pottery and was first published by Tsountas in 1899. With the inventory number 4974, the frying pan is now kept in the National Archaeological Museum of Athens. The purpose of the frying pan is unknown.
The Kastri culture refers to a "cultural" dating system used for the Cycladic culture that flourished during the early Bronze Age in Greece. It spans the period ca. 2500–2200 BC and was named by Colin Renfrew, after the fortified settlement of Kastri near Chalandriani on the Cycladic island of Syros. In Renfrew's system, Kastri culture follows the Keros-Syros culture. However, some archaeologists believe that the Keros-Syros and Kastri cultures belong to the same phase. Others describe this period as the Early Cycladic III (ECIII).
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