Journal articles on the topic 'Figurini'
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1
Sunčič, Maja. "Simulacrum ljubezni." Keria: Studia Latina et Graeca 5, no. 2 (December 6, 2003): 85. http://dx.doi.org/10.4312/keria.5.2.85-96.
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Žalovanje zaradi odsotnosti ljubljene osebe pri Admetu in Laodameji povzroči postopno razpadanje, zato si izmislita figurico izgubljene osebe. Nadomestek nudi hladno ugodje, hkrati pa Admeta in Laodamejo ogroža, saj sta soočena z dejstvom, da je figurica ljubljene(ga) zgolj utvara. Spol pomembno določa razplet, saj je Alkestidin simulacrum obenem talisman, medtem ko Laodamejo spoznanje utvare prisili v samomor, ker ji kot ženski nadomestek ne zadostuje. Spolna delitev vpliva tudi na funkcijo figurice kot fetiša oziroma kot dobrega objekta, saj družba moškemu nadomestku ne odreka, medtem ko ga ženski vzamejo in uničijo. Figurica predstavlja materializacijo nevidne ljubljene osebe, ki začasno omogoči, da se Laodameja in Admet z ljubeznijo ubranita pred smrtjo.
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Viana, Fausto, and Rosane Muniz. "Figurino: os figurinos em Bollywood." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 3, no. 7 (February 7, 2009): 23. http://dx.doi.org/10.26563/dobras.v3i7.251.
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Bollywood é o apelido da indústria mais forte do cinema indiano. Ainda que não seja a única nem esteja restrita a apenas um local, o nome Bollywood tem sua origem a partir da cidade onde se concentra a indústria de cinema de língua hindi – Bombaim (atualmente chamada de Mumbai) – e Hollywood, distrito da cidade de Los Angeles, notável pela concentração mundial de empresas da área cinematográfica. Apesar de parecer que Bollywood é uma indústria nova, seguidora da prima americana, que se iniciou no começo do século XX, não é bem assim: o termo foi cunhado na década de 1970, quando a produção de filmes em Bollywood atingiu o recorde de maior produção mundial de títulos por ano (...)
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Halperin, Christina T. "TEMPORALITIES OF LATE CLASSIC TO POSTCLASSIC (ca. AD 600–1521) MAYA FIGURINES FROM CENTRAL PETÉN, GUATEMALA." Latin American Antiquity 28, no. 4 (October 2, 2017): 515–40. http://dx.doi.org/10.1017/laq.2017.38.
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Maya figurine styles from the Late Classic to Postclassic periods (ca. AD 600–1521) from central Petén, Guatemala undergo an abrupt change at the Terminal Classic-Postclassic transition (ca. AD 830–1000). Despite the intimate association of figurines with households, such shifts parallel those on stone monuments and decorated vessels, underscoring the role of figurines in processes of political upheaval. Documenting figurine chronologies over broad periods of time, however, tells us little about how people in the past may have experienced temporal changes. Thus, in concert with a focus on figurine chronologies, this article explores the temporalities of figurines as manifested through their discard, the simultaneous experience of old and new figurine styles, and tensions between personal and monumental time.
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Porčić, Marko. "A tentative attempt to estimate the systemic number of the Late Neolithic Vinča culture figurines." Issues in Ethnology and Anthropology 6, no. 3 (September 5, 2011): 729–41. http://dx.doi.org/10.21301/eap.v6i3.11.
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In this paper an attempt is made to estimate the number of figurines which were in "use" in households of the Late Neolithic Vin!a culture. The number of accumulated figurines and houses is used as a starting point. Given the complexities of the settlement dynamic, figurine use and the formation processes of the archaeological record, the ratio of the number of accumulated of figurines to the number of accumulated houses is only an indirect reflection of the systemic number of figurines. Different figurine use scenarios are evaluated in order to see what the result would be. Keeping in mind that the entire analytical procedure is highly speculative and the range of tested models is far from exhaustive, the results suggest that scenarios resting on the assumption that there was a single figurine per household and that the average use-life of the figurine was equal to the average human generation length predict outcomes that are comparable to the actual archaeological situation.
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Ginsburg, Harvey J., Shirley M. Ogletree, Tammy D. Silakowski, Roger D. Bartels, Shannon L. Burk, and G. Marc Turner. "YOUNG CHILDREN'S THEORIES OF MIND ABOUT EMPATHIC AND SELFISH MOTIVES." Social Behavior and Personality: an international journal 31, no. 3 (January 1, 2003): 237–43. http://dx.doi.org/10.2224/sbp.2003.31.3.237.
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Young children's prosocial behaviors may be motivated by empathy. Forty-one 36–66 month-old children were actively involved with a pipe cleaner figurine play scenario. One figurine appeared distressed at an alarm sound. The other figurines simultaneously terminated the alarm, expressing either empathic or selfish motives. Twenty-four participants (58.5%) correctly pointed at the empathic and selfish figurines, and correctly restated their motives. Of these, 50% (12) consistently predicted empathic or selfish figurines' motives and actions in 3 other situations. Linear regression analyses indicated children’s theories of mind about others' selfish and empathic motives predicted preferences for snack sharing with the empathic figurine (R2 = .690, p < .001) and empathically helping a friend in distress (R2 = .702, p < .001).
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Cline, Eric H. "Monkey Business in the Bronze Age Aegean: The Amenhotep II Faience Figurines at Mycenae and Tiryns." Annual of the British School at Athens 86 (November 1991): 29–42. http://dx.doi.org/10.1017/s0068245400014878.
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Two small blue frit monkey figurines inscribed with the cartouche of Amenhotep II have been found in Late Bronze Age contexts at Mycenae and Tiryns in Mainland Greece. The questions of the findspot of the Mycenae figurine and of an Egyptian or a Syrian origin for the Tiryns figurine are addressed. The usefulness of the two figurines for chronological studies and possible explanations for their purpose and presence in Mainland Greece are also addressed. Other occurrences of monkey figurines, amulets, and representations in the Bronze Age Aegean are included for comparative purposes.
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Tetenkin, A. V., O. V. Zhmur, E. I. Demonterova, E. V. Kaneva, and N. V. Salnaya. "Ivory Figurines and the Symbolic Context of a Paleolithic Dwelling at Kovrizhka IV on the Lower Vitim River, Eastern Siberia." Archaeology, Ethnology & Anthropology of Eurasia 46, no. 4 (December 23, 2018): 3–12. http://dx.doi.org/10.17746/1563-0102.2018.46.4.003-012.
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One of the most important recent discoveries made on the Vitim River (Baikal-Patom plateau, Eastern Siberia) is that of a Paleolithic dwelling at Kovrizhka IV, layer 6. It reveals markers of symbolic activity, such as two anthropomorphic ivory figurines. They were associated with a likewise non-utilitarian context: reiterating boulder and slab pavements, ocher on lithics, on a figurine, and around, evidence of manipulations with the central hearth in the dwelling. One of the figurines shows a triangle pointing downward and possibly rendering the pubes, as in female figurines. Stylistically it resembles Neolithic and Bronze Age anthropomorphic figurines from the Baikal area. Its head, painted with ocher, was directed eastwards. The second ivory figurine has a contour barely reminiscent of the human body. There is no engraving on it. Near its head, a cluster of ocher pieces was found. The radiocarbon date of the dwelling is ca 15.7 ka BP. The two figurines and a fragment of a graphite pendant are the first objects of portable art to be found in the area north of Lake Baikal. The first figurine is thus far the only unambiguously anthropomorphic Upper Paleolithic representation from northeastern Siberia.
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Triadan, Daniela. "Warriors, Nobles, Commoners and Beasts: Figurines from Elite Buildings at Aguateca, Guatemala." Latin American Antiquity 18, no. 3 (September 2007): 269–93. http://dx.doi.org/10.2307/25478181.
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Figurines and figurine fragments excavated at Aguateca, Petén, Guatemala, have unprecedented contextual information. Because the site's epicenter was rapidly abandoned, we have recovered whole and reconstructible figurines from floor contexts in elite residences. In contrast to most Maya sites, these figurines are part of assemblages that were in use or storage when the structures were abandoned, providing a unique opportunity to investigate their function and use. In addition, numerous figurine fragments were recovered from middens associated with these structures. In conjunction with the figurines found on floors, these fragments point to a domestic use of the figurines. The distributions of the in situ figurines in the elite residences suggest that they were used and possibly made by the women of these households. The study of this data set contributes to our understanding of Late Classic elite household activities and social and gender roles. A preponderance of male figurines, many of them warriors, may be related to this center's frequent engagements in warfare.
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Blomster, Jeffrey P. "WHAT AND WHERE IS OLMEC STYLE? Regional perspectives on hollow figurines in Early Formative Mesoamerica." Ancient Mesoamerica 13, no. 2 (July 2002): 171–95. http://dx.doi.org/10.1017/s0956536102132196.
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To understand better the significance of the Olmec style and its implications for Early Formative interregional interaction within Mesoamerica, one particular type of artifact—the hollow figurine—is examined. A definition of the Olmec style is provided based on Gulf Coast monumental art. One of several contemporaneous hollow-figurine types—“hollow babies” (Group 1)—is consistent with a Gulf Coast–based definition of the Olmec style. Fragments of Group 1 hollow figurines from across Mesoamerica are examined, revealing concentrations at a Gulf Coast center and, to a lesser extent, sites in southern Mexico. Rather than the primarily funerary function previously suggested for these objects, contextual data suggest multivalent meanings and functions. Group 2 figurines are related but different; variation appears in both the distribution of Group 2 fragments across Mesoamerica and their use. Available evidence suggests limited access to hollow figurines of both groups compared with contemporaneous solid figurines. A previous assertion that “hollow babies” were primarily produced and consumed in Central Mexico is rejected, and the significance of the differences among these hollow-figurine types is considered.
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Begun, Erica. "THE MANY FACES OF FIGURINES." Ancient Mesoamerica 19, no. 2 (2008): 311–18. http://dx.doi.org/10.1017/s0956536108000412.
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AbstractFigurines offer archaeologists intriguing insights into many aspects of prehistoric culture. Beyond their utility as chronological markers, figurines offer information regarding the social and cultural structures of a society. This paper will demonstrate how the figurines of Michoacan can be used as markers of ethnic identity and ethnic continuity in the Lake Patzcauro Basin. The high degree of continuity in decorative and production styles throughout much of the sequence serves as evidence for ethnic continuity and the identity of the people who made the artifacts. A preliminary typology for the Michoacan figurines is presented to support the idea that a distinctly Michoacan style of figurine exists. The application of this figurine typology reveals a high degree of continuity in the figurine record. This supports the hypothesis that the ethnic origins of the Michoacan people may reach back as far as the Late Preclassic/Early Classic period.
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Coulam, Nancy J., and Alan R. Schroedl. "Late Archaic Totemism in the Greater American Southwest." American Antiquity 69, no. 1 (January 2004): 41–62. http://dx.doi.org/10.2307/4128347.
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Split-twig figurines, willow branches bent to resemble miniature animals and dating between 2900 B.C. and 1250 B.C., have been found at 30 Late Archaic period archaeological sites in the Greater American Southwest. Two different and geographically distinct construction styles, Grand Canyon and Green River, have been identified for split-twig figurines. Application of ethnographic analogy to the current split-twig figurine archaeological record supports the postulate that the two different styles of split-twig figurines served two different functions. The Grand Canyon-style figurines generally functioned as increase totems whereas the Green River-style functioned as social totems. This is the first example of increase totemism reported for the region. Ritual and social attitudes toward the animal and totem eventually ended and the last split-twig figurine was discarded around 1250 B.C.
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Meskell, Lynn, Carolyn Nakamura, Rachel King, and Shahina Farid. "Figured Lifeworlds and Depositional Practices at Çatalhöyük." Cambridge Archaeological Journal 18, no. 2 (May 19, 2008): 139–61. http://dx.doi.org/10.1017/s095977430800022x.
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The corpus of figurines from Çatalhöyük has attracted the attention of diverse audiences but there has been an overwhelming focus on a selection of female figurines, many of which lack exact provenience. Excavation from 1961 to 1965 yielded more mundane examples classifiable as anthropomorphic, zoomorphic and abbreviated forms. New work attempts to balance the picture through various methods and strategies. The research presented here collates the artefacts from these early seasons with those retrieved from 1993 to 2006 to gain a fuller understanding of figurine practice. The figurines almost exclusively represent secondary deposition. We can now assess the number and type of figurines deposited in buildings, middens, burials and elsewhere. Reassessment of the entire corpus has prompted interrogation of the category of ‘figurine’ and reconsideration of the taxonomies along with other artefacts and image production at Çatalhöyük. Depositional practices at the site suggest processes of mobility and circulation that have rarely been considered in studies of figurines. Typical ‘representational’ or aesthetic approaches imply that the figurines were a special category with particular values of religiosity and gender; but attention to the archaeological context can imply meaning from the material practices within which ‘figurines’ were enmeshed.
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Rassamakin, Yu Ya. "THE SEREZLIIVKA TYPE FIGURINES AS AN EVIDENCE OF CONTACTS DURING THE LATE ENEOLITHIC." Archaeology and Early History of Ukraine 39, no. 2 (September 30, 2021): 338–49. http://dx.doi.org/10.37445/adiu.2021.02.22.
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The author analyzes the find of a new clay figurine of the Serezliіvka type at the Maikop culture settlement «Chekon» in the Kuban region. This find can be compared with figurines from burials of the Late Eneolithic in the interfluve of the Dnieper and the Southern Bug rivers. 25 figurines in 10 burials were found in this region. One figurine is known from the Trypillia settlement of Sandraki on the Southern Bug river (period Trypillia C/II). Two figurines are known in the burial on the Black Sea coast and one another in the Crimea.
Figurines of the Serzliivka type are typical for the local Dnieper-Bug cultural group of the Late Eneolithic. This local group is characterized by features of the Lower Mikhailivka and Kvitiana cultures, as well as elements of the Latest Trypillia. The character of the clay of the statues is very close to the Tripolye ceramics and is not typical for the steppe ceramic traditions.
The figurines have three form options in the design of the head and specific ornamentation of the drawn lines. The author notes the special features in the form, ornament and technology of making a figurine from the settlement «Chekon» in comparison with the Dnieper-Bug region. This figurine is an imitation of «classic» figurines from region between the Dnieper and Southern Bug rivers. The mobile population, which left on the territory of the Black Sea steppe burials of the Zhyvotylivka-Vovchansk type, could be the mediators in the emergence of this type of anthropomorphic sculpture so far from the main zone of its distribution. In this context, it is very important to note that ceramic products were found in the settlement, analogies of which are known in the settlements of Trypillia C/II. These artefakts from the settlement are important for the development of the concept of coexistence of the steppe population of the Late Eneolithic in the context of the development of agricultural societies.
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Hagerman, Kiri. "Transformations in Representations of Gender During the Emergence of the Teotihuacan State: A Regional Case Study of Ceramic Figurines from the Basin of Mexico." Cambridge Archaeological Journal 28, no. 4 (June 19, 2018): 689–711. http://dx.doi.org/10.1017/s0959774318000288.
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This paper investigates transformations in the construction and expression of gender ideologies in the Basin of Mexico from the late Middle Formative through Classic periods (approx. 800bc–ad600). Ceramic figurines from the sites of Teotihuacan, Axotlan, Cerro Portezuelo and Huixtoco are used to explore how elements of gender were constructed and communicated in the region over the course of a millennium, and how these practices underwent a transformation during the emergence and expansion of the Teotihuacan state. During the Formative periods, the selection, combination, or omission of sexual attributes in association with decorative elements such as jewellery formed a flexible strategy for depicting a variety of social identities across the Basin of Mexico. The emergence of the Teotihuacan figurine style in the Terminal Formative period brought with it significant changes to the way figurine bodies were formed—sexual attributes disappeared and were replaced with increasingly elaborate clothing and jewellery as the figurine corpus diversified into multiple types. Although relative rates of depictions of feminine and masculine figurines shifted over time, in no period were figurines limited to a binary set of depictions, indicating diverse social identities and gender ideologies in the Basin of Mexico over time.
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Dias, André, and Danielle Joia. "Criação e prática docente no atelier de carnaval de Samuel Abrantes." Revista de Ensino em Artes, Moda e Design 5, no. 3 (September 8, 2021): 185–98. http://dx.doi.org/10.5965/25944630532021185.
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O presente artigo relata o processo de criação de figurino, associada a prática docente, do professor Samuel Abrantes em seu atelier de Carnaval; bem como a Coautoria em seus figurinos, com alunos e carnavalescos. Dois estudos de caso são elencados pelos autores para análise dos processos de construção, metodologia, escolha de materiais e soluções de problemas, ao longo dos mais de 15 anos em que os pesquisadores acompanham Samuel em sua produção de figurinos carnavalescos para o carnaval carioca. Além da metodologia e do processo de criação, o artigo descreve a importância da troca de experiencias, o aprendizado de forma e a importância do papel do figurinista - e a transdisciplinaridade que a profissão exige - independente da mídia para a qual o figurino seja criado. Reforça, também, a importância da Práxis para a construção de uma teoria reflexiva do figurino carnavalesco e da formação do artista, dentro e fora da academia.
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Arnold, Philip J., and Billie J. A. Follensbee. "EARLY FORMATIVE ANTHROPOMORPHIC FIGURINES FROM LA JOYA, SOUTHERN VERACRUZ, MEXICO." Ancient Mesoamerica 26, no. 1 (2015): 13–28. http://dx.doi.org/10.1017/s0956536115000012.
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AbstractThis paper describes Early Formative (3250–2700b.p., uncalibrated) anthropomorphic figurines from the site of La Joya, located in the Tuxtla Mountains of southern Veracruz, Mexico. Although recovered within the region traditionally identified as the “Olmec Heartland,” the La Joya figurine collection diverges in some fundamental ways from other published Early Formative Gulf Olmec collections. While the torsos from La Joya generally reflect the poses, postures, and costumes noted at contemporaneous sites, the La Joya figurine heads display characteristics that rarely conform to the traditional “San Lorenzo” stylistic canons. Rather, the overwhelming majority of figurine heads are similar to the Trapiche figurines from north-central Veracruz. These differences suggest that myriad intra- and interregional connections characterized Early Formative occupation along the southern Gulf lowlands. This variation also raises concerns regarding the suitability of the San Lorenzo material as necessarily “representative” of Early Formative Gulf Olmec lifeways.
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Përzhita, Luan. "Një figurinë bronzi e Mërkurit / A Bronze Figurine of Mercury." Iliria 30, no. 1 (2001): 317–19. http://dx.doi.org/10.3406/iliri.2001.1733.
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Langin-Hooper, Stephanie M. "SELEUCID-PARTHIAN FIGURINES FROM BABYLON IN THE NIPPUR COLLECTION: IMPLICATIONS OF MISATTRIBUTION AND RE-EVALUATING THE CORPUS." Iraq 78 (October 17, 2016): 49–77. http://dx.doi.org/10.1017/irq.2016.3.
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This article formally documents an important correction to the provenance attribution of three reclining female figurines from Babylon that reside in the Nippur collection at the University of Pennsylvania Museum and were published with that corpus. Few scholars have noticed the misattribution of these figurines, and the problem has not been formally documented for scholarship. Through historiographical analysis of the late nineteenth century Nippur Expeditions and early twentieth century cataloguing and publication of the Nippur corpus, this article reconstructs how and why these three reclining figurines have been continually misassociated with Nippur, and traces the continued impact of this confusion on scholarship's understanding of the Nippur figurine tradition. Most critically, the publication of these three figurines as Nippur objects lent credence to the testimony of an antiquities dealer who sold an additional eight reclining figurines “from Nippur” to the Harvard Semitic Museum; these figurines continue to be regarded as Nippur objects. This article casts doubt upon that provenance. The figurine tradition of Seleucid-Parthian Nippur is reevaluated in light of the absence of securely-provenanced reclining female figurines at that site. An art historical evaluation of these figurines is undertaken, which links these figurines to the general use of hybrid Greek-Babylonian imagery in Seleucid-Parthian figurines, and connects the specific motif of the reclining figure to Greek banqueting imagery. It is proposed that the Nippur community's lack of interest in reclining female figurines can be correlated with a disinterest in pan-Hellenistic ceramic tablewares; together, these lacunae indicate Nippur's non-participation in negotiated Greek-Babylonian banqueting practices. These differences in cross-cultural interaction between Nippur and the neighboring Babylonian communities have not been fully recognized nor explored, due to scholarship's misunderstanding of the use of reclining female figurines at that site. It is this confusion that this article attempts to resolve.
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Felipecki, Elizabeth. "A utilização de pranchas iconográficas na criação de figurinos de época para a teledramaturgia." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 10, no. 22 (November 9, 2017): 143. http://dx.doi.org/10.26563/dobras.v10i22.640.
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Neste artigo, descrevo uma das etapas da criação e da fabricação de figurinos de época para a teledramaturgia fundamentada na colagem de referências iconográficas e textuais sobre pranchas. Um processo de pesquisa que utiliza a análise interpretativa de um conjunto diverso e rico de imagens para estabelecer relações entre o figurino e o personagem. Partindo da descrição dos principais atributos de um figurino de época para a teledramaturgia, apresento a noção empírica e teórica de prancha iconográfica e sua função comunicacional. Utilizo uma das pranchas iconográficas desenvolvidas para os figurinos da telenovela Lado a Lado, obra de ficção que tem como cenário o Rio de Janeiro da Belle Époque, para ilustrar a composição da prancha e o resultado na fabricação de um dos trajes da protagonista Isabel.
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Atakuman, Çiğdem. "Figurines of the Anatolian Early Bronze Age: the assemblage from Koçumbeli-Ankara." Anatolian Studies 67 (2017): 85–108. http://dx.doi.org/10.1017/s0066154617000023.
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AbstractThrough analysis of a figurine assemblage from the site of Koçumbeli-Ankara, this study aims to re-evaluate the origins, meanings and functions of the Early Bronze Age (third millennium BC) anthropomorphic figurines of Anatolia. Conventional typological approaches to figurines are often focused on their origins and sex; however, such approaches hinder an understanding of the context of the norms of production, display and discard within which the figurines become more meaningful. Following an examination of breakage patterns and the decorative aspects of the Koçumbeli assemblage, a comparative review of figurine find contexts, raw materials and abstraction scales in Anatolia is provided, so that the social concerns underlying the use of these figurines can be explored. It is concluded that the origins of the figurines are difficult to pinpoint, due to the presence of similar items across a variety of regions of the Near East from the later Neolithic onwards. The sex of the figurines is equally ambiguous; while some human sexual features can be discerned, it is difficult to decide whether these features are ‘male’, ‘female’, both or beyond classification. Alternatively, the decoration, breakage and find contexts of the figurines suggest that the imagery was embedded in more complex perceptions of social status, death and social regeneration. The need for materialisation of these concerns in the form of the figurines could be related to the development of a new social landscape of interaction leading to political centralisation by the second millennium BC. Furthermore, the figurines were produced through a meaningful linking of particular raw materials and particular abstraction scales to particular use contexts, which seems to have shifted during the centralisation process.
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Martin, Louise, and Lynn Meskell. "Animal Figurines from Neolithic Çatalhöyük: Figural and Faunal Perspectives." Cambridge Archaeological Journal 22, no. 3 (September 25, 2012): 401–19. http://dx.doi.org/10.1017/s0959774312000479.
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This article presents a study of the zoomorphic figurine assemblage from Neolithic Çatalhöyük in central Turkey. Figurine manufacture, depositional condition and contexts of discard are discussed, to find that their fragmentation seems related to fabrication methods and use rather than intentional breakage. We show animal figurines deriving mostly from midden contexts, indicating an expediency in their use. Analysis then focuses on a sub-set of 104 relatively complete quadruped figurines. We introduce a method for transparently grouping them into morphological types, with the aim of querying whether they reflect actual animal forms, and if so, to explore representational variation and consistency within those forms. Three key findings emerge from this sub-study: 1) while ambiguity exists, many figurines strongly suggest real animal forms; while wide morphological variation is seen within ‘taxon’ groups, there are clear areas of consistency in depiction, implying an intention for recognition that persisted over extensive time periods; 2) across animal forms, careful attention is given to modelling heads, horns, tails, and sometimes neck and forequarters, showing a hierarchy in representation; 3) figurine makers at Çatalhöyük were adept at expressing different forms of the same animal type, adults and juveniles, removable features, animal movement, and occasionally very finely modelled forms. The combined evidence — viewed alongside the Çatalhöyük faunal remains and other animal portrayals — is employed to consider alternative interpretations of the figurines. While no one interpretation fits the highly varied assemblage, we argue that they most likely played roles in real everyday activities, such as animal exchange, herding, management, hunting and tracking, and thus reflect aspects of human–animal engagements not witnessed by other archaeological finds.
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Hosler, Dorothy, and Ruben Cabrera. "A MAZAPA PHASE COPPER FIGURINE FROM ATETELCO, TEOTIHUACAN: DATA AND SPECULATIONS." Ancient Mesoamerica 21, no. 2 (2010): 249–60. http://dx.doi.org/10.1017/s0956536110000313.
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AbstractExcavations of the Mazapan phase at the Atetelco complex at Teotihuacan by Ruben Cabrera and colleagues produced a small human copper figurine. Studies of Mesoamerican metallurgy have indicated that metallurgy was introduced to western Mexico around a.d. 700 from Colombia, and Ecuador. This particular figurine is a remarkable find. The dates (a.d. 800–900) precede those of copper artifacts in the central Highlands. The manufacturing method (an open-backed casting) is rare in Mesoamerica but common in Colombia and Panama. Open-backed cast figurines that do appear in Mesoamerica come from the Cenote of Sacrifice, are made from copper-gold alloys, and were imported from lower Central America or Colombia. The Atetelco figurine is made from a copper-arsenic alloy. Copper-arsenic alloy objects are common in western Mexico (after a.d. 1150) and Ecuador and northern Peru (after about a.d. 300). The major question concerning the Atetelco figurine is whether it was fashioned in Ecuador or Colombia and imported, or whether it was produced in western Mexico. Our study of artifact chemistry, fabrication methods, and provenience indicate that the weight of the evidence points to western Mexico. We suggest that this fabrication technique (lost-wax castings of open-backed human figurines), while introduced from Colombia and lower Central America, never became a major component of the Mesoamerican metallurgical tradition.
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Viana, Fausto, and Rosane Muniz. "Figurino: de quando o Conde Drácula conheceu a baiana." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 4, no. 8 (January 24, 2010): 14. http://dx.doi.org/10.26563/dobras.v4i8.220.
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Nossa coluna desta edição é resultado de uma guerra de bastidores. O marco da batalha foi dado pela Romênia, que nos convidou a palestrar no encontro anual do Grupo de Trabalho de Figurino da Organização Internacional de Cenógrafos, Técnicos e Arquitetos de Teatro (OISTAT) sobre “A Influência do Traje Popular (que nós aqui chamamos de regional) no Figurino Teatral”.1 Seria preciso levar dois trajes para uma Parada de Figurinos, além de fotos para uma exposição e uma apresentação para o simpósio (...)
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Stead, I. M. "Chalk Figurines of the Parisi." Antiquaries Journal 68, no. 1 (March 1988): 9–29. http://dx.doi.org/10.1017/s0003581500022460.
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A small chalk figurine from Withemsea, North Humberside, is identified as the finest example of a distinctive group found only in the territory of the Parisi. Between forty and fifty figurines are now known and many represent a warrior, usually carrying a sword on his back. Most of the figurines come from Iron Age or Roman sites, and all the swords are shown in scabbards suspended about their midpoint—a fashion known in northern Britain in the Iron Age. The warrior represented is presumably a god, mythical figure or ancestor, and the figurines may well have had a ritual or magical function.
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Butzkies, Eva. "1918.CH – 100th anniversary of Landesstreik: an insight into the creative process of retelling history through costumes." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 12, no. 26 (August 27, 2019): 52–66. http://dx.doi.org/10.26563/dobras.v12i26.913.
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Este artigo ilumina o conceito de figurino da produção teatral 1918.CH – 100º aniversário de Landesstreik com a questão central sobre como contar a história em detalhes através de figurinos para um público moderno, quando o objetivo não é a reconstituição, mas sim a celebração das possibilidades da narrativa teatral. Criando uma experiência para o público que vai além do conhecimento dos acontecimentos, o diretor da peça contou com o figurino para melhorar a legibilidade da narrativa desta produção de larga escala. Este relatório “dos bastidores” também dá uma visão da colaboração entre a criação e a construção do figurino, uma combinação de voluntários e profissionais com habilidades específicas de áreas de especialização distintas.
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Metz, Márcia. "Atrizes gordas também usam figurinos." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda, no. 33 (November 30, 2021): 94–110. http://dx.doi.org/10.26563/dobras.i33.1431.
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O texto traz reflexões acerca da relação das atrizes gordas com os figurinos de suas personagens e com figurinistas. Contextualiza a importância do figurino na realização de um espetáculo, sendo muito mais do que uma roupa. Aborda um pouco da realidade das atrizes gordas. A partir de alguns depoimentos de atrizes e vivências pessoais da autora certas tensões são evidenciadas nessa relação atrizes gordas/figurinos/figurinistas. Quando falamos de figurinos pensados para atrizes que não são magras, um reflexo da opressão estética e da gordofobia que vigoram socialmente aparecem no meio teatral. O artigo com essas ponderações propõe que repensemos essa estrutura para que as atrizes gordas possam usar quaisquer tipos de figurinos, sem que isso se torne uma problemática.
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Tessari, Valéria Faria dos Santos, and Ronaldo De Oliveira Corrêa. "Um espartilho para dançar: processos criativos para o figurino do espetáculo Valsa nº 30, Téssera Companhia de Dança da UFPR." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 8, no. 18 (December 31, 2015): 42. http://dx.doi.org/10.26563/dobras.v8i18.102.
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Este artigo tem como objetivo descrever algumas práticas a respeito dos processos de criação de figurinos para espetáculos da Téssera Companhia de Dança, da UFPR. Para isso, utilizamos entrevistas narrativas extensas realizadas com uma das coreógrafas da companhia, imagens dos figurinos e pesquisa bibliográfica. Como resultado foi possível perceber que, na Téssera, se compreende o figurino como elemento de comunicação e composição de personagens. Sua principal função é compor a obra, e sua confecção é realizada em paralelo à produção do espetáculo.
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Bartus, Dávid. "Roman bronze gladiators: A new figurine of a murmillo from Brigetio." Dissertationes Archaeologicae 3, no. 7 (October 16, 2020): 177–85. http://dx.doi.org/10.17204/dissarch.2019.177.
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In summer 2019 a bronze figurine of a gladiator came to light during the excavations in the praetentura of the legionary fortress of Brigetio. This paper will briefly review all known bronze gladiator figurines from Brigetio, as well as the representations of gladiators in Roman art.
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Montanheiro, Adriana Martinez. "Entre Corpo, Dança e Figurino." A Luz em Cena: Revista de Pedagogias e Poéticas Cenográficas 1, no. 01 (April 23, 2022): 1–16. http://dx.doi.org/10.5965/27644669010120210201.
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Este artigo propõe investigar algumas das relações entre corpo, movimento, dança e figurino, sob a ótica do corpo como invólucro da alma, apresentando algumas reflexões que o cercam na filosofia e no movimento da dança. Será destacada a participação dos figurinos na dança e sua relação com a visualidade, ergonomia, materiais, volumes e espaço, dando ênfase conjuntamente a luz refletida na cena. Encontram-se também relacionados aos elementos pesquisados, algumas representações dos corpos nas danças clássicas, modernas e contemporâneas, caracterizados por seus devidos figurinos.
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Martino, Luis Mauro Sa, and Rafaela Artero Nascimento. "Um tênis All-Star no século XVIII: tensionamentos da representação histórica no figurino de “Maria Antonieta”, de Sofia Coppola." Revista Panorama - Revista de Comunicação Social 8, no. 2 (March 11, 2019): 2. http://dx.doi.org/10.18224/pan.v8i2.6555.
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Este trabalho delineia alguns aspectos dos entrelaçamentos entre passado e presente nos figurinos do filme “Maria Antonieta”, de Sofia Coppola. São analisados todos os figurinos do primeiro arco narrativo do filme, focalizando a transformação da protagonista de princesa austríaca em rainha da França. A análise sugere que os figurinos contam uma história paralela, às vezes mesmo contradizendo a narrativa “histórica” principal. Isso acontece ao menos de três maneiras: (1) fazendo referências à moda contemporânea; (2) usando um conceito moderno de “juventude” ao representar a vida da protagonista na corte francesa; (3) mostrando as roupas da protagonista como metáfora de seu caráter e atitudes. Esses elementos são estudados a partir das questões entre representação e história no figurino cinematográfico.
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Muskett, Georgina. "Athena Parthenos in Liverpool." Journal of Hellenic Studies 139 (September 19, 2019): 110–15. http://dx.doi.org/10.1017/s0075426919000065.
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AbstractA terracotta figurine depicting Athena Parthenos, which is in the collections of the University of Liverpool and previously dated to the Roman period, is argued to have been made in the 19th century. The premise is based on the object’s close stylistic similarities to 19th-century terracotta figurines in collections in Manchester and Geneva, leading to the conclusion that all three were made from the same mould, and accordingly are of the same date. The note also considers possible reasons for the manufacture of this series of terracotta figurines depicting Athena Parthenos.
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Sumerata, I. Wayan, and Dewa Gede Yadhu Basudewa. "PERSEBARAN ARCA BERCORAK SIWAISTISDI KOTA DENPASAR, BALI." Forum Arkeologi 29, no. 2 (March 13, 2017): 93. http://dx.doi.org/10.24832/fa.v29i2.188.
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This research aims to reconstruct the history of human culture, and the depiction of alteration process of man’s culture in the past as well as contribute data about development history of figurine art, particuarly figurine with siva characteristic in Denpasar. Data were collected using observation, interview, and literature study method and were analyzed using qualitative analysis and iconography. The research result shows that figurines with siva characteristic in Denpasar distributed in ten sanctuaries. The types of siva character figurine are Durga, Ganesha, linga yoni, linga, yoni, holy priest, and nandi. Up to now those figurines are still functioned by the people for religious activities and as media to connect with God Almighty. Penelitian ini bertujuan untuk merekonstruksi sejarah kebudayaan manusia masa lampau, dan penggambaran proses perubahan budaya manusia masa lampau, serta memberikan sumbangan data mengenai sejarah perkembangan seni arca, khususnya yang bercorak Siwaistis di Kota Denpasar. Pengumpulan data menggunakan metode observasi, wawancara, dan studi kepustakaan dan dianalisis menggunakan analisis kualitatif dan ikonografi. Hasil penelitian menunjukkan bahwa arca bercorak Siwaistis di Kota Denpasar tersebar pada 10 tempat suci. Jenis arca bercorak Siwaistis yang ditemukan seperti arca Dewi Durga, arca Ganesha, lingga yoni, lingga, yoni, arca pendeta, dan arca Nandi. Sampai saat ini arca-arca tersebut masih difungsikan dan dimanfaatkan untuk kegiatan keagamaan sekaligus sebagai media untuk menghubungkan diri kepada Tuhan Yang Maha Esa.
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Biruta Loze, Ilze. "Small anthropomorphic figurines in clay at Ģipka Neolithic settlements." Documenta Praehistorica 32 (December 31, 2005): 155–65. http://dx.doi.org/10.4312/dp.32.11.
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Miniature Neolithic figurines in clay are a special topic of research. This especially concerns areas where their representation has so far been poor. While carrying out archaeological excavations in Northern Kurzeme, the north-west coastal dune zone of Rīga Bay, a ritual-like complex was recovered at Ģipka A site belonging to the local Culture of Pit Ceramics. It consists of several large and smaller fireplaces and pits, with the finds of fragmentary clay figurines recovered under the palisade that surrounded the settlement. The head and body of the miniature anthropomorphic figurines in clay have original modelling. It is possible to single out two types of figurine: with rather broad cheekbones, and oval modelling of face. The large amount of ochre found in the settlement and the purposeful breaking of figurines are evidence of their role during a rite. Clay figurines have a symbolic meaning, and the signs depicted on them, incised walking stick-shape and other motifs, are the symbols of early farmers.
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Morris, Christine, Alan Peatfield, and Brendan O’Neill. "‘Figures in 3D’: Digital Perspectives on Cretan Bronze Age Figurines." Open Archaeology 4, no. 1 (March 1, 2018): 50–61. http://dx.doi.org/10.1515/opar-2018-0003.
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Abstract The largest corpus of clay figurines from the Cretan Bronze Age comes from ritual mountain sites known as peak sanctuaries. In this paper, we explore how the ‛Figures in 3D’ project contributes to our understanding of these figurines, aiding in the study of the technologies of figurine construction and the typological analysis of distinctive styles. We discuss how the project has, more unexpectedly, begun to create new dialogues and opportunities for moving between the material and the digital by taking a multifaceted approach that combines the data from 3D models and 3D prints with experimental work in clay.
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Chenciner, Robert. "Ancient Copper Alloy Figurines from Daghestan." Antiquaries Journal 79 (September 1999): 59–79. http://dx.doi.org/10.1017/s0003581500044486.
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Nothing appears to have been written in English about a group of powerfully-sculpted lost-wax copper alloy, standing, naked figurines, 30–60mm tall, mainly from mountainous regions of west Daghestan and south-east Chechnya in the Caucasus. More than a hundred of these phallic (male), or otherwise sexually explicit (female and hermaphrodite) figurines have been found at different places at different dates since 1867 up to the present day. Most writers have suggested datings from the first millennium BC and indeed dating between 500 BC and AD 500 has been recently confirmed by the first technical and chemical analysis of a sample of these figurines by Dr Peter Northover. The thirteen figurines which he analysed are catalogued here. However, a Daghestani archaeologist Dr M S Gadjiev has recently proposed that the period of their manufacture is from the sixth to ninth centuries AD, since similar figurines have been found with a small spoon, datable to that period. The author's suggested interpretations of the ‘adoration’ and ‘cup-bearer’ types of figurine, which occur most frequently, do not affect the debate on their dating.
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Nefs, Harold T. "Depth of Field Affects Perceived Depth-width Ratios in Photographs of Natural Scenes." Seeing and Perceiving 25, no. 6 (2012): 577–95. http://dx.doi.org/10.1163/18784763-00002400.
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The aim of the study was to find out how much influence depth of field has on the perceived ratio of depth and width in photographs of natural scenes. Depth of field is roughly defined as the distance range that is perceived as sharp in the photograph. Four different semi-natural scenes consisting of a central and two flanking figurines were used. For each scene, five series of photos were made, in which the distance in depth between the central figurine and the flanking figurines increased. These series of photographs had different amounts of depth of field. In the first experiment participants adjusted the position of the two flanking figurines relative to a central figurine, until the perceived distance in the depth dimension equaled the perceived lateral distance between the two flanking figurines. Viewing condition was either monocular or binocular (non-stereo). In the second experiment, the participants did the same task but this time we varied the viewing distance. We found that the participants’ depth/width settings increased with increasing depth of field. As depth of field increased, the perceived depth in the scene was reduced relative to the perceived width. Perceived depth was reduced relative to perceived width under binocular viewing conditions compared to monocular viewing conditions. There was a greater reduction when the viewing distance was increased. As photographs of natural scenes contain many highly redundant or conflicting depth cues, we conclude therefore that local image blur is an important cue to depth. Moreover, local image blur is not only taken into account in the perception of egocentric distances, but also affects the perception of depth within the scene relative to lateral distances within the scene.
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Howley, Kathryn E. "The Materiality of Shabtis: Figurines over Four Millennia." Cambridge Archaeological Journal 30, no. 1 (September 12, 2019): 123–40. http://dx.doi.org/10.1017/s0959774319000313.
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Miniature human figurines have inspired many theoretical advances in archaeological literature, centred around universal human reactions to the material affect of their form. However, confirmation that ancient audiences had such reactions to figurines can be difficult to access in the archaeological record. Egyptian shabtis, a type of funerary figurine, allow such reactions to be accessed by the archaeologist due to their widespread use throughout a long period of Egyptian history and their continuing popularity in other cultures since ancient times: evidence consists of a broad range of textual, artistic and archaeological data from many different cultures over a period of roughly 4000 years. This evidence confirms not only that ancient Egyptian craftsmen responded to and sought to maximize the material affect of the shabtis, but that a significant part of the human response to miniature human figurines is indeed conditioned by their material qualities, independent of the figurines’ original religious function and the cultural background of the viewer.
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Wolf, Sibylle, Benjamin Schürch, Jens A. Frick, and Michael Seifert. "Der abenteuerliche Weg der Vogelherd-figurinen – von ihrer auffindung bis heute." Mitteilungen der Gesellschaft für Urgeschichte 30, no. 2021 (August 1, 2022): 115–43. http://dx.doi.org/10.51315/mgfu.2021.30006.
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Die Vogelherd-Figuren wurden unter Leitung des Urgeschichtlers Gustav Riek 1931 in der Vo- gelherd-Höhle bei Niederstotzingen ausgegraben. Riek hatte offensichtlich eine starke Bindung zu den Figurinen. Sie zählen zu den ältesten figürlichen Kunstwerken der Welt. Ihre Auffindung wird hier diskutiert. Die Aufbewahrung der Figuren seit 1931 bis heute hat eine wechselvolle Geschichte, die hier erstmalig mittels Einsichtnahme in die Akten des Archivs der Universität Tübingen nachvollzogen wurde. Heute sind die Figuren im Museum für Alte Kulturen im Schloss Hohentübingen ausgestellt.
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Wolf, Sibylle, Benjamin Schürch, Jens A. Frick, and Michael Seifert. "Der abenteuerliche Weg der Vogelherd-figurinen – von ihrer auffindung bis heute." Mitteilungen der Gesellschaft für Urgeschichte 30, no. 2021 (August 1, 2022): 115–43. http://dx.doi.org/10.51315/mgfu.2021.30006.
Full textAbstract:
Die Vogelherd-Figuren wurden unter Leitung des Urgeschichtlers Gustav Riek 1931 in der Vo- gelherd-Höhle bei Niederstotzingen ausgegraben. Riek hatte offensichtlich eine starke Bindung zu den Figurinen. Sie zählen zu den ältesten figürlichen Kunstwerken der Welt. Ihre Auffindung wird hier diskutiert. Die Aufbewahrung der Figuren seit 1931 bis heute hat eine wechselvolle Geschichte, die hier erstmalig mittels Einsichtnahme in die Akten des Archivs der Universität Tübingen nachvollzogen wurde. Heute sind die Figuren im Museum für Alte Kulturen im Schloss Hohentübingen ausgestellt.
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Della Costa, Rossana Perdomini, and Élcio Gimenez Rossini. "Figurino." Pitágoras 500 9, no. 1 (May 27, 2019): 13–23. http://dx.doi.org/10.20396/pita.v9i1.8655497.
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Este texto apresenta uma proposta metodológica para o trabalho com figurinos. Considera o figurino como um objeto mobilizador do processo criativo no teatro. A relação entre o corpo e o material são abordados em seis etapas: figuras e fantasmas, movimento com papel craft, invólucro de papel craft; criação de silhuetas com volumes; caracterização de figuras e caracterização de uma personagem de um texto dramático.
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Chapman, John, Bisserka Gaydarska, and Emma Watson. "“What Have our Figurines Ever Done for us?” Magic and Agency in Balkan-Carpathian Prehistory." Stratum plus. Archaeology and Cultural Anthropology, no. 2 (April 30, 2022): 159–92. http://dx.doi.org/10.55086/sp222159192.
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The work of Mary Helms and Alfred Gell on cultural transformations, object colour and brilliance and their links to ritual power emphasises the most important aspect of magic for objects — its agency. The aesthetic of exotic, bright and colourful objects in the Neolithic and Copper Age of ‘Old Europe’ was central to the objects’ agency. However, the vast majority of figurines from this region was neither polished nor highly coloured, nor even decorated — sometimes showing signs of rapid production for short-term usage. Yet there is a widespread notion that figurines had the potential to produce special effects in ritual practice. Just as the agency of figurines is ‘culture-specific’ as well as context-specific, their potency depended upon a widespread underlying acceptance of what this particular class of objects could do for people. Here we pose two questions: how did figurines perform their agency? and was figurine’s agency fundamentally different from the agency of bright, colourful, exotic objects? We present four examples of the magical effects — i. e. the agency — of figurines from the Mesolithic, Neolithic and Copper Age of Old Europe: the efficacy of Lepenski Vir fish-persons; how figurines contributed to the practice of black magic in the Vinča group; the ability of the fragmentation of shiny, black Hamangia figurines to achieve significant social effects; and the arrangement of Cucuteni figurine sets to educate women about (in)fertility.
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Blomster, Jeffrey P. "Context, Cult, and Early Formative Period Public Ritual in the Mixteca Alta." Ancient Mesoamerica 9, no. 2 (1998): 309–26. http://dx.doi.org/10.1017/s0956536100002017.
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AbstractFrom the Early and Middle Formative periods, hollow ceramic-baby figurines in the Olmec style—representing a suite of shared symbols and iconography—appear at sites throughout Mesoamerica. Hollow babies are usually reported without provenience, which has prevented a context-based analysis. The recent discovery of a hollow-baby figurine in a bell-shaped pit in the Mixteca Alta of Oaxaca provides the opportunity to examine the role and purported distribution of these objects across Mesoamenca. Based on consideration of the Etlatongo hollow-baby image, a semiotic analysis of contemporaneous solid figurines from Oaxaca, and the volume and nature of its bell-shaped-pit context, hollow babies are interpreted as ritual paraphernalia used in display and public ceremonies that reflect the emerging social ranking of this period. Moving beyond a socioeconomic interpretation, the interregional relationships expressed through hollow-baby figurines are suggested to evince participation in a regional cult.
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Makowski, Maciej. "Zoomorphic clay figurines from Tell Arbid. Preliminary report." Polish Archaeology in the Mediterranean XXIV, no. 1 (February 28, 2016): 627–56. http://dx.doi.org/10.5604/01.3001.0010.0118.
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The collection of clay zoomorphic figurines from Tell Arbid, a site in the Khabur river basin in northern Mesopotamia, comprises nearly 600 specimens, dated mainly to the 3rd and first half of the 2nd millennium BC. It consists of solid figurines and the much less numerous wheeled figurines and hollow figurines/zoomorphic vessels, as well as a single rattle in the form of a zoomorphic figurine. The animals represented include chiefly equids, sheep, goats, cattle, dogs and birds. The find context usually does not permit anything but a very broad dating, but an analysis of details of execution makes it possible to establish the chronology of particular objects. Identified chronological assemblages illustrate the character of zoomorphic representations in particular periods. A comparative analysis reveals, among others, diachronic changes in the popularity of representations of particular kinds of animals. These changes are considered in comparison with the results of an examination of the osteological material in an effort to observe whether they could reflect processes taking place in the animal economy of Tell Arbid.
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Arnott, Robert. "Early Cycladic Objects from Ios Formerly in the Finlay Collection." Annual of the British School at Athens 85 (November 1990): 1–14. http://dx.doi.org/10.1017/s0068245400015525.
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Whilst visiting Ios during his Cycladic tour of 1837, George Finlay purchased a number of Early Cycladic objects, which include four marble figurines (three of folded arm type), three marble vessels and a lead figurine now thought to be fake. This article traces the current whereabouts of these objects, describes and illustrates them, examines the detail of their original purchase and places them within the current framework of Early Cycladic chronology.
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Garcia, Santiago Andrés, Maritza Arciga, Eva Sanchez, and Robert Arredondo. "A Medical Archaeopedagogy of the Human Body as a Trauma-Informed Teaching Strategy for Indigenous Mexican-American Students." Association of Mexican American Educators Journal 12, no. 1 (May 11, 2018): 128. http://dx.doi.org/10.24974/amae.12.1.388.
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In this article, three co-authors share their narratives and clay figurines sculpted during the Mesoamerican Figurine Project of Rio Hondo College (Garcia, in press-a). Through reflective writing exercises and the sculpting of small-scale clay figurines, Los Angeles-based Mexican-American students unearthed parts of their Mesoamerican ancestry and materialized their stories of displacement and violence to assist in meeting student learning outcomes (SLOs). After interpreting these data alongside the medical tools observed on the four Tezcatlipocas of Mesoamerica (Acosta, 2007), the supposition is that Indigenous Mesoamerican students benefit when engaged through the following topics: 1) land and cosmology, 2) trauma and medicine, 3) resiliency and self-determination, and 4) community and family. To support all students’ educational and mental health goals, and to prevent further trauma accumulation, the Mesoamerican figurine is modeled as a pedagogical tool with a wide range of therapeutic values. By employing a critical autoethnographic approach (Ohito, 2017), Instructor Garcia’s ancestral knowledge—combined with his students’ insights—enabled his conceptualization of a medical archaeopedagogy of the human body as a trauma-informed teaching strategy (Cole, Eisner, Gregory, & Ristuccia, 2013) to begin to address the mental health challenges prevalent in the Mexican-American community related to the cultural genocide of Native Americans.
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Papadopoulos, Costas, Yannis Hamilakis, Nina Kyparissi-Apostolika, and Marta Díaz-Guardamino. "Digital Sensoriality: The Neolithic Figurines from Koutroulou Magoula, Greece." Cambridge Archaeological Journal 29, no. 4 (July 9, 2019): 625–52. http://dx.doi.org/10.1017/s0959774319000271.
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The image-based discourse on clay figurines that treated them as merely artistic representations, the meaning of which needs to be deciphered through various iconological methods, has been severely critiqued and challenged in the past decade. This discourse, however, has largely shaped the way that figurines are depicted in archaeological iterations and publications, and it is this corpus of images that has in turn shaped further thinking and discussion on figurines, especially since very few people are able to handle the original, three-dimensional, physical objects. Building on the changing intellectual climate in figurine studies, we propose here a framework that treats figurines as multi-sensorial, affective and dynamic objects, acting within distinctive, relational fields of sensoriality. Furthermore, we situate a range of digital, computational methods within this framework in an attempt to deprive them of their latent Cartesianism and mentalism, and we demonstrate how we have applied them to the study of Neolithic figurines from the site of Koutroulou Magoula in Greece. We argue that such methodologies, situated within an experiential framework, not only provide new means of understanding, interpretation and dissemination, but, most importantly, enable researchers and the public to explore the sensorial affordances and affective potential of things, in the past as well as in the present.
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Zimmermann, Thomas, and Latif Özen. "The Early Bronze Age figurine from Hasanoğlan, central Turkey: new archaeometrical insights." Anatolian Studies 66 (2016): 17–22. http://dx.doi.org/10.1017/s0066154616000028.
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AbstractThe following article discusses the archaeometrical dimension of a well-known Early Bronze Age metal figurine from Hasanoğlan, Turkey, on permanent display in the Anatolian Civilisations Museum in Ankara. The transfer of the object to a new display case allowed for an examination with a portable x-ray fluorescence (P-XRF) device in order to reveal the chemical composition of the statuette and its attached ornaments. The figurine was confirmed to be made of silver. However, it is alloyed with a small but still substantial amount of copper. The applications are basically made of gold, but with a suspected substantial (up to 23%) amount of silver involved. The final section of the article is dedicated to a critical comparison with recently published figurines from Alaca Höyük, together with an archaeological and chronological reappraisal of this unique piece of art.
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Клещенко, А. А., Я. Б. Березин, В. А. Бабенко, А. Р. Канторович, and В. Е. Маслов. "NEW FINDS OF ANTHROPOMORPHIC FIGURINES OF THE NORTH CAUCASIAN CULTURE IN THE CENTRAL FORE-CAUCASUS." Краткие сообщения Института археологии (КСИА), no. 264 (December 3, 2021): 30–49. http://dx.doi.org/10.25681/iaras.0130-2620.264.30-49.
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Статья посвящена публикации погребальных комплексов с алебастровыми и глиняными антропоморфными статуэтками развитого и позднего этапов северокавказской культуры (XXVIII - нач. XXV в. до н. э.), обнаруженными в Центральном Предкавказье в 2000-2014 гг. В работе приводятся описание и датировка пяти погребений, содержавших 14 таких статуэток (рис. 1-3). На основе анализа общей источниковой базы (9 погребений, 21 статуэтка) рассматриваются закономерности расположения захоронений со статуэтками в насыпях курганов и самих статуэток внутри погребений, возрастной состав погребенных, классификация статуэток по материалу изготовления, форме, размерам и орнаментации (рис. 5). Далее приводятся аргументы в пользу происхождения антропоморфных статуэток северокавказской культуры от культовой пластики так называемого серезлиевского типа Северного Причерноморья (конец IV тыс. до н. э.). В заключение на основе картографирования находок статуэток на территории Центрального Предкавказья (рис. 4) предлагается название для данной серии культовых предметов: статуэтки «подкумского» типа. This paper publishes funerary assemblages with alabaster and clay anthropomorphic figurines of the developed and late stages of the North Caucasian culture (XXVIII - early XXV centuries BC) discovered in the central Fore-Caucasus in 20002014. The article describes and dates five graves containing 14 figurines (Fig. 1-3). Based on the analysis of the overall source database (9 graves, and 21 figurines), the paper explores the location pattern of the graves with the figurines in the kurgan mounds and the figurines themselves inside the graves, age composition of the deceased, classification of the figurines by material they are made from, size and decoration (Fig. 5). The authors provide arguments that help trace the origin of the Northern Caucasus figurines to religious cult figurines of the so called Serezlievka type in the North Pontic region (late IV mill. BC). In the final section of the paper this series of the religious cult figurines is proposed to be called the Podkumok type of figurines based on the mapping of the figurine finds from the Central Fore-Caucasus.
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Summers, G. D. "Metalwork in Gaziantep Museum said to be a Hoard from the Region of Sakçagözü." Anatolian Studies 41 (December 1991): 173–95. http://dx.doi.org/10.2307/3642939.
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In 1974 a group of copper alloy objects, including two figurines and a number of weapons, was taken to Adana Museum by a dealer from İslahiye. The objects were said to have come from a site near Kilis. One of the figurines, which has gold foil on the face, was bought by Adana Museum. Temporary closure of Adana Museum has precluded examination of this figurine. In 1975 fourteen copper alloy objects from this same group, including a figurine wearing gold and silver ornaments around the neck, were purchased from the same dealer by the Gaziantep Museum for the sum of thirty thousand Turkish Lira, then about one thousand pounds sterling. This time they were said to have come from the vicinity of Sakçagözü. Staff of Gaziantep Museum brought the existence of this hoard to the attention of the British Institute which was engaged in a restudy of material from earlier British excavations in the Sakçagözü region (French and Summers 1988). The author is extremely grateful to the Museum for allowing access to the finds, to David French for his encouragement and advice, Tuǧrul Çakar for the photography and Jane Goddard who made the drawings. This paper has benefited greatly from discussions with Drs. John Curtis, Roger Moorey, Graham Philip and Trevor Watkins. Any faults remain, of course, the responsibility of the author.
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Anamali, Skënder. "Figurinë bronzi e një tjerrëseje nga Apolonia / Une figurine de fileuse en bronze provenant d'Apollonia." Iliria 17, no. 1 (1987): 229–30. http://dx.doi.org/10.3406/iliri.1987.1439.
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