Έκθεση Αντιγράφων Κυκλαδικής Τέχνης στη Σύρο: Ξεκινούν τα δωρεάν εκπαιδευτικά προγράμματα
Exhibition of Cycladic Art Copies in Syros: Free educational programs begin
(yes now in Greece you can learn to make ancient Cycladic art, professionally, for free <3 Sometimes I love our country <3)
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Στην Πρωτοκυκλαδική ΙΙ περίοδο παρατηρείται μία μικρή άρση της συμμετρίας στα ειδώλια, δίνοντάς τους μία μορφή πιο κοντά στο πραγματικό ανθρώπινο σώμα. Το δεξί σκέλος διαφέρει από το αριστερό, ενώ συνήθως στα γυναικεία ειδώλια παριστάνονται πιο έντονα οι μαστοί και η διογκωμένη κοιλιά.
Μου αρέσει ιδιαίτερα η συγκεκριμένη λεπτομέρεια των κυκλαδιτών, δεδομένου ότι η επίπεδη κοιλιά που φέρει το ανδρικό σώμα, δίχως να προηγείται η γνώση της ανατομίας, δεν καθηλώνεται αυστηρά και στο γυναικείο. Συνήθως η διογκωμένη κοιλιά, βέβαια, συνδέεται με κατάσταση εγκυμοσύνης στα γυναικεία ειδώλια ή σα σύμβολο γονιμότητας - ερμηνεία η οποία, ωστόσο, δεν εξηγεί τα ανδρικά ειδώλια ή την παντελή έλλειψη ειδωλίων στους περισσότερους τάφους. Η διογκωμένη κοιλιά, όμως, θα μπορούσε να είναι και μία απλή λεπτομέρεια από παρατήρηση.
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Prehistoric Figurine of a Harp Player, from the Cyclades (Greece), c. 2700-2300 BCE: this figurine was shaped from a block of solid marble and then slowly sanded into form using pumice and emery
The figurine depicts a musician with a frame harp, an instrument that originated in the Near East and then later spread to the peoples of the Aegean. A sound box forms the section along the base of the instrument, and a small protrusion can be seen near the top of the harp's frame; some experts have argued that this protrusion might represent an ornamental carving of a waterfowl's head, while others argue that it represents a musical extension that facilitates the projection of sound (a feature that often appears on the stringed instruments of the ancient Near East).
This piece measures 35.8cm (about 14 inches) tall.
Musical performances like this are rarely depicted in Cycladic artwork. Depictions of male characters are similarly rare, representing only 5% of the Cycladic sculptures that are known to exist. When male figures are depicted, however, they are frequently shown playing musical instruments, as seen here.
Figurine of a Harpist, c. 2800-2700 BCE: a similar example of a Cycladic sculpture that features a musician with a frame harp
The Museum of Cycladic Art provides a more detailed explanation of the process by which these figures were created:
As we can deduce from the few unfinished figurines that have been discovered so far, the first step in the process was to roughly shape the raw piece of marble into a figure by the impact of a mallet. Emery powder was then used to abrade the surface until it obtained the desired shape and size. Once the desired shape was achieved, the surface was smoothed carefully before the fine work of carving the details started. At the end, the figurine was polished to a high degree that is still amazing.
And according to The Met:
Many of these figures, especially those of the Spedos type, display a remarkable consistency in form and proportion that suggests they were planned with a compass. Scientific analysis has shown that the surface of the marble was painted with mineral-based pigments—azurite for blue and iron ores, or cinnabar for red.
The Cycladic Islands (also known as the Cyclades) are a group of about 30 separate islands in the Southwest Aegean, off the coast of mainland Greece. These islands contain a wealth of natural resources, including marble, emery, pumice, obsidian, and an assortment of precious metals. The prehistoric peoples of the Cyclades made use of these resources for many different purposes, but the marble figurines/sculptures that they crafted during the Bronze Age are perhaps their most famous creation.
The vast majority of these figurines are stylized depictions of the female form. The cultural significance of the sculptures remains unclear; they may have simply been created as decorative pieces/artwork, without any additional function, or they may have been used as fetishes, totems, religious idols, grave goods, or votive offerings.
Sources & More Info:
The Getty Museum: Figurine of a Harp Player
The Met: Cycladic Harp Player
The Met: Early Cycladic Art and Culture
The Museum of Cycladic Art: Techniques
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A CYCLADIC MARBLE HEAD
EARLY SPEDOS TYPE, EARLY CYCLADIC II, CIRCA 2600-2500 B.C.
5 3⁄8 in. (13.6 cm.) high.
Through comparison to complete folded arm female figures, the dimensions of this impressive head suggest the original length of this example would have been nearly 21 in. (55 cm.) long. The style of this Early Spedos head shares many characteristics of figures assigned to the Steiner Sculptor, including the defined triangular nose, the comparatively deep chin, the grooves at the join of the neck and the elegant backward arch of the forehead (compare no. 33 in P. Getz-Preziosi, Early Cycladic Art in North American Collections and pls. 69-70 in P. Getz-Gentle, Personal Styles in Early Cycladic Sculpture).
Although rarely preserved, most Cycladic sculpture of the Spedos type would have originally been richly painted in red and blue pigment. This figure is remarkable for its preservation of traces of original red pigment on its cheeks, in a pattern often referred to as a “tattoo” of dots.
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Head of a Cycladic statue with pigment remnants on the eye and cheek, Parian marble, found on Amorgos, c. Early Cycladic II (2800-2300 BCE)
currently in the collection of the National Archaeological Museum (Athens, Greece)
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Brice Marden & Greek Antiquity : Divine Dialogues, The Museum of Cycladic Art, Athens, 2022
Curatorship: Dimitrios Antonitsis
Edition coordinator: Maria Basagianni
Preface: Kassandra Marinopoulou
Introduction: Aphrodite Gonou
Exhibition: May 20 – October 3, 2022
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