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Gallery Text

Of Fragments and Forgeries

These figurines—with their curious faces (sometimes deemed “bird-like”), elaborate headdresses, and emphatic hips—are puzzling. Examples like numbers 1–4 [1998.15.16; 1992.256.12.1–3; 2022.242.1–3; 1969.177.86.1–2] have been found across today’s northern Syria and southeastern Türkiye (Turkey) in sanctuaries and graves dating from the second millennium BCE. Their applied breasts and incised pubic triangles mark them as female, encouraging modern interpretations about fertility and sexuality. Number 5 [1953.118], likely made on the island of Cyprus, shows similar features, attesting to ideas about female bodies shared between distant but connected communities of the eastern Mediterranean and western Asia during the Bronze Age.

Who exactly do they depict? Goddesses or worshippers? Both or neither? Any answers are complicated by wrinkles in their modern stories that raise a more urgent question: are these objects even ancient?

All six figurines moved through the art market without documented findspots, making it difficult to interpret them or even assess their authenticity. Number 6 [1999.252] may be a modern forgery. And while numbers 2–4 [1992.256.12.1–3; 2022.242.1–3; 1969.177.86.1–2] arrived at Harvard as single objects, each, in fact, comprises several pieces that are not original to each other. It is not clear whether the fragments are all ancient, all modern, or a combination of both. Displayed here disassembled, the objects offer a cautionary tale about the uncertainty that accompanies poorly documented paths on the art market.

Identification and Creation

Object Number
1992.256.12.2
Title
Anthropomorphic female figurine fragment: body
Classification
Sculpture
Work Type
statuette, sculpture
Date
1900-1700 BCE
Places
Creation Place: Ancient & Byzantine World, Asia, Syria, Northern Syria
Period
Bronze Age, Middle
Culture
Syrian
Persistent Link
https://hvrd.art/o/380409

Location

Location
Level 3, Room 3440, Ancient Mediterranean and Middle Eastern Art, Ancient Middle Eastern Art in the Service of Kings
View this object's location on our interactive map

Physical Descriptions

Medium
Terracotta
Technique
Handmade
Dimensions
H. 4.8 × W. 4.1 × D. 1.3 cm (1 7/8 × 1 5/8 × 1/2 in.)

Provenance

Recorded Ownership History
Louise M. and George E. Bates, Camden, ME (by 1971-1992), gift; to the Harvard University Art Museums, 1992.

Acquisition and Rights

Credit Line
Harvard Art Museums/Arthur M. Sackler Museum, Gift of Louise M. and George E. Bates
Accession Year
1992
Object Number
1992.256.12.2
Division
Asian and Mediterranean Art
Contact
am_asianmediterranean@harvard.edu
Permissions

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Descriptions

Description
This fragment of a handmade terracotta figurine preserves the body of a nude, anthropomorphic female figure. There is a break at the neck. A necklace or such decoration at the neck is made of an applied band clay; a few faintly visible vertical marks on the band suggest it was decorated with incision. Below the neck, short stub arms project to either side. Breasts are indicated by two applied round pellets of clay; between them, there is additionally a very small round applied pellet. The body is “violin-shaped,” with hips widening in fairly angular manner. At the center of the torso is an applied circular pellet indented with a pointed, circular tool, indicating a navel. Below, two horizontal lines of indented dots (made either with a roulette or a sharp pointed tool) indicate a pubic area; incised dots faintly visible down the proper left hip and leg may indicate a broader area of decoration that is now poorly preserved. Below this, a vertical groove indicates legs. The fragment breaks off across the legs.

The back of the figurine is flat. This flatness is indicative of the forming process, in which the clay was pressed against a flat surface. A shallow groove runs in a mostly vertical direction (with a slight diagonal slant) down the length of the back. Two divots are present on the back of the hips.

Clay fabric: Munsell 10 YR 8/2 very pale brown. Small blackish inclusions and rare larger white inclusions; frequent small irregular voids.
Commentary
This figurine fragment arrived at the museum attached to two other fragments. However, at least two—and perhaps all three—of the fragments were not original to each other. The terracotta (clay) fabric of the legs (1992.256.12.3) differs from that of the head (1992.256.12.1) and body (1992.256.12.2): this is clear from X-radiography, which indicated that the materials were different (e.g., different density and inclusions). It is less clear whether the terracotta fabric of the head and body differ from each other; X-radiography suggested that the head may have been formed in a slightly different way than the manner in which the body was made, but the evidence is not conclusive.

Several scenarios are possible: (1) the fragments are from two or three different ancient figurines (a “pastiche” of ancient fragments); (2) one or two fragments (such as the legs) were made in the 20th century to complete the other fragment(s), which, in this scenario, would likely be authentically ancient, creating a mixed modern and ancient “pastiche”; (3) all fragments are modern.

When the pastiche figurine was disassembled and old fills were removed, it became clear that the breaks do not align tightly. However, the edges of the breaks at the neck and legs all seem to be clean, modern cuts; it is possible that broken edges were cleaned up to facilitate easier mending when it was assembled.

These figurine fragments are fairly typical examples of a category of figurines depicting a nude female figure with a “bird-like” face. These were made in the 2nd millennium BCE at sites across northern Syria (today’s eastern Turkey and northern Syria). Specifically, this figurine takes a form that comes from the region of the Orontes River. Such figurines are often interpreted as goddesses or divinities; the frequent depiction of breasts (not present here) and pubic triangles (present here) have encouraged interpretations of deities or domains of life pertaining to female sexuality and/or fertility. It is common for figurines of this type to be broken across the legs. It is not currently clear if this frequent breakage pattern is the result of intentional, perhaps ritual, breakage or merely indicates a common susceptibility of the figurines to breakage during use or deposition.

Further information on this type of figurine may be found in the following standard reference work (where it falls into the category of Orontes Type MAI 2): Leila Badre. 1980. Les figurines anthropomorphes en terre cuite a l'age du bronze en Syrie, Bibliothèque archéologique et historique 103. Paris: Librairie orientaliste Paul Geuthner.

Exhibition History

  • 32Q: 3440 Middle East, Harvard Art Museums, Cambridge, 06/15/2023 - 01/01/2050

Related Works

Verification Level

This record was created from historic documentation and may not have been reviewed by a curator; it may be inaccurate or incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Asian and Mediterranean Art at am_asianmediterranean@harvard.edu