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2014, The Cambridge Prehistory of the Bronze and Iron Age Mediterranean
CLASSICAL CYPRUS Proceedings of the Conference University of Graz, 21–23 September 2017 Κυπριακά – Forschungen zum Antiken Zypern Studies on Ancient Cyprus Vol. 5
Adoption and Adaptation of Greek Iconography in Cypriot Votive Sculpture of the Late Archaic and Classical Periods2020 •
The dedication of large numbers of anthropomorphic votive figures in local limestone and terracotta in Cypriot sanctuaries was an integral part of Cypriot cult practice from the Archaic to the Hellenistic period. Their iconographies and styles reflect the multicultural society in Cyprus as well as the diplomatic, economic and cultural connections of the island with all its neighbouring regions and cultures, which fluctuated in direction and intensity over those periods, broadly from the Near East towards the Greek Aegean. After summarising this general historical, cultural and religious background, the paper gives an overview of the iconographies and motifs of Late Archaic (CA II) Cypriot anthropomorphic votive-figures, before exploring the gradual adoption and adaptation of Greek iconography from the mid-6th century BC throughout the Classical period. The focus lies on certain and possible deity images, during the entire period, while male and female votary figures will be presented more summarily. The paper’s conclusion will offer some initial considerations of the ways and mechanisms of Greek iconography to Cyprus.
2015 •
2021 •
The dedication of large numbers of anthropomorphic votive figures in local limestone and terracotta in Cypriot sanctuaries was an integral part of Cypriot cult practice from the Archaic to the Hellenistic period. Their iconographies and styles reflect the multicultural society in Cyprus as well as the diplomatic, economic and cultural connections of the island with all its neighbouring regions and cultures, which fluctuated in direction and intensity over those periods, broadly from the Near East towards the Greek Aegean. After summarising this general historical, cultural and religious background, the paper gives an overview of the iconographies and motifs of Late Archaic (CA II) Cypriot anthropomorphic votive-figures, before exploring the gradual adoption and adaptation of Greek iconography from the mid-6th century BC throughout the Classical period. The focus lies on certain and possible deity images, during the entire period, while male and female votary figures will be presente...
The complexity of cultural exchange witnessed in the archaeological record of ancient Cyprus and its impact on the iconographical repertoire of divine images dedicated in its sanctuaries requires a more nuanced theoretical model than those currently in use. In particular, artistic influences broadly defined as Near Eastern, Egyptian, or Greek have often been isolated as evidence of ethnic division across the religious landscape of Cyprus, even within the same sanctuary. As a result, many Cypriote sanctuaries are interpreted as host to a pantheon of foreign and local divine personalities. Such an interpretation has proven especially problematic in the case of one divine type that features a male figure clad in a lion skin, mastering a small lion and brandishing a club. Rather than privileging foreign parts over the more culturally meaningful whole, this article considers the value (and validity) of postcolonial theory as a model for examining the relationship between image and identity in Cypriote religion. While postcolonial critiques traditionally function within a modern sociopolitical context, recent scholarship has highlighted the relevance of postcolonial concepts such as “hybridity,” “middle ground,” and “third space” for the interpretation of archaeological data in ancient zones of contact such as Cyprus. In the case of Cypriote divine iconography during the first millennium B.C.E., a postcolonial approach suggests additional ways of thinking about novel identities produced in the context of local sanctuaries.
Throughout history many artists have turned to the past and sought to explore how the use of ancient symbols, motifs, and archetypal themes of antiquity could be applied in a contemporary art context. My research, as a fine art practicioner, seeks to continue this enquiry through a creative process grounded specifically on the study of the archaic art of Cyprus, 8th-5th century BCE. Cyprus during the Archaic Period developed its own artistic idiom, which was unique to the island. There was a time in Cypriot archaeology that commentators dismissed the ancient Cypriot art and did not take it on its own merit. Nevertheless, nowadays the archaic artefacts are treated as works of art and are appreciated by the recent generation of scholars for their originality in style and aesthetic qualities. This research, therefore, involved the study of the actual artefacts, mainly in Cyprus and the British Museum, in order to identify the artistic ideas behind the ancient motifs and the characteristics that make archaic art so unique. The collaboration with specialized archaeologists was necessary to facilitate the archaeological aspect of the research. The practice based element of the research involves the creative exploration of the study of the archaic art through drawing, ceramic sculpture, digital art and installations. The main aim of the creative project is to make the archaic art relevant to the modern viewer, and link archaeology and art in the understanding of antiquity through re-creation. Nevertheless, the archaic symbols were part of a society that assigned meaning to them and today their symbolism cannot have the same meaning to a 21st century audience. For this reason, in my creative investigation I focus on the mood and on the artistic and aesthetic values of the archaic art of Cyprus, which survived the passage of time. The art work thus, reapplies certain characteristics of the archaic art, -such as the direct visual language, aesthetic sensibility, playfulness, animated character and decorative nature-, and creates a new experience for the contemprorary viewer. Furthermore, in my art work I focus on the parallels of the Cypro-Archaic art to child art and toys, which are similarly playful and full of life. The theoretical research investigates the concept of agency in art, and specifically the agency in the archaic art of Cyprus and in my own art work. There are many indications that in ancient cultures, objects were considered to have their own life and were treated as such; this would then license the objects to also act as agents in their own right. Similarly, my study and contact with the actual ancient art made me realize that the artefacts are still ‘alive’ and can operate as agents or channels of communication with the ancient past. Therefore, in my art work I also seek to communicate the idea of the living object, which is infused with life-force energy and becomes a vessel of communication. To conclude, the main aim of this research is to evaluate the possible contribution of studying antiquity as a means of expanding the contemporary art practice and explore new ways of interpreting, recreating and re-imagining the past through the perspective of an art practitioner.
Can send a PDF on request for private use/reference only (no redistribution) MULTIPLE IDENTITIES IN CYPRUS FROM THE 8TH TO THE 5TH CENTURY BCE: THE EPIGRAPHIC AND ICONOGRAPHIC EVIDENCE FROM CYPRIOT SANCTUARIES Abstract: Religion and language has always been an integral and constitutive part of societies and their identity or identities. This paper explores if, how and to which extent inscriptions and the iconography of votive sculptures and terracotta -figurines from Cypriot sanctuaries reflect multiple or diverse identities – human as well as divine. The focus will be on evidence from the 8th to 5th century BCE, when Cyprus was organized in 13 city-kingdoms and their territories, all inhabited by culturally diverse populations. Cypriot dedicatory inscriptions appear in three di2erent languages and scripts, sometimes in the same sanctuaries, and iconography and style of votary and deity figures combine local, regional and “pan-Cypriot” features with elements and motifs adopted and adapted from neighbouring regions and cultures. Together, inscriptions and votive -figures help to elucidate the identity or various identities of deities and their worshippers alike. Keywords: Cult/Religion; Dedicatory Inscriptions; Iconography; Deity Images; Votary Images.
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2012 •
Bulletin of the American Schools of Oriental Research 372 (2014) 240-242
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In A. Bernard Knapp and Peter van Dommelen (eds.). The Cambridge Prehistory of the Bronze and Iron Age Mediterranean World. Cambridge: Cambridge University Press 2014, pages 619–634
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