Prehistoric figurines have long proven evocative objects, and those of Bronze Age Cyprus have captivated researchers for more than a century. Much of this attention, however, has focussed on appraising the aesthetic characteristics, particularly of human figurines and using them to ascribe names to Bronze Age Cypriot deities. Most studies ignore animal figurines and less visually appealing, fragmentary or schematic examples; socially-situated analyses have also been particularly rare. However, the potential of these enigmatic objects to illuminate the society which made and used them has not gone unnoticed by archaeologists and calls have been made for a comprehensive, contextual investigation. This thesis undertook to provide such a study, aiming not only to interpret the function and significance of the figurines themselves but to consider the implications of these interpretations for the nature of the Bronze Age Cypriot society. The project has collated a detailed database of all 1790 known figurines from this period, including representations of humans, animals and inanimate objects, depicted as independent figurines, figurative vessels and vessels decorated with miniature figurines. These are predominantly ceramic but those few stone and metal variations of established ceramic categories have also been included. This varied material has been organised into a transparent, comprehensive typology and subjected to rigorous iconographical and contextual analyses. The interpretations to which these analyses have led have been informed by a diverse theoretical basis drawn from art-history, philosophy and archaeology, and situated on a firm understanding of the socio-cultural context of Bronze Age Cyprus. Investigations into the symbolic connotations and practical use of each figurine type have proven fruitful. Significant new findings include the hitherto unrecognised importance of textile imagery in the Early-Middle Bronze Age, evidence for the ritual breakage of Plank Figurines and a complex interplay of homogenisation and variation within the Late Cypriot figurine record. Finally, diachronic transformations in the forms, meanings and usage of figurines have been carefully evaluated to consider their implications for the changing socio-cultural landscape of Cyprus throughout the Bronze Age. Alterations in the criteria chosen to display group identity, a combination of continuity and change in ritual practices and sustained, close contacts with a wide sphere of external communities are just some of the trends and issues which figurines have been able to elucidate. Principally, this study demonstrates that nuanced, systematic investigation of this rich body of figurines holds significant potential to inform interpretations not only of the figurines themselves but also of their dynamic and complex Bronze Age Cypriot context.

Cette thèse de doctorat a pour objectif l'étude des objets en bronze, vaisselle et figurines, trouvés sur le territoire albanais et datant de la période archaïque jusqu'à la fin de la période romaine. En effet, cette catégorie d’objets n’a jamais fais l’objet d’une étude spécifique d’ensemble et la plupart d’entre eux sont encore inédits. Cette thèse propose donc pour la première fois un catalogue exhaustif qui prend en compte la technologie, la typologie, la chronologie, les ateliers et la répartition géographique de chaque type d’objet, replacé dans son contexte archéologique et historique grâce à un corpus des sites d’où proviennent ces objets. Les chapitres de synthèses, fondés sur les données du catalogue et du corpus, enrichissent notre compréhension sur les croyances et les habitudes des populations qui utilisaient ces objets, sur les rapports commerciaux qu’ils entretenaient avec les autres centres du monde antique, et sur le développement d’un artisanat spécialisé dans le travail du bronze, et cela dans une perspective historique qui accorde toute son attention aux évolutions. / The principal objective of this thesis is the study of bronze objects, more specially figurines and vases, found in Albania, dating from the archaic period to the end of the roman period. These category of objects have never been subject of a specific study, and the majority of the objects have never been published. This thesis has proposed for the first time a complete study, in the form of a corpus of objects which comprises all the figurines and vases of bronze, found in Albania; which is based in the technology, typology, chronology and geographic distribution of each type of object. The objects are placed in their cultural context through the establishment of a corpus of sites where the objects were found. The synthesis which has analyzed the information of the two corpuses has also enriched our information for the populations by whom were utilized, their habitudes and believes, the merchandise with the other centers of the antique world, and the development of the bronze artisanat, all these issues based in an historic perspective which emphasizes attention in the evolution.

Réunissant des sources littéraires, épigraphiques, archéologiques, iconographiques et archéozoologiques, cette thèse étudie la question de la symbolique de l’animal dans la relation entre le mortel et la divinité, en s’intéressant particulièrement à Artémis et à Déméter, deux déesses en charge des problèmes des femmes à différents moments de leur vie. Pour répondre à cette interrogation, deux corpus sont mis en place : le premier répertorie 83 sanctuaires de Déméter et Artémis ayant un rapport avec les animaux, et énumère toutes les offrandes qui y ont été retrouvées, ainsi que les mythes et inscriptions associées. Le second corpus se place du côté de l’animal et regroupe les représentations et les textes hors sanctuaires attestant d’un lien entre l’espèce et l’une des deux divinités, mais reprend également les offrandes d’animaux déjà étudiées dans le premier catalogue, en les classant par type iconographique. L’analyse synthétique des données des corpus rassemble les animaux sous trois principales symboliques. Premièrement, la fécondité des femmes est au centre des préoccupations, pour assurer la pérennité de la cité. Ả ce titre, le porc entretient avec Déméter une relation particulière : durant les Thesmophories, il est utilisé pour assurer la fertilité à la fois des semailles et des femmes. Auprès d’Artémis, ce sont les animaux des milieux humides et l’eau qui favorisent la vie. Le bétail d’élevage est également offert aux deux divinités pour assurer la pérennité du troupeau et, par extension, de la cité. Ensuite, la femme avant son mariage est perçue comme un animal sauvage qu’il faut domestiquer. Artémis veille alors sur les jeunes filles et, en tant que déesse des passages, assure cette domestication par le mariage lors de l’arkteia, un rite d’initiation pendant lequel les fillettes font « l’ourse ». Divinité de la nature sauvage, elle a, tout comme la Pόtnia Théron, un pouvoir de vie et de mort sur les animaux mais aussi sur les femmes, qu’elle n’hésite pas à punir pour leur transgression, comme pour Callisto et Atalante. Artémis comme Déméter sont également des divinités kourotrophes qui s’occupent des enfants sans distinction de sexe et reçoivent des offrandes en conséquence. Enfin, si les animaux semblent auprès des deux déesses se rapporter principalement aux femmes, le cheval et le chien évoquent également le statut de citoyen, obtenu après une longue éducation dont Artémis est la garante. Ils sont aussi des animaux chthoniens et, au même titre que le serpent, le cochon et la tortue, permettant le lien entre le monde des vivants et celui des morts. Certaines espèces évoquent avec leur simple présence la divinité : c’est le cas du sanglier de Kalydon, qu’Artémis utilise pour se venger des hommes, et des victimes des sacrifices, qui permettent de communiquer avec les divinités. Malheureusement, certaines occurrences animales restent en marge de ces trois symboliques : elles sont offertes en trop petit nombre ou à d’autres divinités, ne permettant pas de faire un lien précis avec Artémis et Déméter. / This thesis is based on literary, epigraphic, archaeological, iconographic and archaeozoological sources and studies the symbolic of the animals in the relationship between women and divinities. Two goddesses have been chosen for this purpose: Artemis and Demeter. They have in common the fact they take care of women at different moments of their lives. Two main parts compose the survey. First, a catalog lists 83 sanctuaries of Artemis and Demeter who have a link with animals, together with offerings found inside and myths and inscriptions associated with. A second index classifies all the animals connected with Artemis and Demeter: offerings of the sanctuaries from the first corpus, imageries and texts no connected with a shrine but showing a link between an animal species and a goddess.A synthetic analysis of information from the catalogs talks about three main interpretations on the presence of animals beside Artemis and Demeter. At first, fertility of women is very important in ancient Greece because it permits to renewing the civic body. The pig has a special relationship with Demeter about fecundity: during the Thesmophoria, the animal is used to assure the fertility of both women and fields. With Artemis, wetland animals are connected with the water and the life. The cattle are also offered to both goddesses in order to assure the perpetuation of the herd and the city at the same time. Then, the woman before her marriage is like a savage animal and she must be domesticated. Artemis takes care of young girls because she is the goddess of passages and transitions. She allows the domestication of the girls with an initiation called arkteia: during this ritual, the little girls make “the bear”. As divinity of the wild nature, Artemis also is assimilated to the Pόtnia Théron and has the power of life and death on both animals and women. She punishes the girls who transgress the rules: Callisto and Atalante. Artemis and Demeter are kourotrophic goddesses taking care of all gender children. However, if the animals with the divinities are close to the women, there are in connection too with the boys: the dog and the horse evoke the citizenship status of the men and the formation of the young boys, especially with Artemis. Some species are also chthonic characteristics, as the snake, the pig and the tortoise and make a link between the life and the death. Other animals incarnate the divinity: the boar of Kalydon has been send by Artemis because she was angry and a lot of animals are victims of ritual sacrifices and permit a communication with the gods and goddesses. Unfortunately, there are also some species with no real connection with Artemis and Demeter: there are offered in small number in the sanctuaries of both divinities or there contrariwise are given to all the gods.

Appearances and first impressions are deceiving. My figurines represent the twisted world where everything on the surface appears to be perfect, but there are skeletons in everyone's closet.

Disputats, Hamburg Universität 1999.

<p>This dissertation investigates Iron II Judean pillar figurines and their place in Judean ritual. First, the project identifies major trends in the interpretation of figurines and evaluates them using ancient Near Easter texts, archaeological context, the Hebrew Bible, and iconography. Second, it focuses on the significance of major iconographic shifts in figurine production, using the various types of data to understand these shifts and their implications for figurine function. </p><p>The dissertation first analyzes four major trends in the study of these statuettes, showing that interpreters begin with assumptions based upon figurine iconography and only then take into account Israelite religion, biblical texts, and archaeology (Chapter 2). The study then explores textual descriptions of figurine rituals from the Neo-Assyrian Empire. These suggest that figurine rituals were highly complex and that the absence of accompanying ritual texts is a barrier to interpretation (Chapter 3). </p><p>Chapters 4-7 examine the archaeological contexts and technological characteristics of the figurines. Chapter 4 focuses on Kathleen Kenyon's excavations in Jerusalem, Chapter 5 focuses on Yigal Shiloh's excavations in the same area, Chapter 6 describes the results of a new petrographic study of Jerusalem figurines, and Chapter 7 summarizes the data and compares them with the archaeological contexts of figurines found in other areas of Judah. The analysis demonstrates that the majority of figurines were found as random trash in domestic structures, that figurines were used by people from various socio-economic levels, that most figurines were not associated with domestic shrines, and that figurines have no significant correlation with artifacts associated with women's activity areas. The data also have important implications for the understanding of iconography in Jerusalem and surrounding areas.</p><p>Turning to the Hebrew Bible, Chapter 8 explores the descriptions of clay objects and idol production in biblical texts. This survey of passages shows that production from clay was never prohibited in the biblical text and that concerns over the production of idols focus on images from stone, wood, and metal. It also demonstrates that clay, as a production material, had a unique ability to bridge the gap between sacred and profane realms. </p><p>Chapter 9 investigates the various components of the figurines through stylistic analysis and comparative iconography. The chapter argues that the figurines were probably associated with protection and healing. It also discusses the rise of the pillar figurine style in Judah and Jerusalem, the significance of its regional adaptation, and the importance of the image's ambiguity for its function and dissemination. </p><p>Finally, Chapter 10 locates the figurines in their socio-historic context within Iron II Judah, as a part of the Neo-Assyrian Empire. The chapter evaluates the likelihood that the Neo-Assyrian Empire provided the cultural context for the spread of figurine rituals associated with healing and protection in the Iron II. It also summarizes biblical depictions of healing rituals and the role of divine intermediaries, closing with a final evaluation of the dominant interpretive paradigms and a summary of figurine development and function.</p> / Dissertation

The first edition of a series holds value. It is a bookmark that holds a place in time that the artist can look back to and see the progress that led up to that point, as well as the continued progress that's been made after. Designing and creating a set of characters, bringing the main character through 3D modeling, and printing it has multiple uses in the industry. The techniques learned through this process have been used in toy design, stop-motion animation, museums, and medical applications. 3D printing is advancing and providing an opportunity to create high-definition models that can be reproduced quickly while maintaining their initial integrity. This paper will go through the model's design concept and how to execute it. It is also a culmination of all the traditional skills acquired from a fine art background combined with all the new skills learned in the digital media field. This project aims to create a cohesive set of 2D character concepts centered around the story By Command of the Prince Daniel (Nikolaevich, 1915). The main antagonist, Baba Yaga, was then brought through the 3D modeling process so she could be resin printed and turned into a collectible figurine. Descriptive character traits from her stories were reimagined while providing a unique approach to the design that still preserves the story's essence.

Preview image from Ariel Adam's Baba Yaga: Character Design and Collectible Figurine. / https://dc.etsu.edu/digitalmedia-culminating-experience-gallery/1000/thumbnail.jpg

La figurine en terre cuite gallo-romaine doit être perçue autrement que comme une simple statuette en ronde-bosse. Ce travail en l'associant à un contexte gallo-ro- main, qu'il soit civil, cultuel ou funéraire permet d'observer la figurine en tant qu'ob- jet archéologique. Il a comme support un inventaire "représentatif" de sites associé à un catalogue iconographique afin de décrire les figurines dans leur contexte archéo- logique. Cette étude vise à définir des fonctions et à donner une place à cette figurine au sein de la société gallo-romaine. Elle nous plonge dans l'histoire économique et sociale mais également religieuse et funéraire d'une frange modeste de la société gal- lo-romaine. La protection accordée par ces objets est recherchée dans les ateliers artisanaux mais également dans l'habitat sous la forme d'une représentation en terre cuite de Vénus, de la déesse-mère ou bien encore d'un personnage ou d'un animal. Il semblerait qu'elle reste dans la famille de la naissance à la mort. D'abord un jouet, elle devient une présence au quotidien puis un accompagnement dans la tombe. Son rôle diffère Lorsqu'elle est mise au jour en contexte cultuel, elle devient une offrande ou parfois même un ex-voto dans les lieux de culte et plus particulièrement dans les sanctuaires.

Syftet med uppsatsen har varit att analysera utformningen och geografiska placering av hällbildsvoltigörer inom Västra Götaland för att förstå den eventuella relation hällvoltigörerna kan ha haft till bronsålderns metallhandelsnätverk. Det primära källmaterialet består av uppgifter om dels bronsvoltigören från Grevensvænge, Själland dels hällbildsvoltigörer i Fornsök och Svenskt Hällristnings Forsknings Arkivs som bilddatabas som kunnat styrkas av dokumentation och verifierats att figuren omfattas av uppsatsens definition av voltigör.  De kvantitativa metoder som har använts har huvudsakligen varit för att göra en jämförande analys av de parametrar som ingår i vissa analysteman. Det har inte gått att inom ramarna för en uppsats på denna nivå utläsa något påvisbart samband med metallhandelns handelsvägar. / The purpose of this essay has been to analyze the design and geographical location of rock image voltigeurs within Västra Götaland in order to understand the possible relationship the rock voltigeurs may have had to the Bronze Age metal trade network. The primary source material consists of information about the bronze vaulter from Grevensvænge, Zealand, and the rock image vaulters in Fornsök and the Swedish Rock Art Research Archive as an image database that could be substantiated by documentation and verified that the figure falls within the essay's definition of vault. Quantitative methods that have been used have mainly been to make a comparative analysis of the parameters included in certain analysis themes. It has not been possible to infer any demonstrable relationship with the trade routes of the metal trade within the framework of an essay at this level.