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Europe > South-east Europe 3200-2000 BC Early Bronze Age
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   Marble figurine of a woman
Marble figurine of a womanLarger image
Marble figurine of a woman
Marble figurine of a woman
Marble figurine of a woman
Marble figurine of a woman
Marble figurine of a woman
  Larger image
© 2006 The British Museum

About 2600-2400 BC
From the Cyclades, Aegean Sea

This is an example of a naturalistic ‘folded-arm’ figurine so characteristic of Cycladic culture during this period. They are mostly found in graves, and so probably had religious significance. It is also possible that the figures were used in the rituals of the living before accompanying their owners to the grave.

Height: 490 mm
The British Museum GR 1863,0213.1
British Museum: Marble figurine of a woman
Cycladic culture and figurines
Cycladic culture and figurines
Early metalworking in Greek lands
Early metalworking in Greek lands
Early Minoan Crete
Early Minoan Crete
Cycladic culture and figurines

The isolated position of the Cycladic islands meant that Cycladic culture developed strong traditions that remained unchanged for centuries. An example of this is the production of marble figurines, the most characteristic of Cycladic artefacts. We do not know why the figurines were made or who they represented. However, they continued to be made for hundreds of years so they must have been important to the islanders. Such figurines are also found in Crete and on the coast of Attica, while a few examples come from even further afield. This reflects cultural influences from the Cyclades, and in fact some Cycladic islanders probably lived on Crete.

The figurines come in two basic types, schematic and naturalistic. The schematic types include ‘Violin’ figurines and are often barely recognisable as human forms. Among the most naturalistic examples are figures engaged in specific activities such as playing musical instruments. The most common type are the ‘folded arm’ figurines. These are female, their form reduced to a few key components and with no features apart from a sculpted nose. Facial features, hair or headdresses and other decorative patterns were often originally painted on. Because the feet point downwards, they must have been designed to lie down, or to be propped up or carried.

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© 2005 The British Museum