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La Serena, Badajoz, Spain
77
76
79
78
1
cylindrical eye figure
Iberian peninsula, Estramadura?
Chalcolithic period (IV millennium BC)
Gypsum, H. 12.75 cm, D. 6.10 cm
Museo Arqueológico Nacional,
Madrid, inv. 2002/98/3
Bibliography:
Maicas Ramos 2004,
p. 15.
Although we do not know where they
were found, these idols are especially
frequent along the lower banks of
the Guadalquivir and date to the
Chalcolithic period (IV millennium BC).
M.R.
2
SticK eye figure
Iberian peninsula
Chalcolithic period (IV millennium BC)
Grey stone “caliza”, H. 21.5 cm,
W. 3.5 cm
Museo Arqueológico Nacional,
Madrid, inv. 39557
Bibliography:
Almagro Gorbea 1973,
pp. 141–142, fig. 24, pl. XXI.
Probably recovered from the middle
basin of the Guadiana, where this type
of idol is concentrated. Chalcolithic (IV
millennium BC).
M.R.
81
80
4
plaque idol
Iberian peninsula, Granja de
Céspedes, Badajoz
Chalcolithic period (IV millennium BC)
Slate, H. 20.4 cm, W. 12.9 cm
Museo Arqueológico Nacional,
Madrid, inv. 1959/53/2
Bibliography:
Almagro Basch 1963, pp.
2–9; Bueno Ramírez 1992, pp. 580–582;
Hurtado Pérez 2010.
This idol still shows traces of ochre
inside the incised decoration, which
have faded significantly since the
moment of discovery. Within the
“plaque idol” group, this example
corresponds to the subtype with
anthropomorphic traits, less common
than the trapezoidal plaques with
geometric decoration. It was found in
a necropolis comprising about twenty
graves, since vanished.
M.R.
5
plaque idol
Iberian peninsula, Granja de
Céspedes, Badajoz
Chalcolithic period (IV millennium BC)
Slate, H. 14.30 cm, W. 8.50 cm
Museo Arqueológico Nacional,
Madrid, inv. 1959/53/3
Bibliography:
Almagro Basch 1963.
This idol belongs to the most common
and widespread type of these rare
artefacts.
M.R.
3
plaque idol
Iberian peninsula, Vega de Guadancil,
Garrovillas de Alconétar, Cáceres
Chalcolithic period (IV millennium BC)
Broken/missing piece at centre,
restored
Slate, H. 16.30 cm, W. 7.9 cm
Museo Arqueológico Nacional,
Madrid, inv. 358
Bibliography:
Bueno Ramírez 1992, pp.
580–582; Cerrillo 2016, pp. 29–46.
This idol still shows traces of ochre
inside the incised decoration, which
have faded significantly since the
moment of discovery. Within the
“plaque idol” group, this example
corresponds to the subtype with
anthropomorphic traits, less common
than the trapezoidal plaques with
geometric decoration. It was found in
a necropolis comprising about twenty
graves, since vanished.
M.R.
83
82
SARDINIA
85
84
feMale geoMetric figure
Sardinia, Porto Ferro (Sassari),
domus
de janas
necropolis
Early Chalcolithic (IV millennium BC)
Polo Museale della Sardegna – Museo
Archeologico Nazionale, Cagliari,
inv. 62474
(cat. 8, detail)
eArly humAn fiGureS
from SArdiniA
tHe cHrono-cultural context
N
eolithic female figurines from Sardinia represent one of the many phenomena
of three-dimensional figuration that began to appear in the tenth millenni-
um Bc in the levant, the Balkans and the mediterranean. new metaphors
and symbols took hold in the northern levant, in cultures that still lacked ceramic
production but were experimenting with and transforming socio-economic systems
of production destined to replace the predatory economic system of the last hunt-
er-gatherers. t
hese metaphors and symbols would bring significant new influences
into the first fully productive societies of the european neolithic and, as regards our
discussion, the mediterranean as well.
sardinia is located in the tyrrhenian trajectory of the diffusion of the early tyr-
rhenian neolithic and was involved in the process of inter-relations and cultural
homogenization of the neolithic Cardial (mid-sixth millennium BC). its develop-
ment can be traced to the chrono-cultural sequence of the filiestru, Bonu ighinu
and ozieri macro-phases, as confirmed by sound stratigraphic and other forms of
documentation.
in this historical segment, the island represented an active, receptive element
in trade and stylistic influences (if we use ceramics as a factor for assessment),
becoming an interlocutor during the middle and recent neolithic in the dialogue
with the peninsular facies of the tuscany-latium areas of Central italy and of the
serra d’Alto/ripoli group, as well as with the Chassean culture of continental and
Provençal
italy. this was an open circuit, extended over large areas during the
san Ciriaco timeframe (the transition from Bonu ighinu to ozieri) and the succes-
sive protracted development of the ozieri culture, which connected sardinia by
sea ideally with the results of the north-central (particularly the Po Valley) Chas-
sey-lagozza and of the south-central diana culture at the end of the neolithic era
and continued uninterrupted at the beginning of the fourth millennium with the
transition to the Copper Age.
the phenomenon of female figurines, about whose function and meaning much
has been written, appears and spreads in the context of these flourishing relations.
Widely disseminated both on the islands and the peninsula, finds from italy share a
number of aspects yet also vary widely, in overall formal structure as well as small-
er details (anatomical parts, decorations and ornaments). nonetheless, there is a
87
86
1
1, 5, 12: Cuccuru s’Arrius (Cabras –
Oristano); 2: Su Cungiau de Marcu
(Decimoputzu - Cagliari); 3: Polu
3 (Meana Sardo - Nuoro); 4: Santa
Mariedda (Olbia); 6: Perfugas-Sos
Badulesos (Sassari); 7: Polu 1
(Meana Sardo - Nuoro); 8: Polu 2
(Meana Sardo - Nuoro); 9: Sa Ucca’e
su Tintirriolu (Mara - Sassari);
10, 11: Monte Majore (Thiesi -
Sassari); 13: Puttu Codinu (Villanova
Monteleone - Sassari); 14: Su Crucifissu
Mannu (Porto Torres - Sassari);
15: Senorbì-Turriga (Cagliari) (from
Lilliu 1999; graphics by L. Baglioni)
consistent iconographic canon, to be understood as a symbolic instrument for ritual
communication. the peninsular production of female statuettes is characterized by
recurring traits, in terms of technique (clay as the predominant raw material), di-
mension (small), taphonomy and context (settlement and funerary), and conservation
(fragmentation) – all traits betraying a widely adopted ideological and metaphorical
framework, independently of the diverse formal architectures.
figurineS froM Sardinia
neolithic figurines in Sardinia, as in Sicily, diverge from their peninsular counter-
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