3200 BC - 2000BC
In the Early Bronze Age, which begins in c. 3200 BC, there
appeared an important civilization on the Cycladic Islands in
the central Aegean Sea, at the crossroads of the great
civilizations of the East---Egyptian, Minoan, Persian, etc. One
of the most distinguishing creations of this civilization was
what are now called the Cycladic figures. These fascinating and
enigmatic forms have great aesthetic power in their very
simplicity. The majority of the figures depict female forms,
the prototypes of which seem to originate in the Neolithic
Period. Cycladic figures undergo significant changes in shape
and form during the period from 3200 B.C. to 2000 B.C.
The First Phase
The first phase in the development of Cycladic figures is called the “Clay Grottas” civilization, extending from 3200 B.C. to 2800 B.C. In this period, the characteristic features of the idols are their flat, one dimensional surfaces, the suggestively anthropomorphic features embodied within the “violin” shape, so-called primarily because of the absence of the human head. In the same period occur idols of the Plastira type, discovered in the excavations of an ancient cemetery in the village of Plastiras in the north part of the island of Paros.Characteristic of this style of figures are human forms, distinguishing sexual features with head, feet, and arms crossed on the chest.
This period ends with figures of the
Lourou type, discovered in excavations of the ancient
cemetery in the village of Louros on the island of
Naxos. These idols are straight-standing, flat surface
images, once again, suggestive of the human figure, but
without faces or arms. Archaeologists agree that these
figures represent the end of the first phase of Cycladic
figure development. Characteristic of this style of figures are human forms, distinguishing sexual features with head, feet, and arms crossed on the chest. This period ends with figures of the Lourou type, discovered in excavations of the ancient cemetery in the village of Louros on the island of Naxos. These idols are straight-standing, flat surface images, once again, suggestive of the human figure, but without faces or arms. Archaeologists agree that these figures represent the end of the first phase of Cycladic figure development. The Second Phase The next phase of Cycladic Civilization is called the Kerou Sirou civilization period, which extends between 2800 B.C. to 2200 B.C. Characteristic of this type of figure are the upward tilt of the head, bent legs, and elevated heels. There are many different types, depending upon where they were found, among which are Kapsalon, Spendou, Duodekathismaton, Chalandrianis, and Koumasi. In this phase, Cycladic artists also produced statues which reached up to 1,5 meters (60”) in height. Parallel to this are three dimensional figures depicting human male forms playing musical instruments.
The Third Phase The development of Cycladic idols ends in this third phase, called Phylaci Civilization, and dating from 2200 B.C. to 2000 B.C. This period marks the gradual decline in production of Cycladic figures. After 2000 B.C., there are no more Cycladic forms. These images are similar to those of the Second Phase.
Interpretations of the Idols |
There are many different theories about the meanings and uses of Cycladic idols. Since we do not have any written evidence from this period, we cannot be certain about the daily life, customs, or beliefs of their creators. All interpretations, therefore, remain speculative. However, since most of the idols were found in tombs, evidence seems to suggest that they were of some sort of ‘religious’ value. The most accepted interpretations conclude that the figures represent the Mother Goddess of Fertility, the “psychopombos,” or soul-transporter, and various amulets meant to protect the dead from harmful spirits. Especially the later images seem to depict the human in ecstatic poses, offering the mind to the divine, or in meditative, prayerful stances.
Apart from the problems of interpretation, these figures are unique in the history of sculpture. Great artists, such as Henry Moore and Picasso, have been deeply impressed by Cycladic art. Henry Moore wrote, “ I especially love the instinctive sense of importance, which the Cycladic figures have. It is as if the sculptor could not make a mistake. Never did he arrive at a result which was not predictable from the beginning.”
Epalladio
Epalladio Art Workshop, with deep respect for Cycladic art, has developed a collection of figures which represents the developmental progress of Cycladic figures characteristic of each period. We use authentic, natural materials, i.e., stoneware clay, in an effort to preserve the beauty and provocative intentions of Cycladic art.