Cypriot Free Field Art

Cypriot Free Field Art

The world of Cypriot ceramics from the Bronze Age captures our imagination with its distinctive and inventive forms. The potters of that era brought to life an array of ceramics, each showcasing a variety of finishes, techniques, and artistic methods, leading to the creation of intricate and captivating pieces. The beauty of Bronze Age Cypriot ceramics is characterised by the extreme and non-utilitarian shapes of vessels.

The violent transition to the early Iron age introduces the use of the potters wheel and a more standardised inventory of shapes and sizes adorned with geometric patterns. Although the shapes become simpler and more functional, the beauty of these patterns is undeniable.

While the intricate patterns and the nuanced variations among the ceramics of that era are indeed captivating, there's an undeniable gap between the ancient potter's intent and the modern viewer's perception. This gap is primarily due to the tools and techniques employed to create more standardized patterns and designs. Such uniformity can feel somewhat restrictive, leading us to ponder if the potters were merely adhering to a prescribed set of designs from a limited repertoire of patterns.

However, it's important to acknowledge that within these constraints, the creativity and thoughtfulness in arranging these patterns and integrating them into each piece are still apparent. The way these designs are laid out and applied to the ceramics does reveal a glimpse of the artist's vision. Yet, it's also true that the medium and the methods used during this period somewhat curtailed the full expression of the artist's individual creativity.

As we move into the late geometric and early archaic periods, a new artistic expression emerges: the Free Field style. This style marks a return to creativity and personal flair, offering a clearer glimpse into the minds and hearts of the artists. The careful planning and placement of each line and color pigment in Free Field art create a palpable connection to the creators who lived over two and a half millennia ago.

In this article, we delve into the mesmerizing world of Free Field art, a style that stands out as one of the most intriguing and emotionally resonant in late Cypriot ceramic decoration. Join us as we uncover some of the most remarkable examples of this timeless art form.

The Dawn of Free Field Art

When one searches for free field art, or visits a museum or local gallery, the examples are usually of the later archaic period when the style was well developed. [STILL WRITING SECTION]

Animals

Animal themes are pervasive throughout numerous cultures, including that of Cyprus. Whether it be through statues, animalistic inspired ceramic designs or even fully animal like pieces, common themes emerge.

Birds

Birds held a special place in the art and culture of Cypro-Archaic Cyprus (ca. 750-475 BC), appearing frequently in both sculpture and painted ceramics. While present in earlier Cypriot art, avian imagery saw a significant increase during this period, becoming one of the most commonly depicted animals. Despite this prevalence, the significance of these bird representations has often been overlooked, sometimes dismissed merely as decoration. However, a closer examination reveals that these depictions were imbued with cultural meaning, reflecting ancient Cypriot perceptions of the natural world and their interactions with it.

Understanding Cypro-Archaic Bird Types

To decipher the meaning behind these images, it's helpful to categorize them based on visual characteristics observable in the artwork, mirroring how ornithologists classify live birds. While many depictions are stylized, making species-specific identification difficult, most Cypro-Archaic bird representations fall into three broad typological categories based largely on their silhouette and proportions.

Birds of Prey: Characterized by features like large wingspans, sharp claws, and hooked beaks. Raptors like eagles, hawks, and vultures fit this category.

Waterfowl: This diverse group includes birds adapted for floating (like ducks and geese, often with rounded bodies and short necks) and wading birds (like herons and flamingos, typically with long legs and necks).

Songbirds: Generally smaller birds with proportionate features, including relatively balanced bodies, short legs and necks, and small beaks. Doves, pigeons, and even chickens (distinguished by comb and wattle) are classified here.

This classification isn't just a modern convenience; the distinct ways ancient Cypriot artisans rendered these different types suggest they recognized these categories and likely associated different meanings with each.

Iconography, Context, and Meaning

Raptors appear relatively infrequently in the Cypro-Archaic artistic record compared to other types. They are most commonly found sculpted in limestone, often depicted perched on a plinth, sometimes grasping prey like smaller birds or snakes. The contexts where these sculptures are found are significant: many Cypriot-made examples were discovered in sanctuaries dedicated to female deities on the Greek islands of Samos and Rhodes, or within restricted cultic areas in the palace at Amathus. Very few have been found in tombs. This restricted distribution, combined with the inherent symbolism of raptors (power, fierceness), suggests these images may have functioned as symbols of authority, apotropaic guardians, or prestigious offerings, possibly reflecting Near Eastern or Egyptian influences where raptors held strong symbolic value related to royalty and protection. The rarity and stylistic variations, sometimes drawing on foreign prototypes, further point to their special status.

Waterfowl was the most frequently depicted bird type overall in the Cypro-Archaic period, common in both sculpture and vase painting. While varied, common forms include terracotta figurines standing on legs or cylindrical bases, or with bell-shaped bodies, often resembling ducks, geese, or swans. Their strong association with mortuary contexts across Cyprus suggests a connection to concepts of death, the afterlife, and perhaps rebirth, potentially linked to their often migratory nature. They could also represent fertility, especially species like the Great Crested Grebe known for elaborate mating displays and carrying young on their backs.

Songbirds includes the most varied representations, from generic small birds to more identifiable doves/pigeons and even chickens. This category constitutes the most frequently found type in Cypro-Archaic sculpture, accounting for roughly two-thirds of securely identified sculpted birds. Unlike waterfowl which dominate mortuary assemblages, songbird representations are predominantly found in sanctuaries, strongly suggesting a primary association with cultic rituals and religious thought.

The most common way songbirds are depicted is not individually, but held by human figures, overwhelmingly in terracotta. Over 100 examples show female figurines cradling a songbird, often against the chest or torso, while fewer male figures (mostly limestone statues) grasp the bird differently, typically dangling it by the wings against the thigh. These figures holding birds are widely interpreted as adorants presenting an offering or sacrifice to a deity. The prevalence of female figures with songbirds, often found in sanctuaries dedicated to female deities like Aphrodite, may hint at a particular connection between songbirds (especially doves/pigeons) and female divinity or fertility concepts, echoing associations known elsewhere in the Mediterranean.

Freestanding songbird figurines, though less common than those held by humans, also occur, particularly terracotta examples resting on conical bases found clustered at sites like Salamis and exported to Lindos. These likely also functioned as votives. The appearance of terracotta dovecotes from Idalion, showing small birds alongside human figures engaged in apparent ritual activity (dancing, music), further points to the integration of songbirds into cultic performance, perhaps even involving semi-domesticated birds kept near sanctuaries.

While less frequent than waterfowl in tombs, songbirds do appear in mortuary contexts, suggesting they were acceptable grave goods. Their symbolism here is less clear but might relate to their perceived apotropaic qualities (linked to birdsong), associations with victory (perhaps victory over death), or as companions for the deceased, mirroring beliefs found in nearby cultures. Chickens, identifiable by their combs and wattles, emerge later in the Cypro-Archaic period, likely introduced from the East, and may carry additional meanings related to aggression or fighting, though their primary role was likely sustenance and sacrifice.

Overall, the diverse forms and contexts of songbird representations highlight their significant role in Cypro-Archaic religious life, primarily as potent symbols in votive offerings and ritual practice, with secondary, though present, associations with funerary beliefs.

Fish

Snakes

Boar, Deer, Goat & Bulls

Mythical Creatures

Humans

Archers

Chariots & Horses

Maritime

Religious

Example Gallery

To find out more about Oinochoe you can refer to our article deep diving into the topic here.