Cypriot Oinochoe: Wine Jugs

Cypriot Jugs: A Journey Through Time

The Cypriot Oinochoe, with its distinctive spherical body, elongated neck, often animalistic mouth, and singular handle, is not just an iconic shape among ancient Cypriot ceramics — it's also a personal favorite of mine!

In this article, let's embark on a captivating journey to uncover the origins, evolution, and various fascinating variants of this extraordinary pottery. We'll delve into related pottery types, exploring their uniqueness and charm.

Interestingly, the term "Oinochoe" is a borrowed name, originating from the Greek word οἶνος (oînos, "wine") and χέω (khéō, "I pour"), referring to a similar style of jug used in wine service. This borrowing of names from Greek pottery, often indicative of specific uses, is common in ancient Cyprus. However, the intriguing part is that these names often carry implications without substantial evidence of their actual use in Cypriot culture.

The Mysteries of Late Bronze Age & Early Iron Age Cyprus

The Late Bronze Age (1300 - 1050 BC) in Cyprus remains shrouded in mystery, despite extensive archaeological efforts. Many scholars theorize that the 12th century BC marked a significant phase of Aegean colonization on the island. [3] However, the term "colonization" often brings images of conflict and dominance. Catling suggests "Hybridization" as a more fitting term to describe this complex historical interaction. [2]

Traces of Aegean, Egyptian, and Levantine influences become increasingly evident as we delve deeper into the Bronze Age. These cultural fusions are not only reflected in the pottery but also in the introduction and evolution of jewelry and figurines of the era. [2, 6]

The Late Bronze Age collapse, a phenomenon that affected Cyprus, the Aegean, and the Levant, is attributed to various factors, including the mysterious Sea Peoples. [4] Cyprus, too, felt this collapse, witnessing the abandonment and later reconstruction of many sites and towns. [2] Despite these trying times, the quality of life in Cyprus seemed to have maintained a degree of stability. [5] The collapse in the Levant and the introduction of new cultures marked the dawn of the Early Iron Age, also known as the Cypro-Geometric period. This era is particularly noted for its wheel-made white painted wares and bichrome pottery, reflecting a new chapter in Cypriot artistry.

The Dawn of the Cypro-Geometric Period

The Cypro-Geometric period heralded a renaissance in Cypriot pottery, with the now mass production of wheel-made pottery to a quality not previously seen on the island. It's not clear why Cyprus resisted the use of the potter's wheel for so long, there is strong evidence that the Cypriot people knew of its existence and impact [CITATION, I THINK DESMOND HAS SOMETHING]. Potentially due to newly found competition through either imported pottery or local foreign potters, the wheel was now here to stay.

Cypriot potters were however unable to make much pottery without imbuing it with their own unique style, and creativity. While the bronze-age was characterised with fascinatingly complex shapes, some of which yielded practically useless vessels, the geometric period was characterised by more practical pottery shapes, adorned with patterns and art.

The word Bi-chrome comes from greek, meaning two colours, and refers to the two colours of paint commonly applied to such pottery, red and black. This paint was often applied on top of the bare clay, but sometimes a slip was applied first.

The late bronze age and early iron age were a time in which Cyprus traded intensely with its neighbors. The amount of bichrome wares exported from Cyprus even called into question as to the origin of these pieces. Chemical analysis has shown that much of the exported pottery was made from a few select high production sites throughout the island.[7]

The Cypriot Oinochoe: Unknown Origins

The origins of Iron age pottery is complex, not only due to the cultural mixing of the period, but also due to very few archeological sites having survived. The problem is ironic, due to the success of the early iron age, sites were lived and built over repeatedly, destroying earlier archeological evidence. [8] Most evidence can be found in cemetaries, which were left untouched.

It is clear the Cypriots were inspired by Agean and Levantine styles, either through the desire to emulate or through economical pressures due to foreign competition of imported pottery. Late bronze age and early archaic white painted and bichrome wares show compositions similar to greek proto-geometric and mycenean pottery. [8]

Cypriot pottery throughout the iron age evolved in boldness and complexity. Early wares often had a few simple repeated shapes or geometric patterns, with later pieces introducing free field art.

The Oinochoe: A Unique Shape

While differing Oinochoes all share a distinct set of features, such as a neck attached to a large spherical body, with a curved handle and a uniquely shaped open mouth, the ratios between these as well as the art placed upon them can differ greatly.

Most Oinochoe also have a small base, allowing them to stand upright, however some have a larger more defined stand.

Oinochoes are usually around 20cm tall, with examples under 10cm and over 40cm being quite rare. The neck usually takes up around a quarter of the height, though in some extreme cases the neck can be elongated, or in some the body being oversized.

Early iron age cypro-geometric Oinochoe often had circular geometric patterns that were common to the period. Concentric red and black circles were painted onto the ceramic body using a compass. Though, the smallest concentric circles were sometimes applied by hand.

Groups of concentric circles of differing colors are spread throughout the shape, usually in a pleasing symmetric arrangement. Red lines are often faded on modern examples, whereas the black paint is usually well preserved.

As the cypro-geometric progressed, a new type of art slowly took hold. By this time, shapes such as swastikas or arrows were already starting to become more common on Oinochoe, these were of course hand painted. More complex hand painted shapes are often referred to as free field, and are highly desirable due to their rarity.

Free Field Cypriot Art

In the realm of free field Cypriot art, the depiction of birds on Oinochoe emerges as a distinct and captivating theme. These avian representations are not only aesthetically mesmerizing but also symbolically rich, offering a window into the cultural and artistic sensibilities of the era. I happen to find them absolutely beautiful, similar to the famous cycladic statues, where an object being represented in a creative, almost modern, way.

Unlike other animal or human forms in Cypriot art, the birds depicted on Oinochoe are highly stylized, often to an extent where their specific species becomes ambiguous and unrecognizable. The birds are frequently portrayed in dynamic poses, such as in flight or engaged in activities like hunting or feeding on fish, infusing the pottery with a sense of vitality and movement.

Moreover, these bird motifs are typically integrated with other geometric patterns and shapes, like swastikas or arrows, creating a harmonious blend of naturalistic and abstract elements. The intricate designs within the birds' forms, including patterns that constitute their feathers and features, showcase the potters' skill in achieving both complexity and elegance.

While this article covers some free field art, for a more in depth look at cypro-archaic free field birds please see our article dedicated to the topic.