Free Field Anthropomorphic Jug - Artifact Analysis

The Cypriot Iron Age

The Iron Age in Cyprus, spanning from 1050 BCE to the end of the Cypriot city-kingdoms in the late 4th century BCE, was a period of significant cultural, artistic and sociopolitical development on the island. Following the collapse of the Late Bronze Age societies in the Eastern Mediterranean, Cyprus entered a new era that saw increasing use of iron, the emergence of new ceramic styles, and a gradual shift in settlement patterns and sociopolitical organization.

The early part of the Iron Age, known as the Cypro-Geometric period (c. 1050-750 BCE), saw the rise of a distinctive ceramic style featuring geometric motifs and the reestablishment of trade contacts with the Levant and the Aegean. This period also witnessed the appearance of the first Phoenician settlements on the island, increasing the already present cultural interactions.

The subsequent Cypro-Archaic period (c. 750-480 BCE) was marked by the rise of the Cypriot city-kingdoms, the intensification of trade relations with the Near East and the development of a unique artistic style that blended local traditions with those of Cyprus' neighbors. One of the most distinctive styles to emerge during this time was the "free field" style of pottery painting, which represented a significant departure from the earlier geometric traditions.

The Free Field Art of Ancient Cyprus

The free field style, which became immensely popular during the Cypro-Archaic period, is characterized by the use of stylized motifs, often depicting animals, humans, and floral elements, freely arranged on the surface of the vessel without the constraints of earlier Geometric shapes. This new artistic approach coincided with Cyprus' increasing exposure to Near Eastern and Egyptian influences, and it is hard to ignore foreign influences.

Cypriot Free Field compositions are quite unique in style, being freely applied to the surface of the vessel without framing or additional geometric motifs. The free field compositions are usually a single or couple of distinct elements, such as animals or plants. In rarer cases one sees more complex compositions involving an interplay between earlier Geometric motifs, later Archaic patterns and Free Field art.

Free Field compositions are abstract in nature, so abstract in fact that archeologists struggle or find it impossible to assign a specific species to many of the depicted animals. Quite often an animal is represented through the use of basic geometric shapes, with limbs and heads being reduced to sets of lines or triangles.

This art is usually either in black slip applied to a white slip covered vessel, or in prototypical bichrome. In the case of redware vessels the free field art is often painted in white slip to set it apart from the black slip geometric patterns.

Human Representations in Free Field Art

Human figures in free field art are typically composed of simple lines and shapes, with triangular torsos, stick-like limbs, and circular or ovoid heads. Facial features, if present at all, are often reduced to mere dots or lines representing eyes, noses, and mouths. Despite this high level of abstraction, these human representations still manage to convey a sense of movement, emotion, and narrative. Human forms in Free Field art are relatively rare when compared to depictions of animals, and particularly birds.

Human representations in Cypriot free field art are particularly intriguing, often showcasing a unique blend of abstraction and stylization. While similar to the manner in which animals are represented in free field styles, there is something undoubtedly unique and enticing about seeing the human form.

A Highly Abstract Anthropomorphic Free Field Jug

An interesting Free Field jug recently entered our collection. Consulting with an expert of Cypriot Iron Age antiquities, we were able to date the jug to around the 7th century BCE. This would have been quite early in the Archaic period, though it is also possible the jug is from a later period.

The jug is 22cm tall, which is a rather typical height for jugs of the period. However, it has an atypically large mouth and short neck more reminiscent of Greek Oinochoe. The jug is wheel-made white painted. The jug's mouth is host to prototypical zoomorphic circle motifs with the handle being decorated with simple geometric shapes. What is much more captivating, however, is the Free Field composition prominently placed upon the center of its bulbous body.

This free field jug features a highly abstracted anthropomorphic figure painted in black slip against the light background of the ceramic surface, standing next to what appears to be a stylized animal, likely an antelope. The human figure is composed of simple geometric shapes and lines, yet still manages to convey a sense of movement and presence.

The figure's hands are represented by comb-like structures hosting eight elongated finger-like protrusions. This departure from the anatomically correct five fingers is intriguing, prompting questions about its symbolism and whether it may represent tools or other objects used during this period.

The body and torso are depicted using a ladder-like pattern of black vertical and horizontal lines creating rectangles, with no attempt to show natural human curves. The density of horizontal lines distinguishes the head from the torso. Unfortunately, the slip on the neck area is too damaged to discern any additional details.

Leaf-like structures adorn the head and make up the feet of the figure, with an identical pair protruding from each armpit. The arms are more clearly defined, with thick slip representing the shoulders and upper limbs.

The figure stands in an interesting pose, its elbows inverted, arms raised, and hands pointing straight down. The leaf-like structures representing the feet also point upwards, adding to the dynamic and almost dance-like stance of the figure.

While some of the slip has been professionally restored, the image presented here is a faithful reconstruction of the original design, allowing us to appreciate the artistry and symbolism of this remarkable artifact from our collection.

There are no clear comparative pieces in public catalogues, making this a unique and rare example of Cypriot Free Field art. While the exact meanings of the motifs and compositions in free field art remain a mystery, archeologists have proposed various interpretations. Some suggest that these abstract representations may have had religious or ritualistic significance, possibly depicting deities, mythological figures, or scenes from ritual practices. Others propose that they may have served as symbols of status, power, or social identity, reflecting the complex social hierarchies and cultural values of the Cypro-Archaic period.

The free field style, with its bold lines, stylized motifs, and dynamic compositions, represents a significant departure from the earlier geometric traditions, marking a unique era of artistic expression in Cyprus. When one sees Free Field Cypriot art, there is no direct comparative style in the ancient world. It is singularly Cypriot and represents the last of pre-classical, and therefore pre-Hellenistic, Cypriot art.

As we continue to study and appreciate these fascinating artifacts, we hope to uncover more clues about the lives, beliefs, and artistic practices of the ancient Cypriots.