Awl Anatolia, Hacilar, ca. 5750-5000 BCE Bone 81.96 Weinberg Fund

Pin Anatolia, Hacilar, ca. 5450-5250 BCE Bone 81.94 Weinberg Fund

The awl was used for making holes in leather; the pin fastened clothing. Individual householders in times probably made their own items of common household use. Some skills may have been practiced by specialists (such as production of chipped stone tools), but simple tools of bone were probably made and used by everyone in the community. However, making of clothing may have been a task undertaken by women.

These two objects come from the Neolithic and Chalcolithic site of Hacilar in southwest Anatolia. The settlement was excavated in the late 1950s, but after 1960 illicit digging destroyed the settlement mound and the nearby cemeteries. Nevertheless, the four excavation seasons provided information about the history of the site and the culture. The earliest levels of the site were occupied in the 7th millennium BCE by people who produced no . Seven superimposed building levels were uncovered. Above, lay the later mound which contained some thirteen building levels. This site was occupied from ca. 5750-5000 BCE

Finds, other than pottery, were rare. There were some chipped stone tools, and a flourishing polished stone industry produced maceheads, beads, pendants, palettes, and pounders. Tools of polished and carved animal bones were extensively used. Among these are pins and awls. The pins, many of which have carved heads, were often made from the ribs of cattle. The awls, which were numerous finds from the excavations, were made from the leg bones of sheep and goats. (MAA 9/99)

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Face from Jar in Human Form Anatolia, Hacilar, ca. 5250-5000 BCE Pottery 81.99 Weinberg Fund

Carinated Bowl, Painted Ware Anatolia, Hacilar I, Early Chalcolithic period, ca. 5250-5000 BCE Pottery 85.28 Weinberg Fund

The fragment and the bowl come from the uppermost level of the mound of Hacilar. Both are characteristic of the distinctive pottery from the site. Always handmade, much of it is painted ware in red on cream. The shapes are mainly bowls, but jars, cups and mugs were also made. The decoration is a linear style, using horizontal and vertical wavy lines or chevrons, V- patterns, reserved lozenges, and patterns derived from basketry. Much of the ware is aesthetically pleasing. The fragment, also in red on cream ware, preserves the face from a rare jar in female form, perhaps representing a goddess, or worshipper. Early societies believed in the existence of supernatural powers that controlled weather, crops, and fertility of living creatures. These powers required propitiation in the form of offerings and ceremonies. Vases of this kind from Hacilar were probably used on religious occasions. Although Neolithic religion was not dominated by worship of a female goddess of fertility, as was once believed, yet vases in female form can readily be interpreted as having a connection with fertility.

Although classed as pottery, effigy vases should perhaps be thought of more as statuary. In size they range from a height of 10-30 cm. They have the same owl-like face as on this fragment, with nose merging into brow ridges. A few have obsidian inlay for eyes, as does this fragment. Where preserved, the bodies are shown as dressed in rich garments. All have small round breasts and legs not shown. Despite these similar features, none of the vases are identical. (MAA 9/99)

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Triple Vessel Anatolia, Yortan Culture, Early Bronze I-II, ca. 3500-2700 BCE Pottery 81.58 Weinberg Fund

The vast region of Anatolia takes its name from the Greeks (anatole: Gk. east). The area is mountainous in the east, and along the north and south coasts, and has a high plateau in the center. In prehistoric times it was well wooded, and its resources--gold, silver, and copper ores-- attracted many migrations. Its cultural history is consequently rich and varied. The exhibit illustrates some of this history through the artefacts on display. One of these cultures, which are well represented in the collection, is the so-called Yortan culture, named from the site where its distinctive pottery was first discovered. Many more sites are now known.

The region encompassed by the Yortan culture lies in the northwest area of Anatolia. Characteristic of the culture is its pottery, which is handmade, slipped and burnished. Most vases are grey or black, although red vases are also known. Decoration consists of patterns in matt white paint, or in incision, filled with white clay. Frequently, some form of relief work was added, such as small knobs. The pottery is individualistic, as exemplified by this triple vessel with its three separately made jars linked by a strap handle, all decorated with white- filled incised patterns. The intersecting diagonal lines and crosshatched lozenge patterns are typical of this ware.

Pottery was by far the most frequent offering in graves of the Yortan culture. Some small jars when found contained red or yellow ocher which may have been used in the cult of the dead. Triple vases like this one may also have been intended for some form of cult use.

The pottery has interesting similarities to Cypriot pottery. Tall jugs with beaked or cutaway spouts are also found on Cyprus, as is the use of decorative incision. Scholars nowadays, however, think that the similarity does not denote strong contacts between Anatolia and Cyprus but only a "generic" resemblance. (MAA 9/99)

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Scaraboid Seal with Pipes-player Anatolia, Cilicia, 750-700 BCE Green serpentine 92.2 Weinberg Fund

This seal shows a musician playing the double pipes, with a bird standing in front. The figures are incised in a linear outline style. The musician wears a robe whose skirt is rendered in vertical lines, and a slanting line at his waist indicates a sword or dagger.

The seal belongs to a large group of scaraboid seals, made in Cilicia on the south coast of Anatolia and exported to Greece, particularly the island of Euboea. From there, many were carried to Greek colonies in Italy and Etruria, where they are frequently found in graves of children and infants, placed around the neck as a protective amulet. Some show wear, indicating that they were worn also by adults. In Greece and the Aegean islands, seals of this type were dedicated to the gods and may not have had the same amuletic function as among the western Greeks.

These seals, and others with different orientalizing motifs, provide evidence of connections between Greece and Anatolia and Greece and Italy in the 8th c. BCE Seals provided a medium for bringing to Greece Near Eastern motifs that then entered the Greek artistic repertoire. The double pipes, shown on this seal, are not represented in Greek art until ca. 700 BCE; this probably indicates when the instrument itself began to be used in Greece. (MAA 9/99)

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Relief Panel: Horseman and Griffin Anatolia, Dhver, 525-500 BCE Terracotta 93.32 Saul S. Weinberg Memorial Fund

Mended from six fragments and partially restored, the panel shows a horseman at the left, wearing a tunic, trousers, and short boots. In front of the rider walks a griffin, a mythical creature, half-lion, half-bird. Although the horseman appears to be chasing it, the griffin walks forward unconcernedly, heedless of the horse at his heels. A connection is, therefore, probably not intended between the horseman and the griffin. This plaque belongs with a group of terracottas, apparently all from one building, comprising antefixes that covered the ends of the roof's cover tiles, together with four types of revetment. The most common type of revetment, to which the museum's plaque belongs, comes from the edge of the building's roof along the sides. It shows gaily painted griffins and horsemen, all molded in relief, differing from each other only in the colors with which they are painted. The function of the terracottas was to protect and decorate the building. This practice was common in parts of the ancient Mediterranean world. The city of Corinth probably invented the practice, which, in the second half of the 7th century BCE, spread west to Sicily, South Italy and Etruria; it was also adopted in Anatolia (modern ) where examples have been discovered at many different sites. One of these sites is the citadel of Dhver, in southwest Anatolia, from which the museum's plaque comes. Fully preserved examples of these revetment plaques explain the function and placement of the museum's panel. It was fastened vertically to the horizontal cornice of the building. Each plaque was made in one with a horizontal section extending back from the top edge. This part served as an eaves tile for the roof and contained water spouts, located at the center of each plaque. The revetment in the museum preserves only traces of the horizontal part and no remains of its waterspout. The building to which the plaque belonged has not been excavated, but stylistic comparisons with other works of art suggest a date in the 6th century BCE, probably in the second half of the century. (MAA 9/99)

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Mace Head Anatolia, possibly Catal Hüyük, date uncertain Stone 81.83 Weinberg Fund

Small Jar Anatolia, Hacilar V, ca. 5600-5500 BCE Pottery 85.24 Weinberg Fund

Oval Carinated Mug Anatolia, Hacilar I, ca. 5250-5000 BCE Pottery 85.23 Weinberg Fund

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Idol Figurine Anatolia, Early Bronze Age II, ca. 2700-2400/2300 BCE Marble 76.215 Museum Purchase

Jug Anatolia, Early Bronze Age I-II, ca. 3500-2700 BCE Pottery 74.89 Museum Purchase

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Globular Pyxis and Lid Anatolia, Early Bronze Age I-II, ca. 3500-2700 BCE Pottery 58.29.2 A and B Museum Purchase

Depas Amphikypellon Anatolian, Turkey, Afyon, Early Bronze III, ca. 2200 BCE Pottery 71.10 Museum Purchase

Fibula Anatolian, Turkey, Gordium, 7th century BCE Bronze 59.9 Museum Purchase

Fibula Anatolian, Turkey, Gordium, 7th century BCE Bronze 59.10 Museum Purchase

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Fibula Anatolian, ca. 725-700 BCE Bronze 70.104 Museum Purchase

Krater Anatolia, Phrygia, Iron Age, 6th century BCE Pottery 73.3 Museum Purchase

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