AN ARCHAIC IVORY FIGURINE FROM A TUMULUS NEAR ELMALI: Cultural Hybridization and a New Anatolian Style Author(s): Tuna Şare Source: Hesperia: The Journal of the American School of Classical Studies at Athens, Vol. 79, No. 1 (January-March 2010), pp. 53-78 Published by: The American School of Classical Studies at Athens Stable URL: http://www.jstor.org/stable/40835454 . Accessed: 18/03/2014 10:12 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The American School of Classical Studies at Athens is collaborating with JSTOR to digitize, preserve and extend access to Hesperia: The Journal of the American School of Classical Studies at Athens. http://www.jstor.org This content downloaded from 71.168.218.10 on Tue, 18 Mar 2014 10:12:25 AM All use subject to JSTOR Terms and Conditions «ESPE..*7,uoio) AN ARCHAIC IVORY P"s"s"s FIGURINE FROM A TUMULUS NEAR ELMALI Cultural Hybridization and a New Anatolian Style To myfather, Arif Care ABSTRACT The extentof culturaland artistichybridization in ArchaicAnatolia is ex- ploredthrough close examinationof an ivoryfigurine of a motherwith two childrenfrom Tumulus D at Bayindir,near Elmali in southwesternTurkey. Alongwith other figurines from that tomb and fromArchaic Ephesos, this familygroup testifies to the late-Tth-century b.c. birthof a westernAnatolian stylein theminor arts that anticipates the Ionian stylein Greeksculpture. The authorsuggests that the figurines served as handlesof sacred implements and thatthey represent elite participants in thecult of an Anatoliangoddess, perhapsArtemis Ephesia. Amongthe remarkable archaeological discoveries of thepast century is an ivoryfigurine of a motherwith two children recovered from a tumulus adjacentto the village of Bayindir, near Elmali in Antalya province, south- westernTurkey (Figs. 1-4, below).1 Since its discovery in 1987,the group hasstimulated scholarly debate over its date, style, and the workshop that producedit, as well as theidentity of the figures itrepresents. The proposed datesfor the figurine range from the late 8th to theearly 6th century b.c. Somescholars consider the group to be theproduct of a Neo-Hittitework- shop,while others suggest an Ionian, Lydian, Phrygian, orLycian workshop; someidentify the figures as theAnatolian Kybele with her children, while othersidentify them as Letowith Apollo and Artemis.2 In thisarticle, I reevaluate the existing scholarship on thefigurine in lightof other figurines discovered in thesame tomb, as well as relatedmate- rialfrom Ephesos. I suggestthat the Antalya figurines were carved in an 1. AntalyaMuseum 2.21.87. This areowed to FahriI§ik, and to friends hereto referto theperiod ca. 700-480. articlederives from a case studyin my at ÇanakkaleOnsekiz Mart Univer- 2. The mainpublications concerning dissertation(Care, forthcoming). sity.I am also gratefulto theeditors of thisfigurine are Dörtlük 1988; Özgen I wouldlike to thankLarissa Hesperiaand to theanonymous review- and Özgen 1988;Akurgal 1992; Özgen Bonfante,John Kenfield, Clemente ers,whose suggestions improved this and Öztürk1996; Roller1999; Isik Marconi,Maya Vassileva,and Maya article. 2000; Boardman2000; and Börker- Muratovfor their inspirational support All datesare b.c. unlessotherwise Klähn2003. and helpfulcomments. Special thanks indicated.The term"Archaic" is used © The American School of Classical Studies at Athens This content downloaded from 71.168.218.10 on Tue, 18 Mar 2014 10:12:25 AM All use subject to JSTOR Terms and Conditions 54 TUNA CARE "Anatolian"workshop and exemplify the cultural and artistic amalgamation of Greekand local traditions that flourished in Anatoliaand developed intowhat art historians call the Ionian style. I alsoargue that the figurines functionedashandles of ritual implements, possibly distaffs orlibation cups, andthat they depict high-status participants in thecult of an Anatolian goddess,possibly Artemis Ephesia. I payspecial attention to the costumes ofthe figurines as evidence for religious and gender-specific roles and status inArchaic Anatolia. I beginby describing the figurine and its archaeological context. I then reassessthe figurine s date, style, and workshop of production; the iconogra- phyand identity of the subjects represented; the figurine's cult associations; itsfunction within the funerary context; and thepossible identity of the deceased.Adopting Ifik's label, I referto thisfigurine as AntalyaC.3 ANTALYA C IN CONTEXT TumulusD, fromwhich Antalya C wasunearthed, is one ofover a hun- dredsmall tumuli on the plain outside Bayindir. Only two of these tumuli, C andD, havebeen excavated systematically, both by Kayhan Dörtlük.4 Bothtumuli have revealed similar construction techniques: a burialpit sunkin thehardpan, enclosed within a woodenchamber, with the whole structurecovered by stones forming a mound. Interestingly, thecontents of - thetumuli represent different burial traditions cremation in Tumulus C andinhumation in Tumulus D.5 The woodenburial chamber in Tumulus D measures3.25 x 4.50 m andhas a floordecorated with pebbles.6 The skeletalremains of a female in herlate 20s laidout on a woodenkliney with her head facing east, were foundon the north side of the room.7 Surviving elements of the deceased s costumeinclude a largesilver belt over her waist, ten bronze fibulae over her chest,and nine silver fibulae found next to herchin. Scattered around the bodywere two small bronze cauldrons with bull protomes, ivory furniture appliqués(possibly from the k/ine), embossed silver plaques (possibly from a horses harness),and two iron horse bits.8 The easterncorner of the chamber yieldedanother silver belt and a largecauldron containing the remains of 3.Isik2000. tumuliare typical of Phrygian burial garmentof the deceased. Börker-Klähn 4. Dörtlük1988. tradition,the most famous example (2003,pp. 70-72), however,believes 5. Both tumuliare similarin size. beingthe so-called Tomb of Midas or thatthe silver plaques belong to a horse TumulusC is 36-38 m in widthand TumulusMM fromGordion; see Gor- saddle,a personalpossession of the 4.20 m in height(at thecenter); and dionI, pp. 79-102; Özgen and Öztürk deceasedwoman that was deliberately TumulusD is 40-45 m in widthand 1996,p. 32; Uçankus2002, pp. 287- damagedand renderedunusable at the 5.10 m in height.See Dörtlük1988, 338. timeof burial. She furthernotes that p. 172. 7. The woodenkline had virtually remainsof such saddles are known from 6. Not muchsurvived of the wooden disintegratedand theremains of the Phrygiantombs at Gordion.For golden wallsand theceiling. Eight postholes in deceasedhad fallento thefloor. appliquéssewn onto the garments, see thepebbled floor, 50 cm in depthand 8. The tumulusdid notcontain any Özgen and Öztürk1996, pp. 165-167, 22 cm in circumference,once held the equineskeletal remains. Almost all of nos. 115-119;for a representationofa supportsof the wooden roof. See Dört- theembossed silver plaques are perfo- dressdecorated with appliqués on a lük1988, p. 173.Wooden burial cham- ratedwith holes for attachment. Thus, 7th-centurymedallion, see Özgen and bersunderneath earthen and stone theymay be thesurviving parts of the Öztürk1996, p. 166,fig. 158. This content downloaded from 71.168.218.10 on Tue, 18 Mar 2014 10:12:25 AM All use subject to JSTOR Terms and Conditions AN ARCHAIC IVORY FIGURINE 55 burnedceramics. Antalya C andthree more figurines, two of ivory and one ofsilver, were found in thesouthwest corner in a pileof objects including severalsilver and bronze omphalos cups (some plain, some with petaled decoration);bronze and silver bowls with swiveling ring handles attached to bolsters;a silverladle and a bronzeladle; small cauldrons of silver and bronzewith ring-handles orbull protomes; and a smallivory cup. Eleven ofthe metal vessels bear incised Phrygian names.9 AntalyaC, 17 cmin heightand 5.4 cmin width,offers a lively rep- resentationof a motherwith her two children (Fig. 1). The familygroup is carvedfrom a singlepiece of ivory. A rectangularhole at thetop of the mothers polos indicates that the figurine was originally attached to an object (Fig.2). The motherstands at thecenter on a shallowbase with her left footforward. She wears a one-piece,sleeved dress with a beltand a large circularcollar band at theneck. The dresshas decorativehorizontal and verticalbands; one ofthe horizontal bands forms the hem. The belthas incisionsimitating metalwork, recalling the two silver belts found in the sametumulus.10 Over the high polos the figure wears a veil,two corners ofwhich are brought to thefront and tucked into the belt; the veil is also heldin placeby a bandtied around the polos in typicalAnatolian fash- ion.11The dress,which responds to the forward movement of the mother s foot,is renderedlonger in thefront and shorterin theback and reveals thebacks of her ankles. Two straight chin-length locks of hair fall in front of herears. She wearsa beadednecklace arranged like a bead-and-reel molding,and spiral bracelets on bothwrists. The figurehas fullrounded cheeks,almond-shaped, slanting eyes, a largerounded nose, and full lips withan Archaicsmile. A smallgirl on theright stands