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Colecciones: Galería Nacional de Arte, Galería Nacional de Dinamarca, Galería Nacional de Retratos, Galería Tretiakov, Harvard Art Museums, Instituto de Arte de Chicago, Instituto de Artes de Mineápolis, MoMA, Museo de Arte de Cleveland, Museo de Victoria y Alberto, Museo del Hermitage, Museo del Louvre, Museo Estatal Ruso, Museo Hirshhorn y Jardín de Esculturas, Museo J. Paul Getty, Museo Metropolitano de Arte, Museo Pushkin, Museo Smithsoniano de Arte Americano, Museo Whitney de Arte Estadounidense, National Museum of Asian Art, Rijksmuseum, Villa Getty, Catálogo Estatal del Fondo Museístico de Rusia (274 museos), Europeana (19 museos), Wikidata (6 museos), Paris Musées (12 museos) y Joconde, la base de museos del Ministerio de Cultura de Francia (495 museos). Las imágenes pertenecen a sus titulares de derechos.

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  3. Anthropomorphic female figurine
Anthropomorphic female figurine, 1900-1800 BCE

Anthropomorphic female figurine

1900-1800 BCE · Sculpture

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Harvard Art Museums

Cambridge, Estados Unidos

Sala3440, floor 3, Ancient Mediterranean and Middle Eastern Art

Expuesta al público. Quién lo avala figura más abajo.

Comprobado
hace 9 días
En este estado desde
27 sept 2026
Fuente
El museo
En el mapaPágina del museo

Sobre la escultura

Of Fragments and Forgeries

These figurines—with their curious faces (sometimes deemed “bird-like”), elaborate headdresses, and emphatic hips—are puzzling. Examples like numbers 1–4 [1998.15.16; 1992.256.12.1–3; 2022.242.1–3; 1969.177.86.1–2] have been found across today’s northern Syria and southeastern Türkiye (Turkey) in sanctuaries and graves dating from the second millennium BCE. Their applied breasts and incised pubic triangles mark them as female, encouraging modern interpretations about fertility and sexuality. Number 5 [1953.118], likely made on the island of Cyprus, shows similar features, attesting to ideas about female bodies shared between distant but connected communities of the eastern Mediterranean and western Asia during the Bronze Age.

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Who exactly do they depict? Goddesses or worshippers? Both or neither? Any answers are complicated by wrinkles in their modern stories that raise a more urgent question: are these objects even ancient?

All six figurines moved through the art market without documented findspots, making it difficult to interpret them or even assess their authenticity. Number 6 [1999.252] may be a modern forgery. And while numbers 2–4 [1992.256.12.1–3; 2022.242.1–3; 1969.177.86.1–2] arrived at Harvard as single objects, each, in fact, comprises several pieces that are not original to each other. It is not clear whether the fragments are all ancient, all modern, or a combination of both. Displayed here disassembled, the objects offer a cautionary tale about the uncertainty that accompanies poorly documented paths on the art market.

Harvard Art Museums

Ficha

Número de inventario
1998.15.16

En la misma sala · Gallery 3440, floor 3, Ancient Mediterranean and Middle Eastern Art, Harvard Art Museums

Página del museo

En el catálogo

EsculturaTerracota y cerámicaAntes de 1400Syrian

Fuentes

  • Harvard Art Museums
  • Imagen: Harvard Art Museums — © President and Fellows of Harvard College
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Head of a Hellenistic Ruler, first half 2nd century BCE

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Head of a Parthian Ruler, 2nd century BCE

Votive Relief to a Hellenistic Ruler on Horseback: Demetrios Poliorketes, c. 323-200 BCE

Votive Relief to a Hellenistic Ruler on Horseback: Demetrios Poliorketes, c. 323-200 BCE

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Relief Fragment: Attendant with Covered Bowl, 359-338 BCE

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Relief Fragment: Head of an Archer of the Royal Guard, 486-465 BCE

Relief Fragment: Ahuramazda in the Winged Disk, reigns of Xerxes I and Artaxerxes I, 486-460 BCE

Relief Fragment: Ahuramazda in the Winged Disk, reigns of Xerxes I and Artaxerxes I, 486-460 BCE

Relief Fragment: Head of an Archer of the Royal Guard, 486-465 BCE

Relief Fragment: Head of an Archer of the Royal Guard, 486-465 BCE

Relief Fragment: Attendant with Lamb, reign of King Darius I, 522–486 BCE

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