Mycenaean terracotta female figure

<p><u>References:</u> French, E., “The Development of Mycenaean Terracotta Figurines”, <em>Annual of the British School at Athens</em> 66, 1971, pp. 101-187; Higgins, R.A., <em>Greek Terracottas</em>, London: Methuen, 1967; Higgins, R.A., <em>Minoan and Mycenaean Art</em>, London: Methuen, 1967, pp. 124-125; Weber-Hiden, I., “Zur Datierung mykenischer Idole”, <em>Archaeologisches Korrespondenzblatt</em> 15, 1985, pp. 307-312; Pilali-Papastémiou, A., “Idéologie et commerce: le cas des figurines mycéniennes”, <em>Bulletin de Correspondance Hellénique</em> 122, 1998, pp. 27-52; Schallin, A.-L. (ed.), <em>Encounters with Mycenaean figures and figurines. Papers presented at a seminar at the Swedish Institute at Athens, 27-29 April 2001</em>, Stockholm: Swedish Institute at Athens, 2008.</p> <p>A schematic, intact terracotta female figurine also referred to as “phi” idol (type LH Ill A2), for the resemblance to shape of the Greek letter “phi” (Φ); with other figurines with arms folded or raised in a posture of worship, called “tau” Τ and “psi” Ψ respectively, are the most common types of Mycenaean cult objects. They are often found in tombs, sanctuaries, children’s graves and across settlement areas. With a complex symbolism depending on the context, they were mainly considered votive figures, deities with fertile properties, and grave offerings. This example has a circular body on which breasts are indicated in relief, facial features, a long skirt with wavy lines of red varnish as enveloping garments.</p> <p><u>Object number:</u> 127.019.</p> <p><u>Date:</u> 14^th–13^th century B.C.</p> <p><u>Parallels:</u> very close parallel at Brooklyn, Brooklyn Museum 35.742; Athens, Museum of Cycladic Art ΚΠ0009; New York, Metropolitan Museum of Art 35.11.17, 35.11.18, 2021.40.69; London, British Museum 1864,0220.33, 2000,0523.3; Canberra, Australian National University, Classics Museum 1965.05; Princeton, Princeton University Art Museum Y1956.54; Boston, Museum of Fine Arts 14.768.</p><p>Photo by Steve Morton</p>