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The terracotta figurines from Akragas (Agrigento) with their chubby faces, splendid furniture, and rich adornments, depict a prosperous life in the late sixth and early fifth century BCE. The extensive jewellery on the figurines contains strikingly large fibulae appliques fastening pectoral chains with several sorts of pendants. They are modelled after existing items. The form of the jewellery items changed fast, influenced by different peoples and changing fashions, which can be compared with representations of jewellery and fashion on coins of the same period from Syracuse.In contrast, the body of the figurines remained armless and abstract for some time, nor does it express its gender. The block shaped, sloping upper body might have originated with aniconic objects, but suggests here a seated person, covered with a rectangular apron on the front. In contrast, the face is detailed, and often crowned with a specific headgear, the polos. The Archaic smile reveals Greek influence on its features.An archaeological experiment in which figurines and moulds were reproduced revealed their production process. By combining data from the experiment with an analysis of their iconographic features, most of the figurines studied can be shown to have been designed and produced locally. The moulding technique, introduced by newcomers to the city, provided for relatively cheap and rapid production of terracotta figurines. Local clay and marl are found near to the city, and its composition was found to be very suitable, due to its plasticity, fine structure and soft tone on firing.Wooden figurines, the forerunners of the terracotta figurines, were used in the production of the moulds of their terracotta successors. The terracotta figurines developed to become more three-dimensional, so that they were able to stay upright unsupported. Objects and moulds were exchanged with the city of Selinous, resulting in variations of the standard and figurines with finely detailed faces. Designing and dedicating these votive figurines, and possibly also jewellery, to a cult statue might have acted as a unifying element for the perhaps multi-ethnic society of Akragas. By means of these anthropomorphic female figurines, people gave shape to their origin and narratives, using old and new symbols such as the Phoenician crescent and the Greek satyr. Their cultural influences formed a new religious setting, helping to forge a new identity unique to Sicily. The prosperity expressed by these metal adornments, fits Diodorus Siculus' description of Akragas as a rich city.
Terra-cotta figurines. --- Antiquities. --- Terra-cotta figurines, Classical. --- Sicily (Italy)
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Applied arts. Arts and crafts --- figurines --- Oceanic --- Melanesian
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Small sculpture, Classical. --- Figurines, Ancient. --- Sculpture, Classical --- Reproduction
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Céramique romaine --- Ostie (ville ancienne) --- Terra-cotta figurines, Ancient --- Ostia (Extinct city) --- Terra-cotta figurines, Roman --- Clay figurines --- Excavations (Archaeology) --- Archaeological digs --- Archaeological excavations --- Digs (Archaeology) --- Excavation sites (Archaeology) --- Ruins --- Sites, Excavation (Archaeology) --- Archaeology --- Figurines, Clay --- Figurines --- Roman terra-cotta figurines --- Italy --- Ostia (Ancient city) --- Antiquities, Roman. --- Antiquities
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Applied arts. Arts and crafts --- dolls [figurines] --- akua'mma --- Asante --- West Africa --- houtsculptuur --- vruchtbaarheidssymbool
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Eindelijk, na zoveel jaren is dit boek over de iconografie van de Sint-Niklaaskerk er gekomen. Het lag al bijna acht jaar in de schuif te wachten tot het juiste moment… en ineens was het er. Het besef kwam er omdat we stilaan naar een tijd gaan waarin kerken niet meer uitsluitend voor erediensten zullen gebruikt worden, maar voor mogelijk veel andere ‘culturele’ activiteiten. We wilden die unieke kerkschatten, die stilaan maar zeker op de achtergrond verdwijnen, op beeld bewaren. En er is geen beter middel om dat te doen dan door er een boek van te maken, om dat aan zoveel mogelijk mensen te laten zien. Veel trouwe bezoekers van de kerk zijn er niet meer, maar men is toch nog altijd fier op de historische waarde van dit gebouw en zijn bezittingen. De kerk staat nog altijd in het centrum van het dorp… Dit boek nodigt uit om te kijken naar al die foto’s, om te doorbladeren en ook om de informatie bij die beelden te lezen. Auteur – en fotograaf - Serge Moonens voert je doorheen de parochiekerk van Gooik alsof je er zelf middenin staat. Met zijn knappe foto’s krijg je een heel goede indruk van wat er zich allemaal in deze kerk bevindt. Van kleine wierookvaatjes tot schitterende glasramen, van prachtige monstransen tot grote heiligenbeelden, van biechtstoelen, kruisen en kruiswegen: alles werd vastgelegd en kan tot in de details bekeken worden. Om al die beelden en voorwerpen nog beter te laten uitkomen, kozen we voor een formaat ‘in de hoogte’. Hierdoor wordt het nog beter zichtbaar dat we ons in een kerk bevinden. Onze Sint-Niklaaskerk is nog steeds een mooie, ietwat aparte kerk. Dat kan je ondervinden als je dit boek bekeken en gelezen hebt. Neem rustig de tijd en geniet van de mooie beelden!
Iconography --- Religious architecture --- figurines --- iconography --- leaded lights --- Gooik --- Church buildings --- Art --- leadlights --- Christelijke kunst --- kerkelijke kunst
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Art --- emotion --- dolls [figurines] --- marionettes [stringed puppets] --- Nedjar, Michel --- sculpture [visual works] --- assemblages [sculpture] --- outsider art
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Applied arts. Arts and crafts --- dollmaking --- dolls [figurines] --- hina dolls --- dollmakers --- Japan
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