This paper aims to study the literature surrounding Cypriot Chalcolithic cruciform anthropomorphic figurines and their gendered identity. Within academia, we see issues arising from gendering of...Show moreThis paper aims to study the literature surrounding Cypriot Chalcolithic cruciform anthropomorphic figurines and their gendered identity. Within academia, we see issues arising from gendering of ancient bodies with modern views – creating cross-wired hypotheses on gender manifestation in prehistoric art. Concentrating on the Chalcolithic cruciform figurines, words patterns and trends will be analysed to gain a better understanding of how gendering ancient identities with modern biases is chronicled within a range of selected literature from the 1930s to the current day.Show less
During the Chalcolithic period (ca. 4000 – 2400 BCE) Cyprus was home to several highly distinctive styles of anthropomorphic figurines. These figurines were produced using clay and different types...Show moreDuring the Chalcolithic period (ca. 4000 – 2400 BCE) Cyprus was home to several highly distinctive styles of anthropomorphic figurines. These figurines were produced using clay and different types of stone. Picrolite, was the most common type of stone used for figurines. The figurines feature carved or painted figurative elements which are thought to represent concepts such as dress, hairdo, jewelry, tattoos, and body paint. There is no way to study the dress, hairdo, tattoos, and body paint worn by the Chalcolithic inhabitants of Cyprus directly. As such, these concepts can be studied within the confines of figurine studies, not necessarily in relation with the dress of the Chalcolithic population of Cyprus. In order to analyze the relationship between carved and painted figurative elements on picrolite and ceramic figurines and Chalcolithic bodies and their dress, jewelry, tattoos, or face and body painting, the following research question was established: “Do painted and carved elements on pottery and picrolite figurines from Chalcolithic Cyprus represent dress, hairdo, jewelry, tattoos, and body paint?” To answer this question, a database was established, using Winkelmann’s (2020) extensive catalog of Cypriot figurines, as well as the catalog of the Souskiou Project (Peltenburg et al., 2019). All painted and carved figurative elements, as well as their locations on the figurines were entered in the database. The figurative elements were analyzed and compared using charts and tables and results were compared with previous works on the topic. This thesis illustrates that certain figurative elements, such as hair and decoration on the neck, occur on both ceramic and picrolite figurines. However, their occurrence rates may differ between ceramic and picrolite. Most figurative elements occur in standard locations on the body, suggesting these elements represent concepts in relation to this location (e.g., tassels, clothing, and body paint). While many suggest ceramic and picrolite figurines represent the same concept, figurative elements rarely overlap between the two materials. Certain figurative elements appear to correspond to body adornments known from the archaeological record, while some painted figurative elements resemble common RW ware motifs, suggesting a purely decorative function. It is very likely that painted and carved figurative elements represent dress, hairdo, jewelry, tattoos, and body paint.Show less
The Chalcolithic on Cyprus (ca. 3900-2400 BCE) is an important period for the research of key developments taking place on the island, such as social differentiation, craft specialisation and long...Show moreThe Chalcolithic on Cyprus (ca. 3900-2400 BCE) is an important period for the research of key developments taking place on the island, such as social differentiation, craft specialisation and long-distance trade. With extensive excavations at the sites of Lemba-Lakkous, Kissonerga-Mosphilia and Kissonerga-Mylouthkia, the Chalcolithic is generally well investigated (see Peltenburg, 1985; 1998; 2003). The poorly investigated transition between the Middle (ca. 3400-2900 BCE) and the Late Chalcolithic (ca. 2800-2400 BCE), on the other hand, still leaves a research gap. The currently ongoing excavations at the site of Chlorakas-Palloures revealed remains of both the Middle and Late Chalcolithic and, therefore, have great potential to close this gap. This research involves analysing the ceramic assemblage of trench BU13 at Chlorakas-Palloures by investigating how this assemblage changes from the Middle to Late Chalcolithic. This leads to the following research question: How does the pottery assemblage of Chlorakas-Palloures change over time from the Middle to Late Chalcolithic and how does this improve our understanding of this transition? The analysis is conducted on the basis of four categories: ware, shape, fabric and surface and the results will be displayed using seriation diagrams. For this, a diagnostic selection was made consisting of 116 sherds, which was studied during the summer of 2021. This selection is placed alongside the stratigraphy of trench BU13 to create a chronological overview of the ceramic material. In this thesis, I show that the use of seriation to create a chronological overview of how pottery changes over time is a success. The ceramic assemblage of case study BU13 changes as expected. Moving from the Middle to the Late Chalcolithic, earlier wares get replaced by later ones and pottery becomes harder and more refined in texture. However, this research also importantly reveals an anomaly in the trench. Material belonging to one of the earliest units of BU13 actually matches the characteristics of that of Late Chalcolithic pottery, while Middle Chalcolithic pottery would be expected. It indicates that the trench needs to be investigated further and current interpretations perhaps need to be re-evaluated. This not only merits the ongoing excavations at Chlorakas-Palloures but the method can also be applied to other trenches and sites on the island to improve the knowledge of Cypriot Prehistory.Show less
The main question of this research is about which of two models about urnfields and Late Prehistoric land division fits best with the data around the sites Baarlo de Bong and Venlo-Zaarderheiken....Show moreThe main question of this research is about which of two models about urnfields and Late Prehistoric land division fits best with the data around the sites Baarlo de Bong and Venlo-Zaarderheiken. In the first model from Roymans and Fokkens (1991), it is suggested that burials were moving together with the settlements during the Middle Bronze Age (new burials at new places), whereas later burials from the Late Bronze Age (urnfield period) were formed in central locations within the landscape together with one or two families. In the other model, burial landscapes are suggested; these are zones without connection to the settlements were burials are placed in large areas stretching up to several kilometres in length (Arnoldussen and Fontijn 2006, 301). To answer the question, information was gathered from the Dutch national archaeological database known as Archis, from which information was gathered regarding the locations of former urnfields, burial mounds, Roman burials etc. This information was combined with information from the AHN; a Dutch elevation map from which small round hills could be identified as potential burial mounds around sites. The combination of the locations of supposed former burial mounds/urnfields and the hills of the elevation map can be used to make special correlations between the observations and the two archaeological sites. From this research, it could be concluded that at the site of Venlo- Zaarderheiken, there are a lot of observations of Prehistoric and Roman burials in close vicinity of the site. At Baarlo de Bong however, there are only a few observations of burials in the vicinity of the site. Because of this, Venlo-Zaarderheiken seems to be a candidate for a burial landscape, because of the many observations in close vicinity of the site, which also stretch out over a much larger area. On the other hand, both models could fit for Baarlo de Bong, because of the relatively small size of the burial site. The model of Roymans and Fokkens could not be rejected, thus both models are possible.Show less
Research master thesis | Archaeology (research) (MA/MSc)
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Archaeologists still have a lot to learn about the mortuary rituals of cremated human remains from the Bronze and Iron Age. Even though a large sample of burials from these periods contain cremated...Show moreArchaeologists still have a lot to learn about the mortuary rituals of cremated human remains from the Bronze and Iron Age. Even though a large sample of burials from these periods contain cremated remains, the main research focus has been on inhumated remains. Only recently, the importance of cremated remains became clear and the possibilities of investigating cremated human remains started to be explored. Yet, a lot of information might still be derived from these remains. With this thesis, the importance of careful and detailed excavation is studied through an examination of a human cremation burial from the Uddeler Heegde, Apeldoorn. This is done with the aim to study the funerary practices of the burial to its most extent. First, the concept of mortuary rituals is prospected through a modern (European) perspective. The excavation and determination of the case study burial are described in detail, providing a transparent study. By using concepts as personhood, social persona and the dramatis personae theory of Hertz, the relational identities of the deceased are studied. Hypotheses are used to define what mortuary practices could have been possible and which are rather implausible. Overall, this study demonstrates the additional possibilities acquired by high quality excavation of human cremation burials.Show less
Since the turn of the century, there has been a notable increase in the popularity of depictions and exhibitions featuring Japanese prehistoric figurines, better known as dogū. These artefacts from...Show moreSince the turn of the century, there has been a notable increase in the popularity of depictions and exhibitions featuring Japanese prehistoric figurines, better known as dogū. These artefacts from the Jōmon Period (about 15.600 to 3200 years BP) with a supposed ritual purpose increasingly show up in and outside of archaeology. In this paper I look for a possible explanation for this recently heightened interest. This is done by asking two questions: 1. Where are dogū present, and 2. how can this be explained? Going from Japan’s identity and the nature of their connection with the past, in this paper I look for the ulterior motives and goals behind the presence of dogū where they are most often seen: museums, art, popular culture/media. The first part, an analysis of dogū in Japan, shows that Japan’s view of its Jōmon past has changed since World War II. Out of nationalism a link is created with a past in which Japan was supposedly still unique and pure. Dogū reflect this and have thus come to represent Jōmon heritage. Good characteristics and aspects are selectively emphasized. In this way a generalizing story is created, that unfortunately negatively impacts the diversity that existed in the past. On the other hand, the mysticism and mysterious nature of dogū are a source of inspiration for artists and popular media such as anime, manga and videogames. The second half investigates the presence of dogū in the West, which can be largely attributed to several researchers who publicize across country borders and have brought dogū to Western museums. A case study of the ‘Power of Dogū’ and ‘Unearthed’ exhibitions offers insight into the goals behind this kind of exhibition. The Jōmon period and its dogū are used to represent the cultural traditions of Japan. In the debate on world heritage too dogū are used to promote the Jōmon period, as evidenced by my case study of a debate on Jōmon heritage in Paris.Show less
