Books by Aurélie Carbillet
This volume deals with the origin, identity, place, and functions of the Hathoric figure in Cypru... more This volume deals with the origin, identity, place, and functions of the Hathoric figure in Cyprus (2nd–1st millennia b.c.e.). Unlike in Egypt, Hathor is not identified by inscription in Cyprus. Its spread is exclusively attested by much, varied iconographic evidence
(such as capitals, steles, terra-cotta, metal objects, vases, and so on) that was discovered almost everywhere on the island between the Late Bronze Age and the classical period
(ca. 1600–400 b.c.e.). Examining the representations of the Egyptian goddess is essential to definingthe iconographic features of the Hathoric figure in order to identify and isolate,
among the Cypriote furniture, images of the goddess. These Cypriot testimonies are listed in an exhaustive catalog underlies this iconographic, stylistic, and contextual analysis of each
document. In this way, Carbillet aimed to understand and explain, on the one hand, the introduction, distribution, and disappearance
of this Egyptian divine figure in Cyprus and, on the other hand, the symbolic value that the inhabitants of the
island conferred on her.
In the Cypriot context, this study brings to light the existence of syncretism between this Egyptian divinity and the local
Great Goddess. The image of the hathoric goddess was not simply borrowed from Egypt but was transferred to Cyprus
in order to enrich the theological personality of the local Great Goddess. Under her hathoric avatar, this Great Goddess
was especially linked to the funerary context, fertility, and protection of natural resources, and, during the 1st millennium
b.c.e., protection of the royal power. This study shows the complex cultural links established between the cultural areas of
the oriental Mediterranean world (Cyprus, Egypt, Levant).
Bookmarks Related papers MentionsView impact
Papers by Aurélie Carbillet
RÉSUMÉ
Les appliques murales sont des objets en terre cuite couramment découverts à Ougarit dans... more RÉSUMÉ
Les appliques murales sont des objets en terre cuite couramment découverts à Ougarit dans les niveaux du Bronze récent. Alors que les publications ne font connaître que 49 exemplaires, l'exploitation des archives de la Mission a permis la « redécouverte » de 114 fragments inédits supplémentaires. Ougarit livre ainsi l'un des corpus méditerranéens les plus importants, comparable à celui d'Enkomi à Chypre. Le catalogue commenté de ces objets a récemment été publié (RSO XXIII, 2016). La plupart des trouvailles sont connues par les inventaires, les cahiers de fouille, les carnets de dessins et les photographies. Elles ont souvent été dessinées et/ou photographiées. Ces archives, telles les photographies montrant les découvertes in situ publiées dans cet article, permettent bien souvent de préciser le contexte de découverte de ces objets et d'approfondir notre réflexion quant à leur mode d'utilisation. Ces informations sont précieuses car la fonction de ces objets reste énigmatique et plusieurs hypothèses ont été avancées (entre autres celle de louche votive, de lampe, de brûle-encens). Cet article est aussi l'occasion de présenter cinq nouveaux documents retrouvés postérieurement à la publication du catalogue. Le corpus ougaritain se caractérise notamment par la diversité des décors (géométrique incisé ; digité ; décor évidé ; protomé de taureau modelé et rapporté sur la plaque ; représentations de femme nue), une spécificité dont rendent bien compte les cinq nouveaux fragments.
ABSTRACT
In Ugarit, terracotta wall-brackets are usually discovered in Late Bronze Age levels. While only 49 specimens are known from the publications, the exploitation of the archives of the Mission allowed the " rediscovery " of 114 additional unpublished fragments. The corpus of Ugarit is one of the most important of the Mediterranean basin, comparable to that of Enkomi in Cyprus. The commented catalogue of these objects was recently published (RSO XXIII, 2016). Most of the finds are known by the inventories, the excavation books, the drawing books and by pictures. These objects were often drawn and/or photographed. The archives, such as pictures showing the discoveries in situ published in this paper, allow very often to specify the context of discovery of these objects and to bring elements of reflection to the question of their use. Such information is precious because the function of these objects remains enigmatic and several hypotheses have been suggested (among them votive ladle, lamp, incense-burner). In addition, this paper gives the opportunity to present five new documents found after the publication of the catalogue. The corpus of Ugarit is characterized in particular by the diversity of decorations (geometrical incisions; digitate; recess; protome of bull modelled on the plaque; representations of naked woman), a specificity well showed by the five new fragments.
Bookmarks Related papers MentionsView impact
RÉSUMÉ
Au Bronze récent, les représentations de femme nue à Ougarit sont fréquentes (représentat... more RÉSUMÉ
Au Bronze récent, les représentations de femme nue à Ougarit sont fréquentes (représentations en deux dimensions, en relief, en ronde bosse) et les supports variés (sceaux-cylindres, figurines, statuettes, appliques murales, vases, pendentifs, poignards, cuillers, etc.). Les figurines en terre cuite sont les plus nombreuses, en particulier celles fabriquées à partir d'un moule univalve. Ces artefacts sont considérés comme des productions locales/régionales. 27 exemplaires ont pour l'instant été étudiés par L. Badre et T. Monloup. Dans le cadre du programme qui porte sur le fait religieux à Ougarit, un corpus exhaustif est en cours de réalisation, fondé dans un premier temps sur l'exploitation des archives de la Mission. L'étude a déjà fait connaître plusieurs dizaines d'inédits. La publication de photographies de deux figurines inédites, RS 23.573 et RS 23.574, découvertes dans la tranchée « Ville Sud », offre l'occasion de faire un point sur cette catégorie d'objets à Ougarit.
ABSTRACT
In Late Bronze Age Ugarit, images of naked woman are frequent (representations in two dimensions, in relief, in round work) and appear on various media (e.g. cylinder-seals, figurines, statuettes, wall-brackets, vases, pendants, daggers, spoon, etc.). Terracotta figurines are the most numerous, in particular those mold-made. These artefacts are considered as local/regional productions. 27 have been studied by L. Badre and T. Monloup. Within the framework of the research program on religious facts in Ugarit, an exhaustive corpus is in progress, first based on the exploitation of the archives of the Mission. The study has already made known several tens of unpublished objects. The publication of pictures of two unpublished figurines, RS 23.573 and RS 23.574, discovered in the so-called " Ville Sud " area, gives the opportunity to take stock of this category of objects in Ugarit.
Bookmarks Related papers MentionsView impact
« Baignoires en pierre de Ras Shamra – Ougarit », in V. Matoïan (dir.), Archéologie, patrimoine et archives, Les fouilles anciennes à Ras Shamra et à Minet el-Beida, I, Ras Shamra – Ougarit XXV, Éd. Peeters, Leuven, 2017, p.209-240. If the material culture of the Late Bronze Age Ugarit has already been the subject of many synthe... more If the material culture of the Late Bronze Age Ugarit has already been the subject of many syntheses, studies in progress concerning of the archives of the Mission of Ras Shamra related to the old excavations offers interesting discoveries. The present study focus on a class of heavy furniture nearly unpublished in the field of Ugaritic studies, namely the stone bathtubs which are appearing in Ugarit at the end of the Late Bronze Age. We have identified two or maybe three specimens, all cut in a fine limestone. The first results of the survey indicate the association of these luxurious items with some of the great mansions of the city (“Palais Sud” and house located to the north of the “Maison du Grand-Prêtre”) and their presence in rooms which seem rather reserved to the toilet. Further typological and contextual study of all the bathtubs found at Ras Shamra, whether in stone or terracotta, is in progress.
The record brings a new documentation now to be included in reflections on the corpus of stone and terracotta bathtubs, among which the specimens from Cyprus and southern Levant are, for many years the debate relating both to their function and their use, as well as their potential as a “marker of ethnicity.”
Between the Aegean, Cyprus and Palestine, the documentation of Ugarit—which delivers the only known
corpus bathtubs for the northern Levant—is once again essential for studies on intercultural relations in the eastern Mediterranean during the Late Bronze Age and the beginning of the Iron age and gives a new
element which provides information on the relations between Ugarit and Cyprus.
Bookmarks Related papers MentionsView impact
This paper deals with a fragment of vase in form of a fish—discovered during the excavation of a ... more This paper deals with a fragment of vase in form of a fish—discovered during the excavation of a tomb of the end of the Middle Bronze Age in the area of the “East Lower City” of Ras Shamra (campaign of 1935)—recently identified from the archives of the old excavations of the Mission of Ras Shamra. Until now, the publications stated the discovery only of a single specimen of this type (RS 22.329), been attested on some other Near Eastern sites and especially in the Nile Delta. Both vases of Ugarit come from a tomb with chamber built in rubble stones and covered with paving stones. It is the opportunity to investigate the category of pisciform vases and that of vases decorated with fish(es) in the material culture of Ugarit (Middle and Late Bronze Age) and to propose hypotheses on their functional and symbolic interpretation.
Bookmarks Related papers MentionsView impact
Si les appliques murales constituent une catégorie d’objets bien connue parmi le mobilier archéol... more Si les appliques murales constituent une catégorie d’objets bien connue parmi le mobilier archéologique découvert à Ougarit, l’inventaire exhaustif de ces objets d’après la documentation disponible dans les archives de la mission restait à réaliser. Au total, le corpus compte presque 160 spécimens, dont plus d’une centaine d’inédits. Il s’agit, de loin, du corpus le plus important connu au Proche-Orient, qui rivalise avec celui d’Enkomi à Chypre. En attendant d’avoir accès à l’ensemble du matériel et de proposer une analyse approfondie du corpus, l’auteure offre une étude formelle de ces objets réalisée principalement d’après les archives illustrées de la mission, dégage les spécificités du corpus ougaritain en le comparant avec les autres corpus connus, puis aborde les délicates questions concernant la datation de ces objets, leur provenance ainsi que leur fonction.
If wall-brackets constitute a well known category of objects among the archaeological material discovered in Ugarit, the exhaustive inventory of these objects according to the available documentation kept in the archives of the mission remained to do. The corpus counts almost 160 specimens, of which more than hundred unpublished. It is, by far, about the most important corpus known in the Near East, which rival that of Enkomi in Cyprus. While waiting for to have access to the whole material and to propose a thorough analysis of the corpus, the author offers a formal study of these objects realized mainly according to archives illustrated of the mission, brings out the specificities of the ougaritian corpus by comparing it with the other known corpuses, then approach the delicate questions concerning the datation of these objects, their origin as well as their function.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
During the excavations taking place in the storage area of the Palace of Amathus since 1977, four... more During the excavations taking place in the storage area of the Palace of Amathus since 1977, fourteen foundation deposits (thirteen cooking pots and one amphora) have been discovered in several places of the building, deposited into the floor preparation or under the pavement. If it still lacks a reliable chrono-typology of cooking pots, which can be dated from a time ranging from CA to the end of CC, the Bichrome IV amphora and its sealing can be dated from the late CA I (around 620): this date would be that of the construction of the archaic palace. The paper studies the material contained in these deposits, which were nearly all sealed by plaster: silty clay, lamps, small dishes, charcoal and animal bones (sometimes found in the cooking pots, but not always). In addition to the fine clay and charcoal fragments, the amphora contained the bones – but stripped from their flesh – of the left quarter of a sub-adult Bos Taurus and a lump of coating. Unique deposits both in number and nature in Cyprus, they are compared with similar practices of the antique Near-Eastern world. It could be propitiatory practices related to the construction of a building or to rebuilding works.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Etudes Ougaritiques II, 2013
Parmi la céramique mycénienne à décor figuré, les vases ornés de représentations du monde
aquati... more Parmi la céramique mycénienne à décor figuré, les vases ornés de représentations du monde
aquatique semblent avoir été particulièrement appréciés par la clientèle ougaritaine. Nous avons ainsi
recensé 132 vases ou fragments de vases décorés de motifs aquatiques tels que des poulpes, des poissons,
des dauphins, des coquillages, etc. En s’intéressant à la forme et à la fonction de ces vases, ainsi qu’à leur
contexte de découverte, nous avons mis en relief l’éventuelle portée symbolique, cultuelle et/ou funéraire
de certains de ces motifs dans le contexte ougaritique.
Among the figurative Mycenaean pottery, vessels decorated with representations of the aquatic
world seem to have been particularly appreciated by the Ugaritic clientele. We listed 132 vases or sherds
decorated with aquatic motifs such as octopuses, fishes, dolphins, shells, etc. By being interested in the
shape and in the function of these vases, as well as in their context of discovery, this study brings out the
possible symbolic, religious and/or funeral value of some of these motifs in the Ugaritic context.
Bookmarks Related papers MentionsView impact
This paper suggests a review of the symbolic and functional interpretation of the models of boats... more This paper suggests a review of the symbolic and functional interpretation of the models of boats found in Cypriot tombs since the Middle Bronze Age to the Classical Period. Furthermore, it proposes an alternative hypothesis to the commonly admitted one, which consists in understanding these terracottas as a souvenir of the activity of mariner or fisher that the dead had eventually carried out during his life. Considering their iconography and their shape, it is possible that these models of boats and the rituals connected to their offering are to be put in relation with the eschatological navigation, a belief developed in a number of Mediterranean civilisations, and particularly in Egypt, where we find the most convincing parallels: some Cypriot models could in fact be local imitations of Egyptian funerary boats. So, these terracottas provide an additional element of the influence of Egypt on the some peoples of the island, and maybe also on their beliefs.
Cet article propose de revenir sur l’interprétation symbolique et fonctionnelle des modèles de bateaux découverts dans les tombes chypriotes depuis le Bronze Moyen jusqu’au début de l’époque classique, et souhaite offrir une hypothèse alternative à celle, largement répandue, qui consiste à voir, dans ces terres cuites, une volonté des vivants de refléter l’activité de marin ou de pêcheur qu’aurait pu exercer le défunt avant sa mort. Au regard de leur iconographie et de leur forme, il est possible que ces bateaux et la pratique à laquelle se rattache leur dépôt soient à mettre en rapport avec la navigation eschatologique, une croyance développée dans plusieurs civilisations du Bassin Méditerranéen, et notamment en Égypte, où l’on trouve les parallèles les plus convaincants : certains modèles chypriotes pourraient bien être en effet des imitations locales de barques funéraires égyptiennes. Ces terres cuites apportent ainsi un témoignage supplémentaire de l’influence de la Vallée du Nil sur certaines populations de l’île et peut-être aussi sur leurs croyances.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
The Egyptian goddess Hathor oversees the research and the trade of natural resources, and, more p... more The Egyptian goddess Hathor oversees the research and the trade of natural resources, and, more particularly, of precious metals such as copper. Since the Middle Kingdom, Hathor “nbt mfk³t” “Lady of the Turquoise”, was specialized in the protection of mining sites such as Serabit el-Khadim, Timna and Gebel Zeit. The discovery of representations of this goddess in Cyprus, the island of copper, allows us to examine the diffusion of these Egyptian theological concepts. Introduced in the Late Bronze Age, images of the Egyptian goddess reached a certain level of popularity, particularly in the 6th-5th centuries B.C. The discoveries of Enkomi reveal that from the 13th century BC the image of the Egyptian goddess was obviously identified with that of the “Great Goddess” who shared with her the duties of the guardian of mining. This city supplied Egypt with copper. In order to facilitate this trade, the Egyptians provided the main actors of the Cypriot copper trade with prestigious furniture with hathoric connotation: the presence at Enkomi, of a particular series of Egyptian faience bowls shows the diffusion of the theological concepts associated to this Egyptian goddess. In the 6th-5th centuries BC, this diffusion is still present and is confirmed by a series of contextual and divine associations founded on sites which benefited from the exploitation of Cypriot copper and its trade. The transposition of these theological concepts is particularly revealed by the presence of hathoric capitals of local manufacture in the sanctuaries of Aphrodite at Tamassos and Astarte at Kition-Bamboula, and in the palaces of Amathous and Idalion. Such monuments in Cyprus appear to have been linked, as in the case of Egypt, with the worship of the protective goddess of the mining activities.
Bookmarks Related papers MentionsView impact
Ktema, Jan 1, 2008
Bookmarks Related papers MentionsView impact
Cypriot Material Culture Studies. From Picrolite Carving to Proskinitaria Analysis. Proceedings of the 8th Annual Postgraduate Cypriot Archaeology Conference Held in Honour of the Memory of Paul Åström at the Vrije Universiteit Brussel (Belgium) from 27 to 29th November 2008, Jan 1, 2015
Images of the Egyptian goddess Hathor appear in Cyprus on a variety of iconographic supports date... more Images of the Egyptian goddess Hathor appear in Cyprus on a variety of iconographic supports dated from the Late Bronze Age to the Iron Age. During the Cypro-archaic period, this divine figure becomes very popular in the island, particularly in the city of Amathous. This paper focus on a series of vases often decorated with Hathoric figures: the “Amathous Style” vases. As far as they constitute a singular and homogeneous local production of the city in the Cypro-Archaic II period, the iconographic examination of these objects provides further information concerning the origin, the perception and the functions of this divine figure and shows a local adaptation of the Egyptian theological concepts linked to this goddess.
Bookmarks Related papers MentionsView impact
Cahier du Centre d'études chypriotes, Jan 1, 2006
This article focuses on a Cypriote cubical stamp seal decorated with Hathoric figure now in the B... more This article focuses on a Cypriote cubical stamp seal decorated with Hathoric figure now in the British Museum. It examines its iconography and datation and suggests some hypotheses regarding its possible provenience and meaning.
Bookmarks Related papers MentionsView impact
Cahier du Centre d'études chypriotes, Jan 1, 2005
A terracotta model of boat, found in the sea off Amathus, was published in 1999 by L. Basch who g... more A terracotta model of boat, found in the sea off Amathus, was published in 1999 by L. Basch who gaved a detail commentary from the perspective of its naval architecture. The fact that the vessel was in this particular instance occupied by seven people justifies making an iconographic study so as to determine a significance of this kind of offering which was particularly common at the site of Amathus. The probably presence of a king-like figure amongst the persons on board allows new hypotheses to be put forward on the cults connected with sailing and the role played by the ruler.
Bookmarks Related papers MentionsView impact
Notices dans catalogue d'exposition by Aurélie Carbillet
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Uploads
Books by Aurélie Carbillet
(such as capitals, steles, terra-cotta, metal objects, vases, and so on) that was discovered almost everywhere on the island between the Late Bronze Age and the classical period
(ca. 1600–400 b.c.e.). Examining the representations of the Egyptian goddess is essential to definingthe iconographic features of the Hathoric figure in order to identify and isolate,
among the Cypriote furniture, images of the goddess. These Cypriot testimonies are listed in an exhaustive catalog underlies this iconographic, stylistic, and contextual analysis of each
document. In this way, Carbillet aimed to understand and explain, on the one hand, the introduction, distribution, and disappearance
of this Egyptian divine figure in Cyprus and, on the other hand, the symbolic value that the inhabitants of the
island conferred on her.
In the Cypriot context, this study brings to light the existence of syncretism between this Egyptian divinity and the local
Great Goddess. The image of the hathoric goddess was not simply borrowed from Egypt but was transferred to Cyprus
in order to enrich the theological personality of the local Great Goddess. Under her hathoric avatar, this Great Goddess
was especially linked to the funerary context, fertility, and protection of natural resources, and, during the 1st millennium
b.c.e., protection of the royal power. This study shows the complex cultural links established between the cultural areas of
the oriental Mediterranean world (Cyprus, Egypt, Levant).
Papers by Aurélie Carbillet
Les appliques murales sont des objets en terre cuite couramment découverts à Ougarit dans les niveaux du Bronze récent. Alors que les publications ne font connaître que 49 exemplaires, l'exploitation des archives de la Mission a permis la « redécouverte » de 114 fragments inédits supplémentaires. Ougarit livre ainsi l'un des corpus méditerranéens les plus importants, comparable à celui d'Enkomi à Chypre. Le catalogue commenté de ces objets a récemment été publié (RSO XXIII, 2016). La plupart des trouvailles sont connues par les inventaires, les cahiers de fouille, les carnets de dessins et les photographies. Elles ont souvent été dessinées et/ou photographiées. Ces archives, telles les photographies montrant les découvertes in situ publiées dans cet article, permettent bien souvent de préciser le contexte de découverte de ces objets et d'approfondir notre réflexion quant à leur mode d'utilisation. Ces informations sont précieuses car la fonction de ces objets reste énigmatique et plusieurs hypothèses ont été avancées (entre autres celle de louche votive, de lampe, de brûle-encens). Cet article est aussi l'occasion de présenter cinq nouveaux documents retrouvés postérieurement à la publication du catalogue. Le corpus ougaritain se caractérise notamment par la diversité des décors (géométrique incisé ; digité ; décor évidé ; protomé de taureau modelé et rapporté sur la plaque ; représentations de femme nue), une spécificité dont rendent bien compte les cinq nouveaux fragments.
ABSTRACT
In Ugarit, terracotta wall-brackets are usually discovered in Late Bronze Age levels. While only 49 specimens are known from the publications, the exploitation of the archives of the Mission allowed the " rediscovery " of 114 additional unpublished fragments. The corpus of Ugarit is one of the most important of the Mediterranean basin, comparable to that of Enkomi in Cyprus. The commented catalogue of these objects was recently published (RSO XXIII, 2016). Most of the finds are known by the inventories, the excavation books, the drawing books and by pictures. These objects were often drawn and/or photographed. The archives, such as pictures showing the discoveries in situ published in this paper, allow very often to specify the context of discovery of these objects and to bring elements of reflection to the question of their use. Such information is precious because the function of these objects remains enigmatic and several hypotheses have been suggested (among them votive ladle, lamp, incense-burner). In addition, this paper gives the opportunity to present five new documents found after the publication of the catalogue. The corpus of Ugarit is characterized in particular by the diversity of decorations (geometrical incisions; digitate; recess; protome of bull modelled on the plaque; representations of naked woman), a specificity well showed by the five new fragments.
Au Bronze récent, les représentations de femme nue à Ougarit sont fréquentes (représentations en deux dimensions, en relief, en ronde bosse) et les supports variés (sceaux-cylindres, figurines, statuettes, appliques murales, vases, pendentifs, poignards, cuillers, etc.). Les figurines en terre cuite sont les plus nombreuses, en particulier celles fabriquées à partir d'un moule univalve. Ces artefacts sont considérés comme des productions locales/régionales. 27 exemplaires ont pour l'instant été étudiés par L. Badre et T. Monloup. Dans le cadre du programme qui porte sur le fait religieux à Ougarit, un corpus exhaustif est en cours de réalisation, fondé dans un premier temps sur l'exploitation des archives de la Mission. L'étude a déjà fait connaître plusieurs dizaines d'inédits. La publication de photographies de deux figurines inédites, RS 23.573 et RS 23.574, découvertes dans la tranchée « Ville Sud », offre l'occasion de faire un point sur cette catégorie d'objets à Ougarit.
ABSTRACT
In Late Bronze Age Ugarit, images of naked woman are frequent (representations in two dimensions, in relief, in round work) and appear on various media (e.g. cylinder-seals, figurines, statuettes, wall-brackets, vases, pendants, daggers, spoon, etc.). Terracotta figurines are the most numerous, in particular those mold-made. These artefacts are considered as local/regional productions. 27 have been studied by L. Badre and T. Monloup. Within the framework of the research program on religious facts in Ugarit, an exhaustive corpus is in progress, first based on the exploitation of the archives of the Mission. The study has already made known several tens of unpublished objects. The publication of pictures of two unpublished figurines, RS 23.573 and RS 23.574, discovered in the so-called " Ville Sud " area, gives the opportunity to take stock of this category of objects in Ugarit.
The record brings a new documentation now to be included in reflections on the corpus of stone and terracotta bathtubs, among which the specimens from Cyprus and southern Levant are, for many years the debate relating both to their function and their use, as well as their potential as a “marker of ethnicity.”
Between the Aegean, Cyprus and Palestine, the documentation of Ugarit—which delivers the only known
corpus bathtubs for the northern Levant—is once again essential for studies on intercultural relations in the eastern Mediterranean during the Late Bronze Age and the beginning of the Iron age and gives a new
element which provides information on the relations between Ugarit and Cyprus.
If wall-brackets constitute a well known category of objects among the archaeological material discovered in Ugarit, the exhaustive inventory of these objects according to the available documentation kept in the archives of the mission remained to do. The corpus counts almost 160 specimens, of which more than hundred unpublished. It is, by far, about the most important corpus known in the Near East, which rival that of Enkomi in Cyprus. While waiting for to have access to the whole material and to propose a thorough analysis of the corpus, the author offers a formal study of these objects realized mainly according to archives illustrated of the mission, brings out the specificities of the ougaritian corpus by comparing it with the other known corpuses, then approach the delicate questions concerning the datation of these objects, their origin as well as their function.
aquatique semblent avoir été particulièrement appréciés par la clientèle ougaritaine. Nous avons ainsi
recensé 132 vases ou fragments de vases décorés de motifs aquatiques tels que des poulpes, des poissons,
des dauphins, des coquillages, etc. En s’intéressant à la forme et à la fonction de ces vases, ainsi qu’à leur
contexte de découverte, nous avons mis en relief l’éventuelle portée symbolique, cultuelle et/ou funéraire
de certains de ces motifs dans le contexte ougaritique.
Among the figurative Mycenaean pottery, vessels decorated with representations of the aquatic
world seem to have been particularly appreciated by the Ugaritic clientele. We listed 132 vases or sherds
decorated with aquatic motifs such as octopuses, fishes, dolphins, shells, etc. By being interested in the
shape and in the function of these vases, as well as in their context of discovery, this study brings out the
possible symbolic, religious and/or funeral value of some of these motifs in the Ugaritic context.
Cet article propose de revenir sur l’interprétation symbolique et fonctionnelle des modèles de bateaux découverts dans les tombes chypriotes depuis le Bronze Moyen jusqu’au début de l’époque classique, et souhaite offrir une hypothèse alternative à celle, largement répandue, qui consiste à voir, dans ces terres cuites, une volonté des vivants de refléter l’activité de marin ou de pêcheur qu’aurait pu exercer le défunt avant sa mort. Au regard de leur iconographie et de leur forme, il est possible que ces bateaux et la pratique à laquelle se rattache leur dépôt soient à mettre en rapport avec la navigation eschatologique, une croyance développée dans plusieurs civilisations du Bassin Méditerranéen, et notamment en Égypte, où l’on trouve les parallèles les plus convaincants : certains modèles chypriotes pourraient bien être en effet des imitations locales de barques funéraires égyptiennes. Ces terres cuites apportent ainsi un témoignage supplémentaire de l’influence de la Vallée du Nil sur certaines populations de l’île et peut-être aussi sur leurs croyances.
Notices dans catalogue d'exposition by Aurélie Carbillet
(such as capitals, steles, terra-cotta, metal objects, vases, and so on) that was discovered almost everywhere on the island between the Late Bronze Age and the classical period
(ca. 1600–400 b.c.e.). Examining the representations of the Egyptian goddess is essential to definingthe iconographic features of the Hathoric figure in order to identify and isolate,
among the Cypriote furniture, images of the goddess. These Cypriot testimonies are listed in an exhaustive catalog underlies this iconographic, stylistic, and contextual analysis of each
document. In this way, Carbillet aimed to understand and explain, on the one hand, the introduction, distribution, and disappearance
of this Egyptian divine figure in Cyprus and, on the other hand, the symbolic value that the inhabitants of the
island conferred on her.
In the Cypriot context, this study brings to light the existence of syncretism between this Egyptian divinity and the local
Great Goddess. The image of the hathoric goddess was not simply borrowed from Egypt but was transferred to Cyprus
in order to enrich the theological personality of the local Great Goddess. Under her hathoric avatar, this Great Goddess
was especially linked to the funerary context, fertility, and protection of natural resources, and, during the 1st millennium
b.c.e., protection of the royal power. This study shows the complex cultural links established between the cultural areas of
the oriental Mediterranean world (Cyprus, Egypt, Levant).
Les appliques murales sont des objets en terre cuite couramment découverts à Ougarit dans les niveaux du Bronze récent. Alors que les publications ne font connaître que 49 exemplaires, l'exploitation des archives de la Mission a permis la « redécouverte » de 114 fragments inédits supplémentaires. Ougarit livre ainsi l'un des corpus méditerranéens les plus importants, comparable à celui d'Enkomi à Chypre. Le catalogue commenté de ces objets a récemment été publié (RSO XXIII, 2016). La plupart des trouvailles sont connues par les inventaires, les cahiers de fouille, les carnets de dessins et les photographies. Elles ont souvent été dessinées et/ou photographiées. Ces archives, telles les photographies montrant les découvertes in situ publiées dans cet article, permettent bien souvent de préciser le contexte de découverte de ces objets et d'approfondir notre réflexion quant à leur mode d'utilisation. Ces informations sont précieuses car la fonction de ces objets reste énigmatique et plusieurs hypothèses ont été avancées (entre autres celle de louche votive, de lampe, de brûle-encens). Cet article est aussi l'occasion de présenter cinq nouveaux documents retrouvés postérieurement à la publication du catalogue. Le corpus ougaritain se caractérise notamment par la diversité des décors (géométrique incisé ; digité ; décor évidé ; protomé de taureau modelé et rapporté sur la plaque ; représentations de femme nue), une spécificité dont rendent bien compte les cinq nouveaux fragments.
ABSTRACT
In Ugarit, terracotta wall-brackets are usually discovered in Late Bronze Age levels. While only 49 specimens are known from the publications, the exploitation of the archives of the Mission allowed the " rediscovery " of 114 additional unpublished fragments. The corpus of Ugarit is one of the most important of the Mediterranean basin, comparable to that of Enkomi in Cyprus. The commented catalogue of these objects was recently published (RSO XXIII, 2016). Most of the finds are known by the inventories, the excavation books, the drawing books and by pictures. These objects were often drawn and/or photographed. The archives, such as pictures showing the discoveries in situ published in this paper, allow very often to specify the context of discovery of these objects and to bring elements of reflection to the question of their use. Such information is precious because the function of these objects remains enigmatic and several hypotheses have been suggested (among them votive ladle, lamp, incense-burner). In addition, this paper gives the opportunity to present five new documents found after the publication of the catalogue. The corpus of Ugarit is characterized in particular by the diversity of decorations (geometrical incisions; digitate; recess; protome of bull modelled on the plaque; representations of naked woman), a specificity well showed by the five new fragments.
Au Bronze récent, les représentations de femme nue à Ougarit sont fréquentes (représentations en deux dimensions, en relief, en ronde bosse) et les supports variés (sceaux-cylindres, figurines, statuettes, appliques murales, vases, pendentifs, poignards, cuillers, etc.). Les figurines en terre cuite sont les plus nombreuses, en particulier celles fabriquées à partir d'un moule univalve. Ces artefacts sont considérés comme des productions locales/régionales. 27 exemplaires ont pour l'instant été étudiés par L. Badre et T. Monloup. Dans le cadre du programme qui porte sur le fait religieux à Ougarit, un corpus exhaustif est en cours de réalisation, fondé dans un premier temps sur l'exploitation des archives de la Mission. L'étude a déjà fait connaître plusieurs dizaines d'inédits. La publication de photographies de deux figurines inédites, RS 23.573 et RS 23.574, découvertes dans la tranchée « Ville Sud », offre l'occasion de faire un point sur cette catégorie d'objets à Ougarit.
ABSTRACT
In Late Bronze Age Ugarit, images of naked woman are frequent (representations in two dimensions, in relief, in round work) and appear on various media (e.g. cylinder-seals, figurines, statuettes, wall-brackets, vases, pendants, daggers, spoon, etc.). Terracotta figurines are the most numerous, in particular those mold-made. These artefacts are considered as local/regional productions. 27 have been studied by L. Badre and T. Monloup. Within the framework of the research program on religious facts in Ugarit, an exhaustive corpus is in progress, first based on the exploitation of the archives of the Mission. The study has already made known several tens of unpublished objects. The publication of pictures of two unpublished figurines, RS 23.573 and RS 23.574, discovered in the so-called " Ville Sud " area, gives the opportunity to take stock of this category of objects in Ugarit.
The record brings a new documentation now to be included in reflections on the corpus of stone and terracotta bathtubs, among which the specimens from Cyprus and southern Levant are, for many years the debate relating both to their function and their use, as well as their potential as a “marker of ethnicity.”
Between the Aegean, Cyprus and Palestine, the documentation of Ugarit—which delivers the only known
corpus bathtubs for the northern Levant—is once again essential for studies on intercultural relations in the eastern Mediterranean during the Late Bronze Age and the beginning of the Iron age and gives a new
element which provides information on the relations between Ugarit and Cyprus.
If wall-brackets constitute a well known category of objects among the archaeological material discovered in Ugarit, the exhaustive inventory of these objects according to the available documentation kept in the archives of the mission remained to do. The corpus counts almost 160 specimens, of which more than hundred unpublished. It is, by far, about the most important corpus known in the Near East, which rival that of Enkomi in Cyprus. While waiting for to have access to the whole material and to propose a thorough analysis of the corpus, the author offers a formal study of these objects realized mainly according to archives illustrated of the mission, brings out the specificities of the ougaritian corpus by comparing it with the other known corpuses, then approach the delicate questions concerning the datation of these objects, their origin as well as their function.
aquatique semblent avoir été particulièrement appréciés par la clientèle ougaritaine. Nous avons ainsi
recensé 132 vases ou fragments de vases décorés de motifs aquatiques tels que des poulpes, des poissons,
des dauphins, des coquillages, etc. En s’intéressant à la forme et à la fonction de ces vases, ainsi qu’à leur
contexte de découverte, nous avons mis en relief l’éventuelle portée symbolique, cultuelle et/ou funéraire
de certains de ces motifs dans le contexte ougaritique.
Among the figurative Mycenaean pottery, vessels decorated with representations of the aquatic
world seem to have been particularly appreciated by the Ugaritic clientele. We listed 132 vases or sherds
decorated with aquatic motifs such as octopuses, fishes, dolphins, shells, etc. By being interested in the
shape and in the function of these vases, as well as in their context of discovery, this study brings out the
possible symbolic, religious and/or funeral value of some of these motifs in the Ugaritic context.
Cet article propose de revenir sur l’interprétation symbolique et fonctionnelle des modèles de bateaux découverts dans les tombes chypriotes depuis le Bronze Moyen jusqu’au début de l’époque classique, et souhaite offrir une hypothèse alternative à celle, largement répandue, qui consiste à voir, dans ces terres cuites, une volonté des vivants de refléter l’activité de marin ou de pêcheur qu’aurait pu exercer le défunt avant sa mort. Au regard de leur iconographie et de leur forme, il est possible que ces bateaux et la pratique à laquelle se rattache leur dépôt soient à mettre en rapport avec la navigation eschatologique, une croyance développée dans plusieurs civilisations du Bassin Méditerranéen, et notamment en Égypte, où l’on trouve les parallèles les plus convaincants : certains modèles chypriotes pourraient bien être en effet des imitations locales de barques funéraires égyptiennes. Ces terres cuites apportent ainsi un témoignage supplémentaire de l’influence de la Vallée du Nil sur certaines populations de l’île et peut-être aussi sur leurs croyances.
A Chypre, ces interactions s’expriment dans tous les domaines de la production humaine mais c’est dans le domaine religieux qu’elles sont sans doute les plus difficiles à appréhender. En effet, à la différence de ses voisins, nous ne possédons, à Chypre, pour ces périodes anciennes, aucun texte religieux. En revanche, l’île a livré une multitude d’images divines qui nous renseigne sur la composition du panthéon et l’organisation de la pensée religieuse chypriotes des IIe et Ier mill. av. J.-C. Si aujourd’hui les éléments grecs et orientaux dans la religion chypriote ont bien été mis en lumière, on ne peut en dire autant concernant les éléments égyptiens. Or, il semblerait que les puissances divines de la Vallée du Nil ont exercé une certaine attraction sur les croyances religieuses des populations de Chypre, ce que révèle, parmi d’autres témoignages, le nombre relativement élevé, dans l’île, d’images à l’effigie de divinités égyptiennes et égyptisantes. La déesse Hathor semble avoir été l’une des divinités égyptiennes les plus populaires sur l’île : plus de 150 artefacts décorés à son effigie, de nature variée et de manufacture locale, y ont été découverts. Comment interpréter ces images d’une divinité allochtone dans le contexte religieux chypriote ? Quel sens revêtaient-elles pour ces populations ? Était-il le même qu’en Égypte ? Quel fut le mode de transmission et quel circuit de diffusion emprunta cette figure divine pour arriver à Chypre depuis l’Egypte ? Une étude iconographique, stylistique et contextuelle de l’ensemble des représentations hathoriques, formulée dans une perspective comparative et diachronique, nous a permis de retracer l’histoire de cette figure divine à Chypre, de ses origines à sa disparition au cours du IVe s. av. J.-C.
"
Cette déesse pharaonique connut une popularité certaine au Levant avant d’atteindre les rivages de l’île, ce dont témoignent les nombreuses découvertes d’images à son effigie, le plus souvent de manufacture locale. Comment interpréter ces images divines dans le contexte levantin ? Quel(s) rôle(s) tenaient-elles dans les croyances religieuses des populations du Levant ? C’est ce que nous essayerons de déterminer dans le cadre de cette communication, d’une part par l’examen attentif de ces représentations, et d’autre part par une double contextualisation, iconographique et archéologique, de ces images et des supports qui les accueillent.