Ancient civilizations have long fascinated the modern world. In the 1890s, excavations on the Cyclades islands uncovered hundreds of tombs, leading scholars to discover the existence of a previously unknown civilization known as “Cycladic.” This civilization was found to align with the timeline of ancient Egypt (Pedley 20). Among the intriguing artifacts from this Cycladic civilization is a marble statue of a harp player, currently housed in the Getty Villa museum in Malibu, California.
The Getty Harp Player, along with other similar Cycladic figurines known as “idol dolls”, was unearthed on the island of Keros in the 19th century. Despite extensive research, the specific domestic uses and purposes of these figurines remain unknown. Various theories have been proposed over the years, but I personally believe that, much like other Cycladic art and pottery, the Harp Player held both practical and religious significance for its owner during their lifetime and even after death. These “idol dolls” originate from the Early Bronze age in the Cyclades region and gained significant interest and fascination from people following World War II.
Around twelve thousand graves have been excavated in the Cycladic islands, revealing a multitude of idols. Among these, the Getty Harp Player stands out due to its distinctive style and theme, making it highly sought-after. This doll’s intricate details and captivating simplicity spark curiosity about its intended use. Licia Ragghianti, in her book The Magnificent Heritage of Ancient Greece, skillfully offers insight into the sculptor’s mindset during the creation of this extraordinary piece.
According to Ragghianti, the artist utilized various techniques such as aligning, counterbalancing, paralleling, angling, interpenetrating, and inverting triangular rhythms observed from different perspectives – including from the top and laterally, with the head, nose, arms, and legs used to indicate direction. Additionally, the contemplative meaning of the artwork is enhanced by the angles and planes created by the translucent marble (Ragghianti 22). Cycladic figurines were generally not intricately carved due to the challenges involved in working with marble.
The head, arms, and legs of the harp player were designed in a angular and planar manner, while the face was less detailed. Nonetheless, the existence of “ghosts” of paint on the sculpture implies that the artist had initially added intricate features with paint. Although the paint has faded over time, leaving a faint “shadow” where it once was, it is evident that the Cyclades valued small details despite initial assumptions. (Lawergren 3)
While some may argue that the Getty Harp player and other Cycladic figurines were created for purely aesthetic reasons, it is hard to believe that the Cycladic people would devote so much time and effort into crafting a highly detailed piece of art solely for decoration. To support the notion that the Getty Harp player may have had a practical function, one can examine other examples of Cycladic art and their purposes. Like many ancient civilizations, pottery in the Cycladic world served both as an artistic medium and a functional object.
Excavations in the Cycladic region have revealed plates and pots adorned with beautiful patterns and designs. These artifacts indicate that the Cycladic people dedicated significant time and effort to creating objects that were not only visually pleasing, but also had practical household uses. Historians believe that many of these remarkable artworks served essential functions for individuals and the community at large. A specific object resembling an intricately designed plate was discovered, which is thought to have played a significant role in the Cycladic lifestyle as a frying pan for cooking.
The evidence suggests that if the Cyclades dedicated considerable effort to crafting practical objects, then the Getty Harp Player likely serves a purpose beyond mere decoration. Alongside their pottery, the Cyclades achieved renown for their marble sculptures. Smaller figurines were fashioned from pebbles and stones, while larger ones were carved from rectangular marble blocks using implements made of bone, copper, and emery. Scholars have categorized these figurines into three main themes: female figures, male figures, and musician figures.
The figures known as “idol dolls” were categorized based on their aesthetic qualities and unique characteristics, showing the fascination they hold for the modern world. The Plastiras type, for example, is characterized by an ovular shaped head with a straight nose and mouth, as well as protruding ears. On the other hand, the Spedos type features folded arms, a backward leaning head, long sloping shoulders, and details painted on after sculpting, except for the nose. Lastly, the Khalandriani type displays folded arms and a distinct angular shape. The artistic freedom exhibited by the Cycadic people has led to the identification of multiple subtypes and even individual artists. The Cyclades, a prehistoric civilization, demonstrated an impressive understanding of human figure proportions long before the sculptors of the classical period. Among the various categories within Cycladic culture, one of the most captivating examples of artistic freedom and virtuosity are the musicians: specifically, the seated harpists (Pedley 34). Despite their uniqueness, the seated harpists are similar to other idol dolls discovered in Cycladic culture.
Other idol dolls are highly reminiscent of the harp player, especially in terms of facial features and the simplistic carvings that define their bodies. This suggests that most of these figurines were linked, shared, and served similar functions during the ancient Cycladic era. The Getty Harp Player, as one among ten known Cycladic harp players, exhibits intricate artistry and qualities that align with other pieces of Cycladic art, owing to its distinct style and material composition.
According to Ragghianti, the creation of these dolls showcases enduring qualities of Greek civilization’s poetic and artistic perspective. The dolls convey not only a tangible representation but also a profound conceptual significance, demonstrating the expression of primary emotions and their transformation into lasting, unvarying ideas (Ragghianti 18).
The harp players and other “idol dolls”, including the Getty Harp Player, are closely alike, suggesting a shared purpose. Due to their inability to stand upright, these dolls were placed in tombs beside the deceased. Archaeology writer Craig Childs points out that dating and understanding their use is challenging due to lack of official documentation and limited sources from archaeologists (Childs 112)
The figures were primarily discovered in graves alongside deceased individuals, indicating that they likely had a religious significance. However, some figurines were also found in the remains of homes, implying that they served a practical purpose in daily life rather than being solely intended to accompany the dead. While the exact purpose of these dolls remains unclear, their religious function can be attributed to various possibilities. Given their presence alongside the deceased, it is possible that the dolls symbolized the servants of the dead, revered ancestors, or even divine beings.
In a mundane scenario, these dolls may have served as playthings for children or even served as alternatives to sacrificial offerings (Pedley 36). Extending the notion that individuals played with these dolls during childhood, it is possible they kept the doll throughout their lifetime and eventually interred it with them. This theory proposes that the doll might have symbolized its possessor or potentially an ancestor, intended to safeguard them in life and beyond. Female figures, specifically, possessed a predominantly flat form, typically depicted in the nude with arms crossed.
The true meaning of these dolls is uncertain, but they have been interpreted as nymphs, revered deceased individuals, and goddesses (Hafner 81). Greek Art and Archaeology author John Pedley believes they were idols intended to accompany their owners in life and death (Pedley 37). In summary, the Getty Harp player and similar “idol dolls” serve mysterious purposes beyond mere decoration. They must have held other forms of usefulness since Cycladic art, like pottery, also displayed intricate detail while serving a functional purpose.
It is clear that the ancient Cycladic civilization used these dolls to protect the deceased, as they were found next to graves. While their exact purposes are unknown, I believe that these ancient artworks served both religious and practical functions for their owners in life and in death. The discovery of these simple figurines in the tombs on the Cycladic islands sparks fascination and prompts broader reflections on ancient civilization during that era. Works Cited
Childs, Craig. “Finders Keepers.” New York: Hachette Book Group, 2010. Print.
Hafner, German. “Art of Crete, Mycenae, and Greece.” New York: H. N. Abrams, 1969. Print.
Lawergren, Bo. “A ‘Cycladic’ Harpist in the Metropolitan Museum of Art.” Diss. Hunter College, 2000. New York: City University of New York, 2000. Web. 5 Mar. 2012.
Pedley, John G. “Greek Art and Archaeology.” [S. l. ]: Prentice Hall, 2003. Print.
Ragghianti, Licia Collobi. “The Magnificent Heritage of Ancient Greece: 3000 Years of Hellenic Art.” New York: Newsweek, 1979. Print.
