A Cypriot Iron Age Terracotta Figurine from Achna

Standing 40cm tall, this terracotta figure likely from Achna, now in our collection, is a compelling example of the ‘Astarte’ style that flourished in Iron Age Cyprus. Its hollow, mold-made construction is confirmed by two vent holes at the back, and close examination reveals remnants of red pigmentation on its chest and veiled head, where subtle traces of its original polychromy remain. The figure is depicted in a classic pose, holding her breasts, adorned in a complex garment and intricate jewelry. Like many such objects in private collections, its own story adds another layer to its archaeological significance. The piece was purchased in Sweden from the collection of Sten Törnblom (1909-1989), a teacher of Greek and Latin at Westerlundska Gymnasium in Enköping. Törnblom, an avid art collector, acquired his archaeological objects during trips to Greece, Crete, and Cyprus in the 1950s and 60s, and the figurine was later passed on prior to being acquired for the Drakopoulos collection.

This analysis will explore the figurine's iconography, manufacture, and cultural context. By situating it within the broader scholarly discourse on Cypriot coroplastic studies, we can better appreciate its unique features and its contribution to our understanding of ancient Cypriot society and religious practice.

For a long time, the terracotta production of Cyprus was deemed unworthy of serious scholarly attention, especially when compared to figurines from mainland Greece [1]. The renowned coroplastic scholar Dorothy Burr Thompson famously dismissed the coroplasts of Kourion in 1958, claiming they "had absolutely no artistic sense... They were boors" [1]. In the last generation, however, a shift within Classical archaeology towards more inclusive approaches has encouraged a greater appreciation for the "fringes" of the Hellenic world. This has fostered robust methods for examining Greek interactions with neighboring cultures, leading to a widespread recognition that the contextual study of figurines offers a wealth of information. The coroplastic production of Cyprus, which skillfully blended indigenous traditions with Aegean and Near Eastern customs, presents a unique opportunity to investigate the significance of this artifact typ e [1]. As the number of figurines from scientifically excavated sites grows, so too does our understanding of their chronology, production, and meaning.

The Broader Context of Cypriot Iron Age Figurines

The Iron Age in Cyprus (c. 1050–475 BC) saw a dynamic evolution in coroplastic art. Establishing a precise chronology for these figurines remains an area of active research, complicated by their discovery contexts. Most were not found in primary depositions but in disturbed sanctuary levels, reused tombs, or other contexts that defy easy dating [1]. Many specimens from the art market, like those studied by Vassos Karageorghis, lack any provenience at all [1]. Consequently, dating often relies on stylistic analysis. The foundation for this chronology was laid by Einar Gjerstad, whose work at the Ayia Irini sanctuary established an essential framework for the larger statuary. This initial scheme, however, did not encompass the thousands of smaller figurines, and subsequent finds from stratified contexts, such as the Samian Heraion, have challenged and refined it.

Terracotta production in Cyprus has ancient roots, dating to the Chalcolithic period. Standardized types began to emerge in the Early Cypriot period, but it was at the close of the Late Cypriot II period (c. 1200 BCE) that production intensified, especially in urban centers like Enkomi and Kition, fueled by urbanization and prosperity.

The Cypro-Geometric I period brought a notable shift. A new type of female figure with upraised arms appeared, influenced by Aegean iconography but adapted to local beliefs. This type’s enduring popularity through the Cypro-Classical period underscores its cultic importance. Other Cypro-Geometric I types include male figures, bottle-shaped figurines, and wheeled horse-and-riders, found primarily in sanctuaries and tombs.

The Cypro-Archaic period witnessed a dramatic increase in figurine production, driven by a new demand for votive offerings as the autonomous Cypriot city-kingdoms were established and reorganized. Religion and the votive habit were central to the identity of these kingdoms. This boom began with handmade figurines, followed by the development of molds for mass production and, by the 7th century BC, large-scale terracotta and limestone statuary. Workshops across the various kingdoms developed regionally distinct styles. Important sanctuaries for this period include Amathus, Ayia Irini, Idalion, Kition-Bamboula, and Achna, where our figurine was likely found. Scientific investigations, such as neutron activation analysis, have greatly enhanced our understanding of these production centers [1]. A collaborative project, for example, showed that while most Cypriot-style figurines on Samos and Rhodes were made from southeastern Cypriot clay, some from the Samian Heraion were unexpectedly made from local clay [1]. As more Cypriot-style figurines are found abroad, such scientific sourcing remains crucial for understanding the interplay of local production and cultural exchange.

Typology and Manufacturing Techniques

Cypriot coroplasts of the Iron Age employed a range of techniques: entirely handmade figures, wheel-made bodies with handmade additions, and partially or fully mold-made figures. For larger works, these techniques were often combined.

The introduction of the mold from the Levant in the 7th century BC was a significant technological advance, becoming widespread in the 6th century BC [1]. This innovation facilitated the mass production of plaque figures and heads. While the single mold was ancient, the double or bivalve mold, likely a Levantine development, was introduced to Cyprus around the 8th–7th century BC for specific types of Phoenician origin, like the Dea Gravida. Our figurine, with its hollow construction and two vent holes, fits squarely into this more advanced production method. Venting was essential for larger pieces like our 40cm example, as it prevented the clay from cracking during firing.

While thousands of small figurines were produced, Cypriot coroplasts also specialized in medium and large-scale terracotta statuary, some reaching life-size or even larger. This tradition of monumental terracotta sculpture distinguishes Cyprus from other regions in the Iron Age [2]. The pose of holding the breasts is an ancient and common motif for female figurines across the Near East and Cyprus, explicitly associated with fertility and sexuality [3]. Our figurine’s complex garment and elaborate jewelry are also characteristic. While some "Astarte plaques" were nude, the type from Achna is known for her distinctive attire. One scholar has dubbed a very similar figurine "Heptastolos" ('She of the Seven Robes'), noting her intricate costume and extensive jewelry, including an anthropomorphic pendant on her belly [4]. The veil on our figurine’s head also finds parallels with statues from Aegean sites like Samos. The remnants of red pigment suggest a common practice of painted decoration, seen on terracottas from Salamis and even Judean Pillar Figurines.

While the "Goddess of Achna" type shares stylistic elements with figurines from Arsos and Salamis, her unique costume suggests a local variation [5]. This points to the regional distinctiveness of workshops, even within shared broader styles. The craftsmanship evident in our piece highlights the local adaptation of Cypriot potters in meeting the demand for votive offerings [6].

Iconography and Interpretation: "Astarte" and the Cypriot Goddess

The term "Astarte figurine" is a broad descriptor for nude or semi-nude female figures holding their breasts, a motif with deep roots in Cyprus and the Near East associated with fertility. In the Late Bronze Age, such figures were dedicated in sanctuaries and tombs, commonly interpreted as representations of a local Great Goddess. However, this iconography disappeared from Cyprus at the end of the Bronze Age, replaced by the "goddess-with-uplifted-arms." It was only after the 8th century BC that nude female depictions were reintroduced, first on metal objects and later as the first Near Eastern "Astarte-figurines."

Our figurine from Achna, which may represent the figure some scholars call "Heptastolos," offers a unique glimpse into the Cypriot interpretation of these divine figures [5]. Her form—hollow, made in a bivalve mold, with a finely detailed front and a simpler back—is typical for mass-produced votives. Her hands, adorned with rings, touch her breasts from below in the classic "Astarte-gesture." Her face is round with large almond-shaped eyes, a protruding nose, and a faint, serious smile [6].

The "Heptastolos" type is particularly notable for her intricate costume and an anthropomorphic pendant placed on her belly. Scholars have suggested this pendant, perhaps evoking a scarab seal, emphasizes her function as a patroness of birth and fertility, linking her to regenerative powers and the entire cycle of life and death. The iconographic motif of the bejeweled goddess Astarte holding her breasts traveled across the sea, likely with Phoenician merchants. Her functions, including ensuring fecundity and motherhood, merged with the traditions of the local Cypriot Goddess, who was later identified with Aphrodite and, in some places, Artemis. Local workshops produced images that reflected these evolving beliefs, absorbing influences from the Syrian goddess while evoking the particular functions of their own.

Whether such figures represent a goddess, a priestess, or a votary remains ambiguous for many Cypriot types, and this may have been intentional. However, the "Astarte-gesture" strongly refers to fertility and nursing, suggesting the votive was offered to a goddess who granted such blessings. Phoenician influence was profound, seen not just in figurines but also in items like mushroom-lipped jugs used for perfumed oils. Our figurine fits a context where Phoenician techniques and iconography were adopted and adapted in Cyprus, not simply imported. This blending of traditions is a defining characteristic of Cypriot coroplastic production.

Distribution and Trade

The circulation of figurines within Cyprus reflects the island's geopolitical organization, with distinct production centers and regional styles. Terracottas from Kition have been found in Lapithos, while some from Amathus have been found in Kition [7]. The work of Young and Young at Kourion, though needing revision, first demonstrated these regional dynamics, identifying products from several different kingdoms within a single sanctuary. This internal circulation underscores a deep interconnectedness between the Cypriot city-kingdoms [7].

Beyond the island, Cypriot figurines were part of a wider network of trade. They have been discovered across the Aegean, in Asia Minor, the Levant, and at Naukratis in Egypt. Neutron activation analysis has confirmed that the majority of Cypriot-style figurines dedicated at major sanctuaries on Samos and Rhodes were indeed made from southeastern Cypriot clay [1].

The trade in Black-on-Red pottery has long been a key indicator of these connections. Nicolas Coldstream proposed that this ware was a Cypriot product made under Phoenician influence and exported by them, particularly to the Dodecanese and Crete, as containers for perfumed oil. However, this theory has been reassessed [8]. With Black-on-Red now established as a Cypriot type, the evidence linking Phoenicians to a perfume-oil industry on Rhodes is less certain.

The "Goddess of Achna" figurine, with its unique costume and stylistic affinities to other Cypriot centers, illustrates a local production with significant external influences, rather than a direct import. Its existence confirms the dynamism of regional workshops and their ability to integrate external ideas into a distinctly Cypriot artistic language.

Future Research and Conclusion

While scholarship on Cypriot figurines has advanced significantly, much work remains. Historically, studies have focused on style, type, and iconography, treating the figurines primarily as art objects. This has provided an important foundation, but the study of Iron Age figurines has lagged behind prehistoric examples in applying more theoretical approaches. Future research that focuses on materiality, agency, scale, and complete archaeological context will yield fresh insights into how these objects functioned in Cypriot society. A notable gap is the lack of information on figurines from domestic or industrial contexts, a lacuna that can only be filled by the excavation of more settlements and workshops.

This 40cm mold made "Astarte" style figurine from Achna encapsulates the vibrant coroplastic art of Archaic Cyprus. Its intricate details allude to its identity as a powerful local deity associated with fertility and the cycle of life. Its manufacture points to sophisticated, mass-production techniques that flourished during the Cypro-Archaic period, influenced by Levantine innovations.

This piece embodies the Cypriot archaic approach of adapting foreign iconographic elements and integrating them into a distinctly local artistic and religious expression. As we continue to study this figurine and others like it, we are reminded of the potential for new discoveries that will further reveal material cultural knowledge of Iron Age Cyprus.