• Ancient Greek Cycladic statue torso fragment: Canonical spedos variety , Early Cycladic period II, Syros phase 2800-2300 BC. Cycladic Museum of Art, Athens.  Grey Background. <br />
<br />
Arrtibuted to 'Goulandris Master'.  A very rare unique example of a canonical Spedos variety Cycladic statue of a male. The genetals are carved in the round in a naturalistic manner and unusually the forearms dont touch as in the female figures. This is a totaly unique example of a Cycladic canonical male figure of monumental dimensions.
  • Ancient Greek Cycladic statue torso fragment: Canonical spedos variety , Early Cycladic period II, Syros phase 2800-2300 BC. Cycladic Museum of Art, Athens. <br />
<br />
Arrtibuted to 'Goulandris Master'.  A very rare unique example of a canonical Spedos variety Cycladic statue of a male. The genetals are carved in the round in a naturalistic manner and unusually the forearms dont touch as in the female figures. This is a totaly unique example of a Cycladic canonical male figure of monumental dimensions.
  • Ancient Greek Cycladic statue torso fragment: Canonical spedos variety , Early Cycladic period II, Syros phase 2800-2300 BC. Cycladic Museum of Art, Athens.  Grey Background. <br />
<br />
Arrtibuted to 'Goulandris Master'.  A very rare unique example of a canonical Spedos variety Cycladic statue of a male. The genetals are carved in the round in a naturalistic manner and unusually the forearms dont touch as in the female figures. This is a totaly unique example of a Cycladic canonical male figure of monumental dimensions.
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata and Spedos variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Grey Background. <br />
<br />
Considered to be an intermediate or transitional form between the Dokathismata and Spedos varieties/
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata and Spedos variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Against white.<br />
<br />
Considered to be an intermediate or transitional form between the Dokathismata and Spedos varieties/
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata and Spedos variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens.   Against black<br />
<br />
Considered to be an intermediate or transitional form between the Dokathismata and Spedos varieties/
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata and Spedos variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Grey Background. <br />
<br />
Considered to be an intermediate or transitional form between the Dokathismata and Spedos varieties/
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata and Spedos variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens.<br />
<br />
Considered to be an intermediate or transitional form between the Dokathismata and Spedos varieties/
  • Cucladic Syros style decorated terra cotta frying pan . Early Cycladic Period II, (2800-2300 BC), Museum of Cycladic Art Athens,  cat no 971.   Against black
  • Cucladic Syros style decorated terra cotta frying pan . Early Cycladic Period II, (2800-2300 BC), Museum of Cycladic Art Athens,  cat no 971.  Grey Background.
  • Post canonical female ancient Greek Cycladic figurine, Late Ccladic priod  II to Cycladic period III (2500-2000 BC)Museum of Cycladic Art Athens, cat no 312,  Against white.
  • Post canonical female ancient Greek Cycladic figurine, Late Ccladic priod II to Cycladic period III (2500-2000 BC)Museum of Cycladic Art Athens, cat no 312.   Against black
  • Post canonical female ancient Greek Cycladic figurine, Late Ccladic priod II to Cycladic period III (2500-2000 BC)Museum of Cycladic Art Athens, cat no 312.  Grey Background.
  • Female figurine statuette : Cycladic Canonical type, Kapsala variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens. Against white.
  • Female figurine statuette : Cycladic Canonical type, Kapsala variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens. Grey Background.
  • Female figurine statuette : Cycladic Canonical type, Spedos variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens. Against white.<br />
<br />
The cycaldic figurine has its facial features preserved in relief. The eyes, eye brows and hair was probably painted which subsequently protected theses areas of the marble from erosion. Red pigment was found on the cheek and thighs. This is a mature work of the Spedos variety
  • Female figurine statuette : Cycladic Canonical type, Spedos variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens.  Against black<br />
<br />
<br />
The cycaldic figurine has its facial features preserved in relief. The eyes, eye brows and hair was probably painted which subsequently protected theses areas of the marble from erosion. Red pigment was found on the cheek and thighs. This is a mature work of the Spedos variety
  • Female figurine statuette : Cycladic Canonical type, Spedos variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens. Grey Background. <br />
<br />
The cycaldic figurine has its facial features preserved in relief. The eyes, eye brows and hair was probably painted which subsequently protected theses areas of the marble from erosion. Red pigment was found on the cheek and thighs. This is a mature work of the Spedos variety
  • Female figurine statuette : Cycladic Canonical type, Spedos variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens.<br />
<br />
The cycaldic figurine has its facial features preserved in relief. The eyes, eye brows and hair was probably painted which subsequently protected theses areas of the marble from erosion. Red pigment was found on the cheek and thighs. This is a mature work of the Spedos variety
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Against white.<br />
<br />
Attributed to the 'Ashmolean Museum Master'
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Grey Background. <br />
<br />
Attributed to the 'Ashmolean Museum Master'
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens.  Against black<br />
<br />
Attributed to the 'Ashmolean Museum Master'
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Grey Background. <br />
<br />
Attributed to the 'Ashmolean Museum Master'
  • Ancient spade shaped schematic figure from the Pelos phase,   probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 333.  Against white.
  • Ancient spade shaped schematic figure from the Pelos phase,   probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 333. Grey Background.
  • Ancient Greek Cycladic figurine, Kilia type ('stargazer'). Kilia, Gallipoli, Turkey, Circa 4360-3500 BC. Museum of Cycladic Art Athens, Grey Background.
  • Ancient Greek Cycladic figurine, Kilia type ('stargazer'). Kilia, Gallipoli, Turkey, Circa 4360-3500 BC. Museum of Cycladic Art Athens,
  • Ancient Greek Cycladic figurine, Kilia type ('stargazer'). Kilia, Gallipoli, Turkey, Circa 4360-3500 BC. Museum of Cycladic Art Athens, Grey Background.
  • Marble ancient Greek Cycladic figurine wearing a conical pilos, early Plastiras type, Early Cycladic Period I, circal 2800 BC, Museum of Cycladic Art Athens, cat no 1111.  Against Grey Background.
  • Abstract Cycladic figurine , Louris type, from Naxos, 2800-2500 BC, Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The figurine has no facial features and is of no determinable sex. The figureine is of the Louros typle, named after a site in Naxos and with stuby arms is considered to be an abstract development of the Plastiras type, of which it retains such traits and naturalistically separated legs and horizontal feet. The arms have been reduced to two protuberances at shoulder level and all anitomical features have virtually disappeared.
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308.  Against black<br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308. Against Grey Background. <br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308.<br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Female figurine statuette : Cycladic Canonical type, Spedos variety f. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens, cat no 207. Against white.
  • Female figurine statuette : Cycladic Canonical type, Spedos variety f. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens, cat no 207.  Against black
  • Female figurine statuette : Cycladic Canonical type, Spedos variety f. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens, cat no 207. Against Grey Background.
  • Female figurine statuette : Cycladic Canonical type, Spedos variety f. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens, cat no 207. Against Grey Background.
  • Female figurine statuette: Cycladic Canonical type, combining Dokathismata and Spedos variety. Early Cycladic Period II, (2800-2300 BC), 'Steiner Master'.  Museum of Cycladic Art Athens, cat no 283.  Against white.
  • Female figurine statuette: Cycladic Canonical type, combining Dokathismata and Spedos variety. Early Cycladic Period II, (2800-2300 BC), 'Steiner Master'.  Museum of Cycladic Art Athens, cat no 283.   Against black
  • Female figurine statuette: Cycladic Canonical type, combining Dokathismata and Spedos variety. Early Cycladic Period II, (2800-2300 BC), 'Steiner Master'.  Museum of Cycladic Art Athens, cat no 283.  Against Grey Background.
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II, (2800-2300 BC), 'Steiner Master'.  Museum of Cycladic Art Athens, cat no 654.  Against white.
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II, (2800-2300 BC), 'Steiner Master'.  Museum of Cycladic Art Athens, cat no 654.   Against black
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II, (2800-2300 BC), 'Steiner Master'.  Museum of Cycladic Art Athens, cat no 654
  • Cycladic Post Canonical type, Chalandrian variety female figurine statuette. Early Cycladic Period II Late Syros phase, (2500-2300 BC), Museum of Cycladic Art Athens, cat no 102.  Against white.
  • Cycladic Post Canonical type, Chalandrian variety female figurine statuette. Early Cycladic Period II Late Syros phase, (2500-2300 BC), Museum of Cycladic Art Athens, cat no 102.   Against black
  • Cycladic Post Canonical type, Chalandrian variety female figurine statuette. Early Cycladic Period II Late Syros phase, (2500-2300 BC), Museum of Cycladic Art Athens, cat no 102
  • Cycladic Post Canonical type, Chalandrian variety female figurine statuette. Early Cycladic Period II Late Syros phase, (2500-2300 BC), Museum of Cycladic Art Athens, cat no 102.  Against Grey Background.
  • Rare male Cycladic statue of a seated warrior or hunter holding a cup. Early Cycladic Period II, (2800-2300 BC), Museum of Cycladic Art Athens,  Against white.<br />
<br />
Male Cycladic figures are rare and are usually of musicians or hunters and warriors.
  • Rare male Cycladic statue of a seated warrior or hunter holding a cup. Early Cycladic Period II, (2800-2300 BC), Museum of Cycladic Art Athens,   Against black<br />
<br />
Male Cycladic figures are rare and are usually of musicians or hunters and warriors.
  • Rare male Cycladic statue of a seated warrior or hunter holding a cup. Early Cycladic Period II, (2800-2300 BC), Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
Male Cycladic figures are rare and are usually of musicians or hunters and warriors.
  • Cycladic Canonical type, Spedos variety female figurine statuette from Naxos or Keros. Early Cycladic Period II, (2800-2300 BC), 'Goulandris Master'.  Museum of Cycladic Art Athens,   Against black<br />
<br />
The 'Goulandris Master' was named because of the N.P Goulandris collection which had a significat number of Cycladic figureines attributed to one sculptor. The characteristic traits of his work are : statues of 32 to 98 cm tall, precise incisions demarcating the neck, the abdomen and pubic triangle asv well as knees and spinal column, the statues have a rounded outline. Traces of colour were found on the statue.
  • Cycladic Canonical type, Spedos variety female figurine statuette from Naxos or Keros. Early Cycladic Period II, (2800-2300 BC), 'Goulandris Master'.  Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
<br />
The 'Goulandris Master' was named because of the N.P Goulandris collection which had a significat number of Cycladic figureines attributed to one sculptor. The characteristic traits of his work are : statues of 32 to 98 cm tall, precise incisions demarcating the neck, the abdomen and pubic triangle asv well as knees and spinal column, the statues have a rounded outline. Traces of colour were found on the statue.
  • Cycladic Canonical type, Spedos variety female figurine statuette from Naxos or Keros. Early Cycladic Period II, (2800-2300 BC), 'Goulandris Master'.  Museum of Cycladic Art Athens, <br />
<br />
The 'Goulandris Master' was named because of the N.P Goulandris collection which had a significat number of Cycladic figureines attributed to one sculptor. The characteristic traits of his work are : statues of 32 to 98 cm tall, precise incisions demarcating the neck, the abdomen and pubic triangle asv well as knees and spinal column, the statues have a rounded outline. Traces of colour were found on the statue.
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Attributed to the 'Copenhagen Master' Museum of Cycladic Art Athens, <br />
<br />
The short legs have no knees and end in rudimentary feet. The legs probably broke at the knees and an artists remodelled  the truncated legs with toes. It is a rare example of remodelling in Cycladic art
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
Traces of painted decoration in red were found on the face and trunk. The nose was painted completely and four verticle bands are visible in the forehead, three on the neck and traces of bands on the chest and oblique bands on the forearms, seven on the left four on the right.
  • Large Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , 1.4m high (2800-2300 BC). Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
This impressive Cycladic statue is distinguished by its clear outlines and perfect proportions as well as plasticity of form. A sense of movement is introduced into the staue by its left hip being raised and a slight inclination of the head to the right. This movement gives the statue an air of mysetery and makes it a precursor of the later Archaic statue forms. This sense of movement also sets this Cycladic statue apart from other of the period. It was probably a cult statue and stood at the shrine of a cult goddess.
  • Large Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , 1.4m high (2800-2300 BC). Museum of Cycladic Art Athens,  Against white.<br />
<br />
This impressive Cycladic statue is distinguished by its clear outlines and perfect proportions as well as plasticity of form. A sense of movement is introduced into the staue by its left hip being raised and a slight inclination of the head to the right. This movement gives the statue an air of mysetery and makes it a precursor of the later Archaic statue forms. This sense of movement also sets this Cycladic statue apart from other of the period. It was probably a cult statue and stood at the shrine of a cult goddess.
  • Large Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , 1.4m high (2800-2300 BC). Museum of Cycladic Art Athens, <br />
<br />
This impressive Cycladic statue is distinguished by its clear outlines and perfect proportions as well as plasticity of form. A sense of movement is introduced into the staue by its left hip being raised and a slight inclination of the head to the right. This movement gives the statue an air of mysetery and makes it a precursor of the later Archaic statue forms. This sense of movement also sets this Cycladic statue apart from other of the period. It was probably a cult statue and stood at the shrine of a cult goddess.
  • Large Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , 1.4m high (2800-2300 BC). Museum of Cycladic Art Athens,  Against black<br />
<br />
This impressive Cycladic statue is distinguished by its clear outlines and perfect proportions as well as plasticity of form. A sense of movement is introduced into the staue by its left hip being raised and a slight inclination of the head to the right. This movement gives the statue an air of mysetery and makes it a precursor of the later Archaic statue forms. This sense of movement also sets this Cycladic statue apart from other of the period. It was probably a cult statue and stood at the shrine of a cult goddess.
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens, cat no 282.  Against black
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens, cat no 282
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens,  Against white.<br />
<br />
The cycladic figurine has a band etched high on its forehead and a large area on the back of the head of spiralling curls. The surface has probably been protected by paint and the outline of the left eye paint is still detectable as a greyish tinge. It can be assumed that both hair and eyes were painted. Canonical type, Spedos variety
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens,  Against black.<br />
<br />
The cycladic figurine has a band etched high on its forehead and a large area on the back of the head of spiralling curls. The surface has probably been protected by paint and the outline of the left eye paint is still detectable as a greyish tinge. It can be assumed that both hair and eyes were painted. Canonical type, Spedos variety
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The cycladic figurine has a band etched high on its forehead and a large area on the back of the head of spiralling curls. The surface has probably been protected by paint and the outline of the left eye paint is still detectable as a greyish tinge. It can be assumed that both hair and eyes were painted. Canonical type, Spedos variety
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens,<br />
<br />
The cycladic figurine has a band etched high on its forehead and a large area on the back of the head of spiralling curls. The surface has probably been protected by paint and the outline of the left eye paint is still detectable as a greyish tinge. It can be assumed that both hair and eyes were painted. Canonical type, Spedos variety
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The cycladic figurine has a band etched high on its forehead and a large area on the back of the head of spiralling curls. The surface has probably been protected by paint and the outline of the left eye paint is still detectable as a greyish tinge. It can be assumed that both hair and eyes were painted. Canonical type, Spedos variety
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.   Against black<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.  Against white.<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean seated cult figurine on a tripod seat,  found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.   Against grey.
  • Terra cotta Mycenaean seated cult figurine on a tripod seat,  found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.  Against white.
  • Terra cotta Mycenaean seated cult figurine on a tripod seat,  found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827. against black<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • Minoan clay lion's head rhython, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
Created in a naturalistic style, this lions head rhython has a small pouring hole in its muzzle and would have been used during ceremonies
  • Minoan clay lion's head rhython, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
Created in a naturalistic style, this lions head rhython has a small pouring hole in its muzzle and would have been used during ceremonies
  • Minoan clay lion's head rhython, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
Created in a naturalistic style, this lions head rhython has a small pouring hole in its muzzle and would have been used during ceremonies
  • Theran Minoan polychrome kymbe with dolphin decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The kymbe is a typical Theran Minoan elongated vessel whose use is unknown.
  • Theran Minoan polychrome kymbe with dolphin decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The kymbe is a typical Theran Minoan elongated vessel whose use is unknown.
  • Theran Minoan polychrome kymbe with dolphin decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The kymbe is a typical Theran Minoan elongated vessel whose use is unknown.
  • Minoan cylindrical vessel decorated with leafy bands, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The vessels bottom is pierced so was probably used like a rhython during ceremonies.
  • Minoan Thiran conical rhython decorated with vertical bands of wavy lines, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan Thiran conical rhython decorated with vertical bands of wavy lines, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan pconical rhython with lilies decoration made in Minoan Crete, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan pconical rhython with lilies decoration made in Minoan Crete, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Large Pithos storage jar decorated with wavy lbands and linaear A inscription, Knossos Palace, Crete.  National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
From the 1887 excavations of Kalokairinos, Knossos.
  • Large Pithos storage jar decorated with wavy lbands and linaear A inscription, Knossos Palace, Crete.  National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
From the 1887 excavations of Kalokairinos, Knossos.
  • Minoan Theran style strainer jar decorated with spirals on a dark background, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This style of strainer jar is characteristic of Theran Minoan pottery also found on Minoan Crete. A strainer incorporated into the jar probably allowed it to be used in the manufacture of aramatic oils or as an incense burner.
  • Minoan Theran style strainer jar decorated with spirals on a dark background, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This style of strainer jar is characteristic of Theran Minoan pottery also found on Minoan Crete. A strainer incorporated into the jar probably allowed it to be used in the manufacture of aramatic oils or as an incense burner.
  • Minoan Theran style strainer jar decorated with spirals on a dark background, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This style of strainer jar is characteristic of Theran Minoan pottery also found on Minoan Crete. A strainer incorporated into the jar probably allowed it to be used in the manufacture of aramatic oils or as an incense burner.
  • Minoan Theran style strainer jar decorated with lilies on a dark background, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This style of strainer jar is characteristic of Theran Minoan pottery also found on Minoan Crete. A strainer incorporated into the jar probably allowed it to be used in the manufacture of aramatic oils or as an incense burner.
  • Minoan Theran style strainer jar decorated with lilies on a dark background, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This style of strainer jar is characteristic of Theran Minoan pottery also found on Minoan Crete. A strainer incorporated into the jar probably allowed it to be used in the manufacture of aramatic oils or as an incense burner.
  • Minoan bridge spouted jug with spiral decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan bridge spouted jug with spiral decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan bridge spouted jug with spiral decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan bridge spouted jug with spiral decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan bronze jug decorated with spirals and arches, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan bronze jug decorated with spirals and arches, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan clay polychrome pithoid jar with reed decoration, Akrotiri, Thira (Santorini) National Archaeological Museum Athens.
  • Minoan clay polychrome pithoid jar with reed decoration, Akrotiri, Thira (Santorini) National Archaeological Museum Athens.
  • Minoan clay polychrome pithoid jar with reed decoration, Akrotiri, Thira (Santorini) National Archaeological Museum Athens.
  • Tall elegant Minoan polychrome jug decorated with reeds, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan polychrome amphora decorated with large circles, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The circle design on the pot may have been a symbol indicating its contents
  • Large Minoan polychrome jug decorated with dolphins, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The illustrated dolphins on this jug are swimming happily in a marine scape, by the same painter as the 'Galloping Lions' jug
  • Large Minoan polychrome jug decorated with dolphins, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The illustrated dolphins on this jug are swimming happily in a marine scape, by the same painter as the 'Galloping Lions' jug
  • Large Minoan polychrome jug decorated with dolphins, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The illustrated dolphins on this jug are swimming happily in a marine scape, by the same painter as the 'Galloping Lions' jug
  • Large Minoan polychrome jug decorated with dolphins, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The illustrated dolphins on this jug are swimming happily in a marine scape, by the same painter as the 'Galloping Lions' jug
  • Large Minoan polychrome jug decorated with dolphins, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The illustrated dolphins on this jug are swimming happily in a marine scape, by the same painter as the 'Galloping Lions' jug
  • Large Minoan polychrome jug decorated with dolphins, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The illustrated dolphins on this jug are swimming happily in a marine scape, by the same painter as the 'Galloping Lions' jug
  • Large Minoan polychrome jug decorated with dolphins, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The illustrated dolphins on this jug are swimming happily in a marine scape, by the same painter as the 'Galloping Lions' jug
  • Large Minoan polychrome jug decorated with dolphins, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The illustrated dolphins on this jug are swimming happily in a marine scape, by the same painter as the 'Galloping Lions' jug
  • Large Minoan polychrome jug decorated with dolphins, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The illustrated dolphins on this jug are swimming happily in a marine scape, by the same painter as the 'Galloping Lions' jug
  • Large Minoan polychrome jug decorated with dolphins, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The illustrated dolphins on this jug are swimming happily in a marine scape, by the same painter as the 'Galloping Lions' jug
  • Large Minoan polychrome jug decorated with dolphins, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The illustrated dolphins on this jug are swimming happily in a marine scape, by the same painter as the 'Galloping Lions' jug
  • Large Minoan polychrome jug decorated with dolphins, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The illustrated dolphins on this jug are swimming happily in a marine scape, by the same painter as the 'Galloping Lions' jug
  • Minoan clay polychrome beak spouted nippled ewer with human and bird features, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
A characteristic Theran ewer used for libabtions this pot has both painted and plastic features. The dots around the neck represent a necklace.
  • Minoan clay polychrome beak spouted nippled ewer with human and bird features, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
A characteristic Theran ewer used for libabtions this pot has both painted and plastic features. The dots around the neck represent a necklace.
  • Minoan clay polychrome pithoid jar with painted circles, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan clay polychrome pithoid jar with painted circles, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan cay vase with painted goat in a crocus landscape from Akrotiri, Thira (Santorini), National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
 From the French Archaeological School in Athens collection.
  • Minoan cay vase with painted goat in a crocus landscape from Akrotiri, Thira (Santorini), National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
 From the French Archaeological School in Athens collection.
  • Minoan cay vase with painted goat in a crocus landscape from Akrotiri, Thira (Santorini), National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
 From the French Archaeological School in Athens collection.
  • Minoan cay vase with painted goat in a crocus landscape from Akrotiri, Thira (Santorini), National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
 From the French Archaeological School in Athens collection.
  • Minoan cay vase with painted lilies on a dark background from Akrotiri, Thira (Santorini), National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This fine example of Minoan Theran polychrome pottery depicts two lions or panthers in full flight with two eyes on its spout. By the same painter as the 'Dolphing Jugs'  From the French Archaeological School in Athens collection.
  • Minoan cay vase with painted lilies on a dark background from Akrotiri, Thira (Santorini), National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This fine example of Minoan Theran polychrome pottery depicts two lions or panthers in full flight with two eyes on its spout. By the same painter as the 'Dolphing Jugs'  From the French Archaeological School in Athens collection.
  • Minoan cay vase with painted lilies on a dark background from Akrotiri, Thira (Santorini), National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This fine example of Minoan Theran polychrome pottery depicts two lions or panthers in full flight with two eyes on its spout. By the same painter as the 'Dolphing Jugs'  From the French Archaeological School in Athens collection.
  • 'Flying gallop' clay vase. Minoan Polychrome arge jug with eyes on its spout and lions or panthers, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This fine example of Minoan Theran polychrome pottery depicts two lions or panthers in full flight with two eyes on its spout. By the same painter as the 'Dolphing Jugs'  From the French Archaeological School in Athens collection.
  • 'Flying gallop' clay vase. Minoan Polychrome arge jug with eyes on its spout and lions or panthers, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This fine example of Minoan Theran polychrome pottery depicts two lions or panthers in full flight with two eyes on its spout. By the same painter as the 'Dolphing Jugs'  From the French Archaeological School in Athens collection.
  • 'Flying gallop' clay vase. Minoan Polychrome arge jug with eyes on its spout and lions or panthers, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This fine example of Minoan Theran polychrome pottery depicts two lions or panthers in full flight with two eyes on its spout. By the same painter as the 'Dolphing Jugs'  From the French Archaeological School in Athens collection.
  • The Spring fresco Minoan Wall painting from Akrotiri, National archaeological Musuem Athens Minoan artefact. 17th-16th cent BC.<br />
<br />
The Minoan 'Spring Fresco' is the only fresco found in situ at Akritiri covering three walls. It depicts the rocky Theran lanscape of Santorini before the volcanic eruption: clusetrs of red lilies with yellow stems dominate the red and grey volcanic rock formations. Swallows swoop above, either alone or in pairs animating the scene and announcing natures annual rebirth of Spring.<br />
<br />
The Spring fresco has an opulent use of colours and a lively movement bu the lilies swaying in the wind as well as the swallows at play. Room D2 Complex D.
  • The Spring fresco Minoan Wall painting from Akrotiri, National archaeological Musuem Athens Minoan artefact. 17th-16th cent BC.<br />
<br />
The Minoan 'Spring Fresco' is the only fresco found in situ at Akritiri covering three walls. It depicts the rocky Theran lanscape of Santorini before the volcanic eruption: clusetrs of red lilies with yellow stems dominate the red and grey volcanic rock formations. Swallows swoop above, either alone or in pairs animating the scene and announcing natures annual rebirth of Spring.<br />
<br />
The Spring fresco has an opulent use of colours and a lively movement bu the lilies swaying in the wind as well as the swallows at play. Room D2 Complex D.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • The Spring fresco Minoan Wall painting from Akrotiri, National archaeological Musuem Athens Minoan artefact. 17th-16th cent BC.<br />
<br />
The Minoan 'Spring Fresco' is the only fresco found in situ at Akritiri covering three walls. It depicts the rocky Theran lanscape of Santorini before the volcanic eruption: clusetrs of red lilies with yellow stems dominate the red and grey volcanic rock formations. Swallows swoop above, either alone or in pairs animating the scene and announcing natures annual rebirth of Spring.<br />
<br />
The Spring fresco has an opulent use of colours and a lively movement bu the lilies swaying in the wind as well as the swallows at play. Room D2 Complex D.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Mycenaean female figurine with raised arms, psi type, from Mycenae tomb , Archaeological Museum Athens. Black Background<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Mycenaean female figurine with raised arms, psi type, from Mycenae tomb , Archaeological Museum Athens. Grey Background<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Mycenaean female figurine with raised arms, psi type, from Mycenae tomb , Archaeological Museum Athens. Grey art Background <br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Mycenaean female figurine with raised arms, psi type, from Mycenae tomb , Archaeological Museum Athens.<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Cycladic bronze spearhead.  Early Cycladic II (2800-2300 BC) , Amorgos. National Archaeological Museum Athens.  White background.
  • Cycladic bronze spearhead.  Early Cycladic II (2800-2300 BC) , Amorgos. National Archaeological Museum Athens.
  • Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337.   White background.
  • Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337
  • Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337.   Grey background.
  • Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337.  Black background.
  • Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337.   Gray background.
  • Burnished monochrome Cycladic animal shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic animal shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.  Gray background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Cycladic rounded alabastron top with 'marine style' decoration.   Cycladic (15th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.  Black background.
  • Cycladic rounded alabastron top with 'marine style' decoration.   Cycladic (15th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.
  • Cycladic rounded alabastron top with 'marine style' decoration.   Cycladic (15th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.
  • Cycladic rounded alabastron top with 'marine style' decoration.   Cycladic (15th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.   Gray background.
  • Cycladic ceramic spherical pyxis with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens.  Black background.
  • Cycladic ceramic spherical pyxis with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens.   Grey background.
  • Cycladic ceramic spherical pyxis with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens.   Gray background.
  • Cycladic ceramic kernos with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 6185.  White background.<br />
<br />
<br />
Composed of 8 small pyxides with painted linear decoration, this complex vessel was probably for ritual use.
  • Cycladic ceramic kernos with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 6185.  Grey background.<br />
<br />
<br />
Composed of 8 small pyxides with painted linear decoration, this complex vessel was probably for ritual use.
  • Cycladic ceramic kernos with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 6185.<br />
<br />
Composed of 8 small pyxides with painted linear decoration, this complex vessel was probably for ritual use.
  • Cycladic ceramic spherical pyxis with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5170
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829.  Grey background.<br />
<br />
<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829.<br />
<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic cylindrical vase illustrated with a fisherman (1600 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat No 5782.  White background.<br />
<br />
<br />
The vase has a procession of 4 fishermen illustrated on iy running all the way round it.
  • Cycladic cylindrical vase illustrated with a fisherman (1600 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat No 5782.<br />
<br />
The vase has a procession of 4 fishermen illustrated on iy running all the way round it.
  • Cycladic cylindrical vase illustrated with a fisherman (1600 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat No 5782.  Grey background.<br />
<br />
<br />
The vase has a procession of 4 fishermen illustrated on iy running all the way round it.
  • Cycladic ritual kernos with painted motif  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 822-833.  Gray background.<br />
<br />
<br />
A complec ritual vessel with multiple pithos for offerings.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5258.  Black background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5258.   Grey background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5258
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5188.   Grey background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5188.   Gray background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5188
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 6180.  Black background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 6180.   White background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 6180
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 6180.   Gray background.
  • Cycladic beaked nippled jug with monstrous creature decoration.   Cycladic (18th-17th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.   Grey background.
  • Cycladic beaked nippled jug with monstrous creature decoration.   Cycladic (18th-17th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.  Black background.
  • Cycladic beaked nippled jug with monstrous creature decoration.   Cycladic (18th-17th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.
  • Cycladic beaked nippled jug with monstrous creature decoration.   Cycladic (18th-17th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.   Gray background.
  • Cycladic ceramic jug with linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5147.   White background.
  • Cycladic ceramic jug with linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5147.  Black background.
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826.  Black background.<br />
<br />
<br />
Decorated pottery is rare during this Ccladic period. This Cycladic askos has vertical handle on top with a spout. It has painted decoration of hatched bands and a lozenge pattern
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826. <br />
<br />
Decorated pottery is rare during this Ccladic period. This Cycladic askos has vertical handle on top with a spout. It has painted decoration of hatched bands and a lozenge pattern
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826.   Gray background.<br />
<br />
<br />
Decorated pottery is rare during this Ccladic period. This Cycladic askos has vertical handle on top with a spout. It has painted decoration of hatched bands and a lozenge pattern
  • Cycladic amphora with bird decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. cat no 5748.  Black background.<br />
<br />
<br />
During this Ctcladic period pottery was predominatly monochrome and brnished , this amphora is a rare example of bird decorated pottery from the era
  • Cycladic amphora with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens.  Black background.
  • Cycladic amphora with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens.   Grey background.
  • Cycladic footed necked jar with impressed decration.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6168.  White background.<br />
<br />
<br />
During this period pottery was often monochrome with polised slip finishes sometimes with incised or impressed decorations.
  • Cycladic footed necked jar with impressed decration.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6168. Black background.<br />
<br />
<br />
During this period pottery was often monochrome with polised slip finishes sometimes with incised or impressed decorations.
  • Cycladic footed necked jar with impressed decration.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6168.  Grey background.<br />
<br />
<br />
During this period pottery was often monochrome with polised slip finishes sometimes with incised or impressed decorations.
  • Cycladic monachrome polished slip 'sauce boat' from Syros.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 55, 5159.  White background.<br />
<br />
<br />
These so called 'sauce boats' were a new shape and style that appeared during this period.
  • Cycladic monachrome polished slip 'sauce boat' from Syros.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 55, 5159. Black background.<br />
<br />
<br />
These so called 'sauce boats' were a new shape and style that appeared during this period.
  • Cycladic monachrome polished slip 'sauce boat' from Syros.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 55, 5159.  Grey background.<br />
<br />
<br />
These so called 'sauce boats' were a new shape and style that appeared during this period.
  • Cycladic monachrome polished slip 'sauce boat' from Syros.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 55, 5159.<br />
<br />
These so called 'sauce boats' were a new shape and style that appeared during this period.
  • Cycladic pithos with geometric designs.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5831.  White background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic beak spouted jug with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 5725-6.  Gray background.
  • Cycladic pithos with geometric designs.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5831. Black background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic pithos with geometric designs.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5831.  Grey background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic pithos with geometric designs.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5831.<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic beak spouted jug.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5726.<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Spherical jug spiral and floral decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5818.<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery.
  • Spherical jug spiral and floral decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5818.  Gray background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery.
  • Bridge spouted jug bird decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5768. Black background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using bird patterns.
  • Bridge spouted jug bird decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5768.  White background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using bird patterns.
  • Bridge spouted jug bird decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5768.  Gray background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using bird patterns.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769.  White background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769.  Grey background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769.<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Cycladic terracotta 'frying pan' with incied decoration from  Syros. Early found  at Phylakopi, Melos. Cycladic period III 2300-2000 BC), National Archaeological Museum Athens, Cat No 6172. Black background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied decoration from  Syros. Early found  at Phylakopi, Melos. Cycladic period III 2300-2000 BC), National Archaeological Museum Athens, Cat No 6172.  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5153.  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5153. Black background.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164.  White background.<br />
<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164.  Grey background.<br />
<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164. Black background.<br />
<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied linear decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5012.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164.  Gray background.<br />
<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied linear decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5012.  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied linear decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5012.  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058.  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Black background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens,  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053.  White background.<br />
<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053. Black background.<br />
<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053.<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 6177. Black background.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 6177.  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 6177.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 6177.  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974. Black background.<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974.   Grey background.<br />
<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Stavros cemetery, Amorgos, grave 5, Cat No 4719. National Archaeological Museum, Athens. <br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Stavros cemetery, Amorgos, grave 5, Cat No 4719. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. Black background.<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.

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