Recension de : G.S. Merker, The Sanctuary of Demeter and Kore. Terracotta Figurines of the Classical, Hellenistic and Roman Periods, Corinth 18.4, 2000 (2001) (original) (raw)
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Pallas 75, 2007
Examen de l’ensemble des arguments anciens et nouveaux que la recherche récente invoque à l’appui de l’identification tantôt comme déesses, tantôt comme mortelles, des innombrables statuettes – principalement jeunes femmes debout et dames trônantes – et protomés que la piété consacrait dans les sanctuaires de divinités féminines ou dans les tombes, de femmes et d’enfants surtout. Il s’avère que la plupart des types iconographiques féminins, mis en rapport avec la sphère mariage-fécondité, préoccupation essentielle de la femme antique, peuvent être interprétés comme des images de mortelles, images des dédicantes donc.
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Des vases plastiques attiques pour les athéniens du ive siècle
Among the mass of Attic plastic vases spread throughout of the Greek world in the 4th C. B.C., three categories seem to be particular to religious Athenian purposes. They are almond form plastic vases, figurine-vases with a child (Dionysos and/or Eros) and loutrophoroi adorned with women in high relief. In the third quarter of the 4th C. these figurine-vases particularly could constitute the connecting link between the last expression of pottery and the first “Tanagra” figurines in the real sense of that term (which is indeed a modern one). It shows anyway that Attic workshops seem to be as important as before. The very wide diffusion of these Athenian artefacts (figurine-vases and “Tanagra” figurines) does indeed reflect the success of the new formula. Myth painted on Greek vases –the expression of Greek thought par excellence- maybe became too complex to be understood for the “new” Greeks of the Hellenistic period. It gave way, through plastic vases and clay sculpture, to the figuration of human being (especially women and children), reflecting the beliefs anyone wished to give them.
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