Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 104. (Budapest, 2006)

JUDIT LEBEGYEV - ANDRÁS MÁRTON: Early Cycladic Objects in the Collection of Classical Antiquities

red (fig. 26). It cannot be decided whether the figure was painted red and the triangle on the back remained unpainted or, conversely, that was painted (possibly with blue pigment). The most common and most regular shaped motifs are the eyes painted on the face and the hair-band or diadem.

11 It is likely that the eyes and diadems were re-, and over-painted several times so as to prevent their disappearance. Thus, even the effects damaging the paint did not make them vanish.'

2 A fuller understanding of the painted details would also require knowledge about the original posture of the figures. Concluding from the feet angled downward, it is likely that the figures were designed for a reclining position, on the basis of the position of painted designs; however, E. A. Hendrix considers that the small figurines were held around the waist, while the large ones were kept in standing position with the help of props.'

3 Nevertheless, their position may have changed during use. THE INTERPRETATION OE THE FIGURES In lack of written sources, the interpretation of the figures can only be hypothetical. That is why none of the numerous theories that have come to light so far could be verified even partially.

54 There is little information about the exact find-circumstances of the figures: the majority of them have no authenticated provenance. The folded-arm female figures cannot either be regarded as objects made exclusively for funerary use. Probably they were used in family and public rituals." In general, it can be said about the function of the figures that

—similarly to Neolithic and Late Bronze Age figures

—their modes of use w

r

ere most probably determined by the momentary needs and aims of the community, and consequently they could vary in time and space.'

6 The fact that the figures ceased to be used cannot be explained either by the change of ethnicity or mortuary practices, but by the change and cessation of rites resulting from the alternation of economic and social conditions.'

7 Large (above 60-65 cm) and monumental (nearly of life-size) pieces are rare.

58 In their case, it has been suggested that their unusually large size also indicates a different function: according to the theory of C. Renfrew' and J. Thimme, they may have been cult statues.

59 Because of its size, the figure in Budapest belongs to this group. The present reconstruction of its paint has revealed more details on the figure: the upper eye on the right side, painted wavy lines on both sides of the nose, and a diadem. Consequently, it may be proposed that even if the size cannot be regarded as determinative of function in itself, the diadem that can be interpreted as a symbol of status, and the depiction of more than two eyes alluding to superhuman powers may suggest that figures of this kind