Ancient Figurines in History
The many roles of ancient statues
Cultures around the world used statues and figurines in different ways. In Ancient Egypt and China, people believed in preserving life and continuing it after death. That belief inspired sculptures for tombs, for both ordinary people and royalty. In Ancient Greece and Rome, votive figures were common. People used them to ask their gods for help or protection.
A Greek Boeotian terracotta goddess figurine
There is a detailed piece from Ancient Greece, a Boeotian terracotta figurine of a stylized goddess. It shows a rectangular body standing on an oval base. Two tiny arms curve forward from the sides. The body narrows into a long neck, leading to a small head. Around the head and forehead, you’ll see a circular decoration that might represent hair or a headdress. The forehead also has an incised circular groove. A triangular beak with a rounded tip extends from the face, and the back of the head has a round impression. Today, the statuette is placed on a modern base made just for it.
Boeotia’s role in Greek art
Boeotia was an important region in ancient Greece, just north of Attica. The people of Thebes, part of the Boeotian Confederacy, rose to power around the Battle of Leuctra in 371 BC when they defeated Sparta. But Boeotia also stood out for its terracotta art. It produced many famous figurines, including the “Tanagra” types named after the city, and goddess figures nicknamed “Pappades.” These figures share a flat body on an oval base and are handmade female forms. Historians think they represented deities we no longer recognize today.
A Near Eastern terracotta votive scene
Another notable example comes from the Near East. It’s a terracotta votive group set on a flat circular platform. Seven stylized worshippers with arms outstretched stand along the rim. In the center, another figure does the same. All the rim worshippers face the central figure. On the platform, you can also see different ceremonial offerings.
When we say Near East, we refer to a broad area: Mesopotamia, Egypt, Elam, Urartu, Anatolia, and the Levant. Many scholars call it the cradle of civilization. Sumer in Mesopotamia is often seen as the world’s oldest civilization. Pottery was everywhere in these ancient lands. People dedicated objects to their gods in sacred spaces. Materials ranged from stone to terracotta. Each city had its own temple where people connected with the divine. These temples hosted rituals like sacrifices, purifications, magic, and royal ceremonies. The votive platform reflects that pattern, showing worshippers and offerings made to deities.
Hellenistic Greek Woman Figurine, Likely Aphrodite
Then there's a finely made Hellenistic figurine that shows a woman, possibly Aphrodite. She stands relaxed in a contrapposto pose, with her weight moved to one side. Her right arm reaches forward, while her left arm bends, elbow resting on her tilted hip. Loose drapery wraps her waist and falls elegantly, while her torso and arms stay bare. The sculptor carved fluid folds around her hip. Her face is gentle and content. Her hair is styled neatly in a chignon, topped with a radiate diadem. This posture resembles classical Aphrodite statues - semi-nude, natural, and poised.
Tanagra Terracotta Figurines from Boeotia
Tanagra, in north Attica, was a center for terracotta art. These so‑called “Tanagra Figures” were made using moulds, fired in pale clay, and often painted with color. Few still show their original vibrancy. The figures usually depict young women in everyday poses, created during the Classical and Hellenistic eras. They were cheap to produce and easy to copy. People used them as offerings in tombs or sanctuaries. Because of that, they are among the most common Greek sculptures found at Hellenistic sites.
Egyptian Mummiform Shabti with Turquoise Faience
Next is an Egyptian shabti, shaped like a mummy and glazed in turquoise faience. He stands wearing a short black wig. His left arm is bent at the waist, holding a whip, while his right arm hangs by his side. The face is worn but still shows recognizable features. The back of the shabti is flat and undecorated.
The Purpose and Role of Egyptian Shabtis
Shabtis, also called ushabtis, were small mummy-like figures placed in tombs. They served to do manual work for the dead in the afterlife. This specific model is an overseer shabti, meant to lead others. In the Third Intermediate Period, tombs often carried 401 shabtis: 365 workers and 36 overseers. Demand led to smaller, less detailed figures. Most were mould-made, decorated with black pigment, and had flat, trimmed backs.
I will do a separate article on shabti soon.
Tang Dynasty Terracotta Court Attendant Figurine
Then there's a Tang Dynasty terracotta statuette that shows a court attendant in rich detail. He stands in a calm posture. His shoulders are relaxed, and his right hand is held to his chest. He wears a long robe that reaches his knees. The robe is tied just below the stomach. A soft headpiece drapes loosely over his shoulders.
The folds in his robe are visible thanks to careful incisions. The pale red pigment used for the garment still shows. His hands and face were painted white. Facial features were sculpted with care. Dark pigment marks the eyes and brows. And the mouth was picked out in red paint.
There’s a small hole in the bend of his right arm. It’s now filled with earthy crust. That hole likely held an ornament or incense. The statuette bears some hairline cracks, scratches, minor pitting, and earthy encrustations. On its back, you can still see signs of white pigment and indentations.
In ancient China, grave goods symbolized status. The wealthy and powerful placed items in tombs to accompany them into the afterlife. These items included people, animals, and objects familiar to them. Known as mingqi, these objects served as companions, entertainers, and servants in the underworld.
Mingqi were often placed by both sides of a tomb’s entrance. That entrance stood at the end of a long underground ramp. Qin Shi Huang, the First Emperor, made mingqi famous through his terracotta army. But it was during the Tang Dynasty that terracotta production reached its peak. New moulding techniques allowed the mass production of figures. The scale of Tang Dynasty tomb figurines surpassed earlier efforts.
Roman Bronze Lion Finial
Then we have a Roman bronze finial shaped like a resting lion. It has a lifelike style. The lion curls its tail around its legs and spreads its flowing mane. Its back legs rest on a recessed base. The front paws stretch forward.
A dark patina covers the surface. The rear of the base is slightly chipped. The lion’s face shows wear and damage. A few scratches and pitting add to its weathered look.
Lions held deep meaning in Roman culture. They were linked to Hercules after his defeat of the Nemean Lion, one of his famed Twelve Labours. But lions were not just a myth. They roamed parts of the Roman Empire and played a real role in public spectacles.
Romans held venationes, hunts for wild animals, in amphitheaters. They used these shows to exhibit the empire’s reach and power. They also practiced damnatio ad bestias. This was a brutal punishment where criminals were mauled to death by beasts before an audience.
Roman soldiers even hunted lions as sport when not fighting wars. Mosaics from the period show both scenes of hunting and damnatio ad bestias. In Christian antiquity, the latter became a motif in the stories of martyred saints.
Chinese Ming Dynasty Horseman Figurine
And back to China, specifically the Ming Dynasty. We have a finely modelled horseman holding a Sheng. The Sheng is a mouth-blown free reed instrument made of vertical pipes. This statuette probably belonged to a larger parade scene with soldiers and musicians. The craftsman gave him a natural look with black-painted eyes and eyebrows and red-painted lips.
He wears a red conical hat with a brim. His court attire is traditional Ming style. He has a green crossover robe tied at the waist. Yellow trim lines the robe panels. He wears black boots. In his left hand, he holds a Sheng glazed in yellow and green. His right arm is held forward. The horse stands on a flat rectangular base. You can still see green, yellow, and black sancai glaze on the saddle, blanket, bridle, and hooves. The horse’s eyes and eyebrows are painted in red and black. As common with larger Ming attendant statues, the figure’s head can be removed.
Porcelain Mastery in the Ming Era
Porcelain was the heart of Ming art and culture. It was the Ming version of a Renaissance. Fifteen to seventeen emperors ruled during nearly 300 years of peace. The population grew fast. Economic success led to innovation and artistic growth. Kilns across China, from small family workshops to large factories, made ceramics for every market. Jingdezhen became the imperial factory hub. It supplied porcelain at home and abroad. Under the Wanli Emperor (1573 to 1620), exports to Europe began in earnest.
Ming porcelain offered more than just blue-and-white ware. During the Chenghua period (1465 to 1488), the doucai technique emerged. It features contending colours under the glaze. Later, the five‑colour wucai style became popular during the Wanli era. This shows the ceramic art evolving through the dynasty.
Mingqi: Terracotta Grave Goods in the Afterlife
Terracotta figures were made as mingqi, objects for the tomb. They were meant to serve the deceased in the next world. Mingqi included servants, attendants, soldiers, musicians, dancers, and animals. These figures mirrored real life. Attendants stood by their master, ready to meet their needs. They were lined up outside the tomb before burial and then placed inside near the coffin. The more status the deceased had, the more figures appeared in the grave. Size and number reflected their rank.
Bactrian Bronze Plaque: An Ancient Enigma
Then there's a plaque that is cast in bronze and shaped into a neat rectangle. On its front, two abstract human figures stand side by side. Above the smaller figure on the left, there’s a zoomorphic creature. The back is plain and unworked. You can see earth encrustations and green patina on its surface. One corner at the lower left is chipped.
Bactria was a region in central Asia. We barely knew about it until the 1970s. From the Bronze Age, trade routes from India and China crossed Bactria. That brought wealth to its mostly nomadic people. And that wealth shows in fine art, like such plaques.
Luristan Bronze Cart Statuette: A Peek Into Daily Life
There's also a two‑wheeled cart statuette in cast bronze. It has a central shaft with a folded end. The wheels are linked by an axle and supported by the shaft. The shaft extends from a framework that looks like crossed wooden stakes. The whole piece mimics a cart that would have hauled goods, produce, refuse, or even people.
In ancient times, one animal, maybe an ox, mule, or horse, would pull it.
What Makes Luristan Bronze Special
Luristan bronzes come mainly from Lorestan Province in Iran. Most are cast objects decorated with bronze figures. We’ve found weapons, tools, finials, amulets, and fittings. They often feature openwork and show Scythian art styles. Yet we still don’t know who made them. Animal motifs show up a lot: ibexes, large birds, griffins, and other hybrid creatures. One well‑known motif is the Master of Animals: a human figure holding animals or animals facing each other. It appears on finials and standards across Mesopotamian cultures.
People used everyday items too, like pins, bracelets, and more. But most Luristan bronzes come from tombs. That tells us they likely had a ritual purpose.
Clay Plaque from Old Babylonian Mesopotamia
There is also a fired clay plaque that shows a long-bearded man seated in profile. He wears a headdress, a flounced layered robe, and a tunic draped over his left shoulder. His elbows are bent, and his right hand holds a vessel. The back of the plaque is plain and unworked.
Such a piece dates to the Old Babylonian era, after the fall of the Ur III dynasty. Kings from Isin and later Babylon ruled southern Mesopotamia. Hammurabi stands out as the most famous. He made Babylon the region’s capital, leaving modest origins behind.
These terracotta plaques were made from moulds in large numbers. They offered “mass” art to many Babylonian households. They appear in both temples and private shrines. Their imagery is inspired by cylinder seal designs. You’ll find religious scenes, mythological figures, erotic art, rulers, and gods among them.
Medieval Bronze Panther Fixture from England
Then we have a medieval fixture that is cast in bronze and finely crafted. It likely functioned as a buckle or a piece of personal decoration. A small panther strides across an open channel in the base plate. Its legs grip either side. The base plate is symmetric and shows the remains of stud points on the back.
The panther figure is delicate. You can make out the ears, snout, and a long tail. There are two bolts, one in the center and one at the left. Traces of gold gilding remain, even on the back.
During medieval England, bronze casting reached new heights. Craftsmen created intricate items with filigree, openwork, gilding, and enamel. Most surviving metalwork is ecclesiastical. But personal ornaments like this also saw wide use.
Panthers held deep religious meaning then. They appeared alongside unicorns and dragons in bestiaries. These illustrated beast books told allegorical stories. The panther often symbolized Christ, while the dragon stood for Satan. Artists used bright colors and shimmering accents to show the heavenly wonder of Christ through the panther.
Why Terracotta Became the Go-To Material for Ancient Figurines
Terracotta was the top choice for making small figurines from the Archaic Period through to the end of the Hellenistic era. These clay figures were everywhere in the ancient world and turned up all over the Mediterranean. Greek and Roman craftsmen leaned heavily on terracotta for one big reason: it was easy to mold and reuse. Once a mold was made, you could crank out the same shape again and again until the mold wore out.
How Terracotta Figurines Were First Made
It all started with a model. Artists sculpted a basic version of the figure by hand using clay. This first version, called the archetype, worked as the base for making molds. If the piece had anything tricky, like limbs that stuck out or detailed hairstyles, those parts were cut off and fired separately. They would then be used to make molds of their own. This made it easier to handle shapes that were hard to press out of a single mold.
Molds were made out of either clay or plaster. The wet molding material was pressed around the original model until it formed a solid shell. Then it was left to dry and sliced into sections. For human shapes, there were usually just two halves - front and back. For animals, the two sides were more common. If a figurine had lots of detail, like folds in clothing or fancy hair, a third mold piece was sometimes made just for that section.
From Mold to Finished Clay Figurine
Once the mold pieces dried out, any rough spots were cleaned up. Then the molds were fired to harden them. Plaster molds were lighter and stuck better to the clay, which made them faster and easier to use. But they didn’t last long. Most could only be used 50 to 100 times before they cracked or fell apart. Clay molds held up better over time, but they were trickier to make.
To use the mold, each half was dusted with powdered chalk. Wet clay was then pressed into the mold to form a thin shell. Once both sides were filled, the halves were joined together using slip, a kind of watery clay glue. After drying a bit, the mold was peeled away. At this point, extra details could be sharpened, missing limbs added back on, and an air hole poked through the back or base so the figure wouldn't crack during firing. Some artists added their own marks here to show who made it.
Before firing the figurine in the kiln, the outside was usually covered with white slip. Sometimes, just the front was coated. This white layer helped the paint stick later and made the colors brighter.
How Second-Generation Molds Worked
Over time, molds wore down. When that happened, new molds were made. If the original model wasn’t available anymore, artisans used one of the finished figurines as a new model. That meant the second-generation mold made a slightly smaller copy. If they kept making new molds from old figures, each round got smaller than the last.
How Ancient Clay Molds Were Used for Mass Production
Once a mold was fired and hardened, it was ready to be used over and over. Wet clay was pushed into the mold to fill the shape. The clay had to be just the right thickness and consistency. It couldn’t be too wet or too dry. Then it was left to dry just enough to shrink slightly. That shrinking made it easier to pull the figure out of the mold without breaking it.
Sometimes, the head wasn't included in the original mold. Instead, it was added afterward. Small heads were often made as solid pieces. Bigger heads were hollow to stop them from cracking in the kiln. They could be attached directly, or fitted in with a tenon, a kind of clay peg that helped hold the head in place. One example is a male figure reclining at a banquet whose head was attached this way.
How Larger Terracotta Statues Were Built
Larger statues needed a different approach. Studies of ancient terracotta women statues from Canosa, now at the Louvre, show that artists built them around a base made of hollow clay shaped like a cone. Then they added arms and heads separately. Those extra parts were fitted into holes made in the main structure.
So, rather than molding the whole statue in one piece, they built it in layers. This method gave more control over the shape and let them work on each part before putting it all together.
Did Prehistoric Kids Make Clay Figurines?
Some of the earliest clay figures ever found might have been made by kids. Evidence from the Czech Republic points to this. Fingerprints, scratches, and odd shapes on tiny ceramic animals and human figures suggest young children were the ones who made them. This dates back to the Upper Paleolithic period, around 30,000 years ago.
In what’s now the Czech Republic, these kids likely dug up clay from the ground and shaped it by hand, much like how kids today play with Play-Doh. When they were called away, maybe to eat or help with chores, they left the small figures behind. Some were complete. Others were just heads, legs, or random lumps.
Some of these objects were tossed into the fire and got baked by accident. Others were left outside, where they hardened naturally or crumbled over time. Archaeologists say this behavior looks like ordinary play. It shows that even tens of thousands of years ago, kids were experimenting with clay and making figures for fun.
Jane Baxter, an anthropologist who wasn’t involved in the study, agrees the evidence is convincing. She said these kinds of findings help us see early humans as real people, living in communities and doing everyday things. It wasn’t just survival. They made things. They played. They connected.
What We Know About the Oldest Ceramic Figurines
The oldest ceramic objects we’ve found so far came from a few spots in the Czech Republic. They’re around 28,000 years old, which puts them about 10,000 years after Neanderthals vanished. The most famous find was in 1925 at a site called Dolni Vestonice. There, archaeologists uncovered a clay figure of a woman, along with other small sculptures of animals and people.
More figurines were dug up over the years. Then, in 2002, researchers found fingerprints pressed into the clay on several of the items. That discovery helped confirm that children had likely made many of them. The shape, size, and patterns of the prints matched what you’d expect from small hands.
These ancient clay figures are some of the earliest proof that humans used fire to harden clay. And they also show that creativity and play go back a long way, maybe even to the very start of human culture.
What Ice Age Ceramics Reveal About Children in Prehistoric Societies
April Nowell, a Paleolithic archaeologist who studies Ice Age childhood, noticed something odd while working on her 2020 book Growing Up in the Ice Age. Researchers had already dug up a lot about how kids lived back then, especially when it came to learning how to make tools or create art. But something was missing. No one had looked closely at whether kids played a role in craftwork, especially in shaping clay.
She knew that in many other places and time periods, kids got involved in making pottery. For example, in ancient Egypt between 1800 and 1700 BCE, and in Bronze Age England from around 1500 to 1150 BCE, archaeologists have found signs that children were making ceramics. Since working with clay is safe and easy for kids to try, Nowell figured that some of the ceramic pieces found at Ice Age sites in what’s now the Czech Republic might have been made by children too.
So she teamed up with Becky Farbstein, an independent researcher who focuses on Ice Age ceramics. Farbstein had already studied the Czech pieces in detail and collected hundreds of high-resolution images of them. Together, she and Nowell went through 489 ceramic artifacts to see if there were clues that beginners had made some of them. More than that, they wanted to figure out if some of those beginners were children.
Farbstein’s work doesn’t just look at what ancient art looks like or what it represents. She also studies how it was made and what the steps in the process can say about the people who made it. That method helped her and Nowell spot signs of inexperience.
They started by looking at size. Smaller objects may have been shaped by smaller hands. They also looked at how symmetrical the pieces were. Lack of balance or uneven shaping could point to a young maker. And they studied the steps needed to make each piece, judging how complex each process was. That let them sort out which objects required advanced skill and which seemed like the result of learning and trial and error.
They also looked at other materials found at the site. These included mammoth ivory, antler, bone, and stone, all of which had to be brought in from surrounding areas. Farbstein pointed out that using those materials required people to work together. Moving heavy or rare resources would have involved planning and teamwork, especially over long distances.
How Ice Age Kids Shaped Clay and Culture
Unlike objects carved from ivory, bone, or antler, the ceramic pieces found at the Czech Ice Age sites were made from clay dug right out of the ground nearby. The material was close at hand. Becky Farbstein explains that this is important because it points to who was likely using it. Children, unlike hunters or gatherers, didn’t go out collecting rare resources. They grabbed what was around. And clay was right there, easy to scoop up and shape.
Farbstein also noticed something else. The ceramic pieces varied a lot. Some were lopsided. Some were oddly shaped. Some were barely finished. That kind of inconsistency isn’t found in the bone or ivory art. Those materials were used more carefully and deliberately. The uneven ceramic work suggests kids were probably the ones shaping it, each trying things out in their own way.
The figurines were made by the fire, likely where families gathered. After being shaped and fired, they were simply left behind. In contrast, the ivory and bone objects were carried around or buried with the dead. Not a single ceramic piece has ever been found in a grave. April Nowell says this shows the clay items weren’t meant to be sacred or serious. They were just part of kids learning, playing, testing things out, and then moving on.
Some pieces were fired, maybe as a way to practice that step or to keep the object intact. Others were never fired at all. Some look like random shapes or body parts with small limbs, half-made figures, or plain chunks. They were probably just made for fun or to try out techniques. Nowell says these unfinished objects show the full learning process in motion. Kids weren’t just making pretty things. They were learning through play.
In earlier studies, researchers found small fingerprints and scratch marks on the ceramics. Those marks came from kids between 6 and 10 years old, and from teens between 10 and 15. These details support the idea that young people were hands-on in the making process. They weren’t just watching. They were doing.
Nowell and Farbstein’s work reflects a larger change in archaeology. Researchers are starting to focus more on children and what their lives looked like in ancient times. For a long time, archaeology followed old ideas, like the belief from the Victorian era that kids should be quiet and invisible. That mindset shaped how scientists viewed the past, too.
Izzy Wisher, an archaeologist who studies Upper Paleolithic cave art in Spain, says it’s time to change that view. She wasn’t part of Nowell and Farbstein’s project, but she agrees with its goals. She points out that children existed in all these societies. And they weren’t just tagging along. They played, explored, created, and lived with depth. The way they experienced the world wasn’t so different from how kids grow up now.
Archaeologist Jane Baxter also says that archaeology tends to focus on big changes like farming or migration.
But a lot of cultural evolution happens in smaller, quieter ways... within families, communities, and through daily life. She says the knowledge passed from one generation to the next often flows through those close relationships. And not all information survives. Children and teens decide what’s worth keeping. In that sense, they shape the future. Nowell calls them the original influencers. They pick what matters and carry it forward, and that makes their choices part of how culture evolves.
Learning about the role of children helps connect us to ancient people in a real, human way. Baxter says she can’t imagine what it was like to be a pharaoh or a potter in the Bronze Age. But if she sees what a child was doing, she can picture it. She can relate to it.
Earlier this year, Nowell was in Spain, standing outside a cave where Ice Age handprints were found. As she waited to go in, a group of school kids came out laughing and chatting in the sun. That sound hit her. She said, “Yeah, that’s what the Upper Paleolithic sounded like.”
That’s what’s been missing from our picture of the past, not just what people made, but what they felt like while doing it.
The Human Figurines Found at ‘Ain Ghazal
Excavations at ‘Ain Ghazal uncovered forty-nine human figurines, either complete or in pieces. These were found during seven of the eleven dig seasons. Today, all of them are housed at Yarmouk University in Irbid, Jordan, where they’re managed by the Faculty of Archaeology and Anthropology.
Most of these figures come from the early stages of the site’s occupation. Out of the forty-nine, forty-two belong to the Middle Pre-Pottery Neolithic B (MPPNB) period. That’s about 86 percent. This stage, dated between 8500 and 7500 BC, was when the settlement was still small, with maybe two hundred households living there. Only one figurine showed up in each of the later layers: the Late Pre-Pottery Neolithic B (LPPNB) and Late Pre-Pottery Neolithic C (LPPNC) levels. These layers cover the period from 7500 to 6200 BC and 6900 to 6400 BC. At that time, the site had expanded into a large settlement of around thirty to thirty-five acres. The last five figurines in the collection date to the Yarmoukian period, which came just before the site was abandoned.
So the figurines come from two main Neolithic cultures: the Pre-Pottery Neolithic (PPN) and the Pottery Neolithic Yarmoukian. Since these two periods are culturally distinct, the figurines are studied as two separate groups. Each one is labeled by its catalog number to keep things clear.
Figurine Types and Visual Style
The forty-four figurines from the Pre-Pottery Neolithic B layer fall into three groups. The categories are based on how stylized or complete each piece is. These groups are called conical figures, anthropomorphic figures, and non-diagnostic fragments.
The conical group has thirteen pieces. This is the most common style found at ‘Ain Ghazal. These pieces are extremely simple. They look like upright cones with two legs, but no heads or faces. Sometimes there's a slight bulge or curve that hints at shoulders or a waist. One figure even has a rounded bump that marks where the belly might be. The clearest human feature is the two legs at the base. These were pinched from the clay to form the bottom of the cone and are what make these figures clearly human in shape.
The legs come in a variety of shapes. Some are rounded, while others are pointed. Some are the same size, and others are uneven. A few stand straight, while some are tucked underneath. The legs can also be spread apart or joined together. But none of the conical figures show clear gender features. Their identity is left up to interpretation.
Anthropomorphic Figures and Their Subtypes
The next group is more detailed. These are the anthropomorphic figurines. They’re still simple, but less abstract than the cones. This group breaks down into three more types based on what part of the body is shown and how clear the features are. These subtypes are busts, female figures, and genderless forms.
Broken Busts: Not Meant To Be Busts at All
None of the seven busts found at ‘Ain Ghazal were designed as busts. They all show signs of breakage, and none of them have flat bases. Every piece snapped below the shoulders, not at the neck, which is a stronger part of the structure. That’s unusual and will be looked into more deeply elsewhere. One piece, Catalog No. 16, has especially broad shoulders, maybe suggesting it shows a male body. The rest are too vague to say if they were male or female.
Differences in Quality and Style
The busts vary a lot in how they were made. Some are rough and basic. A few are made with coarse yellow clay, like Catalog No. 18. Others use marly limestone, like Nos. 16 and 48. These pieces are plain. Their heads blend into their bodies, either too large or too small to look realistic. One is nothing more than a pointed tip for a head. Another has a head wider than its shoulders. One figure, again No. 16, has what might be the start of an arm, but no others show limbs at all.
Other busts are shaped from pink clay and are much better made. These are Catalog Nos. 6, 21, 22, and 40. What makes them interesting is that they look a lot like the larger statues found at the same site. Their shoulders slope down, and their heads rise up into a narrow edge that probably shows a headdress. Some of them show faces marked with a T-shaped line formed by the eyebrows and nose. Like the statues, their eyes sit low and far apart. One has small round eyes made with little clay balls. Another has eyes pinched into small points.
Clear Female Forms
Five of the figurines clearly show female features. You can see this in the large stomachs, full hips, and thick thighs. Three of these are especially close in design. That’s Catalog Nos. 5, 8, and 19. They aren’t in the same condition. One is almost whole, missing only part of the lower belly. Another has everything from the waist down, but the upper body is only partly preserved, and you can just make out the breasts. The last one is missing most of the front side. Only the neck, shoulders, breast tops, and one hip remain. All three are headless.
The Materials Used: Clay and Limestone
Forty of the forty-two figurines from the Middle Pre-Pottery Neolithic B layer were made of clay. Kaolinite clay, which is common in the region, was easy to collect from cracks along the Zarqa River. Today, it comes in two shades, pink and yellow, and that was also true back then. Out of the thirty-four pieces where the clay color is still visible, twenty are pink and fourteen are yellow. That points to a slight leaning toward the pink clay, but not by much.
What the Clay and Crafting Tell Us
The use of simple, local materials says a lot. The first thing it tells us is that the figurines were probably not meant to last. They were made from small amounts of clay or limestone that could be picked up nearby. Some groups of figurines have matching textures and inclusions in the clay. That suggests they were made in batches, likely by the same person, and probably for the same reason. Interestingly, none of the five human figurines from Square 3077 were made with the same rough yellow clay that was used for thirty-three animal figures found in the same square. This hints that animal and human figures were made at different times, and possibly for different uses.
No Molds, Just Hands
Molds hadn’t been invented yet in the region. So every figurine had to be made by hand, one by one. Each piece was solid clay, not hollow or pressed into shape. The conical figures were the easiest to make. All it took was a quick shaping of a cone and pinching two legs. What mattered most was making sure the base was wide and flat so the figure could stand upright. The same simple method was used for the genderless figures as well.
How the ‘Ain Ghazal Figurines Were Made
Most of the figurines found at ‘Ain Ghazal were put together in stages. The busts were shaped first by forming the upper body as a single unit. That included the torso, shoulders, neck, and head. Once that part was done, a flat piece of clay was pressed onto the front of the head to build the face. From there, simple pinching shaped the brows, nose, and eyes. You can see this in examples like Catalog Numbers 22 and 40.
The three female figurines were made differently. Their bodies were built in three clear stages. First, the core parts like the trunk and limbs were shaped one by one. Then everything was assembled before the clay dried. The breasts were made with short rolls of clay, while the legs were longer coils. One of these figures, Catalog Number 19, has legs with no feet and couldn’t stand upright. It probably wasn’t supposed to. Its back was reinforced with an extra slab of clay, just like another example, Number 5. That added layer made the whole figure lie flat and stay steady in that position. It was solid and upright but clearly built to rest on its back. The third female figure had a different pose. She was either squatting or kneeling. This one could balance on its own.
Looking at how these figurines were made tells us a few things. First, the figures weren’t crafted by expert sculptors. The workmanship was simple and not polished, which points to everyday people making them. Second, many of the figures were designed to stand or rest without help. If they had flat bases or wide backs, they could stay upright or lie flat on their own. Third, and maybe most important, is what the styles tell us. The rough, cone-shaped ones were made quickly, while the more detailed anthropomorphic types took more effort. That suggests each type had a different meaning or purpose.
