Ancient Figurines and Statues

A collection of ancient ceramic and bronze figures, depicting various cultural representations, including deities and seated figures, showcasing intricate details and styles.

Statuette (usual name), 1400. Covered sandstone. Cernuschi Museum, Asia Museum of Asia in the city of Paris.

Ceramic Seated Female Figure. Culture: Carchi. Dimensions: H. 7 x W. 4 1/2 in. (17.8 x 11.4 cm). Date: 11th-16th century. Museum: Metropolitan Museum of Art, New York, USA.

Figurine of a God Grasping His Phallus. Egypt, Late Period - Roman Period (664 BCE - 200 CE). Sculpture. Bronze

Statuette (usual name), 1400. Covered sandstone. Cernuschi Museum, Asia Museum of Asia in the city of Paris.

Ram-headed figure of the god Khnum. Dimensions: H. 13 cm (5 1/8 in.). Dynasty: Dynasty 26. Date: 664-525 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Uszebti. unknown, author

Terracotta woman ca. 600-480 B.C. Cypriot The figure represents a type that came to Cyprus from the Levant and is common at Phoenician and Punic sites in the sixth and fifth centuries B.C. A pregnant woman sits with her hand on her belly, signifying her connection with fertility.. Terracotta woman 241267

Offering bearer statuette ca. 1981-1640 B.C. Middle Kingdom. Offering bearer statuette. ca. 1981-1640 B.C.. Wood, paint. Middle Kingdom. From Egypt, Memphite Region, Lisht South, Double Row of Pits, Pit 6L.P2, MMA excavations, 1923-24. Dynasty 12-13

Archaic Figurine, 500s BC. Greece, 6th Century BC. Terracotta; overall: 18.7 cm (7 3/8 in.).

FIGURA DE GUERRERO IBERICO PROCEDE DESPEÑAPERROS. Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION. MADRID. SPANIEN.

Israel, Beersheba, Ivory head

Ibis-headed god, Thoth 664-30 B.C. Late Period-Ptolemaic Period. Ibis-headed god, Thoth. 664-30 B.C.. Bronze or cupreous alloy. Late Period-Ptolemaic Period. From Egypt

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 591012

Standing Figure. Culture: Teotihuacan. Dimensions: H.16 1/8 x W. 8 1/8 x D. 6 1/8 in. (41 x 20.6 x 15.5 cm). Date: 3rd-7th century.Among the sculptural works associated with the ancient city of Teotihuacan are masks and human figures of stone whose features are simple and whose expressions are enigmatic. Their facial features tend to uniformity, including squared-off "ears"--here with holes for ornaments--and wide eyes and open mouth, both of which were once inlaid, probably with shell. This figure has a particularly substantial lower jaw that gives the head a most assertive air. Many Teotihuacan stone figures on this scale are rendered almost flat, but this is one of the few of considerable three-dimensional form. Though details such as rib cage, elbows, and wrists are indicated, it is probable that in use the figure was dressed in special costumes. Museum: Metropolitan Museum of Art, New York, USA.

Tomb figure in the shape of a woman with a flute, anonymous, c. 220 - c. 589 Grafiguur of earthenware, painted in red, white and black. The standing woman is dressed in a red robe with V-neck and wide sleeves and has a highly ramped hairstyle. She holds a whistle . Posted on a loose wooden pedestal from later date. China Earthenware. Pedimate: Wood (Plant Material) painting Grafiguur of earthenware, painted in red, white and black. The standing woman is dressed in a red robe with V-neck and wide sleeves and has a highly ramped hairstyle. She holds a whistle . Posted on a loose wooden pedestal from later date. China Earthenware. Pedimate: Wood (Plant Material) painting

Amulet of Taweret. Dimensions: H. 9.5 cm (3 3/4 in). Dynasty: Dynasty 26-30. Date: 664-332 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Czech Republic, Bohemia, Hradec, Fragment of pin with a human figure, bronze

Chahk, God ofRain. Artist: Unknown

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 591056

Madrid, M.A.N. Arte Edad Antigua. Terracota orante: figura masculina con los brazos extendidos. Arcilla. s.III a.c. Necrópolis de Puig des Molins, Ibiza.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: h. 12 × w. 4.4 × d. 3.7 cm (4 3/4 × 1 3/4 × 1 7/16 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 625493

Female figurine. Dimensions: H. 11.8 cm (4 5/8 in). Dynasty: Dynasty 13, mid. Date: ca. 1750 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Prehistory, Czech Republic, Neolithic. Clay female idol. From Znojmo.

Statuette of a Striding Figure 3000 BCE-2800 BCE Mesopotamia. Cast in solid copper and executed with a remarkable degree of sophistication, this statuette is thought to represent a supernatural being that served as an intermediary between the physical world and the spiritual realm. It depicts a muscular, bearded male wearing a headdress of goat horns and ears, a raptor skin over his shoulders, a cylindrical belt around his trim waist, and ankle boots with long, curved toes. His eyes are inlaid with bits of shell or stone; the now-missing pupils were probably made from a contrasting material. It is one of a pair of virtually identical figures (the other is in the collection of the Metropolitan Museum of Art, New York) that are unlike anything else that is known today.. Copper . Ancient Mesopotamian

Standing female figurine of the "goddess with uplifted arms" type ca. 600-480 B.C. Cypriot The cylindrical body is handmade and solid. The entire figure shows considerable remains of paint.. Standing female figurine of the "goddess with uplifted arms" type. Cypriot. ca. 600-480 B.C.. Terracotta; hand-made. Cypro-Archaic II. Terracottas

Kneeling MaleFigure

Child god. Dimensions: H. 13.6 cm (5 3/8 in.); W. 5.2 cm (2 1/16 in.); D. 6.2 cm (2 7/16 in.). Date: 664-30 B.C..The figure represents a child god in a seated/reclining position, wearing a cap and uraeus. The child god is distinguished from adult gods by a range of iconographic clues: his nudity, the finger raised to the mouth (a child-like gesture), and the thick sidelock on the right side of his head. Small details show the fine workmanship of the piece and hint at its original, even greater, beauty: the cap crown is stippled, either for decoration or the addition of gilding; the eyes are gilded, which lends some contrast and color to the face; the broad collar is articulated on the front and back with a counterpoise; and an amulet hangs beneath the broad collar on the chest. The amulet is another attribute common to child gods but not adult gods. Meanwhile, his slightly plump, well-fed belly hints at his ability to bring about prosperity and abundance. Child gods grew in popularit

Seated figure 3rd century B.C.-A.D. 4th century Chupicuaro. Seated figure 313183

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: h. 11.8 × w. 4.3 × d. 3.2 cm (4 5/8 × 1 11/16 × 1 1/4 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Maat ca. 1070-332 B.C. Third Intermediate Period-Late Period This small figure represents Maat, goddess of truth and justice, and embodiment of an ideal world in equilibrium. She is depicted in her typical position, seated on the ground with her knees pulled up. Traces on top of her head suggest that she originally wore an ostrich feather, signifying her name.Small Maat figures are known as part of larger compositions, where they are usually situated in front of an ibis, as a depiction of the god Thoth. Thoth was the god of writing and wisdom and was therefore closely connected to Maat. This piece shows no evidence that it originally had a tang at the bottom to place it into such a composition, though the small Maat could have rested in a depression or been placed on a small stool. It is also noteworthy that high officials are sometimes depicted wearing a small Maat figure hung around their neck to signify that their conduct is just.Despite the small size of the figure, the face is ver

Figure 2200-2000 B.C. Valdivia Around 4000-3500 B.C., ceramic figurines began to be produced along the coast of Ecuador at Valdivia sites like Real Alto and Loma Alta. Rooted in the region's earlier stone figurine tradition, these statuettes were the first of their kind in South America. The figurines were constructed by squeezing together two rolls of clay, which were then sculpted to form the body of the figure. Like their stone predecessors, the majority of the ceramic figurines were female, although there were instances in which figurines displayed both male and female attributes. As seen in the object here, the figurine possesses breasts as well as a lower abdominal protrusion that may symbolize male genitalia. The torso, chest, and neck are covered with strippling, while the arms, legs, breasts, and phallus remain bare. The figure's hairelaborately styled, as is typical of Valdivian clay figurinesfalls below the shoulders and frames the face. The figure's upright stance and cla

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 625401

Restraint, sculpture

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: h. 11.9 × w. 4.6 × d. 3.5 cm (4 11/16 × 1 13/16 × 1 3/8 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 623250

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 625485

Standing female figure, 250 BCE - 300 CE, 5 3/8 x 2 1/2 x 1 3/8 in. (13.7 x 6.4 x 3.5 cm), Earthenware, Mexico, 3rd century BCE - 4th century CE

Ptah. Egypt, circa 664-30 BCE. Sculpture. Bronze

Amulet of the God Thoth. Egyptian. Date: 664 BC-332 BC. Dimensions: 4.75 × 2 × 1.25 cm (1 7/8 × 3/4 × 1/2 in.). Faience. Origin: Egypt. Museum: The Chicago Art Institute, USA. Author: Ancient Egyptian.

Furniture support: female sphinx with Hathor-style curls ca. 18th century B.C. Old Assyrian Trading Colony This piece is one of a set of four furniture legs, probably found at the site of a palace at Acemhöyük in central Anatolia, carved in the shape of compact seated sphinxes without wings. They have large eyes with inlaid pupils, only one of which survives intact. Traces of gold foil remain on the hair and headdresses as well as eyes of some examples. The reddish staining of this piece indicates that iron oxides are present on the surface, although it is not known whether this was a deliberate decorative treatment, or a result of contact with the soil in which the pieces were buried. Each sphinx wears a wig or hairstyle in which heavy locks of hair ending in large curls, held behind protruding ears, frame the face, resembling images of the Egyptian goddess Hathor. In Egypt, sphinxes with the attributes of Hathor were associated with royal women. It is not known what these images mean

Faience amulet in the form of the dwarf god Pataikos. Culture: Egyptian. Dimensions: H.: 1 5/8 in. (4.1 cm). Date: 664-30 B.C..Amulet, Ptah-seker. Museum: Metropolitan Museum of Art, New York, USA.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: h. 11.7 × w. 4.1 × d. 3.3 cm (4 5/8 × 1 5/8 × 1 5/16 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 591769

Fragment of a Standing Buddha Indonesia (Kalimantan) ca. 8th century View more. Fragment of a Standing Buddha. Indonesia (Kalimantan). ca. 8th century. Bronze. Sculpture

Monkey and Man Playing Instruments. Dimensions: H. 10 × W. 2.9 × D. 2.7 cm (3 15/16 × 1 1/8 × 1 1/16 in.). Dynasty: Dynasty 22-26. Date: ca. 945-525 B.C..This figure is part of a repertoire of figures created in a distinctive spotted faience from dynasty 22 into dynasty 26. The center of production was the eastern Delta, in particular Bubastis and Tanis; this was an area where Near Eastern peoples had long been interwoven in the population; at this time it was also a center for the settlement of Libyan tribal peoples. Possibly these conditions influenced this particular production. Through their appearance, the figures all allude to the goddess Bastet. In particular, many details evoke the myth termed "The Return of the Faraway Goddess." The feline / leonine Bastet was angry with the god Re and left Egypt for Nubia. Re wanted her back again, so he sent the god Thoth, who, taking the form of a monkey, lured her back with fables. Bes, musicians and dancers accompanied the train of the

Uszebti. unknown, author

Overseer Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Overseer Shabti of Henettawy (C), Daughter of Isetemkheb 590991

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 625428

Seated Ballplayer 1st century B.C.-A.D. 3rd century Ameca-Etzatlán Images of ballplayers were made in ancient Mexico for millennia. The game, played with a large rubber ball, was fast paced and had many layers of meaningand it was always a significant male activity. Depictions of both game and players appear in the ceramic sculptures of Jalisco, a state on the west coast of Mexico, where such works were produced in the centuries around the turn of the first millennium when their makers flourished. This impressive seated player, in the Ameca-Etzatlan style of Jalisco, holds the large ball reverentially high, in a manner of presentation. His short "pants," a typical player costume, protect the lower body as the ball was propelled with the hips low to the ground. In remote areas of Mexico a game was played in this manner well into the twentieth century. The ceramic sculpture of Jalisco was used as funerary offerings in the tombs of members of important families. It is conjectured that de

Limestone woman 6th century B.C. Cypriot Cypriot sculptors assimilated influences not only from the East but also from the Greek world. Carved in local Cypriot limestone, this figure is a kore (maiden) of the type well known from examples of marble, terracotta, and bronze. East Greek works would have provided the most immediate sources of inspiration.. Limestone woman 242098

Kneeling Figure

Ancestral Post, c. 1910, attributed to Adeshina, Nigerian, d. 1945, 65 1/2 x 8 3/4 x 11 1/2 in. (166.37 x 22.23 x 29.21 cm), Wood, pigment, metal, Nigeria, 20th century, Most of the African master carvers remain unidentified. But some artists are known, and are still remembered and celebrated today. Agbonbiofe, a member of the famous Adeshina carver family, is one of them. He made this post for a Yoruba royal palace, where it supported the roof of a veranda lining the kings reception courtyard. The two-tiered composition depicts a mounted king wearing a conical crown like the one on view nearby and a kneeling female figure that supports and sustains the king.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: h. 12 × w. 4.3 × d. 3.6 cm (4 3/4 × 1 11/16 × 1 7/16 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Amulet of the God Thoth. Egyptian. Date: 1070 BC-656 BC. Dimensions: 3.8 × 1.3 × 1 cm (1 1/2 × 1/2 × 3/8 in.). Faience. Origin: Egypt. Museum: The Chicago Art Institute, Chicago, USA. Author: Ancient Egyptian.

Standing Warrior Figure with Patterned Shirt. Mexico, Nayarit, Ixtlán del Río, 200 BCE-500 CE. Ceramics. Slip-painted ceramic

Attendant. Culture: China. Dimensions: H. 22 in. (55.9 cm); W. 5 7/8 in. (14.9 cm); D. 2 3/4 in. (7 cm). Date: early 6th century. Museum: Metropolitan Museum of Art, New York, USA.

Standing female figure wearing a strap and a necklace. Dimensions: H. 10 5/8 × W. 5 1/2 × D. 4 5/16 in. (27 × 13.9 × 10.9 cm). Date: 3rd-2nd millennium B.C..This sculpture is one of a group of statues associated with the South Arabian Bronze Age. It comes at the beginning of a figural tradition characterized by extreme simplification and symbolic strength. Represented is a standing female with a role of fat and deep groove emphasizing the belly and a clearly indicated pubic triangle. Her massive body is contained within a quadrangular space. The legs look truncated but the toes, like the hands and fingers, are indicated by incisions. She wears a strap across her body and a necklace. Subject and style invite comparison with Near Eastern and Aegean Neolithic statuary and with much later South Arabian statuary of the second century B.C. In early Anatolia and Greece--as in late Paleolithic Europe--nude females were dynamic, with curved, exaggeraged breasts, belly, and buttocks. By contras

Herakles (). Italy, Etruscan, 3rd century B.C.. Sculpture. Bronze

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 591047

Colossal warrior head found in tomb in Orvieto, Terni

Figure, 100 BCE - 300 CE, 5 3/4 x 3 x 1 1/8 in. (14.6 x 7.6 x 2.9 cm), Ceramic, Mexico, 1st century BCE - 4th century CE

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: h. 11.8 × w. 4.2 × d. 3.1 cm (4 5/8 × 1 5/8 × 1 1/4 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Standing female figurine ca. 600-480 B.C. Cypriot The figurine is mold-made and solid, with a flat back. Her feet and left hand have broken off. The back of her head is oblique.. Standing female figurine 241129

Female Figurine. Chupícuaro; Guanajuato or Michoacán, Mexico. Date: 500 BC-300 BC. Dimensions: H. 13.3 cm (5 1/4 in.). Ceramic and pigment. Origin: Guanajuato state. Museum: The Chicago Art Institute, USA.

Phoenician civilization - 8th century b.C. - Statuette

Madrid, M.A.N. Arte Edad Antigua. Terracota votiva procedente de la necrópolis de Puig des Molins, una ofrenda a la divinidad para implorar por curaciones, fertilidad, salud...

God wearing disk and uraeus on a short wig 664-30 B.C. Late Period-Ptolemaic Period This small god wears a simple sun disk on a distinctive hairstyle consisting of four rows of regular square thick locks of hair. So far his identity remains uncertain.. God wearing disk and uraeus on a short wig. 664-30 B.C.. Cupreous metal. Late Period-Ptolemaic Period. From Egypt

Inlay depicting the goddess Isis 664-30 BC Late Period-Ptolemaic Period This inlay depicts a goddess wearing a tight sheath dress and elaborate headgear. The latter consists of a vulture headdress on which is set a modius of rearing cobras topped with cow corns and a sundisk.In the Late Period and the Ptolemaic Period, the goddesses Isis (the sister-wife of Osiris) is often depicted in this fashion; the goddess Hathor could also be represented with this headdress.. Inlay depicting the goddess Isis. 664-30 BC. Faience. Late Period-Ptolemaic Period. Country of Origin Egypt

Sculpture of VisNU, Anonymous, c. 1900 Sculpture from VisNU. Bali tuff. dye Sculpture from VisNU. Bali tuff. dye

Terracotta statuette of a seated boy 4th century B.C. Cypriot The figurine, of "temple boy" type, is mold-made and solid. The back is mold-made, showing the principal anatomical features.. Terracotta statuette of a seated boy 241161

"Foundation Nail" of Gudea, c. 2100 BC. Neo-Sumerian, Iraq, probably Lagash, c. 2100 BC. Copper alloy, lost-wax cast; overall: 17.5 x 4.5 x 7.3 cm (6 7/8 x 1 3/4 x 2 7/8 in.); with base: 20.9 x 6.3 x 9.1 cm (8 1/4 x 2 1/2 x 3 9/16 in.).

Bronze figure of haruspex

Fragment of a Standing Buddha Indonesia (Kalimantan) ca. 8th century View more. Fragment of a Standing Buddha. Indonesia (Kalimantan). ca. 8th century. Bronze. Sculpture

Ancestor Figure(Bulul)

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 623258

Warrior Head Jar. Culture: Moche. Dimensions: Overall: 14 3/4 in. (37.47 cm). Date: 2nd-5th century. Museum: Metropolitan Museum of Art, New York, USA.

Statuette of a woman 6th century B.C. Etruscan Draped figure with raised left arm.. Statuette of a woman 246276

Overseer Shabti of Nany. Dimensions: H. 9.6 × W. 3.5 × D. 2.2 cm (3 3/4 × 1 3/8 × 7/8 in.). Dynasty: Dynasty 21. Reign: reign of Psusennes I. Date: ca. 1050 B.C..See 30.3.27.1a, b. Museum: Metropolitan Museum of Art, New York, USA.

Kneeling Female Figure. Culture: Aztec. Dimensions: Overall: 3 1/4 x 2 x 1 1/4 in. (8.26 x 5.08 x 3.18 cm)Other: 2 x 1 1/4 in. (5.08 x 3.18 cm). Date: 15th-early 16th century. Museum: Metropolitan Museum of Art, New York, USA.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 625475

Bastet. Dimensions: H. 11.2 cm (4 7/16 in.); W. 3.5 cm (1 3/8 in.); D. 3.7 cm (1 7/16 in.)H. (with tang): 12.4 cm (4 7/8 in.). Date: 664-30 B.C..Bastet, here shown as a cat-headed goddess, was a powerful protective figure who also was known for her fertility. She could be represented with a lion head as well, but as a cat-headed goddess her peaceful traits were emphasized. Here the head and ears are large in proportion to the thin and petite body, putting further emphasis on her hybrid aspect. Bastet's personal adornments and garments are elaborate on statuettes, often more so than other goddesses, and she usually carries numerous attributes. This figure holds a protective lion-headed aegis against her chest and probably once held a sistrum in her other hand. Her dress has a complex pattern with alternating blank and hatched vertical stripes and fringe along the bottom edge. Bastet does not always wear a decorated dress, but it is much more common for her than for other goddesses. Th

Male figurine. Culture: Cypriot. Dimensions: H. 2 3/4 in. (7 cm). Date: ca. 600-480 B.C..The fragmentary figurine is handmade and solid. Museum: Metropolitan Museum of Art, New York, USA.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: h. 11.7 × w. 4.3 × d. 3.2 cm (4 5/8 × 1 11/16 × 1 1/4 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 591765

God Vishnu. Cambodia. Date: 1001-1100. Dimensions: 65.1 × 25.4 × 11.5 cm (25 5/8 × 10 × 4 1/2 in.). Sandstone. Origin: Cambodia. Museum: The Chicago Art Institute, Chicago, USA.

Mayan ceramic figurine of a Warrior, from Jaina, Campeche, Mexico. 600-900AD

Seated Female Fertility Figure African Art Senufu Culture Collection of The Museum of Contemporary Art, Jacksonville, Florida

Terracotta statuette of an actor Greek late 5th-early 4th century BCE Fourteen of these figures are said to have been found together in a burial in Attica. They are among the earliest known statuettes of actors and are superbly executed and preserved. Originally they were brightly painted. They document the beginning of standardized characters and masks, indicating the popularity not of a specific figure but of typesthe old man, the slave, the courtesan, etc.that appeared repeatedly in different plays. By the mid-fourth century B.C., Attic examples or local copies were known throughout the Greek world, from Southern Russia to Spain.

Maternity Figure, 18th century, 9 9/16 x 2 1/2 x 2 7/8 in. (24.29 x 6.35 x 7.3 cm) (including attached base), Ivory, Nigeria, 18th century

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: h. 12 × w. 4.4 × d. 3.4 cm (4 3/4 × 1 3/4 × 1 5/16 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Male Figure. Iran, modern. Sculpture. Bronze, cast

Falcon in double crown 664-30 B.C. Late Period-Ptolemaic Period The falcon god Horus stands with his wings swept back. He wears the double crown of Egypt, a royal crown that symbolizes the union of Lower and Upper Egypt, and highlights Horus role as the legitimate ruler of the entire land. The falcon wears the double crown because Horus and the concept of kingship were closely tied, as early as the Predynastic Period. Despite corrosion, this falcon preserves some careful detail including the falcons facial markings, as well as the long and short feathers of the body. The figure probably originally stood on a standard or on a small box that would have held an animal mummy, like falcon 26.7.856. Such falcon mummy boxes, or sarcophagi, would have been offered for deposition in animal necropoleis, not just in relation to the cult of Horus, but also more broadly in association with solar cult.. Falcon in double crown 570717

Kneeling MaternityFigure

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 623607

Human-headed cat. Dimensions: H. 3.9 × W. 1.3 × D. 2.8 cm (1 9/16 × 1/2 × 1 1/8 in.). Dynasty: Dynasty 22-26. Date: ca. 945-525 B.C..This figure is part of a repertoire of figures created in a distinctive spotted faience from dynasty 22 into dynasty 26. The center of production was the eastern Delta, in particular Bubastis and Tanis; this was an area where Near Eastern peoples had long been interwoven in the population; at this time it was also a center for the settlement of Libyan tribal peoples. Possibly these conditions influenced this particular production. Through their appearance, the figures all allude to the goddess Bastet. In particular, many details evoke the myth termed "The Return of the Faraway Goddess." The feline / leonine Bastet was angry with the god Re and left Egypt for Nubia. Re wanted her back again, so he sent the god Thoth, who, taking the form of a monkey, lured her back with fables. Bes, musicians and dancers accompanied the train of the returning goddess, wh

Standing Female Figure. Mexico, Nayarit, 200 BCE-500 CE. Ceramics. Slip-painted ceramic

Standing Attendant (Tomb Figurine) 399 BCE-200 BCE China. In Chu tombs, wood sculptures of men and women were placed in compartments surrounding the coffin. Natural weathering has accentuated the elegant attenuation of these figures. Some were constructed with separate forearms and hands, now lost, that were tenoned into small holes in their sleeves.. Wood with traces of polychrome pigments .

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