Çatalhöyük 2004 Archive Report

ÇATALHÖYÜK 2004 ARCHIVE REPORT

RESEARCH PROJECTS

Çatalhöyük Animal Figurines: Emphasis on Use or Creation?

Amber Creighton

Synopsis of University of Cambridge Master's Thesis in Archaeology

Abstract

This study focused on animal figurines from the site of Çatalhöyük, to determine if the primary purpose of the clay animal figurines was in the moulding of the clay and its symbolic value or if the figurines were created specifically for a certain use or purpose. Approximately 500 figurines have been found at Çatalhöyük; around 200 of these figurines have been previously identified as animals.

Özet

Bu çalışma Çatalhöyük'teki hayvan figürinleri ile ilgili olup, bu figürinlerin yapımındaki birincil amacın figürinleri şekillendirmek ve sembolik değeri için kullanmakmı yoksa daha başka özel bir kullanıma veya amaca yönelik mi olduğu sorusuna yöneliktir. Çatalhöyük'te şimdiye yaklaşık 500 figürin bulunmuş, bunlardan 200 tanesinin hayvan betimi olduğu saptanmıştır.

Through a combination of fieldwork and information available on the Çatalhöyük database, a representative sample of 71 figurines was compiled. 64 figurines, from all years of the excavations at Çatalhöyük, were stored at the site itself. 7 additional figurines (used for some interpretations) were found on the Çatalhöyük database. The figurines were selected because they contained enough information to be studied, quantitatively, to determine the possible uses and purposes of animal figurines through examination of their wear patterns, contextual information, disposal patterns, and artefact associations.

The theory set forth is that the importance of most of the small clay animal figurines, with certain exceptions, was in the act of their creation. Their symbolic power was found only in the moulding of their form. After their animal shape was completed, they were disposed of in trash middens. There may have been several categories of animal figurines including vehicles of magic (with the emphasis on the moulding of the clay form, followed by immediate disposal), initiation figurines (used in rituals for house blessings and hunting blessings), toys (for children's entertainment), and teaching vessels. Some figurines may have been created as vehicles of magic and were reused as toys for children before they were discarded in middens (Voigt 2000: 261-263).

Complementary aspects from the theoretical perspectives of postprocessual and cognitive processual approaches were used to interpret the data on the figurines of Çatalhöyük. The theoretical perspective of postprocessual archaeology was employed for determining the use of the figurines within the context of Çatalhöyük. The theoretical perspective of cognitive processual archaeology was also employed with the objective of trying to discover the purpose of the clay animal figurines in the minds of the people of Çatalhöyük. The cognitive processual approach attempts to accomplish this objective through generalizations about the use of figurines, supported by similar and contemporary sites.

The methodology for determining the use and purpose of the figurines was based on three criteria. First, original, independent fieldwork was conducted at the site of Çatalhöyük. The figurines from the Çatalhöyük assemblage, stored at the site, were photographed, measured, and weighed. Voigt's (2000) and Ucko's (1968) use wear analysis was applied for determining the functions of figurines through identifying wear patterns or the lack of wear on each of these sample figurines stored at Çatalhöyük. The context of the animal figurines with other figurine types and objects was examined.

Ucko (1968) applied this method of use wear analysis to the Jarmo figurines and Voigt applied it to the Hajji Firuz Tepe clay figurines from northwest Iran (Voigt 2000: 261-263). This method of analysis looked at patterns of wear and damage in the context and disposal patterns of the figurine. This typology attempts to determine if most figurines were created and then immediately disposed of and which figurines were reused or initially created specifically as ritual objects, teaching vessels, or toys.

According to Ucko (1968), typology can be determined based on the wear patterns and, to a certain extent, the material and the details on individual figurines (Voigt 2000: 261). According to Vitelli (1993: 215), wear patterns can suggest the function that a clay object was used for. For example, if a figurine had been immediately disposed of, it would not have the definite wear marks or rubbing patterns that a ritual object would have. Also, a teaching vessel or toy is likely to be much more detailed than a creation focused object.

The context in which the figurines are found can also yield information about the purpose behind their creation. If the clay animal figurines of Çatalhöyük were created mostly for the symbolism, found in the initial moulding of their clay forms, then most should be found in middens. These figurines will not have smooth, worn areas.

Second, the use and symbolic value of different animal types has been examined within the specific context of Çatalhöyük. This employed the theoretical approach of postprocessual archaeology. I have examined the representations of animals and animal/human relationships as depicted in statues, wall paintings, reliefs, and possible shrine buildings, in addition to the figurines. The faunal assemblage of Çatalhöyük has also been examined to support proper species identification of the animal figurines.

The third method of analysis has come from cross-site comparisons with similar collections of figurines, such as Jarmo, Sarab, and Çayönü. This cross-site analysis employed the use of cognitive processual theory in order to derive the possibilities for the cognitive meaning of the clay animal figurines to the people of Çatalhöyük. Generalizing the comparisons, which fit the similar circumstances and needs of the people of Çatalhöyük, can support the possible cognitive meanings. The proposed theory of use of the Çatalhöyük animal figurines was supported through these sites.

There are several theories about the purposes of the small animal figurines of Çatalhöyük, which are supported through fieldwork, database records, faunal assemblage, and the cross-site comparisons studies. It is likely that the emphasis on creation, followed by immediate disposal, was true for most of the small clay figurines, but not for all of them. This may be linked to the wear pattern and material of the figurine.

Figure 114: Figurines, from different units are shown together in this photograph.

According to Braidwood (1983: 370) and Morales (1990: 10), the magic of the small animal figurines that are made carelessly may have been in the working of their clay rather than its use thereafter. Voigt (2000: 261-263) refers to this type of figurine as vehicle of magic figurines. Perhaps these figurines were made by individuals hoping to obtain their wish through the use of disposable, sympathetic magic found in the act of modelling the clay into figurines. After serving its purpose, these figurines would be disposed of either in middens or passed to children as toys or for games (Braidwood, et al. 1983: 376; Voigt 2000: 277).

The fieldwork at the site has lent support to the use of most small clay animal figurines as vehicles of magic. A selected sample of 64 figurines, stored at Çatalhöyük, was examined for wear patterns and species identification. The possibility that 57.69% of the study sample was found in domestic middens supports the association of clay figurines with domestic activities and possible rituals.

The interpretation that 68.76% of the sample of figurines were found un-associated with other figurines is consistent with Voigt's assertion that vehicle of magic figurines are more likely to be disposed of alone rather than in clusters (Voigt 2000: 261-263). Double the sample, 20.3%, were found in association with clay balls, compared to only 10.94% found in association with other figurines (mostly unidentifiable fragments). However, this association may be attributed to the likelihood that domestically associated objects were disposed of in a similar manner.

The species identification of figurines seems to support that both wild and domestic animals were represented. The desire to control these animals through the use of vehicle of magic figurines would be logical for the needs of the people of Çatalhöyük, because the faunal assemblage provides evidence that both wild and domesticated species were consumed at the site. The identification of the new figurine type of weasel would support the idea that vehicle of magic figurines representing weasels were designed to subdue or control these vermin. This is interpretation is supported because the figurines identified as weasel, were mostly burnt.

Figure 115: The above picture is of figurine 4824.D1. It has been interpreted as representing a cow. It illustrates an example that fits the characteristics of what I have interpreted as a vehicle of magic figurine

Figure 116: The above picture represents the famous female figurine flanked by two leopards. This is an example of what has been interpreted as a cult figurine

The large amount of figurines made of clay, 84.38% of the sample, is logical based on the theory that the making of vehicle of magic figurines, made of clay, was a domestic ritual activity, which would be repeated often. According to Ucko (1968: 417), the use of clay, which he regards as a cheap and readily available material, supports the idea that most of these figurines were not intended for long time purposes. The figurines made of materials other than clay were likely made for other more permanent purposes, based on the fact that these materials would be more difficult to attain and shape.

The small size, ranging from 0cm to 5cm in length, of the majority of the study sample also supports the function of these figurines as vehicles of magic. It is easier to mould and fire small clay objects rapidly into specific forms because they do not require temper to keep their shape during firing. This is consistent with Voigt's (2000: 261) analysis of vehicle of magic figurines.

The interpretation of 40.63% being possibly ritually broken, 29.69% being possibly stabbed, and 14.06% being burnt further supports the use of animal figurines in rituals as vehicles of magic. The former are generally all regarded as ritual activities performed on objects which symbolize control. Animal figurines that are intentionally injured probably represent prey magically killed or injured in a hunting ritual (Hamilton 1996: 224; Voigt 2000: 263-264; Mellaart 1975: 106; Mellaart 1967: 180; Morales 1990: 10).

Finally, the majority of the figurines, from the sample size, were interpreted as vehicle of magic figurines based on the criteria of Voigt (2000: 261-263). This is logical based on the idea that ritual objects should likely be far more common than votive or cult figurines. This is based on Renfrew's definition that ritual is repeated activity (Renfrew 1985: 14). If the figurines were part of a daily domestic ritual, as I suggest, than the majority of figurines should be classified as vehicle of magic figurines.

The animal figurines of Çatalhöyük, Jarmo, Sarab, Çayönü, Ain Ghazal, and Gritille all provide evidence for the idea of the emphasis being put on the creation of the small clay figurines (Mellaart 1975: 106). There are no wear marks on most of the small clay animal figurines. The lack of wear marks implies that the figurines were disposed of immediately after their original construction. Most of the animal figurines of these assemblages are found in middens. There does not seem to be a special place designated for them in shrines or household which would suggest use after their construction (Braidwood et al . 1983: 385; Morales 2000: 10; Rollefson 2000: 167; Voigt 2000: 267).

The reason for this symbolic emphasis on creation may have been based on a belief in sympathetic magic or control of an element through its creation (Braidwood et al . 1983: 370). The more details and quality given to the magical value of creating the figurine could symbolize a greater concern for a successful outcome. There are detailed versions of animal figurines, possibly representing distinct species, as well as abstract quadrupeds that could be almost any four-legged animal. Hunters may have made the figurines, which represent wild game, with greater details based on the belief that the figurines would ensure a more successful hunt (Braidwood et al. 1983: 385).

The creation of some figurines purely for the value of being a child's toy would make sense for the assemblages of Çatalhöyük and comparative sites. Many of the detailed figurines in these assemblages had areas of polish on them. These areas of wear indicate use after the moulding and hardening process (Braidwood et al . 1983: 370; Hamilton, Forthcoming: 23; Hamilton 1996: 227; Ucko 1968: 421).

Suggestions were made that animal figurines represent human wishes or desires for particular animals of a certain species or a specific animal. According to Ucko, animal figurines may have represented the desire for the increase of flocks or particular animals. These desires would be expressed in the actual modelling of the figurines. The figurine would then be discarded after the creation process was complete. The variability in the position, quality, and the predominate use of clay in the figurines supports that sympathetic magic was found in the actual modelling of the clay (Ucko 1968: 424, 437). Another reason for the emphasis on clay moulding, according to Atalay (2003: 256), was that human control of the clay might be linked to the control and manipulation of the overall process of plant and animal domestication.

In summary, there are several possible purposes for the small clay figurines of Çatalhöyük. It is likely that types of figurines were created for different purposes (Ucko 1968: 443). These purposes include use in domestic rituals as vehicle of magic figurines (followed by immediate disposal), games pieces, teaching purposes, or toys. Some may have been created specifically as toys or for teaching purposes (Hamilton, Forthcoming: 35; Hamilton 1996: 225; Ucko 1968: 421; 444). Some may reveal the specific role of different species. This includes distinguishing wild species from domesticated. The figurines depicted as sitting or lying down may be related to domestication (Braidwood et al. 1983: 376; Hamilton, Forthcoming: 31; Hamilton 1996: 225). These theories concerning the variety of uses were supported through fieldwork and the sources of data used in this study.