The Sardinian bronzetti represent a unique iconographic body, today consisting of more than 630 representations of anthropomorphic and zoomorphic figures, boats, nuraghi and diverse tools, weapons, vessels and other objects. They were...
moreThe Sardinian bronzetti represent a unique iconographic body, today consisting of more than 630 representations of anthropomorphic and zoomorphic figures, boats, nuraghi and diverse tools, weapons, vessels and other objects. They were produced from the FBA until the EIA, when contacts with other Mediterranean regions and with Iberia had intensified and pictorial art became a distinctive cultural expression in many regions. Therefore, they provide insights into distinctive local as well as widely shared symbolisms and intercultural contacts through the representations of archetypical figures and characteristic objects (swords, vessels, armoury). The bronzetti were publicly exposed at sanctuaries and often fixed on stone slabs, where they might possibly have been arranged in evocative combinations. The anthropomorphic figurines include women, sometimes as mothers with their babies, persons offering food, shepherds, sexually ambivalent figures, musicians, a “minotaur”, and supernatural fourarmed, four-eyed warriors. The detailed representations of dress, hairstyle, and weapons might have signalled local identity and social coherence. However, over 50% of the figurines, represent warriors, often with horned headgear, armed with sword and shield, or bow and arrow. The statues from Mont’e Prama from the 10th century BC, which thus far represent the oldest stone statuary in the Mediterranean beyond Egypt, the Levant and Anatolia, shared the same warrior theme and many decorative details with the bronze figurines). Some warrior figurines carry pistilliforme swords, a type that was common in the Atlantic Bronze Age and Iberia in the 11th century BC and some of which have also been found on the island. The typological evolution of swords in the FBA followed the same trajectory in Iberia and Sardinia. It is somehow surprising that Sardinians preferred the Iberian-Atlantic weapons to central European types, considering the closer proximity to the Apennine Peninsula and southern France, and to Aegean types, despite their existing eastern contacts. On the other hand, Mycenaean sword types were represented on statue-menhirs in Corsica. There are almost 150 miniature boats, or navicelle, often with a mast and therefore representing sailing vessels. The navicelle are circumstantial evidence that seafaring played a crucial role in FBA Sardinia. Moreover, boats were part of nuragic cosmology: The symbolic complex of the navicelle incorporated horned land animals (bulls, deer, ram) as figureheads, other land animals aboard (pigs, boar, dogs), nuraghe towers and birds as well as ploughing oxen. There was also a number of clay boat-miniatures, some with zoomorphic figureheads, which seem to have been used as lamps or incense- burners at sanctuaries. Largely contemporary clay models of boats are also known from Crete, Cyprus, where they also have animal figureheads of bulls and birds, from Lipari and the Levant. The Byblos hoard (c. 1500–1200 BC) contained several bronze boats, one of which is steered by a monkey, similar to one Sardinian navicella. This indicates that travel and subsequent intercultural contacts were deeply rooted in Sardinian as well as other Mediterranean communities. It is probable that the display of well-known archetypical images like the (horned) warriors or the female and mother-representations and some possibly integrated figures from other regions like the “minotaur” or the monkey on a navicella together with local Sardinian symbols must have enabled strangers who came to the sanctuaries to relate to some shared myths, cosmologies and beliefs. This would be a reference to practices of innovative, more inclusive ritual activities that incorporated guests and newcomers while maintaining local identity, after the ancestor worship at collective megalithic tombs had decreased. The figurines, miniatures and boat models at the sanctuaries could thus be interpreted as a complex of symbolic representations that – amongst many other local and individual levels of meaning –promoted inclusive, shared and sometimes syncretic social practices and rituals that were frequently related to travel and seafaring.