Introducing Parthian Figurine Stored at Leiden Antiquity Museum, Holland

Last year when I visited Leiden Museum of Antiquity (Rijksmuseum van Oudh Eden) for the first time, Parthian figurines, displayed at a small window in the Near East section and the part related to Iran, attracted my attention. To my eyes, they seemed very unique and of importance, therefore, I decided to introduce them briefly and write a report on them. In the present research, I will introduce 18 anthropomorphic Parthian figurines (five male, thirteen female) in six groups, including musicians, laying women, nude goddesses, mother and child, men bust and warriors with shields. They were mostly recovered from regions such as Iran (Susa), Seleucia, Assyria, and Turkey. The considerable quantity of female figurines has caused speculations and debates, the most prominent of which being the probability of their sacredness and their subsequent affiliation to Anahita, the goddess of the Waters and associated with fertility, healing and wisdom. The results of the previous examination of the similar works indicate that figurines were created in various styles and shapes, from abstract to realistic and plain while some of them have a mixed appearance. The clay or stone (usually marble) figurines are covered with a layer of color, while the hands are attached to the body with an string. The hands, interestingly, can move freely. All the figurines are in upright position and only one of them has a leaning posture. Some of them are made in a primitive way, with a sense of nativity in performing the heads, the hands and the feet. Some of these figurines have clothes on; some others are naked which probably represent their role in a ritual or royal performance. The outstanding peculiarity of these figurines is the many musical instruments accompanying them. Among the most interesting items are musicians with wind instruments. The comparison with the other similar works leads us to speculate that depicting female musicians were most probably taken into consideration only at Parthian and Sassanid eras. Nothing can be said, with certainty, about the function of these figurines. Are they made just to be dedicated to a temple as a vow or are they made as a decorative object by an artist or an artisan to nurture his or her own creativity and craftsmanship? These are the questions that deserve more investigation and speculation and haven’t been answered yet. The results of the previous examination of the similar works indicate that figurines were created in various styles and shapes, from abstract to realistic and plain while some of them have a mixed appearance. The clay or stone (usually marble) figurines are covered with a layer of color, while the hands are attached to the body with a string. The hands, interestingly, can move freely. All the figurines are in upright position and only one of them has a leaning posture. Some of them are made in a primitive way, with a sense of nativity in performing the heads, the hands and the feet. Some of these figurines have clothes on; some others are naked which probably represent their role in a ritual or royal performance. The outstanding peculiarity of these figurines is the many musical instruments accompanying them. Among the most interesting items are musicians with wind instruments. The comparison with the other similar works leads us to speculate that depicting female musicians were most probably taken into consideration only at Parthian and Sassanid eras. Nothing can be said, with certainty, about the function of these figurines. Are they made just to be dedicated to a temple as a vow or are they made as a decorative object by an artist or an artisan to nurture his or her own creativity and craftsmanship? These are the questions that deserve more investigation and speculation and haven’t been answered yet.