We introduce the general picture about the prehistoric and protohistoric “movable” art of Sardinia, from the fi rst nineteenth-century findings to the last actual acquisitions. The excursus departs from the prenuragic period, with the stone, clay or bone figurines, representing above all the “Mother Goddesses”, the apotropaic manufactured objects, the figurations in numerous ceramic samples, and, above all, the eneolithic statues-menhir. We arrive, therefore, to the important nuragic artistic expressions, constituted by the characteristic small bronze statuettes, the stately statues of Monte Prama, the “betili” and the “little models of nuraghi”, some plastic and geometric decorations. Such artistic expressions seem tightly tied up to the magic-religious beliefs of the pre-protohistoric populations of the island.
Le manifestazioni artistiche “mobiliari” di epoca preistorica e protostorica: stato dell’arte
CICILLONI, RICCARDO
2009-01-01
Abstract
We introduce the general picture about the prehistoric and protohistoric “movable” art of Sardinia, from the fi rst nineteenth-century findings to the last actual acquisitions. The excursus departs from the prenuragic period, with the stone, clay or bone figurines, representing above all the “Mother Goddesses”, the apotropaic manufactured objects, the figurations in numerous ceramic samples, and, above all, the eneolithic statues-menhir. We arrive, therefore, to the important nuragic artistic expressions, constituted by the characteristic small bronze statuettes, the stately statues of Monte Prama, the “betili” and the “little models of nuraghi”, some plastic and geometric decorations. Such artistic expressions seem tightly tied up to the magic-religious beliefs of the pre-protohistoric populations of the island.
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