Through analysis of a figurine assemblage from the site of Koçumbeli-Ankara, this study aims to re-evaluate the origins, meanings and functions of the Early Bronze Age (third millennium BC) anthropomorphic figurines of Anatolia. Conventional typological approaches to figurines are often focused on their origins and sex; however, such approaches hinder an understanding of the context of the norms of production, display and discard within which the figurines become more meaningful. Following an examination of breakage patterns and the decorative aspects of the Koçumbeli assemblage, a comparative review of figurine find contexts, raw materials and abstraction scales in Anatolia is provided, so that the social concerns underlying the use of these figurines can be explored. It is concluded that the origins of the figurines are difficult to pinpoint, due to the presence of similar items across a variety of regions of the Near East from the later Neolithic onwards. The sex of the figurines is equally ambiguous; while some human sexual features can be discerned, it is difficult to decide whether these features are ‘male’, ‘female’, both or beyond classification. Alternatively, the decoration, breakage and find contexts of the figurines suggest that the imagery was embedded in more complex perceptions of social status, death and social regeneration. The need for materialisation of these concerns in the form of the figurines could be related to the development of a new social landscape of interaction leading to political centralisation by the second millennium BC. Furthermore, the figurines were produced through a meaningful linking of particular raw materials and particular abstraction scales to particular use contexts, which seems to have shifted during the centralisation process.

中文翻译：

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安纳托利亚早期青铜时代的小雕像：来自 Koçumbeli-Ankara 的组合

通过分析来自 Koçumbeli-Ankara 遗址的小雕像组合，本研究旨在重新评估安纳托利亚青铜时代早期（公元前第三个千年）拟人小雕像的起源、意义和功能。传统的小雕像类型学方法通常侧重于它们的起源和性别。然而，这些方法阻碍了对制作、展示和丢弃规范的背景的理解，在这些规范中，小雕像变得更有意义。在对 Koçumbeli 组合的破损模式和装饰方面进行检查之后，对安纳托利亚的小雕像发现背景、原材料和抽象比例进行了比较回顾，以便探索这些小雕像使用背后的社会问题。得出的结论是，这些雕像的起源很难确定，由于从新石器时代晚期开始，在近东的各个地区都存在类似的物品。小雕像的性别同样模棱两可；虽然可以辨别出一些人类的性特征，但很难确定这些特征是“男性”还是“女性”，或者两者兼而有之。或者，雕像的装饰、破损和寻找背景表明，这些图像嵌入了对社会地位、死亡和社会再生的更复杂的感知中。以小雕像的形式实现这些关注的需要可能与新的互动社会景观的发展有关，从而导致公元前二千年的政治集权。此外，