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By
DR. SYED ANIS HASHIM

Directorate General of Antiquities and Museums

Ministry of Education, Riyadh, Saudi Arabia
1991
 It is with pleasure that we welcome the present contribution of Dr. Anis Hashim in
the form of an occasional paper published by the Department of Antiquities.

The subject is a fascinating one. The focus of analysis and comparison is on the
abundant remains of clay figurines excavated from the Hellenistic influenced
settlement of Thaj in eastern Saudi Arabia. It is dated to the second half of the pt
millenium B.C., and later.

Naturally, a study of this sort of small finds will be of great significance to the
overall picture of interpretation for the settlement of Thaj. There will, hopefully, be
further contributions from Dr. Hashim to complement this important site. We
encourage him and other colleagues in the Department to enrich the record by
bringing more analytical studies of Arabian archaeology into publication.

Dr. Abdullah H. Masry

Asst. Dep. Minister for Antiquities
and Museum Affairs and Editor in Chief,
Atlal Ihe Journal of Saudi Arabian Archaeology
 Thaj is one of the most important and well known 1st mill.B.C archaeological site
in Saudi Arabia. It is located (latitude 26°52.5' north, longitude 48°42.9' east) in the
Eastern Province of the Kingdom, and has attracted the attention of scholars from the
very beginning of this century, (Lorimer, 1908 ) , ( Dickson, 1954 ) ( Mandiville ,
1963) (Lapp, 1963) and Parr, 1964) .
This site is 95 km. due east from the coastal, now identified, city of Jubail. It lies on
the traditional route of Yemen via Wadi Dawasir and Qaryat al - Faw. The site is
bounded by the remains of ancient walls with several building complexes and burials of
archaeological importance lying outside the perimeters. The Department of Anti-
quities and Museums carried out a series of excavations at the site of ancient Thaj
which included areas of city walls, towers and the so called iron mound. The
excavation exposed occupation deposits of nearly 2m. deep showing five occupational
phases. From the excavations many types of remains were recovered including coins,
pottery, iron slag, shells and terracotta figurines, ( Atlal , vol.8, 1984, p. 41ft. and vol.
9, 1985, p.55ff)
In the Kingdom of Saudi Arabia there are not many sites which have provided
terracotta figurines in large number. Some of the figurines have been recovered from
al - Faw ( Ansari, 1982 ) and some from Marib, Najran, Tayma, Madain Saleh and its
surroundings. Therefore, it was thought that Thaj was one of the biggest centers where
terracotta figurines were produced and used. Due to this reason special interest was
taken to study these figurines, critically and comparatively, in their technical ,
typological and iconographical aspects.

Typological Study
of the Figurines
This aspect of study has been carried out on
the basis of two diagnostic features - form and
style. On the basis of form these figurines have
been divided into two main groups- animal
figurines and human figurines. Human figurines
are represented in both male and female forms.
A total number of six heads and five busts of
male human figurines have been discovered.
These figurines have been classified into two
subforms - gracile and robust.
The gracile category of figurines usually repre-
sents short and light bust with a small mouth
either with flat nose or with sharp one, and
sometimes with brachycephalic head. Two of the
figurines of this category represent a physical
disability on the person. On one of the figurines,
the right side of the face shows effect of
paralysis. The severe effect of this disease is
represented very effectively by turning the
mouth and eyes obliquely (fig.3). Another one,
which also belong to this category, is represented
by a damaged eye. One of the eyes is normal and
the other one is deeply sunk inside the socket of
the eye (fig.2). Probably these figurines were
among the items of votive offerings to their
deities in desire to seek remedy from those
diseases. This type of offerings were not a new
phenomenon in the ancient cultures, however it
is the first time to be noted in Saudi Arabian
antiquities.
The robust form is represented with broad
chest, muscular body, narrow waist and tall bust.
One of the busts of this form represents a
powerful male, probably a deity of some sort
(fig.8) This bust may be compared with the bust
of Marduk of the Babylonian pantheon, Zeus of
the Greek's or Hadad of the Nabataean's.
Other figurine of this group represents a man
with locked hair on the middle of the head. Half
of the hair part is broken. Locking of the hair on
the head is often found on Hellenistic sculptures,
but this style is quite different (fig.7). The kind
of hair style which has been represented on this
figurine, could be compared with the terracotta
sculptures of ancient India Produced between
3rd cent. B.C. and 3rd Cent. A.D. Locked hair
on the middle of the head on a male statuette
also has been discovered from al-Faw (Ansari,
1982). Another head of a figurine represents a
man with Assyrian / Neo-Babylonian features
(fig. 5) .
The head is represented with a long beard and
moustache, large facial features, fluffy noses,
sharp eyes and thick eyebrows. It is covered in
bell-shaped style from which two tresses of hair
hang down to the neck (Gazdar 1984). Probably
this was a representation of a priest. In some of
the figurines of this category garlands in the form
of incised dots also have been shown.
Female Figurines
A total number of 20 pieces of female figurines
have been discovered. Most of them have been
represented in seated form. The main features of
these figurines are prominent breasts, attached
separately to body, heavy and protruding but-
tocks, narrow waists, thick and fleshy thighs,
streched legs and feet with finger marks on them.
(fig.9) to (29).
 These figurines are generally disproportionate
to relative sizes of their bodies. Most of the
figurines have been represented with out
draperies but are adorned with ornaments on the
neck waist and wrist. Pubic hair is clearly shown
on the figurines either by short strokes or dots.
Some of the figurines bear a small triangular
mark with few dots on the abdomen, probably
symbolising early pregnancy in the form of a
cluster of cells and some bear semi-crescent
mark filled with short notches, probably symbo-
Iising late stages of pregnancy. (fig's 24.25) .
Two types of hair style have been represented
by the figurines. First, plaited design in three
treses, one in the middle and two on either side
of the back. (fig 26). The same style of hair can
be noticed from a figurine of al-Faw (Ansari.
1982). In the second style, a whole bunch of hair
is woven in one single strip and lying on the
shoulder. (fig. 27). This style is comparable to
the lock of hair reaching down over the shoulder
of the Ma-in' relief representing a Nabataean
diety (Gleuck «1965» p. 223). This evidence may
indicates the practice of growing hair among the
women folk.
In most of the female figurines, the lower part
of the body is very heavy. It shows that obesity
was quite common among the women and was
symbol of social status.
Representation of female figurines adorned
with ornaments and with out drapery, seated in a
graceful form with heavy personality and prom-
inently exposed private parts of the body indi-
cates that they were not the representation of
ordinary women or toys but of super-human
beings in the form of mother goddesses, and
hence, there was no need for them to wear
wordly clothes. They were the mothers of all
living objects including plants and creatures and
a symbol of prosperity, fertility and hope of
better eternal life after the death. Obesity,
heavyness of their breasts, sitting in a graceful
form, all these aspects represent their greatness
and respect.
If we compare these figurines with Hellenistic
terracottas of the Medittaranean world, we find
that Hellenistic goddesses were always depicted
with draperies. Representation of mother god-
dess with out drapery was a phenomenon of the
Mycananean period in Greece and Harappan
period of the Indus Valley. During classical and
Hellenistic Greece this pattern was changed but
was continued in the Indian sub continent till
very late. Evidence of that tradition can be found
in the sculptures of Khajuraho in central India,
which was produced in the 10th cent. A.D.
Saudi Arabian ancient art does not provide
any evidence of mother goddess in this form. In
the rock art of the peninsula human figurines are
always schematized and idoliform representa-
tions marked with facial features. However, it
has provided an evidence of a typical form of
mother goddess with tall slim body and flying
hair. The tradition of worshipping mothher god-
dess of this form named Alia was prevalent
among the Bedouins few decade before the
advent of Islam (Majeed Khan «1988» P. 37).
Few figures of mother goddess have been
noticed from the southern part of Saudi Arabia,
which can not be dated earlier than the Iron Age
c. 1000 B.C. Female figures belonging to rock
arts of Chalco lithic period have not been
noticed. Only male figures are depicted with a
highly exagerated reproductive organs (Majeed
Khan «1988» p.191), probably showing the
importance of the genital parts as a symbol of
fertility and progeny. In the Iron Age of the
region this form of art was simplified and in the
Neolithic period these were never shown on
human figures.
A close look of the rock art of the Chalco lithic
and Bronze Ages of the Kingdom indicates male
domination over the society, specially in the case
of religion where male deities were mostly
depicted probably as creator of the world, as it
was Marduk in Babylonia, Zeus in Greece, Shiva
as creator of the world in India and Hadad in
Petra.
In later period, it seems that, gradually the
importance of male deities were declining and
female deities in the form of mother goddesses of
3rd millenium B. c., from the ancient civiliza-
tions of the East and the West were again
emerging in the region. Probably, it was due to
the influence of Babylon from the East and
Hellenistic world from the West.
At Thaj, this influence was felt due to its
cosmopolitan nature at that time, where peoples
from many parts of the world with diverse
cultural and religious back grounds were meeting
being a big commercial center not far from the
shores of the Gulf .
Another group of figurines recovered from
Thaj are animals and birds. These. includes
camel, bull, lion, horse, cobra, dolphin, eagle
and owl.
One of the most common animals represented
in terracotta figurines is the camel (fig. 29, 35).
This animal has been represented in various
styles and decorations. Sometimes, ownership
mark known as' wusum' in Arabic, also were
shown either on the neck or thigh of the camel.
It is curious to note that those animals and
birds which were having some mythological
backgrounds either in Sumerian, Babylonian,
Indus Valley, Greek, Palmyrene or in Naba-
taean were only represented in figurine form.
For example, the camel was a very important
animal in the pre-Islamic society of Mesopota-
mia and other parts of Arabia. It was considered
as the desert -ship as well as symbol of prosperity.
Even after death, camels were sacrificed and
burried along with the deceased as meal1l' for
travelling to the outer world. Such evidence have
been discovered from the excavations of burial
mounds of Dhahran where camel skeletons have
been recovered along with human skeletons. the
importance of the camels was continued even in
the later periods. The - Nabataeans felt even
importance for this animal same as the other
animals which represented in the figurines.
Bull :
There was a high sign~ficance of bull in the
Sumerian, Babylonian and Indus Valley religion.
Bull was also represented in the cult of Zeus as a
fertilizing power. This theme was borrowed by
the Nabataeans. In their iconography bull breed
usually shown is the Indian hump or zebu. Two
figurine heads which have been discovered from
Thaj excavations are Indian humped bull. (fig.35)
Lion:
It is represented in a crude form but in a very
furious attitude. Lion and tiger both are gener-
ally associated with the deities of the ancient
East. In the Mesopotamian religion it was
represented as a power and Hindu religion
attached to goddess «Durga» as her vehicle. In
the Nabataean religion lion is usually repre-
sented as animal in waiting to goddess, «Atarga-
tis» consort of Hadad (Glueck 1965). (fig. 36).
This animal had the same importance as the
camel, and was associated with faciliated travel
in the darkness after death. Horses and camels,
both animals were added to the commemorative
relief of the Nabataeans (Brian Doe «1971»
P.242). (fig. 37).
This animal is represented in the form of a
cobra. The serpent in general was considered to
as an old agent of healing and fertility (Brian
Doe «1971» pp.907-908), and was connected
with the promise of immortality of life after
death. It was of a high reputation in Mesopota-
mia, Egypt, Syria, and in Asia Minor. In Greece
it was associated with Zeus and in India as curl of
lord Shiva. Due to Egyptian and Parthian
influences it was adopted in the Nabataean
religion. The sancutury of the serpent at Madain
Saleh in northern Saudi Arabia is a striking
example of its cult. (fig. 38).
Only a head portion of this animal has been
found from the excavations. (fig. 39). An image
of Sya creature, probably a seal, which bears an
inscription of the Assyrian King Ashurbel Kala
was found, (now kept in the Istanbul Museum),
which he erected in the gate way of his new
palace built in the city of Ashur in Iraq (Gadd,
c.J. «1948» p23). We do not know much about
its importance in that society. However, the
Nabataeans had very intimate relation with sea
animals especially with the dolphins, with their
desire to secure survival and safety for them-
selves along the unknown route they would have
to travel after death (Glueck «1965». p.359).
This was attached to almost all the deities of the
Nabataean cult. (fig. 39).
A complete bronze statue of a dolphin has
been discovered from AI-Faw (Ansari, 1982),
suggesting association with dolphins in their
religious cult. The same possibility cannot be
ruled out for Thaj also.
Among the birds two terracotta heads, one
representing the eagle (fig. 40) and the other an
owl have been discovered. The eagle was one of
the most important birds in Babylonian religion,
and generally shown with double heads. It was
also the most important bird in the Nabataean
religion, representing Zeus-Hadad and associ-
ated with Atargatis, consort of Hadad (Brian
Doe «1971» p.473). At Madain Saleh the eagle is
generally represented along with a serpent.
Other interesting figurine in the bird series is
an owl's head (fig.41). This bird was also having
a considerable place in Babylonian religion and
very much importance in Hellenistic religion
symbolising knowledge and wisdom and usually
associated with the goddess Athena of the Greek
pantheon. One of the Egyptian pharaohs
Tachos, struck the coins bearing owl in 361 B.C.
(Minerva, vol. 1 «1990»). Probably the idea of
representing this bird was due to the influence of
Hellinism in the region.

Classification
of Figurines on the Basis
of Stratigraphical
Sequences and their
Corresponding Styles
Under this aspect the figurines have been
classified into two phases.
Early phase: and later phase. Early phase:- In
the early phase there is a crude representation of
figurines, specially on human figurines where
shoulder and waist are hardly distinguishable. In
most of the figurines there is no harmony
between heads and legs (Gazdar «1984»), and
few of them are cylindrical in shape. The base of
the figurines are big and slightly hallow. Decora-
tions are usually below the belly and on some
parts of the body e.g. breast and hair were added
with separate piece of clay. Eyes are slanted and
more frequently rounded. Animal figurines of
this period are mostly represented by camels
with conical legs, high neck and up-raised tail
which could be compared with rock art repre-
sentation throughout the Kingdom .
Later Phase: In the later phase there are better
representations of figurines than the earlier
phase. During this phase we find a variety of
animals and human figurines showing various
features. Animal figurines of this period are
produced in the forms of camel, horse,lion, bull,
eagle and owl. Human figurines are made with
clear differences between shoulder and legs, but
bases are generally smaller, legs are out of
proportion to the feet with decorations on the
belly directly below the breast. One of the
important figurines of this phase is represented
by a head portion of a Assyrian! Neo-Babylonian
priest as it ,has been discussed earlier.
Some of the human figurines represent abnor-
malities e.g. in two of the figurines one breast is
large and another one very small representing
some anamoly in the breast. Male human figur-
ines representing paralysis and eye disease also
belong to this phase.
In some of the camel figurines of this phase
indented decorations and etched marks as well as
owner's mark known as 'wusum' are also shown
either on thigh or neck of the animals. Camels
are represented either in rest or in movement
with open mouth and sometimes with erect ears.
On some of the camels, back saddles are also
shown by etched marks.
Some of the features are common on the
figurines of both phases. For example, female
figurines are always represented with heavy
breast, thick thighs, protruded buttocks, broad
hips and pubic hairs. Obesity is a very common
feature in female figurines. Most of the female
figurines are represented with curved arms,
supporting or touching their breasts with both
hands. Most of these figurines are in seated
posture with spread legs. Ornamentation on the
neck, breast and wrist is also a common feature.
Animal figurines, especially camels are gener-
ally represented with conical legs, long necks and
turned tails in both phases. Other animals are
represented in a quiet position without move-
ment.

Motifs and Patterns
on Terracotta Figurines
A total number of fifteen incised decoration
motifs have been depicted on the figurines.
These include:
i. Dots arranged in lines;
11. Dots arranged to form a cross;
iii. Dots arranged in semi - circular form;
IV. A band of oblique lines (right to left);
v. A band of oblique lines (left to right);
VI. A group of three concave lines;
vii. A vertical line with dots on the left;
viii. Dots between two oblique/vertical lines;
ix. Dots between two horizontal lines;
x. Bands of double horizontal lines with dots;
Xl. A convex line with dots;
xii. Triangle with dots;
xiii. Arrangement of crescent in oblique form;
xiv. Notching in semi- circular form; and
xv. Amoebic structure with dots on the outer
wall (chart 3).
All these motifs and patterns are very simple
which are generally found on pottery. One of the
most common motifs is the line and dots decora-
tion. A line is a very simple form of decoration
and dots perhaps represent beads which was a
very common type of decoration at that time,
probably due to influence of the pearling indus-
try in the Gulf. This motif was also common
among the Nabataeans. The motif of triangle
with few dots and etching in half circular shape
are shown on the abdomen of mother goddesses.
Patterns like cross dots and amoebic structures
with dots are found mostly on necks and thighs
of camel figurines representing 'wusum' own-
ership mark. The 'wusum' marks also have been
discovered on the rock art camels scenes in the
Kingdom. This type of marks are still used to
indicate ownership of the animals among the
Bedouins. Motifs of line and dots, double lines
and dots etc. were used to represent ornaments
on the neck, breast and waist of mother god-
desses.
Types of Eyes
on the Figurines
A total number of eight types of eyes have
been represented on the figurines (chart 3).
These includes double crescent, oval shape in
horizontal position, pointed eyes, eyes pointed
towards nose, round eyes, oval shape in slanting
position-, slanting upwards and slanting down-
wards. In most of the cases bulging irises have
been shown. First four types of eyes are shown
on human figurines and last four, which are very
common, found on all types of figurines includ-
ing human, animal and bird.
Iron Slags
Representing Figurines
Along with the terracotta figurines many
pieces of iron slags have been discovered from
the site. Most of these pieces look like figurines
representing humans and birds. One of these
pieces resembles a girl in a dancing pose (fig.41)
lifting one of her legs. The second piece resem-
bles a bust of man (fig.43) and third resembles a
sitting bird (duck) (fig.45). All these pieces were
probably collected as natural representations of
their deities. Most of them were discovered from
a place which was assumed to be an iron mound
by the excavators, (Gazdar (1984). These iron
slag pieces were accompanied with broken pieces
of ceramic incense burners, mostly in square
shape, engraved in semi-circular form, on the
legs and the front rim, and painted with white
slip. All of these incense burners were used only
once as we find very little burning marks inside
them.
Technical Aspects
of the Figurines
Macroscopic study shows that th.ree types of
clay have been used for producing figurines.
a. Fine levigated clay without tampering mate-
rial;
b. Medium grained clay tampered with small
pieces of chert;
c. Coarse sandy type of clay tampered with chert
pieces.
All the figurines are hand made, wheels and
moulds have not been used at all. This study
suggests that most of the figurines were prepared
into two stages. At the first stage, a small lump
of clay was given a desirable shape with rough
features. On the second stage, when the figurine
was still leather hard, a second thick layer of fine
clay was applied. When the second layer became
leather hard, a desirable shape was given and
ornaments and other features were depicted on
the figurines by a sharp instrument, either of
wood or iron. Some ot the figurines were
prepared directly with coarse and sandy type of
clay. Such figurines are generally very crude in
shape, and in deteriorating condition due to salt
deposit on the surface. In most of the figurines,
hands, legs and necks were separately attached
to the torso with a thin wooden stick. A
transverse section of a neck piece of a camel
figurine, which was attached to the torso with a
stick, shows four rings. The first ring shows a
very thin layer of white clay, which was used as
slip to whitewash the figurine, second ring which
is about 2mm. thick, shows a fine levigated clay,
third ring which is quite thick, shows coarse
grained clay and the fourth ring is a burnt stick
wood in charcoal form. It seems that green twigs
were mostly used to attach the joints, because
due to smokes from the twigs, while firing, the
whole inside area of figurine is blackened,
inspite of a laterite clay which turns red after
firing.
When the figurines were sun dried, they were
given a slip of either white colour consisting of
thick liquid of calcium carbonate (cac03) or iron
oxide (Fe 0) which turn, after firing, white or red
respectively.
Firing
It seems that only oxidation technique was
used in firing. In most of the firing a high
temperature of more than 600 c. was given and
0
the oxidation process was usually complete,
because figurines mostly turned red below the
slip. Some of the figurines, at certain places,
have turned partly black and in few cases totally
black. It was due to reduction of air while firing
and smoking fuel e.g. camel dung, goat drop-
pings and green vegetations. Black smoky spots
on the figurines indicate that open type of kilns
were used where the temperature was not
controlled. An excavation, outside of the city
wall at Thaj indicates the presence of a kiln of
Akkadian or Aramaic type. The area excavated
comprises three rooms, a courtyard with a kiln
and deposit of ash and pieces of pottery in large
quantity, but the detail about the kiln is not
available (Eskoubi, 1985). Probably, that was
the place where pottery was made and fired.
Therefore, it is quite possible that in the later
period, a permanent type of kiln for firing, was
in use and hence showing improvements over the
earlier periods.
Babylonian and Nabataean
Influences on the Figurines
A close study of the figurines show that most
of them were produced representing animals and
birds connected either to Babylonian religion or
to Nabataean. These animals were camel, horse,
bull, lion, sea animal - dolphin, snake, vulture
and owl. Common animals like dogs, cats, cow,
goat fish, birds and lizards were not produced. It
is interesting to note that some of the animals
such as snake and owl were also associated with
Hellinism.
The terracottas of Thaj, which belong to the
first phase of figurines and has been dated, on
the presence of Attic Greek pottery, 3rd cen.
B.C., include human figurines, camel, lion,
snake, and sea animal figurines identified as
dolphin. If we accept this date, it means that
these figurines were produced when the Failaka
island was coming under the influence of Hellin-
ism and just after the Celucid period at Thaj as
the excavation of earlier layers indicate . These
figurines were certainly not produced due to
Hellenistic influence, as there is no place for
such animals like lion, camel and dolphin in the
Hellenistic religion. It clearly indicates that
Babylonian influence was already there at Thaj.
The figurine of a priest with typical Assyrian
features also confirms this fact. Female figurines
from the first phase, which are very crude in
form also testify some of the typical Babylonian
features like heavy hips, protruded buttocks,
sitting position with out drapery and holding the
breasts with both hands; plaiting of hair and
bead motifs are also of a typical Babylonian
character.
In the second phase of Thaj when the figurines
are more developed in style, representation and
decorations, show Nabataean influence. Some of
the figurines representing bulging forehead,
flatttened nose, deeply sunk eye sockets, prot-
ruding irisis, rounded cheeks, slightly open
mouth, full lip and pronounced chin are typically
Nabataean in features. The only difference is
that these features are well executed on the rock
panels at Petra and on the other Nabataean sites,
but on terracottas those features are rendered in
more crude forms. In most of the Nabataean
statuettes necks were intentionally made unusual-
ly long and were inserted into heads (Glueck
«1965» P. 222). At Thaj also the same method
has been used to produce human and animal
figurines in the later stage.
In the Nabataean iconography bull breed
usually shown is the Indian humped bull or zebu.
Two of the figurines which have been discovered
from Thaj represent Indian humped bulls only.
The ceramic incense burners which were
discovered by Lapp (Lapp, 1963) from the
surface of the Thaj site, also, seem related to the
Nabataeans type. Many more incense burner of
similar type have been recovered from the
excavations at Thaj, bearing the same features,
which also confirms the Nabataean influence on
the ceramic religious art. Some of the attributes
The most interesting fact that emerges from
of religious iconography, which are found on
this study is that all the terracottas, which were
representational art of Babylonian religion, are
produced at Thaj, were religious objects and not
very prominent in the Nabataean art at Petra an?
toys as speculated by the excavators (Gazdar
are represented in the terracotta form at ThaJ.
1984) One of the reasons for this is that very
e.g. seated masculine figures representing gods,
common animals like goats and sheeps, cats and
mother goddesses without draperies, and in most
dogs, foxes and jackals, gazelles, ibexes, lizards
cases holding their breasts, plaiting and braiding
etc., which are generally found depicted on the
of hairs with particular style, bead motifs etc.
rock art of the kingdom, were ,not produced.
Figurines were produced either to represent
According to some ancient sources, it seems
their deities or the animals and birds related to
that idolatory was not a common practice in
their mythological legends. Some of the figurines
many parts of Arabia. It was introduced in
were also produced as votive offerings represent-
Makkah by Amr bin Lahi from Syria, only a
ing disabilities and diseases. Animals, which
short time before the advent of Islam (Ibn
were represented, were either related to Babylo-
Hisham Sira Egyptian Edit 27). Here, though
nian religion or Nabataeans. Few animals and
reference is made for makkah, it is also possible
birds e.g. bull, snake and owls, were also related
that in the other parts of Arabia, within the
to Hellinism. Terracottas of Thaj. from the first
territory of modern Saudi Arabia, this tradition
phase of production dated to early 3rd cent.
of worship was not prevalent and was brought
B. C., representing female figurines in the form
through foreign influences. Hence the possibility
of mother goddesses and animals like camel,
of idol worship from Babylonia, through some
lion, snake, and sea ,animal are certainly of
new settlers, cannot be ruled out at Thaj before
Babylonian origin, because these figurines do
3rd cen B.C. Probably, later on, this tradition
not show Hellenistic influences which had just
was inspired and continued at Thaj through
started at Failaka island and the Nabataeans
influence of Hellenism from the Failaka island
were not yet evolved in the region. Therefore, it
and the Nabataeans from Petra. After the
clearly indicates that Babylonian influences were
downfall of the Nabataeans at the end of 3rd
already there at Thaj. A human figurine repre-
cent. A.D. this tradition of idol worship was
senting Assyrian / Neo - Babylonian priest also
wiped out from the region and was probably
confirms this fact.
revived by Amr bin Lahi, as our reference says.
The second, point that emerges from this
study is that, almost all the female figurines are
shown without draperies, adorned with orna-
ments and with plaited hair. Most of them have
some symbolic marks either on their abdomen,
at the first stage of production or on the belly, in
the second stage of production. These features
indicate that they were the representations of
mother goddesses symbolising fertility and hence
prosperity in every aspects of life. A number of
female figurines in comparison to male figurines
indicates that female deities were having a
dominant part in the society . Male deities were
only few and probably were produced as con-
sorts of goddesses. Votive offering was the main
part of their religious life. It also seems that
there was another religious custom in which
effigies and parts of the bodies e.g. arms, legs of
disabled and diseased persons, in terracottas,
were offered to their deities, naturally, in the
hope of getting rid of those diseases.
Most of the camel figurines generally bear a
kind of mark known as 'wusum', either. on the
thighs or on the necks. At present also such type
of marks are used to brand animals among the
nomadic Bedouins, to show the ownership.
Adornment of female figurines clearly indi-
cates that jewellery was very common among
women folk, but the men were not fond of
jewellery. Among women two types of hair style
were popular, in one style hair was plaited into
three treasses which w.ere usually kept on the
back, and in other style a thick plaited treass of
hair was made which was usually lying on the
right shoulder.
Limited spread of terracotta figurines at the
archaeological sites in the kingdom suggests that
idol worship was not a common practice in this
part of Arabia, and was probably brought
through some foreign sources. It seems that in
the beginning their religion was polytheistic and
Eastern in origin and prone to accept new rituals
and deities of any religion. The result was that
when the Hellenistic wave came, they accepted
some Hellenistic rituals and religious practices.
In the later period when the Nabataean influx
started, they blindly accepted their cult and
started producing icons and objects which were
very common among the Nabataeans. Probably
the Nabataeans practices more suited to their
taste as that too were having almost common
language and socio-cultural backgrounds.
In the field of pottery technology, it seems that
they were well acquainted with ceramic prop-
erties, especially in the second phase of produc-
tion. Most of the figurines were well baked at a
high temperature of more than 600°c. There
kilns were of open type and mostly they were
using oxidation process as their figurines are
generally red, below the white slip of calcium
carbonate, which was generally applied before
firing. It is also evident that in the first phase
they had kept pieces of iron slag resembling
figurines as a natural and undestructive repre-
sentations of their deities and related animals.
This reflects their faith and respect towards their
deities. The study of these figurines in general
shows that, though there are stylistic and stratig-
raphical differences, they represent almost com-
mon features. It suggests that all the phases of
Thaj were occupied by a particular ethnic group
having a common socio-cultural background;
though, there was some external influences from
time to time at different periods. The last phase
of Thaj is represented by a strong influence of
the Nabataeans and probably that remained
there until their uprooting at the end of c. 3rd
cent. A.D.
 Acknowledgement
I offer my sincere gratitude to Dr. Abdullah
H. Masry, Assistant Deputy Minister for Anti-
quities & Museum Affairs, for providing me an
opportunity and permission to work on terracot-
ta figurines from Thaj. I am also very grateful to
Mr. Abdulrahman A. AI-Zahrani, General su-
pervisor of Atlal and Publication Division, for
Bibliography
Ansari A.R.
1981 Qaryat al - Faw, A Portrait of pre - Islamic Civi-
lazation in Saudi Arabia, University of Riyadh.
Brian Doe
1971 Southern Arabia, Thames and Hudson
1985 Eskoubi K.H et.a\., Excavation at Thaj,
Vol, 9, AlIal, Dept. of Antiquities and Museums,
Riyadh.
Gadd C.J.
1948 'Iraq' vo\. x part 1. British School of Archaeology,
Iraq.
Gazdar M.S.,et. al
1984 Excavations at Thaj , AlIal, vo\. 8, Dept. of
Antiquities and Museums, Riyadh, Saudi Arabia
George K.M.
1986 Archaeology of Kerala, umpublished Ph.D. thesis.
M.S.University, Baroda
Glueck Nelson
1965 Deities and Dolphins, Farrar Straus and Giroux,
U.S.A
Hashim S.A.
1986-87 Terracottas and Its Relation with Tribal Tradition
of Worship in Gujarat, India, Journal of Oriental
Institute, Baroda, Vo1.36. No.1 - 4.
Finally, I must pay my sincere thanks to Dr.
Hamid Abu Duruk, Director Research and
Excavation Center and to all members of Thaj
excavation teams, on whose academic labor my
present study is based.
Ibn Hisham Sira, Egyptian Edit, 27
Qouted from Arabia before Mohammed
(P.B.U.H.) by Leary 0., Kegan Faul, London,
1927
Lorimer, J.G.
1908 Gazetteer of the Persian Gulf, Oman and Central
Arabia, Calcutta, 11 , P. 1234.
Majeed Khan
1988 Prehistoric Rock Art of Northern Arabia and in
Wadi Damm, unpublished thesis, University of
Southampton.
Mandaville J.
1963 Thaj, A Pre- Islamic Site in Northeastern Arabia,
Bulletin of American Institute of Oriental Re-
search, 172 : 9 - 20
Minerva (An archaeological news Journal)
1990 Vol 1 , No.1, London
Lapp W.P.
1963 Observations on the Pottery of Thaj, BASOR,
No. 172
Potts D., Thaj in the light of Recent Research,
1983 AlIal, vol. 7, Dept. of Antiquities, Riyadh, Saudi
Arabia.
 PLATES
The sequence of plates accords with the practice
of Arabic language publications.
 . -..i1l-1 .) po J..ill J"""J J.J:. ;J.<> _ A . A~ 4>..,J ,A J')U,I .) tAr; r" - il,.! ~ -V
8 - Bust of a camel with turned tail on the back 7 - Female figurine Reprinted from Atlal, vol. 8 , pI. 82

. rv 4>..,J ,~ J')U,I .) •r; r" - .:>t,...:) ~ - , • . A' 4>..,J ,A J')U,\ .) .r; r" - .>-i ~ -~
10 - Figurine in a snake form Reprinted from Allal vol. 9 . pI. 37 9 . Lion figurine Reprinted from AlIal, vol. 8 1 pI. 81

. ...,..;; 4ll>- .) i(;; ..,.:., _ J.,J.>. .:...,> _ \ ~ 't'\ 4>..,J, ~ J')U,I .) tAr; r" - "'r.I ~ -"
12· Girl in a dancing posture (Iron slag) II - Figurine in owl's shape Reprinted from Allal. vol. 9 . pI. 31
 PLATES
The sequence of plates accords with the practice
of Arabic language publications.
 ....i.1;l.1 .) p.. j,..iJ1 J';"'J J.J, )-'--'- 1\ . I\~ l.>} ,1\ J)IJ,I .) tAr r" - ii.:'! ~ -v
8 - Bust of a camel with turned tail on the back 7 - Female figurine Reprinted from AlIal, vol. 8 I pI. 82

rv l.>} ,~ J')\l,1 .) or r" .. ,,~ ~ - ,. 1\\ l.>} ,1\ J)IJ,I .) or r" _ .•.•1 ~ - ~
10 - Figurine in a snake form Reprinted from Allal vol. 9 , pI. 37 9 - Lion figurine Reprinted from Alia., vol. 8 , pI. 81

. ..,...;) 4!1.,- .) il:;; ...,.:., _ J.,J.>. "--:> .. , ~ . 'r\ l.>}, ~ J)IJ,I') tAr r" _ •.•."J ~_II
12 - Girl in a dancing posture (Iron slag) II - Figurine in owl's shape Reprinted from AlIal, vol. 9 . pI. 31
 .n <>-} ,~ J~I J Lor; I'" - '~IJ ~ •.••'j J5:.;-~ .n <>-} , ~ J~I J Lor; I'" _YLo "'"Yo •.•••'j J5:.; -,
2 - Human figurine with one eye Reprinted from AtJal, vol. 9 • pl. 34 I - Human figurine with oblique face Reprinted form Atlal •Vol. 9 , pl. 34

. rv <>-} ,~ J~I J Lor; I'" - '<J.,.;i r:;:'J,.. J; ~ j>J-l . ~ ..I...> 'j J5:.;
J; •.••• -r
4· Bearded man with Assyrian features Reprinted from Atlal 1 vol. 9 , pI. 37 3 . Human figurine with robust body

. ~I ~ .,....:JI J->- J.l.:"J .ifl J5:.; -, . ..rA <,.woJ J .if! ~ -0

6 - Female figurine with hair locks lying on the shoulder 5 - Female figurine in seated form
 ,)r-oJl t'",j ~I (""""I ri)1
Types of Eyes Name of Figurines NO.

.laAi c: ~p r J')loo ~ '--.--I ~~~I J~IJI

1- \
Double Crescent with Dots ~ ~ Human Figurines

JaA;J1 c: ..;u-'j' ~.J'. ~J w..." ~ ~~~I J~~I

Oval Shaped in Horizontal Position with Dots GG Human Figurines
2· ,-

JaA;J1 c: ,)r.&'
Pointed Eyes with Do~
~..I.o
B ~
~~~I J~~I
Human Figurines
3-'-

Y <-
JaA;J\ c: --4i1J1'~4 ~..I.o ,) r.&' ~~~I J~~I
4· t
Eyes Pointed Towards Nose with Dots Human Figurines

4,;1r.>J ~~I
JaA;JI c: ~)b ,) r.&'
J~\

Round Eyes with Dots 0 8 Human and Animal

Figurines
5·0

Js-i J! J~ J 4,;1r.>J ~~I J~I

G (j
"';)aJ1 ~\..o ~J ~J~ ~
6-'\
Oval Shaped in Oblique Position, Tapering Upwards. Human and Animal
Figurines

4,;1r.>J ~~I
j4..-~1 J! "';)aJ1 J~ J F J~I

0 z:J
,~\..o ~J ~J~
7-V
Oval Shaped in Oblique Position, Tapering Down Wards. Human and Animal
Figurines
 J:,p .lali
, ' , ,. ,
. . ~. . .
.
Dots Arranged in Lines F J ........ I -,

..,..,.L..>
"
. . ~.... .
.....
... ".....
Dots Arranged to Form a Cross ~ .lali ......... 2-y
"... '

Dots Arranged in Semi - Circular from o)b .lali I, ,. :, .:~~ ":' •.:
3-,.
~ ~

a Band of Oblique Lines (Right to Left)- (;l..."ll

J!~I.r) UllliJ:,
Pl.r'" ~ ~ "'" "'" '"'" 4-t

a Band of Oblique Lines (Left to Right) (~I J!;l..."ll.r)UlIlIJ:,pl.r"'~ ////1// 5- 0

a group of Three Concave Lines o~ J:,p ~')I.: .r •..~ \:SJ 6-"1

.r ,p.J""'S'
J.A:JI .1a> ..J
a Vertical Line With Dots on the Left ~I ~I J 7-V

Dots Between two Oblique / Vertical Lines ~)Ip ~ ~ .lali

IJ 8-'\

Dots Between two Horizontal Lines ~i .lali 9· ~

~ ~ ~

Bands of Double Horizontal Lines with Dots .lali c:'~p).1~':iIJ:,pl.r"'~

--- 10 - , •
---
---
---
.1a>
c:' •....~
.lali II· , ,
a Convex Line with Dots
~." '" ..

Triangle with Dots .h.a:... ~ 12 - ,y

~ -,-

Arrangement of Crescent in Oblique form UlLoJ:, P .J" J')\J.

F
rrrr 13-'"
0"
~y':.v"'v•..,: ~-:'~vv"
..:
Notching in Semi - Circular Form o)l~ ~ 14 - , t
~ )Jj>'
- ....
.,""
""

" "
.....•

.
"

AmoebicStructure With Dotson the outer Wall ..r ;~I ;141~.lali c:'.p"i~ t!'J V" 15 - '0
Dots .1a.....l; .... . 1- ,

..
Notch ).Jj>-
...
'" J J

2 - y
-
Triangle ~
D 3·,-
Slightly Curved Horizontal Line . JI.. ~··i.la.>
)w ~ 4 - t

Oblique Lines (Left to Right) (~I J! .;L.."JI .;,0) ll:1.. .1># II/III 5- Cl

Oblique Lines (Right to Left) (.;L.."JI J! ~I .;,0) ll:1.. .1># ~\\\\\ 6 - ••

Broken Circles WaA;;.. ;I.J~ C) C) 7-Y

Crescents (J')lo.) wi (CCC 8-/\

 ..••~ "",I; _ t, . .r' "",I; - t,
41 - Owl's head. 40 - Eagle's head.

. J:-; ;.J..p J.!.:! ,~-,> ~ - t,. .~; ;"";'J ..j i\.:.l F ~ J.!.:! ,~-,> ~ -tl
43 . Bust of a man, iron slag. 42 . Girl in dancing posture, iron slag .

. (~) ..,.J~;u. 4; ,~-,> ~ _ to . J':' ~ ~ J.!.:! ,~-,> ~ - tt

45 • A sitting bird (probably duck) , iron slag. 44 - Camel's neck, iron slag.
 .y.4,>;-T'l
32 - Camel's neck .

. ;; "",I; _1"0 . .;..a.t.. •.,k:' c:"",,,k:- ~J .j J.J:. ..;\- -1"t

3S . Bull's head. 34 - Leg of a sitting camel with attached tail.

. ';'\...0.> ~ ;.J..p _ 1"V ...l...I~_1"'\

37 - Bust of a horse figurine. 36 - Lion figurine .

. ~p i;_1",
•..•• . (1.r..P) ';'L,.: ~ _1"A
39 - Dolphin's head. 38 - Snake (cobra) figurine.
 .}>.,JI ~ u,;, .:.>1.')Iw c: iI,..~ J~ ~ - yo . .}>.,JI ~ 4:.c.. ;"')Iw c: ill" ~ J~ ~ - H
25 - Bust of a female figurine with tiny notches on the belly. 24 • Bust of a female figurine, with triangle mark on abdomen .

. ';:''J ...J~I ~ JJ..? ~I JlI..\>:- - YV

27 - Treasses of hair on the shoulder of a female figurine .

. •)1$ jJ~ Y "",IJ - Y~ . ';:''J ...J~I ~ JJ..? ~I JlI..\>:- - YA

29 . Camel's head with incised grooves. 28 • Treasses of hair on the shoulder female figurine.

.y "",IJ -I"'
30 - Camel's head with incised grooves.
 . ..;:..JI ~J' iir~ ~ - IA
18 - Female fiprine with neck ornaments .

. ilA JW JA.. .~ - I~ . ..r);:- ~J J ~.f'1 ~ - IV

19 - Lower part of a female figurine. 17 - Female figurine in seated form .

.iir' JI:i ;.r JL. F -YI . ~l..<>~1 ,,",I..o~ ~J ,iir, JI:i ;.r JL. F- Y·
21 - Leg of a female fIgUrine with fmger marks. 20 - Leg of a female figurine with fmger marks .

. ilrl JI:i t'~ - Yl" ..r?- ~ ~ ilrl JW i~\.i - n

23 • An arm of female figurine. 22 - Base of a female figurine in hell-shaped form.
 ,/---{ r--, ,,--_

( ",----.

~
,ilA ~ )~-,. .il..r'!~ )~- ••
10 - Bust of a female figurine. 9 - Bust of a female figurine.

. ifr! ~_IT .w~ iir~J~L"

12 - Female figurine. II - Female figurine in seated form.

. ~,\$ Jf .;r...yJ1 ,il A ~ )~ - It .i!r!~

o )~-,,.
14 - Bust of a female figurine ;'ith abnormal breasts. 13 - Bust of a female figurine .

. ilr! ~-,'\ .itr!~-'O

16 - female figurine. 15 • Female figurine.
 •...
r- ~I ';.r> JU 1~
, •••.•• •..•.••
1) - y . ;.r> JU , .••..•
1~ •..•.••
1) - ,
2 - Head of a male figurine, robust form, Terracotta, eye disease. 1 . Head of a male figurine, robust form, Terracotta.

. ":"'.i+o JU , .••..•
1~ •..•.••
1) - t . ..\.o~ ~yl ''7'.i+o JU , •••..•
1~ •..•..•
1) -,.
4 • Head of a male figurine, gracile form . 3 • Head of a male figurine, gracile form, paralysed face.

. ":"'.i+o JU , .••..•
1~ •..•...
1)_,
6 • Head of a male figurine, gracile.

1f.1

o vJ Q
~ ...

1~
. ;.r> , •••.•• )~ - /I. .•..•.••1)1 ~ .,....:JI ~ ,;.r> JU , .••..•
1~ •..•.••
1) _ V
8 - Bust of a male figurine, robust. 7 • Head of a male figurine, robust, locking of hair on head.