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・ Venus de Milo
・ Venus de' Medici
・ Venus DeMilo
・ Venus Doom
・ Venus effect
・ Venus Engine
・ Venus Envy
・ Venus Envy (sex shop)
・ Venus Equilateral
・ Venus Equilateral (collection)
・ Venus Express
・ Venus Fashion
・ Venus Felix (sculpture)
・ Venus festival
・ Venus figurines
Venus Figurines from Valdivia
・ Venus figurines of Gönnersdorf
・ Venus figurines of Mal'ta
・ Venus Fly Trap (band)
・ Venus Fly Trap LP
・ Venus flytrap
・ Venus Flytrap (disambiguation)
・ Venus Flytrap (film)
・ Venus Flytrap (group)
・ Venus Flytrap (rock band)
・ Venus Flytrap (WKRP in Cincinnati)
・ Venus flytrap sea anemone
・ Venus fra Vestø
・ Venus Genetrix (sculpture)
・ Venus girdle


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Venus Figurines from Valdivia : ウィキペディア英語版
Venus Figurines from Valdivia

From the Valdivia site over seventy fragments and one complete figure of these female Venus figurines have been found. These figurines measure anywhere from 4.6 cm to 8.8 cm when complete in form.
==Appearance and Construction==

Early figurative sculptures from Valdivia were vague outlines of human forms without gender or individualized features. As time went on, figurines were given more details and the signature coiffures of the Venus figurines as well as breasts or suggestions of pregnancy appeared. This higher level of detail was made possible when the carvers began to sculpt stone slabs and incise finer details into the figurines. 〔 Lewandowski, "Speaking through Stone: Ancient Voices of Ecuador and Colombia," 52. 〕
The figurines are simple and compact in style with very few marks made to identify as facial features. Perhaps the most individualizing aspect of these figurines is the elaborate hairstyles for each individual figurine. Some hairstyles even eclipse other features of the woman such as her face and chin, clearly taking preference over other aspects of her form. 〔 Jones and Vogel, "Primitive Art," 76. 〕
The construction of these figurines was as simple as their compact appearance. The women's body and head were formed by two coils, and then the larger details such as face, breasts, and arms were added with additional coils of clay. Gashes to mimic eyebrows, eyes, and a mouth were included while the clay was still wet. As a final step, the creators then waited for the material to dry and then added the coiffure hairdo. However, since the clay was almost completely dry at this point, the final hairpiece tended to fall off. 〔 Evans and Meggers, "Valdivia- an Early Formative Culture of Ecuador," 180. 〕

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