The Iberian culture (6th to 1st century BC) was one of the most significant entities in our Protohistory. These communities were distributed across much of the current Iberian Peninsula, from Andalusia throughout the Mediterranean Levant, extending into the southern Meseta and the Ebro Valley.
In this text, we analyze, albeit briefly, one of its most notable material and symbolic expressions: their clothing. Specifically, the way women dressed, adding to this study a particular methodology: Gender Archaeology. From general to specific, for some time now, there has been the formation of a new discipline called Gender History or Women's History, whose main purpose is to construct an integrative discourse that encompasses both men and women, using new methodological approaches in historical interpretation to advance on issues of gender (Díaz-Andreu, 2005, p. 13). Within this trend, we can place Gender Archaeology. This novel line of research emerged at the end of the last century and represents, according to Prados (2007, p. 218), "a new perspective whose goal is to achieve a study of gender relations in the past, which requires women to become objects of knowledge for the historical period under study."
For our purpose, it is iconographic sources that have provided us with the necessary information. Above all, Iberian statuary, although also pottery (Ruiz, 2019) form the basis upon which we obtain the following information.
Before proceeding, it is important to recall that among studies of Iberian women, contributions by authors such as Izquierdo (1998, 2001, 2008), Prados (1988, 2007, 2008), Aranegui (1996, 2008 a and b, 2010, 2011), Rísquez, García, and Hornos (2010), Rísquez (2016) or Rueda (2007, 2013), among others, stand out.
Thanks to all this, we know that women's clothing is a key element in identifying aristocratic women of this culture. Textiles are objects of prestige and in every case they are considered an element reflecting their power, as well as evidence of technical and economic progress, and valuable sources about this culture (Gabaldón, 2002, p. 4).
Iberian women's clothing has influences from the Phoenician, Greek, and perhaps to a lesser extent, Etruscan spheres. According to Bandera (1977, p. 261), mantles and veils resemble those depicted in Cypriot, Ionian, and Greek terracottas. Additionally, these varied influences are evident, for example, in the classic straight or smooth Iberian tunics with rounded necklines and short sleeves, as well as partially in pleated tunics. Both formats have similarities with those from the Peloponnese and even older models seen in Punic terracottas of Ibiza.
Dressing the Lady: Veil, Tunic, and Mantle
Clothing establishes differences according to the age of Iberian women. Through textiles, it has been possible to determine the difference between youth and adulthood (Izquierdo, 2001, p. 289). An adult woman is depicted with a mitre, veil, tunic reaching her feet, and mantle; an Iberian young woman appears with braids, without a veil, and wearing a mantle.
In this way, there are three fundamental garments that we can analyze through iconography: the veil, the tunic, and the mantle. Veils stand out for their extensive representation in female plastic art of Iberian art. In fact, it is rare to see a figure without a veil, especially in stone sculpture. Their variety is very numerous, although we can differentiate three main types according to Bandera (1977, pp. 282-287): first, the short veil. It is of small size and covers only the shoulders. As examples more notable, mention the Lady of Elche or that of Albufereta.
The second type is the semi-long veil. It falls from just above the lower back to almost the knees. Figures wearing it are often adorned with low or high headpieces or tight forehead diadems. This type of veil presents three variants: round, rectangular, and triangular. It is widely represented and can be seen in offering ladies displayed at the National Archaeological Museum, bronze statuettes like the Lady from the Institute of Valencia Don Juan, and terracottas such as those from Serreta and Castellar. Lastly, there would be the long veil. This is generally placed over a headpiece that adorns the hair. The veil descends on both sides and covers the back part of the figure down to the hemline or slightly above it. It appears in bronze statuettes from Cigarralejo (Bandera, 1977, pp. 282-287).
Another fundamental piece is the tunic. The representation of high-ranking Iberian women wearing tunics can be found in many supports. Whether in stone sculptures like the Lady of Baza, the Lady of Elche or the Offering Lady from Cerro de los Santos; numerous reliefs such as the Lady of Albufereta, and also in ceramics, such as on the vase of "The Bastetan Dance". Lastly, bronze ex-votos from the Archaeological Museum can be mentioned.
Normally it is made of linen and is the essential element of these female representations, and it appears both in sculpture, reliefs or ceramics as it is a common element for women regardless of their age (Gabaldón, 2002, p. 6). The most represented model is the tunic composed of one or two pieces, appearing exceptionally with sets made up of more elements. Probably, these last ones were reserved for specific celebrations or ceremonies.
Tunics can be of different types: the simplest are straight. The fabric falls heavy and free to cover the feet of the Iberian woman. It does not represent folds or other adornment, and there is evidence for this style only in Andalusia and Cerro de los Santos (Bandera, 1977, pp. 257-267). They can be rectangular, bell-shaped, held together with a belt that serves to hold the waist of the tunic or with pointed sleeves. The last type is the train. In some pieces, tunics represent a fall in the back part as a small train. Besides the straight ones, there are also pleated, carved and ruffled tunics.
The last great piece is the mantle. The mantle is a very characteristic element of women's clothing, being the main distinctive feature of representations of adult women of this culture (Gabaldón, 2002, p. 5). The fabric used could be thicker, such as wool, or lighter, like linen. It is the longest garment and descends to the feet. Its function is to cover the lady almost completely. We can observe different types such as rectangular mantles, circular (by how they are placed) and with sleeves, which consists of a part that covers the head in the form of a hood.
Idiology, Status, and Representation of Power
From a gender perspective, we observe that in all eras, clothing and adornment are dual expressions of a symbolic reality. People choose to express themselves as individuals or members of a group through clothes, accessories, and even makeup (Crosgrave, 2005, p. 255), which is why it's so important to analyze fashion in any era (Rodríguez, 2017, p. 14). The function of the representations of Iberian aristocrats had as its main objective propaganda and the exaltation of the aristocracy (Izquierdo, 1998, p. 10) and were a fundamental element in the staging of their power. So much so that an Iberian woman is represented as aristocratic with textiles and other elements reflecting her rank and power, making clothing essential within the ideological foundation of her status and in political and social legitimization processes.
Bibliography
Aranegui, C. (1996). Signs of rank in Iberian society. Civil or religious distinctions. Revista de Estudios Ibéricos, 2, 21-121.
Aranegui, C. (2008a) Mortals and Immortals: On Iberian Ladies. In S. Estienne, D. Jaillard, N. Lubtchansky, Cl. Pouzadoux (Eds.), Image and Religion in the Greco-Roman Antiquity (pp. 203-216). Collection du Centre Jean Bérard.
Aranegui, C. (2008b) The prevalence of female representations: the case of Iberian culture. In L. Prados and C. Ruiz (Eds.), Gender Archaeology. 1st International Meeting (pp. 205-224). Universidad Autónoma.
Aranegui, C. (2010) The language of prestige: On the Lady of Baza. In T. Chapa and I. Izquierdo (Eds.), The Lady of Baza. A Female Journey to the Afterlife. Proceedings of the International Meeting Museum Arqueológico Nacional (27-28 November 2007) (pp. 185-194). Ministerio de Cultura.
Aranegui, C. (2011) The divine in feminine form. In J. J. Blánquez and C. Ramírez (Eds.), Men or Gods? A New Look at the Sculpture of the Iberian World (pp. 153-158). Museo Arqueológico Regional.
Bandera, M. L. D. L. (1977). The Iberian female attire (I and II). Habis, 8, 253-297.
Cosgrave, B. (2005). A History of Fashion: From Egypt to the Present Day. Gustavo Gili.
Díaz-Andreu, M. (2005). Gender and Archaeology: A New Synthesis. In M. Sánchez (Ed.) Archaeology and Gender (pp. 13-15). Universidad de Granada.
Gabaldón, M. (2002). Clothing and Display in Iberian Sculpture: The Lady of Elche. Museo Arqueológico Nacional, 1-12.
Izquierdo, I. (1998). The feminine image of power: Reflections on the feminization of Iberian funerary ritual. Saguntum, 1, 185-193.
Izquierdo, I. (2001) The fabric and dress of high-ranking women in the Iberian culture. In M. Marín (Ed.), Weaving and Dressing: From Antiquity to Islam (pp. 287-311). Estudios árabes e islámicos, Monografías I. Consejo Superior de Investigaciones Científicas.
Izquierdo, I. (2008) Archaeology, iconography and gender: feminine codes of the Iberian imaginary. Verdolay, 11, 121-141.
Prados, L. (1988). Bronze ex-votos from Iberia: typological and technological aspects. Trabajos de Prehistoria , 45, 175-199.
Prados, L. (2007) Woman and sacred space: making women visible in places of worship during the Iberian period. In M. Sánchez (Ed.), Archaeology of Women and Gender Relations, Monographic issue of Complutum, 18, 217-225.
Prados, L. (2008) And the woman becomes visible: Studies of gender in Iberian archaeology. In L. Prados and C. Ruiz (Eds.), Gender Archaeology, 1st International Meeting (pp. 225-250). Universidad Autónoma de Madrid.
Rísquez, C. (2016) Caregivers, managers and producers: women's work in the archaeological record of Iberian societies. In A. Delgado and M. Gurina (Eds.), Women's Work in the Ancient World. Care and Maintenance of Life (pp. 45-57). Institut Català d'Arqueologia Clàssica.
Rísquez, C., García, A. y Hornos, F. (2010). Women and the funerary world in Iberian necropolises. In I. Izquierdo and T. Chapa (Eds.), The Lady of Baza: A Female Journey to the Afterlife. Proceedings of the International Meeting (pp. 259-278). Museo Arqueológico Nacional.
Rodríguez, D. (2017). Fashion, symbol and personal adornment in history: From Neanderthals to hipsters. Vínculos de Historia, 6, 11-17.
Rueda, C. (2007). The sacralized woman: the presence of women in sanctuaries: readings from Iberian bronze ex-votos. Complutum, 18, 227-235.
Rueda, C. (2013). Coming-of-age and wedding rites in Iberian religiosity: some case studies. In C. Rísquez and C. Rueda (Eds.), Iberian Sanctuaries: Territory, Ritual, Memory. Proceedings of the Congress: The Sanctuary of La Cueva de la Lobera de Castellar, 1912-2012 (pp. 341-383). Asociación para el Desarrollo Rural de la Comarca de El Condado.
Ruiz, C. M. (2019). Iberian women: analysis of their representation in ceramics and reliefs from the eastern peninsula. Astarté. Estudios del Oriente Próximo y el Mediterráneo, 2, 1-19.
Comments