Excavation that Shook the World of Archaeology
In the early 20th century, a group of French archaeologists led by Maurice Dunand began systematic excavations on a hill called Byblos — an ancient port city that is now located about 40 kilometers north of Beirut. They did not expect that the soil they were digging would hide an extraordinary treasure: more than 1,500 nazar (ex-voto) statues made of bronze, silver, and copper alloys. These statues, now known as the 'Byblos figurines' or Phoenician statues, were mainly found in the Obelisk Temple, a sacred place dedicated to the god Resheph, the god of war and lightning. In addition, a small number of statues were also found in nearby temples dedicated to Baalat Gebal, the goddess protector of Byblos.
This discovery took place between the 1920s and 1930s, when Lebanon was still under French mandate. The excavators found 20 nazar deposits (votive deposits) and clay vessels containing these small statues, placed with care as if they were offerings to the gods. The condition of the statues was well-preserved, despite being over 3,500 years old. This is a rare archaeological miracle.
The Obelisk Temple: The Center of Bronze Age Worship
The Obelisk Temple in Byblos is not an ordinary temple. Its name comes from the various stone obelisks found on its site, which may symbolize the connection between the human world and the gods. The temple was built during the Middle Bronze Age (around 2000-1600 BC) and became the main center of worship in Byblos. It is here that the Phoenicians left their nazar statues as a sign of gratitude, prayer, or nazar.
Each statue depicts a human figure worshiping — hands raised, palms open, or hands placed on the chest. Some statues wear high hats or long robes, indicating social status or religious roles. There are also statues of animals, such as bulls and goats, which may have been offered to ask for fertility or bravery. The presence of these statues in well-arranged vessels shows that the worship rituals in this temple were regular and continuous for centuries.
Metalworking Techniques and Material Variety
The creation of these statues required high skill in metallurgy. The main material was bronze (copper-tin alloy), but there were also statues made of pure silver or copper-nickel alloys. The technique used was the lost-wax casting method, where a wax model was coated with clay, heated to melt the wax, and filled with molten metal. After cooling, the mold was broken, and the resulting statue was then refined with hand-carved details.
Interestingly, not all statues are alike. Some are very small, only a few centimeters tall, while others reach 20 centimeters in height. The size difference may reflect the economic ability of the donors — larger, more expensive statues made of silver may have been offered by the wealthy, while smaller bronze statues were for the common people. This shows that the temple was open to all social classes.
Religious Function and Symbolism
These statues are not just decorations. In Phoenician belief, nazar statues served as intermediaries between humans and gods. When someone made a request, they would leave a statue in the temple as a 'representative' of themselves. The statue would continue to 'pray' to the gods forever, as it was believed that the gods would always see the offering. This practice is the same as that of other ancient cultures in the Near East, such as Mesopotamia and Egypt.
Another interesting symbolism is the position of the statue's hands. Most statues are depicted with hands raised, palms open to the front. This is a common sign of worship in that era, also seen in reliefs and wall paintings throughout the Levant. Perhaps the statues were placed on an altar or temple wall, forming a row of spiritual soldiers who constantly worshiped the gods.
Legacy and Influence on Modern Times
Today, the Byblos statues are not only an object of archaeological study but also a symbol of Lebanese identity. The Lebanese Ministry of Tourism has adopted these statues as their official logo. The image of the small bronze statue can be seen on the ministry's website, tourism brochures, and airport signs. This shows how the Phoenician heritage, dating back thousands of years, remains relevant in shaping the image of a modern country.
Most of this collection is now stored in the National Museum of Beirut, while some statues are also found in the Louvre Museum in Paris. Every year, thousands of visitors come to see these statues, which are not only beautiful but also tell the story of Phoenician beliefs, art, and society. In 2019, a special exhibition in Beirut showcased these statues, attracting international attention and reminding the world of Lebanon's invaluable historical wealth.
Conclusion: The Whisper from the Bronze Age
The Byblos statues are more than just artifacts. They are the voice of the past, a whisper from the merchants, farmers, and priests who lived over 3,000 years ago. Each statue carries a story of hope, fear, and gratitude. In silence, they continue to pray for those who have long since passed away. And now, they have become a bridge connecting us to the Phoenician civilization that once dominated the seas and spread the alphabet to the world. Perhaps, behind each statue, there is a still unanswered prayer.
A Thousand Ancient Bronze Statues Discovered in Phoenician Temple — What's the Mystery Behind These Handmade Figures?. Underneath a layer of dust from the ages, archaeologists have found more than 1,500 small statues that were offered as nazar in Phoenician temples in Lebanon. These bronze, silver, and copper statues date back to the second millennium BC and are considered the best collection in the Levant. Most of them were found in the Obelisk Temple in Byblos, along with vessels that stored these small treasures. Now, the statues have become a symbol of the Lebanese Ministry of Tourism.. Excavation that Shook the World of Archaeology
In the early 20th century, a group of French archaeologists led by Maurice Dunand began systematic excavations on a hill called Byblos — an ancient port city that is now located about 40 kilometers north of Beirut. They did not expect that the soil they were digging would hide an extraordinary treasure: more than 1,500 nazar ex-voto statues made of bronze, silver, and copper alloys. These statues, now known as the 'Byblos figurines' or Phoenician statues, were mainly found in the Obelisk Temple, a sacred place dedicated to the god Resheph, the god of war and lightning. In addition, a small number of statues were also found in nearby temples dedicated to Baalat Gebal, the goddess protector of Byblos.
This discovery took place between the 1920s and 1930s, when Lebanon was still under French mandate. The excavators found 20 nazar deposits votive deposits and clay vessels containing these small statues, placed with care as if they were offerings to the gods. The condition of the statues was well-preserved, despite being over 3,500 years old. This is a rare archaeological miracle.
The Obelisk Temple: The Center of Bronze Age Worship
The Obelisk Temple in Byblos is not an ordinary temple. Its name comes from the various stone obelisks found on its site, which may symbolize the connection between the human world and the gods. The temple was built during the Middle Bronze Age around 2000-1600 BC and became the main center of worship in Byblos. It is here that the Phoenicians left their nazar statues as a sign of gratitude, prayer, or nazar.
Each statue depicts a human figure worshiping — hands raised, palms open, or hands placed on the chest. Some statues wear high hats or long robes, indicating social status or religious roles. There are also statues of animals, such as bulls and goats, which may have been offered to ask for fertility or bravery. The presence of these statues in well-arranged vessels shows that the worship rituals in this temple were regular and continuous for centuries.
Metalworking Techniques and Material Variety
The creation of these statues required high skill in metallurgy. The main material was bronze copper-tin alloy , but there were also statues made of pure silver or copper-nickel alloys. The technique used was the lost-wax casting method, where a wax model was coated with clay, heated to melt the wax, and filled with molten metal. After cooling, the mold was broken, and the resulting statue was then refined with hand-carved details.
Interestingly, not all statues are alike. Some are very small, only a few centimeters tall, while others reach 20 centimeters in height. The size difference may reflect the economic ability of the donors — larger, more expensive statues made of silver may have been offered by the wealthy, while smaller bronze statues were for the common people. This shows that the temple was open to all social classes.
Religious Function and Symbolism
These statues are not just decorations. In Phoenician belief, nazar statues served as intermediaries between humans and gods. When someone made a request, they would leave a statue in the temple as a 'representative' of themselves. The statue would continue to 'pray' to the gods forever, as it was believed that the gods would always see the offering. This practice is the same as that of other ancient cultures in the Near East, such as Mesopotamia and Egypt.
Another interesting symbolism is the position of the statue's hands. Most statues are depicted with hands raised, palms open to the front. This is a common sign of worship in that era, also seen in reliefs and wall paintings throughout the Levant. Perhaps the statues were placed on an altar or temple wall, forming a row of spiritual soldiers who constantly worshiped the gods.
Legacy and Influence on Modern Times
Today, the Byblos statues are not only an object of archaeological study but also a symbol of Lebanese identity. The Lebanese Ministry of Tourism has adopted these statues as their official logo. The image of the small bronze statue can be seen on the ministry's website, tourism brochures, and airport signs. This shows how the Phoenician heritage, dating back thousands of years, remains relevant in shaping the image of a modern country.
Most of this collection is now stored in the National Museum of Beirut, while some statues are also found in the Louvre Museum in Paris. Every year, thousands of visitors come to see these statues, which are not only beautiful but also tell the story of Phoenician beliefs, art, and society. In 2019, a special exhibition in Beirut showcased these statues, attracting international attention and reminding the world of Lebanon's invaluable historical wealth.
Conclusion: The Whisper from the Bronze Age
The Byblos statues are more than just artifacts. They are the voice of the past, a whisper from the merchants, farmers, and priests who lived over 3,000 years ago. Each statue carries a story of hope, fear, and gratitude. In silence, they continue to pray for those who have long since passed away. And now, they have become a bridge connecting us to the Phoenician civilization that once dominated the seas and spread the alphabet to the world. Perhaps, behind each statue, there is a still unanswered prayer.
