Group of juvenile initiation from sculptural group of Cerrillo Blanco (Porcuna, Jaén, Spain)

The sculptural group of Cerrillo Blanco was found in 1975 in the municipality of Porcuna (Jaén). This set constitutes nowadays the most important Iberian sculptural group of the known so far. It is composed of more than forty pieces that represent heroic struggles of men with each other or men with animals, hunting scenes, images of fantastic animals or important characters. The sculpture is dated in the middle of the fifth century B.C. (440-400 B.C.). This group is formed by two scenes of hunting and one of palestra. The three groups are presented as a relief on a background that serves as a tectonic support to the group. The upper part of the characters, which correspond mainly to the bust, are made in a round bundle. The three scenes are defined by their essentially demonstrative character, of presentation. It is clear that his intention is to manifest virtue, to show himself after the feat. - Hunter with a hare: the hunter with the hare, dressed in a short robe and belt, advances with the trophy in his hand, a hare whose excessive size highlights the merit of the hunter. The inclination of the young man’s body intensifies the action already accomplished. Also the size of the mastiff emphasizes the initiation of the young man. They return from the hunt. The rush of the return reflects the vitality of the action. There is a complicity between the animal and the man. Feet and hands intersect; the hunter caresses the dog’s head and both turn to the spectator. The mastiff with the fauces open and the tongue peeking, indicates the gasp of the race. The hunting territory belongs to the aristocrats of the family group. Young people start in it through career and skill. The hunted hare is proof of this speed, the symbol and mirror of wealth. - Partridge hunter. It is also shown frontally. It highlights the size of the hung birds, whose peaks are rummaged. The young man marches and seems to stop sharply. The tapes that stick his belt reflect the inertia of the movement. Possibly he turns his face, almost frontal to back. The dog jumps up his forelegs and turns his head sharply, implauding his neck, attentive to the master. Pugilists: Both opponents intertwine their arms and cross their legs. The feet are bare. The scene is a display of movement and argues. Probably the skill, and not the simple force is the dominant virtue of the contest. The male on the left tries to put a zancadilla to his opponent and turn it over. This one holds onto the companion belt. Hands intertwine. The faces turn to the spectator, they break decisively the frame of the action, they leave it to introduce us to the ideal sphere of the representation. Bibliography: Chapa, T. (2015): “Los escultores del Cerrillo Blanco de Porcuna,” in A. Ruiz y M. Molinos (coord.): Jaén, ibera land. 40 years of research and transfer. University of Jaén. Jaén. Olmos, R. (2002): “The sculptural groups of Cerrillo Blanco de Porcuna (Jaén). A convergent iconographic reading essay.” Spanish Archive of Archaeology, 75 107-122. Ruiz, A. and Molinos, M. (2015): “The sculptural group of Cerrillo Blanco, Porcuna,” in A. Ruiz and M. Molinos (Eds.): Jaén, Iberian land 40 Years of research and transfer. University of Jaén. 67-84. Torrecillas, J. F. (1985): The late period cemetery of Cerrillo Blanco. Institute of Giennenses Studies. Jaén.