ANDROGYNOUS BRONZE "PIRAVEND" IDOL Luristan, 9th-8th century BC This figure is depicted standing, naked, with a flattened body, arms raised, male and female sexual attributes, and a twisted headband around the waist with a hanging bead on the back. The flat, triangular head is flanked by two large ears and a long, prominent nose in relief between two eyes made of concentric circles, the skull topped with a straight lock of hair. Corrosions. Height: 9.9 cm Related bibliography : P. Amiet, Les Antiquités du Luristan - Collection David-Weill, Paris, 1976 Provenance: Former André Derain collection (1880-1954), according to the collection inventory acquired from Mme Guillaume Its sale, Mes Rheims et Boisgirard, Collection André Derain, Hôtel Drouot, Paris, 9, 10 and 11 March 1955: n°31 Former Robert Blanchet collection (1921-2009), inventory n°18, acquired in June 1956 (Lepage, Vernaison, Saint-Ouen) G. Blanchet Collection The so-called "Piravend" idols are a group of small bronze figurines dating from the IXᵉ -VIIIᵉ century BC, which take their name from the eponymous site in the Luristan region where the first examples were unearthed. Stylised and abstract, these idols often depict figures with raised arms and schematic features and sometimes androgynous, as is the case with our work. They were probably used in a religious or votive context, as the position of the arms suggests a posture of veneration or adoration, but they remain highly mysterious to this day. Their highly distinctive, very modern appearance fascinated enthusiasts when they were first discovered, and in particular artist-collectors with a passion for primitive arts such as André Derain, who owned several examples, including our statuette. A 'Piravend' bronze androgynous figure, Luristan, 9th-8th century B.C. The so-called "Piravend" idols are a group of small bronze figurines dating from the 9th-8th century BCE, named after the eponymous site in the Luristan region where the first examples were unearthed. Stylized and abstract, these idols often depict figures with raised arms and schematic, sometimes androgynous features, as is the case with our piece. They were likely used in a religious or votive context, as suggested by the position of the arms, which evokes a gesture of veneration or worship, though their exact purpose remains mysterious. Their highly distinctive and strikingly modern appearance captivated collectors at the time of their discovery-especially artist-collectors passionate about "primitive" art, such as André Derain, who owned several examples, including this very statuette.