In this paper, we explore ceramic figurines depicting human-bird therianthropes, from Neolithic sites in the Southern Levant.
We argue that the choice of birds was not accidental as, aside from their attractive physical characteristics (e.g. ability to fly), they
represented a class of animals that was still wild in a period that witnessed the domestication of many other taxa. These hybrid
images reflect the “transfer” of animal properties to humans - the birds vital force, physical and spiritual attributes – thus, enabling
assimilation of their extra-ordinary powers. We suggest that these figurines are part of a wider ontology created by Neolithic
communities in this region which bound them to birds, especially raptors.