The Violin figures have been named as such because of their similarity in shape to that of the modern violin. One of the most intriguing and fundamental aspects of the Violin figures from the Early Cycladic period is the geometric form which references the silhouette of a human seated pose. These forms have been described as female squatting figures, but could also be seen as torso forms that appear to suggest a cross-legged position and rendered as a schematic representation of a human figure. Influences can also be seen to derive from the late Neolithic Saliagos culture almost two millennia earlier, through to the early Cycladic period.

Of the examples known, the Violin figure (c.5000 BC) (plate 5) found on the island of Saliagos, is the earliest figure of this type that has been documented. This late Neolithic figure has a flat appearance and a frontal mien similar to that of the Violin figures of the EC I period. It has more naturalistic qualities than the later examples indicated by the comparatively curvaceous lines. However, this does not detract from the evident geometrical form that make up this, and the later Violin figures. In this example, the head is identified with great economy by a notch at the top of the elongated, cone shaped neck which itself, almost appears to be an extension or continuation of the body. Two triangular shapes protrude to indicate the arms and then two more, identifying the legs in their crossed pose.

A prominent distinction can be made between the Saliagos Violin figure and later examples from the EC I period (plate 6). Unlike the unembellished surface of the Saliagos form, the Violin figures from EC I show inscribed schematic details such as the pubic region, a delineation between the torso and neck and lines across the stomach possibly indicating post partum wrinkles ⁵.. This gravid suggestion could also be described as a minimal representation of such references. An uncluttered simplicity of form allows the essence or core of the form to be seen. Where meaning is entangled in excessive, even unnecessary information, the viewer must distil and edit. The effort required to uncover the core of a work may lessen both its meaning and impact. The geometric torso and lucid shaft of the neck, with no indication of the head, describes these violin figures as substantially reduced representations of the human form....continue on to 'saliagos figures'