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The First Appearances of Kamares Ware in the Levant
THE FIRST APPEARANCES OF KAMARES WARE IN THE LEVANT By Robert S. Merrillees Though well known and often cited, the first occur- (BUCHHOLZ and KARAGEORGHIS 1973, 150 No. 1572), rences of pottery exports from Minoan Crete to the by Cadogan to EM III or MM IA (CADOGAN 1983, Bronze Age Levant have never been systematically 513) and by Warren and Hankey to “EM III/early studied, and their contribution to our understand- MM IA” (WARREN and HANKEY 1989, 115). It has a ing of trade relations, history and the relative and smoothed matt buff exterior surface, with matt absolute chronologies of the eastern Mediterranean black, black-brown and brown painted decoration region has largely been taken for granted. An excel- outside and inside the rim. Height to rim: 14.9 cm. lent illustration of this state of affairs, and the most Diameter of rim 15.0 cm. It has been mended and is recent survey of the evidence, is provided by H.-G. almost complete, lacking some sherds which have BUCHHOLZ in his major monograph on Ugarit, Zypern been filled in with plaster. Though customarily und Ägäis. Kulturbeziehungen im zweiten Jahrtausend vor dated to EC IIIB (ÅSTRÖM 1979, 56 ff.; CADOGAN Chr., published in Münster in 1999, 390 ff. The pres- 1983, 513), I have argued, on the evidence of the ent work sets out to bring together all of the relevant pottery types associated with the Cretan import, that material which is scattered in numerous publica- it was deposited in MC I (MERRILLEES 1979, 21 ff.). tions, museums and depots, and to analyse its con- There has been no dispute over the dating in texts with a view to determining synchronisms and Cyprus of the Kamares Ware cup found in Karmi dating horizons and drawing some general histori- Palealona Tomb 11B No. -
The Aegean Chapter Viii the Decorative
H. J. Kantor - Plant Ornament in the Ancient Near East, Chapter VIII: The Decorative Flora of Crete and the Late Helladic Mainland SECTION II: THE AEGEAN CHAPTER VIII THE DECORATIVE FLORA OF CRETE AND THE LATE HELLADIC MAINLAND In the midst of the sea, on the long island of Crete, there dwelt a people, possessors of the fabulous Minoan culture, who are known to have had trade relations with Egypt, and with other Near-Eastern lands. Still farther away towards the north lies the Mainland of Greece, a region that proved itself to be a very hospitable host to the graft of Minoan culture. Before the close of the LH period the ceramic results of this union were to be spread over the Near East in great profusion and it becomes necessary to define the extent of Aegean influence on those traditions of Near-Eastern art that lie within the scope of our topic. Before this is possible a concise summary of the plant ornamentation of the Aegean must be presented.1 This background forms a necessary basis without which the reaction of Aegean plant design on the main development of our story, be it large or small, cannot be determined. 1 A great deal of interest and work has been devoted to the study of Minoan decorative art almost since the beginning of its discovery, and full advantage of this has been taken in the preparation of the present survey. The chief treatments of the subject are as follows: Edith H. Hall, The Decorative Art of Crete in the Bronze Age (Philadelphia, 1907); Ernst Reisinger, Kretische Vasenmalerei vom Kamares bis zum Palast-Stil (Leipzig, Berlin, 1912); Diederich Fimmen, Die Kretisch-Mykenische Kulture (Leipzig, Berlin, 1924), Alois Gotsmich, Entwicklungsgang der Kretischen Ornamentik, Wein, 1923); Frederich Matz, Frühkretische Siegel (Berlin, 1928), covering a much wider field than is indicated by the title; Georg Karo, Die Schachtgräber von Mykenai (Munchen, 1939). -
Classical Images – Greek Pegasus
Classical images – Greek Pegasus Red-figure kylix crater Attic Red-figure kylix Triptolemus Painter, c. 460 BC attr Skythes, c. 510 BC Edinburgh, National Museums of Scotland Boston, MFA (source: theoi.com) Faliscan black pottery kylix Athena with Pegasus on shield Black-figure water jar (Perseus on neck, Pegasus with Etrurian, attr. the Sokran Group, c. 350 BC Athenian black-figure amphora necklace of bullae (studs) and wings on feet, Centaur) London, The British Museum (1842.0407) attr. Kleophrades pntr., 5th C BC From Vulci, attr. Micali painter, c. 510-500 BC 1 New York, Metropolitan Museum of ART (07.286.79) London, The British Museum (1836.0224.159) Classical images – Greek Pegasus Pegasus Pegasus Attic, red-figure plate, c. 420 BC Source: Wikimedia (Rome, Palazzo Massimo exh) 2 Classical images – Greek Pegasus Pegasus London, The British Museum Virginia, Museum of Fine Arts exh (The Horse in Art) Pegasus Red-figure oinochoe Apulian, c. 320-10 BC 3 Boston, MFA Classical images – Greek Pegasus Silver coin (Pegasus and Athena) Silver coin (Pegasus and Lion/Bull combat) Corinth, c. 415-387 BC Lycia, c. 500-460 BC London, The British Museum (Ac RPK.p6B.30 Cor) London, The British Museum (Ac 1979.0101.697) Silver coin (Pegasus protome and Warrior (Nergal?)) Silver coin (Arethusa and Pegasus Levantine, 5th-4th C BC Graeco-Iberian, after 241 BC London, The British Museum (Ac 1983, 0533.1) London, The British Museum (Ac. 1987.0649.434) 4 Classical images – Greek (winged horses) Pegasus Helios (Sol-Apollo) in his chariot Eos in her chariot Attic kalyx-krater, c. -
Hiero Seal Palaikastro 2019.Pdf (1.832Mb)
OFFPRINT From PALAIKASTRO: BUILDING 1 SUPPLEMENTARY VOLUME 48 THE BRITISH SCHOOL AT ATHENS 2019 The copyright on this publication belongs to the British School at Athens. As author you are licensed to make printed copies of the pdf or to send the unaltered pdf file to up to 50 contacts. You may not upload this pdf to the World Wide Web — including websites such as academia.edu and open-access repositories — until three years after publication. Please ensure that anyone receiving an offprint from you observes these rules as well PALAIKASTRO BUILDING 1 edited by J. A. MACGILLIVRAY AND L. H. SACKETT with contributions by J. N. BOTTEMA-MAC GILLAVRY, T. F. CUNNINGHAM, C. DOHERTY, J. M. DRIESSEN, D. EVELY, P. JEROME, O. H. KRZYSZKOWSKA, D. MYLONA, D. REESE, J. RUSSELL, A. SARPAKI, S. WALL-CROWTHER, P. WESTLAKE and J. G. YOUNGER SUPPLEMENTARY VOLUME 48 Published by THE BRITISH SCHOOL AT ATHENS 2019 Published and distributed by The British School at Athens 10 Carlton House Terrace London SW1Y 5AH Series Editor: John Bennet Managing Editor: Olga Krzyszkowska © The Council, The British School at Athens ISBN 978-0-904887-70-9 Designed and computer type-set by Rayna Andrew Printed by Short Run Press Ltd, Exeter, Devon, United Kingdom Contents List of Figures x List of Tables and Charts xiv List of Plans, Sections and Elevations xv List of Plates xvi General abbreviations, technical terms, symbols, measurements, glossary xix Palaikastro site periods with their approximate Cretan equivalents xx Palaikastro pottery wares and styles outline xxi Acknowledgements xxiii Preface xxv Chapter 1 The excavation by L. -
Ceramic Production and Exchange in the Late Mycenaean Saronic Gulf
Ceramic Production and Exchange in the Late Mycenaean Saronic Gulf William D. Gilstrap A Thesis Submitted for the Degree of Doctor of Philosophy Department of Archaeology University of Sheffield February 2015 Abstract This thesis examines the production, exchange and consumption of pottery around the Saronic Gulf, Greece, during Late Mycenaean period, specifically Late Helladic IIIB1 to Late Helladic IIIC Phase 1, roughly 1300-1130 BC. While the focus of many studies of Mycenaean political economy has fallen on Messinia and the Argolid, the choice of the Saronic Gulf offers the chance to examine ceramic crafting, movement and use in an area which hosts no accepted ‘palatial’ centres. It aims to examine the role of pottery in everyday social and economic transaction, taking a ‘bottom-up’ approach to shedding light on Mycenaean society and economy. Pottery from a wide range of sites has been studied: urban centres such as Athens; harbours at Kanakia on Salamis and Kalamianos in coastal Corinthia; small settlements of Stiri in Corinthia, Myti Kommeni on Dokos and Lazarides on Aegina; sanctuary sites of Eleusis and Ayios Konstantinos, Methana; and finally the settlement and pottery production site of Kontopigado, Alimos near the Attic coast. Based on typological and macroscopic fabric studies, a large number of samples have been chosen for examination by an integrated programme of petrographic, chemical (by neutron activation analysis) and microstructural analysis (by scanning electron microscopy), in order to group and characterise to pottery according to composition, to reconstruct key aspects of ceramic manufacture and, where possible, to suggest the area or location of their production. -
Red-Figured Pottery from Corinth Plate 64
RED-FIGUREDPOTTERY FROM CORINTH SACRED SPRING AND ELSEWHERE (PLATES 63-74) THE PRESENT ARTICLE publishes the inventoried pieces of Attic red-figured pottery discovered during the excavations of the Sacred Spring. Four fragments, 49-52, belong to an unidentified fabric which does not appear to be Attic. The article also includes fragments from the Peribolos of Apollo and the Lechaion Road East, and ends with two miscellaneous sherds and an importantstemless cup. This is, in fact, the first of two articles which will cover most of the Attic red figure that has been found at Corinth since 1957.1The second article will deal with the pottery from the recent exca- vations in the central and southwesternarea of the Forum. Some 71 pieces, mainly fragments, are presented here: 52 (1-52) come from the Sacred Spring, 6 (53-58) from the Peribolos of Apollo, 10 (59-68) from excavations below Roman Shop V, east of the Lechaion Road, 3 (69-71) from various findspots. The catalogue is arrangedby shape and, within each shape, by date so far as possible. A. SACRED SPRING (Pls. 63-69) The early excavations in the Sacred Spring were published by B. H. Hill. The area was re-examined from 1968 to 1970 and again in 1972, during which eight architectural phases were distinguished, the earliest beginning in the later 8th century, the latest ending with the destruction of Corinth in 146 B.C.2 All the inventoried Attic red figure from the new excavations is listed in the following catalogue, but other fragments, of less significance, are kept in the relevant Corinth pottery lots. -
The Art and Archaeology of Ancient Greece Judith M
Cambridge University Press 978-1-107-00123-7 - The Art and Archaeology of Ancient Greece Judith M. Barringer Frontmatter More information The Art and This richly illustrated, color textbook introduces the art and Archaeology of archaeology of ancient Greece, from the Bronze Age through the Roman conquest. Suitable for students with no prior knowledge of Ancient Greece ancient art, this book reviews the main objects and monuments of the ancient Greek world, emphasizing the context and function of these artefacts in their particular place and time. Students are led to a rich understanding of how objects were meant to be perceived, what “messages” they transmitted, and how the surrounding environment shaped their meaning. The book includes more than 500 illustrations (with over 400 in color), including specially commissioned photographs, maps, fl oorplans, and reconstructions. Judith Barringer examines a variety of media, including marble and bronze sculpture, public and domestic architecture, painted vases, coins, mosaics, terracotta fi gurines, reliefs, jewelry, armor, and wall paintings. Numerous text boxes, chapter summaries, and timelines, complemented by a detailed glossary, support student learning. • More than 500 illustrations, with over 400 in color, including specially commissioned photographs, maps, plans, and reconstructions • Includes text boxes, chapter summaries and timelines, and detailed glossary • Looks at Greek art from the perspectives of both art history and archaeology, giving students an understanding of the historical and everyday context of art objects Judith M. Barringer is Professor of Greek Art and Archaeology in Classics at the University of Edinburgh. Her areas of specialization are Greek art and archaeology and Greek history, myth, and religion. -
Corpus Vasorum Antiquorum Malibu 2 (Bareiss) (25) CVA 2
CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 25 The J. Paul Getty Museum, Malibu, Fascicule 2 This page intentionally left blank UNION ACADÉMIQUE INTERNATIONALE CORPVS VASORVM ANTIQVORVM THE J. PAUL GETTY MUSEUM • MALIBU Molly and Walter Bareiss Collection Attic black-figured oinochoai, lekythoi, pyxides, exaleiptron, epinetron, kyathoi, mastoid cup, skyphoi, cup-skyphos, cups, a fragment of an undetermined closed shape, and lids from neck-amphorae ANDREW J. CLARK THE J. PAUL GETTY MUSEUM FASCICULE 2 . [U.S.A. FASCICULE 25] 1990 \\\ LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA (Revised for fasc. 2) Corpus vasorum antiquorum. [United States of America.] The J. Paul Getty Museum, Malibu. (Corpus vasorum antiquorum. United States of America; fasc. 23) Fasc. 1- by Andrew J. Clark. At head of title: Union académique internationale. Includes index. Contents: fasc. 1. Molly and Walter Bareiss Collection: Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes.—fasc. 2. Molly and Walter Bareiss Collection: Attic black-figured oinochoai, lekythoi, pyxides, exaleiptron, epinetron, kyathoi, mastoid cup, skyphoi, cup-skyphos, cups, a fragment of an undetermined open shape, and lids from neck-amphorae 1. Vases, Greek—Catalogs. 2. Bareiss, Molly—Art collections—Catalogs. 3. Bareiss, Walter—Art collections—Catalogs. 4. Vases—Private collections— California—Malibu—Catalogs. 5. Vases—California— Malibu—Catalogs. 6. J. Paul Getty Museum—Catalogs. I. Clark, Andrew J., 1949- . IL J. Paul Getty Museum. III. Series: Corpus vasorum antiquorum. United States of America; fasc. 23, etc. NK4640.C6U5 fasc. 23, etc. 738.3'82'o938o74 s 88-12781 [NK4624.B37] [738.3'82093807479493] ISBN 0-89236-134-4 (fasc. -
Muse1991v25p42-53.Pdf (1.602Mb)
SOME THOUGHTS ON THE MYCENAEAN POTTERY IN THE COLLECTION OF THE UNIVERSITY OF MISSOURI, COLUMBIA ELIZABETH FRENCH PENELOPE MOUNTJOY The fa/lawing notes on the Museum of Art and Archaeology's collection of Mycenaean patten; have been compiled by Ors. Elizabeth French and Penelope Mountjoy.The occasion which brought about this project was a seminar given by Professor William Biers of MU's Department of Art History and Archaeology at the American School of Classical Studies at Athens in 1990. 1 he collection comprises only fifteen vases2: seven stirrup jars, one jug, one T lekythos, one feeding bottle, two pilgrim flasks, two alabastra and one pyxis. Yet they illustrate several of the more important issues of present research and form an excellent nucleus for the teaching and understanding of Mycenaean ceramics. First, all are closed vessel forms and both from their types and their unbroken condition almost certainly come from tombs. Tomb vases are thought to have contained scented unguents, both liquid and solid, and food stuffs for the use of the dead on their way to another world. Secondly, though in date they range from LHIIIAI to the end of the Mycenaean period, even with this small number they reflect the ceramic history of the Aegean. It is not surprising that the earliest vases in the collection date to LHIIIA 1; this is the period when a mainland style first spreads in Greece and the islands and when we see the first real expansion into the Eastern Mediterranean. Five vases can be assigned to LHIIIA2/B1, phases which are often hard to disentangle as they form a continuum and in many ways the acme of mainland ceramics and their export. -
Bareiss Collection Attic Black-Figured Amphorae, Neck-Amphorae, Kraters, Stamnos, Hydriai, and Fragments of Undetermined Closed Shapes
CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 23 The J. Paul Getty Museum, Malibu, Fascicule 1 This page intentionally left blank UNION ACADÉMIQUE INTERNATIONALE CORPVS VASORVM ANTIQVORVM THE J. PAUL GETTY MUSEUM • MALIBU Molly and Walter Bareiss Collection Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes ANDREW J. CLARK THE J. PAUL GETTY MUSEUM FASCICULE 1 • [U.S.A. FASCICULE 23] 1988 LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Corpus vasorum antiquorum. [United States of America.] The J. Paul Getty Museum, Malibu. (Corpus vasorum antiquorum. United States of America; fase. 23- ) Vol. i by Andrew J. Clark. At head of title : Union académique internationale. Includes index. Contents: v. i. Molly and Walter Bareiss Collection: Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes. i. Vases, Greek—Catalogs. 2. Bareiss, Molly—Art collections—Catalogs. 3. Bareiss, Walter—Art collections—Catalogs. 4. Vases—Private collections— California—Malibu—Catalogs. 5. Vases—California— Malibu—Catalogs. 6. J. Paul Getty Museum—Catalogs. I. Clark, Andrew J., 1949- . II. J. Paul Getty Museum. III. Series: Corpus vasorum antiquorum. United States of America; fase. 23, etc. NK4640.C6.U5 fase. 23, etc. 73 8.3'82*0938074 s 88-12781 [NK4Ó24.B3 7] [73 8.3 '82J093 8074019493] ISBN 0-89236-134-4 © 1988 The J. Paul Getty Museum, Malibu, California All rights reserved Library of Congress Cataloging-in-Publication -
Chapter 1 Multiple Choice 1. an Important Series of Caves With
Chapter 1 Multiple Choice 1. An important series of caves with paintings from the Paleolithic period is located in ________. a. Italy b. England c. Germany d. France Answer: d 2. Which of the following describes the Venus of Willendorf? a. It is a large Neolithic tomb figure of a woman b. It is a small Paleolithic engraving of a woman c. It is a large Paleolithic rockcut relief of a woman d. It is a small Paleolithic figurine of a woman Answer: d 3. Which of the following animals appears less frequently in the Lascaux cave paintings? a. bison b. horse c. bull d. bear Answer: d 4. In style and concept the mural of the Deer Hunt from Çatal Höyük is a world apart from the wall paintings of the Paleolithic period. Which of the following statements best supports this assertion? a. the domesticated animals depicted b. the subject of the hunt itself c. the regular appearance of the human figure and the coherent groupings d. the combination of men and women depicted Answer: c 5. Which of the following works of art was created first? a. Venus of Willendorf b. Animal frieze at Lascaux c. Apollo 11 Cave plaque d. Chauvet Cave Answer: d 6. One of the suggested purposes for the cave paintings at Altamira is thought to have been: a. decoration for the cave b. insurance for the survival of the herd c. the creation myth of the tribal chief d. a record of the previous season’s kills Answer: b 7. The convention of representing animals' horns in twisted perspective in cave paintings or allowing the viewer to see the head in profile and the horns from the front is termed __________. -
Patterns of Exchange and Mobility: the Case of the Grey Ware in Middle and Late Minoan Crete
PATTERNS OF EXCHANGE AND MOBILITY: THE CASE OF THE GREY WARE IN MIDDLE AND LATE MINOAN CRETE by LUCA GlRELLA * New finds and important contributions have recently offered a fresh overview on wheel-made grey ware on Crete and have also provided an occasion for an update on l pottery imported from outside Crete . As a result the list of Grey Ware (henceforth: GW) in LM III contexts has been expanded, but mentions of such a ware in previous periods have been surprisingly neglected. The aim of this article is to re-examine the evidence of the GW on Crete, from the first appearance of Grey Minyan Ware to the later distribution of GW up to the LM IIIC period (Fig. 1, Table 1)2. As will be understandable from the following overview, most of the information comes from old excavations and publications, when both the identification and terminology of this ware were far from being neatly recognizable (i.e. the use of term bucchero). As a second aim of this contribution, drawing upon GW circulation, we shall inquire into patterns of mobility and exchange; in fact, as a 'foreign ware', the phenomenon of GW on Crete can be the ideal theatre for the exploration of pottery and human mobility. For convenience's sake we shall distinguish four moments with distinct patterns of distribution: (1) the small scale world of the late Prepalatial period, when the unique Minyan bowl from Knossos - a MH I import - confirms the picture of the asymmetrical relationship between the Greek Mainland and Crete, which saw a large quantity of Minoan and Minoanizing pottery at coastal sites of southern and northeastern Peloponnese, but not the contrary.