Roman Pottery: and Economic Models, Proxies Interpretation
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9. Ceramic Arts
Profile No.: 38 NIC Code: 23933 CEREMIC ARTS 1. INTRODUCTION: Ceramic art is art made from ceramic materials, including clay. It may take forms including art ware, tile, figurines, sculpture, and tableware. Ceramic art is one of the arts, particularly the visual arts. Of these, it is one of the plastic arts. While some ceramics are considered fine art, some are considered to be decorative, industrial or applied art objects. Ceramics may also be considered artifacts in archaeology. Ceramic art can be made by one person or by a group of people. In a pottery or ceramic factory, a group of people design, manufacture and decorate the art ware. Products from a pottery are sometimes referred to as "art pottery".[1] In a one-person pottery studio, ceramists or potters produce studio pottery. Most traditional ceramic products were made from clay (or clay mixed with other materials), shaped and subjected to heat, and tableware and decorative ceramics are generally still made this way. In modern ceramic engineering usage, ceramics is the art and science of making objects from inorganic, non-metallic materials by the action of heat. It excludes glass and mosaic made from glass tesserae. There is a long history of ceramic art in almost all developed cultures, and often ceramic objects are all the artistic evidence left from vanished cultures. Elements of ceramic art, upon which different degrees of emphasis have been placed at different times, are the shape of the object, its decoration by painting, carving and other methods, and the glazing found on most ceramics. 2. -
Romans Had So Many Gods
KHS—History Knowledge Organiser—Half Term 2 - Roman Empire Key Dates: By the end of this Half Term I should know: 264 BC: First war with Carthage begins (There were Why Hannibal was so successful against much lager three that lasted for 118 years; they become known as and superior Roman armies. the Punic Wars). How the town of Pompeii disappeared under volcanic 254 - 191 BC: Life of Hannibal Barker. ash and was lost for 1500 years. 218—201 BC: Second Punic War. AD 79: Mount Vesuvius erupts and covers Pompeii. What life was like for a gladiator (e.g. celebrities who AD 79: A great fire wipes out huge parts of Rome. did not always fight to the death). AD 80: The colosseum in Rome is completed and the How advanced Roman society was compared with inaugural games are held for 100 days. our own and the technologies that they used. AD 312: Emperor Constantine converts to Christianity. Why Romans had so many gods. And why they were AD 410: The fall of Rome (Goths sack the city of Rome). important. AD 476: Roman empire ends. What Roman diets were like and foods that they ate. Key Terms Pliny the Younger: a Roman statesman who was nearby when the eruption took place and witnessed the event. Only eye witness account ever written. Pyroclastic flow: after some time the eruption column loses power and part of the column collapses to form a flow down the side of the mountain. Lanista: Trainer of Gladiators at Gladiatorial school. Aqueduct: A bridge designed to carry water long distances. -
Ancient Lamps in the J. Paul Getty Museum
ANCIENT LAMPS THE J. PAUL GETTY MUSEUM Ancient Lamps in the J. Paul Getty Museum presents over six hundred lamps made in production centers that were active across the ancient Mediterranean world between 800 B.C. and A.D. 800. Notable for their marvelous variety—from simple clay saucers GETTYIN THE PAUL J. MUSEUM that held just oil and a wick to elaborate figural lighting fixtures in bronze and precious metals— the Getty lamps display a number of unprecedented shapes and decors. Most were made in Roman workshops, which met the ubiquitous need for portable illumination in residences, public spaces, religious sanctuaries, and graves. The omnipresent oil lamp is a font of popular imagery, illustrating myths, nature, and the activities and entertainments of daily life in antiquity. Presenting a largely unpublished collection, this extensive catalogue is ` an invaluable resource for specialists in lychnology, art history, and archaeology. Front cover: Detail of cat. 86 BUSSIÈRE AND LINDROS WOHL Back cover: Cat. 155 Jean Bussière was an associate researcher with UPR 217 CNRS, Antiquités africaines and was also from getty publications associated with UMR 140-390 CNRS Lattes, Ancient Terracottas from South Italy and Sicily University of Montpellier. His publications include in the J. Paul Getty Museum Lampes antiques d'Algérie and Lampes antiques de Maria Lucia Ferruzza Roman Mosaics in the J. Paul Getty Museum Méditerranée: La collection Rivel, in collaboration Alexis Belis with Jean-Claude Rivel. Birgitta Lindros Wohl is professor emeritus of Art History and Classics at California State University, Northridge. Her excavations include sites in her native Sweden as well as Italy and Greece, the latter at Isthmia, where she is still active. -
Late Hellenistic to Mediaeval Fine Wares of the Aegean Coast of Anatolia Prace Instytutu Kultur Śródziemnomorskich I Orientalnych Polskiej Akademii Nauk Tom 1
LATE HELLENISTIC TO MEDIAEVAL FINE WARES OF THE AEGEAN COAST OF ANATOLIA PRACE INSTYTUTU KULTUR ŚRÓDZIEMNOMORSKICH I ORIENTALNYCH POLSKIEJ AKADEMII NAUK TOM 1 CERAMIKA STOŁOWA EGEJSKIEGO WYBRZEŻA ANATOLII OD OKRESU PÓŹNOHELLENISTYCZNEGO DO ŚREDNIOWIECZA PRODUKCJA, NAŚLADOWNICTWA I ZASTOSOWANIE pod redakcją HENRYKA MEYZA przy współpracy KRZYSZTOFA DOMŻALSKIEGO WYDAWNICTWO NERITON Warszawa 2014 TRAVAUX DE L’INSTITUT DES CULTURES MÉDITERRANÉENNES ET ORIENTALES DE L’ACADÉMIE POLONAISE DES SCIENCES TOME 1 LATE HELLENISTIC TO MEDIAEVAL FINE WARES OF THE AEGEAN COAST OF ANATOLIA THEIR PRODUCTION, IMITATION AND USE édité par HENRYK MEYZA avec la collaboration de KRZYSZTOF DOMŻALSKI ÉDITIONS NERITON Varsovie 2014 Contents Introduction . 7 PART I: Production at Pergamon and its region Sigillata of Pergamon – Eastern Sigillata C. Problems of classifi cation and chronology – by S. Japp, Deutsches Archäologisches Institut, Berlin . 11 La production des ateliers de céramique de Pergame (Vallée de Ketios) : un aperçu général – by O. Bounegru, Catedra de Istorie Veche şi Arheologie Facultatea de Istorie. Universitatea „Al. I. Cuza” Iaşi . 23 Statistical interpretation of elemental concentration data and the origin of Pergamene pottery – by H. Mommsen, Helmholtz-Institut für Strahlen- und Kernphysik, Rheinische Friedrich- Wilhelms-Universität Bonn & S. Japp, Deutsches Archäologisches Institut, Berlin . 31 A Pergamene (?) modiolus in the National Museum of Denmark – by J. Lund, Antiksamlingen, Nationalmuseet, København . 41 PART II: Other production sites of western Anatolia Ephesus – local vs import: Th e Early Byzantine fi ne ware – by A. Waldner, Institut für Kulturgeschichte der Antike, Österreichische Akademie der Wissenschaft en & S. Ladstätter, Österreichisches Archäologisches Institut, Wien . 49 Microstructural characteristics of appliqué wares from Ephesus – by L. Peloschek, Österreichisches Archäologisches Institut, Wien & A. -
Pisan Sigillata Augustan Ideology with a Few Images
PISAN SIGILLATA Augustan ideology with a few images Simonetta Menchelli – Paolo Sangriso Abstract In Italy, after Arezzo, Pisa was the main production centre of terra sigillata. Although the city undoubtedly espoused Augustan policies and its potters were deeply ingrained with the Imperial ideology, the decorated vessels were produced only in small numbers, (about 3 %) and the Augustan subjects, were even more scarce, despite being familiar to the Pisan artisans (for example the cycle of Heracles and Omphale, the She-Wolf and the Twins). In our opinion the Pisan workshops did not need to display the motifs of Augustan propaganda on their vases because of the city’s proven loyalty to Octavianus: and its elites had been Rome’s faithful allies for a long time, most probably thanks to the role played by Maecenas. Hence, Cn. Ateius and the other Pisan potters could give their full attention to the economic aspects of the sigillata productions, without being concerned about Augustan propaganda. Therefore, they specialized in plain vessels most probably because they could be easily piled together and were much more convenient for transport and trade than decorated chalices and large cups. Their market strategy, combining mass production and distribution, proved to be successful throughout the Roman Empire and beyond. The various forms of Augustan propaganda development that derived from the transforma- permeated all the aspects of social life through an tions in Roman society following the period of the astute and widespread exploitation of all the avail- triumvirate. able means of communication. The Roman world After Arezzo, Pisa was the main production cen- was a world of images and it was through these tre where terra sigillata workshops were concen- that the Imperial ideology penetrated the different trated in the city’s Northern suburbium and in the social classes also through objects of daily use such territory along the Auser/Auserculus rivers (Fig. -
CHAPTER XI Pottery. Terra Sigillata Or Samian Ware
CHAPTER XI Pottery. Terra Sigillata or Samian Ware OF all the characteristic remains found on Roman sites there is nothing more enduring than the shards of broken pottery. Colours, textures, shapes are usually preserved, and thus it is often possible to reconstruct from one or two tiny fragments the exact form of vessels long since hopelessly broken and scattered. These shards, too, as more facts are ascertained about them, become increasingly valuable as a means of fixing dates. Among the Romans, as among ourselves, shapes and methods of decoration changed with the fashions of the time, and, if we could get a thorough knowledge of such changes, we should have a chronological series even more valuable than coins to the archaeologist. In Britain little has as yet been done to achieve such a result. We have indeed in our island few sites which were first occupied sufficiently late, or were abandoned sufficiently early, to be helpful. Cemeteries in which the interments can be dated with any certainty are no less rare. Sites of towns like Silchester were occupied for a long period, and in these stratification is, as a rule, difficult. But we may hope something from the careful records made at Manchester, and from the excavations now proceeding at Corbridge-on-Tyne and Caersws. On the Continent the study of the subject is more happily placed. The various stages that marked the advance of the Roman arms are known from other evidence, and in the great legionary fortresses, as well as in the smaller forts and outposts,—established, altered, or abandoned, as the tide of conquest ebbed and flowed across the Rhine,— deposits have been identified as belonging to definite periods, sometimes periods of comparatively short duration. -
Greeks and Romans.Mlc
DEPARTMENT OF CLASSICS GREEKS AND ROMANS Courses and Programs Offered at the University of Virginia Spring 2020 2 3 THE GREEKS AND ROMANS at the University of Virginia SPRING, 2020 Each semester the faculty of the Department of Classics and their colleagues in other departments offer a rich program of courses and special events in classical studies. The Greeks and Romans is published to inform the University community of the wealth of opportunities for study during the spring semester, 2020. These are described in the next pages under the following headings: I. CLASSICS: Classics courses in translation. II. GREEKS: Courses in Greek language and literature, and in Greek art, ideas, history, and other aspects of Greek civilization. III. ROMANS: Courses in the Latin language and Roman literature, and in Roman art, ideas, history, and other aspects of Roman civilization. IV. AFFILIATED: Courses presenting Classical studies in relation to other subjects. V. SPECIAL PROGRAMS AND EVENTS ****************************************** 4 I. CLASSICS CLAS 2020 ROMAN CIVILIZATION Mr. Hays <bgh2n> TR 1230-1345 Discussion F 1000-1050 F 1100-1150 F 1400-1450 F 1500-1550 This course serves as a general introduction to the history, literature, social life, institutions, and ideology of ancient Rome, from the origins to the 2nd century AD. We will look especially at the ways in which the Romans constructed a collective cultural identity for themselves, with attention paid also to groups marginal to or excluded from that identity (e.g. women, slaves, barbarians). Readings will focus on the ancient texts and sources, including the comedies of Plautus and Terence, Vergil’s epic Aeneid, historical writing by Sallust and Tacitus, biographies by Plutarch and Suetonius, the love poetry of Ovid, and Petronius’s novel Satyrica. -
The Mini-Columbarium in Carthage's Yasmina
THE MINI-COLUMBARIUM IN CARTHAGE’S YASMINA CEMETERY by CAITLIN CHIEN CLERKIN (Under the Direction of N. J. Norman) ABSTRACT The Mini-Columbarium in Carthage’s Roman-era Yasmina cemetery combines regional construction methods with a Roman architectural form to express the privileged status of its wealthy interred; this combination deploys monumental architectural language on a small scale. This late second or early third century C.E. tomb uses the very North African method of vaulting tubes, in development in this period, for an aggrandizing vaulted ceiling in a collective tomb type derived from the environs of Rome, the columbarium. The use of the columbarium type signals its patrons’ engagement with Roman mortuary trends—and so, with culture of the center of imperial power— to a viewer and imparts a sense of group membership to both interred and visitor. The type also, characteristically, provides an interior space for funerary ritual and commemoration, which both sets the Mini-Columbarium apart at Yasmina and facilitates normative Roman North African funerary ritual practice, albeit in a communal context. INDEX WORDS: Funerary monument(s), Funerary architecture, Mortuary architecture, Construction, Vaulting, Vaulting tubes, Funerary ritual, Funerary commemoration, Carthage, Roman, Roman North Africa, North Africa, Columbarium, Collective burial, Social identity. THE MINI-COLUMBARIUM IN CARTHAGE’S YASMINA CEMETERY by CAITLIN CHIEN CLERKIN A.B., Bowdoin College, 2011 A Thesis Submitted to the Graduate Faculty of the University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2013 © 2013 Caitlin Chien Clerkin All Rights Reserved. THE MINI-COLUMBARIUM IN CARTHAGE’S YASMINA CEMETERY by CAITLIN CHIEN CLERKIN Major Professor: Naomi J. -
Rei Cretariæ Romanæ Favtorvm Acta 41
REI CRETARIÆ ROMANÆ FAVTORVM ACTA 41 CONGRESSVS VICESIMVS SEXTVS REI CRETARIÆ ROMANÆ FAVTORVM GADEI HABITVS MMVIII BONN 2010 I © The individual authors ISSN 0484-3401 Published by the REI CRETARIÆ ROMANÆ FAVTORES, an international learned society Editorial committee: Dario Bernal Casasola Tatjana Cvjetićanin Philip M. Kenrick Simonetta Menchelli General Editor: Susanne Biegert Typesetting and layout: ars archäologie redaktion satz, Hegewiese 61, D-61389 Schmitten/Ts. Printed and bound by: Druckhaus »THOMAS MÜNTZER« GmbH, D–99947 Bad Langensalza Enquiries concerning membership should be addressed to The Treasurer, Dr. Archer Martin, Via di Porta Labicana 19/B2, I–00185 Roma [email protected] ISBN 978-3-7749-3687-4 Distributor: Dr. Rudolf Habelt GmbH, Am Buchenhang 1, D-53115 Bonn, [email protected] II This volume, on the theme “WORKING WITH ROMAN KILNS“, is dedicated to the memory of VIVIEN G. SWAN, expert on Roman pottery and kilns in Roman Britain 12.1.1943 – 1.1.2009 Vivien Swan was a striking presence at RCRF congresses, always dressed with style and never hesitant to express an opinion and to contribute to a debate. Her absence will certainly be noticed, and many of our members will have cause to remember with gratitude the extent to which she assisted or encouraged them in their researches. Vivien’s early archaeological career was spent with the Royal Commission on the Historical Monuments of Eng- land, working first at Salisbury and later at York. During this period, her interest in Roman pottery production in the New Forest led to a wider study, supported by the Commission and published in due course as The Pottery Kilns of Roman Britain (RCHM 1984). -
CURRICULUM VITAE Charles H. Cosgrove Professor of Early
CURRICULUM VITAE Charles H. Cosgrove Professor of Early Christian Literature and Director of Ph.D. Program Garrett-Evangelical Theological Seminary 2121 Sheridan Road, Evanston, IL 60201 [email protected] 847–866–3880 EDUCATIONAL HISTORY Ph.D. 1985 Princeton Theological Seminary Princeton, NJ M.Div. 1979 Bethel Theological Seminary St. Paul, MN B.A. 1976 Bethel College, St. Paul, MN Further Study 1995-97 Chicago-Kent College of Law Chicago, IL 1988 Instituto Superior Evangélico de Estúdios Teológicos (ISEDET) Buenos Aires, Argentina 1982-84 University of Tübingen, (then West) Germany PUBLICATIONS BOOKS An Ancient Christian Hymn with Musical Notation: Papyrus Oxyrhynchus 1786: Text and Commentary. STAC 65; Tübingen: Mohr Siebeck, 2011. 1 In Other Words: Incarnational Translation for Preaching. With W. Dow Edgerton. Grand Rapids: Wm. B. Eerdmans, 2007. Cross-Cultural Paul: Journeys to Others, Journeys to Ourselves. With Herold Weiss and K. K. Yeo. Grand Rapids, MI: Wm. B. Eerdmans, 2005. The Meanings We Choose: Hermeneutical Ethics, Indeterminacy and the Conflict of Interpretations. Editor and contributor. London and New York: T. & T. Clark International (Continuum), 2004. Appealing to Scripture in Moral Debate: Five Hermeneutical Rules. Grand Rapids: Wm. B. Eerdmans, 2002. Elusive Israel: The Puzzle of Election in Romans. Nashville: Westminster John Knox, 1997. Church Conflict: The Hidden Systems Behind the Fights. Co-author with Dennis D. Hatfield. Nashville: Abingdon, 1994. Faith and History: Essays in Honor of Paul W. Meyer. Co-editor with John T. Carroll and E. Elizabeth Johnson. Atlanta: Scholars Press, 1990 (including the Introduction and a contributing essay). The Cross and the Spirit: A Study in the Argument and Theology of Galatians. -
Latin Curriculum Standards. Revised. INSTITUTION Delaware State Dept
DOCUMENT RESUME ED 333 717 FL 019 201 TITLE Latin Curriculum Standards. Revised. INSTITUTION Delaware State Dept. of Public Instruction, Dover. PUB DATE Nov 90 NOTE 50p. PUB TYPE Guides - Classroom Use - Teaching Guides (For Teacher) (052) -- Legal/Legislative/Regulatory Materials (090) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS Behavioral Objectives; Cultural Awareness; Cultural Education; *Curriculum Design; Educational Objectives; Elementary Secondary Education; FLES; Grammar; *Latin; Oral Language; Peading Skills; Second Language Instruction; *Second Language Programs; *State Standards; Statewide Planning; Writing Skills IDENTIFIERS *Delaware ABSTRACT Delaware's state standards for the Latin curriculum in the public schools are presented. An introductory section outlines the goals of Latin program for reading, cultural awareness, grammar, writiny, and oral language and briefly discusses the philosophy of and approaches to Latin instruction in elementary and middle schools. Three subsequent sections outline fundamental grammatical concepts and present specific behavioral objectives for a variety of topic areas at each of three instructional levels, including levels: I (grades 4-6, 7-8, 9, 10, 11, and 12); II(grades 7-8, 9, 10, 11, and 12); and III-IV (grades 9, 10, 11, and 12). Topic areas include the following: the world of the ancient Romans; greetings and leave-taking; classroom communication; mythology and legend; famous Romans and legendary history; Roman names; the Roman family and home; Roman food and dress; everyday life; our Latin linguistic and artistic heritage; politics and history; Roman holidays; Roman social structure; Caesar's commentaries and other Latin readings; and Roman oratory, comedy, and poetry. A 17-item bibliography is included. (MSE) 1*********************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. -
Decorating Techniques
ceramic artsdaily.org three great pottery decorating techniques a guide to sgraffito, how to make and use terra sigillata, and creating and coloring highly textured surfaces www.ceramicartsdaily.org | Copyright © 2010, Ceramic Publications Company | Three Great Pottery Decorating Techniques | i Three Great Pottery Decorating Techniques A guide to sgraffito, how to make and use terra sigillata, and creating and coloring highly textured surfaces Decorating your work before it’s fired provides you with a lot of creative opportunities. At the soft clay stage, you can stamp and texture your clay using many types and kinds of objects. When the clay is leather hard, you can coat your work with colored slips and carve away to create patterns. And when your clay is bone dry, you can apply terra sigillata and burnish the surface to a high sheen. Scratching the Surface: A Step-by-Step Guide to Sgraffito by Wayne Bates Sgraffito comes from the Italian word graffito meaning “to scratch,” and Wayne Bates does more than scratch the surface with this informative tutorial on the tips and techniques of getting the best results. Using both cutting and scratching techniques, he demonstrates the finer points of line work, scraping large areas and cross-hatching. If you’re into making your own glazes, he’s provided 19 colorful engobes along with 5 recipes for various clear glazes you can try out. Burnishing with Terra Sigillata by Sumi von Dassow Terra sigillata means ‘sealed earth’ and comes from the name of a type of Roman pottery mass-produced around the first century AD.