Debating Orientalization: Multidisciplinary Approaches to Change in the Ancient Mediterranean (London: Equinox, 2006.)
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Herakles Iconography on Tyrrhenian Amphorae
HERAKLES ICONOGRAPHY ON TYRRHENIAN AMPHORAE _____________________________________________ A Thesis presented to the Faculty of the Graduate School University of Missouri-Columbia _____________________________________________ In Partial Fulfillment Of the Requirements for the Degree Master of Arts ______________________________________________ by MEGAN LYNNE THOMSEN Dr. Susan Langdon, Thesis Supervisor DECEMBER 2005 ACKNOWLEDGEMENTS I would like to thank my thesis advisor, Dr. Susan Langdon, and the other members of my committee, Dr. Marcus Rautman and Dr. David Schenker, for their help during this process. Also, thanks must be given to my family and friends who were a constant support and listening ear this past year. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS………………………………………………………………ii LIST OF ILLUSTRATIONS……………………………………………………………..v Chapter 1. TYRRHENIAN AMPHORAE—A BRIEF STUDY…..……………………....1 Early Studies Characteristics of Decoration on Tyrrhenian Amphorae Attribution Studies: Identifying Painters and Workshops Market Considerations Recent Scholarship The Present Study 2. HERAKLES ON TYRRHENIAN AMPHORAE………………………….…30 Herakles in Vase-Painting Herakles and the Amazons Herakles, Nessos and Deianeira Other Myths of Herakles Etruscan Imitators and Contemporary Vase-Painting 3. HERAKLES AND THE FUNERARY CONTEXT………………………..…48 Herakles in Etruria Etruscan Concepts of Death and the Underworld Etruscan Funerary Banquets and Games 4. CONCLUSION………………………………………………………………..67 iii APPENDIX: Herakles Myths on Tyrrhenian Amphorae……………………………...…72 BIBLIOGRAPHY………………………………………………………………………..77 ILLUSTRATIONS………………………………………………………………………82 iv LIST OF ILLUSTRATIONS Figure Page 1. Tyrrhenian Amphora by Guglielmi Painter. Bloomington, IUAM 73.6. Herakles fights Nessos (Side A), Four youths on horseback (Side B). Photos taken by Megan Thomsen 82 2. Tyrrhenian Amphora (Beazley #310039) by Fallow Deer Painter. Munich, Antikensammlungen 1428. Photo CVA, MUNICH, MUSEUM ANTIKER KLEINKUNST 7, PL. 322.3 83 3. Tyrrhenian Amphora (Beazley #310045) by Timiades Painter (name vase). -
Thesis Front Matter
NOTE TO USERS This reproduction is the best copy available. UNIVERSITY OF CALGARY The Prostitute and Her Headdress: the Mitra, Sakkos and Kekryphalos in Attic Red-figure Vase-painting ca. 550-450 BCE by Marina Fischer A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF GREEK AND ROMAN STUDIES CALGARY, ALBERTA APRIL, 2008 © Marina Fischer 2008 ISBN:ϵϳϴͲϬͲϰϵϰͲϯϴϮϲϰͲϲ Abstract This study documents the problematic headdress iconography of Attic Red-figure vase-painting ca. 550-450 BCE. The findings demonstrate that more prostitutes than wives, or any other female figures, are illustrated with the mitra (turban), sakkos (sack) and kekryphalos (hair-net). These headdresses were prostitutes’ common apparel as well as their frequent attributes and social markers. The study also shows that prostitutes were involved in manufacturing of textiles, producing the headdresses on the small sprang hand frames chosen for their practicality, convenience and low cost. In this enquiry, two hundred and thirty (230) fully catalogued and thoroughly analyzed images include twenty (20) such scenes, in addition to two hundred and ten (210) depicting prostitutes wearing the headdresses. This iconography is the primary evidence on which the study’s conclusions are based. ii Acknowledgements I would like to thank the University of Calgary Staff Tuition Support Program for their generous contributions, the Department of Greek and Roman Studies for their consideration and understanding of my demanding schedule, Geraldine Chimirri-Russell for inspiration, Dr. Mark Golden for support, and above all Dr. Lisa Hughes for her thoughtfulness, thoroughness and encouragement. -
Chapter 5 Th a F a I G E Art of Ancient Greece (Iron Age)
Chapter 5 The Art of A nci ent G reece (Iron Age) Famous Greeks: Playwriters: Aeschylus (“father of Greek tragedy”), Sophocles (Antigone, Oedipus), Euripides, Aristophanes (Comedies. Lysistrata) Philosophers: Heraclitus (“You can never step into the same river twice”) Plato,,, Socrates, Aristotles Mathematicians and scientists: Archimedes, Pythagoras, Aristotles, Euclid Authors and poets: Homer (Odyssey and Iliad), Sappho of Lesbos, Aesop Historians: Herodotus ("The Father of History,"). Thucydides The Greek World GtiPid(9Geometric Period (9-8th c. BCE) Early Geometric Krater. C. 800 BCE Krater A bowl for mixing wine and water Greek key or Meander An ornament consisting of interlocking geometric motifs. An ornamental pattern of contiguous straight lines joined usually at right angles. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery. Detail. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bron ze, a pprox. 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bronze, approx. 4 1/2” high. Greek Vase Painting Orientalizing Period (7th c. BCE) Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½ " British Mus . London Rosette: A round or oval ornament resembling a rose Comppyarison: Assyrian.. Lamassu, ca. 720–705 BCE. Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½" British Mus. -
Geometric & Archaic Greek
GEOMETRIC & ARCHAIC GREEK GEOMETRIC & ARCHAIC GREECE Ancient Greek Art Can be classified into the following categories: Geometric Period ca. 900-700 B.C.E. Orientalizing Period ca. 725-600 B.C.E. Archaic Period ca. 625-480 B.C.E. --- Greeks defeat Persians 480-479 BCE --- Early Classical Period ca. 480-450 B.C.E. High Classical Period ca. 450-400 B.C.E. Late Classical Period ca. 400-330 B.C.E. Hellenistic Period ca. 330-31 B.C.E. GEOMETRIC & ARCHAIC GREECE Ancient Greek Art Mesopotamian = Worship Egyptian = Afterlife Greek = Humanism GEOMETRIC & ARCHAIC GREECE The Geometric Period The beginning of Greek art is found in painted pottery and small scale sculpture. Artists established different categories of shapes of ceramic vessels- most important was the amphora - two- handled vase used to carry wine and oil Around 800 BC, pottery began to move away from purely non-objective designs - ornamental figures. Dipylon Vase was a grave monument - bottom has holes through which liquid offerings filtered down to the dead below- done in remembrance rather than to appease the soul of the dead. Geometric Krater from the Dyplon Cemetery Athens, Greece, ca. 740 BC GEOMETRIC & ARCHAIC GREECE The Geometric Period The vase functions as a grave marker depicting the funeral procession of an obviously well respected individual. The magnitude of his funeral procession speaks to the wealth and position of the deceased family in the community. Contains no reference to an afterlife The nature of the ornamentation of these early works has led art historians to designate these as GEOMETRIC. (all empty spaces are filled with circles and M-shaped ornament. -
Apotropaism and Liminality
Gorgo: Apotropaism and Liminality An SS/HACU Division III by Alyssa Hagen Robert Meagher, chair Spring 2007 Table of Contents List of Figures................................................................................................................ 1 Introduction.................................................................................................................... 3 Chapter 1: Gorgon and Gorgoneion.............................................................................. 5 Chapter 2: Gorgo as a Fertility Goddess....................................................................... 15 Chapter 3: Gorgo as the Guardian of Hades................................................................. 29 Chapter 4: Gorgo in Ecstatic Ritual............................................................................... 41 Chapter 5: Gorgo in the Sphere of Men......................................................................... 51 Bibliography................................................................................................................... 64 Alyssa Hagen 1 List of Figures 1.1 Attic black figure neck amphora. (J. Paul Getty Museum, Malibu 86 AE77. Image 7 from [http://www.theoi.com/Gallery/P23.12.html].) 1.2 Mistress of Animals amulet from Ulu Burun shipwreck. (Bochum, Deutsches 9 Bergbau-Museums 104. Image from [http://minervamagazine.com/issue1704/ news.html].) 1.3 Egyptian amulet of Pataikos. (Image from Virtual Egyptian Museum 10 [http://www.virtual-egyptian-museum.org].) 1.4 Etruscan roof antefix with -
Ancient Art, 1958-1964 Bieber, Margarete Greek, Roman and Byzantine Studies; Summer 1965; 6, 2; Proquest Pg
New Trends in the New Books on Ancient Art, 1958-1964 Bieber, Margarete Greek, Roman and Byzantine Studies; Summer 1965; 6, 2; ProQuest pg. 75 New Trends in the New Books on Ancient Art, 1958-1964 Margarete Bieber TABLE OF CONTENTS FOREWORD Page I PRE-GREEK ART 76 1. Oriental Art 76 2. Crete and Mycenae 77 II GREECE 78 1. Archaic Period 78 2. Vase Painting 79 3. Handbooks 82 4. Architecture 88 III REPRINTS 89 IV ETRURIA 93 V ROMAN ART 96 1. Comprehensive Books 96 2. Roman Provinces 100 3. Architecture 107 4. Sculpture 115 5. Painting and Mosaic 116 VI CATALOGUES OF MUSEUMS AND EXHIBITIONS 120 CONCLUSION 141 Foreword HERE HAS BEEN AN ENORMOUS OUTPUT of books on ancient art Tsince I reported on publications appearing between 1952-1957.1 Librarians, classicists, historians, and art lovers have asked me from time to time which of this flood of books they ought to buy for their libraries or their private reading. I thought it desirable, therefore, 1 CW 52 (1958) 72-75. 75 76 NEW TRENDS IN THE NEW BOOKS ON ANCIENT ART, 1958-1964 to compile a kind of critical bibliography of the best books which have appeared in the last six years. In the following survey, I have included those which I consider most important among works available to me, and I have mentioned a few of which I have at least seen a favourable review. I have arranged these books according to subject, giving pre ference to good surveys of larger fields. I have excluded encyclopedias, articles in periodicals, and reports on excavations. -
AP Art History Chapter 5: Greek Art Mrs. Cook
AP Art History Chapter 5: Greek Art Mrs. Cook Define the following terms Key Heroes, Gods & Goddesses: Athena (Minerva), Zeus (Jupiter), Herakles (Hercules), Apollo, Aphrodite (Venus) Geometric and Orientalizing Periods ‐ Key Terms: krater, amphora, meander or key pattern, centaur, siren, black figure painting, slip, Daedalic Style Archaic Period‐ Key Terms: kore (p. korai), kouros (pl. kouroi), Archaic smile, peplos, chiton, himation, gorgon, apotropaic figure, encaustic, black‐ and red‐figure painting, bilingual painting, foreshortening, gigantomachy Greek Temple Terms: naos or cella, pronaos, opisthodomos, anta/antai, columns in antis, colonnade (types: prostyle, amphiprostyle, peristyle, peripteral, dipteral), cult statue, treasury Early and High Classical Periods: Key Terms: Severe Style, contrapposto, bronze hollow cast/lost wax process (investment, chaplets), Canon of Polykleitos, centauromacy, Amazonomachy, white ground painting, lekythos Late Classical Period Key Terms: hydria, apoxyomenos, strigil, pebble mosaic, tessera mosaic, Corinthian capitals, tholos Hellenistic Period: Key Terms: hypaethral, stoa, portico Exercises for Study: 1. Enter the approximate dates for these periods, and identify key characteristics of the art and architecture of each: Geometric and Orientalizing Art: Archaic Art: Early and High Classical Art: Late Classical Art: Hellenistic Art: 2. Compare and contrast the following pairs of artworks, using the points of comparison as a guide. 2A. Corinthian black‐figure amphora with animal friezes, from Rhodes, Greece, ca. 625‐600 BCE (Fig. 5‐5); Andokides Painter, Achilles and Ajax playing a dice game (Athenian bilingual amphora), from Orvieto, Italy, ca. 525‐520 BCE (Fig. 5‐21). • Materials • Stylistic features 2B. Kouros, from Attica, Greece, ca. 600 BCE (Fig. 5‐7); Kritios Boy, from the Acropolis, Athens, Greece, ca. -
Honorary Shares of Sacrificial Meat in Attic Vase Painting
HESPERIA 78 (2OO9) HONORARY SHARES OF Pages 1-40 SACRIFICIALMEAT IN ATTIC VASE PAINTING Visual Signs of Distinction and Civic Identity ABSTRACT A group of Attic black- and red-figurevases from the late 6th and Sth cen- turies B.C.is decoratedwith scenes that prominently feature legs of meat in iconographiccontexts other than sacrificialbutchering. These leg joints are interpretedas honoraryshares of sacrificialmeat awardedto select individuals at the festivals of the polis; the honoraryshares included more meat than the shares distributedto the general public. Because leg joints were awardedas honoraryshares to the priests who officiated at sacrifices,they came to rep- resent honoraryshares in general. By extension, the leg joints that appearin painted scenes symbolize meritoriousparticipation in city festivals, and thus can be viewed as expressionsof civic identity. In ancient Greece, animal sacrificewas a practicethat honored the gods and brought people together through the sharing of meat.1 It was widespread at the level of the state, which organized large sacrifices during important festivals and distributed meat to the people, as well as in private life. As an integral part of private and public life in ancient Athens, animal sacrifice inspired Attic vase painters, who often depicted various aspects of the sacrificialprocess, such as the procession to the altar,the butchering of the animal, the burning of the part offered to the gods on the altar, and the feasting during which the animal was consumed. Visual representations of sacrifice have received much scholarly attention during the past few decades, particularlywith reference to Athens.2 Drawing on earlierscholarship on the visual representationof sacrifice, this article focuses on a related topic. -
The New Galleries of Ancient Classical Art Open
VOLUME: 8SUMMER 2007 The New Galleries between 1912 and 1926. The atrium, which was designed to evoke the garden of alarge of Ancient Classical Art privateRoman villa, has been enlarged, and Open at the in spite of its numerous innovations, the new design remains faithful to the original Metropolitan architectural concept: aspace designed ac- cordingtoastyle influenced by Classical Museum, New York architecture and roofed in glass, which al- by Jane Whitehead and Larissa lows the viewer to admire the objects under Bonfante natural light.” This is the space formerly occupied by the kitchen and restaurant, put The Metropolitan Museum’sopening of in place by aformer director,Francis Henry the new galleries of ancient Hellenistic, Etr- Taylor; the huge windows in the south wall, uscan, and Roman art on April 20, 2007 blocked up when it served as akitchen, completes the installment of its ancient col- have now been opened up to Central Park. lection,the first part of which, the Belfer In addition to old favorites, there are now Court, displaying pre-Greek and Oriental- many objects that were never before exhib- izing art, was opened in 1996. Abeautifully ited, as well as pieces beautifullydisplayed illustrated, 13-page cover article in Archeo in informative new contexts.Inthe sculp- (March 7, 2007) presents an exclusive pre- ture court here are some spectacular,unex- view: pected Roman portraits: one of a “The heart of the new galleries is the long-haired man in marble and two bronze spectacular Leon Levy and Shelby White heads, perhaps amother and son. Court, amajestic courtyard and peristyle, dedicated to Hellenistic and Roman art; it Continuedonpage 8 occupies an area designed and built by the architectural firm McKim, Mead, and White Etruschi:Lacollezione Bonci Casuccini Chiusi Siena Palermo by Debora Barbagli and Mario Iozzo Translated by Jane Whitehead. -
Diapositiva 1
Greek Painted Pottery An Introduction Pottery parts Greek Vases Most of these names are just modern conventions. The use of these names in antiquity is not certain and the small evidence that we have suggest that: - Some of these names are clearly wrong - Some other names were used by the Greek in much more generic sense and not for specific vase types. In any case, scholars still keep on using these names since they are so well-spread in the academic community that using them makes sense. When in doubt, check here: https://www.beazley.ox.ac.uk/tools/pottery/shapes/ Main transport and containing types • Amphora •Pithos •Hydria •Kalpis •Stamnos •Peliké Amphorae (painted types) An amphora (pl. amphorae; from Greek amphi - on both sides, phero - carry) is a two-handled pot with a neck that is considerably narrower than the body. It was used for the storage of liquids and solids such as grain. Undecorated 'coarse' amphorae, with their lower part tapering to a point, were the standard transport containers in the Mediterranean. They are frequently depicted in symposium scenes. Panathenaic prize amphorae are perhaps the closest in shape, but the majority of painted amphorae are grouped into two main types, the one-piece belly- amphorae, and neck-amphorae, which have a clearly-marked neck. The pelike, another two-handled storage vessel. Panathenaic AmphoraThe Belly- Neck- Pelike broad body, narrow neck Amphora It seems to have been and foot of Panathenaic Amphora invented after the introduction The neck-amphora amphorae gives a shape The belly-amphora of the red-figure technique, is identifiable by its reminiscent of transport has a continuous although there are examples in amphorae. -
Herakles and Theseus on a Red-Figured Louterion 337
HERAKLESAND THESEUS ON A RED-FIGURED LOUTERION (PLATES 105-110) PART I: THE VASE AND ITS SCENES RECONSTRUCTED Pr HE red-figured louterion published herein was found in a well in the Athenian Agora on May 5th, 1938, shattered in many fragments. Not enough is pre- served to reconstitute the entire shape physically, though there can be little doubt about the main elements of the reconstruction on paper shown in Figure 1. The same can be said about the painting on its two sides. There are large gaps, but again the main lines are clear and a drawing with restorations can be attempted (Fig. 2).' The paintings on the vase, which can be attributed to the group of Polygnotos,2 date the pot to the late forties or early thirties of the 5th century. It is a piece of exceptional interest not only on account of its shape, which is rare indeed, but also The proof of this article, presented for publication in 1960, has not been read by the author. 1 My thanks are due to Professor Homer A. Thompson for allowing me to work on Agora material when I was first in Athens as a Student of the British School, and more specifically for his permission to publish this louterion. Both he and Miss Lucy Talcott have put me under deep obligation for help and kindness in many ways. Mrs. S. Karouzou gave me cordial welcome and help at the National Museum in difficult times. It was she who first suggested to me that the shape of the pot might have been a louterion. -
Narrative Tradition in Early Greek Oral Poetry and Vase-Painting
Oral Tradition 10/2 (1995): 282-303 Narrative Tradition In Early Greek Oral Poetry And Vase-Painting E. A. Mackay Archaic Athenian vase-painting of the sixth century BC exhibits visual narrative phenomena that are very similar to the verbal narrative patterns of traditional, orally composed poetry: in the poetry these are the familiar formulaic phrases and themes analyzed by Milman Parry and the ensuing train of oral theorists; in the art they take the form of repetitious iconography and recurrent compositional structures.1 In the vase-paintings as in the poems the same question arises: do the repetitions have an aesthetic or significatory function in the narrative context, or are they rather incidental and even impedimental to the process of reception? In his recent work on oral traditions, John Miles Foley (1991) has recognized the need to develop a new theory of reception for oral and oral-derived poetry, one that takes into specific account the peculiar characteristics of oral composition. It will be argued that this theory can usefully be applied also to the vase- paintings. In regard to poetry, Foley has proceeded by seeking to define a question, the answer to which is constituted by the characteristics of oral composition. Starting from the premise that the repetitious noun-epithet formulas are significatory rather than redundant, and accepting that their signification cannot regularly be conferred by the context in which they are 1 The ideas on which this paper is based were presented in embryo in my Inaugural Lecture at the University of Natal, September 1991 (Mackay 1993), and subsequently in a more developed form under the current title at the 27th AULLA Congress in Dunedin, February 1993.