The Contribution of Research on Incoronata to the Problem of the Relations Between Greeks and Non-Greeks During Proto-Colonial Times
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Amazons, Thracians, and Scythians , Greek, Roman and Byzantine Studies, 24:2 (1983:Summer) P.105
SHAPIRO, H. A., Amazons, Thracians, and Scythians , Greek, Roman and Byzantine Studies, 24:2 (1983:Summer) p.105 Amazons, Thracians, and Scythians H A. Shapiro HE AMAZONS offer a remarkable example of the lacunose and T fragmented state of ancient evidence for many Greek myths. For while we hear virtually nothing about them in extant litera ture before the mid-fifth century, they are depicted in art starting in the late eighth! and are extremely popular, especially in Attica, from the first half of the sixth. Thus all we know about the Greeks' con ception of the Amazons in the archaic period comes from visual rep resentations, not from written sources, and it would be hazardous to assume that various 'facts' and details supplied by later writers were familiar to the sixth-century Greek. The problem of locating the Amazons is a good case in point. Most scholars assume that Herakles' battle with the Amazons, so popular on Attic vases, took place at the Amazon city Themiskyra in Asia Minor, on the river Thermodon near the Black Sea, where most ancient writers place it.2 But the earliest of these is Apollodoros (2.5.9), and, as I shall argue, alternate traditions locating the Ama zons elsewhere may have been known to the archaic vase-painter and viewer. An encounter with Amazons figures among the exploits of three important Greek heroes, and each story entered the Attic vase painters' repertoire at a different time in the course of the sixth century. First came Herakles' battle to obtain the girdle of Hippolyte (although the prize itself is never shown), his ninth labor. -
Attic Pottery of the Later Fifth Century from the Athenian Agora
ATTIC POTTERY OF THE LATER FIFTH CENTURY FROM THE ATHENIAN AGORA (PLATES 73-103) THE 1937 campaign of the American excavations in the Athenian Agora included work on the Kolonos Agoraios. One of the most interesting results was the discovery and clearing of a well 1 whose contents proved to be of considerable value for the study of Attic pottery. For this reason it has seemed desirable to present the material as a whole.2 The well is situated on the southern slopes of the Kolonos. The diameter of the shaft at the mouth is 1.14 metres; it was cleared to the bottom, 17.80 metres below the surface. The modern water-level is 11 metres down. I quote the description from the excavator's notebook: The well-shaft, unusually wide and rather well cut widens towards the bottom to a diameter of ca. 1.50 m. There were great quantities of pot- tery, mostly coarse; this pottery seems to be all of the same period . and joins In addition to the normal abbreviations for periodicals the following are used: A.B.C. A n tiquites du Bosphore Cimmerien. Anz. ArchaiologischerAnzeiger. Deubner Deubner, Attische Feste. FR. Furtwangler-Reichhold, Griechische Vasenmxlerei. Kekule Kekule, Die Reliefs an der Balustrade der Athena Nike. Kraiker Kraiker,Die rotfigurigenattischen Vasen (Collectionof the ArchaeologicalIn- stitute of Heidelberg). Langlotz Langlotz, Griechische Vasen in Wiirzburg. ML. Monumenti Antichi Pu'bblicatiper Cura della Reale Accadenia dei Lincei. Rendiconti Rendiconti della Reale Accademia dei Lincei. Richter and Hall Richter and Hall, Red-Figured Athenian Vases in the Metropolitan Museum of Art. -
Aphrodite on a Ladder
APHRODITE ON A LADDER (PLATES 17-19) N JULY OF 1981, in Byzantinelevels above and west of what was soonto be identified as the Stoa Poikile, the excavatorsof the Athenian Agora found two joining fragmentsof a Classical votive relief (P1. 17:a).1 The relief is framed by simple moldings: taenia and ovolo at top and a plain band at the right side. In the pictorial field is preservedthe head of a young woman carved in low relief. She gazes down to the left at a vessel raised in her right hand. Her head is coveredby a short veil. Above and behind the veil are two rungs and the vertical supports of a ladder whose upper end disappearsbehind the frame. Although frag- mentary and weathered, the relief provides a precious document for the study of Classical relief sculpture, and its unusual iconographygives a valuable clue to the identity of one of the deities worshiped in the area. Most of the figure'sprofile is broken away, but the carefully carvedlines of the lips and eye show that the sculptor took pains to give her delicate features. Her hair, where it ap- pears below the veil, is mostly worn away. Along the side of her face appear waves of hair with a scallopedcontour. No trace of her ear is preserved.It was either very small or hidden beneath her hair. Folds of the veil cross her head in bifurcating linear patterns of rounded ridges. Below her hair two folds fall down along her neck, while others, from the hidden right side of her head, blow out behind in sweeping curves. -
The Study of Ancient Territories Chersonesos & South Italy
The STudy of AncienT TerriTorieS Chersonesos & south Italy reporT for 2008–2011 inSTiTuTe of clASSicAl ArchAeology The univerSiTy of TexAS at Austin In Memoriam Dayton Blanchard Warren Larson Mary Link Malone Brooke Shearer Vitaly Zubar Friends and supporters Front Cover: Polynomial texture map (PTM) image of a Hellenistic or Roman banded agate intaglio signet. The PTM was created during the Reflectance Transformation Imaging workshop led by Cultural Heritage Imaging at Chersonesos in 2008. The gem, 8 mm long, bears an image of a seated, draped male figure holding a staff in one hand and perhaps sheaves of wheat in the other. Copyright © 2011 Institute of Classical Archaeology, The University of Texas at Austin www.utexas.edu/research/ica ISBN 978-0-9748334-5-3 The STudy of AncienT TerriTorieS Chersonesos & south Italy reporT for 2008–2011 inSTiTuTe of clASSicAl ArchAeology The univerSiTy of TexAS at AuSTin Copyright © 2011 Institute of Classical Archaeology The director and staff of The Institute of Classical Archaeology gratefully acknowledge the extraordinary support for operations and projects provided by The Packard Humanities Institute For additional support, special thanks to: Non-profit Organizations The Brown Foundation The James R. Dougherty, Jr. Foundation Dumbarton Oaks The Liss Foundation Cultural Heritage Imaging The Trust for Mutual Understanding Governmental Institutions Embassy of Ukraine in the United States Ministero dei Beni Culturali ed Ambientali Embassy of the United States in Ukraine Museo Archeologico Nazionale, -
Durham E-Theses
Durham E-Theses Rethinking mythology in Greek museums through contemporary culture Antonopoulou, Marina How to cite: Antonopoulou, Marina (2010) Rethinking mythology in Greek museums through contemporary culture, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2511/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk lml'Hlm:ING MYTHOLOGY IN <mEEK »KUSE{]Ml$ THROUGH CONTEMPORARY ClJL1UllB MARINAANTONOPOULOU Appendices The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged. 2 6 MAY 2010 Appendix 1 Socratis Malamas Date: 15/01/2005 Venue: Hotel'Olympia', Thessaloniki. Q: Could you tell me what is the first thing that comes to mind when you hear the words 'Greek mythology'? A: The usual, what we learned in school. -
HYDRIA-FRAGMENTS in CORINTH 309 Company of Orientals on a Solemn Occasion? Not in Life, Either in the Orient Or in Greece
HYDRIA-FRAGMENTSIN CORINTH (PLATES 85-88) S OME years ago Miss Hazel Palmerkindly sent me photographsof certain Attic red-figured fragments found by the American School of Classical Studies in their excavations at Corinth. Among the fragments were three, from one vase, that seemed to me of exceptional interest. Mrs. Josephine Platner Ilarwood and Miss Palmer in- vited me to publish them, in advance of the official publication, and I am grateful to them for their generous action. A few months later Dr. J. L. Caskey, Director of the American School, sent me clearer photographs of the three pieces, and also photo- graphs of two other small fragments from the same vase: to him also I feel much indebted (P1. 85). In 1953 I was able to examine the originals at Corinth, though but hastily. They come from a hydria of exactly the same common type as those in Boston and London reproduced on Plate 86. In the Boston hydria (P1. 86, b)1 the base and foot are modern, so I give the picture only: the shape of the vase, and the position of the picture on it, will be plain from the London hydria (P1. 86, a).2 In the first fragment (A) one sees the upper part of a man-from the waist or near it-, facing to the right, the body almost frontal, but turned slightly in the same direction as the head, both arms bent at the elbow and the forearms raised. The man wears Oriental costume:-first, a garment of thick material ornamented with a bold pattern of black circles, each having the centre marked in brown; secondly, on the head, a kidaris (bashlik), the long flaps of which are preserved, while the rest is missing; the kidaris too may have been ornamented, at least the black remains just before the fragment ends look like part of a spot; thirdly, worn shawl-wise over both shoulders, a dark wrap with a thin light border. -
Reverse Engineering of Corinthian Pigment Processing and Firing Technologies on Archaic Polychrome Ceramics
Reverse Engineering of Corinthian Pigment Processing and Firing Technologies on Archaic Polychrome Ceramics Item Type text; Electronic Thesis Authors Klesner, Catherine Elizabeth Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 27/09/2021 23:32:12 Link to Item http://hdl.handle.net/10150/625903 REVERSE ENGINEERING OF CORINTHIAN PIGMENT PROCESSING AND FIRING TECHNOLOGIES ON ARCHAIC POLYCHROME CERAMICS by Catherine Elizabeth Klesner Copyright © Catherine Elizabeth Klesner 2017 A Thesis Submitted to the Faculty of the DEPARTMENT OF MATERIALS SCIENCE AND ENGINEERING In Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE In the Graduate College THE UNIVERSITY OF ARIZONA 2017 STATEMENT BY AUTHOR The thesis titled Reverse Engineering of Corinthian Pigment Processing and Firing Technologies on Archaic Polychrome Ceramics prepared by Catherine Elizabeth Klesner has been submitted in partial fulfillment of requirements for a master’s degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. -
Theriomorphic Forms: Analyzing Terrestrial Animal- Human Hybrids in Ancient Greek Culture and Religion
Theriomorphic Forms: Analyzing Terrestrial Animal- Human Hybrids in Ancient Greek Culture and Religion Item Type text; Electronic Thesis Authors Carter, Caroline LynnLee Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 21:29:46 Link to Item http://hdl.handle.net/10150/633185 THERIOMORPHIC FORMS: ANALYZING TERRESTRIAL ANIMAL-HUMAN HYBRIDS IN ANCIENT GREEK CULTURE AND RELIGION by Caroline Carter ____________________________ Copyright © Caroline Carter 2019 A Thesis Submitted to the Faculty of the DEPARTMENT OF RELIGIOUS STUDIES AND CLASSICS In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2019 THE UNIYERSITY OF ARIZONA GRADUATE COLLEGE As members of the Master's Committee, we certi$ that we have read the thesis prepared by Caroline Carter titled Theriomorphic Forms: Analyzing Terrestrial Animal-Humøn Hybrids in Ancíent Greek Culture and Religion and reç¡¡ü¡sr6 that it be accepted as firlfilling the disse¡tation requirement for the Master's Degree. G Date: + 26 Z¿f T MaryV o 1.011 ,AtÌ.r.ln Date: \l 41 , Dr. David Gilman Romano - 4*--l -r Date; { zé l2 Dr. David Soren r) øate:4'2 6 - l\ Dr. Kyle Mahoney Final approval and acceptance of this thesis is contingent upon the candidate's submission of the final copies of the thesis to the Graduate College. -
Three Women Sharing a Mantle in 6Th Century BCE Greek Vase-Painting: Plurality, Unity, Family, and Social Bond
arts Article Three Women Sharing a Mantle in 6th Century BCE Greek Vase-Painting: Plurality, Unity, Family, and Social Bond Valérie Toillon Département d’histoire de l’art et d’études cinématographiques, Université de Montréal, Montréal, QC H3T 1J4, Canada; [email protected] Received: 30 May 2019; Accepted: 22 October 2019; Published: 25 October 2019 Abstract: The motif of three women sharing the same mantle is pictured on about a dozen vases dating from the first half of the sixth century BCE. Among these vases, the so-called “François Vase” and a dinos signed by Sophilos (now in London, British Museum) are of particular interest. The wedding of Thetis and Peleus is pictured on both vases. This theme is well-adapted to the representation of a procession of deities in which the Charites, Horai, Moirai, and Muses take part. The main feature of these deities is a shared mantle, which covers and assembles them, emphasizing that these deities are plural by definition. The main study on this iconographical theme remains that by Buchholz, who documented most of the depictions of the “shared-mantle” in ancient Greek vase-painting and small terracottas. The shared-mantle motif has been interpreted successively as a reference to the sacred peplos (in relation to the wedding), a simplification from the painter to avoid painting all the mantles, a sign of emotional/sexual union, a religious gesture, and a depiction of choruses. The present study aims to consider in more detail the “shared-mantle” as an iconographic sign that involves the idea of community, shared identity, and emotional bond. -
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. -
Burial Customs of Clazomenae in the Iron Age (1100 – 500 Bc)
BURIAL CUSTOMS OF CLAZOMENAE IN THE IRON AGE (1100 – 500 BC) A Master’s Thesis by POLAT ULUSOY Department of Archaeology and History of Art Bilkent University Ankara January 2010 To my family BURIAL CUSTOMS OF CLAZOMENAE IN THE IRON AGE (1100 – 500 BC) The Institute of Economics and Social Sciences of Bilkent University by POLAT ULUSOY In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in THE DEPARTMENT OF ARCHAEOLOGY AND HISTORY OF ART BILKENT UNIVERSITY ANKARA January 2010 I certify that I have read this thesis and that it is fully adequate, in scope and quality, as a thesis for the degree of Master of Arts in Archaeology and History of Art. ............................. Dr. Charles Gates Supervisor I certify that I have read this thesis and that it is fully adequate, in scope and quality, as a thesis for the degree of Master of Arts in Archaeology and History of Art. ............................. Dr. Jacques Morin Examining Committee Member I certify that I have read this thesis and that it is fully adequate, in scope and quality, as a thesis for the degree of Master of Arts in Archaeology and History of Art. ............................. Dr. Yaşar E. Ersoy Examining Committee Member Approval of the Institute of Economics and Social Sciences ............................. Prof.Dr. Erdal Erel Director ABSTRACT THE BURIAL CUSTOMS OF CLAZOMENAE IN THE IRON AGE (1100 – 500 BC) Ulusoy, Polat M.A, Department of Archaeology and History of Art Supervisor: Dr. Charles Gates January 2010 The present work is a study on the burial customs of Clazomenae in the Iron Age and Archaic period. -
Corpus Vasorum Antiquorum, Fascicule 10
UNION ACADÉMIQUE INTERNATIONALE CORPUS UASORUM ANTIQUORUM THE J. PAUL GETTY MUSEUM • MALIBU Athenian Red-Figure Column- and Volute-Kraters DESPOINA TSIAFAKIS THE J. PAUL GETTY MUSEUM FASCICULE 10 • [U.S.A. FASCICULE 40] 2019 CORPUS UASORUM ANTIQUORUM UNITED STATES OF AMERICA • FASCICULE 40 The J. Paul Getty Museum, Malibu, Fascicule 10 UNION ACADÉMIQUE INTERNATIONALE CORPUS UASORUM ANTIQUORUM THE J. PAUL GETTY MUSEUM • MALIBU Athenian Red-Figure Column- and Volute-Kraters DESPOINA TSIAFAKIS THE J. PAUL GETTY MUSEUM FASCICULE 10 • [U.S.A. FASCICULE 40] 2019 The free online edition of this catalogue is available at http://www.getty.edu/publications The J. Paul Getty Museum’s prior CVA fascicules 1–9 are /cva10. Also available are free PDF, EPUB, and MOBI downloads of the book, CSU and available for free download in our Uirtual Library at JSON downloads of the object data, and JPG downloads of the catalogue images. www.getty.edu/publications/virtuallibrary. © 2019 J. Paul Getty Trust Also from Getty Publications: ✦ Ancient Lamps in the J. Paul Getty Museum Jean Bussière and Birgitta Lindros Wohl This work is licensed under a Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/. ✦ Ancient Terracottas from South Italy and Sicily in the J. Paul Getty Museum Published by the J. Paul Getty Museum, Los Angeles Maria Lucia Ferruzza Getty Publications 1200 Getty Center Drive, Suite 500 ✦ Roman Mosaics in the J. Paul Getty Museum Los Angeles, California 90040-1682 Alexis Belis www.getty.edu/publications Greg Albers, Project Manager Rachel Barth, Project Editor Laura diZerega, Editorial and Digital Assistant Sharon Herson, Manuscript Editor Michelle Woo Deemer, Production David Saunders, Curatorial Liaison Toby Schreiber, Profile Drawings Distributed in the United States and Canada by the University of Chicago Press Distributed outside the United States and Canada by Yale University Press, London Library of Congress Cataloging-in-Publication Data Corpus vasorum antiquorum.