A Mycenaean Ritual Vase from the Temple at Ayia Irini, Keos
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The Underworld Krater from Altamura
The Underworld Krater from Altamura The Underworld krater was found in 1847 in Altamura in 1 7 Persephone and Hades Herakles and Kerberos ITALY southeastern Italy. The ancient name of the town is unknown, Hades, ruler of the Underworld, was the brother of Zeus (king of the gods) and Poseidon (god of The most terrifying of Herakles’s twelve labors was to kidnap the guard dog of the Underworld. APULIA Naples but by the fourth century bc it was one of the largest fortified Altamura the sea). He abducted Persephone, daughter of the goddess Demeter, to be his wife and queen. For anyone who attempted to leave the realm of the dead without permission, Kerberos (Latin, Taranto (Taras) m settlements in the region. There is little information about Although Hades eventually agreed to release Persephone, he had tricked her into eating the seeds Cerberus) was a threatening opponent. The poet Hesiod (active about 700 BC) described the e d i t e r of a pomegranate, and so she was required to descend to the Underworld for part of each year. “bronze-voiced” dog as having fifty heads; later texts and depictions give it two or three. r a what else was deposited with the krater, but its scale suggests n e a n Here Persephone sits beside Hades in their palace. s e a that it came from the tomb of a prominent individual whose community had the resources to create and transport such a 2 9 substantial vessel. 2 The Children of Herakles and Megara 8 Woman Riding a Hippocamp Map of southern Italy marking key locations mentioned in this gallery The inhabitants of southeastern Italy—collectively known as The Herakleidai (children of Herakles) and their mother, Megara, are identified by the Greek The young woman riding a creature that is part horse, part fish is a puzzling presence in the Apulians—buried their dead with assemblages of pottery and other goods, and large vessels inscriptions above their heads. -
A Masterpiece of Ancient Greece
Press Release A Masterpiece of Ancient Multimedia Greece: a World of Men, Feb. 01 - Sept. 01 2013 Gods, and Heroes DNP, Gotanda Building, Tokyo Louvre - DNP Museum Lab Tenth presentation in Tokyo The tenth Louvre - DNP Museum Lab presentation, which closes the second phase of this partnership between the Louvre and Dai Nippon Printing Co., Ltd (DNP), invites visitors to discover the art of ancient Greece, a civilization which had a significant impact on Western art and culture. They will be able to admire four works from the Louvre's Greek art collection, and in particular a ceramic masterpiece known as the Krater of Antaeus. This experimental exhibition features a series of original multimedia displays designed to enhance the observation and understanding of Greek artworks. Three of the displays designed for this presentation are scheduled for relocation in 2014 to the Louvre in Paris. They will be installed in three rooms of the Department of Greek, Etruscan and Roman Red-figure calyx krater Signed by the painter Euphronios, attributed to the Antiquities, one of which is currently home to the Venus de Milo. potter Euxitheos. Athens, c. 515–510 BC. Clay The first two phases of this project, conducted over a seven-year Paris, Musée du Louvre. G 103 period, have allowed the Louvre and DNP to explore new © Photo DNP / Philippe Fuzeau approaches to art using digital and imaging technologies; the results have convinced them of the interest of this joint venture, which they now intend to pursue along different lines. Location : Louvre – DNP Museum Lab Ground Floor, DNP - Gotanda 3-5-20 Nishi-Gotanda, Shinagawa-ku, Tokyo The "Krater of Antaeus", one of the Louvre's must-see masterpieces, Opening period : provides a perfect illustration of the beauty and quality of Greek Friday February 1 to Sunday September 1, ceramics. -
Vases and Kalos-Names from an Agora Well
VASES AND KALOS-NAMES FROM AN AGORA WELL A collection of graffiti on vases, found in a well in the Agora during the 1935 campaign,' has provided a fresh grouping of Attic kalos-inscriptions, and has added new names to the list. Our brief inspection of this material falls into three parts: we must consider the few figured pieces found in the well, the inscriptions as such, and the shapes of the vases, plain black-glazed and unglazed, on and in connection with which the inscriptions appear. The black-glazed table wares and substantial household furnishings with which the well was filled had only three figured companions. Of these the most interesting is illustrated in Figure 1. Preserved is more than half of one side of a double-disk, or bobbin.2 On it, Helios rising in his chariot drawn by winged white horses, is about to crest the sun-tipped waves. This theme, familiar from black-figured lekythoi, here finds its most elaborate expression. Our composition refines upon the solidity and power of the Brygos painter's Selene,3 to which it is most nearly related. The delicately curving wings of the horses, echoing the rim-circle, provide a second frame for the figlure of the god. Beneath the horses, all is tumult. Wave upon wave seems ready to engulf so dainty a team. But above, remote from confusions, stands the charioteer, confident and serene, his divine nature indicated by the great disk of the sun lightly poised upon his head. The contest between natural forces and the divine is a well-loved theme of Greek art; but it is rare to find, as liere, an element and not its personification. -
Greek Pottery Gallery Activity
SMART KIDS Greek Pottery The ancient Greeks were Greek pottery comes in many excellent pot-makers. Clay different shapes and sizes. was easy to find, and when This is because the vessels it was fired in a kiln, or hot were used for different oven, it became very strong. purposes; some were used for They decorated pottery with transportation and storage, scenes from stories as well some were for mixing, eating, as everyday life. Historians or drinking. Below are some have been able to learn a of the most common shapes. great deal about what life See if you can find examples was like in ancient Greece by of each of them in the gallery. studying the scenes painted on these vessels. Greek, Attic, in the manner of the Berlin Painter. Panathenaic amphora, ca. 500–490 B.C. Ceramic. Bequest of Mrs. Allan Marquand (y1950-10). Photo: Bruce M. White Amphora Hydria The name of this three-handled The amphora was a large, two- vase comes from the Greek word handled, oval-shaped vase with for water. Hydriai were used for a narrow neck. It was used for drawing water and also as urns storage and transport. to hold the ashes of the dead. Krater Oinochoe The word krater means “mixing The Oinochoe was a small pitcher bowl.” This large, two-handled used for pouring wine from a krater vase with a broad body and wide into a drinking cup. The word mouth was used for mixing wine oinochoe means “wine-pourer.” with water. Kylix Lekythos This narrow-necked vase with The kylix was a drinking cup with one handle usually held olive a broad, relatively shallow body. -
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. -
Serious Drinking: Vases of the Greek Symposium
SERIOUS DRINKING: Vases of the Greek Symposium “Drink with me, play music with me, love with me, wear a crown with me, be mad with me when I am mad and wise when I am wise.” - Athenaeus The ancient Greek symposium (from the setting. In studying side A of this 4th century Greek symposion) was a highly choreographed, B.C. vase, one can readily observe a symposi- Serious Drinking: Vases of all-male drinking party that often drew ast’s idealized version of himself in the heroic the Greek Symposium has to a close with a riotous parade about the soldiers taking leave of their women. The been organized collaboratively shuttered streets of town. Wine, and the soldiers, like the drinkers, depart from female by Susan Rotroff, professor in temporary self-abandonment it offered, was society to participate in decidedly male action. the Department of Classics and the chief ingredient of these gatherings; yet The symposium is the peaceful inverse of the Department of Art History intoxication was not the party’s sum intent. battle; both define the society, one in fostering and Archaeology; Grizelda Certain rules were devised under the auspices community and the other in defending it. The McClelland, PhD candidate in of a designated leader, the symposiarch or ban- krater itself is emblematic of the symposium’s the Department of Classics and quet master, who regulated the socializing communal ideals. Its physical placement the Department of Art History of his guests. It was he who set the tenor of at the center of the room is analogous to its and Archaeology; and Emily the party, defining how much wine was to be function. -
Download Circe and Odysseus in Ancient
Circe and Odysseus in Ancient Art This resource offers a series of questions that will help students engage with four ancient artifacts that represent the goddess Circes interactions or influences upon Odysseus and his companions. All these artifacts were made several centuries after the Odyssey was composed, but they should not be approached as straightforward or mere illustrations of episodes from the Odyssey. Rather, all five works of art (four artifacts and the epic poem) represent different versions of the story of how Circe interacts with Odysseus and his men. This resource assumes that students already will have read Books 9 and 10 of the Odyssey. This handout is formatted as a guide that an instructor can use to facilitate a conversation during a class meeting. The questions are meant to be asked by the instructor while students actively look at images of each artifact, using the weblinks provided. After each question, examples of possible observations that students might offer are included in italics. The italicized answers also sometimes include extra information that the instructor can share. Artifact #1: A kylix (drinking cup) at the Museum of Fine Arts (Boston) Attributed to the Painter of the Boston Polyphemos Made in Athens (Attica, Greece) ca. 550-525 BCE https://collections.mfa.org/objects/153469/drinking-cup-kylix-depicting-scenes-from-the- odyssey;jsessionid=31E168DC9A32CBB824DCBBFFA1671DC1?ctx=bb1a3a19-ebc8-46ce-b9b1- 03dc137d5b86&idx=1 Accession number 99.518 1. We are going to look at both sides of this kylix, but we will begin with the first image on the website (“Side A” of the kylix, which does not include anyone holding a shield). -
Cosmological Narrative in the Synagogues of Late Roman-Byzantine Palestine
COSMOLOGICAL NARRATIVE IN THE SYNAGOGUES OF LATE ROMAN-BYZANTINE PALESTINE Bradley Charles Erickson A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Religious Studies. Chapel Hill 2020 Approved by: Jodi Magness Zlatko Plese David Lambert Jennifer Gates-Foster Maurizio Forte © 2020 Bradley Charles Erickson ALL RIGHTS RESERVED ii ABSTRACT Bradley Charles Erickson: Cosmological Narrative in the Synagogues of Late Roman-Byzantine Palestine (Under the Direction of Jodi Magness) The night sky provided ancient peoples with a visible framework through which they could view and experience the divine. Ancient astronomers looked to the night sky for practical reasons, such as the construction of calendars by which time could evenly be divided, and for prognosis, such as the foretelling of future events based on the movements of the planets and stars. While scholars have written much about the Greco-Roman understanding of the night sky, few studies exist that examine Jewish cosmological thought in relation to the appearance of the Late Roman-Byzantine synagogue Helios-zodiac cycle. This dissertation surveys the ways that ancient Jews experienced the night sky, including literature of the Second Temple (sixth century BCE – 70 CE), rabbinic and mystical writings, and Helios-zodiac cycles in synagogues of ancient Palestine. I argue that Judaism joined an evolving Greco-Roman cosmology with ancient Jewish traditions as a means of producing knowledge of the earthly and heavenly realms. iii ACKNOWLEDGEMENTS I wish to express my sincere appreciation to my adviser, Dr. -
Catalogue 8 Autumn 2020
catalogue 8 14-16 Davies Street london W1K 3DR telephone +44 (0)20 7493 0806 e-mail [email protected] WWW.KalloSgalleRy.com 1 | A EUROPEAN BRONZE DIRK BLADE miDDle BRonze age, ciRca 1500–1100 Bc length: 13.9 cm e short sword is thought to be of english origin. e still sharp blade is ogival in form and of rib and groove section. in its complete state the blade would have been completed by a grip, and secured to it by bronze rivets. is example still preserves one of the original rivets at the butt. is is a rare form, with wide channels and the midrib extending virtually to the tip. PRoVenance Reputedly english With H.a. cahn (1915–2002) Basel, 1970s–90s With gallery cahn, prior to 2010 Private collection, Switzerland liteRatuRe Dirks are short swords, designed to be wielded easily with one hand as a stabbing weapon. For a related but slightly earlier in date dagger or dirk with the hilt still preserved, see British museum: acc. no. 1882,0518.6, which was found in the River ames. For further discussion of the type, cf. J. evans, e Ancient Bronze Implements, Weapons and Ornaments of Great Britain and Ireland, london, 1881; S. gerloff and c.B. Burgess, e Dirks and Rapiers of Great Britain and Ireland, abteilung iV: Band 7, munich, Beck, 1981. 4 5 2 | TWO GREEK BRONZE PENDANT BIRD)HEAD PYXIDES PRoVenance christie’s, london, 14 may 2002, lot 153 american private collection geometRic PeRioD, ciRca 10tH–8tH centuRy Bc Heights: 9.5 cm; 8 cm liteRatuRe From northern greece, these geometric lidded pendant pyxides are called a ‘sickle’ type, one with a broad tapering globular body set on a narrow foot that flares at the base; the other and were most likely used to hold perfumed oils or precious objects. -
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. -
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. -
Aegean Bronze Age Rhyta Type III S Conical, Boxer Rhyton (651)
Aegean Bronze Age Rhyta Type III S Conical, Boxer Rhyton (651). Reconstruction drawing by R. Porter (see also Fig. 29). PREHISTORY MONOGRAPHS 19 Aegean Bronze Age Rhyta by Robert B. Koehl Published by INSTAP Academic Press Philadelphia, Pennsylvania 2006 Design and Production INSTAP Academic Press Printing CRWGraphics, Pennsauken, New Jersey Binding Hoster Bindery, Inc., Ivyland, Pennsylvania Library of Congress Cataloging-in-Publication Data Koehl, Robert B. Aegean Bronze Age rhyta / by Robert B. Koehl. p. cm. — (Prehistory monographs ; 19) Includes bibliographical references and index. ISBN 1-931534-16-0 (hardcover : alk. paper) 1. Aegean Sea Region—Antiquities. 2. Rhyta—Aegean Sea Region. 3. Bronze age—Aegean Sea Region. I. Title. II. Series. DF220.K64 2006 938’.01—dc22 2006027437 Copyright © 2006 INSTAP Academic Press Philadelphia, Pennsylvania All rights reserved Printed in the United States of America In honor of my mother, Ruth and to the memory of my father, Seymour Table of Contents LIST OF ILLUSTRATIONS IN THE TEXT . ix LIST OF TABLES . xi LIST OF FIGURES . xiii LIST OF PLATES . xv PREFACE . xix ACKNOWLEDGMENTS . xxiii LIST OF DRAWING CREDITS . xxvii LIST OF PHOTOGRAPHIC CREDITS . xxix ABBREVIATIONS AND CONVENTIONS . xxxi INTRODUCTION . 1 1. TYPOLOGY, HISTORY, AND DEVELOPMENT . 5 Principle of Typology and Definition of Types . 5 Definition of Classes and Their Nomenclature . 7 Rhyton Groups: Typology of Rims, Handles, and Bases . 7 Exclusions and Exceptions . 9 Organization and Presentation . 12 Aegean Rhyta . 13 Type I . 13 Type II . 21 Type III . 38 Type IV . 53 Type Indeterminate . 64 Foreign Imitations of Aegean Rhyta . 64 viii AEGEAN BRONZE AGE RHYTA 2.