Pottery Shapes
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Ancient Greek Vessels Pattern and Image
ANCIENT GREEK VESSELS PATTERN AND IMAGE 1 ACKNOWLEDGMENTS It is my pleasure to acknowledge the many individuals who helped make this exhibition possible. As the first collaboration between The Trout Gallery at Dickinson College and Bryn Mawr and Wilson Colleges, we hope that this exhibition sets a precedent of excellence and substance for future collaborations of this sort. At Wilson College, Robert K. Dickson, Associate Professor of Fine Art and Leigh Rupinski, College Archivist, enthusiasti- cally supported loaning the ancient Cypriot vessels seen here from the Barron Blewett Hunnicutt Classics ANCIENT Gallery/Collection. Emily Stanton, an Art History Major, Wilson ’15, prepared all of the vessels for our initial selection and compiled all existing documentation on them. At Bryn Mawr, Brian Wallace, Curator and Academic Liaison for Art and Artifacts, went out of his way to accommodate our request to borrow several ancient Greek GREEK VESSELS vessels at the same time that they were organizing their own exhibition of works from the same collection. Marianne Weldon, Collections Manager for Special Collections, deserves special thanks for not only preparing PATTERN AND IMAGE the objects for us to study and select, but also for providing images, procuring new images, seeing to the docu- mentation and transport of the works from Bryn Mawr to Carlisle, and for assisting with the installation. She has been meticulous in overseeing all issues related to the loan and exhibition, for which we are grateful. At The Trout Gallery, Phil Earenfight, Director and Associate Professor of Art History, has supported every idea and With works from the initiative that we have proposed with enthusiasm and financial assistance, without which this exhibition would not have materialized. -
An Osteobiography of Roman Burial from Oğlanqala, Azerbaijan
Death on the Imperial Frontier: an Osteobiography of Roman Burial from Oğlanqala, Azerbaijan THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Selin Elizabeth Nugent, B.S. Graduate Program in Anthropology The Ohio State University 2013 Master’s Examination Committee: Clark S. Larsen, Advisor Mark Hubbe Samuel Stout Barbara Piperata Copyrighted by Selin Elizabeth Nugent 2013 Abstract In 2011, excavations at the Iron Age archaeological site of Oğlanqala in Naxçivan, Azerbaijan uncovered unexpected human remains dating to the early Roman period (2 B.C. - c. 14 A.D.). At Oğlanqala, numerous post-Iron Age interments from the early 20th century have been recovered. However, the early Roman burial represents the only Roman interment discovered at the site as well as in the South Caucasus. Burial WWE.1 was situated at the base of the Oğlanqala Iron Age citadel and consisted of a single individual (Individual 21) placed in a seated position inside a large pithos, or urn. While urn burial is a common practice in the Caucasus, the individual was accompanied by a large quantity of fine Roman material objects rarely found in this region, including Augustan denarii, glass unguentaria, gold inlayed intaglio rings on the fingers, a ceramic round bottom vessel, and a large glass bead. This paper presents a detailed analysis of the bioarchaeological identity of Individual 21, focusing on age, stress, status, and mobility and how these factors relate to the unusual burial style. Osteological and oxygen (18O /16O) stable isotope analysis, archaeological context of the burial, and the historical record provide the basis to identify the individual. -
Eclectic Antiquity Catalog
Eclectic Antiquity the Classical Collection of the Snite Museum of Art Compiled and edited by Robin F. Rhodes Eclectic Antiquity the Classical Collection of the Snite Museum of Art Compiled and edited by Robin F. Rhodes © University of Notre Dame, 2010. All Rights Reserved ISBN 978-0-9753984-2-5 Table of Contents Introduction..................................................................................................................................... 1 Geometric Horse Figurine ............................................................................................................. 5 Horse Bit with Sphinx Cheek Plates.............................................................................................. 11 Cup-skyphos with Women Harvesting Fruit.................................................................................. 17 Terracotta Lekythos....................................................................................................................... 23 Marble Lekythos Gravemarker Depicting “Leave Taking” ......................................................... 29 South Daunian Funnel Krater....................................................................................................... 35 Female Figurines.......................................................................................................................... 41 Hooded Male Portrait................................................................................................................... 47 Small Female Head...................................................................................................................... -
Chapter One Pottery Other Than Transport Amphorae Philip M. Kenrick
. chapter one . Pottery Other Than Transport Amphorae Philip M. Kenrick INTRODUCTION THE potterY fabrics The rescue excavations of 2000 took place alongside par- The pottery is arranged primarily by fabric, in order to dis- allel investigations at Zeugma by French and Turkish tinguish where possible the various sources from which teams. When I was first invited to participate there was Zeugma was supplied. Since there is also a high degree of also understood to be a possibility of a further long-term correlation between fabrics and the functions for which the research excavation on the site to study the pottery.1 At the vessels were intended, the following conceptual structure time, it seemed premature to embark upon a comprehen- was found useful. sive description of the pottery of Zeugma: It was there fore . Table wares. Vessels for serving and consuming food: agreed that I should concentrate on a few contexts that plates, dishes, small bowls, drinking cups, together with could be reasonably well dated and that might be used to lids intended for use with such forms; also some small characterize the major chronological phases identified in flagons and jugs intended for use at the table. These are the trenches for which Oxford Archaeology was respon- generally made in fine fabrics with smooth surfaces, sible: these were Trenches 1, 2, 4, 5, 7, 9, 10, 11, 12, 13, 15, 18, mostly with a distinctive surface finish such as a slip or and 19. glaze. The briefest of notes were made upon the entire pottery collection, and these were then used in conjunction with . -
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. -
COLLECTING ANCIENT GLASS by RICHARD BROCKWAY with LYNETTE MACLEOD
COLLECTING ANCIENT GLASS by RICHARD BROCKWAY With LYNETTE MACLEOD People think the place to see and admire ancient Roman, Greek, Egyptian or Phoenician glass is in one of the great museums. In fact, Ancient Glass is available and undervalued. A caveat: to delve into its ancient history, let alone the plunder and international intrigue, prepare to become addicted. Study in out of way places and prepare for questions: what intrigued you first, where did you find it, do you know it’s real, is it expensive, why so cheap? A 2000 year old intact unique work of art is always a wonder to people who have seen absurd prices for mass produced pottery. I founded Ancient Art International (AAI) in 1988 after more than 20 years of studying and collecting in the ancient world. Fortunately, my corporate career allowed for much travel in Italy, France, England, Persia and Japan granting me time to visit all the museums and archaeological sites within striking distance. AAI is ending its second decade offering high quality ancient Greek, Roman, Egyptian, Middle Eastern, Gandharan, Islamic, and Chinese antiquities. When I started to do antique shows, I was unique in specializing in antiquities. People would actually ask if the items on display were for sale. Then the questions would begin. My time at these shows became almost non-stop lectures on the history and origins of the piece rather than trying to sell something. With reference books, catalogues, and museum brochures, the shows became more enjoyable, not work at all. In the process of establishing ancient art in antique shows, I used publicity to attract the antiquity aficionado who normally wouldn’t attend a conventional show. -
THE DIONYSIAN PARADE and the POETICS of PLENITUDE by Professor Eric Csapo 20 February 2013 ERIC CSAPO
UCL DEPARTMENT OF GREEK AND LATIN HOUSMAN LECTURE UCL Housman Lecture THE DIONYSIAN PARADE AND THE POETICS OF PLENITUDE by Professor Eric Csapo 20 February 2013 ERIC CSAPO A.E. Housman (1859–1936) Born in Worcestershire in 1859, Alfred Edward Housman was a gifted classical scholar and poet. After studying in Oxford, Housman worked for ten years as a clerk, while publishing and writing scholarly articles on Horace, Propertius, Ovid, Aeschylus, Euripides and Sophocles. He gradually acquired such a high reputation that in 1892 he returned to the academic world as Professor of Classics at University College London (1892–1911) and then as Kennedy Professor of Latin at Trinity College, Cambridge (1911–1936). Housman Lectures at UCL The Department of Greek and Latin at University College London organizes regular Housman Lectures, named after its illustrious former colleague (with support from UCL Alumni). Housman Lectures, delivered by a scholar of international distinction, originally took place every second year and now happen every year, alternating between Greek and Roman topics (Greek lectures being funded by the A.G. Leventis Foundation). The fifth Housman lecture, which was given by Professor Eric Csapo (Professor of Classics, University of Sydney) on 20 February 2013, is here reproduced with minor adjustments. This lecture and its publication were generously supported by the A.G. Leventis Foundation. 2 HOUSMAN LECTURE The Dionysian Parade and the Poetics of Plenitude Scholarship has treated our two greatest Athenian festivals very differently.1 The literature on the procession of the Panathenaea is vast. The literature on the Parade (pompe) of the Great Dionysia is miniscule. -
Greece: Interactive Exploration
Greece: Interactive Exploration Who were the Ancient Greeks? Explore more about the Ancient Greeks and what they valued as a society. Grade Level: Grades 3-5, Grades 6-8, Grades 9-12 Collection: Ancient Art Culture/Region: Greece Subject Area: Creative Thinking, Critical Thinking, Fine Arts, History and Social Science, Visual Arts Activity Type: Art in Depth LOOKING, THINKING, AND LEARNING This resource will consist of two different types of looking, thinking and learning activities. These activities call on your observation and thinking skills as you closely examine selected objects from Ancient Greece. The activities will explore the themes of mythology, religion, sport and trade. LOOK AT THIS! Look at This activities provide close-up views with guiding questions and background information. What will you learn about what the ancient Greeks valued? SURPRISE ME! Surprise Me investigations offer pop-up hot spots on selected objects to reveal intriguing information about Greek religion, gods, goddesses, trade, sport and mythology. How do these objects relate to the Greek religion and human need for protection from harm and healing from disease and injury? WHO WERE THE GREEKS? Ancient Greece was not a unified country, but a collection of city-states. A city-state was a city and the surrounding towns that all followed the same law. The most famous city-state from Ancient Greece was Athens. Although there were many city-states with different laws, they shared certain cultural aspects that allow us to speak of a Greek Civilization. They had a common language and in general worshipped the same gods and goddesses. -
AT 11.1 Basket: 21 Description of Basket: Roman Mortared Stone Wall at the Foundation from the Column of NE Anta Wall
Basket Information Trench: AT 11.1 Basket: 21 Description of Basket: Roman mortared stone wall at the foundation from the column of NE anta wall. Summary of Material: Total weight in kg: Latest Datable Material: Tentative Period: Notes: Basket coord.: W111.1-W111.9/S1225.4-S1228.4; elev.: *99.96-*99.84 Read By: LDR Date: July 17 2012 END 1 2 Undatable AT 11.1 Bas. 21 Ware-Shape-Decoration Wt Rim Base Hdl Body Other Notes Certainty Mends Utility Ware, Red ### 1 Undiagnostic, flat base for closed vessel. [shape] [shape] Utility Ware, Gray [shape] Cooking Ware Storage/Transport Amphora ### 1 Undiagnostic body sherd Fine Ware Other END Use this form in mixed baskets, where there are diagnostic sherds of different periods, and the dates of the coarseware cannot be estimated. 3 NUM/CAT NUM NUM 4 Lydian AT 11.1 Bas. 21 Ware-Shape-Decoration Wt Rim Base Hdl Body Other Notes Certainty Mends Cooking Ware Globular cooking pot Gold-dust ware Cooking stand Lid Breadtray Other Utility Ware, Red “Yogurt Bowl” Pithos Other coarse Table Ware Hydria/Amphora Waveline Hydria/Amphora Myrina Amphora Other Oinochoe SG, pendant petals Dipped Pendant Hooks/Semicircles Other Other Closed Shapes Misc Column krater Streaky, thick-walled Other Skyphos krater Lebes (dinos) Skyphos Streaky Glaze, no white bands SG, White Bands Other Stemmed Dish/Dish/Plate Black-on-Red Bichrome Plate Other Pitcher Omphalos phiale Pyxis 5 Lid Large Painted (early types) Jar Unguent Vessels Lydion Lekythos Vertical marbled Other Ring askos Miscellaneous Decorations ### Various Shapes (specify) Marbled Pendant Hooks Bichrome Earlier B/R “Phrygianizing” Streaky Glaze 1 Waveline Micaceous Wash Other Grayware ### 1 Hydria/Amphora Jar Plate/Dish/Stemmed Dish Mug Black-Polished Other Lamps Lydian lamp Other lamp Corinthian [shape] Attic [shape] East Greek misc. -
The Natural History of a Caeretan Hydria
BABESCH 91 (2016), 69-85. doi: 10.2143/BAB.91.0.3175644 The Natural History of a Caeretan Hydria John K. Papadopoulos Abstract One of the most extraordinary renderings of various sea creatures is the well-known and often-published Caere- tan hydria now in the Niarchos Collection. In contrast to the accurately rendered seal, which is rare in Greek art of all periods, octopus, and dolphins, the central creature that dominates the scene is usually considered as an imaginary sea monster, a ketos. The purpose of this paper is to suggest that the central creature is no sea monster, but a fairly accurate representation of one of the most elusive creatures of the sea: an oarfish, of the family Regalecidae. For Jaap Hemelrijk One of the most remarkable illustrations from as Boardman notes, for all its charm, the Phokaia- Classical antiquity of sea creatures on a single mermaid story has no authority.7 object prior to the Roman period is the celebrated Despite these disparate labels, there was con- Caeretan hydria now in the Stavros S. Niarchos sensus in the fact that the threatening creature Collection (fig. 1a-b).1 Often published, the vessel that dominates the scene, and which calls for a is attributed to the Eagle Painter, at least the pri- hero of the likes of Herakles or Perseus to deal mary figures.2 The hydria has been given many with, if not dispatch, was a sea monster: a ketos in names, in accordance with its iconography: Hans Greek.8 The terrifying nature of this monster is Peter Isler referred to it as the ‘Perseushydria’, in well related by Hemelrijk: ‘The painter has tried his belief that the primary scene depicted Perseus his utmost to make the monster truly horrible; and the sea monster. -
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. -
A Prize Aryballos
A PRIZE ARYBALLOS (PLATES 63 AND 64) T nHE most interesting single find from the excavation of 1954 on Temple Hill in Corinth was the fine aryballos of Middle Corinthian date with a representationof a dancing chorus (see above, pp. 151-152). Its significance is readily apparent: in it are combbinedneat and very careful workmanship,a fresh and lively scene, which is one of the earliest representations of a dancing chorus, and one of the longest archaic Corinthian inscriptions, other than a list of names, yet discovered on a vase (PIs. 63, 64). The subject of the scene and the inscription imply that this was not an ordin- ary product of the potter's workshop, but a special order, made as a prize, or in com- memoration of a vrictoryin a dancing contest, and dedicated by the chorus leader, Pyrvias (Pyrrhias). It is a vase worthy of a place in the early archaic temple in spite of its small size,' for every element of its decoration shows great care and the scene, with its youthful chorus and leader, is no comast dance, but a serious and proper performance, gracefully and simply executed. The vase is complete except for a piece of the front part of the lip, conveniently broken in antiquity to reveal the scene better to its modern viewers. It shows no signs of actual use, but is worn slightly on the sides and back of the handle by abrasion from the rough filling in which it lay. The clay is a typical Corinthian buff, the surface smooth and polished.