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Papers by Delphine Tonglet
L'Antiquité Classique, 2015
Corpus Vasorum Antiquorum, Österreich, Beiheft 2
Babesch - Bulletin Antieke Beschaving, 2014
This paper proposes to attribute, for the first time, three Attic kyathoi to the Sappho Painter a... more This paper proposes to attribute, for the first time, three Attic kyathoi to the Sappho Painter and gathers together other vases that may belong to this late black-figure workshop (end of the 6th- beginning of the 5th century BC). It further confirms through the study of figured decoration and shape that an important part of Attic kyathoi manufactured in this workshop was a legacy left by Psiax, a hypothesis already suggested for a few pieces by C. Jubier-Galinier. A study of shape makes it possible to group vases which would not be comparable on stylistic grounds alone, and it reinforces previous stylistic comparisons of figured decorations. It also points out the importance of the potter's work in the organization and understanding of Attic ceramic workshops.
The research project concerned cultural and economic transfers between the Etruscan world and Att... more The research project concerned cultural and economic transfers between the Etruscan world and Attica during the Archaic period and focused on the copy and the adaptation of Etruscan vase shapes by some potters of the Athenian Kerameikos. This being a vast and known subject, it was decided to concentrate on the case study of one shape, the kyathos, for which a large range of aspects were studied: the origins and typology of the shape in Etruria and its variants according to regional tastes. Etruscan black-figure productions are also included. The research then moved on the Attic shores and proposed a study of Attic kyathos shapes (compared to the Etruscan models) and tried to identify workshops and potters’ shaping habits. This approach is close to H. Bloesch and E. A. Mackay studies, but also to C. Orton’s system of “envelopes”. In another chapter of the work, several aspects such as the contexts, distribution, uses, functions and manipulation of the kyathoi (both Etruscan and Attic...
Theozotos’vases compose a unique pair of Attic globular kyathoi, dated around the middle of the 6... more Theozotos’vases compose a unique pair of Attic globular kyathoi, dated around the middle of the 6th century or little after. One, found in Vulci, was signed by the potter and is now in the Louvre (inv. F69). The other, in the Basel Antikenmuseum (inv. BS 1402), was assigned to the same craftsman for its resemblance with the first vase.Both are often isolated because of their unique character, reflecting a complex mix of Boeotian, East Greek and Etruscan influences.The obvious link with Etruscan crafts regards the shape, imitating bucchero. This interesting aspect will not be discussed here, as it would take us beyond this symposion’s topic. Though the potter’s name and some iconographical elements demonstrate connections with Boeotia, the technical and stylistic features show that the two kyathoi are of Attic traditional manufacture. Theozotos, if Boeotian, was working in Athens following the local technical tradition.
DialArchMed III, 2019
Tomb 713 from the Valle Trebba necropolis of Spina is a female burial, belonging to a group of gr... more Tomb 713 from the Valle Trebba necropolis of Spina is a female burial, belonging to a group of graves that stands out by the exceptional character of the grave goods and the specific ideological choices expressed by the objects. Within the Tomb, the presence of a red-figured kyathos lead to a study of the hypothetical manufacturing process of this unique piece and of its functional, cultural and ideological implications in the burial context.
RESEARCH INTERESTS • Dissertation My doctoral dissertation discusses questions of cultural and ec... more RESEARCH INTERESTS
• Dissertation
My doctoral dissertation discusses questions of cultural and economic transfers between the Etruscan and Greek worlds during the Early Iron Age and the Archaic period. It focusses on the imitation and adaptation of Etruscan shapes by a number of potters of the Athenian Kerameikos, and places special emphasis on one distinctive Etruscan shape copied by the Athenians: the kyathos. It studies both the Etruscan and Athenian productions in order to better understand and identify the ways in which cultural and economic interactions took place. On the one hand, it examines the origins and typology of the shape in Etruria as well as its variants according to regional tastes. On the other hand, it is also concerned with the imitation and adaptation of the shape by the Athenian potters. It compares both productions to shed light on the workshops’ organization and the makers’ habits. The thesis also offers new insights into a world of practices, not only in the Kerameikos but also among Etruscan buyers and craftsmen. Taking into account archaeological assemblages, distribution, uses, and functions of the kyathoi, it examines the role played by tradesmen and the non-Greek purchasers in these intercultural “dialogues”.
• Research & Teaching
Following my doctoral investigations about pottery production and markets, I currently focus on issues of collective practices and the construction of social and cultural identities through the study of the use of distinctive pottery shapes involved in ceremonial consumption, as well as their contextual assemblages.
My study of banquet practices and exchanges of objects between Greece and Etruria confronted me with the issue of Hellenocentrism that still affects – or risks affecting – our approaches. On the one hand, this has led me to re-examine old questions in the light of a better knowledge of Greek and Etruscan material. This was made possible through new excavations, more accurate typologies of pottery material and their assemblage. On the other hand, I have been formulating new research questions. What do we mean by Greek symposion? Are the uses and functions of 8th- and 7th-century “banquet material” in Athens clearly identified? Regarding elite drinking and eating practices in the Ancient Mediterranean, could we still speak of a Mediterranean koinè? What is ancestral/Italic/transalpine/Greek in the Etruscan banquet practices? From the archaeological contexts, are there different ceremonial sets involving specific banquet equipment (libation, “toast”, banquet)? Do we have to systematically separate food from drinks, as we usually do on the basis of the Greek sympotic model? My research deals with questions at the crossroads of the Greek, Near-Eastern, Phoenician, Etruscan and even Celtic worlds. This approach is crucial for a better understanding of intercultural exchanges of objects, techniques, practices and ideas in the Ancient Mediterranean.
During my post-doctoral years, the organization of an international workshop on the kantharos at Columbia University (New York 2016), allowed me to realize the intricacy of the exchanges between Greece and Etruria. The forthcoming publication of the proceedings of this workshop will offer new ground to think about the contacts between the Greek world and the Western Mediterranean. Thanks to the recent Master Seminar in Greek Archaeology at ULB (Fall 2018), for which I drew the subject and concept, my teaching experience and my research interest were able to feed each other. In particular, the seminar offered me the opportunity – through the lively discussions between the students and the guest speakers – to further develop and articulate the theoretical framework of my research. Theories of interculturality applied to Classical Archaeology gave me a tool to help students to constructively question their readings, their own prejudices and methodological approaches, no matter what the studied culture(s), the chronological chosen span, or the material class in focus. In the future, I would like to improve and deepen this teaching and researching experience, not only in the frame of exchanges between students and highly specialized scholars but also through a specific emphasis on the direct study of objects, thanks to hands-on sessions in museum collections.
Key words: Ceramology, Archaic & Classical Greece, Etruria, Attic pottery, Bucchero, Mediterranean Iron Age.
Disciplines: Archaeology, Ceramology, Cultural Anthropology, Ethnology.
Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verz... more Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie, detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar.
il y a déjà plus d'un siècle que l'attention des archéologues avait été attirée par la ressemblan... more il y a déjà plus d'un siècle que l'attention des archéologues avait été attirée par la ressemblance morphologique entre certains vases grecs d'importation et des formes étrusques en bucchero. s. gsell remarquait déjà que le potier nikosthénès et sa production d'amphores attiques à anses plates étaient au coeur de la question. il reconnaissait également l'antériorité des vases étrusques de la même forme 3 .
L'Antiquité Classique, 2015
Corpus Vasorum Antiquorum, Österreich, Beiheft 2
Babesch - Bulletin Antieke Beschaving, 2014
This paper proposes to attribute, for the first time, three Attic kyathoi to the Sappho Painter a... more This paper proposes to attribute, for the first time, three Attic kyathoi to the Sappho Painter and gathers together other vases that may belong to this late black-figure workshop (end of the 6th- beginning of the 5th century BC). It further confirms through the study of figured decoration and shape that an important part of Attic kyathoi manufactured in this workshop was a legacy left by Psiax, a hypothesis already suggested for a few pieces by C. Jubier-Galinier. A study of shape makes it possible to group vases which would not be comparable on stylistic grounds alone, and it reinforces previous stylistic comparisons of figured decorations. It also points out the importance of the potter's work in the organization and understanding of Attic ceramic workshops.
The research project concerned cultural and economic transfers between the Etruscan world and Att... more The research project concerned cultural and economic transfers between the Etruscan world and Attica during the Archaic period and focused on the copy and the adaptation of Etruscan vase shapes by some potters of the Athenian Kerameikos. This being a vast and known subject, it was decided to concentrate on the case study of one shape, the kyathos, for which a large range of aspects were studied: the origins and typology of the shape in Etruria and its variants according to regional tastes. Etruscan black-figure productions are also included. The research then moved on the Attic shores and proposed a study of Attic kyathos shapes (compared to the Etruscan models) and tried to identify workshops and potters’ shaping habits. This approach is close to H. Bloesch and E. A. Mackay studies, but also to C. Orton’s system of “envelopes”. In another chapter of the work, several aspects such as the contexts, distribution, uses, functions and manipulation of the kyathoi (both Etruscan and Attic...
Theozotos’vases compose a unique pair of Attic globular kyathoi, dated around the middle of the 6... more Theozotos’vases compose a unique pair of Attic globular kyathoi, dated around the middle of the 6th century or little after. One, found in Vulci, was signed by the potter and is now in the Louvre (inv. F69). The other, in the Basel Antikenmuseum (inv. BS 1402), was assigned to the same craftsman for its resemblance with the first vase.Both are often isolated because of their unique character, reflecting a complex mix of Boeotian, East Greek and Etruscan influences.The obvious link with Etruscan crafts regards the shape, imitating bucchero. This interesting aspect will not be discussed here, as it would take us beyond this symposion’s topic. Though the potter’s name and some iconographical elements demonstrate connections with Boeotia, the technical and stylistic features show that the two kyathoi are of Attic traditional manufacture. Theozotos, if Boeotian, was working in Athens following the local technical tradition.
DialArchMed III, 2019
Tomb 713 from the Valle Trebba necropolis of Spina is a female burial, belonging to a group of gr... more Tomb 713 from the Valle Trebba necropolis of Spina is a female burial, belonging to a group of graves that stands out by the exceptional character of the grave goods and the specific ideological choices expressed by the objects. Within the Tomb, the presence of a red-figured kyathos lead to a study of the hypothetical manufacturing process of this unique piece and of its functional, cultural and ideological implications in the burial context.
RESEARCH INTERESTS • Dissertation My doctoral dissertation discusses questions of cultural and ec... more RESEARCH INTERESTS
• Dissertation
My doctoral dissertation discusses questions of cultural and economic transfers between the Etruscan and Greek worlds during the Early Iron Age and the Archaic period. It focusses on the imitation and adaptation of Etruscan shapes by a number of potters of the Athenian Kerameikos, and places special emphasis on one distinctive Etruscan shape copied by the Athenians: the kyathos. It studies both the Etruscan and Athenian productions in order to better understand and identify the ways in which cultural and economic interactions took place. On the one hand, it examines the origins and typology of the shape in Etruria as well as its variants according to regional tastes. On the other hand, it is also concerned with the imitation and adaptation of the shape by the Athenian potters. It compares both productions to shed light on the workshops’ organization and the makers’ habits. The thesis also offers new insights into a world of practices, not only in the Kerameikos but also among Etruscan buyers and craftsmen. Taking into account archaeological assemblages, distribution, uses, and functions of the kyathoi, it examines the role played by tradesmen and the non-Greek purchasers in these intercultural “dialogues”.
• Research & Teaching
Following my doctoral investigations about pottery production and markets, I currently focus on issues of collective practices and the construction of social and cultural identities through the study of the use of distinctive pottery shapes involved in ceremonial consumption, as well as their contextual assemblages.
My study of banquet practices and exchanges of objects between Greece and Etruria confronted me with the issue of Hellenocentrism that still affects – or risks affecting – our approaches. On the one hand, this has led me to re-examine old questions in the light of a better knowledge of Greek and Etruscan material. This was made possible through new excavations, more accurate typologies of pottery material and their assemblage. On the other hand, I have been formulating new research questions. What do we mean by Greek symposion? Are the uses and functions of 8th- and 7th-century “banquet material” in Athens clearly identified? Regarding elite drinking and eating practices in the Ancient Mediterranean, could we still speak of a Mediterranean koinè? What is ancestral/Italic/transalpine/Greek in the Etruscan banquet practices? From the archaeological contexts, are there different ceremonial sets involving specific banquet equipment (libation, “toast”, banquet)? Do we have to systematically separate food from drinks, as we usually do on the basis of the Greek sympotic model? My research deals with questions at the crossroads of the Greek, Near-Eastern, Phoenician, Etruscan and even Celtic worlds. This approach is crucial for a better understanding of intercultural exchanges of objects, techniques, practices and ideas in the Ancient Mediterranean.
During my post-doctoral years, the organization of an international workshop on the kantharos at Columbia University (New York 2016), allowed me to realize the intricacy of the exchanges between Greece and Etruria. The forthcoming publication of the proceedings of this workshop will offer new ground to think about the contacts between the Greek world and the Western Mediterranean. Thanks to the recent Master Seminar in Greek Archaeology at ULB (Fall 2018), for which I drew the subject and concept, my teaching experience and my research interest were able to feed each other. In particular, the seminar offered me the opportunity – through the lively discussions between the students and the guest speakers – to further develop and articulate the theoretical framework of my research. Theories of interculturality applied to Classical Archaeology gave me a tool to help students to constructively question their readings, their own prejudices and methodological approaches, no matter what the studied culture(s), the chronological chosen span, or the material class in focus. In the future, I would like to improve and deepen this teaching and researching experience, not only in the frame of exchanges between students and highly specialized scholars but also through a specific emphasis on the direct study of objects, thanks to hands-on sessions in museum collections.
Key words: Ceramology, Archaic & Classical Greece, Etruria, Attic pottery, Bucchero, Mediterranean Iron Age.
Disciplines: Archaeology, Ceramology, Cultural Anthropology, Ethnology.
Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verz... more Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie, detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar.
il y a déjà plus d'un siècle que l'attention des archéologues avait été attirée par la ressemblan... more il y a déjà plus d'un siècle que l'attention des archéologues avait été attirée par la ressemblance morphologique entre certains vases grecs d'importation et des formes étrusques en bucchero. s. gsell remarquait déjà que le potier nikosthénès et sa production d'amphores attiques à anses plates étaient au coeur de la question. il reconnaissait également l'antériorité des vases étrusques de la même forme 3 .
Winter Conference of the New York Classical Club, organised by Pr A. Shapiro, January 30, 2016.
The Cup of Dionysos. New approaches to the kantharos Workshop to be held on April 21st-22nd 2016... more The Cup of Dionysos.
New approaches to the kantharos
Workshop to be held on April 21st-22nd 2016.
Columbia University.
The history of the ancient kantharos, which raises many questions for classical scholars, will be the subject of a small but sharply focused workshop planned for Spring 2016.
The kantharos in Attica is a rather rare form, always exceptionally well-modeled and decorated. During the first quarter of the 6th century BC, this complex shape, characterized by an open truncated cup, two elegant high handles, and a tall flaring foot, appears in the Attic black-figure repertoire, and soon after, the vase appears in Attic iconography as an attribute of the Greek god Dionysos. The sudden appearance of this shape in Attic pottery has been explained by the influence of an older Etruscan bucchero vessel type, the most important Etruscan pottery artifact to travel widely in the Western Mediterranean and the Aegean before the middle of the 6th century BC. It was the Greek world that copied the Etruscan rather than vice versa, an unusual situation.
Most Etruscologists agree with this hypothesis, and further evidence of Etruscan influence has surfaced, including a bucchero variant of prestigious Greek silver vases (A. Naso). At the same time, a number of new questions have been raised. If the black figure kantharos appears suddenly without previous connections in the local Proto-Attic repertoire, how do we explain the fact that similar shapes existed during the Mycenaean period, and that similar variants exist in Attic Geometric productions? Is Beazley’s kantharos A1 type really a new Athenian shape, or is it a reactivation of an ancient local type, influenced by the presence of the bucchero? Why would Dionysos be connected with a foreign vase shape? Do Near Eastern kantharoid vases play a role in the creation of the Etruscan shape during the late 8th century? Or was the Etruscan kantharos created as a local form to compete with the Greek wine cup with two handles and a foot? Together with the shape, cultural, technical and ritual practices could be exchanged and transformed. Study and discussion of older and new data on the kantharos will allow us to suggest a new paradigm of the form and its history, and lead us to a better understanding of the intercultural relationship between Greece and Etruria during a long chronological span.
The workshop, organized by Francesco de Angelis, Delphine Tonglet and Larissa Bonfante will be held at Columbia University in the spring of 2016. The following speakers have been invited: 1. Keynote lecture by Alan Shapiro (Johns Hopkins). 2. Regarding the Etruscan kantharos in the Mediterranean: Jean Gran-Aymerich (CNRS, Paris), Jean MacIntosh Turfa (Mediterranean Section, Penn Museum) and Delphine Tonglet (Metropolitan Museum of Art, senior Fellow). 2. For the connections between the kantharos and religion: Ioannis Mylonopoulos (Columbia University). 3. About the Greek kantharos, Isabelle Algrain (CReA-Patrimoine, Université libre de Bruxelles). 3. Finally, Sebastiano Soldi (Metropolitan Museum of Art, senior Fellow) will broaden the discussion to the kantharoid shapes of Ancient Anatolia.
Organization: Francesco De Angelis (Columbia University), Larissa Bonfante (NYU), Delphine Tonglet (The Metropolitan Museum of Art - CReA-Patrimoine, ULB)
Goats, lions, panthers, monsters and other creatures exhibit their coloured furs and expressive b... more Goats, lions, panthers, monsters and other creatures exhibit their coloured furs and expressive bulging eyes on many Attic black-figured vases. This anthology of animals, often inspired by other Greek and foreign productions, reminded me of Kipling’s fertile and tender imagination in his “Just-so stories”.
In this presentation I will concentrate on animals and vegetal patterns which ornate two early black-figured kyathoi attributed to the potter Theozotos. This is the occasion to examine different influences of foreign pottery productions on Attic black-figure from an iconographic and stylistic point of view.
Theozotos’vases compose a unique pair of Attic globular kyathoi, dated around the middle of the 6th century or little after. One, found in Vulci, was signed by the potter and is now in the Louvre (inv. F69). The other, in the Basel Antikenmuseum (inv. BS 1402), was assigned to the same craftsman for its resemblance with the first vase.
Both are often isolated because of their unique character, reflecting a complex mix of Boeotian, East Greek and Etruscan influences.
The obvious link with Etruscan crafts regards the shape, imitating bucchero. This interesting aspect will not be discussed here, as it would take us beyond this symposion’s topic.
Though the potter’s name and some iconographical elements demonstrate connections with Boeotia, the technical and stylistic features show that the two kyathoi are of Attic traditional manufacture. Theozotos, if Boeotian, was working in Athens following the local technical tradition.
ANIMALS AND THE AMASIS PAINTER:
Some of the Amasis Painter’s miniaturistic works offer the best parallels to Theozotos’ kyathoi. D. von Bothmer already perceived it for the kyathos in Basel but we will look at the vase in Paris and concentrate on the happy goats parade. An unpublished band-cup fragment and an aryballos in the Metropolitan Museum, both attributed to the Amasis Painter, offer animals of very similar style. These animals of archaistic appearance show unusual features positionning the two kyathoi in a more defined production context than what has been proposed before.
VEGETAL ELEMENTS AND PATTERNS:
The vegetal patterns adorning Theozotos’ kyathoi – lotus bud-chains, rows of tongues and palmettes, pommegranates– as well as the organization of these elements on the different parts of the kyathoi, strongly recall the same patterns on neck amphorae of special shape produced by the craftsmen of the Botkin Class, the Princeton Painter and, again, Amasis and his painter. This kind of amphora shape and vegetal decoration are inspired by East Greek pottery.
The study of the decorative syntax of animals and plants on Theozotos’ kyathoi and other special or rare shapes allow to collocate the two vases, meant for the Etruscan market, in a movement open to external influences and experimentations in which Amasis and his painter played an important part. The East Greek touches, the vivid Boeotian contribution and the Attic savoir-faire, could only please the Etruscan taste. This announces the tendencies of Nikosthenes’ workshop.
Le kyathos attique de Madame Teithurnai. Échanges artisanaux et interactions culturelles entre Grecs et Étrusques en Méditerranée archaïque, 2018
D. Tonglet, Le kyathos attique de Madame Teithurnai. Échanges artisanaux et interactions culturel... more D. Tonglet, Le kyathos attique de Madame Teithurnai. Échanges artisanaux et interactions culturelles entre Grecs et Étrusques en Méditerranée archaïque, Bruxelles, CReA-Patrimoine, parution prochaine (été-automne 2018). [Etude d'archéologie 13]
Dans l’antiquité comme aujourd’hui, les relations interculturelles sont les vecteurs de nombreux ... more Dans l’antiquité comme aujourd’hui, les relations interculturelles sont les vecteurs de nombreux changements dans les pratiques culturelles, artisanales et économiques des populations ainsi mises en contact. Pour l’archéologue, ces changements peuvent être détectés et analysés via l’étude des objets qui ont été impliqués dans ces situations de rencontres et d’échanges.
Le séminaire de l’an passé nous proposait de suivre les traces, bien difficiles à déceler, des artisans grecs en mouvement dans le monde méditerranéen antique. Cette année, le focus sera déplacé sur l’objet. Nous aborderons la question de la pratique en itinérance et ses métamorphoses à travers l’appropriation et la réinvention matérielle de l’objet. En effet, un objet est associé à un certain nombre de fonctions, d’usages, de symboles, de pratiques. Qu’advient-il de ceux-ci lorsque l’objet est adopté dans une autre culture, lorsqu’il est importé, imité, transformé, adapté, détourné ?
Le thème du séminaire d’archéologie grecque nous placera dans ces zones liminales de l’échange interculturel entre l’Étrurie et la Grèce mais aussi le Proche Orient. Si l’objet grec, et apparenté, reste au cœur de nos interrogations, c’est dans ses contextes étrusques que nous l’aborderons et parmi d’autres apports venus d’Orient.
Le cours s’ouvrira sur une introduction au monde étrusque (origines et racines remontant à l’Âge du Bronze, situation en Méditerranée antique, caractéristiques et développement historique). Quelques sessions seront ensuite dédiées à l’exploration d’études plus théoriques et anthropologiques appliquées à la question des relations interculturelles. Ceci nous permettra d’analyser et de critiquer un florilège de mots et de concepts souvent employés dans la littérature scientifique à bon et à mauvais escient. Ensuite, les différentes interventions de chercheurs invités (de l’ULB, de France, d’Italie et de Suisse) nous permettront de couvrir, à travers une série de cas d’études précis, une période allant des premiers contacts entre monde grec et étrusque après la trouble période des « âges sombres » jusqu’au IVe siècle av. J.-C. et de découvrir des objets dans des contextes étrusques depuis la Plaine du Pô jusqu’à la Campanie étrusquisée.
AJA Online 124.1 January 2020, 2019
Le kyathos attique de Madame Teithurnai: Échanges artisanaux et interactions culturelles entre Gr... more Le kyathos attique de Madame Teithurnai: Échanges artisanaux et interactions culturelles entre Grecs et Étrusques en Méditerranée archaïque By Delphine Tonglet (Études d'Archéologie 13). 2 vols.: vol. 1, pp. 371; vol. 2, pp. 204. Centre de Recherches en Archéologie et Patrimoine, Brussels 2018. $71.81. ISBN 9782960202908 (paper).
American Journal of Archaeology vol. 124.1, 2020