Maria Tolia-Christakou | Athens, National Archaeological Museum (original) (raw)

Books by Maria Tolia-Christakou

https://www.didaktorika.gr/eadd/handle/10442/44780/

Papers by Maria Tolia-Christakou

Zeitschrift für Papyrologie und Epigraphik, 2022

M. Lagogianni-Georgakarakos (ed.), Known and Unknown Nikai. In History, Art and Life, 2021

A trilogy of editions for the diachronic victories of the Greeks Glorious victories between myth ... more A trilogy of editions for the diachronic victories of the Greeks Glorious victories between myth and history Glorious victories. between myth and history Glorious victories between myth and history Known and Unknown Nikai In History, Art and Life KNOWN AND UNKNOWN NIKAI In History, Art and Life 387

Μ. Λαγογιάννη-Γεωργακαράκου (επιμ.), Γνωστές και Άγνωστες Νίκες. Της Ιστορίας, της Τέχνης και της Ζωής, 2021

Μαρία Τόλια-Χριστάκου με τη Νίκη 31. Σε άλλα αγγεία, ωστόσο, είναι αδύνατο να αποφασίσει κανείς α... more Μαρία Τόλια-Χριστάκου με τη Νίκη 31. Σε άλλα αγγεία, ωστόσο, είναι αδύνατο να αποφασίσει κανείς αν ο αγγειογράφος απεικόνισε τη Νίκη ή την Ίριδα (εικ. 9α-β) 32. Ιδιαίτερο ενδιαφέρον παρουσιάζει μια αττική ερυθρόμορφη πελίκη από την Τανάγρα (ΕΑΜ Α 1336) (εικ. 10α-β), που χρονολογείται γύρω στο 480 π.Χ. Στη μια όψη της παριστάνεται μια μεγαλοπρεπής φτερωτή γυναικεία μορφή προτείνοντας με εμφατικό τρόπο το κηρύκειο, ενώ αντίκρυ της, στην άλλη όψη του αγγείου, στέκεται όρθιος ο Δίας κρατώντας σκήπτρο και κεραυνό. Καμία επιγραφή δεν αποσαφηνίζει την ταυτότητα της φτερωτής μορφής 33. Θα μπορούσε, επομένως, κάλλιστα να εικονίζεται η Ίρις, η αγγελιαφόρος των θεών, που ετοιμάζεται να εκτελέσει την αποστολή που της ανέθεσε ο Δίας 34. Η περίπτωση, ωστόσο, ταύτισης της μορφής με τη Νίκη δεν μπορεί, κατά τη γνώμη μας, να αποκλειστεί. Ώς φτερωτή θεότητα η Νίκη διατηρεί και αυτή μια ιδιαίτερη σχέση με τον βασιλιά των θεών, όπως προκύπτει τόσο από τη γραπτή παρά-Εικ. 10α-β. Αττική ερυθρόμορφη πελίκη. Στη μία όψη εικονίζεται ο Δίας όρθιος, κρατώντας σκήπτρο και κεραυνό, και στην άλλη η Νίκη ή η Ίρις με κηρύκειο. Από την Τανάγρα. Γύρω στο 480 π.Χ.

Μ. Λαγογιάννη-Γεωργακαράκου (επιμ.), Οι μεγάλες Νίκες. Στα όρια του Μύθου και της Ιστορίας. Εθνικό Αρχαιολογικό Μουσείο, Κατάλογος Έκθεσης, 2020

Ζεύς τοι κολαστὴς τῶν ὑπερκόπων ἄγαν φρονημάτων ἔπεστιν, εὔθυνος βαρὺς Στην αλαζονεία και την υπε... more Ζεύς τοι κολαστὴς τῶν ὑπερκόπων ἄγαν φρονημάτων ἔπεστιν, εὔθυνος βαρὺς Στην αλαζονεία και την υπερβολή, ο Δίας είναι τιμωρός και βαρύς διορθωτής Αισχύλος, Πέρσαι, 827-828 Εικ. 2. Χρυσό δαχτυλίδι με ανάγλυφη παράσταση Νίκης που στεφανώνει τρόπαιο. Από τάφο στο Κρυονέρι Μεσολογγίου. 4ος αι. π.Χ. (ΕΑΜ Χρ. 1055α).

M. Lagogianni-Georgakarakos (ed.), Glorious Victories. Between Myth and History, 2020

, 349F) reports that the Athenians celebrated Artemis on the 16th of the month Mounichion (March ... more , 349F) reports that the Athenians celebrated Artemis on the 16th of the month Mounichion (March / April), because the goddess appeared on Salamis in the form of full moon giving the victory to the Greeks. Although the date is incorrect since the naval battle took place in the month Boedromion (September / October), we know from ephebic inscriptions that during the Hellenistic period, at least, boat races were conducted, whereas in

Antike Kunst, 2021

The article focuses on an early red figure skyphos of Corinthian type by the Nikosthenes Painter ... more The article focuses on an early red figure skyphos of Corinthian type by the Nikosthenes Painter in Paris, Musée du Louvre G 66 (ex-Campana Collection). The vase is decorated on both sides with a depiction from the mythological cycle of Herakles, which has been previously interpreted in the bibliography as a possible Gigantomachy scene. Based on detailed iconographic analysis the author proposes a connection of the represented theme with the myth of Herakles and Kyknos, which was very popular among the Athenian vase painters during the Archaic period. Stylistic comparisons show that the decoration of the vase must have been composed under strong Euphronian influence, and it is probably inspired by a lost or hitherto unknown work by Euphronios.

ΑΡΧΑΙΟΛΟΓΙΚΗ ΕΦΗΜΕΡΙΣ, 2019

The article presents a large early red-figure type B cup found in the excavations on the east hil... more The article presents a large early red-figure type B cup found in the excavations on the east hill of the ancient Methone in 2004. The cup comes from the destruction layer connected with Philip’s II sack of Methone in 354 B.C and belongs to the few finds dated much earlier than the layer itself, at about 500 B.C.
The vessel has been restored from many fragments; only half of the body is preserved with the stemmed base and one handle.
The tondo of the cup features a young bare-foot horseman, wearing the Thracian zeira over chiton, a theme frequently depicted in the interior of late black figure and early and late archaic red- figure cups.
The exterior of the cup is decorated with a battle scene that takes place near (or around) an altar. On another cup by the same painter in Bologna NC 131+363 the ongoing battle is ranging around a palm tree. Both the altar and the palm tree should be considered as loans from the iconography of mythological battles, especially those from the Trojan cycle; together with other iconographic preferences, such as the nudity of the warriors as well as the representation of boeotian shields, they function as allusions that the battle is not real, but a mythological one; however, no specific mythological context is recognized in the scene.
The Bonn Painter, to whom Beazley attributed other twelve type B red-figure cups, was trained as a vase-painter near Oltos; among his early works painted under Oltos’ influence belong the cup in Basel BS 438 (BAPD 203673), the cup once in London Market (BAPD 7491), and an unpublished cup in Basel, Cahn Collection 1637. Later in his career he moved to a workshop which was producing large type B cups belonging to Bloesch’s “mit betondem Standring” subclass. Αt least five of the Bonn Painter’s mature cups with fight scenes belong to this subclass, the Methone cup among them. Cups of this subcategory featuring mainly battle scenes, were decorated also by Epiktetos as well as by painters connected or influenced by him, such as the Epeleios Painter and the Painter of Berlin 2268. It was presumably Epiktetos’ influence, whom the Bonn Painter probably met in this workshop, that prompted him to write Ipparchos (ΙΠΠΑΡΧΟΣ), the Epiktetos’ favoured kalos name, in the tondo of a cup in Ferrara T 475.
Stylistic analysis as well as the painter’s compositional and iconographic preferences shows the influence of Epiktetos’ Cycle – especially of the Painter of Berlin 2268 - on his work. Late in his career he probably worked near the Pithos Painter, under whose influence he decorated the cup in Florence D B 4 (BAPD 201233).
The Bonn Painter’s style and career analysis make also clear that he was unrelated with the Colmar Painter, whose Beazley thought he was his early phase. The Colmar Painter, who was undoubtedly a more skilled painter, worked in the workshop of the potter Euphronios under the influence of Onesimos and the Antiphon Painter. Common stylistic characteristics between the two painters could be explained by the influence which Oltos’ cycle had exerted on both of them.

Το Αρχαιολογικό Έργο στη Μακεδονία και Θράκη, 2008

The prehistoric settlement of Agio Pnevma was established on a low natural knoll along the foothi... more The prehistoric settlement of Agio Pnevma was established on a low natural knoll along the foothills of Mount Menoikion, south of the modern village of Agio Pnevma and 16 km east of the town of Serres. Previous survey work on the site identified traces of habitation from the Classical through the Ottoman period. The rescue excavation conducted on the northeastern part of the site by the 28th Ephorate of Prehistoric and Classical Antiquities in 2006-2008 uncovered a retaining wall, 22 m in length, east of which run an about 2.5 m wide ditch which yielded Late Neolithic II pottery, specifically “black-on-red” painted, Maritsa- and Gradešnitsa-style incised, and graphite-painted wares. The excavation also explored west of the wall two narrow foundation trenches and east of the ditch two large dwelling pits dug into
the virgin soil. The pits are dated to the Late Neolithic I by the preponderance, among the decorated ceramics, of Akropotamos-style and “polychrome” (Dimitra-type) painted wares. Most of the Akropotamos-style pottery from Agio Pevma belongs to a local variant, the motifs of which were executed using wine-red paint on a lightcolored background. Of special interest is also a local variety of polychrome ware, named by the excavators «Agio Pnevma polychrome pottery», on which the red
band with black/brown contours of the typical polychrome
(Dimitra-type) ware, is replaced by a set of thin red lines. The few potsherds with bitumen decoration, found in one of the pits, represent now the southernmost extension of this pottery in the Struma Valley.

Το Αρχαιολογικό Έργο στη Μακεδονία και Θράκη, 2008

Between autumn 2006 and November 2008, small-scale excavations were conducted along the «Derveni-... more Between autumn 2006 and November 2008, small-scale excavations were conducted along the «Derveni-Serres-Promahonas» vertical axis of the Egnatia Odos, in particular the sections of «Strymoniko-Lefkonas-Christos (60.2.2)» and between Kato Ambela and Neo Petritsi Interchange
(60.3.3). These areas of the «Derveni-Serres-Promahonas» vertical axis and the quarries used for the construction of the highway underwent intensive surveys. Α salvage excavation undertaken 3 km south of Sidirokastro produced occupation remains from the Late Roman period. Work in a modern quarry uncovered a Late Hellenistic-Early Roman rural building made of wattle and
daub. Surface surveys east of the Struma River identified ten unknown sites from prehistoric through the Roman era. Other seven sites were discovered on the foothills west of the Struma. The most important of these sites is Strymonikon V-VI, with a sequence dating from the Late Bronze Age through the Hellenistic period. A very important settlement dating from the Subgeometric through the post-Byzantine times was found in the area of the modern village of Triada.
The surface finds from this site include imported bird bowls of the late 7th c. B.C., attic pottery of the 6th-4th c. B.C., as well as pottery from Thasos and the Macedonian coast, confirming the use of the Struma River for trade.

Το Αρχαιολογικό Έργο στη Μακεδονία και Θράκη (ΑΕΜΘ), 2009

A group of four small tell sites of the Bronze Age, Sfelinos Toumba, Mandilion Toumba, Megali Tou... more A group of four small tell sites of the Bronze Age, Sfelinos Toumba, Mandilion Toumba, Megali Toumba in Skopia, Mikri Toumba in Skopia, located east of the modern village of Nea Zihni in the district of Serres. The tells were founded on flat elevations formed between deeply cut streams running parallel to each other in the submountainous area between the Struma Valley, the Angitis Valley and the plain of Drama. They rise from 219 to 680 meters above sea level and constitute naturally protected sites allowing territorial surveillance and direct visual eye contact with the landscape. The locations and small sizes of the four mounds resemble those of the Bronze Age tells north of the Kresna Gorge, in the province of Blagoevgrad in southwestern Bulgaria. Ecavations at Kamenska Čuka and Krsto Pokrovnik showed that each settlement consisted of a single building with strong walls constructed in rubble massonry and containing large numbers of storage vessels. In the district of Serres, salvage excavations were carried out at Sfelinos Toumba in August 2006, after extensive illicit diggings, exposed, under fallen construction material, walls built with mudbricks or alternating layers of mudbricks and rubble stone. At the foot of the mound, portions of a clay floor and a surface paved with small-sized stones well bedded in the earth were uncovered. The deposits excavated yielded small quantities of Late Bronze Age pottery, mainly fragments of large storage vessels. Larger quantities of pottery were found in the debris of the illicit digs. Characteristic ware includes amphoras with pointed base and other pithoid vessels with plastic decoration; vessels with impressed or incised decoration; kantharos forms as well as an almost complete wishbone-handled bowl, possibly with conical base. The continuation of the excavations at Sfelinos Toumba may provide information about the pattern of occupation of the site, the types and function of the constructions and the specific date of the pottery. It may also shed light on the relations between the tells of the region and their possible function in a regional settlement or trade network.