Attic red-figure vases Research Papers (original) (raw)

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  • Vase Painting, Text And Image, Greek Vases, Text-Image Relations
• • by Kornelia Kajda
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  • Classical Archaeology, Gender Studies, History of Religion, Religion and Politics

This paper presents Attic red-figure vases from Sinop Museum, 90% of them found at excavations of necropolis sites in Sinop(e). The repertoire consist of lekythoi, kraters, hydria, lebetes and pelikes, which are the forms commonly used in... more

This paper presents Attic red-figure vases from Sinop Museum, 90% of them found at excavations of necropolis sites in Sinop(e). The repertoire consist of lekythoi, kraters, hydria, lebetes and pelikes, which are the forms commonly used in the Black Sea region. Some of these, depicting wedding scenes, Dionysiac play, Eros and Aphrodite and palmette motifs evoke the style of the Meidias Painter; the other scenes and figures depicted on the collection are: Amazon and griffin, eros and maenad, siren, Satyr, crawling baby and one animal. The aim of this paper is to introduce the iconographical motifs and scenes of daily life which were
widely used in the Black Sea region on red-figure vases and to illuminate Sinope’s cultural and commercial relations with Athens through these ceramics. The publication of red-figure pottery from Sinope is intended as a contribution to the documentation of the nature and pattern of red-figured vases of the Black Sea region.

• • by Zafer Korkmaz and +1
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  • Attic red-figure vases
• • by Alexander Heinemann
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  • Athens, Hellenistic Pottery - black glaze, Attic red-figure vases, Greek symposion
• • by Luca Basile
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  • Archaeology, Classical Archaeology, Indigenous Studies, Pottery (Archaeology)

East Greek pottery from Panticapaeum excavations 1945-2016.

• • by Olga Tugusheva
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  • East Greek Pottery, Attic red-figure vases, South Italian vase-painting

O acompanhamento musical das práticas esportivas é uma característica marcante dos jogos na Grécia antiga, seja nos treinamentos, seja nas competições. Este acompanhamento se dava com instrumentos de sopro, especificamente o aulos e a... more

O acompanhamento musical das práticas esportivas é uma característica marcante dos jogos na Grécia antiga, seja nos treinamentos, seja nas competições. Este acompanhamento se dava com instrumentos de sopro, especificamente o aulos e a salpinx (trombeta). Amplamente representado na pintura dos vasos áticos de figuras negras e de figuras vermelhas (séc. VI-V a.C.), o acompanhamento das práticas atléticas com o aulos, sobretudo nas provas que integram o pentatlo, tem recebido maior atenção dos estudiosos. Nosso objetivo é abordar a presença da trombeta nos jogos, representada com menos frequência no registro iconográfico, porém informada pelas fontes literárias de diferentes períodos, sobretudo do período imperial (nomeadamente, Plutarco, Ateneu e Pólux). Analisaremos as seguintes situações: acompanhamento musical de corridas (a pé ou de quadriga), contribuindo para marcar o ritmo; celebrações de entrega de prêmios; função comunicativa, pela divulgação de anúncios por intermédio da emissão de sinais; competições para trombeteiros, relacionadas à constituição de um perfil social deste músico-atleta baseado na força muito acima da média. Esta força superlativa, misturada com costumes bizarros, faz do trombeteiro um tipo popular no mundo helenístico-romano.

• • by Fábio Vergara Cerqueira
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  • Classical Archaeology, Iconography, Organology, Ancient Sports/Athletics
• • by Allison Glazebrook
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  • Gender Studies, Gender and Sexuality, Women in the ancient world, History of Literacy
• • by John R Porter
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  • Women in the ancient world, Attic red-figure vases, Epinetron, Ancient Greek Wedding
• • by Michael Turner FSA FLS
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  • Iconography, Ancient Greek Iconography, Classical Mythology, Greek Pottery
• • by Julia Strobl
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  • Archaeology, Art History, Sexual Violence, Gender and Sexuality
• • by Martin Dorka Moreno (né Schwemmer)
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  • Cultural Studies, Classical Archaeology, Classics, Iconography
• • by Guy Hedreen
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  • Homer, Pindar, Simonides, Achilles

This is the first part of my farewell lecture at Basel University, held on 23 May 2022.

• • by Rudolf Wachter
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  • Art History, Greek Language, Greek Epigraphy, Homeric poetry
• • by Federica Giacobello
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  • Attic red-figure vases, Ruvo di Puglia, Pronomos' Vase, Pronomos Painter
• • by Elke Böhr and +1
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  • Attic black-figured vases, Attic red-figure vases, Trees, Greek vase painting
• • by Ludi Chazalon
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  • Greek Myth, Ancient Greek Iconography, Attic red-figure vases

The most famous myth about divine conflict for a city is doubtless the contest of Athena and Poseidon for the patronage of Athens. The first evidence of this contest is according to Herodotus, and the first representation is the... more

The most famous myth about divine conflict for a city is doubtless the contest of Athena and Poseidon for the patronage of Athens. The first evidence of this contest is according to Herodotus, and the first representation is the impressive Parthenon west pediment, now almost lost. We know the Athena and Poseidon poses with the help of a modern french drawing and of two attic vases. The vases painters repeat the position of the central opponents but in new compositions, the first at the end of the fifth century and the second fifty years later. We don’t try to restitute the pediment and don’t suppose the ancient existence of a lost picture to explain the difference between the two vases and the sculptures, but propose to look at the vases again to understand how and why the craftsmen chose the Parthenon pose and in the same time propose a new image of this conflict.

• • by Cécile Jubier-Galinier
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  • Ancient Greek Iconography, Attic red-figure vases, Athens and Attica

Sei studi sull'ultimo libro dell'Iliade

Six articles on the last book of the Iliad

• • by Giuseppe Lentini
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  • Classics, Greek Literature, Homer, Homeric poetry
• • by Guy Hedreen
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  • Humor Studies, Attic red-figure vases, Euphronios, Greek Iambic Poetry
• • by Diána Hermann
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  • Agamemnon, Cassandra, Orestes, Attic red-figure vases
• • by Josep Miquel García Martín
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  • Archaeology of the Iberian Peninsula, Greek Pottery, Ancient Trade & Commerce (Archaeology), Protohistoric Iberian Peninsula
• • by Iva Chirpanlieva
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  • Archaeology, Near Eastern Archaeology, Phoenicians, Cypriot Archaeology
• • by Samet Çetinkaya
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  • History, Archaeology, Classical Archaeology, Greek Literature
• • by Georg Gerleigner
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  • Classical Archaeology, Classical philology, Vase Painting, Text And Image

The study is dedicated to the examination of the iconographic program of the red-figure stamnos of the Siren Painter at the British Museum (BM E 440). The meaning of the famous scene of defeat and suicide of the Sirens is focused through... more

The study is dedicated to the examination of the iconographic program of the red-figure stamnos of the Siren Painter at the British Museum (BM E 440).
The meaning of the famous scene of defeat and suicide of the Sirens is focused through the oppositional relationship with the group of flying Erotes painted on the other side of the vase: the play of the images is aimed at expressing an unexpected variant of the myth of Odysseus and the Sirens, conceivable within the cultural frame of the symposium.

• • by Luca Cerchiai
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  • Sirens, Sirènes, Sirenas, Iconography and Iconology, Attic red-figure vases, Odysseus
• • by Oliver R Brookes
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  • Ancient Greek Religion, Homeric poetry, Athena, Attic red-figure vases

Scenes of textile production on Athenian vases are often interpreted as confirming the oppression of women, who many argue were confined to "women's quarters" and exploited as free labor. However, reexamination of the... more

Scenes of textile production on Athenian vases are often interpreted as confirming the oppression of women, who many argue were confined to "women's quarters" and exploited as free labor. However, reexamination of the iconography--together with a reconsideration of gender roles and the archaeology of Greek houses dating to the 5th and 4th centuries BC--suggests that these images idealize female contributions to the household in a positive way. The scenes utilize the dual metaphor of weaving and marriage to express the harmonia of oikos and polis, a theme particularly significant under the evolving Athenian democracy.

• • by Sheramy Bundrick
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  • History of Textiles, Textile Archaeology, Greek Archaeology, Gender studies in ancient Greece

Greek vases are a unique testimony of ancient craftsmanship - and additionally, an important archaeological source for the Greek Antiquität. This book is a brief history of Greek, especially Athenian vase-painting, based on the Zimmermann... more

Greek vases are a unique testimony of ancient craftsmanship - and additionally, an important archaeological source for the Greek Antiquität. This book is a brief history of Greek, especially Athenian vase-painting, based on the Zimmermann Collection in Bremen. The focus lies on the visual narration of the vase depictions.

• • by Frank Hildebrandt
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  • Attic black-figured vases, Athenian black-figured vases, Attic red-figure vases, Athenian black-figure pottery

The death of an individual leaves a corpse that constitutes a problem that can be solved by burial or cremation. The graves offer extensive information on funeral solutions which vary greatly in different cultures. What role does ritual... more

The death of an individual leaves a corpse that constitutes a problem that can be solved by burial or cremation. The graves offer extensive information on funeral solutions which vary greatly in different cultures. What role does ritual play in mortuary practice and the handling of the dead body? The body processed to be preserved from complete disappearance illustrates how the choice of burial is at the origin of relics. There are cases with bones of the dead, which have been removed to be reintroduced into the world of the living, who teaches us to separate from death circumstances. That's why we wanted to have a regard on the vestiges of the ancient world and prehistory that keep the memory. This is the case of the Attic Vivenzio funerary hydria from Nola with a scene of the fall of Troy who became a sort of illustration of the Greek and Roman history and of a prehistoric Magdalenian fossil man from the late glacial eras at Veyrier-sous-Salève.

• • by Pierre-François Puech
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  • History, Archaeology, Italian Studies, Greek Myth

In this paper I consider a small group of red-figure vase paintings that depict the classical Athenian oikos (family) similar in respects to views represented in Homer's Odyssey and Xenophon's Oikonomikos. Comparisons are made to more... more

In this paper I consider a small group of red-figure vase paintings
that depict the classical Athenian oikos (family) similar in respects to views represented in Homer's Odyssey and Xenophon's Oikonomikos. Comparisons are made to more popular scenes in Attic vase painting that employ similar imagery: heterosexual courting and the mythological subject of the bribery of Eriphyle .

• • by Robert F. Sutton
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  • Gender and Sexuality, Greek Archaeology, Ancient Greek Iconography, Family history
• • by Frank Hildebrandt
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  • Visual Narrative, Attic red-figure vases, South Italian vase-painting, Apulian Vases
• • by Apostolos Thanos
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  • Attic red-figure vases

The first complete catalogue of all the Greek vases in the National Museum of Natural History, Smithsonian Institution. It includes all the Attic painted pottery, both black- and red-figure, a Spartan and an Ionic cup, as well as two... more

The first complete catalogue of all the Greek vases in the National Museum of Natural History, Smithsonian Institution. It includes all the Attic painted pottery, both black- and red-figure, a Spartan and an Ionic cup, as well as two vases in the National Museum of American History.

• • by L'ERMA di BRETSCHNEIDER, Publisher
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  • Archaeology, Classical Archaeology, Classics, Art History
• • by Guy Hedreen
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  • Greek Vases, Dionysus, Satyr Play, Ancient religion: Dionysos and Artemis
• • by Chiara Pizzirani
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  • Archaeology, Ritual, Culture, Etruscan Archaeology
• • by Alexandra Villing
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  • Ancient Greek Religion, Ancient Greek Iconography, Attic red-figure vases, Ancient Greek Women
• • by Lars Heinze
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  • Classical Archaeology, Pottery (Archaeology), Ancient economies (Archaeology), Hellenistic and Roman Asia Minor

A hydria by the Harrow Painter in the Tampa Museum of Art provides an opportunity to revisit the concept of genre and the depiction of women in Classical Athenian vase painting. Scholars cannot agree on the female figure’s social status:... more

A hydria by the Harrow Painter in the Tampa Museum of Art provides an opportunity to revisit the concept of genre and the depiction of women in Classical Athenian vase painting. Scholars cannot agree on the female figure’s social status: hetaira or housewife? In this paper, I show that the criteria used to refute a “housewife” identification can be dismantled and an oikos¬-centered interpretation is plausible. This does not, however, exclude the possibility of multiple readings; the ambiguity of this and other “genre scenes” is likely a deliberate strategy intended to attract the widest possible audience.

• • by Sheramy Bundrick
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  • Greek Vases, Attic red-figure vases, Women in ancient Greece, Athenian Vase Painting

The employment of the tattooing to mark various parts of the human body, is a ‘custom’ that appears throughout the centuries in numerous regions and cultures. Through the existing examples it is pointed out that it was very popular among... more

The employment of the tattooing to mark various parts of the human body, is a ‘custom’ that appears throughout the centuries in numerous regions and cultures. Through the existing examples it is pointed out that it was very popular among the ancient Thracians. Either as a sign of nobility for the men of Thrace, or as a mark of punishment on the Thracian women for the death of Orpheus, the Thracian tattoo is testified through the literary sources and the iconography. Focus of this paper is to explore the visual and written information regarding the Thracian ‘custom’ of tattooing and to investigate its symbolism and meanings. In order to do that within the right context, it is provided some brief general information on tattooing and an introduction to the Thracian people and their habits. The Thracian tattoos are approached through the ancient Greek view and they appear to be signs and symbols of various and different status.

• • by Despoina Tsiafakis
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  • Classical Archaeology, Classics, Iconography, The Tattoo
• • by Stine Schierup
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  • Greek Archaeology, Italic Archaeology, Attic red-figure vases, Apulian Vases
• • by Valentina Caminneci
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  • Archaeology, Classical Archaeology, Prehistoric Archaeology, Teaching and Learning

In contrast to most surviving literary evidence on ancient Greek marriage, nuptial scenes on Classical Attic pottery are remarkable for their rich erotic imagery. From the earliest Archaic examples on, the ambivalent romantic figure... more

In contrast to most surviving literary evidence on ancient
Greek marriage, nuptial scenes on Classical Attic pottery are
remarkable for their rich erotic imagery. From the earliest
Archaic examples on, the ambivalent romantic figure of
Helen is a major figure in nuptial iconography, and images
first applied to her are adopted for ordinary wedding scenes.
Early Classical vase painters represent a close emotional and
sexual bond between bride and groom primarily through
touch and glance and by appropriating so-called courting
motifs for nuptial use. High Classical artists culminate the
development of nuptial eroticism by employing the personifica-
tion Eros to express a variety of meanings and by introduc-
ing both male and female nudity into wedding iconography.

• • by Robert F. Sutton
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  • Gender and Sexuality, Love, Social History, Greek Archaeology
• • by Alexander "Teddy" Mazurek
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  • Gender Studies, Iconography, Caricature (Visual Studies), Greek Archaeology
• • by Ludi Chazalon
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  • Iconography, Ceramics (Art History), Ancient Greek Iconography, Attic black-figured vases