Greek Pottery

Ninina Cuomo di Caprio

    Series: Studia Archaeologica, 144
    Format: 17 x 24 cm
    Binding: Hardcover with dustjacket
    Pages and Illustrations: 720, 200 b/w ill
    Publication Year: 2007
PDF ISBN 9788891317490
ISBN: 978-88-8265-397-2
A circa vent'anni dalla pubblicazione, il manuale ormai classico di Ninina Cuomo di Caprio viene riproposto per rispondere a precise esigenze di studio nel campo della ricerca archeologica e di formazione nell'ambito universitario. Il testo è stato completamente ripensato e riscritto, valorizzando le qualità che lo hanno imposto nel settore: la chiarezza, la completezza, l'attenzione culturale e storica alla tecnologia della ceramica. Nel ripercorrere il cammino seguito da un manufatto fittile dalla modellazione in argilla alla cottura nella fornace a combustibile solido naturale, l'attenzione è rivolta non soltanto agli aspetti tecnici ma anche alla piena consapevolezza circa le molte facce della produzione ceramica. La trattazione è incentrata sul mondo antico ma non solo classico: si aprono sviluppi riguardanti sia la preistoria sia il mondo medievale. Tutto questo rende il volume uno strumento di lavoro ancora più prezioso. La seconda parte del manuale è dedicata alle analisi di laboratorio che possono essere utili per una migliore comprensione della ricerca archeologica ed è completata da un'appendice sulle fonti letterarie antiche.

This is a published doctoral thesis in Turkish language at the Dokuz Eylül University, submitted by Gülseren Kan Şahin in 2015. In this dissertation pottery finds from Hadrianopolis and its chora in southwestern Paphlagonia (northwestern central Turkey) are presented in detail, which were collected between the years 2005 and 2008. A version of this thesis in English language is already published in 2016 as a part of BAR International Series (no. 2786) and in Turkish language in 2019 as a part of publication series of Turkish Historical Society.
Paphlagonia was an ancient region on the Black Sea coast of north-central Anatolia, bordered by Bithynia to the west, Pontus to the east and Galatia to the south.  Today, Hadrianopolis and its chora lie in the region around Eskipazar in the Turkish province of Karabük. Between 2005 and 2008 an archaeological team from the Dokuz Eylül University in Izmir carried out archaeological field surveys, excavations and restorations in Hadrianopolis and its close surroundings. During these four field campaigns, 1550 sherds ranging between the Pre-Iron Age (IInd mill. BC.) and the Middle Byzantine period (late 11th/early 12th cent. AD.) were collected, most of which consisted of Late Roman-Early Byzantine (late 5th-mid 8th cent. AD.) coarse ware. In this study 30 main pottery groups were constituted, based on their chronology, function and fabric. The book contains a detailed description of each find deposit, including the typologies and fabrics of wares and a comprehensive catalogue with drawings, as well as photos, of each sherd. It is, thus, the first extensive pottery report of the Turkish Black Sea area, offering a continual picture of all the wares and chronologies available, including their chronologies.

Επεξεργασία της εργασίας μου του Μ.Τ.Σ. στο Αριστοτέλειο Πανεπιστήμιο, με τίτλο "ΤΑ ΚΕΡΑΜΙΚΑ ΕΡΓΑΣΤΗΡΙΑ ΤΗΣ ΝΗΣΟΥ ΛΕΣΒΟΥ" (υπό τον κ. Παπανικολάου).
Επιμέλεια έκδοσης: Ηλίας Μέλιος

ΣΗΜΕΙΩΣΗ ΣΥΓΓΡΑΦΕΑ: Από τον κ. Ηλία Κουρτζή, δια της ομάδος του facebook "Potters and Pottery of Greece", έλαβα το παρακάτω σχόλιο που αφορά την παρούσα δημοσίευση (την οποία είχα κοινοποιήσει στον "τοίχο" της ομάδος). Το παραθέτω, λοιπόν, ασχολίαστο, διότι α) θεωρώ δίκαιο να γνωρίζει ο προσερχόμενος στην έρευνα όλες τις διαθέσιμες γνώμες γι' αυτήν, και β) θεωρώ ότι θα πρέπει συνεχώς να εμπλουτίζουμε και να δημοσιοποιούμε όλην την διαθέσιμη βιβλιογραφία και τις αναφορές που σχετίζονται με την έρευνά μας, οιασδήποτε μορφής, όποια και να είναι η γνώμη μας γι' αυτές. Αυτό, ίσα-ίσα, είναι το κριτήριο της εκτίμησης που εμείς οι ίδιοι τρέφουμε για την έρευνά μας.
"Προς τον κ. Σωτήρη Ραπτόπουλο, θέλω να είμαι ειλικρινής μαζί σας, σεβόμενος την συμπαθητική προσπάθειά σας και την διαφαινόμενη αγάπη σας για την λαϊκή κεραμική... Διάβασα ευάριθμες φορές το πόνημα σας που δημοσιεύσατε και παρά τις ενδιαφέρουσες πληροφορίες που έχετε όντως διασώσει σ' αυτό, θα έλεγα ότι μου έδωσε την εντύπωση ότι εν πολλοίς είναι γραμμένο "στο γόνατο": Διέκρινα λάθη τα οποία ίσως παρεισέφρυσαν, κατά περίπτωση, από κακή ή πλημμελή ή εσκεμμένη πληροφόρηση ή αποτύπωση της πληροφόρησης. Επίσης κάποιες καταγραφές ή απουσία καταγραφών, δεοντολογικά δεν αρμόζουν νομίζω στο πνεύμα μιας σοβαρής, αντικειμενικής μελέτης. Και κλείνοντας: Συγκεκριμένα θεωρώ ότι αδικήσατε την Αγιάσο (το αρχαιότερο κέντρο κεραμικής της Λέσβου) και συνάμα τους προγόνους μου τους Κουρτζήδες (που δημιούργησαν πριν περίπου δυο αιώνες στην γραφική Αγιάσο την αρχαιότερη οικοτεχνία κεραμικής της χώρας). Δεν πειράζει όμως, τέτοια περιστατικά ενδημούν και σε πολύ σημαντικά έντυπα (λευκώματα και μονογραφίες), και πρέπει να αντιμετωπίζονται με ανθρώπινη διάκριση και κατανόηση. Εξάλλου κανείς συγγραφέας και κανένα σύγγραμμα δεν μπορεί να αλλάξει την αλήθεια της ιστορίας. Στη διάθεσή σας για ό,τιδήποτε θεωρήσετε ότι μπορώ να σας φανώ χρήσιμος... Ερρωσο!".

In archaic and classical iconography, eminent figures, such as the Olympian gods, are often represented seated on thrones. This symbol of power, however, is also regularly used by ancient authors and artists as an allegory of punishment associated to a hybris committed towards the gods –Theseus and Pirithoos on the thrones of oblivion, Hera on the golden throne. This theme alludes to the destiny of those who do not respect the laws and rules established by official authorities (divine or human).
The present article aims at studying the transformation of a typical symbol of power to an image of suffering and torture as well as determining the pictorial elements that enabled the distinction between the two themes in space (Greece and South Italy) and time (from the sixth to the fourth centuries B.C.).

RESUME
Le motif de la figure assise apparaît souvent dans l’iconographie de personnages éminents, tels les Olympiens, faisant référence à leur pouvoir. Néanmoins, ce même motif est parfois utilisé par les auteurs et les artistes antiques pour évoquer des scènes de supplice liées au châtiment d’une démesure envers les dieux –Thésée et Pirithoos sur les sièges de l’oubli, Héra sur le trône d’or– faisant allusion de façon allégorique au sort réservé aux personnes qui ne respectent pas les lois et les règles établies par la hiérarchie officielle (divine ou humaine).
Le présent article étudie la transformation d’un thème typique de pouvoir en scène de châtiment et tâche de déterminer les conditions qui imposaient la diffusion de l’un ou de l’autre motif dans l’espace (Grèce et Italie du Sud) et dans le temps (du VIe au IVe siècle av. J.-C.).

Le ricerche condotte sul Colle Madore, nel cuore della Sicilia centro-occidentale, hanno
messo in luce resti archeologici che documentano uno dei periodi della storia antica dell’isola più interessanti per le grandi trasformazioni culturali conseguenti la colonizzazione greca. La fondazione delle nuove città e il loro rapido sviluppo innestarono in tutta l’isola, dalle coste alle vallate più interne, un irripetibile processo di cambiamenti del tradizionale tessuto indigeno contribuendo a disegnare un rinnovato assetto culturale politico ed economico che inciderà profondamente nella storia siciliana.

Análisis del material cerámico de carácter arqueológico que ha recopilado el pintor granaidno Brazam a lo largo de casi cinco décadas, muchas de ellas de origen ibérico y algunas rarezas entre las que se encunetran incluso algunos falsos como las cerámicas ibéricas figuradas, pero que resultan muy interesantes desde el punto de vista historiográfico

Moignard's book is intended as a textbook for beginning students of Greek vases. Her approach is significant for its fresh approach to questions of interpretation, dating, hidden aspects of value, style, and the impetus behind the collector's choice of Greek vases.

The Ionian culture - the undisputed pinnacle of
Ancient Greek civilization as a whole2, is
nothing less than the sum of the range of all
those elements that determine the (inter)intellect
and everyday living of the people of our region
(and of at that time known world), through the
Greek way of thinking as it has been identified
and developed at its time.

Simple methods are tested for morphometric study of bell-kraters and applied in conjunction with the stylistic study to the bell-kraters of the Telos Group, which includes the Telos, Oxford Griphomachy, Retorted and Black Thyrsus Painters .

Se ensayan métodos simples de estudio morfométrico para las cráteras de campana y se aplica, conjuntamente con el estudio estilístico a las cráteras de campana del Grupo de Telos, que incluye a los pintores de Telos, de la Grifomaquia de Oxford, del Bizco y del Tirso Negro.

It is widely accepted that food consumption is a major component of feasting. This should also be true of the Aegean Bronze Age. Therefore, food and its role in the execution of a feast should be one of the main focuses of feasting-related studies. Such issues are one of the main concerns of both archaeozoology and the study of Linear B tablets. However, food preparation and consumption, as evidenced by ceramic remains, constitute a field still not properly surveyed, in great contrast to wine drinking. This is partly due to the lack of ambiguity of wine-related vessels among feasting remains. Wine pouring, mixing and drinking vessels are easily recognizable (or at least are thought to be so), something which cannot be said about food serving vessels. However, food preparation vessels, the ordinary cooking pots, are usually easy to identify due to their distinct fabric, shape and frequent burning marks, and I shall focus on them in the discussion that follows. Food serving vessels will be of secondary concern.

This essay is on pottery as art and archaeology and the role of touch and how we view pottery as artists, archaeologists and as viewers in the gallery or museum. To make pottery, the potter needs to touch and shape clay by hand. The potter uses fire to set those shapes and decoration for all time. People who use pottery touch the object in different ways depending on its purpose. The archaeologists who recover pottery from their sites, touch pottery to recover, conserve and interpret finds. The pottery on display in museums or art galleries moves against the very nature of pottery as storage vessels, serving dishes or cooking vessels and usually cannot be touched.

This book is a study prepared on the forms and usage of the containers
used for the purposes of Ancient Greek and Roman Era.
These containers made of terracotta, stone, glass, wood and various
metals, often used in religious ceremonies and burial and in
various stages of daily life, from eating and the drinking culture,
to the cleaning understanding. These containers are designed
for solid or liquid objects and is produced depending on their
use, large or small, broad or narrow, deep or shallow form. This
study, the containers primarily grouped according to intended
use, presented under the headings like Cooking Containers,
Cooling Containers, Kitchen Utensils, Kitchenware, Storage and
Transport Containers, Mixing Containers, Liquid Service Containers,
Liquid Tableware, Solid Tableware, Dinner Ware, Waste-
Cleaning Containers, Personal Maintenance Vessels, Ritual-Cult
Vessels. Each container discussed under this heading were assessed
in itself. Firstly, it disclosed the name of the vessel and
the origin of the name and known early examples, then made
the definition of forms, emphasized form features, significant
form changes that occur over time has been explained briefly.
Finally, it disclosed information regarding the use of the vessel,
on the functions of these containers has made assessments in
the light of the Ancient sources and modern research. This study
enriched with digital information on their use details like the sizes
and volumes of containers. In the end of study, for a better
understanding of the subject, tables been presented about the
volumes and functions of containers. The pictures and drawings
of the containers have been placed so that get a better perception
of the form of containers.

This paper discusses the classical black-glaze pottery from Pharsalos. For this purpose, we have selected the pottery from: a) a built tholos tomb of the late archaic period, b) a built chamber tomb of rectilinear plan with a corbelled pyramidal roof dated in the second half of 5th c. BC and c) the house of “Dysmenta”, which was in use from the second quarter of the 5th c. until the last decades of the same century. We examine the shape and decoration of the vases, identify Attic imports and those vases that were produced by local workshops. Among the most favorite Αttic shapes in Pharsalos are the stemless cups, the saltcellars and the skyphos-type A. The latter were imitated by local artisans. The inhabitants of Pharsalos used the same shapes of black-glaze pottery in their household and in their tombs.

La città umbra di Orvieto – l’etrusca Velzna, in seguito Volsinii per i popoli di lingua latina – si staglia sul territorio circostante dalla cima di una scoscesa rupe tufacea dominante la valle del fiume Paglia, affluente del Tevere, a un’altezza compresa entro 280 e 325 m s.l.m. In epoca classica e tardoantica l’estrema pendenza del pianoro rendeva praticamente inaccessibile l’area urbana, fungendo egregiamente da fortificazione naturale.

Dal 2000 sono condotte, su oltre tre ettari di superficie, campagne di scavo annuali dirette da Simonetta Stopponi. È ormai opinione diffusa tra etruscologi che a Campo della Fiera vada collocato il principale santuario federale degli Etruschi, rammentato cinque volte dallo storico romano Tito Livio e menzionato con l’appellativo di «Fanum Voltumnae»; pur senza specificarne la città ospitante, indizio dell’antica notorietà del luogo, la cui localizzazione, a lungo oggetto di dispute erudite, tornò in auge tra gli umanisti quattrocenteschi.

IN: Henri AMOURIC,Véronique FRANÇOIS, Lucy VALLAURI (Eds),  "Jarres et grands contenants entre Moyen Âge et Époque Moderne (Actes du Ier Congrès International Thématique de l’AIECM3-Montpellier-Lattes 19-21 novembre 2014)". Aix-en-Provence. 2016

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.

A synthesis of the mythological and historical sources combined with rich archaeological data, most of which were unpublished until now, on the Phokian city of Antikyra. The book traces its evolution from the Early Helladic period to the Travelers of Early Modernity, with special chapters on Archaic, Classical, Hellenistic, Roman, Early and Middle Byzantine and Catalan domination periods. Many monuments are discussed, including the temples of Athena, Artemis and Poseidon, the fortification of the city, the Early Christian basilica, as well as private houses and villas. A particular attention is paid to economy, trade and natural resources. The documents commented include large and small scale sculpture and terracottas, pottery, glass, coins and inscriptions. (Full English text from p. 170 ff.)

Las escenas de boda se pintaron en diferentes tipos de recipientes que varían según las épocas. En las cerámicas de figuras negras la mayor parte de los motivos nupciales se ubica en cráteras, ánforas e hidrias, recipientes utilizados en el simposio. En los vasos de figuras rojas los tipos predilectos para la iconografía nupcial fueron píxides, lekanídes, lutróforos y lébetes gamikoí. Los pintores de vasos construyeron espacios ideales evocando conceptos a través de signos que exaltaron la trascendencia del matrimonio como vínculo social. Los motivos nupciales más arcaicos enfatizaron los aspectos públicos de la ceremonia, en particular la procesión. En las representaciones los esposos son comparables a dioses de modo tal que la unión mortal adquiere categoría sagrada. Los artistas señalaron de esta manera la importancia de un acto público que precisaba ser avalado por el conjunto de la sociedad. A partir del período clásico las escenas de boda se trasladaron a la esfera privada. Un mundo doméstico perfecto se manifiesta como el ámbito adecuado para aludir a un enlace en el cual comienza a intervenir Eros y donde la presencia femenina alcanza un protagonismo desconocido en etapas anteriores.

Pottery production has a long tradition in Northern Greece and in particular in the region of Macedonia. The archaeological research of the last decades has brought to light significant quantities of local pottery along with a number of pottery workshop remains, increasing our knowledge in the field.
Focus of this paper is to explore some of the pottery workshops that were active in the area during the Archaic period. A presentation of the known up to date remains of the installations in combination with local production of ceramics, form the outline of the paper. Based on that, they are addressed certain questions regarding the operation of the pottery workshops, their location and their production. Representative examples of categories of vessels formed in the region are also briefly presented, in order to understand better the pottery production in Northern Greece during the Archaic times.

Author: Ninina Cuomo di Caprio
Publication Date: October 31 2017
Publisher: L'ERMA di BRETSCHNEIDER
Series: Manuali L'ERMA, 2
ISBN: 978-88-913-1012-5 (Print)
ISBN: 978-88-913-1014-9 (E-Book)
Binding: Paperback
Pages: 700, 260 ill. B/N
Size: 21 x 28 cm
From the Foreword by prof. David P. Peacock, University of Southampton, UK
This manual on pottery-making in antiquity is a compendium of almost everything bearing on the interpretation of ancient ceramics in antiquity Because of this, it is likely to remain a standard work for many years to come. Both the student and the more experienced researcher will benefit from this book and will find it easy to follow because of the lively presentation. The whole subject of ceramics is here, from clay acquisition to kilns and firing, backed with an extensive bibliography. It is a work of reference which should have a place on every archaeologist' s bookshelf from their first day at University until retirement
Part Two is titled Modern Laboratory Techniques and provides a summary of the most widely used scientific techniques which can aid the archaeologist in the understanding and interpretation of ancient ceramics.
Cuomo di Caprio, Ninina - Essential Bibliography:
1972 Proposta di classificazione delle fornaci per ceramica e laterizi nell'  area italiana, in Sibrium 11, 1971-72, pp. 371-464
1982 Ceramica rustica tradizionale in Puglia, Galatina, Lecce 1982
1985 La ceramica in archeologia. Antiche tecniche di lavorazione e moderne tecniche di analisi, Rome 1985 (reprinted 1988)
1992 Fornaci e officine da vasaio tardo ellenistiche, Morgantina Studies, vol. III, Princeton, New Jersey 1992
1993 La galleria dei falsi. Dal vasaio al mercato di antiquariato, Rome 1993
2007 Ceramica in archeologia 2. Antiche tecniche di lavorazione e moderne tecniche di analisi, (enlarged and revised 1985 edition), Rome      2007.