Vase Painting

When Spyridon Marinatos excavated the LH I–II chamber tomb cemetery at Volimidia, among other sites in the region of Pylos (1955–1965), Messenia started to emerge as a prosperous and dynamic region of the early Mycenaean world that contributed essentially to the formation of the elite sites of the Mycenaean Peloponnese. The cemetery of Volimidia was founded in the transitional MH III/LH I period, and its rock-cut chambers stand among the earliest examples of this type of tomb, probably as a result of successful local experimentation at the time of the foundation of the first tholos tombs in the region. Despite the fact that the considerable quantity of LH I–II vases from Volimidia were not found in association with the burials they accompanied due to the continuous use of the cemetery until LH IIIC Early, these ceramics constitute the best-preserved assemblage of early Mycenaean pottery from the Pylos region. Their preliminary study points to a local production, consistent with the LH I–II repertoire of northern Triphylia (Elis), but also combining Argive, Lakonian, Kytheran and Cretan elements, which echo the cultural blend thanks to which the hegemonic ‘estates’ of Pylos thrived.

This article examines a red-figure pelike made by a previously unknown local workshop that was very likely located in Pella, the capital of the Kingdom of Macedonia. This vessel was in storage in the Archaeological Museum of Thessaloniki and is one of the best preserved examples from that Macedonian workshop. In shape and decoration it recalls Attic vases of the second half of the fourth century BC, and particularly the work of Group G and the Amazon Painter. The pelike dates from c.320 BC and is attributed to the Pella B Painter.

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.

The conducted research made it possible to introduce into the scientific circulation valuable material that was extracted during the many years of the excavation of Chersonesos. Excavations in the north-east part of the site were conducted by S.G. Ryzhov from 1976 to 1980, the northern region – from 1981 to 2011, the central one – in 2003. Du- ring this time, 5 quarters were completely investigated here: VIII, IX, X, X-a, X-b (Figure 1). All fragments of painted pottery were found below the foundations of the buildings from the 10th to 13th century. The material was preserved in rocky depressions and pits and concentrated around ancient buildings.

The fragments of painted pottery were discovered during the study of the ancient house in the north-eastern district in the II quarter, in 1976–1979, and in the lower layers of the drain on VI cross street, in 1977. Here S.G. Ryzhov found fragments of the lekane dated back to the middle of the 6th century BC. The fragments of this vessel were  found  during  the  excavation of R. Loeper, in 1908, and during the excavation of M.I. Zolotarev, in 1984. Thus, 31 fragments of this large vessel (its diameter is about 30 cm) are found at a short distance from each other. It can be assumed that the broken old vessel was thrown out of the house in the first half of the 5th century BC in the area of the site with the preserved archaic layer. Finds of painted pottery were recorded during the excavations  of  the  northern  basilica, under the apses. Under the remnants of the previous building of the basilica, which it destroyed, the walls of the house of the 4– 3rd centuries BC were opened. Fragments of painted pottery dating from the last third of the 5th century BC were found at the walls of this building and to the south of it, in 1981, 1982 and 1983.

In 1985, excavations were carried out in the VIII quarter. Fragments of painted ceramics were found near the Hellenistic walls discovered under the ruined medieval buildings. In 1990, painted pottery was found in the X quarter of the northern district of Chersonesos, during the study of the medieval manor No. 2 and the courtyard. Excavations were brought to the level of the sole, the floors of the 13th century. Under the backfill there was a clayey layer lying on the rock. It contained the fragments of pottery from the 5th to 3rd century BC. During the excavation, in 1995, fragments of painted dishes were discovered in the VII quarter, in room 7, in the well, and in the IX quarter, in room 6. In 1997, fragments of painted dishes were dis- covered in the X quarter under medieval buildings. A fragment of the skyphos from the late 5th century BC with the image of a young athlete was found in this place (cat. 318). Excavations in 2000–2005, 2008–2009, 2010, 2011 took place in the IX and VII quarters. Here, under medieval buildings, were found cellars, cisterns, pits, sections of the layer of antique time with materials dating from the second quarter of the 5th to the end of the 4th century BC.

Materials  from  the  excavations  of S.G. Ryzhov give us an opportunity to speak about the presence of pottery of archaic and early classical time, not only in the northeast, but also in the northern and central parts of the site of this ancient settlement. As it was already noted above, excavations were carried out partly in the same areas of the site where his predecessors worked, and partly also on unexplored sites. So it would be logical to assume a significant correction in the com- position of the finds. We can see the predominance of fragments of kraters, vessels for drinking, askoi and quite rare types for the Northern Black Sea region, such as the rhyton (cat. 397), the oon (egg  vessel) (cat. 12), the fragment of the Panathenaic amphora of the 4th century BC (cat. 3).
About 7% of the finds are the fragments of black-figured vessels which date from the middle of the 6th century BC to the second quarter of the 5th century BC. Their typological diversity should be noted. Fragments of ten different types are distinguished: Panathenaic amphora, neck-amphora, one-piece amphora, oinochoe with an offset neck and a trefoil mouth, shoulder lekythos, egg (oon), lekanis lidded with ribbon handles, skyphoi, cups, band-cup skyphoi.

The red-figured pottery is represented by different types of kraters, amphorae, pelikai, ariballic lekythoi, guttoi and lekanides, kantharoi, skyphoi, cups and dishes. The significant part of the fragments of open and closed vessels (cat. 398–407) can not be typologically defined. Thus, on the mate- rials of this collection, it is possible to identify about 30 varieties of painted vessels that existed in Chersonesos in the period from the second half of the 6th to the third quarter of the 4th century BC. A pleasant surprise was the discovery of the fragment of the Pa- nathenaic amphora. The red-figured pottery looks more diverse and interesting now. Many of the fragments belong to large multifigure vessels, they are painted by famous painters. It was possible to single out the works of 53 painters. The paintings on black- figured pottery are among the works of the Athena 581i painter, Leafless group, Beldame workshop, Red-Line painter, Lancut group, Half palmettes painter, Floral Band Cups group, Three Sirens painter, Haimon group, Athena 12592 painter (Panathenaic ampho- ra). Red-figured pottery dated from the first third of the 5th century BC belongs to the circle of Douris painter, Hermonax painter. There are examples of pottery of the second quarter of the 5th century BC (London E 489, Florence painter, Owl skyphoi group, St. Valentin kantharoi, Comacchio painter, the circle of Saburov painter). Pottery dated back to the third quarter of the 5th century BC include fragments close to the group of Polygnotos, Hector painter, Midas painter, Louvre Centauromachy painter. The fourth quarter of the 5th century BC is represented by fragments that can be attributed to the circle of Kleophon painter, Aristophanes painter, Oxford 306 painter, Athens 13908 painter, Dinos painter. Late 5th  century – the beginning of the 4th century BC is repre- sented by lekythoi and askoi painted by Al- Mina painter, cups painted by Jena painter, Meleager painter. First part of the 4th century is represented by the works of Kalymnos painter, F.B. group, Q painter. The Kerch style is represented by the works of Erbach painter, L.C. group, Griffin painter, F 64, Olinthos 54.156 painter, Thessaloniki 34.1 painter, Philottrano painter. The Bulas group stands alone, it includes miniature vessels decorated with a variety of techniques using the overlaying paints.

In the collection of painted pottery from the excavations of S.G. Ryzhov, there appeared new, previously unknown in Chersonesos subjects, which expand our understanding of the way of life of the Chersonesites, their reli- gious views. Despite the fragmentation of ceramics, we can confidently say that the most numerous is the group of Dionysian plots, which are found on vessels painted in both black-figure and red-figured technique. We meet images of Dionysus and his fias, consi- sting of maenads and satyrs, both on the late black-figured vessels of the first quarter of the 5th century BC and on the fragments of red-figured vases. On some fragments we see images of Athena. An important evidence of the existence of the cult of Athena in Cherso- nesos are the finds of the Panathenaic amphora. One of the fragments of the Panathenaic amphora with the image of the goddess was found in 2002. Athena is turned to the right, which indicates that this amphora dates back to the time after 360/359. The theomorphic image of the goddess is represented on the Owl skyphoi. Fragments with such subject are common for Chersonesos. Images of Eros are often found on the 4th-century vases.

Athletes-palestrites are another popular subject, which is often found on the fragments of vessels from the collection of S.G. Ryzhov. We see their images on the skyphoi and the deep cups. There are images of musical in- struments (timpani, diavlos) on some fragments of vases.
There are also images of Pyrrhic, Bacchic dances. The images of chariots are associated with the image of the deity. We can see the image of the quadriga, towards which a goat is coming on a fragmented krater from ex- cavations in 2001. This is a part of the mythological scene. This may be the return of Dionysus from Hades after visiting his mother Semele and the wedding of Dionysus and Ariadne. The image of a Thracian is also quite a rare plot. A whole group of vessels – mostly askoi and lekythoi – is decorated with images of sacred animals and birds: panthers, dogs, deer and swans.

In general, the presented material makes it possible to supplement our ideas about the dynamics of trade between Chersonesos and Attica, other Mediterranean centers, the culture and way of life of the population of ancient Chersonesos.

The Oxford English Dictionary defines koine as 'a set of cultural or other attributes common to various groups'. This volume merges an academic career over a half century in breadth and scope with an editorial vision that brings together a chorus of scholarly contributions echoing the core principles of R. Ross Holloway's own unique perspective on ancient Mediterranean studies. Through broadly conceived themes, the four individual sections of this volume (I. A View of Classical Art: Iconography in Context; II. Crossroads of the Mediterranean: Cultural Entanglements Across the Connecting Sea; III. Coins as Culture: Art and Coinage from Sicily; and IV. Discovery and Discourse, Archaeology and Interpretation) are an attempt to capture the many and varied trajectories of thought that have marked his career and serve as testimony to the significance of his research. The twenty-four papers (plus four introductory essays to the individual sections, biographical sketch and main introduction) contain recent research on the subjects from the Kleophrades Painter to the Black Sea, Sicilian Coinage and archaeology in modern Rome. 247p, 137 b/w images (Oxbow Books 2009)

Sphinx, Siren, Gorgon, Minotaur, Acheloos, Triton, Typhon, Pan, Satyr and Centaur, are some of the most characteristic composite creatures represented broadly in ancient Greek art. Greeks familiarized themselves with fantasy elements that convey various aspects of their life and their mythology based on heroes who are monster fighters, envisaged the beasts of its interest in the form of hybrids. The idea of supernatural creatures incorporating features of diverse natural beings, human and animal, is found in many people. Half-human, half-animal they represent the world beyond fantasy combining understandable elements such as human intelligence, physical strength (lion), and power of flight (bird). They are supernatural without being in itself divine. The mixture of animal and human features in Greek fantasy appears to be similar for any kind of hybrids without, however, to share comparable qualities due to the common physical characteristics.

This article deals with Ariadne and Amphitrite's similarities in the iconographic speech.

Las similitudes iconográficas entre Anfítrite y Ariadna no han despertado ningún interés por parte de los especialistas, a pesar de existir algunos interesantes ejemplos donde los pintores han decidido combinar escenas con las dos como protagonistas. En las fuentes literarias no existe ninguna mención a un episodio mítico en las que las dos compartan escena,  pero la pintura vascular las ha retratado juntas en más de una ocasión y convendría entender el porqué."

Οι Κορίνθιοι ήταν από τους πρώτους κεραμείς και αγγειογράφους που εγκατέλειψαν τη σκιαγραφία του γεωμετρικού ρυθμού και υιοθέτησαν τη τεχνική του περιγράμματος για να αποδώσουν τόσο τις ζωικές όσο και τις ανθρώπινες μορφές. Η ύστερη Γεωμετρική Κορινθιακή αγγειογραφία δεν έδινε ιδιαίτερη βάση στην απεικόνιση μορφών, για αυτό το λόγο ίσως τα πρωτοκορινθιακά εργαστήρια υιοθέτησαν αρκετά στοιχεία από την Ανατολή για να καλύψουν το κενό που είχε δημιουργηθεί. Με την εισαγωγή αυτών των νέων στοιχείων, οι Κορίνθιοι κεραμείς επινόησαν ένα νέο και ιδιαίτερο ρυθμό, που τον ονομάζουμε σήμερα πρωτοκορινθιακό ή ανατολίζοντα.

Il problema relativo all'irradiazione economica, culturale e politico-militare di Cartagine si può considerare uno degli argomenti più complessi e al tempo stesso più lungamente dibattuti nel settore degli studi fenici e punici. Nella storiografia moderna manca una visione condivisa del variegato fenomeno, di cui non sono ancora pienamente definibili i tempi e le forme a causa della non univoca individuazione di dati archeologici diagnostici riferibili all'iniziativa cartaginese. Il coinvolgimento degli studiosi impegnati su questo versante della ricerca in Nord Africa e in alcuni dei più importanti contesti coloniali del Mediterraneo centrale e occidentale rappresenta, quindi, una straordinaria occasione di confronto e un'opportunità eccezionale per aggiornare la spinosa tematica alla luce delle più recenti investigazioni.

Le indagini condotte tra gli anni Settanta e Novanta sulla Collina di Su Murru Mannu nel sito di Tharros (Cabras – OR) portarono al rinvenimento di numerose attestazioni di pittura vascolare punica, caratterizzata da un ampio repertorio di motivi figurati, tra cui numerose rappresentazioni di animali. Nonostante lo stato frammentario dei documenti, la grande attenzione posta dai vasai decoratori nella resa dei dettagli anatomici dei soggetti consente l’identificazione delle specie raffigurate. Il presente studio propone un “bestiario” di Tharros punica con l’obiettivo di fornire un inventario aggiornato delle attestazioni dei motivi zoomorfi sinora editi e discutere del significato delle immagini in rapporto al loro supporto. L’analisi iconografica dei soggetti e alcuni indizi forniti dal contesto archeologico di rinvenimento dei frammenti sembrerebbero infatti suggerire che i motivi figurati della pittura vascolare punica di Tharros ricoprirono un ruolo più importante rispetto alla mera funzione decorativa.

During the excavation campaigns carried out between the 1970s and 1990s in the Northern slopes of the hill of Su Murru Mannu in Tharros (Cabras – OR) a substantial amount of pottery sherds presenting a painted decoration more complex than usual was discovered. These findings came from the area of Punic tofet and, specifically, from the adjacent craft area. Among the repertoire of Punic painted pottery from the Northern district of Tharros zoomorphic themes certainly had a relevant role. Despite the fragmentary state of the specimens, the extraordinary attention to anatomical detail allows the identification of the different species depicted. This “bestiary” of Punic Tharros aims at providing an updated inventory of zoomorphic themes and discussing their significance in respect of their ceramic supports. The iconographical analysis, along with some consideration about their archaeological context, suggests the hypothesis that figurative paintings on Tharros Punic pottery had a more important role than a merely decorative function.

Attic vase-painters in the Archaic and Classical periods created their objects as bearers of meaning, utilizing both shape and decoration to convey cultural messages. The vases act as constructed objects of communication with targeted audiences. In this project I examine self-referential images created in Athens in the Classical period, or vase-paintings in which the imagery visually echoes the intended use-context of the shape, with respect to the intended gender of the viewer. By applying communication theory and a model of communication occurring on two axes to the study of these self-referential images, the different modes of conversation occurring within the image, the role of the viewer, and the relationship between the creator, object, and targeted audience can be explored. 

The study is limited to two specific, but contrasting, cultural institutions: the symposium and the wedding. By focusing on the self-referential images of these two cultural institutions we can explore the notion of gendered communications in visual representations. Did the vase-painters use different methods of communication for male and female viewers? Are there different messages for specific audiences? Can the vase-paintings be understood on multiple levels simultaneously? In order to answer these questions, I propose that we explore the conversations within the images of multi-figure scenes and examine how male and females interact in scenes for a primarily male audience and in scenes targeted to a female audience. Visual markers, such as gestures, body language and speech inscriptions, represent both verbal and non-verbal communication in images.

While the social institutions in which the vases for men and for women were used are clearly divergent, they have a similar purpose: to reinforce cultural and social institutions, to evoke a response, and to confirm the social status of individuals. The images on the self-referential vases extend the image to the viewer and encourage the viewer to self-identify with the depicted figures. This self-identification creates a more direct connection between object and viewer as well as extending the depicted conversation to the audience. The ancient viewer could draw on his or her own life experiences to fill in details of the image. This study reveals that visual markers within self-referential images are applied differentially for these targeted audiences in Athenian society in the fifth century B.C.E. The variability in the application of visual markers for male and female viewers indicates the flexibility of visual conversations for both construing and visually reinforcing particular social expectations.

In the late 6th Century BC Attic potters develop a globular aryballos shape that differs from the Corinthian type by a semi-circular, sometimes funnel-shaped mouth. This is supported by over 60 vessels of various materials and origins. First, the vessels have one or two L-shaped handles (type A)that disappear in the late classical period (type B). The subjects on red-figure aryballoi of type A are influenced by male ideals, while on shape B also female ideals are represented. The conventional interpretation of the aryballos as vessel of men therefore needs to be revised for the late Classical period. Depicted in contemporary art, the aryballos always maintains its attributive use as a symbol of the palaestra, personal care and social status. The quantitative discrepancy between displayed and preserved vases can be explained by the use of ephemeral, leather aryballoi, to some extent with a metal mouth, which in some cases is preserved.

"De la Grecia antigua se nos han conservado numerosos objetos que tienen que ver con el cuidado de la belleza masculina y femenina, como vasos de perfumes, espejos, cajas de ungüentos, etc. Muchos de ellos son portadores de imágenes que nos permiten interrogar sobre su uso pero que también nos transportan a un complejo mundo de significados.

En esta conferencia nos detendremos en varios de estos objetos y los analizaremos desde una perspectiva múltiple. Las imágenes pintadas en los vasos atenienses nos servirán para estudiar los contextos de uso de los diferentes objetos y los resultados de este análisis se cotejarán con la realidad —en ocasiones sorprendente— que ofrece el registro arqueológico. Finalmente, analizaremos la iconografía que reciben estos objetos y que a menudo amplifica su sentido y enriquece sus significaciones.

Este análisis contextual nos permitirá conocer un poco más acerca de cuestiones cotidianas de la vida de los griegos, como el maquillaje o el olor del hombre y de la mujer bellos, al tiempo que evidenciará los hilos que rigen las construcciones de la belleza femenina y masculina en dicho ámbito, la significación funeraria de la belleza y la tremenda distancia cualitativa existente entre ambos géneros.
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