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Zeitschriftenartikel zum Thema „Coroplastie“

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Autor: Grafiati

Veröffentlicht am 25. Mai 2024

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1

Fourrier, Sabine. „La coroplastie d'Idalion à l'époque archaïque. Ateliers et diffusion“. Cahiers du Centre d'Etudes Chypriotes 34, Nr. 1 (2004): 191–209. http://dx.doi.org/10.3406/cchyp.2004.1464.

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2

Mackowiak, Karin. „Le singe dans la coroplastie grecque : enquête et questions sur un type de représentation figurée“. Bulletin de correspondance hellénique 136, Nr. 1 (2012): 421–82. http://dx.doi.org/10.3406/bch.2012.7936.

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3

Chidiroglou, Maria. „A Playful Coroplast? A New Look at the Terracotta Group of the Early Roman Board-Game Players NAM 4200 and Related Finds“. Board Game Studies Journal 16, Nr. 1 (01.04.2022): 339–68. http://dx.doi.org/10.2478/bgs-2022-0011.

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Abstract The paper aims to offer a new look on the published early Roman terracotta group of the National Archaeological Museum inv. no. 4200, which is comprised of a male and female couple of board-game players in the company of a dwarf, by reanalysing its figures, board-game type and presenting some of its hitherto unknown details in the form of impressed images made by the coroplast on the back of the two player figures. These impressed images, if intentional, meaningful and not random, together with parallel finds, are examined in the light of information they can offer regarding the board-game type represented in the terracotta group, the possible winner of the game or gaming attitudes related to the gestures of the figures. An overview of relevant Roman and earlier literary sources and comparisons with related finds are included. Instances of ceramic, terracotta, metal or other finds with -random or intentional- impressed signs and symbols made in coroplastic or pottery workshops, as well as examples of post-manufacture graffiti by a possible user are presented and investigated, leading to possible interpretations of ludic concepts represented by the figural synthesis of the terracotta group NAM 4200.

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4

Averett, Erin Walcek. „La Coroplastie Chypriote archaïque: Identités culturelles et politiques à l'époque des royaumes, by Travaux de la Maison de I'Orient et de la Méditerranée, No. 46. Sabine Fourrier.“ Bulletin of the American Schools of Oriental Research 357 (Februar 2010): 96–98. http://dx.doi.org/10.1086/basor27805168.

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5

Muller, Arthur. „Coroplastic studies: what’s new?“ Archaeological Reports 64 (November 2018): 153–69. http://dx.doi.org/10.1017/s057060841800025x.

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This overview discusses the recent scholarly literature on Greek terracottas of the first millennium BC. Figurative terracottas, once seen as meaningless trinkets, are now given their full meaning through rigorous study and anthropological approaches. Perhaps the most explicit and universal source on the piety of a great number of people, they now contribute decisively to the archaeology of religion, particularly in the field of votive and funerary practices. At the same time, research on figurative terracottas, renewed by a technological approach, reveals a craft that is surprisingly modern in its manufacturing and distribution processes.

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6

Bykovskaya, Aleksandra Viktorovna. „The image of goddess on the throne in the Bosporan coroplast of the archaic and classical periods (VI – IV centuries BC): iconography and sacred meaning“. Исторический журнал: научные исследования, Nr. 3 (März 2021): 36–57. http://dx.doi.org/10.7256/2454-0609.2021.3.35727.

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This article explores the peculiarities of application of compositional pattern of the enthroned goddess in the coroplast of the European part of Bosporus. A number of figurines of the East Crimean Historical and Cultural Museum-Reserve of such iconography is published for the first time, including the discarded coroplast products dating back to the IV century BC. The article reviews the emergence of iconography, its origins in the Neolithic cultures of Anatolia, and proliferation. The following sections are dedicated to the analysis of Bosporan terracotta of the enthroned goddess of the archaic and classical periods. The research methodology employs iconographic and semantic analysis, which implies the interpretation of religious representations reflected in the image of deity. A peculiarity Bosporan coroplast lies in popularity of the composition of enthroned goddess from the archaic period, which indicates a special role of the high status goddesses with a variety of features, such as Demeter, Aphrodite, Artemis, and Hecate in the beliefs of Bosporans. Terracotta complexes of the classical period demonstrate diversity of this iconographic type, as well as mark the emergence of characteristic attributes that allow identifying the image of deity. Coroplast data testify to the growing popularity of the goddess of Phrygian origin Cybele in the IV century BC. A hypothesis is advanced on the existence of a prototype of the number of figurines – the local cult statue of Cybele.

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7

Herscher, Ellen. „The Coroplastic Art of Ancient Cyprus. Vassos Karageorghis.“ Bulletin of the American Schools of Oriental Research 304 (November 1996): 78–83. http://dx.doi.org/10.2307/1357443.

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8

Bykovskaya, Aleksandra Viktorovna. „The image of enthroned goddess in coroplast of the Early Hellenistic Bosporus“. Человек и культура, Nr. 3 (März 2021): 46–68. http://dx.doi.org/10.25136/2409-8744.2021.3.35728.

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The subject of this research is the analysis of the composition of Bosporan terracotta with the image of enthroned goddess of the Early Hellenistic period (the late IV century BC – the late II century BC). The research material involves the figurines from the collection of the East Crimean Historical and Cultural Museum-Reserve of this type of iconography. Terracotta from the prewar excavations of the museum, as well as a number of figurines from the excavations in Porfmy are being published for the first time. The goal of this work is to highlight and analyze the characteristic traits of iconography of the enthroned goddess in the Bosporan coroplast, as well as their reveal their sacred meaning. Special attention is given to interpretation of the depicted attributes, which allow identifying the deity. Analysis of iconography testifies to the spread of the cult of Cybele in the III – II centuries BC. In the ancient coroplast, the image of this goddess is associated with such attributes as a tympanum, a young lion, and a cup. Such details can be traced in the Bosporan terracotta. However, by the turn of the III – II centuries, perhaps under the influence of the ideas of autochthonous population of the region, emerges a specific local iconography: new attributes, such as medallion with the head of a young line and a cone). Replication of the new image in the coroplast works underlines the popularity of the cult of the syncretic female deity among the overall population of the Bosporus.

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9

Shevchenko, Tetiana. „Terracotta Figurines of Goddesses on Thrones from Borysthenes“. Eminak, Nr. 3(35) (13.11.2021): 179–200. http://dx.doi.org/10.33782/eminak2021.3(35).551.

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Figurines of goddesses on the throne were the main coroplastic images of ancient centers of the archaic period. They predominate among figurines from Borysthenes as well. The peculiarities of the image of such goddesses are studied on the example of the collection of similar terracotta figurines stored in the Scientific Funds of the Institute of Archaeology of the National Academy of Sciences of Ukraine. Most often, they were so homogenous that it is easy to identify the image from very small fragments. But in Borysthenes, a number of peculiar items were found showing a variety of attributes, as opposed to other centers of the Northern Black Sea region. This is a goddess with a child, with varieties: a child wearing a pillius or in the form of a potbellied God; goddess with animal features: with the head of a bear or in the form of a monkey with a baby; a goddess with a paredros wearing a pillius; with a dove in her hands. In the absence of attributes, the headdresses differ, and among them, the high polós was of a cultic significance. It is concluded that one should not hasten to correlate the image of the goddess on the throne without attributes with the cult of a definite goddess. The figure of the goddess with her hands on her knees with no distinctive features could be intended for use in various cults. Therefore, there is a need to reconsider the tradition of defining such unattributed images as Demeter’s, typical of the written sources devoted to the Northern Black Sea region. In the archaic period, the number of coroplastic workshops was significantly smaller than in subsequent periods, when attributes had become a more frequent addition to the image. Most of the analyzed items are from the Eastern Mediterranean. Therefore, the decrease in the percentage of the number of Demeter and her daughter images in the subsequent periods took place due to the reduction of images common to many goddesses and their diversity. The variety of archaic times images of goddesses on the throne in Borysthenes is an interesting phenomenon, but it should be explained not so much by the exceptional amount of cults but the extensive links with various sanctuaries having their own coroplastic workshops. The cults that used images of the goddess on the throne were associated with the least known Cabeiri (Kabeiroi), as well as Dionysus, Demeter, Artemis, Aphrodite, the Mother of the Gods, and other deities whose attributes remained clear to followers without their image.

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10

Maestro Zaldívar, Elena. „Acerca de una figurita cerámica procedente del yacimiento de Los Castellazos de Mediana de Aragón (Zaragoza)“. Salduie, Nr. 5 (31.12.2005): 143–57. http://dx.doi.org/10.26754/ojs_salduie/sald.200556508.

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A través de estas líneas presentamos uno de los hallazgos efectuados en el transcurso de la sexta campaña de excavaciones en el yacimiento de Los Castellazos de Mediana de Aragón (Zaragoza). Se trata de una figurita incompleta, realizada en arcilla con gran cantidad de desgrasante, de tonalidades grisáceas con tendencia al negro, y que constituye un ejemplo singular de coroplastia de época ibérica en el Valle Medio del Ebro, tanto por su localización geográfica como por sus características formales, materia prima y ausencia de pintura, uno de los rasgos más habituales en los ejemplares de la misma época constatados hasta el momento en esta área peninsular.

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11

Goring, Elizabeth. „Pottery Figurines: The Development of a Coroplastic Art in Chalcolithic Cyprus“. Bulletin of the American Schools of Oriental Research 282-283 (Mai 1991): 153–61. http://dx.doi.org/10.2307/1357268.

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12

Gasparri, Laura. „Considerazioni preliminari sul ruolo della mousike nel santuario di Demetra Malophoros a Selinunte a partire dalle testimonianze archeologiche“. Greek and Roman Musical Studies 2, Nr. 1 (28.01.2014): 68–98. http://dx.doi.org/10.1163/22129758-12341253.

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AbstractIl presente contributo riguarda lamousikenella sfera sacra del rinomato santuario di DemetraMalophorosa Selinunte (Sicilia occidentale). Le testimonianze archeologiche di interesse “musicale” edite ed inedite, riunite per la prima volta in un corpus unitario, si presentano estremamente eterogenee sia dal punto di vista qualitativo che cronologico, inglobando tanto resti di alcuni strumenti musicali che la loro rappresentazione nel repertorio iconografico della ceramica e nelle tipologie della coroplastica votiva. Lo studio di questi significativi materiali offre dunque l’occasione per iniziare a delineare e a discutere il rapporto fra la musica ed i culti e i riti, ancora parzialmente noti, caratterizzanti il celebre luogo sacro.

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13

Savostina, Elena A., und Tatiana S. Tikhonova. „TERRACOTTA PROTOMAS AND THE COROPLAST WORKSHOP OF GORGIPPIA“. RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, Nr. 1 (2023): 22–41. http://dx.doi.org/10.28995/2686-7249-2023-1-22-41.

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In 2020, during excavations of the ancient polis of Gorgippia (Anapa), a pottery kiln (from the middle of the 3d century BC) was discovered, with the remains of a batch of terracotta baked in it, including two half-figures of Kore-Persephone and a protoma-mask of Demeter. It is noteworthy that such products were already familiar to researchers at Gorgippia, where a statuette of Kore was found in the necropolis (1954), and the protomas of Demeter were found in the alleged “dump” of temple offerings (1965). Analysis of the new finds and materials of the Anapa Museum revealed the peculiarities of the work of coroplasts in Gorgippia, and identified the problems of the circulation of individual elements and the transformation of the image of a female deity. It has been established that the basis for postulating four variants of Gorgippian protomas was the expression on the face of a figurine of the classical period. On the basis of this “primary element”, supplemented by free modeling, three variants of the protoma Demeter were distinguished, a modest provision of a basis for the discussion of differing forms, in addition to a more complex half-figure of Kore. Their production coincided with the destruction of the furnace, but was not limited to that time. In any case, the genealogy of the variant of the protoma of Demeter from the furnace covers three generations of terracotta: both the one preceding and the one following it.

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14

Spathi, Maria G. „What do terracotta figurines in a sacral context reveal? The case of the Aphaia sanctuary on the island of Aegina“. Journal of Greek Archaeology 7 (23.11.2022): 213–32. http://dx.doi.org/10.32028/jga.v7i.1715.

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Figurines are one of the most numerous categories of finds, coming to light in their hundreds in sacral contexts. And while other finds, such as ceramics, fall often into the category of profane, coroplastic finds are clearly always votives. They are offerings to the deity given either singly or, possibly, in groups, along with other offerings, such as edible stuffs. The importance of figurines as votive offerings in shrines has undergone a revision: up to a few decades ago, they were considered cheap, mass-produced products of little interpretive significance to the results of modern research. Their study, when from sacred assemblages, has since progressed greatly. Many independent publications bear witness to this. Their newly-appreciated importance lies not only in their being revealing finds for the practice of worship in a place but also, when there exists, say, a repetition of types for a long time, they offer valuable information about the character, qualities, and sometimes even the very identity of the worshiped deity. And while individual figurines as votive offerings to shrines may be a personal expression of the dedicator, they all reflect a collective and repetitive practice directly related to the deity worshiped. Depending on their place of manufacture, they also provide information on domestic production, influences from other regions and the commercial relations of the sanctuaries and the wider area in which they exist with other such religious centres and other ceramic traditions. But their artistic value is not necessarily negligible. Along with the handmade or mass-produced products, there are similar coroplastic examples on a larger scale, made in multiple moulds; these may far exceed 20 cm in size. Such pieces were certainly not cheap votive offerings but expensive and perhaps made to order. In the present study, the information that may be drawn from figurines in sanctuaries is examined. The exercise takes as a case-study all the figurines from the sanctuary of Aphaia on the island of Aegina in the Saronic Gulf, which are mainly dated due to the Archaic period. This corpus is well-suited to the task in that it gives information not limited only to the typology of the figurines and their relation to the properties of the worshiped deity, but also on their origin, which goes beyond the island itself.

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15

Vakhrameieva, G. „THE HEYDAY OF THE DEMETER CULT DURING THE REIGN OF THE SPARTOKIDS DYNASTY ON BOSPORUS“. Bulletin of Taras Shevchenko National University of Kyiv. History, Nr. 136 (2018): 11–15. http://dx.doi.org/10.17721/1728-2640.2018.136.1.02.

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The article is devoted to the general characteristics of Demeter cult in the Bosporus, thread V – beginning III century BC. The author gives account of the main Bosporus sanctuaries of Demeter. During the excavation of cities and necropolis, a lot of terracotta of Demeter and Kore-Persephone was found. Apart from sacral complexes and coroplast products, epigraphic sources, graffiti, paintings and images of an ear on the coins evidence honouring the goddess of fertility in the Bosporus. The priority of ancient rules and traditions in the cult of Demeter was maintained in the course of this period.

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16

Kenfield, John F. „An East Greek Master Coroplast at Late Archaic Morgantina“. Hesperia 59, Nr. 1 (Januar 1990): 265. http://dx.doi.org/10.2307/148141.

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17

Nordquist, Gullög. „Musicians in ancient coroplastic art, by A. Bellia & C. Marconi, eds (book review)“. Opuscula. Annual of the Swedish Institutes at Athens and Rome 11 (November 2018): 207–9. http://dx.doi.org/10.30549/opathrom-11-14.

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18

Vandenabeele, Frieda, und Vassos Karageorghis. „The Coroplastic Art of Ancient Cyprus IV. The Cypro-Archaic Period Small Male Figurines“. American Journal of Archaeology 101, Nr. 1 (Januar 1997): 174. http://dx.doi.org/10.2307/506265.

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19

Bertram, Haley. „Chapter Five: The Archaic and Classical Figurines“. Mouseion 18, Nr. 1 (01.12.2021): 134–62. http://dx.doi.org/10.3138/mous-18-1-06.

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The terracotta figurines and protomai from Eleon form a compelling corpus of evidence for activity on the acropolis during the Archaic and Classical periods. This chapter provides an overview of the figurines recovered in the first five years of excavation at Eleon. A chronological survey relies on stylistic analysis, as nearly all come from the ramped entryway to the site, either built into the fill of the ramp itself in secondary deposition, or in later pits disrupting these levels. The assemblage is composed of a range of handmade and moldmade female figurines in seated and standing postures; the lingering Archaic type of the early Classical period is prevalent among these. Given their quantity and the nature of the associated material, it can reasonably be assumed that the figurines are linked to votive activity on the hilltop, although specifics elude us beyond association with a female deity. Dedication of the figurines peaked in the mid-fifth century, at least 25 years after the construction of the polygonal wall. This may be indicative of shifts in votive practice over time, as well as developments in local terracotta production before the emergence of a “Boeotian” coroplastic style.

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20

Bourgeois, Brigitte, Giovanni Verri und Violaine Jeammet. „Color and Light: A Hellenistic Terracotta Figurine of a Maenad from Myrina“. Heritage 6, Nr. 3 (12.03.2023): 3005–24. http://dx.doi.org/10.3390/heritage6030160.

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During the Hellenistic period and under the growing influence of the art of painting, the polychromy of Greek terracotta figurines focused not only on an elaborate rendering of color, but also on the interplay of light and shadow. Some of the best-preserved examples clearly show the subtlety of such pictorial effects. Among them is a statuette of a standing Maenad, held in the collections of the National Archaeological Museum in Athens (inv. 5000). Dating back to 150–100 BCE, it is a high-quality testament to the sculptural, as well as pictorial, coroplastic production in the workshops of Myrina (Eolide, Turkey). Combining multi-scale examination, multi-spectral imaging and non-invasive spectroscopic investigations (XRF, FTIR, FORS), a scientific study of the artefact was carried out within the framework of the Pilina project, a collaborative research program between the Louvre, the C2RMF, the National Archaeological Museum and the French School in Athens. This article presents the main results of the study by discussing the color scheme, identification of some pigments and colorants (clays of the kaolinite group, ochres, cinnabar, Egyptian blue, an anthraquinone of plant origin, likely madder, gold leaf), and painting techniques aiming at achieving chiaroscuro effects.

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21

Morris, C. „Review. The Coroplastic Art of Ancient Cyprus: IV The Cypro-Archaic Period: Small Male Figurines“. Classical Review 47, Nr. 2 (01.02.1997): 387–88. http://dx.doi.org/10.1093/cr/47.2.387.

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22

ELAYI, J. „Deux 'ateliers' de coroplastes nord-phéniciens et nord-syriens sous l'Empire perse“. Iranica Antiqua 26 (01.12.1991): 181–216. http://dx.doi.org/10.2143/ia.26.0.2002137.

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23

Karageorghis, Jacqueline V. „Influences orientales sur la coroplastique chypriote aux IIe et Ier millénaires a.C“. Cahiers du Centre d'Etudes Chypriotes 37, Nr. 1 (2007): 329–46. http://dx.doi.org/10.3406/cchyp.2007.1512.

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24

Parra, Maria Cecilia. „La Collezione di Vito Capialbi a Vibo Valentia : alcune note sulla coroplastica“. Agoghè, Nr. 14 (2022): 237–52. http://dx.doi.org/10.12871/978883339612516.

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25

Barone, G., P. Mazzoleni, S. Raneri, G. Monterosso, A. Santostefano, G. Spagnolo und V. Vasta. „Exploring the Coroplasts’ ‘Techne’ in Greek Architectural Terracottas from Sicily: an Archaeometric Approach“. Archaeometry 60, Nr. 5 (11.06.2018): 986–1001. http://dx.doi.org/10.1111/arcm.12380.

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26

Lippolis, Enzo. „Culto e iconografie della coroplastica votiva. Problemi interpretativi a Taranto e nel mondo greco“. Mélanges de l’École française de Rome. Antiquité 113, Nr. 1 (2001): 225–55. http://dx.doi.org/10.3406/mefr.2001.10668.

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27

Herscher, Ellen. „The Coroplastic Art of Ancient Cyprus, Volume V: The Cypro-Archaic Period Small Female Figurines, Part A: Handmade/Wheelmade Figurines. Vassos Karageorghis.The Coroplastic Art of Ancient Cyprus, Volume VI: The Cypro-Archaic Period Monsters, Animals and Miscellanea. Vassos Karageorghis.“ Bulletin of the American Schools of Oriental Research 317 (Februar 2000): 81–84. http://dx.doi.org/10.2307/1357489.

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28

Alexandrescu, C. G. „MUSICIANS IN ANCIENT COROPLASTIC ART - (A.) Bellia, (C.) Marconi (edd.) Musicians in Ancient Coroplastic Art. Iconography, Ritual Contexts, and Functions. (Telestes 2.) Pp. 216, ills. Pisa and Rome: Fabrizio Serra Editore, 2016. Paper, €48. ISBN: 978-88-8147-458-5.“ Classical Review 69, Nr. 2 (06.03.2019): 592–94. http://dx.doi.org/10.1017/s0009840x19000167.

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29

Catling, H. W. „Cypriot Coroplastic Art - Vassos Karageorghis: The Coroplastic Art of Ancient Cyprus, Vol. I: Chalcolithic–Late Cypriote I. Pp. xii + 219; 151 black and white plates, 151 text figures and a map. Nicosia, Cyprus: A. G. Leventis Foundation, 1991. Cyprus £35.“ Classical Review 43, Nr. 1 (April 1993): 128–31. http://dx.doi.org/10.1017/s0009840x00286137.

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30

Pisani, Marcella. „Modelli attici e atticismi nella coroplastica siceliota di età classica: problemi di stile, cronologia e società“. Cahiers du Centre d'Etudes Chypriotes 46, Nr. 1 (2016): 275–88. http://dx.doi.org/10.3406/cchyp.2016.1690.

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31

Serwint, Nancy, und Vassos Karageorghis. „The Coroplastic Art of Ancient Cyprus. Vol. 5, the Cypro-Archaic Period Small Female Figurines. Pt. A, Handmade/Wheelmade Figurines“. American Journal of Archaeology 104, Nr. 4 (Oktober 2000): 803. http://dx.doi.org/10.2307/507167.

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32

Sukovata, Lidia, Aleksander Dziuk, Radosław Plewa und Tomasz Jaworski. „The Effect of Trap Color on Catches of Monochamus galloprovincialis and Three Most Numerous Non-Target Insect Species“. Insects 13, Nr. 3 (22.02.2022): 220. http://dx.doi.org/10.3390/insects13030220.

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Black pheromone-baited traps are commonly used for monitoring Monochamus galloprovincialis, a vector of Bursaphelenchus xylophilus, although few studies have been conducted on its response to color (black, white, and clear). The objective of our studies was to evaluate the attractiveness of different colors to M. galloprovincialis and non-target species: Spondylis buprestoides and predatory Thanasimus formicarius and T. femoralis. Laboratory tests of fifteen colors against immature and mature M. galloprovincialis revealed some differences in their color preference. In two field tests, eight colors of coroplast vanes in cross-vane traps were compared with unpainted white (a reference (RF)). The first test confirmed the laboratory results, i.e., RF was slightly more attractive to M. galloprovincialis than pastel yellow, reseda green, and cyan blue, but trap color had no significant effect on any of the insect species studied. In the second test, the attractiveness of RF was highest and significantly different from pure white (for all four species), light blue, and pine green (except S. buprestoides). Overall, the unpainted white traps appeared to be most effective in catching M. galloprovincialis. Thanasimus spp. responded to the colors similarly to M. galloprovincialis; therefore, either trap design or lure composition should be modified to reduce their catches.

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Кузина, Н. В. „INTERPRETATION OF A GROUP OF TERRACOTTA FIGURINES FROM ANCIENT GREEK SANCTUARIES OF THE CRIMEAN PRYAZOVIA“. Краткие сообщения Института археологии (КСИА), Nr. 264 (03.12.2021): 229–39. http://dx.doi.org/10.25681/iaras.0130-2620.264.229-239.

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В статье рассматривается группа терракотовых статуэток с изображениями мальчиков, происходящая из раскопок сельских святилищ Крымского Приазовья. Сюжеты с детьми широко представлены в боспорской коропластике II-I вв. до н. э. и долгое время считались бытовыми. Однако обстоятельства находок и анализ иконографии позволяют проследить сакральный смысл этих статуэток. В контексте ритуальной практики святилищ фигурки детей с сопутствующими атрибутами (птица, собака, лошадь, щит) могут быть интерпретированы как воплощение полисемантического образа божественного ребенка, символизирующего плодородное жизненное начало, потенциальную жизнь, обновление, возрождение, заключающего в себе характеристики лиминального существа, помещаемого в сакральном пространстве на границе земного и потустороннего миров, наделенного функциями медиатора, связующего космические зоны. The paper reports on a group of terracotta figurines featuring boys that comes from excavations of rural sanctuaries in the Crimean Priazovia. Narrative scenes with children are widely represented in Bosporan coroplast of the 2 - 1 cc. BC, for a long time they were considered items for household use. However, circumstances of the finds and analysis of iconography suggest sacral meaning of these figurines. In the context of the sanctuary practice, the children figurines with accompanying attributes (a bird, a dog, a horse, a shield) can be interpreted as incarnation of a polysemantic image of a divine child as a symbol of a fertile start of life, potential life, renewal, rebirth that includes characteristics of a liminal creature placed in sacral space on the borderline between the human world and another world with functions of a mediator linking cosmic zones.

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Tatton-Brown, Veronica. „(V.) Karageorghis The coroplastic art of ancient Cyprus. II. Late Cypriote II-Cypro-Geometric III.Nicosia: Leventis Foundation, 1993. Pp. xii + 112 + illus. £Cyp.20.“ Journal of Hellenic Studies 114 (November 1994): 222. http://dx.doi.org/10.2307/632790.

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Bustamante Álvarez, Macarena, Alberto Dorado Alejos, Ana Mª Bejarano Osorio und Ana Isabel Heredia López. „La policromía en la coroplastia romana. A propósito del análisis arqueológico y arqueométrico de una pieza procedente de la Casa del Mitreo (Mérida, Badajoz, España)“. Cuadernos de Prehistoria y Arqueología de la Universidad Autónoma de Madrid 49, Nr. 2 (20.12.2023): 173–98. http://dx.doi.org/10.15366/cupauam2023.49.2.006.

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Se presenta el análisis íntegro de una terracota con representación antropomorfa localizada en un contexto doméstico en la antigua capital provincial de la Lusitania, Augusta Emerita (Mérida, Badajoz). El interés de la misma reside en los restos policromados que presenta, una práctica que, aunque debió estar muy extendida, ha llegado de manera muy parcial hasta la actualidad. Metodológicamente, se aborda en clave interdisciplinar combinando el análisis contextual, arqueométrico e iconográfico. Con todo ello, hemos podido extraer conclusiones relativas no sólo al ámbito funcional sino también a la cadena operativa a partir de la cual se manufacturó este singular objeto.

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Beresford, D. V., und J. F. Sutcliffe. „Studies on the Effectiveness of Coroplast Sticky Traps for Sampling Stable Flies (Diptera: Muscidae), Including a Comparison to Alsynite“. Journal of Economic Entomology 99, Nr. 3 (01.06.2006): 1025–35. http://dx.doi.org/10.1093/jee/99.3.1025.

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Shevchenko, T. M. „OLBIAN THYMIATERIA OF APHRODITE“. Archaeology and Early History of Ukraine 34, Nr. 1 (01.03.2020): 114–28. http://dx.doi.org/10.37445/adiu.2020.01.07.

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Among Olbian terracottas there is a group of Aphrodite’s busts crowned with handmade cups. These bust thymiateria were probably used in this goddess cult for spreading scents and as votives. They come from the excavations at houses and from the Eastern (Central) Temenos. The series of busts is dated to the late period of this temenos functioning: the late 3rd or the first half of the 2nd centuries BC. The image of Aphrodite with Erotes on her shoulders probably originates from her depictions where she holds her twin sons in her arms. One more variant of this image was the schematic depiction of Erotes heads on her shoulders at the backgrounds of palmettes. They as if peer out of the goddess shoulders and their wings form the palmettes. Terracottas of this variant come from the botroi at the Central and Western Temenoi. Aphrodite with Erotes on her shoulders is known in coroplastics of many cities while the very image of this full-faced, openly smiling and not young woman is peculiar for Olbia. The same face is reproduced in semifigures of ladies with ivy wreath found in the area near agora. Aphrodite being usually depicted as young and tender looks almost stout on the busts discussed. It can correspond to the image of Aphrodite Ourania. Olbian bust thymiateria distinguish also by the simply shaped thymiaterion cup. Only handmade cups are known among the materials of the Central Temenos where dozens of busts with broken away thymiateria cups were found. Bostros served as a place for burying remains from sacral precinct, therefore bust thymiateria lost their value before falling into this context. It could be reasoned by their broken condition, otherwise there could be a new type of bust thymiateria which interchanged the previous. Each variant of serially produced busts was used simultaneously on both temenoi.

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Doepner, Daphni. „Valentina Barberis: Rappresentazioni di divinità e di devoti dall’area sacra urbana di Metaponto. La coroplastica votiva dalla fine del VII all’ inizio del V sec. a.C.“ Gnomon 80, Nr. 4 (2008): 333–36. http://dx.doi.org/10.17104/0017-1417_2008_4_333.

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Catling, H. W. „Art in Cyprus - Vassos Karageorghis: The Coroplastic Art of Ancient Cyprus, II: Late Cypriot II–Cypro-Geometric III. Pp. xii+112; 70 figs., 45 plates, 1 map. Nicosia: A. G. Leventis Foundation, 1993. Cased.“ Classical Review 44, Nr. 1 (April 1994): 148–51. http://dx.doi.org/10.1017/s0009840x00291002.

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Tatton-Brown, Veronica. „J. Karageorghis: The Coroplastic Art of Ancient Cyprus. V. The Cypro-Archaic Period Small Female Figurines. B. Figurines Moulées Pp. xxxiii + 341, figs. Nicosia: The A. G. Leventis Foundation, 1999. Cased, £35. ISBN: 9963-560-37-7.“ Classical Review 51, Nr. 1 (März 2001): 196–97. http://dx.doi.org/10.1093/cr/51.1.196.

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Morris, Christine. „Cypriot Figurines - V. Karageorghis: The Coroplastic Art of Ancient Cyprus: IV. The Cypro-Archaic Period: Small Male Figurines. Pp. xiii + 174; ills. Nicosia: The A. G. Leventis Foundation/University of Cyprus, 1995. CYP£30. ISBN: 9963-560-22-9.“ Classical Review 47, Nr. 2 (Oktober 1997): 387–88. http://dx.doi.org/10.1017/s0009840x0025124x.

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Ridgway, F. R. Serra. „Italian Terracottas - Maria Bonghi Jovino (ed.): Artigiani e botteghe nell'Italia preromana: studi sulla coroplastica di area etrusco–laziale–campana. (Studia Archaeologica, 56.) Pp. 252; 12 figs., 38 half-tone plates (in text). Rome: L' “Erma” di Bretschneider, 1990. L. 200,000.“ Classical Review 42, Nr. 2 (Oktober 1992): 405–7. http://dx.doi.org/10.1017/s0009840x00284424.

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Henke, Jan-Marc. „Book Review of La Coroplastie Chypriote Archaïque: Identitiés Culturelles at Politique l'époque des Royaumes, by Sabine Fourrier“. American Journal of Archaeology 113, Nr. 4 (Oktober 2009). http://dx.doi.org/10.3764/ajaonline1134.henke.

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Studies, Association for Coroplastic. „Recent Papers on Coroplastic Topics“. Les Carnets de l'ACoSt, Nr. 20 (30.03.2020). http://dx.doi.org/10.4000/acost.2399.

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„Recent Bibliography on Coroplastic Topics“. Les Carnets de l'ACoSt, Nr. 13 (05.08.2015). http://dx.doi.org/10.4000/acost.634.

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Studies, Association for Coroplastic. „Bibliography on Coroplastic Topics for 2019“. Les Carnets de l'ACoSt, Nr. 20 (30.03.2020). http://dx.doi.org/10.4000/acost.2521.

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Studies, Association for Coroplastic. „Bibliography for Coroplastic Topics 2019-2020“. Les Carnets de l'ACoSt, Nr. 21 (07.12.2020). http://dx.doi.org/10.4000/acost.2927.

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Muller, Arthur, und Jaimee Uhlenbrock. „Two Collaborative Projects for Coroplastic Research“. Les Carnets de l'ACoSt, Nr. 11 (30.06.2014). http://dx.doi.org/10.4000/acost.475.

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„Recent Bibliography on Coroplastic Topics: 2016–2017“. Les Carnets de l'ACoSt, Nr. 17 (10.04.2018). http://dx.doi.org/10.4000/acost.1143.

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„Recent Bibliography on Coroplastic Topics, 2015–2016“. Les Carnets de l'ACoSt, Nr. 15 (02.12.2016). http://dx.doi.org/10.4000/acost.919.

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