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Academic literature on the topic 'Athenian Vases'

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Published: 13 July 2024

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Journal articles on the topic "Athenian Vases"

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Mario Iozzo. "Hidden Inscriptions on Athenian Vases." American Journal of Archaeology 122, no. 3 (2018): 397. http://dx.doi.org/10.3764/aja.122.3.0397.

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Sheramy D. Bundrick. "Selling Sacrifice on Classical Athenian Vases." Hesperia: The Journal of the American School of Classical Studies at Athens 83, no. 4 (2014): 653. http://dx.doi.org/10.2972/hesperia.83.4.0653.

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Ferrari, Gloria. "Myth and Genre on Athenian Vases." Classical Antiquity 22, no. 1 (April 1, 2003): 37–54. http://dx.doi.org/10.1525/ca.2003.22.1.37.

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With the notable exceptions of Jan Bazˇˇant and Paul Harvey, most scholars subscribe to the idea that the representational scenes on Greek vases fall into one of two main categories: either myth (including epic subjects) or "genre," whose frame of reference is everyday life. This article challenges this distinction and makes a plea for its abandonment.
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Shapiro, H. A. "Attic Comedy and the ‘Comic Angels’ Krater in New York." Journal of Hellenic Studies 115 (November 1995): 173–75. http://dx.doi.org/10.2307/631658.

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The centerpiece of Oliver Taplin's recent monograph on Greek drama and South Italian vase-painting is an Apulian bell-krater of the early fourth century in a New York private collection (Plate IV). The vase belongs to the genre conventionally known as phlyax vases, though Taplin would reject that label, since it is the thesis of his book that many, if not most, of these vases reflect Athenian Old Comedy and not an indigenous Italic entertainment, the phlyax play.
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Jo Smith, Tyler. "Black-Figure vases in the collection of the British School at Athens." Annual of the British School at Athens 98 (November 2003): 347–68. http://dx.doi.org/10.1017/s0068245400016919.

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Although some of the black-figure vases presented here were studied by Beazley and others, many are published for the first time. This article provides a summary of the collection followed by a catalogue of the objects by fabric and shape, and an illustration of each piece. The fabrics include Athenian, Corinthian, Boeotian and Euboean. A wide range of shapes, styles and iconographic themes are represented. An appendix of largely unpublished Athenian black-figure from the site of Kynosarges, excavated by the BSA (1896–7), appears at the end.
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Bennett. "Targeted Advertising for Women in Athenian Vase-Painting of the Fifth Century BCE." Arts 8, no. 2 (April 11, 2019): 52. http://dx.doi.org/10.3390/arts8020052.

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This paper analyzes the trends in depictions of women in Athenian vase-painting during the 5th century BCE through an examination of approximately 88,000 vases in the Beazley Archive Pottery Database. It found a 15% increase in depictions of women during the 5th century BCE and a diversification in subject matter in which women appear. By considering these trends within the historical context of the hegemonic position of Athens in the Delian League and its wars, this paper proposes that the changes in representations and subject matter denote an expanded marketability of vases to female viewers. As targeted imagery, the images give perceptible recognition to an increased valuation of women’s work and lives at a time when their roles in Athenian society were essential for the continued success of the city-state. This paper suggests that these changes also point to the fact that a greater share of the market was influenced by women, either directly or indirectly, and successful artists carefully crafted targeted advertisements on their wares to attract that group. This paper provides new insights into the relationships between vases and their intended audiences within the context of the cultural changes occurring in Athens itself.
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Laferrière, Carolyn M. "Dancing with Greek Vases." Greek and Roman Musical Studies 9, no. 1 (March 29, 2021): 85–114. http://dx.doi.org/10.1163/22129758-12341378.

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Abstract As gods dance, women twirl in choruses, and men leap in kōmos revels on Athenian red-figure vases, their animate bodies must be made to conform to the rounded shape of the vessels. Occasionally, these vases are even included in the images themselves, particularly within the kōmos revel, where the participants incorporate vessels into their dance as props, markers of space, and tools to engage new dance partners. Positioning these scenes within their potential sympotic context, I analyze the vases held by the dancers according to the ancient viewer’s own possible use of these physical vessels. The symposiasts’ own dextrous interaction with the objects echoes the dancers’ behaviors, so that human and ceramic bodies come together in shared movement. The handling of vases thus suggests a tactile, embodied experience shared between dancers and viewers; by evoking viewers’ familiarity with handling similar vessels, the vase-paintings invite viewers to join in the dance.
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Da Costa, Natalia Borges. "REFLECTIONS FROM A GREEK VASE." Revista Contemporânea 3, no. 8 (August 18, 2023): 12142–62. http://dx.doi.org/10.56083/rcv3n8-122.

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The theme proposed in this Article is: “Reflections from a greek vase”. The development of this Article took place under the qualitative methodology with bibliographic, qualitative, referential, interpretative, descriptive and critical-dialectical methods. Reflecting on a Greek Vase is the main objective of this Article, considering the importance of Greek Vases: the legacy of the attic vases helped greatly in building the knowledge of athenian society. Topic 1 will deal with the Power of the Image; Topic 2 will deal with Greek Vases and the 3rd Topic will analyze a Greek Vase. Then, the Final Considerations. I hope the academic environment will receive a good contribution, both practical and theoretical, by conducting my analyzes.
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Higbie, Carolyn. "The Bones of a Hero, the Ashes of a Politician: Athens, Salamis, and the Usable Past." Classical Antiquity 16, no. 2 (October 1, 1997): 278–307. http://dx.doi.org/10.2307/25011066.

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This article uses one incident, the Athenian efforts to acquire Salamis from Megara during the sixth century B.C.E., to study what Greeks themselves believed about their own past and why the past was so powerful an argument for them. The nature of the evidence is an important part of the discussion, since the written sources (primarily Aristotle, Strabo, Plutarch, and Diogenes Laertius) date from long after the events and Greek authors' approaches to the past differ from our own. Although only brief fragments of any Megarian historians survive, they are useful in providing a counterbalance to Athenian sources, since their versions of mythological events and portraits of mythological heroes are very different. The archaeological evidence includes inscriptions, vases, and graves; with one possible exception, this material was not exploited either by Solon and the Athenians or by the ancient authors. Sources credited both Solon and Athens with having used five different kinds of arguments to make the Athenian case for Salamis, and this variety indicates that Greeks of later centuries did not really know what happened in the struggle over the island. Hampered by problems of chronography and influenced by cultural attitudes such as a belief in a culture hero, historians, biographers, and travelers wrote accounts which reveal the importance of the past, especially the Trojan War past, to Greeks.
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Bazant, Jan. "Cultural memory and recollections in Athenian vase paintings." Letras Clássicas, no. 8 (November 1, 2004): 11. http://dx.doi.org/10.11606/issn.2358-3150.v0i8p11-26.

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<p><span>In this paper, I deal with the traditional division between myth and reality on ancient Athenian vases. I ask what happened in the late 6th century BC Athens that made classical archaeologists think that vase painters and their customers started to be interested in reality. There is no doubt that in the century or so around 500 BC iconography of Athenian vase underwent a radical change, but my point is that this makeover was misinterpreted. There was a revolution in storytelling, but the entirely new stories with which Athenian vase painters started to amuse their patrons were not genre scenes or depictions of everyday subjects, as scenes of reality are sometimes called. </span></p>
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Dissertations / Theses on the topic "Athenian Vases"

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Gerleigner, Georg Simon. "Writing on archaic Athenian pottery : studies on the relationship between images and inscriptions on Greek vases." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610545.

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Sini, Efthalia-Thalia. "Studies in the choice and iconography of everyday scenes on fourth-century Athenian vases." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670241.

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Moodie, Meg R. "Drawing the divide : the nature of Athenian identity as reflected in the depiction of the „other‟ in Attic red-figure vase painting in the fifth century BCE." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80201.

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Thesis (MPhil)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: During the fifth century BCE there were three defining periods in Athenian history that challenged its society: the Persian Wars (490 – 479 BCE); Periclean Athens (mid-fifth century); and the Peloponnesian War (431 – 404 BCE). As the development of identity is a reactionary process, these three periods had a profound effect on the Athenian identity and led to the redefinition of this self-image along the primordialist models. Two premises are combined in this study. Firstly that comparisons to contrary ethnicities are vital to the development of identity, and secondly that the visual articulation of an identity is essential to the reinforcement and maintenance of this self-image. This can be applied to the development of Athenian identity during the fifth century BCE as reflected in Attic vase painting. Through a study of the "other" imagery produced in this century, with special attention given to Amazons, it is possible to see the development and nature of the Athenian identity during each of the three periods.
AFRIKAANSE OPSOMMING: Tydens die vyfde eeu vC was daar drie omskrywende periodes in Atheense geskiedenis wat hul samelewing uitgedaag het: die Persiese Oorloë (490 – 479 vC); Perikleiese Athene (mid-vyfde eeu); en die Pelopponiese Oorlog (431 – 404 vC). Omdat die ontwikkeling van identiteit 'n reaksionêre proses is, het hierdie drie periodes 'n diepgaande indruk op die Atheense identiteit gehad en het bygedra tot die herdefiniesie van hierdie selfbeeld volgens die primordialis modelle. Twee stellings word gekombineer in hierdie studie. Eerstens dat vergelykings aan teenoorgestelde etnisiteite essensieel is vir die ontwikkeling van identiteit, en tweedens, dat die visuele artikulasie van 'n identiteit noodsaaklik is vir die versterking en onderhoud van die selfbeeld. Dit kan toegepas word by die ontwikkeling van Atheense identiteit gedurend die vyfde eeu vC soos in Attiese vaas versiering uitgebeeld is. Deur middel van 'n studie van die "ander" beelde geskep in die eeu, met spesiale aandag aan Amasone, is dit moontlik om die ontwikkeling en karakter van die Atheense identiteit gedurend elk van die drie periodes te verstaan.
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Beats, Kate A. "Size, surface and shape : experiencing the Athenian vase." Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/50045/.

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This study provides an alternative framework for the interpretation of the painted and plain Athenian vase during the Late Archaic and Classical period. The primary focus is on the way in which the vase came to interact with society. As a commodity with a practical use, the vase was permitted to circulate in social spaces in Athens. As a consequence of this contact, the accumulated meaning became more symbolic than practical. For instance, due to its use within the domestic sphere, the vase became a symbol of domesticity. This development of symbolism involves a transformation in the perception of the vase as something more than a practically functioning thing. The functions that the vase performed were meaningful in themselves. For the purposes of exploring the manifestation of this transformation, this study draws upon an anthropological theory of art as well as theories which interpret the experience of viewing. Although the painted vase is discussed alongside plain vessels, its decorative component is considered as a further expression of communication between the vase and society, Athens in particular. The manifestation of this communication between the vase, context and user is isolated to three characteristics in this study; size, surface and shape. Alterations in these components reduce the practical function of the vase in favour of its symbolic qualities. These factors are discussed over five chapters. In so doing, this study offers a radically revised interpretation of the vase as an object which is entirely context dependent and came to represent the communication between commodities and society.
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Grillo, Jose Geraldo Costa. "A Guerra de Tróia no imaginário ateniense: sua representação nos vasos áticos dos séculos VI-V a.C." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/71/71131/tde-13042009-164013/.

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O autor pergunta, a partir da iconografia da Guerra de Tróia, pelo lugar da guerra no imaginário ateniense durante os séculos VI-V a.C.. O corpus da pesquisa é constituído por 248 vasos áticos referentes a nove cenas: 1) Armamento de Aquiles; 2) Partida de Aquiles; os duelos entre 3) Páris e Menelau, 4) Enéias e Diomedes, 5) Ájax e Heitor, 6) Aquiles e Heitor, 7) Aquiles e Mêmnon; os retornos de guerreiros mortos em batalha: 8) Sono e Morte carregando o corpo de Sarpédon e 9) Ájax carregando o corpo de Aquiles. Os recortes espacial, Atenas, e cronológico, séculos VI-V a.C., foram feitos devido à escolha deliberada dos vasos áticos e ao surgimento e desaparecimento do tema nesse período. Partindo dos pressupostos de que há uma relação entre imagens e sociedade e de que as imagens são construções do imaginário social, que permitem uma aproximação às representações coletivas, o autor propõe ser a Guerra de Tróia um elemento constitutivo do imaginário ateniense nos séculos VI-V a.C. e remeter sua iconografia às representações dos atenienses sobre a atividade guerreira em seu próprio tempo. As imagens pintadas da Guerra de Tróia, antes de serem ilustrações de um evento do passado, são manifestações da imagem que a cidade de Atenas faz de si mesma em relação à guerra. Presente na memória coletiva dos atenienses, a Guerra de Tróia é um acontecimento, no qual a cidade fundamenta seus valores, sua sociedade e os respectivos papéis de seus cidadãos. Em suma, a guerra, antes de ser uma atividade restrita aos guerreiros, envolve toda a cidade, isto é, os não guerreiros, entre os quais, a mulher e o homem idoso, pais do guerreiro, ocupam um lugar preponderante.
From the iconography of the Trojan War, the author asks about the place of the war in the Athenian imaginary in the sixth and fifth centuries B.C. The corpus of the research is composed of 248 attic vases about nine scenes: 1) The arming of Achilles; 2) The departure of Achilles; the duels: 3) Paris fighting Menelaos, 4) Aeneas fighting Diomedes, 5) Ajax fighting Hector, 6) Achilles fighting Hector, 7) Achilles fighting Memnon; the returns of the dead warriors in battle: 8) Sleep and Death carrying the body of Sarpedon, and 9) Ajax carrying the body of Achilles. The choice of space, Athens, and chronological period, 6th and 5th centuries B.C., was based on a deliberate option for the attic vases and on the appearance and disappearance of the theme in this period. Based on the assumptions that there is a relationship between images and society and that images are constructs of the social imaginary, allowing an approximation to collective representations, the author proposes that the Trojan War is a constituent element of the Athenian imaginary in the sixth and fifth centuries B.C. and that its iconography refers to the representations of Athenians on the war activity in their own time. The Trojan Wars painted pictures, rather than being illustrations of an event from the past, are manifestations of the image that the city of Athens makes about itself, concerning the war. The Trojan War is an event in the collective memory of the Athenians, upon which the city establishes its values, its society and the respective roles of its citizens. In short, that war, rather than being an activity restricted to warriors, concerns the whole city, namely, the non-warriors, among them, the woman and the old man, the warriors parents, who hold an important place.
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Georgiades, Rebecca Elise. "Facing Fear: Exploring the Representation of Fear in Athenian Vase-painting from the 7th – 4th centuries BC." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/26366.

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Although emotions, particularly fear, have biological foundations, they are by no means entirely universal and are significantly shaped by the surrounding cultural and social contexts where they are expressed. This thesis is primarily a qualitative and iconographic study of the expression of emotion, specifically fear, in ancient Athenian vase-painting during the 7th – 4th centuries BC. It uses multiple systems of inquiry drawn from classical historical analysis, art history and anthropology to achieve an extensive understanding of the relationship between emotion, materiality and the cultural framework these images operated within. This thesis analyses the use of gesture, posture and facial expressions in visual imagery, to explain how and why fear was represented. By examining specific topographies of fear, such as the realm of mythical and monstrous creatures as well as settings of warfare and human violence, this thesis demonstrates the role of fear-filled imagery in sharing and reinforcing ideas about culture, gender and status within Athenian society.
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Saunders, David. "Sleepers in the valley : Athenian vase-painting 600-400 B.C. and the 'beautiful death'." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432118.

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Villing, Alexandra. "The iconography of Athena in attic vase-painting from 440 - 370 BC." [S.l. : s.n.], 2007. http://nbn-resolving.de/urn:nbn:de:bsz:16-propylaeumdok-368.

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Foukara, Lavinia. "All in the family : the Apollonian triad in Attic art of the sixth and fifth centuries BC." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/15916.

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This dissertation examines the iconographical motif of the Apollonian triad in Attic art of the sixth and fifth centuries BC. Attic vase paintings constitute the chief evidence for this study, but other evidence, such as inscriptions, literary sources, sculptures and coins is considered, as well. My thesis focus on scenes without a clear mythological context, where the triad appears alone or accompanied by other, mostly, divine figures, and on what messages or information these images of the Apollonian triad convey. This study contributes to the ongoing discussion of the iconography and iconology of Attic vases, which enriches our understanding of Athenian socio-political and religious life and of Greek culture, more generally.
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Stewardson, Margaret Elizabeth. "Nature and construction in ancient Greek vase-painting : the rendering and contextual significance of natural and man-made settings in Athenian figural ceramics of the sixth to the fourth centuries B.C." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416859.

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Books on the topic "Athenian Vases"

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John, Boardman. Athenian black figure vases: A handbook. London: Thames and Hudson, 1991.

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John, Boardman. Athenian black figure vases: A handbook. New York, N.Y: Thames and Hudson, 1991.

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John, Boardman. Athenian red figure vases: The Archaic period : a handbook. 2nd ed. New York: Thames and Hudson, 2000.

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John, Boardman. Athenian red figure vases: The Archaic period : a handbook. London: Thames and Hudson, 1991.

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John, Boardman. Athenian red figure vases: The classical period : a handbook. New York: Thames and Hudson, 1988.

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John, Boardman. Athenian red figure vases: The Archaic period : a handbook. New York: Thames and Hudson, 1988.

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1949-, Oakley John Howard, Palagia Olga, and American School of Classical Studies at Athens., eds. Athenian potters and painters. Oxford [U.K.]: Oxbow Books, 2009.

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Heesen, P. Athenian little-master cups. Amsterdam: Pieter Heesen, 2011.

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Schreiber, Toby. Athenian vase construction: A potter's analysis. Malibu, Calif: J. Paul Getty Museum, 1999.

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S, Lapatin Kenneth D., ed. Papers on special techniques in Athenian vases: Proceedings of a symposium held in connection with the exhibition The colors of clay: special techniques in Athenian vases, at the Getty Villa, June 15-17, 2006. Los Angeles: J. Paul Getty Museum, 2008.

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Book chapters on the topic "Athenian Vases"

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Dasen, Véronique. "G: Greek World." In Dwarfs in Ancient Egypt and Greece, 288–319. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198146995.003.0020.

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Abstract Within each section the material is arranged chronologically and according to location. Athenian vases attributed by Sir John Beazley (ABV, ARV) are listed after his catalogue numbers, non-attributed vases are arranged in museums’ alphabetic order.
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"The Many Lives of Athenian Vases." In Athens, Etruria, and the Many Lives of Greek Figured Pottery, 3–19. University of Wisconsin Press, 2019. http://dx.doi.org/10.2307/j.ctvfjcz1c.6.

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"Museum index of vases illustrated." In Composition in Athenian Black-Figure Vase-Painting, 313–14. Peeters Publishers, 2021. http://dx.doi.org/10.2307/j.ctv1q26xv1.15.

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Mannack, Thomas. "Beautiful Men on Vases for the Dead." In Athenian Potters and Painters III, 116–24. Oxbow Books, 2014. http://dx.doi.org/10.2307/j.ctvh1djzf.15.

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Hoffmann, Herbert. "The Vases of Sotades." In Sotadies, 1–18. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198150619.003.0001.

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Abstract The name Sotades is one of the most famous in the history of Greek painting. Its appearance in inscriptions followed by the verb epoiesen or epoeie (‘made’) on nine Athenian pottery vessels dating from the years immediately before and after the middle of the fifth century BC has led experts to conclude that Sotades must have been a kerameus (potter) and probably the owner of a workshop. The draughtsman who collaborated with him has been designated the Sotades Painter, and a large scholarly edifice of attributions has been constructed around both figures.
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Bundrick, Sheramy D. "Chapter Two Reading Rhapsodes on Athenian Vases." In Homer in Performance, 76–97. University of Texas Press, 2018. http://dx.doi.org/10.7560/316030-005.

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Agafonov, Andrey, and Olga Samar. "Concerning Athenian black-figure vases from Panticapaeum." In The Greeks and Romans in the Black Sea and the Importance of the Pontic Region for the Graeco-Roman World (7th century BC-5th century AD): 20 Years On (1997-2017), 511–23. Archaeopress Publishing Ltd, 2021. http://dx.doi.org/10.2307/j.ctv1pdrqhw.73.

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Taplin, Oliver. "Phlyakes." In Comic Angels, 48–54. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198147978.003.0005.

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Abstract Why, in the face of ever-increasing evidence of Athenian connections, has the association of the comic vases with the phlyax plays and with Rhinthon remained so firm? The strongest underlying argument has not been a positive one in favour of the phlyakes, but the negative sense that, whatever these plays on the vases are, they cannot be Athenian comedy, especially not Old comedy. That, one would have thought, was too topical and too local to have travelled beyond Athens, or even to have been reperformed after its original occasion. In the face of undeniable evidence to the contrary, these presuppositions have to be fundamentally reviewed. A start was made in Ch. 1, a11:d further considerations will be explored in Ch. 9 below, after more material has been gathered.
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Carpenter, Thomas H. "Bacchae and Frogs." In Dionysian Imagery in Fifth-Century Athens, 104–18. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198150381.003.0007.

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Abstract After vase painting, Euripides’ Bacchae is the richest source of Dionysian imagery to survive from fifth-century Athens. When the play was pro duced, Dionysian narratives had already appeared on Attic vases for more than a century and a half, and the death of Pentheus itself had appeared on them for nearly a century. Presumably an Athenian attending the performance would have been familiar with other images connected with the god and might also have seen other versions of the Pentheus story in the theatre. He might recently have attended the performance of Aristophanes’ Frogs where Dionysos was also a central character.
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Bundrick, Sheramy D. "Altars, Astragaloi, Achilles: Picturing Divination on Athenian Vases." In Gods, Objects, and Ritual Practice, 53–74. Lockwood Press, 2017. http://dx.doi.org/10.5913/2017796.ch03.

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