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Journal articles on the topic 'Coroplastica'

Author: Grafiati

Published: 11 March 2023

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1

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, no. 1 (January 28, 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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2

Parra, Maria Cecilia. "La Collezione di Vito Capialbi a Vibo Valentia : alcune note sulla coroplastica." Agoghè, no. 14 (2022): 237–52. http://dx.doi.org/10.12871/978883339612516.

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3

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, no. 1 (2001): 225–55. http://dx.doi.org/10.3406/mefr.2001.10668.

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4

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, no. 1 (2016): 275–88. http://dx.doi.org/10.3406/cchyp.2016.1690.

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5

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, no. 4 (2008): 333–36. http://dx.doi.org/10.17104/0017-1417_2008_4_333.

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6

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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7

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, no. 2 (October 1992): 405–7. http://dx.doi.org/10.1017/s0009840x00284424.

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8

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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9

Shevchenko, Tetiana. "Terracotta Figurines of Goddesses on Thrones from Borysthenes." Eminak, no. 3(35) (November 13, 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, no. 5 (December 31, 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 (May 1991): 153–61. http://dx.doi.org/10.2307/1357268.

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12

Fourrier, Sabine. "La coroplastie d'Idalion à l'époque archaïque. Ateliers et diffusion." Cahiers du Centre d'Etudes Chypriotes 34, no. 1 (2004): 191–209. http://dx.doi.org/10.3406/cchyp.2004.1464.

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13

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 (November 23, 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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14

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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15

Vandenabeele, Frieda, and Vassos Karageorghis. "The Coroplastic Art of Ancient Cyprus IV. The Cypro-Archaic Period Small Male Figurines." American Journal of Archaeology 101, no. 1 (January 1997): 174. http://dx.doi.org/10.2307/506265.

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16

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, no. 1 (April 1, 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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17

Bertram, Haley. "Chapter Five: The Archaic and Classical Figurines." Mouseion 18, no. 1 (December 1, 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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18

Morris, C. "Review. The Coroplastic Art of Ancient Cyprus: IV The Cypro-Archaic Period: Small Male Figurines." Classical Review 47, no. 2 (February 1, 1997): 387–88. http://dx.doi.org/10.1093/cr/47.2.387.

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19

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 (February 2000): 81–84. http://dx.doi.org/10.2307/1357489.

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20

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, no. 2 (March 6, 2019): 592–94. http://dx.doi.org/10.1017/s0009840x19000167.

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21

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, no. 1 (April 1993): 128–31. http://dx.doi.org/10.1017/s0009840x00286137.

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22

Mackowiak, Karin. "Le singe dans la coroplastie grecque : enquête et questions sur un type de représentation figurée." Bulletin de correspondance hellénique 136, no. 1 (2012): 421–82. http://dx.doi.org/10.3406/bch.2012.7936.

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23

Serwint, Nancy, and 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, no. 4 (October 2000): 803. http://dx.doi.org/10.2307/507167.

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24

Shevchenko, T. M. "OLBIAN THYMIATERIA OF APHRODITE." Archaeology and Early History of Ukraine 34, no. 1 (March 1, 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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25

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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26

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 (February 2010): 96–98. http://dx.doi.org/10.1086/basor27805168.

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27

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, no. 1 (April 1994): 148–51. http://dx.doi.org/10.1017/s0009840x00291002.

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28

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, no. 1 (March 2001): 196–97. http://dx.doi.org/10.1093/cr/51.1.196.

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29

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, no. 2 (October 1997): 387–88. http://dx.doi.org/10.1017/s0009840x0025124x.

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30

Pautasso, Antonella, and Oliver Pilz. "Un seminario bilaterale italo-tedesco sulla coroplastica cretese." Les Carnets de l'ACoSt, no. 11 (June 30, 2014). http://dx.doi.org/10.4000/acost.472.

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31

Manenti, Angela Maria. "Brevi note di coroplastica siracusana: due esemplari di statuette con bambino." Les Carnets de l'ACoSt, no. 14 (March 5, 2016). http://dx.doi.org/10.4000/acost.811.

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32

Uhlenbrock, Jaimee. "La Coroplastica Greca. Metodologie per lo studio di produzioni, contesti e immagini." Les Carnets de l'ACoSt, no. 10 (June 1, 2013). http://dx.doi.org/10.4000/acost.787.

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33

Nunn, Astrid. "Patricia D’Amore. “Donne e cavalieri: La coroplastica di età achemenide da Tell Afis (Siria settentrionale)”." Abstracta Iranica, Volume 40-41 (July 15, 2019). http://dx.doi.org/10.4000/abstractairanica.49436.

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34

Cenci, Claudia, and Roby Stuani. "La produzione di coroplastica a Verona: il quartiere artigianale di piazza Arditi (I sec. a.C.- III sec. d.C.)." Les Carnets de l'ACoSt, no. 20 (March 30, 2020). http://dx.doi.org/10.4000/acost.2266.

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35

Ferlito, Flavio. "Le offerenti di porcellino dal deposito votivo di piazza San Francesco a Catania. Obiettivi e metodologia di un progetto di ricerca sulla coroplastica siceliota dall’età protoclassica all’età tardoclassica." Les Carnets de l'ACoSt, no. 20 (March 30, 2020). http://dx.doi.org/10.4000/acost.2594.

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36

Studies, Association for Coroplastic. "Recent Papers on Coroplastic Topics." Les Carnets de l'ACoSt, no. 20 (March 30, 2020). http://dx.doi.org/10.4000/acost.2399.

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37

"Recent Bibliography on Coroplastic Topics." Les Carnets de l'ACoSt, no. 13 (August 5, 2015). http://dx.doi.org/10.4000/acost.634.

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38

Studies, Association for Coroplastic. "Bibliography on Coroplastic Topics for 2019." Les Carnets de l'ACoSt, no. 20 (March 30, 2020). http://dx.doi.org/10.4000/acost.2521.

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39

Studies, Association for Coroplastic. "Bibliography for Coroplastic Topics 2019-2020." Les Carnets de l'ACoSt, no. 21 (December 7, 2020). http://dx.doi.org/10.4000/acost.2927.

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40

Muller, Arthur, and Jaimee Uhlenbrock. "Two Collaborative Projects for Coroplastic Research." Les Carnets de l'ACoSt, no. 11 (June 30, 2014). http://dx.doi.org/10.4000/acost.475.

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41

"Recent Bibliography on Coroplastic Topics: 2016–2017." Les Carnets de l'ACoSt, no. 17 (April 10, 2018). http://dx.doi.org/10.4000/acost.1143.

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42

"Recent Bibliography on Coroplastic Topics, 2015–2016." Les Carnets de l'ACoSt, no. 15 (December 2, 2016). http://dx.doi.org/10.4000/acost.919.

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43

Pugliese Uhlenbrock, Jaimee. "Coroplastic Studies in the Early 21st Century." American Journal of Archaeology 113, no. 4 (October 2009). http://dx.doi.org/10.3764/ajaonline1134.uhlenbrock.

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44

Angliker, Erica. "The Activities of the Coroplastic Studies Interest Group." Les Carnets de l'ACoSt, no. 20 (March 30, 2020). http://dx.doi.org/10.4000/acost.2536.

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45

"Other Recent Papers Presented on Coroplastic Topics, 2011-2013." Les Carnets de l'ACoSt, no. 10 (June 1, 2013). http://dx.doi.org/10.4000/acost.789.

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46

Uhlenbrock, Jaimee. "Other Recent Conference Presentations and Public Lectures on Coroplastic Topics." Les Carnets de l'ACoSt, no. 13 (August 5, 2015). http://dx.doi.org/10.4000/acost.725.

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47

Salminen, Elina. "A Terracotta Figurine from Thessaly with a Curious Headdress. A Coroplastic Query." Les Carnets de l'ACoSt, no. 12 (December 15, 2014). http://dx.doi.org/10.4000/acost.356.

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48

Bolognani, Barbara. "Rediscovering Phoenicians in their Homeland from the Perspective of Iron Age Coroplastic Art." Les Carnets de l'ACoSt, no. 18 (October 15, 2018). http://dx.doi.org/10.4000/acost.1318.

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49

Uhlenbrock, Jaimee P. "Research Perspectives in Greek Coroplastic Studies: The Demeter Paradigm and the Goddess Bias1." Les Carnets de l'ACoSt, no. 14 (March 5, 2016). http://dx.doi.org/10.4000/acost.866.

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50

Muller, Arthur, and Jaimee Uhlenbrock. "Two Collaborative Projects for Coroplastic Research, IV. The Work of the Academic Years 2016–2017." Les Carnets de l'ACoSt, no. 17 (April 10, 2018). http://dx.doi.org/10.4000/acost.1202.

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