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Academic literature on the topic 'Coroplastie'

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Published: 25 May 2024

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Journal articles on the topic "Coroplastie"

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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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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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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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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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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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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, no. 3 (March 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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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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Bykovskaya, Aleksandra Viktorovna. "The image of enthroned goddess in coroplast of the Early Hellenistic Bosporus." Человек и культура, no. 3 (March 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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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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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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Dissertations / Theses on the topic "Coroplastie"

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Fourrier, Sabine. "La coroplastie chypriote archaïque : identités culturelles et politiques à l'époque des royaumes /." Lyon : Paris : Maison de l'Orient et de la Méditerranée ; diff. de Boccard, 2007. http://catalogue.bnf.fr/ark:/12148/cb41198932p.

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Galliano, Geneviève. "Les images religieuses en terre cuite de Coptos à l'époque romaine : production et consommation." Poitiers, 2011. http://www.theses.fr/2011POIT5032.

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L'étude porte sur les quelques 1400 figurines en terre cuite d'époque romaine mises au jour du XXe siècle sur le site de Coptos (Haute Egypte), pour l'essentiel conservées au Musée des Beaux-Arts de Lyon. .
The study focuses on some 1 400 roman figures found at the beginning of the 20th century in Koptos (Upper Egypt), most of them being kept in the Musée des Beaux-Arts de Lyon
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Handler, Marcie D. "Crafting Matters: A Coroplastic Workshop in Roman Athens." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337264725.

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Bellia, Angela Maria <1967&gt. "Le raffigurazioni musicali nella coroplastica della Sicilia greca (VI-III sec. a.C.)." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2007. http://amsdottorato.unibo.it/227/1/Tesi_di_Dottorato_di_Angela_Maria_Bellia.pdf.

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Bellia, Angela Maria <1967&gt. "Le raffigurazioni musicali nella coroplastica della Sicilia greca (VI-III sec. a.C.)." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2007. http://amsdottorato.unibo.it/227/.

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Rafanelli, Simona <1965&gt. "Coroplastica architettonica a Roselle e Vetulonia tra VI e I sec. a.C." Doctoral thesis, Università Ca' Foscari Venezia, 2007. http://hdl.handle.net/10579/400.

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Bolognani, Barbara <1989&gt. "The Iron Age Clay Figurines from Karkemish (2011-2015 Campaigns) and the Coroplastic Art of the Syro-Anatolian Region." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amsdottorato.unibo.it/8222/7/Bolognani_Barbara_tesi.pdf.

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This is a study concerning the Iron Age coroplastic production in the Northern Levant. The research is mostly based on new data gathered from the Joint Turco-Italian Expedition at Karkemish (Gaziantep, Turkey). Figurines presented in this study are limited to the 2011-2015 excavation seasons and they are analyzed from a range of aspects. The work in fact primarily focuses on contextual data, being the starting point for the research. A preliminary typological and chronological framing is also provided, while a tentative functional interpretation is suggested by means of a careful examination of the local iconographic and written repertoires. Furthermore, ethnographic comparisons are sometimes used in order to better define the semantic meaning beyond this production. Comparisons with other key sites located in the Middle Euphrates basin are also presented with the main aim to define a peculiar regional pattern. A minor part of this dissertation is also dedicated to the study of the coroplastic art in the entire northern Levantine region. The aim, in this case, is evidently that of identifying different regional productions, which at the state of the research could be traced back just for a few regions. Thus new important data are provided for the Amuq Plain, the Islahiye Valley and the rest of Inner Syria.
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BERNARDINI, LORENA. "La coroplastica di tipo tanagrino come dono votivo nel santuario della Sorgente di Saturo: dall’analisi del materiale alla ricostruzione delle funzioni e della tradizione culturale." Doctoral thesis, Università degli Studi di Roma "Tor Vergata", 2013. http://hdl.handle.net/2108/201809.

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Féret, Sophie. "Statuettes en terre cuite de l'époque hellénistique en Italie : productions et variations." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H095.

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Le moulage en terre cuite est un procédé de fabrication qui permet de reproduire mécaniquement des objets, à l’aide de matrices. Aussi, en tant que procédé technique, la coroplathie est un exemple de fabrication et de diffusion d’images en nombre.Ma recherche est centrée sur la construction d’une typologie des statuettes en terre cuite de l’époque hellénistique, et principalement celles qui datent des IIIe et IIe siècles av. n.è. en Italie.Celles-ci se caractérisent par un renouvellement iconographique des figurines génériques, sans attribut, dont les plus emblématiques sont les représentations de femmes drapées, appelées aussi « tanagréennes ». En effet, à partir du milieu du XIXe siècle, avec l’apparition sur le marché de l’art des figurines de Tanagra (vers 1870) et de Myrina (vers 1880), le sujet a commencé à attirer l’attention des amateurs d’antiquités puis des scientifiques. Longtemps collectionnées pour elles-mêmes, ces statuettes ont souvent été désolidarisées de leurs environnements archéologiques. En Italie, c’est en grande partie par des études rétrospectives des statuettes conservées dans les musées qu’on parvient aujourd’hui à reconstituer des assemblages et des contextes de découverte (votif ou funéraire). La documentation ayant servi de matière première à cette thèse est disparate. Elle est constituée de catalogues d’objets et de notices de sites éparses dans lesquelles les statuettes sont souvent sous-exploitées. C’est toute la difficulté de cette démarche : ces figurines en terre cuite, à la fois nombreuses, répétitives et souvent fragmentaires suscitent peu d’engouement ; la dynamique de recherche s’attardant davantage sur des lots d’objets mieux conservés ou identifiés. Dans un certain sens, mon travail tente de revaloriser le multiple tant du point de vue de l’artisanat que des usages de ces statuettes dans leurs matérialités religieuses.Le terrain d’enquête de cette étude est celui de l’Italie hellénistique, indépendamment des contextes culturels (italiques, grecs, étrusques, romains) dans lesquels l’historiographie a parfois eu tendance à enfermer la petite plastique en terre cuite. En dépit de leur nombre et de leur diversité, ou plus exactement en raison de ces facteurs, ces figurines restent assez mal connues.Dans ma démarche, j’ai tenté d’échapper aux classements iconographiques et techniques habituels. Ces types tanagréens, largement constitués de figurines féminines drapées mais aussi de quelques sujets mythologiques (Eros, Aphrodite, Athéna, Hermès…) qui par des jeux d’attributs superposés personnalisent ces figurines, ont été observés et analysés en fonction de leur forme et présentés selon une typologie morphologique. Celle-ci a été conçue dans la perspective de proposer une nouvelle grille de lecture et d’interprétation afin de construire des instruments de recherche mieux à même de s’adapter à ces objets dépourvus d’apparentes significations, enchevêtrés dans une sérialité des formes d’où émergent des singularités. La forme et ses variations sont au cœur du sujet, donnant lieu à des développements sur les principales échelles de production de ces figurines et sur l’interprétation des images qu’elles ont véhiculées en fonction de leur environnement topographique, historique et culturel
Terracotta casting is a process of manufacturing that allows the mass production of objects with the help of molds. As a technical process, coroplasty is an example of mass production and diffusion of images.My research is focusing on building a typology for terracotta figurines of the Hellenistic era, more specifically the ones dating back to the 3rd and 2nd Centuries BC in Italy. These generic figurines, with no specific characteristics, feature a renewal in statuette iconography. The most emblematic ones usually represent women wrapped in veils, also called Tanagra figurines.Around the middle of the 19th century, with the apparition of figurines from Tanagra (circa 1870) and Myrina (circa 1880) on the art market, the statuettes began to catch the attention of connoisseurs, then scientists. Collected for themselves for a long time, these figurines have often been torn apart from their archeological environment. In Italy, thanks in great part to a retrospective study of the figurines preserved in museums, we are able to re-establish connections with groups and contexts of discoveries (votive or funerary figurines).The materials gathered for the documentation of this thesis are heterogeneous. It consists of artwork catalogues and notes from various sites where the figurines are often underexposed. The main complexity of this research follows thus: the terracotta figurines, both abundant and repetitive, often incomplete, arouse little enthusiasm; all the energy in research usually focuses mostly on the group of objects best preserved or identified. In a way, my work tries to reassert the value of numbers, as much from the point of view of handicraft as from the different religious functions of the figurines.Italy during the Hellenistic era is the field of investigation for this research, irrespective of cultural context (Italic, Greek, Etruscan or Roman) from which sometimes historiography has a tendency to confine small terracotta figures. Despite their number and variety, or rather because of them, these figurines remain largely ignored. My approach tries to break free from the usual iconographic typologies and technical classifications. I tried to observe and analyze the Tanagra figurines – mostly consisting of veiled feminine silhouettes, but also including some mythologicaltopics (Eros, Aphrodite, Athena, Hermes…) personalized through an array of superimposed attributes – taking into account their shape, and presenting them according to a morphological typology. This typology has been created in the prospect of offering a new frame of reference and interpretation, in order to build tools of research better fitted to these figurines, all lacking in apparent meaning, entangled in the serialization of its shapes, from which sometimes uniqueness emerge. The form and its variations are at the heart of the topic, leading to developments on main production scales, or on the interpretation of the images they conveyed depending on their topographical, historical and cultural environment
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Bilbao, Zubiri Eukene. "La petite plastique en terre cuite de Métaponte : productions, langages formels et processus identitaires au VIIè-VIè siècles av. J.-C." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H050.

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Les recherches précédentes sur la coroplathie de Métaponte ont abordé ce matériel comme un objet de culte circonscrit dans le sanctuaire. Face à l'abondance des données dont on dispose, ce travail cherche à actualiser nos connaissances en le considérant d'abord comme une production artisanale. L'étude se centre sur les VII0-VI° siècles avant J.-C., époque durant laquelle la polis structure progressivement son territoire et met en place ses lieux de culte. Le choix d'un corpus provenant de plusieurs sanctuaires a conduit à la définition de types techniques et à l'analyse de leur diffusion dans la cité. L'étude combine trois approches complémentaires visant à éclaircir les spécificités du matériel métapontin : en premier lieu, les chaînes opératoires et les espaces artisanaux qui introduisent la question des ateliers locaux et des moyens d'identifier leurs productions; ensuite, la diffusion du matériel dans le Métapontin et au-delà, mettant en évidence les réseaux de contacts ; enfin, les spécificités fom1elles de ce corpus et les dynamiques créatives qui s'inscrivent dans des courants à plus grande échelle. Les résultats obtenus sont placés en dernier lieux dans une perspective plus large à travers trois axes: la place de l'artisan, l'analyse iconographique et l'emploi de l'artisanat dans la définition de l'identité des ltaliotes. Cet exercice méthodologique ouvre de nouvelles perspectives en considérant la production d'une cité dans son ensemble. Il met en évidence l'intérêt d'analyser la globalité du contexte de déposition et de replacer le matériel à l'intérieur des dynamiques productives et communautaires qui lui sont propres
Previous research on metapontian coroplastic material has focused on their ex voto dimension, circumscribed to the sanctuary. Given the abundant data that we have, this work aims to update our knowledge considering this material first of ail as a craft production. The study focuses on the VII1h-VI1h centuries B.C., period during which the polis progressively structured its territory and established its places of worship. The constitution of a corpus with material from different sanctuaries enables us to define technical types and analyse their diffusion within the city. The study combines three complementary approaches aimed at determining the specificities of metapontian materials: on the first place, the operational chains and craft spaces which introduce the question of local workshops and how to identify their productions; then, the diffusion of the material within Metaponto and beyond, highlighting the contact networks; lastly, the formal specificities of the metapontian corpus and the creative dynamics the city integrates on a larger scale. Finally, these observations are placed on a wider perspective from three different angles: the place of the craftsman, the iconographic analysis and the use of crafts in the definition of the ltaliote identity. This methodological exercise seeks to bring new perspectives by considering the city's production as a whole. JI brings out the appeal of analysing the entire depositional context and approaching the material through its own productive and communitarian dynamics
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Books on the topic "Coroplastie"

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La coroplastie chypriote archaïque: Identités culturelles et politiques à l'époque des royaumes. Lyon: Maison de l'Orient et de la Méditerranée, 2007.

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Foundation, A. G. Leventis, ed. The coroplastic art of ancient Cyprus. Nicosia: A.G. Leventis Foundation, 1991.

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Troisi, Franca Ferrandini. Coroplastica tarantina: Le matrici iscritte. Bari: Edipuglia, 2012.

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author, Pisani Marcella, and Istituto per i beni archeologici e monumentali, eds. Philotechnia: Studi sulla coroplastica della Sicilia greca. Catania: Consiglio nazionale delle ricerche, Istituto per i beni archeologici e monumentali, 2012.

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Marchetti, Nicolò. La coroplastica eblaita e siriana nel Bronzo medio ... Roma: Università degli studi di Roma La Sapienza, 2001.

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La coroplastica eblaita e siriana nel Bronzo medio ... Roma: Università degli studi di Roma La Sapienza, 2001.

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Uhlenbrock, Jaimee Pugliese. The coroplast's art: Greek terracottas of the Hellenistic world. [New Paltz, N.Y.]: College Art Gallery, The College at New Paltz, State University of New York, 1990.

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Musée du Louvre. Département des antiquités orientales. L' art des modeleurs d'argile: Antiquités de Chypre, coroplastique. Paris: Réunion des musées nationaux, 1998.

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Udine (Italy). Civici musei e gallerie di storia ed arte., ed. Ceramica e coroplastica dalla Magna Grecia nella collezione De Brandis. Udine: Editreg, 2006.

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Coroplastica con raffigurazioni musicali nella Sicilia greca, secoli VI-III a.C. Pisa: F. Serra, 2009.

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Book chapters on the topic "Coroplastie"

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Sarri, Dimitra, and Effie F. Athanassopoulos. "Coroplastic Studies Through 3D Technology: The Case of Terracotta Figurines from Plakomenos, Greece." In Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection, 498–508. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01762-0_43.

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"L'ART CÉRAMIQUE ET COROPLASTIE." In La civilisation phénicienne et punique, 440–47. BRILL, 1994. http://dx.doi.org/10.1163/9789004293977_036.

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Miller Ammerman, Rebecca. "Coroplastic." In The Chora of Metaponto 4, 98–99. University of Texas Press, 2012. http://dx.doi.org/10.7560/728776-017.

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Fourrier, Sabine. "La transmission des modèles plastiques à Chypre : l’exemple de la coroplastie de Kition à l’époque archaïque." In Identités et cultures dans le monde méditerranéen antique, 219–33. Éditions de la Sorbonne, 2002. http://dx.doi.org/10.4000/books.psorbonne.20425.

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"coroplast, n." In Oxford English Dictionary. 3rd ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/6963112154.

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Szymańska, Hanna. "Two “armed” terracottas from Athribis." In Classica Orientalia. Essays presented to Wiktor Andrzej Daszewski on his 75th Birthday, 451–59. DiG Publisher, 2011. http://dx.doi.org/10.37343/pcma.uw.dig.9788371817212.pp.451-459.

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Two terracotta figurines, identified as Athena and as an armed Eros, found in layers from the 2nd century BC at the ancient site of Athribis in the Egyptian Nile Delta, count among the hugely popular pieces of the coroplastic arts drawing stylistic inspiration from Ptolemaic art. Athribian craftsmen were masters at depicting characteristic human types and imitating models from other craft centers, like Alexandria. The Athena figurine (only head preserved) appears to be a unique representation of the goddess crafted out of local clay in a clay workshop by a craftsman inspired by the physiognomy of the reigning Ptolemaic queens. The Eros figurine, depicted in an “Italic” muscle cuirass extremely rare in Egyptian artifacts and holding a Gaulish thureos shield, confirms the exceptional character of the Athribian coroplastic workshops.
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"Egyptian Warriors: Machimoi, in Coroplastic Art—Selected Examples." In The Religious Aspects of War in the Ancient Near East, Greece, and Rome, 272–87. BRILL, 2016. http://dx.doi.org/10.1163/9789004324763_016.

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Humbert, Jean-Baptiste. "Quelques coroplasties de Palestine aux motifs de combats." In Ex Oriente Lux. Studies in Honour of Jolanta Młynarczyk. Warsaw University Press, 2020. http://dx.doi.org/10.31338/uw.9788323541073.pp.301-308.

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"The Soft Youth in Boeotian Coroplasty." In Hellenistic and Roman Terracottas, 237–50. BRILL, 2019. http://dx.doi.org/10.1163/9789004384835_018.

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"Coroplastic Figural Art in Egypt during the Late Period (664–332 BC)." In Iron Age Terracotta Figurines from the Southern Levant in Context, 375–424. BRILL, 2021. http://dx.doi.org/10.1163/9789004436770_016.

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Conference papers on the topic "Coroplastie"

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Савостина, Е. А., and Т. С. Тихонова. "Koroplast workshop in the context of urban life and craft production in Gorgippia." In Древности Боспора. Crossref, 2023. http://dx.doi.org/10.25681/iaras.2020.978-5-94375-339-8.309-331.

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In 2020, during archaeological exploration on the territory of ancient Gorgippia, the Archaeological team of “Diluch” Kubanarcheologiya” uncovered a small dilapidated furnace containing terracotta figurines fired in it: two identical hollow protoma-busts and a one-sided protoma-mask representing images of Kora-Persephone and the goddess Demeter. It is interesting that the products from this workshop were known to researchers before. A half-figure of Kora- Persephone, among other offerings, was discovered in the necropolis of Gorgippia (1954). In the same area of the ancient city, not far from the now found furnace and the necropolis, during construction work (1965), an accumulation of black-gloss vessels and terracotta was recorded, interpreted by researchers as a ‘temple dump’ associated with the sanctuary of the Eleusinian goddesses. Several figurines from this group are similar to the one-sided protoma extracted from the furnace in 2020. In ancient coroplastics, a number of problems often arise concerning the identification of the image, dating, determining the place of production, manufacturing technology and use of figurines. Thanks to the new open complex associated with the koroplast workshop, many issues, including the problem of the circulation of individual elements and the transformation of the image of the female deity, can be clarified.
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