Academic literature on the topic 'Greek pottery; Waveline style'
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Journal articles on the topic "Greek pottery; Waveline style"
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Mountjoy, P. A., H. Mommsen, and A. Özyar. "Neutron activation analysis of Aegean-style IIIC pottery from the Goldman excavations at Tarsus-Gözlükule." Anatolian Studies 68 (2018): 75–98. http://dx.doi.org/10.1017/s0066154618000030.
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AbstractThe appearance of Aegean-style IIIC pottery at Tarsus occured at a time of unrest and of movement of peoples resulting in part from the collapse of the Mycenaean palaces on the Greek mainland. Mycenaean Late Helladic IIIB pottery exports from mainland Greece to Cyprus and the Levant disappeared and were gradually replaced by local imitations. Eventually Aegean-style IIIC pottery appeared in the East Aegean-West Anatolian Interface, in Cyprus and at various sites on the southern coast of Turkey and in the Levant. It was not exported from the Greek mainland, but seems to have been locally made at each site. A first series of neutron activation analysis (NAA) was carried out on pottery from Tarsus to determine how much of the Aegean-style 12th-century BC pottery was locally produced, how much was imported and, if imported, from whence it came. The favourable results of this first analysis gave rise to a second NAA of more Aegean-style pottery from Tarsus, bringing the total number of pieces analysed to 67. It has confirmed the local production of the pottery; the chemical group TarA is the dominant local group at Tarsus, comprising a third of the samples. A smaller group, TarB, may also be local. The analysis revealed a large number of Aegean-style IIIC imports from Cyprus from several different sites; these make up a quarter of the samples. There are a few imports from other areas, including the East Aegean-West Anatolian Interface. Influence from both Cyprus and the Interface can also be seen at Tarsus in the use of some shapes and motifs. A comparison with 12th-century BC imports identified by NAA at the site of Tell Kazel (ancient Simyra) in Syria directly east of Cyprus shows imports from the same two areas.
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Lyonnet, Bertille. "Questions on the Date of the Hellenistic Pottery from Central Asia (Ai Khanoum, Marakanda and Koktepe)." Ancient Civilizations from Scythia to Siberia 18, no. 1 (2012): 143–73. http://dx.doi.org/10.1163/157005712x638672.
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Abstract On the basis of recent research on the pottery and comparisons between three important sites with Hellenistic occupation in Central Asia, new dates are proposed for each of them. The article presents both the former data and hypotheses and the recent discoveries, including coins for Afrasiab/Samarkand, which lead to the new proposals. Changes in pottery style do not follow immediately Alexander’s conquest, and the first real Hellenistic shapes only appear under Antiochos I. After Antiochos III’s reconquest of Bactria, an important wave of new fashions in pottery style is introduced which lasted until Eucratides’ death and the end of the Greek domination, around the middle of the 2nd century BC. Sogdiana hardly shows any of these novelties because it had already gained its independence.
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Smith, Tyler Jo. "East Greek Pottery in the Collection of the British School at Athens." Annual of the British School at Athens 104 (November 2009): 341–60. http://dx.doi.org/10.1017/s0068245400000307.
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Among the antiquities in the collection of the British School, there are a few examples of East Greek pottery, including Wild Goat Style, Chian, Fikellura, and Clazomenian as well as a Rosette Bowl and a Bird Bowl. Following a summany of the British School's excavations and role at Naukratis, the site where much of this East Greek pottery was discovered, the objects from the collection are presented in both summary and catalogue form. An appendix is dedicated to an Attic polychrome phiale mesomphalos, which, although not East Greek, shares many technical and stylistic features with some East Greek wares, and was originally identified as Vroulian. It is briefly considered in relation to East Greek and Archaic pottery.Μεταξύ των αρχαιοτήτων της συλλογής της Βρετανικής Σχολής, υπάρχουν ορισμένα παραδείγματα ανατολίζουσας ελληνικής κεραμικής, στα οποία περιλαμβάνοντοα δείγματα του ρυθμού των Αιγάγρων, της Χίου, των Φικελλούρων, των Κλαζομενών, καθώς επίσης και δύο ανοικτά αγγεία με διακόσμηση ρόδακα και πτηνών αντίστοιχα. Μετά από μία σύνοψη των ανασκαφών και του ρόλου της Βρετανικής Σχολής στη Ναύκρατι, τη θέση όπου ανακαλύφθηκε μεγάλο μέρος αυτής της ανατολίζουσας ελληνικής κεραμικής, τα ευρήματα της συλλογής παρουσιάζονται σε σύνοψη και σε κατάλογο. Ένα παράρτημα είναι αφιερωμένο σε μία αττική πολύχρωμη μεσόμφαλη φιάλη, η οποία αν και δεν ανήκει στον ανατολίζοντα ρυθμό, μοιράζεται αρκετά τεχνικά και στυλιστικά χαρακτηριστικά με ορισμένα ανατολίζοντα ελληνικά αγγεία. Η φιάλη αυτή είχε αρχικά ταυτιστεί ως αγγείο τύπου Βρουλιάς. Εν συντομία θεωρείτοα ότι έλκει στοιχεία από την ανατολίζουσα ελληνική και αρχαϊκή κεραμική.
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Stojic, Milorad. "Hisar in Leskovac at the end of the early iron age." Starinar, no. 57 (2007): 175–89. http://dx.doi.org/10.2298/sta0757175s.
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All parts of the site Hisar in Leskovac provided material from Iron Age III according to the division by M. Garasanin (mainly from the 5th century BC). Four or perhaps five habitations from this period, in relation to the excavated surface (app. 15 000 m2), indicate a settlement with a larger number of dwelling places. Its architecture - wattle and daub huts and dug outs - has no particular characteristics, and is similar to habitations from previous periods in the Morava valley. Archaeological material from Iron Age III includes pottery made on the wheel of Greek style, hand made pottery and decorative silver and bronze objects.
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Malykh, S. E. "POTTERY OF THE TUNISIAN NABEUL: ANCIENT TRADITIONS AND MODERNITY." Journal of the Institute of Oriental Studies RAS, no. 1 (11) (2020): 178–85. http://dx.doi.org/10.31696/2618-7302-2020-1-178-185.
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The article examines the pottery production of the Tunisian city of Nabeul, the administrative center of the province of Cap Bon, located in the north-eastern part of the country, on the Mediterranean coast. Modern Nabeul is situated on the site of the ancient city of Neapolis. A common occupation of local residents — pottery — is due to the large deposits of marl clays available in the district. The origins of this craft originate in the first centuries of our era, when the Romans founded their city on the site of a small Greek trading settlement and brought here their traditions of pottery. Archaeological surveys in Nabeul and its environs have revealed the existence of several pottery workshops engaged in the manufacture of both large ceramic containers — amphorae, and fine tableware imitating the Roman Terra sigillata. From here, Nabeul ceramics spread throughout the Mediterranean and was discovered in archaeological sites in Libya, Egypt, Spain, Britain and other regions. This phenomenon illustrates trade relations between various provinces of the Roman Empire. Nabeul’s modern pottery production, oriented both to the domestic market and tourists, also focuses on the production of large forms and richly ornamented tableware, the decor of which generally reflects the style of Islamic glazed ceramic products, but is more closely related to the style of modern Arabic ceramics of the Maghreb countries, especially Morocco. Also, Tunisian modern ceramics shows similarities in form, ornament and color palette with modern provincial ceramics in Spain, especially Andalusia, and probably has common roots.
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MEDVESKAYA, I. N. "A Study on the Chronological Parallels between the Greek Geometric Style and Sialk B Painted Pottery." Iranica Antiqua 21 (January 1, 1986): 89–120. http://dx.doi.org/10.2143/ia.21.0.2014071.
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Głuszek, Inga. "The Athenian Red-Figure Pottery Found in Nikonion During Excavations of 2007-2012." Studies in Ancient Art and Civilisation 21 (July 27, 2018): 89–117. http://dx.doi.org/10.12797/saac.21.2017.21.06.
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The article discusses fragments of the Athenian red-figure pottery discovered during excavations in Nikonion, an ancient Greek colony founded on the northern coast of the Black Sea, at the end of the 6th century BC. The collection of Athenian pottery finds at this site is very diverse in terms of technique, style and phase of production. In a short introduction to the article the state of research on the finds of Athenian red–figure pottery from the site is presented, but the main focus is on the findings of the Ukrainian-Polish team of archaeologists who conducted joint excavations at the site in the years 2007–2012. The described fragments of vessels, except for one item, come from the same archaeological context – a residential building discovered in the north-western part of the site dating back to the end of the 5th century – the first half of the 4th century BC. One vessel fragment comes from an earlier phase of the city development dated preliminarily to the second half of the 5th century BC.
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Demakopoulou, Katie. "A Mycenaean pictorial vase from Midea." Opuscula. Annual of the Swedish Institutes at Athens and Rome 13 (November 2, 2020): 113–21. http://dx.doi.org/10.30549/opathrom-13-04.
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The Greek-Swedish excavations on the Mycenaean acropolis of Midea have brought to light a large amount of fine decorated pottery, which includes numerous fragmentary vases and sherds with pictorial decoration. This material has firmly established Midea as an important find-spot of figure-style pottery, like other great Mycenaean Argive centres, such as Mycenae, Tiryns and Berbati. This paper presents a remarkable pictorial vase recently found at Midea. It is a ring-based krater, almost completely restored from fragments, decorated with a row of six birds. The bird is a common motif in Mycenaean pictorial vase painting and also well attested on many other ceramic pieces at Midea, particularly the type of the folded-wing marsh bird. This type of bird is also popular at Tiryns, providing evidence that this category of pictorial pottery from the two citadels, dated to the LH IIIB2 period, was produced in the same workshop, which must have been situated at or near Tiryns. The abundant pictorial pottery from Midea and other significant discoveries at the site, such as monumental architectural remains and important finds, confirm the position of Midea as a great centre, alongside the other two Argive major citadels, Mycenae and Tiryns.
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Aslan, Carolyn C., and Ernst Pernicka. "Wild Goat style ceramics at Troy and the impact of Archaic period colonisation on the Troad." Anatolian Studies 63 (July 11, 2013): 35–53. http://dx.doi.org/10.1017/s0066154613000033.
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AbstractThe establishment of colonies along the Hellespont by inhabitants of Ionia, Athens and Lesbos is well-known from historical texts. Recently, stratified contexts at Troy as well as other surveys and excavations have yielded new information about the chronology and material markers of Archaic period settlements in the Troad and the Gallipoli peninsula. The archaeological evidence for colonisation in this region is not clearly seen until the late seventh to early sixth century BC when there is a dramatic change in the material culture. Destruction evidence from Troy indicates that the new settlers probably entered a weakened and depopulated region in the second half of the seventh century BC. The Ionian colonists transplanted their pottery traditions and started production of East Greek style ceramics in the Troad. Neutron Activation Analysis of Wild Goat style ceramics found at Troy offers further confirmation for the existence of Hellespontine Wild Goat style ceramic production centres. The Wild Goat style examples from Troy help to define the characteristics of the Hellespontine group, as well as the chronology and impact of colonisation in this area.
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Villing, Alexandra, and Hans Mommsen. "RHODES AND KOS: EAST DORIAN POTTERY PRODUCTION OF THE ARCHAIC PERIOD." Annual of the British School at Athens 112 (August 22, 2017): 99–154. http://dx.doi.org/10.1017/s0068245417000053.
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To date, the pottery production of Rhodes, Kos and other ‘East Dorian’ islands and coastal areas remains little understood. This article presents and discusses new neutron activation analysis (NAA) of eighth–sixth-century bc vessels found on Rhodes and in related areas, placing them in the wider context of past and present archaeometric research. The results highlight the role of Kos as a leading regional centre of painted pottery production and export in the seventh–sixth centuries bc, notably of ‘East Dorian’ plates. This includes the famous ‘Euphorbos plate’, which can now be attributed to Koan production. Contemporary Archaic pottery workshops on Rhodes, in contrast, had a less ambitious, if diverse, output, ranging from vessels in a Sub-Geometric tradition, imitation Corinthian wares and modest local versions of Koan- and Ionian-style plates to finely potted and richly decorated ‘Vroulian’ cups and black-figured situlae. It was imported mainland and East Greek wares, however, that dominated the island's consumption of Archaic painted wares. This represents a departure from the preceding Geometric period, which was characterised by a local pottery production of considerable scale and quality, although receptivity to external influences remained a consistent feature throughout later periods. As patterns of demand were changing, the island's craft production appears to have concentrated on a different range of goods in which high-quality figured finewares played a lesser role.
Dissertations / Theses on the topic "Greek pottery; Waveline style"
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Paspalas, Stavros A. "The Late Archaic and Early Classical pottery of the Chalkidike in its wider Aegean context." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282586.
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Perron, Martin. "La production et la diffusion des céramiques utilitaires de style à bandes à Argilos et dans le Nord de l'Egée aux périodes archaïque et classique." Phd thesis, Université Panthéon-Sorbonne - Paris I, 2013. http://tel.archives-ouvertes.fr/tel-01011569.
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Cette recherche propose de dresser le portrait de la production et de la diffusion des céramiques de style à bandes (waveline) produites en Égée du Nord aux périodes archaïque et classique par le biais de l'étude de matériel inédit recueilli sur sept sites de colonies grecques établies entre le Strymon et le golfe de Maronée et six sites de l'arrière-pays thrace. Elle vise à rassembler, au moyen de données archéologiques et archéornétriques, des informations sur les milieux de production, les réseaux d'échanges et les habitudes de consommation de la clientèle à l'égard de ces céramiques. Le volet archéologique vise d'abord à définir le répertoire des formes, des décors et des pâtes, puis à déterminer l'étendue et le cadre chronologique de la production. Le volet archéométrique porte sur des analyses physico-chimiques en laboratoire (spectrométrie de fluorescence par rayons X) visant à caractériser et à déterminer l'origine de 200 des 540 céramiques recensées. Le corpus est constitué d'échantillons mis au jour sur les sites d'Argilos, de Thasos, de Bergè et de Phagrès, quatre sites de Macédoine orientale. L'inédit de la recherche réside dans l'opportunité qu'elle offre aux archéologues de dater et d'identifier l'origine des céramiques à bandes nord-égéennes, entraînant du coup des répercussions directes sur les discussions portant sur les milieux de production, les réseaux de circulation et les relations interrégionales entre les différents sites étudiés. Considérée dans une perspective de circulation et d'échanges, l'étude des céramiques à bandes contribue à faire progresser l'état des connaissances sur l'histoire économique, culturelle et artisanale du nord de l'Égée entre les VIIe et IVe siècles av. J. -C.
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Sanders, Guy Dominic Robson. "Byzantine glazed pottery at Corinth to c. 1125." Thesis, University of Birmingham, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324112.
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Walker, Lauren L. "Boiotian black figure floral ware : a re-analysis of the Southern style with an introduction to floral groups from Halíartos." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85212.
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Black Figure Floral Ware is an understudied style of pottery which was produced in Boiotia and the nearby regions of Euboia and Phokis during the fifth and fourth centuries B.C.E. Floral Style vases are painted with compositions formed predominantly of palmettes and lotuses rendered in black gloss without the incised details which are typically associated with Black Figure pottery. The corpus of Boiotian Floral Ware is divided into two sub-styles: the Northern Style and the Southern Style. The Northern Style is thought to have been produced in the area North and West of the Kopais while the Southern Style was chiefly produced in the Thespiai-Thebes and the Tanagra regions. To date our understanding of the development of the Southern Style has been based on systematically excavated floral evidence from Rhitsona (Ancient Mykalessos) and the Thespian Polyandrion and random vases from the Skhimatari Museum. Previous research incorrectly identified Tanagra as the primary source of Southern Floral Ware with little regard for Thebes as an important producer. Newly discovered ceramic evidence from four Theban cemeteries now indicates that Thebes was in fact a major producer of Floral Ware. The excavations have brought to light new floral groups and have provided evidence which indicates that vases previously identified as Tanagran or Euboian are more likely to be Theban.This dissertation chronicles the morphological and iconographical development of the Southern Floral Style according to the systematically excavated floral vases from Rhitsona and the Thespian Polyandrion. Rim and base profiles from the Thespian Polyandrion, Thebes and Haliartos are classified and floral motifs from datable contexts are assigned to types. The evidence indicates that it is the overall shape of the vase and the decorative details within the compositions, rather than a specific rim or base type or compositional layout that identifies regional differences, if any. Newly excavated vases from Haliartos are presented not only to provide a contrast for the Southern Style Floral Ware, particularly in terms of their shape, but also in order to establish a bridge between this dissertation and any future studies of the Northern Style Floral Ware.
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Perron, Martin. "La production et la diffusion des céramiques utilitaires de style à bandes à Argilos et dans le nord de l'Égée aux périodes archaïque et classique." Thèse, 2013. http://hdl.handle.net/1866/9869.
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Cette étude porte sur l’analyse des céramiques de style à bandes – mieux connues dans la littérature anglo-saxonne sous le nom de waveline pottery – produites dans le nord de l’Égée aux périodes archaïque et classique. Cette catégorie de récipients, dont les formes et l’ornementation s’inspirent principalement des productions issues des ateliers micrasiatiques des VIIe et VIe siècles av. J.-C., jouit d’une vaste distribution en Thrace et en Macédoine orientale. Elle regroupe une importante variété de vaisselles d’usage courant utilisées pour le service et le stockage des denrées. Cette recherche propose de dresser le portrait de la production et de la diffusion de ces céramiques en Égée du Nord par le biais de l’étude de céramiques recueillis sur sept colonies grecques établies entre le Strymon et le golfe de Maronée et six sites de l’arrière-pays thrace. Elle vise à rassembler, au moyen de données archéologiques et archéométriques, des informations sur les milieux de production, les réseaux d’échanges et les habitudes de consommation de la clientèle à l’égard de ces céramiques. Le volet archéologique vise d’abord à définir le répertoire des formes, des décors et des pâtes argileuses, puis à déterminer l’étendue et le cadre chronologique de la production. Le volet archéométrique porte sur des analyses physico-chimiques en laboratoire (spectrométrie de fluorescence par rayons X) visant à caractériser et à déterminer l’origine de 200 des 540 céramiques recensées. Le corpus est principalement constitué d’échantillons mis au jour sur les sites d’Argilos, de Thasos, de Bergè et de Phagrès, en Macédoine orientale. L’inédit de la recherche réside dans l’opportunité qu’elle offre aux archéologues de dater et d’identifier l’origine des céramiques à bandes, entraînant des répercussions directes sur les discussions portant sur les milieux de production, les réseaux de circulation, les relations interrégionales et les habitudes de consommation à l’égard de ces céramiques. dans le nord de l’Égée entre les VIIe et IVe siècles av. J.-C.This research aims to shed light on the production and diffusion of the Waveline pottery made in the Northern Aegean during the Archaic and Classical periods. It is based on the study of unpublished finds recovered from seven Greek colonies established between the Strymon River and the Gulf of Maronea, and six sites of the Thracian hinterland. More specifically, it seeks to gather information regarding workshops, trading networks, and consumption habits through typo-stylistical, distribution, and archaeometric analyses. The primary goal of this study is the detailed analysis of the finds according to their stratigraphic contexts in order to define the range of shapes, stylistic patterns, and clay fabrics of the ceramic series, and to establish diffusion patterns and chronology. A second objective, based on laboratory analysis, is to characterize the geochemical composition of 200 of the 540 identified vessels in order to determine their provenance (using X-ray fluorescence spectrometry). The corpus contains samples from Argilos, Thasos, Berge, and Phagres, four of the main sites covered by this study. The novelty of this research lies in the opportunity it provides for archaeologists to date and identify more precisely the origin of the North-Aegean waveline pottery, leading to direct impact on discussions related to workshops, trading networks, and inter-relationships between the studied sites. Considered from the perspective of circulation and exchange, the study of the Waveline pottery contributes to advancing knowledge on the economic, cultural, and social history of the Northern Aegean between the 7th and 4th centuries B.C.
Thèse doctorale effectuée en cotutelle au département d'histoire de l'Université de Montréal et à l'École doctorale d'archéologie de l'Université Paris 1 Panthéon-Sorbonne - UMR 7041, Archéologies et Sciences de l'Antiquité - Archéologie du monde grec.
Books on the topic "Greek pottery; Waveline style"
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Museum, Royal Ontario. Greek and Greek-style painted and plain pottery in the Royal Ontario Museum: Excluding black-figure and red-figure vases. Toronto: Royal Ontario Museum, 1992.
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1974-, Sakalis A. (Anastasios), Tsiaphakē, D. S. (Despoina S.), and Tsirliganis N. (Nestor Constantinos), eds. Thapsos-class ware reconsidered: The case of Achaea in the northern Peloponnese : pottery workshop or pottery style? : non destructive elemental ceramic analysis from Achaea using x-ray fluorescence spectroscopy (m-XRF). Oxford: Archaeopress, 2011.
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Style and society in dark age Greece: The changing face of a pre-literate society, 1100-700 BC. Cambridge [England]: Cambridge University Press, 1991.
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Greek and Greek-Style Painted and Plain Pottery in the Royal Ontario Museum: Excluding Black-Figure and Red-Figure Vases. Royal Ontario Museum, 1992.
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Whitley, James. Style and Society in Dark Age Greece: The Changing Face of a Pre-literate Society, 1100-700 BC (New Studies in Archaeology). Cambridge University Press, 2003.
Find full textBook chapters on the topic "Greek pottery; Waveline style"
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"The Protogeometric style." In Greek Painted Pottery, 31–40. Routledge, 2013. http://dx.doi.org/10.4324/9780203714355-8.
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"The Geometric style." In Greek Painted Pottery, 41–66. Routledge, 2013. http://dx.doi.org/10.4324/9780203714355-9.
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"The Red-figure style." In Greek Painted Pottery, 181–218. Routledge, 2013. http://dx.doi.org/10.4324/9780203714355-11.
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Lund, John. "Head vases of the Magenta Group from Cyprus." In Classica Orientalia. Essays presented to Wiktor Andrzej Daszewski on his 75th Birthday, 325–40. DiG Publisher, 2011. http://dx.doi.org/10.37343/pcma.uw.dig.9788371817212.pp.325-340.
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The paper deals with a sub-species of the so-called “Magenta Group” of plastic pottery vessels, that is, handled flasks in the shape of a human head, developing an idea voiced by Demetrios Michaelidis in an authoritative study of the vases known from Cyprus, that at least these vessels could have been produced on the island. The head vases fall into two broad categories: displaying Egyptian stylistic traits (Category I) and in Greek style (Category II). Upon review of the evidence, it seems that the Cypriot workshops producing such vases (pending petrographic analyses of the clay fabric) were located somewhere in the central part of southern Cyprus, from at least the last quarter of the 3rd century BC most probably through the 1st century AD. The earliest vases display Egyptian stylistic traits; later specimens in the Greek style, which emerged in the (second half?) 2nd century BC, represent figures associated with wine consumption, which may suggest their production for a special occasion like a cultic feast.
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Abulafia, David. "Sea Peoples and Land Peoples, 1250 BC–1100 BC." In The Great Sea. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780195323344.003.0011.
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Both the fall of Troy and the Sea Peoples have been the subject of a vast literature. They were part of a common series of developments that affected the entire eastern Mediterranean and possibly the western Mediterranean too. Troy had been transformed at the end of the eighteenth century BC with the building of the most magnificent of the cities to stand on the hill of Hisarlık: Troy VI , which lasted, with many minor reconstructions, into the thirteenth century BC . The citadel walls were nine metres thick, or more; there were great gates and a massive watchtower, a memory of which may have survived to inspire Homer; there were big houses on two floors, with courtyards. The citadel was the home of an elite that lived in some style, though without the lavish accoutrements of their contemporaries in Mycenae, Pylos or Knossos. Archaeological investigation of the plain beneath which then gave directly on to the seashore suggests the existence of a lower town about seven times the size of the citadel, or around 170,000 square metres, roughly the size of the Hyksos capital at Avaris. One source of wealth was horses, whose bones begin to appear at this stage; Homer’s Trojans were famous ‘horse-tamers’, hippodamoi, and even if he chose this word to fit his metre, it matches the archaeological evidence with some precision. In an age when great empires were investing in chariots, and sending hundreds of them to perdition at the battle of Kadesh (or, according to the Bible, in the depths of the Red Sea), horse-tamers were certainly in demand. Opinion divided early on the identity of the Trojans. Claiming descent from Troy, the ancient Romans knew for sure that they were not just a branch of the Greek people. Homer, though, made them speak Greek. The best chance of an answer comes from their pottery. The pottery of Troy is not just Trojan; it belongs to a wider culture that spread across parts of Anatolia.
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Fant, Clyde E., and Mitchell G. Reddish. "Lystra." In A Guide to Biblical Sites in Greece and Turkey. Oxford University Press, 2003. http://dx.doi.org/10.1093/oso/9780195139174.003.0037.
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Few visitors seek out the ancient site of Lystra. Neither its unexciting location in the Anatolian plain nor its unexcavated mound offer much enticement except to the hard-core adventurer seeking to trace the route of the Apostle Paul. The ancient city of Lystra was located near the modern village of Hatunsaray, approximately 24 miles southwest of Konya in south-central Turkey. In 1885, about a mile north of Hatunsaray, on a mound called Zoldera (or, variously, Zordula), J. R. Sitlington Sterrett discovered a stone block approximately 3.5 feet tall and 1 foot thick. On the stone was the Latin inscription “DIVVM AVG COL IVL FELIX GEMINA LVSTRA CONSECRAVIT D D,” which uses the Latinized version “Lustra” for the name of the city. The discovery of this monument, erected to honor Caesar Augustus, who founded the Roman colony of Lystra, made identification of the site of ancient Lystra possible. Lystra was a part of the Lycaonian region of Asia Minor, an area bordering Phrygia on the west, Cappadocia on the east, and the ethnic Galatian region on the north. To the south were the Taurus Mountains. Earlier made a part of the province of Cilicia, Lycaonia was put under the control of Amyntas, an ally and client king of the Romans, in 36 B.C.E. When Amyntas died in 25 B.C.E., Lycaonia became a part of the Roman province of Galatia. Because the site of Lystra has yet to be excavated, little can be said with certainty about the earliest settlements on the site. The evidence of Hellenistic-style pottery and Greek inscriptions from the Roman period would suggest that at least a small village existed here during the Hellenistic period. Of the coins that have been found that originated from Lystra, none predates the time of the Roman colony, perhaps indicating that any pre-Roman settlement was not significant enough to issue coins. Emperor Augustus established Lystra as a Roman colony, likely in 25 B.C.E. at the same time that several other Roman colonies, including Pisidian Antioch, were founded. While all the colonies were established to help secure Roman control over Asia Minor, Lystra was likely founded specifically to suppress the Homanadenses and other mountain tribes in south-central Asia Minor who were hindering Roman control of the area.