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Journal articles on the topic 'Greek pottery'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Yarmolovich, Victoria. "The Problem of Greek Influence on Egyptian Pottery during 1st Millennium BCE." Oriental Courier, no. 4 (2023): 186. http://dx.doi.org/10.18254/s268684310029247-9.

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The paper is devoted to the issue of Greek impact on ancient Egyptian pottery during the Late period (7th–4th c. BCE). According to evidence of various historical sources at that period a lot of Greeks lived in many Egyptian cities. They maintained a customary way of life. Moreover a lot of Greek pottery (amphorae, various black glazed pottery, and etc.) was imported to Egypt due to extensive trade with various Greek colonies. Cultural and political contacts were maintained as well. As a result of this active interaction with Greek civilization there was cross-cultural exchange between Egyptians and Greeks. Potters could try to meet the needs of Greeks, adapting new shapes of vessels which were unusual for Egyptians. Egyptians could also be interested in the vessels which imitated Greek shapes.

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2

González de Canales, Fernando. "Archaic Greek Pottery of Aeolian Inspiration Made in Huelva, Spain." Onoba. Revista de Arqueología y Antigüedad, no. 11 (September 18, 2023): 133–42. http://dx.doi.org/10.33776/onoba.vi11.7719.

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Greeks settled in the ancient emporium of Huelva manufactured Archaic gray pottery inspired by Aeolian prototypes.Results of Neutron Activation Analysis showed that seven out of 11 specimens analyzed had a chemical composition similar to the loamy clay from local deposits traditionally used in pottery. This gray pottery must have found a good acceptance not only among the resident Greeks, but also among the non-Greek population long before familiarized with the so called “orientalizing gray pottery”, whose coloration and production by reduction firing are similar to the Aeolian one. In the same settlement, two other groups of Archaic Greek pottery manufactured in situ had already been identified: one of them characterized by a yellowish-green paste and the other one, conventionally named “Group H”, decorated with red slips comparable to the Phoenician ceramics.

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Schaus, Gerald P., R. M. Cook, and Pierre Dupont. "East Greek Pottery." American Journal of Archaeology 104, no. 2 (April 2000): 393. http://dx.doi.org/10.2307/507475.

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4

Moignard, Elizabeth. "Greek Painted Pottery." Classical Review 49, no. 1 (April 1999): 205–7. http://dx.doi.org/10.1093/cr/49.1.205.

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5

Biers, William R., and Brian A. Sparkes. "Greek Pottery: An Introduction." American Journal of Archaeology 97, no. 1 (January 1993): 178. http://dx.doi.org/10.2307/505854.

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6

Osborne, Robin. "What Travelled with Greek Pottery?" Mediterranean Historical Review 22, no. 1 (June 2007): 85–95. http://dx.doi.org/10.1080/09518960701539208.

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7

BOARDMAN, JOHN. "TRADE IN GREEK DECORATED POTTERY." Oxford Journal of Archaeology 7, no. 1 (March 1988): 27–33. http://dx.doi.org/10.1111/j.1468-0092.1988.tb00165.x.

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8

Vickers, M., and D. W. J. Gill. "Archaic Greek Pottery from Euesperides, Cyrenaica." Libyan Studies 17 (1986): 97–108. http://dx.doi.org/10.1017/s0263718900007081.

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AbstractThis summary report on Archaic Greek pottery from Euesperides, Cyrenaica, describes 60 diagnostic sherds of Eastern Greek, ‘Parian’, Laconian, Corinthian and Attic origin. The material all comes from the earliest occupation levels of the Sidi Abeid sector of the ancient site. However, the question of the exact date of the earliest settlement at Euesperides is complicated by a continuing controversy about the dating of Archaic Greek pottery in general. Only when these more general problems are resolved can a firmer date be assigned on the basis of the identifications in this catalogue.

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9

Fantozzi, Gilbert. "Welcome to Ceramics: A New Open Access Scientific Journal on Ceramics Science and Engineering." Ceramics 1, no. 1 (October 20, 2017): 1–2. http://dx.doi.org/10.3390/ceramics1010001.

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The word ceramics comes from the Greek word keramikos, which means pottery and corresponds to a very old human activity. Indeed, one of the oldest materials fabricated in the world is ceramic pottery [...]

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10

Elia, Ricardo J., Michael Vickers, and David Gill. "Artful Crafts: Ancient Greek Silverware and Pottery." American Journal of Archaeology 100, no. 2 (April 1996): 422. http://dx.doi.org/10.2307/506915.

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11

McClellan, Murray C., Michael Vickers, and David Gill. "Artful Crafts: Ancient Greek Silverware and Pottery." Journal of Field Archaeology 23, no. 3 (1996): 390. http://dx.doi.org/10.2307/530492.

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12

Traill, David A., Michael Vickers, and David Gill. "Artful Crafts: Ancient Greek Silverware and Pottery." Classical World 91, no. 5 (1998): 423. http://dx.doi.org/10.2307/4352118.

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13

BOARDMAN, JOHN. "EARLY GREEK POTTERY ON BLACK SEA SITES?" Oxford Journal of Archaeology 10, no. 3 (November 1991): 387–90. http://dx.doi.org/10.1111/j.1468-0092.1991.tb00028.x.

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14

GILL, DAVID W. J. "?TRADE IN GREEK DECORATED POTTERY': SOME CORRECTIONS." Oxford Journal of Archaeology 7, no. 3 (November 1988): 369–70. http://dx.doi.org/10.1111/j.1468-0092.1988.tb00187.x.

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15

Li, Shaoqing. "A Comparative Study between Eastern Zhou and Early Ancient Greek Decorative Styles." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 106–12. http://dx.doi.org/10.54097/ehss.v5i.2889.

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Among creations at the peak of the arts and crafts realm, Chinese bronze vessels and ancient Greek pottery paintings have been key research subjects of art history. Their respective decorative styles have been studied comprehensively, but research is still lacking on Eastern Zhou pictorial bronze vessels and black-figure pottery, which are important stages in the development of Chinese bronze vessels and ancient Greek pottery paintings. To study the decorative styles of Eastern Zhou pictorial bronze vessels and black-figure pottery, this paper takes the Warring States Feast and War Pictorial Bronze Vessel and the Francois Vase as examples, compares their decorative styles, and explores the causes of their differences. The study finds that the decorative styles of Eastern Zhou pictorial bronze vessels and black-figure pottery are similar in terms of narratives and composition, reflecting features typical in the time and arts of an early-staged civilization. There are also great differences between the two in terms of contents of the decorations and art expression styles, revealing differences in craftsmanship, social environment, and artistic pursuit of the two cultures.

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16

Mountjoy, P. A. "Regional Mycenaean Pottery." Annual of the British School at Athens 85 (November 1990): 245–70. http://dx.doi.org/10.1017/s0068245400015677.

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A few points are illustrated concerning regional Mycenaean pottery from the Greek mainland dating from LHIIA to LHIIIC Late. It has been suggested that the use of certain motifs on certain closed shapes was perhaps as a label for the contents of the vase. Early Mycenaean regional styles in peripheral areas, such as Thessaly and Phocis, are discussed and regional preferences during the LHIIIA2–IIIB koine are mentioned. The influence of Crete on Mycenaean pottery in Laconia and Messenia during these phases is demonstrated. Contacts between the Ionian islands and the north-west Peloponnese with other areas in LHIIIC Late are noted.

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Fidelski, Sergey, and Nicolai Теlnov. "Greek Painted Pottery of Archaic Time from the Chobruchi Settlement on the Left Bank of the Lower Dniester." Stratum plus. Archaeology and Cultural Anthropology, no. 3 (June 30, 2021): 261–80. http://dx.doi.org/10.55086/sp213261280.

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The paper publishes finds of antique painted pottery of the 6th century BC, discovered in the multilayered Chobruchi settlement in the Lower Dniester region. The materials are represented by ceramics of the Eastern Greek and Attic manufacture with a significant predominance of vessels from the North Ionian centers (Chios, Klazomenai and Samos). Eastern Greek ceramics includes open vessels (craters and bowls) and closed vessels (amphorae, alps, askeys, etc.). Attic pottery is represented mainly by vessels of open forms (kiliki and/or bowls). The collection of antique painted pottery from the Chobruchi settlement in total dates to the 6th century BC. Its appearance in the barbaric environment clearly demonstrates the emergence of trade relations between the local population and the ancient world. Apparently, the main sources of archaic painted ceramics for the site were the Greek cities-colonies of the North-West Black Sea region, first of all Olbia, as well as the Berezan settlement, from where the closest analogies of East Greek ceramics came to Chobruchi. The connection between Berezan and Chobruchi, in addition, is confirmed by the presence on the Chobruchi settlement of vessels made in the workshops of the Borysthenes.

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18

Kassian, Alexei. "Un-Making Sense of Alleged Abkhaz-Adyghean Inscriptions on Ancient Greek Pottery." Ancient Civilizations from Scythia to Siberia 22, no. 2 (December 6, 2016): 177–98. http://dx.doi.org/10.1163/15700577-12341301.

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A large number of Ancient Greek vases dated to the 1st millenniumbccontain short inscriptions. Normally, these represent names of craftsmen or names and descriptions of the depicted characters and objects. The majority of inscriptions are understandable in Ancient Greek, but there is a substantial number of abracadabra words whose meaning and morphological structure remain vague. Recently an interdisciplinary team (Mayoret alii2014) came up with the idea that some of the nonsense inscriptions associated with Amazons and Scythians are actually written in ancient Abkhaz-Adyghe languages. The idea is promising since in the first half of the 1st millenniumbcthe Greeks initiated the process of active expansion in the Black Sea region, so it is natural to suppose that contacts with autochthonous peoples might be reflected in Greek art. Unfortunately, detailed examination suggests that the proposed Abkhaz-Adyghe decipherment is semantically and morphologicallyad hoc, containing a number of inaccuracies and errors of various kinds. The methodological and factual flaws are so substantial that it makes Mayoret alii’s results improbable.

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19

Vassiliou, Anastasia. "Middle Byzantine glazed pottery from Nauplio: an overview." Journal of Greek Archaeology 7 (November 23, 2022): 333–68. http://dx.doi.org/10.32028/jga.v7i.1720.

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From the 1970s up to the present day the Greek Archaeological Service has carried out several rescue excavations at the castle and in the Lower town, which have yielded interesting ceramic material. The aim of this paper is to present an overview of the unpublished Middle Byzantine glazed pottery identified in the other rescue excavations conducted by the Greek Archaeological Service.

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20

Bianchi, Robert Steven, and Marjorie Susan Venit. "Greek Painted Pottery from Naukratis in Egyptian Museums." Journal of the American Research Center in Egypt 27 (1990): 233. http://dx.doi.org/10.2307/40000115.

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21

Lesnaya, Ekaterina. "East Greek pottery from excavations in tauric Chersonesos." Archaeological News 27 (2020): 99–112. http://dx.doi.org/10.31600/1817-6976-2020-27-99-112.

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22

Burn, Lucilla. "Inching into the worlds of ancient Greek pottery." Antiquity 76, no. 293 (September 2002): 893–95. http://dx.doi.org/10.1017/s0003598x00091419.

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23

PEREZ, J. M., and R. ESTEVE-TEBAR. "PIGMENT IDENTIFICATION IN GREEK POTTERY BY RAMAN MICROSPECTROSCOPY*." Archaeometry 46, no. 4 (November 2004): 607–14. http://dx.doi.org/10.1111/j.1475-4754.2004.00176.x.

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24

Shpak, Larisa Yu. "Comparative study of anthropological aspects of greek vase painting and etruscan murals." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 3 (August 23, 2023): 98–110. http://dx.doi.org/10.32521/2074-8132.2023.3.098-110.

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Introduction. The fine arts of archaic Greece and Etruria experienced a noticeable influence of the East. The transition from archaic to classical time influenced the forms of depicting the morphological features of a person in antique art. Comparative study of the anthropological features of the antique population of the Mediterranean on the greek painted pottery and etruscan murals of the archaic and classical times was the purpose of our study. Materials and methods. The material was collected in the online-collections of ancient collections of museums. We used the method of a composite portrait in a digital version, the calculation of the frequency of features in our study. Studied features was – beard growth, hair color and nature of the hair. Results and discussion. On the etruscan murals of the archaic period, the frequency of depicting straight nature of the hair in women is the highest (7,7 %) in all samples; for different groups of painted pottery, it does not exceed 7 %. The degree of beard growth according to vase painting and etruscan murals is characterized by a strong and very strong growth. A greater manifestation of hair pigmentation polymorphism according to painted pottery is noted in the images of the classical period. Dark hair predominates in all groups, grey-haired was depicted only in male characters. Hair depigmentation on painted pottery is observed in images of the classical and late classical periods and did not exceed 6 % in the total sample. Pigmentation on etruscan murals indicates a lightening of the hair in the group towards reddish-red shades, depigmentation does not exceed 8%. Features of the depiction of pigmentation in to vase painting and murals, despite the different technique and coloring, reveal common tendencies of variability characteristic of the Mediterranean groups. Composite portraits based on painted pottery reflect the historical transformation of the anthropo-aesthetic ideas of the greeks through the fine arts of the archaic and classical times. Conclusion. Color in greek painted pottery performs not only a decorative function, but is also an artistic means of conveying morphological variability. Involvement of antique written sources of the description of population and the philosophy of color in antique culture can help in the anthropological reading of vase painting and further study of pigmentation polymorphism. @ 2023. This work is licensed under a CC BY 4.0 license

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25

Barfoed, Signe. "The use of miniature pottery in Archaic–Hellenistic Greek sanctuaries. Considerations on terminology and ritual practice." Opuscula. Annual of the Swedish Institutes at Athens and Rome 11 (November 2018): 111–26. http://dx.doi.org/10.30549/opathrom-11-06.

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Miniature pottery is a widely encountered group of archaeological material that has been found in domestic, funerary, and predominantly in ritual contexts. Despite the ubiquitous presence of these small vessels, this group is generally understudied and interpretations of its meaning are lacking. Scholarship in the past perceived miniature pottery as cheap, non-functional and unimportant and therefore this pottery was often neglected or sometimes not even published. Interpretations have been sparse and by default it is believed that miniatures were the cheapest dedications the worshipper could buy. Within the last decade(s) the perceptions among scholars have changed somewhat and when miniature pottery and other votives appear together in an excavation it is often interpreted as a votive deposit stemming from a ritual context, such as a temple, shrine or sanctuary. Below a tentative terminology of miniature pottery will be presented and it will be argued that there is more to be learned about Greek ritual practice from this understudied group of archaeological material, for instance, how miniatures were used in rituals.

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26

Morgan, Janett. "A Greek tragedy? Why ‘Dillwyn’s Etruscan Ware’ failed*." Bulletin of the Institute of Classical Studies 63, no. 1 (June 1, 2020): 54–71. http://dx.doi.org/10.1093/bics/qbaa007.

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Abstract Between 1847 and 1850, the Cambrian Pottery in Swansea made ‘Dillwyn’s Etruscan Ware’, a range of vases copying the designs of red-figure vases found in south Italian and Sicilian tombs. The vases were made for sale to ‘humble homesteads’, but they did not attract buyers and were discontinued. This article explores the economic and commercial milieu in which the Swansea ‘Etruscan’ ware vases were designed and made. It examines relationships between manufacturers’ design choices and their perceptions of the social, cultural, and political aspirations of intended buyers. It establishes the identity of the Cambrian Pottery’s intended customers and shows how practical issues, such as space, display, and utility, could influence buyers’ choices as well as design. Finally, it explores the influence of social, cultural, and religious ideals on domestic decoration in working-class households, and it offers an explanation of why ‘Dillwyn’s Etruscan Ware’ failed.

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27

Osborne, Robin. "John H. Oakley (ed.). Athenian Potters and Painters." Journal of Greek Archaeology 2 (January 1, 2017): 419–21. http://dx.doi.org/10.32028/jga.v2i.604.

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This volume, dedicated to Alan Shapiro, follows the format of the two previous volumes of Athenian Potters and Painters (and, as in volume 2, with 32 splendid pages of colour plates). This is unfortunate. The papers appear in alphabetical order of their author, regardless of chronology or subject-matter, with no attempt to shape the book to make papers that talk to each other appear next to each other. Bibliographical references are buried in the notes at the end of each chapter, with no consolidated bibliography. Most extraordinary of all, there is no index. For those professionally interested in Greek painted pottery (the volume does not in fact limit itself to Athenian potters and painters and shows rather minimal interest in potters), it is no doubt convenient to have these papers between a single set of hard covers, but for any Greek archaeologist or historian who wants to know whether there is anything here for her, there is no way of telling. They would have a better chance of finding what is interesting here if these papers had been in a journal whose text could be searched online.

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Cerqueira, Fábio Vergara. "Iconographical Representations of Musical Instruments in Apulian Vase-Painting as Ethnical Signs: Intercultural Greek-Indigenous Relations in Magna Graecia (5th and 4th Centuries B.C.)." Greek and Roman Musical Studies 2, no. 1 (January 28, 2014): 50–67. http://dx.doi.org/10.1163/22129758-12341252.

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Abstract The paper deals with the representation of musical instruments on Apulian pottery. I shall sketch a general account of the red-figured pottery produced in Apulia and its development between the late fifth and the early third centuries, discussing the iconographical trends in its different phases. Secondly, I shall offer a brief survey of the musical instruments: the instruments belonging to Greek tradition (lyra, kithara, aulos) as well as those belonging to local tradition (rectangular cithara, rectangular sistrum), and those that result from local developments of instruments received from the Greek continental tradition (tympanon, pektis). Morphological and contextual analysis of the representation of such instruments will allow us to sustain our inferences about the intercultural processes of hybridization between local, Greek and oriental organological traditions, pointing to a scenario of multiple and negotiated identities in the colonial world of Magna Graecia.

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29

Melis, Ilenia. "PRIME IMPORTAZIONI GRECHE A MOZIA:LA CERAMICA EUBOICA E TARDO GEOMETRICA." Vicino Oriente 28 (2024): 285–92. http://dx.doi.org/10.53131/vo2724-587x2024_20.

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Early Greek imports at Motya are represented from Euboean and late Geometric pottery. The analysis of some sherds of these productions gives the opportunity to reflect another time both on the relationship between Phoenicians and Greeks during the first decades of life of the island, and on the commercial role played by Motya in Mediterranean Sea routes during the second half of the 8thcentury BC

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30

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.

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31

Osborne, Robin. "Pots, trade and the archaic Greek economy." Antiquity 70, no. 267 (March 1996): 31–44. http://dx.doi.org/10.1017/s0003598x00082867.

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Fine painted pottery is the archaeological trade-mark of the Greek presence overseas. Since other materials of exchange in the Classical world — soft things like grain, oil and slaves — are less archaeologically visible, a fresh look at issues in the archaic Greek economy revolves once more around patterns in the ceramics.

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32

Coulson, William D. E. "The Dark Age Pottery of Sparta." Annual of the British School at Athens 80 (November 1985): 29–84. http://dx.doi.org/10.1017/s0068245400007498.

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Pottery from Sparta and Amyclae dating to the tenth and ninth centuries BC is discussed, the label ‘Dark Age’ rather than ‘Protogeometric’ being used because it belongs to a western Greek Koine which differs slightly from pottery traditionally considered protogeometric. All diagnostic pieces from the major collections are considered, and those important for providing evidence on shape or decoration are catalogued. Clay and shapes are described, together with decoration.

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33

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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34

Ekroth, Gunnel. "Greece and the Aegean in Swedish Archaeology 1986-1990." Current Swedish Archaeology 3, no. 1 (December 28, 1995): 181–96. http://dx.doi.org/10.37718/csa.1995.17.

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This paper constitutes a survey of Swedish scholarship during the period 1986-90 dealing with Greece and the Aegean area from the archaeological viewpoint. A large portion of the work done concerns the Aegean Bronze Age, e.g. aspects of the Minoan palaces, various kinds of pottery, different types of cult, and funerary practices. Scholarship focussed on the Greek Iron Age also shows an inclination towards religious topics, such as the deposition and use of votive offerings in Greek religion and the role of ritual dining, but studies dealing with architecture and pottery may be found as well. The fieldwork and the publication of material from Swedish excavations and surveys are also covered.

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35

Raudino, Anna. "Variation in Material Culture: Adoption of Greek Ceramics in an Indigenous Sicilian Site (8th century BCE)." Ex Novo: Journal of Archaeology 3 (December 31, 2018): 54–58. http://dx.doi.org/10.32028/exnovo.v3i0.380.

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The archaeological study of social boundaries through the examination of the material culture reflects the intent to better understand the interaction established between two different cultures. This paper, as part of my PhD study, identifies and analyses evidence for cultural transformation in southeastern Sicily when indigenous populations came into contact with ancient Greek settlers between the end of the eighth and the beginning of the seventh centuries BCE. In particular, this current study examines indigenous pottery production and distribution, focussing on material from Monte Finocchito in southeastern Sicily and combining archaeological and anthropological approaches with the first archaeometric analyses ever carried out on this artefact assemblage. The study argues on the basis of analysis of pottery fabrics and techniques, as well as shapes and decoration, that indigenous populations maintained robust independent cultures in the early phase of their interaction with the Greeks.

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36

Stoyanov, Roman. "East Greek Pottery from the Excavations of the Settlement Balan in Abkhazia." Ancient Civilizations from Scythia to Siberia 29, no. 2 (January 25, 2024): 177–95. http://dx.doi.org/10.1163/15700577-20232908.

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Abstract The article presents a preliminary publication of the collection of Eastern Greek pottery found during the excavations at the ancient settlement Balan, the Ochamchira region of Abkhazia in 2017–2022. The published material is a part of the finds from a complex of ashy soil and a platform with a fireplace discovered at the site. The collection consists of fragments of vessels for storing and drinking wine, produced in the period from ca. 620 to ca. 550 BC. At present, this is the earliest known archaic pottery assemblage discovered in the Eastern Black Sea region.

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37

Kingery, W. David, and R. E. Jones. "Greek and Cypriot Pottery-A Review of Scientific Studies." American Journal of Archaeology 91, no. 2 (April 1987): 338. http://dx.doi.org/10.2307/505229.

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38

Pemberton, Elizabeth G., Kathleen Warner Slane, and Charles K. Williams,. "The Sanctuary of Demeter and Kore: The Greek Pottery." Corinth 18, no. 1 (1989): iii. http://dx.doi.org/10.2307/4390701.

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39

WALTON, M. S., E. DOEHNE, K. TRENTELMAN, G. CHIARI, J. MAISH, and A. BUXBAUM. "CHARACTERIZATION OF CORAL RED SLIPS ON GREEK ATTIC POTTERY." Archaeometry 51, no. 3 (June 2009): 383–96. http://dx.doi.org/10.1111/j.1475-4754.2008.00413.x.

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40

Coldstream, J. N. "Knossos 1951–61: Classical and Hellenistic pottery from the town." Annual of the British School at Athens 94 (November 1999): 321–51. http://dx.doi.org/10.1017/s0068245400000629.

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The excavation of M. S. F. Hood in the area of the Minoan Royal Road at Knossos produced stratified deposits of Greek pottery ranging in date from Protogeometric to Hellenistic. This article, the last in a series of three, concentrates on the local and imported pottery of the Classical and Hellenistic periods. For the Classical sequence, a late-fourth century house deposit is supplemented by three earlier well fills from the area of the Vcnizeleion Hospital. There follows five stratified groups of Hellenistic pottery, the last two being from second-century floor deposits. Also included here are many pieces from less well stratified contexts, but of intrinsic interest.

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Sparkes, Brian A. "V Potters, Painters, And Clients." New Surveys in the Classics 40 (2010): 95–123. http://dx.doi.org/10.1017/s0017383510000744.

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Clay is a versatile material with remarkable properties and serves a multitude of purposes. The Greeks shaped and fired clay for statues and figurines, for architectural elements such as metopes and akroteria, for drain pipes, beehives, lamps, and so forth. The major output was pottery, produced in great numbers by different methods (wheelmade, handmade, moulded) and in various categories (coarse, plain, decorated). It was a basic commodity that had many functions – for cooking, drinking, libation, storage, transport, and as offerings to the gods and to the dead. Over the centuries, painted pottery played a large and practical, if unsung, part in the lives of Greeks; it has been estimated that the hundreds of thousands of pots and fragments that are now extant comprise less than one per cent of the pottery produced. Current research into Greek ceramics is strong, and conferences, both national and international, over the past generation, mostly centring on Attic pottery, show how essential the study of pottery is for all aspects of the classical world and how it furnishes wide avenues for investigation. The contents of the published proceedings of the conferences show the main trends. Work on the traditional elements such as techniques, shaping, and painting, and iconography – that is, the initial stages of production – still continues, but there is now much more interest in functions, markets, find-spots, customers, reception, and the like, with complex pie charts, histograms, maps, and statistics, – that is, enquiries into the pottery once it had left the workshop (see Figure 4). This chapter deals with the manufacture of the pots, the shapes fashioned, the painting, and the contexts of use, with a little about the business elements; it also looks at the subject of attribution. The final chapter is mainly concerned with the variety of images and scenes that the pots carry. The chapters cannot be exclusive nor all-encompassing; they can highlight only various aspects. The emphasis, as in the conference proceedings mentioned above, falls on Attic pottery of the Archaic and Classical centuries, because it afords the fullest evidence.

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Sparkes, Brian A. "I Introduction." New Surveys in the Classics 40 (2010): 1–23. http://dx.doi.org/10.1017/s0017383510000707.

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The study of Greek art is always on the move. New discoveries, made in Greece or in the various regions of the ancient world with which the Greeks were in contact, add to and/or alter the overall picture. However, renewed investigation of the material already known, seen in the light of the fresh evidence, and the reinterpretation that may follow – whether of sculpture, architecture, pottery, texts, and so forth – can be of equal, if not greater, importance.

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Gill, David W. J. "A Greek Price Inscription from Euesperides, Cyrenaica." Libyan Studies 29 (1998): 83–88. http://dx.doi.org/10.1017/s0263718900006026.

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AbstractThe price inscription on an Attic black-glossed lekanis is discussed. The lekanis was found during the excavations of one of the houses in the Greek colony of Euesperides. Its significance is considered alongside the small number of price inscriptions known from Cyrenaica. Price inscriptions draw attention to the low value of Attic pottery in antiquity, and the Euesperides graffito is considered against some of the literary and epigraphic evidence used in recent discussions.

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Van der Enden, Mark. "Different communities, different choices Human agency and the formation of tableware distribution patterns in Hellenistic Asia Minor." Journal of Greek Archaeology 1 (January 1, 2016): 271–313. http://dx.doi.org/10.32028/jga.v1i.652.

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The interpretation of pottery distribution patterns has always been an important analytical endeavour in archaeological approaches to the past. The spatial distribution of pottery has, for example, been queried to identify cultural zones, landscape use, activity areas, and patterns of trade and economic interaction. Pottery distribution patterns can indeed tell us an awful lot about the socio-economic, cultural and geo-political dispositions of the past. Researchers of Classical Greek and Roman pottery have in particular made great strides in this respect and significantly increased our understanding of not only the pottery itself but also the way in which it was produced, distributed, used and discarded. What have not yet received much attention, however, are the formation processes lying behind ceramic distribution patterns observable in the archaeological record. It is precisely with this issue that the present contribution is concerned and by focussing on the Hellenistic tableware distributions of four archaeological sites in (Western) Asia Minor, it will test the importance and role of contextualized human agency with regards to the formation of ceramic distribution patterns.

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Kotenko, Viktoriia, Iryna Sheiko, Roman Kozlenko, and Anatolii Kushnir. "Studying of Local Ancient Greek Pottery of Olbia and Borysthenes (Historiographical Aspect)." Arheologia, no. 4 (December 10, 2021): 122–32. http://dx.doi.org/10.15407/arheologia2021.04.122.

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The article is devoted to the studying of antient Greek pottery on the example of the centers of the Lower Buh River region in the works of Ukrainian and foreign scholars. An analysis of publications on the production of local ceramics, production areas of Olbia and the settlement on Berezan island at different times is offered; the main tendencies of studying the raw material base of the region are considered. The article was prepared as a part of the Scientific and Research Work (SRW) of young researchers of the NAS of Ukraine 2021—2022: «Raw material base as a factor in the development of pottery of the antient centers of the North-Western Black Sea Coast (Olbia and Berezan)» (state registration No. 0121U112024).

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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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Tsiachri, Agoritsa, Georgios P. Mastrotheodoros, Harrisis Zoubos, Dimitrios F. Anagnostopoulos, and Konstantinos G. Beltsios. "Kynos Through Time: Decorated Pottery Sherds from Eleven Strata of a Homeric Greek Site." Applied Spectroscopy 72, no. 7 (June 25, 2018): 1088–103. http://dx.doi.org/10.1177/0003702818772819.

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Excavations at the Kynos settlement, a Homeric site and the home of an early school of key Greek pictorial pottery painting, revealed extensive remains of several chronological horizons which continuously span the period from Middle Helladic (∼2100 BC) to Byzantine times (330 AD onwards), along with thousands of decorated sherds. The scope of the present study is the exploration of the technological traits of this pottery, which would contribute substantially to the archaeological understanding of the site. Samples from a sizeable assembly of decorated sherds were studied by means of analytical techniques, i.e., scanning electron microscopy–energy dispersive X-ray (SEM-EDX) analyzer, micro X-ray fluorescence (μXRF), and portable X-ray fluorescence (pXRF). Results indicate that the dark decorations have been achieved by versions of the iron reduction (IRe) technique using mostly materials identical to those of the red decorations, while for the white decorations contrast-enhancing Ca–Mg-enriched clays were used. All coexisting red and dark hues reflect similar compositions while the color difference is due to the thicker application of the darker decorations, which are thus not affected by the last oxidative firing stage of the IRe technique. X-ray fluorescence analysis focusing on several clay-origin markers shows that only a minority of samples is of non-local character and continuity in Kynos pottery tradition, at least as far as raw materials is suggested. Some of the local body-clays exhibit a puzzling enhanced level of Ni, Cu, and Zn at a nearly fixed ratio. Finally, we find that XRF may provide valuable nondestructive analysis in the case of fine pottery decorative layers of cultural significance.

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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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Papadopoulos, Stratis. "The ‘Thracian’ pottery of South-East Europe: a contribution to the discussion on the handmade pottery traditions of the historical period." Annual of the British School at Athens 96 (November 2001): 157–94. http://dx.doi.org/10.1017/s0068245400005256.

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From the southern Balkans to the region of Middle Donau, so-called ‘Thracian’ pottery is dominant during the historical period. Its co-existence with wheel-made pottery also has a long history in Aegean Thrace. In the city of Mesembria-Zone, barrel-shaped urns and one-handled cups represent the ‘classical period’ of this tradition. Until now, there was no example of a site in northern Greece with pottery exclusively of this type. This ‘missing link’ has been discovered during excavations at Agios Ioannis in south-cast Thasos. The pottery from the site is completely handmade and can be attributed to a Later Iron Age phase.The absence of interest in this pottery tradition was due to difficulties concerning its identification and dating, but also to the fact that archaeologists were more interested in the definition of the nature of Greek colonies and the clarification of the relationships between settlers and natives. The survival of ‘Thracian’ pottery has been explained up to now through the idea of identifying an artefact type as an indicative element of the ‘culture’ of its producers. In fact, the intra-communal distribution of this pottery does not reveal any special differentiation, and does not appear to be related to only one group of the population, different in terms of race or economic strength. Here, we propose an additional interpretative tool, the ideological significance of this type of pottery for the people of south-east Europe.

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Billing, Christian M. "Representations of Greek Tragedy in Ancient Pottery: a Theatrical Perspective." New Theatre Quarterly 24, no. 3 (August 2008): 229–45. http://dx.doi.org/10.1017/s0266464x08000298.

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In this article, Christian M. Billing considers the relationship between representations of mythic narratives found on ancient pottery (primarily found at sites relating to the Greek colonies of south Italy in the fourth century BC, but also to certain vases found in Attica) and the tragic theatre of the fifth century BC. The author argues against the current resurgence in critical accounts that seek to connect such ceramics directly to performance of tragedies by the major tragedians: Aeschylus, Sophocles, and Euripides. Using five significant examples of what he considers to be errors of method in recent philologically inspired accounts of ancient pottery, Billing argues for a more nuanced approach to the interpretation of such artefacts – one that moves beyond an understanding of literary texts and art history towards a more performance-conscious approach, while also acknowledging that a multiplicity of spheres of artistic influence, drawn from a variety of artistic media, operated in the production and reception of such artefacts. Christian M. Billing is an academic and theatre practitioner working in the fields of ancient Athenian and early modern English and European drama. He has extensive experience as a director, designer, and actor, and has taught at a number of universities in the UK and the USA. He is currently Lecturer in Drama at the University of Hull.

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