Literatura académica sobre el tema "Red-Figure vases"

AbstractThis paper examines the place of vases depicting indigenous men in the wider context of Apulian red-figure pottery production. Through an analysis of 13,577 vases, it is shown that those depicting indigenous men were only ever a tiny part of the overall output. The overwhelming majority of surviving Apulian vases lack a proper archaeological provenance, but although this limits certainty, the evidence suggests that the vases in question were primarily used in Central Puglia. The iconography of the vessels shows indigenous men in a positive light, as successful warriors who participated in banqueting and religious rituals. The scenes all have direct parallels in the wider iconography of Apulian red-figure, where Greek men are shown engaged in a similar range of activities. The paper considers why this idealized representation of indigenous male lifestyles is so indebted to Greek culture and argues for the continued importance of local identities.

Red-figure pottery first achieved prominence in the modern world through antiquarianism and the collection of souvenirs on the Grand Tour. This fundamentally shaped the scholarship of this class of pottery. Vases were valued for their completeness, their iconography—scenes depicting Greek myth and literature being particularly prized—and their aesthetic qualities. Famous private collections were formed, many of which subsequently entered the world's great museums. Less value was placed upon the vessels as archaeological objects. The contexts in which they were found, their associations with other objects and their roles in ancient society were given little consideration. The pursuit of intact vases led to a focus on cemeteries, and many discoveries were, and indeed continue to be, the result of looting. Thus, most museum collections are dominated by vessels without proper provenance. Moreover, collections are skewed towards funerary and, to a lesser extent, sanctuary evidence, and away from material used in domestic contexts. The importance of iconography and aesthetics means that museums tend to display the most varied and beautiful vessels, ignoring much of the output of ancient workshops.

Abstract The tools for reading and writing, the writing tablets and the papyrus scroll, were inherited by Greece from the East together with the Phoenician alphabet. The oldest papyrus scroll and writing tablets with Greek text were found in the tomb of a musician in Daphne dated to 430 BC. After 700 BC writing tablets were ubiquitous in Greece. However, black figure vases do not depict them. The first writing tablet appears on a red figure kylix of the Euergides Painter from Vulci (520). The first papyrus scrolls appear, together with writing tablets and the lyre, on a kylix from Ferrara (c. 480-70). Papyrus scrolls, writing tablets, the lyre and aulos appear together on the famous Berlin kylix of Douris from Caere (480).

"Lenaia vases" is the traditional title given to a group of some seventy fifth-century Attic vases, black- and red-figure. These vases have in common that they show a cult-image of Dionysos, consisting of a mask or masks on a column, in combination with the conventional Attic imagery of the revelling ecstatic female worshippers usually called "maenads." The vases are important and their meaning much debated because they seem to hold out the promise of providing otherwise unavailable information about historical bacchic religion. There is no consensus on the character of the historical information of these scenes. In an older view the imagery records the appearance of enacted ritual; in a newer view, the imagery "discusses," in a fashion analogous to language, concepts about Dionysiac religion. This paper proposes a reinterpretation of a coherent subset of the "Lenaia vases," based on a linguistic reading of the imagery. This subset consists of twenty-eight red-figure stamnoi, a group that has traditionally been the focus of studies of the "Lenaia vases." I analyze the vases as describing, in conventional visual terms of reference, a rite of theoxenia celebrated by ecstatic female worshippers. The imagery says that these worshippers perform a thysia, offer Dionysos a banquet of meat and wine, and celebrate a symposion and komos. It also comments on the practice of such rituals by women, saying that they derive honor from these actions. These rituals find parallels in historical evidence for Dionysiac theoxenia and banquets; the scenes thus may provide additional evidence that Dionysiac celebrations took this form. The scenes, however, are not about the historical enactment of such rituals, and still less a visual record of such enactments. Rather, their message, conveyed by the interweaving of mythical and social references, is that for the worshipper of Dionysos the worlds of myth and of the polis are one.

Les premiers peintres des vases à figures rouges ont été classés par A.D. Trendall entre 1938 et 1989. Ses recherches, associées à ceux des historiens et archéologues, constituent un remarquable outil d’analyse pour les historiens de l’art. Elles permettent d’appréhender d’un seul coup d’œil le corpus de vases italiotes collectés auprès des collections privées ou des musées. A la manière de J. BEAZLEY pour les vases attiques, A.D. TRENDALL s’est attaché à attribuer des vases anonymes et sans provenance à des peintres qu’il a lui–même nommé. Néanmoins, depuis plusieurs années, ses classements sont revus à la lumière de nouvelles découvertes et réattributions de chercheurs.Ce travail propose de revenir sur la création et le développement de ces premiers artisans en Italie du Sud entre la deuxième moitié du Ve s. et le premier quart du IVe s. av. J.-C.Le travail de réattribution des vases constitue un élément important de notre réflexion puisqu'il met à jour et affine le travail d'A.D. Trendall : il permet de comprendre dans quel contexte artistique sont apparus ces ateliers de production.Puis l'étude des lieux et contextes de découvertes permet d'apporter un éclairage supplémentaire, en observant les associations de peintres et d'ateliers dans les tombes<br>Between 1938 and 1989, Trendall ranked the work of the first red figure painters of Southern Italy. His research, together with those of historians and archaeologists, is a remarkable analysis tool for scientists : it allows us to understand, in a glance, the italiote corpus from private collections and museum. Like Beazley on Attic vases before him, Trendall endeavored to assign anonymous vases and without provenances to painters he appointed. However, since years now, the ranking he created is reviewed in the light of new discoveries and reallocations of researchers.This work attempts to reconsider the beginning and development of these early craftsmen in Southern Italy between the second half of the 5th century and the first quarter of the fourth century BC.First we try to reassign vases which it is an important component of our reflexion, allowing to enhance A.D. Trendall's work. We will be able to understant the artistic's contexts in which the first workshops were developed.Then, the studies of places and archaeological contexts allow to highlight the way they produced, comparing associations between painters and workshops' vases in graves

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

Cette thèse propose l'étude et l'analyse d'un corpus, majoritairement, inédit de fragments de vases à figures rouges sicéliotes, décorés de scènes liées à la sphère de Dionysos et d'Aphrodite. Ces fragments sont datés de la seconde moitié du IVe siècle av. J.-C. et proviennent, probablement, du secteur de l'agora de Mégara Hyblaea, une ancienne colonie grecque située en Sicile Orientale. Cette cité a été redécouverte grâce aux fouilles menées par G. Vallet et Fr. Villard entre 1949 et 1978. Suite à sa découverte, Mégara Hyblaea a été l'objet de nombreuses campagnes de fouilles, d'études et de publications qui se sont centrées notamment sur la question des fondations de la cité et sur sa phase archaïque. Au cours des derniers programmes d'études de l'Ecole française de Rome, ont été relancées les recherches concernant le matériel post-archaïque de la cité. Cette thèse s'inscrit dans le cadre de ces programmes ainsi que la collaboration scientifique, établie en 2019, entre l'EfR et le Centre Jean Bérard de Naples (collaboration qui poursuit l'étude de la sélection du matériel réalisée par Fr. Villard). L'objectif de cette thèse est, dans un premier temps, de mesurer l'apport de l'étude du corpus à l'histoire de Mégara au cours de la deuxième moitié du IVe siècle av. J.-C. Dans un second temps, on essaie de contribuer au travail de révision de la production de vases à figures rouges sicéliotes, notamment la révision de l'organisation des différents groupes proposée par A.D. Trendall ainsi que leur datation. Nous cherchons aussi à établir quelques pistes de réflexion sur l'histoire de la fin de la production des figures rouges en Sicile. Pour mener à bien ce projet, le corpus est soumis à une analyse complète - forme du vase, type, iconographie, style, observations préliminaires sur l'argile, contexte de découverte et région de provenance - ainsi qu'à une étude comparative avec les autres productions des régions sicéliotes et italiotes (notamment Campanie et Paestum). Ce travail permet de développer au moins trois volets. Le premier volet met en avant les données matérielles du corpus (formes, types, éléments iconographiques, quantités de matériel, argiles, etc.) et permet de construire une base de travail pour les autres sections de la thèse. Le deuxième volet s'intéresse à l'analyse stylistique d'une partie des fragments du corpus, ce qui permet de proposer des rapprochements stylistiques entre le corpus et le matériel de comparaison et donc d'affiner la datation du corpus. Dans ce volet, est menée la révision de deux groupes appartenant à la production sicéliote (la production du Peintre de Biancavilla et la production du Groupe de Lentini-Manfria). De même, cette partie développe l'identification d'un groupe, possiblement inédit. Finalement, le troisième volet utilise les informations obtenues lors des deux premières parties pour essayer de mieux comprendre le contexte de provenance de notre corpus. Les hypothèses de provenance du matériel se font à différentes échelles (régionale, locale et culturelle) et cherchent à solidifier la place de Mégara Hyblaea dans les réseaux de distribution des vases à figures rouges en Sicile au cours du IVe siècle ainsi que les autres contextes qui pourraient expliquer la présence de notre matériel (sanctuaire, culture théâtrale)<br>This thesis studies and analyses a mostly unpublished corpus of Sicilian red-figured vase fragments, decorated with scenes related to the sphere of Aphrodite and the Dionysian universe. These fragments are dated to the second half of the 4th century B.C. and probably come from the agora area of Megara Hyblaea, an ancient Greek colony in eastern Sicily. This city was rediscovered thanks to the excavations carried out by G. Vallet and Fr. Villard between 1949 and 1978. Following its discovery, Megara Hyblaea has been the subject of numerous excavation campaigns, studies and publications that focused in particular on the questions of the foundations of the city and its archaic phase. During the last study programs of the Ecole française de Rome, research on the post-archaic material of the city was relaunched. This thesis is part of these programs as well as the scientific collaboration, established in 2019, between the EfR and the Centre Jean Bérard in Naples (collaboration that continues the study of the selection of material carried out by Fr. Villard). The aim of this thesis is firstly to measure the contribution of the corpus to the history of Megara during the second half of the 4th century B.C. Secondly, we try to contribute to the revision of the production of Sicilian red-figured vases, in particular the revision of the organization of the different groups proposed by A.D. Trendall as well as their chronology. We also seek to establish some lines of thought on the end of the production of red figures in Sicily. In order to carry out this project, the corpus is subjected to a complete analysis - form of the vase, type, iconography, style, preliminary observations on the clay, context of discovery and region of provenance - as well as to a comparative study with the other vases of the Sicilian and Italiote regions (notably Campania and Paestum). This work allows the development of at least three parts. The first part highlights the material data of the corpus (forms, types, iconographic elements, quantities of material, clays, etc.) and allows to build a basis for the other sections of the thesis. The second part focuses on the stylistic analysis of a part of the fragments of the corpus, which allows the development of stylistic comparisons between the corpus and the comparative material and thus to refine the dating of the corpus. In this section, the revision of two groups belonging to the Sicilian production (the production of the Painter of Biancavilla and the production of the Group of Lentini-Manfria) is set up. This part also develops the identification of a possibly unpublished group. Finally, the third part uses the information obtained in the first two parts to try to better understand the context of provenance of our corpus. The hypotheses of the material's provenance are made on different scales (regional, local and cultural) and seek to solidify the place of Megara Hyblaea in the distribution networks of red-figured vases in Sicily during the 4th century, as well as the other contexts that could explain the presence of our material (sanctuary, theatre culture)

Thesis (Ph. D.)--University of California, Berkeley, May 1998.<br>"Spring 1998." "UMI Number: 9902178"--Prelim. p. "Printed in 2005 by digital xerographic process on acid free paper"--P. after T.p. Includes bibliographical references (p. 273-295).

La résolution des images a dû être modifiée afin de respecter les droits d'auteurs. Voir le tableau comprenant la liste des vases afin de trouver ces images en meilleure qualité.<br>La présente étude sert à rassembler tous les vases attiques à figure rouge présentant des scènes sexuellement explicites connues à ce jour. Un examen attentif de ces sources permit de les décrire ainsi que de les comparer afin d'en faire ressortir les similitudes et les différences. Ces vases, étrangement, proviennent majoritairement d'Étrurie, ce qui surprend lorsqu'on sait qu'ils ont été fabriqués en Grèce. Grâce à l'étude du commerce à cette époque, on constate que ces vases n'occupaient pas une grande place dans les relations commerciales entre Grecs et Étrusques. De plus, ces derniers les utilisaient dans un contexte funéraire, ce qui diffère grandement des Grecs. En effet, ces derniers semblent avoir utilisé ces vases dans un contexte où le vin était central, le symposion. Bien que ce genre de banquet était une activité généralement domestique, on se rend compte, à la lumière de découvertes archéologiques, que les vases sexuellement explicites auraient pu être utilisés dans un contexte lié à la prostitution, les bordels. Ceci nous amène donc à nous questionner quant au statut des femmes qui y sont représentées. Finalement, l'étude des sources littéraires, de peu contemporaines aux vases à l'étude, nous renseigne, en partie, sur les opinions quant aux différentes pratiques sexuelles de l'époque. Au final, bien que des pistes théoriques intéressantes se dégagent de l'étude de ces vases, il reste que des conclusions sûres et hors de tout doute sont impossibles étant donné le manque de source. Ces vases présentent donc un portrait à mi-chemin entre la réalité et le symbolisme de la sexualité en Grèce antique.<br>This study serves to collect all the red-figure Attic vases with sexually explicit scenes known to date. A close examination of these sources made it possible to describe and compare them to bring out the similarities and differences. These vases, strangely, come mainly from Etruria, which is surprising when we know that they were made in Greece. Through the study of trade at that time, we see that these vases did not occupy an important place in the trade relations between Greeks and Etruscans. In addition, they used them in a funerary context, which differs greatly from the Greeks. Indeed, they appear to have used the vases in a context where the wine was central, the symposion. Although this kind of banquet was generally a domestic activity, we realize, in light of archaeological discoveries, that sexually explicit vases could have been used in a context related to prostitution, brothels. This leads us to question the status of the women that are represented. Finally, literary sources that are contemporary of the studied vases, tells us, in part, on different views on the sexual practices of the time. Finally, although interesting theoretical tracks emerge from the study of these vases, it remains that firm conclusions are impossible given the lack of source. These vases therefore gives us a portrait halfway between reality and symbolism of sexuality in ancient Greece.

Abstract Black-Figured vases continue to be the main, though not the best, Attic product in the last third of the sixth century, and the two styles of writing, the fine and the sloppy, are still found.

Abstract While the great majority of black- and red-figure Ilioupersis representations are not found in combination with other Ilioupersis scenes, examples survive in sufficient numbers to indicate that combination was practised with relative frequency. In the following pages I survey the known examples, and although the small pool of data makes the search for trends and development precarious, I attempt some categorization of the vases in terms of date, shape, and manner of combination.

This chapter explores the depiction of Menelaus in archaic art. Menelaus appears in Greek art by the mid-seventh century BC and continues to be depicted by artists into the classical period and beyond. One may roughly divide images of Menelaus into two categories: ‘with Helen’ and ‘everything else’. Early on, ‘everything else’—depictions of Menelaus without Helen—is in fact more frequent, so far as one can tell from the few images that remain. By the mid-sixth century, however, Menelaus is depicted with Helen almost exclusively. Menelaus-Helen images have been studied by art historians and philologists from the standpoint of Helen. Scant attention has been given, however, to what the pictures ‘say’ about Menelaus. Even though certain iconographic details change somewhat over the course of the sixth century, there is a mostly stable and coherent depiction of Menelaus in black- and early red-figure Athenian vases that differs from his depiction in the classical period. The chapter then provides an annotated catalogue of the known images in which Menelaus appears without Helen.