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Relevant bibliographies by topics / Athenian Vases

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Academic literature on the topic 'Athenian Vases'

Author: Grafiati

Published: 13 July 2024

Last updated: 31 July 2025

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Journal articles on the topic "Athenian Vases"

1

Mario Iozzo. "Hidden Inscriptions on Athenian Vases." American Journal of Archaeology 122, no. 3 (2018): 397. http://dx.doi.org/10.3764/aja.122.3.0397.

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Sheramy D. Bundrick. "Selling Sacrifice on Classical Athenian Vases." Hesperia: The Journal of the American School of Classical Studies at Athens 83, no. 4 (2014): 653. http://dx.doi.org/10.2972/hesperia.83.4.0653.

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Ferrari, Gloria. "Myth and Genre on Athenian Vases." Classical Antiquity 22, no. 1 (2003): 37–54. http://dx.doi.org/10.1525/ca.2003.22.1.37.

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With the notable exceptions of Jan Bazˇˇant and Paul Harvey, most scholars subscribe to the idea that the representational scenes on Greek vases fall into one of two main categories: either myth (including epic subjects) or "genre," whose frame of reference is everyday life. This article challenges this distinction and makes a plea for its abandonment.

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Petrakova, Anna E. "Did the Scythes and the Maeotians understand the subjects of the paintings on the Athenian vases?" Vestnik of Saint Petersburg State University of Culture, no. 4 (61) (2024): 126–33. https://doi.org/10.30725/2619-0303-2024-4-126-133.

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The finds of Athenian painted vases (especially red-figured ones of the fourth century BC) in the South Russia, where Greek settlers lived side by side with various "barbaric folks, excited the minds of scientists since the 19th century. The ordinary productions of the masters of Athenian Kerameikos, such as lekythoi with net pattern or with palmettes, found in Scythian, Meotian, etc. burials were perceived more calmly. But the items decorated with multi-figured compositions have generated controversy. The ideas concerning some special work by Attic potters and vase painters for Bosporan barba

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Shapiro, H. A. "Attic Comedy and the ‘Comic Angels’ Krater in New York." Journal of Hellenic Studies 115 (November 1995): 173–75. http://dx.doi.org/10.2307/631658.

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The centerpiece of Oliver Taplin's recent monograph on Greek drama and South Italian vase-painting is an Apulian bell-krater of the early fourth century in a New York private collection (Plate IV). The vase belongs to the genre conventionally known as phlyax vases, though Taplin would reject that label, since it is the thesis of his book that many, if not most, of these vases reflect Athenian Old Comedy and not an indigenous Italic entertainment, the phlyax play.

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Jo Smith, Tyler. "Black-Figure vases in the collection of the British School at Athens." Annual of the British School at Athens 98 (November 2003): 347–68. http://dx.doi.org/10.1017/s0068245400016919.

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Although some of the black-figure vases presented here were studied by Beazley and others, many are published for the first time. This article provides a summary of the collection followed by a catalogue of the objects by fabric and shape, and an illustration of each piece. The fabrics include Athenian, Corinthian, Boeotian and Euboean. A wide range of shapes, styles and iconographic themes are represented. An appendix of largely unpublished Athenian black-figure from the site of Kynosarges, excavated by the BSA (1896–7), appears at the end.

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Bennett. "Targeted Advertising for Women in Athenian Vase-Painting of the Fifth Century BCE." Arts 8, no. 2 (2019): 52. http://dx.doi.org/10.3390/arts8020052.

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This paper analyzes the trends in depictions of women in Athenian vase-painting during the 5th century BCE through an examination of approximately 88,000 vases in the Beazley Archive Pottery Database. It found a 15% increase in depictions of women during the 5th century BCE and a diversification in subject matter in which women appear. By considering these trends within the historical context of the hegemonic position of Athens in the Delian League and its wars, this paper proposes that the changes in representations and subject matter denote an expanded marketability of vases to female viewer

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Laferrière, Carolyn M. "Dancing with Greek Vases." Greek and Roman Musical Studies 9, no. 1 (2021): 85–114. http://dx.doi.org/10.1163/22129758-12341378.

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Abstract As gods dance, women twirl in choruses, and men leap in kōmos revels on Athenian red-figure vases, their animate bodies must be made to conform to the rounded shape of the vessels. Occasionally, these vases are even included in the images themselves, particularly within the kōmos revel, where the participants incorporate vessels into their dance as props, markers of space, and tools to engage new dance partners. Positioning these scenes within their potential sympotic context, I analyze the vases held by the dancers according to the ancient viewer’s own possible use of these physical

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Da Costa, Natalia Borges. "REFLECTIONS FROM A GREEK VASE." Revista Contemporânea 3, no. 8 (2023): 12142–62. http://dx.doi.org/10.56083/rcv3n8-122.

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The theme proposed in this Article is: “Reflections from a greek vase”. The development of this Article took place under the qualitative methodology with bibliographic, qualitative, referential, interpretative, descriptive and critical-dialectical methods. Reflecting on a Greek Vase is the main objective of this Article, considering the importance of Greek Vases: the legacy of the attic vases helped greatly in building the knowledge of athenian society. Topic 1 will deal with the Power of the Image; Topic 2 will deal with Greek Vases and the 3rd Topic will analyze a Greek Vase. Then, the Final

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Bazant, Jan. "Cultural memory and recollections in Athenian vase paintings." Letras Clássicas, no. 8 (November 1, 2004): 11. http://dx.doi.org/10.11606/issn.2358-3150.v0i8p11-26.

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<p><span>In this paper, I deal with the traditional division between myth and reality on ancient Athenian vases. I ask what happened in the late 6th century BC Athens that made classical archaeologists think that vase painters and their customers started to be interested in reality. There is no doubt that in the century or so around 500 BC iconography of Athenian vase underwent a radical change, but my point is that this makeover was misinterpreted. There was a revolution in storytelling, but the entirely new stories with which Athenian vase painters started to amuse their patrons

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Dissertations / Theses on the topic "Athenian Vases"

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Gerleigner, Georg Simon. "Writing on archaic Athenian pottery : studies on the relationship between images and inscriptions on Greek vases." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610545.

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Sini, Efthalia-Thalia. "Studies in the choice and iconography of everyday scenes on fourth-century Athenian vases." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670241.

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Yu, Xinhe. "Les Morts, les Agonisants et les Menacés : scènes mythologiques et quotidiennes sur les vases à vin attiques jusqu'en 450 avant J.-C." Electronic Thesis or Diss., Université Paris sciences et lettres, 2024. http://www.theses.fr/2024UPSLP018.

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Cette thèse explore la représentation de la mort, de l'agonie et des menaces sur les vases à vin issus de sept ateliers attiques, datés d'environ 575 à 450 av. J.-C. Elle révèle ainsi l'évolution des valeurs et des perceptions artistiques dans l'Antiquité grecque. À travers une analyse à la fois stylistique et iconologique, en se concentrant sur de nombreux sujets, notamment les combats et les récits sur la mort de divers personnages mythologiques, nous observons la manière dont chaque atelier, et parfois chaque peintre, aborde ces thèmes avec une perspective unique. De façon générale, cette é

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Moodie, Meg R. "Drawing the divide : the nature of Athenian identity as reflected in the depiction of the „other‟ in Attic red-figure vase painting in the fifth century BCE." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80201.

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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

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Beats, Kate A. "Size, surface and shape : experiencing the Athenian vase." Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/50045/.

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This study provides an alternative framework for the interpretation of the painted and plain Athenian vase during the Late Archaic and Classical period. The primary focus is on the way in which the vase came to interact with society. As a commodity with a practical use, the vase was permitted to circulate in social spaces in Athens. As a consequence of this contact, the accumulated meaning became more symbolic than practical. For instance, due to its use within the domestic sphere, the vase became a symbol of domesticity. This development of symbolism involves a transformation in the perceptio

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Grillo, Jose Geraldo Costa. "A Guerra de Tróia no imaginário ateniense: sua representação nos vasos áticos dos séculos VI-V a.C." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/71/71131/tde-13042009-164013/.

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O autor pergunta, a partir da iconografia da Guerra de Tróia, pelo lugar da guerra no imaginário ateniense durante os séculos VI-V a.C.. O corpus da pesquisa é constituído por 248 vasos áticos referentes a nove cenas: 1) Armamento de Aquiles; 2) Partida de Aquiles; os duelos entre 3) Páris e Menelau, 4) Enéias e Diomedes, 5) Ájax e Heitor, 6) Aquiles e Heitor, 7) Aquiles e Mêmnon; os retornos de guerreiros mortos em batalha: 8) Sono e Morte carregando o corpo de Sarpédon e 9) Ájax carregando o corpo de Aquiles. Os recortes espacial, Atenas, e cronológico, séculos VI-V a.C., foram feitos devido

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Saunders, David. "Sleepers in the valley : Athenian vase-painting 600-400 B.C. and the 'beautiful death'." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432118.

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Georgiades, Rebecca Elise. "Facing Fear: Exploring the Representation of Fear in Athenian Vase-painting from the 7th – 4th centuries BC." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/26366.

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Although emotions, particularly fear, have biological foundations, they are by no means entirely universal and are significantly shaped by the surrounding cultural and social contexts where they are expressed. This thesis is primarily a qualitative and iconographic study of the expression of emotion, specifically fear, in ancient Athenian vase-painting during the 7th – 4th centuries BC. It uses multiple systems of inquiry drawn from classical historical analysis, art history and anthropology to achieve an extensive understanding of the relationship between emotion, materiality and the cultural

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Villing, Alexandra. "The iconography of Athena in attic vase-painting from 440 - 370 BC." [S.l. : s.n.], 2007. http://nbn-resolving.de/urn:nbn:de:bsz:16-propylaeumdok-368.

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Foukara, Lavinia. "All in the family : the Apollonian triad in Attic art of the sixth and fifth centuries BC." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/15916.

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This dissertation examines the iconographical motif of the Apollonian triad in Attic art of the sixth and fifth centuries BC. Attic vase paintings constitute the chief evidence for this study, but other evidence, such as inscriptions, literary sources, sculptures and coins is considered, as well. My thesis focus on scenes without a clear mythological context, where the triad appears alone or accompanied by other, mostly, divine figures, and on what messages or information these images of the Apollonian triad convey. This study contributes to the ongoing discussion of the iconography and iconol

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Books on the topic "Athenian Vases"

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1949-, Oakley John Howard, Palagia Olga, and American School of Classical Studies at Athens., eds. Athenian potters and painters. Oxbow Books, 2009.

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2

John, Boardman. Athenian black figure vases: A handbook. Thames and Hudson, 1991.

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3

John, Boardman. Athenian red figure vases: The Archaic period : a handbook. 2nd ed. Thames and Hudson, 2000.

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John, Boardman. Athenian red figure vases: The Archaic period : a handbook. Thames and Hudson, 1991.

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John, Boardman. Athenian red figure vases: The classical period : a handbook. Thames and Hudson, 1988.

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Heesen, P. Athenian little-master cups. Pieter Heesen, 2011.

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S, Lapatin Kenneth D., ed. Papers on special techniques in Athenian vases: Proceedings of a symposium held in connection with the exhibition The colors of clay: special techniques in Athenian vases, at the Getty Villa, June 15-17, 2006. J. Paul Getty Museum, 2008.

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S, Lapatin Kenneth D., ed. Papers on special techniques in Athenian vases: Proceedings of a symposium held in connection with the exhibition The colors of clay: special techniques in Athenian vases, at the Getty Villa, June 15-17, 2006. J. Paul Getty Museum, 2008.

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Museum, J. Paul Getty, ed. Athenian vase construction: A potter's analysis. J. Paul Getty Museum, 1999.

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Hatzivassiliou, Eleni. Athenian black figure iconography between 510 and 475 B.C. VML, Verlag Marie Leidorf, 2010.

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Book chapters on the topic "Athenian Vases"

1

TSIAFAKI, DESPOINA. "THRACIANS ON ATHENIAN VASES." In Ancient Thrace and the Classical World. J. Paul Getty Trust, The, 2024. http://dx.doi.org/10.2307/jj.19307140.16.

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Dasen, Véronique. "G: Greek World." In Dwarfs in Ancient Egypt and Greece. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198146995.003.0020.

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Abstract Within each section the material is arranged chronologically and according to location. Athenian vases attributed by Sir John Beazley (ABV, ARV) are listed after his catalogue numbers, non-attributed vases are arranged in museums’ alphabetic order.

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"The Many Lives of Athenian Vases." In Athens, Etruria, and the Many Lives of Greek Figured Pottery. University of Wisconsin Press, 2019. http://dx.doi.org/10.2307/j.ctvfjcz1c.6.

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"Museum index of vases illustrated." In Composition in Athenian Black-Figure Vase-Painting. Peeters Publishers, 2021. http://dx.doi.org/10.2307/j.ctv1q26xv1.15.

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Mannack, Thomas. "Beautiful Men on Vases for the Dead." In Athenian Potters and Painters III. Oxbow Books, 2014. http://dx.doi.org/10.2307/j.ctvh1djzf.15.

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Hoffmann, Herbert. "The Vases of Sotades." In Sotadies. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198150619.003.0001.

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Abstract The name Sotades is one of the most famous in the history of Greek painting. Its appearance in inscriptions followed by the verb epoiesen or epoeie (‘made’) on nine Athenian pottery vessels dating from the years immediately before and after the middle of the fifth century BC has led experts to conclude that Sotades must have been a kerameus (potter) and probably the owner of a workshop. The draughtsman who collaborated with him has been designated the Sotades Painter, and a large scholarly edifice of attributions has been constructed around both figures.

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Bundrick, Sheramy D. "Chapter Two Reading Rhapsodes on Athenian Vases." In Homer in Performance. University of Texas Press, 2018. http://dx.doi.org/10.7560/316030-005.

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Agafonov, Andrey, and Olga Samar. "Concerning Athenian black-figure vases from Panticapaeum." In The Greeks and Romans in the Black Sea and the Importance of the Pontic Region for the Graeco-Roman World (7th century BC-5th century AD): 20 Years On (1997-2017). Archaeopress Publishing Ltd, 2021. http://dx.doi.org/10.2307/j.ctv1pdrqhw.73.

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Taplin, Oliver. "Phlyakes." In Comic Angels. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198147978.003.0005.

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Abstract Why, in the face of ever-increasing evidence of Athenian connections, has the association of the comic vases with the phlyax plays and with Rhinthon remained so firm? The strongest underlying argument has not been a positive one in favour of the phlyakes, but the negative sense that, whatever these plays on the vases are, they cannot be Athenian comedy, especially not Old comedy. That, one would have thought, was too topical and too local to have travelled beyond Athens, or even to have been reperformed after its original occasion. In the face of undeniable evidence to the contrary, t

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Carpenter, Thomas H. "Bacchae and Frogs." In Dionysian Imagery in Fifth-Century Athens. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198150381.003.0007.

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Abstract After vase painting, Euripides’ Bacchae is the richest source of Dionysian imagery to survive from fifth-century Athens. When the play was pro duced, Dionysian narratives had already appeared on Attic vases for more than a century and a half, and the death of Pentheus itself had appeared on them for nearly a century. Presumably an Athenian attending the performance would have been familiar with other images connected with the god and might also have seen other versions of the Pentheus story in the theatre. He might recently have attended the performance of Aristophanes’ Frogs where Di

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