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Journal articles on the topic 'Athenian Vases'

Author: Grafiati

Published: 13 July 2024

Last updated: 31 July 2025

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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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Higbie, Carolyn. "The Bones of a Hero, the Ashes of a Politician: Athens, Salamis, and the Usable Past." Classical Antiquity 16, no. 2 (1997): 278–307. http://dx.doi.org/10.2307/25011066.

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This article uses one incident, the Athenian efforts to acquire Salamis from Megara during the sixth century B.C.E., to study what Greeks themselves believed about their own past and why the past was so powerful an argument for them. The nature of the evidence is an important part of the discussion, since the written sources (primarily Aristotle, Strabo, Plutarch, and Diogenes Laertius) date from long after the events and Greek authors' approaches to the past differ from our own. Although only brief fragments of any Megarian historians survive, they are useful in providing a counterbalance to

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Brennan, Maura. "LAME HEPHAISTOS." Annual of the British School at Athens 111 (May 10, 2016): 163–81. http://dx.doi.org/10.1017/s0068245415000131.

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The Return of Hephaistos to Olympus was a popular scene in Attic vase-painting from the beginning of the sixth century through the end of the fifth century bce, and it is found occasionally on other forms of pottery as well. According to myth, Hephaistos was lame, and this disability is sometimes depicted on painted pottery, almost always in scenes of his Return. The most well-known example is the François Vase, which is often the only vase cited when discussing instances of Hephaistos's lameness on Athenian pottery. Although three other Attic vases are occasionally cited as showing the disabi

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Chevitarese, André Leonardo. "Woman and fruit harvest in the Athenian pólis: iconographic analisys of the Athenian black and red figure vases." Revista do Museu de Arqueologia e Etnologia, no. 10 (December 22, 2000): 175. http://dx.doi.org/10.11606/issn.2448-1750.revmae.2000.109385.

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Ao fazer um levantamento sistemático das cenas de colheita de frutas nos vasos áticos de figuras negras e vermelhas, constata-se uma relação direta entre o desempenho dessa atividade agrícola e as mulheres. Pretende-se com este trabalho estabelecer possíveis explicações dessa associação, a priori pouco comum para os padrões da cultura ateniense, a partir do exame dos vasos atenienses e da tradição literária.

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Baurain-Rebillard, Laurence. "Les vases «communicants» à Athènes, des offrandes de l’Acropole aux premiers banquets sur l’Agora." Ktèma : civilisations de l'Orient, de la Grèce et de Rome antiques 23, no. 1 (1998): 125–36. http://dx.doi.org/10.3406/ktema.1998.2722.

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This study, based on some inscribed Athenian vases, deals with Archaic behaviours which are midway between private and public. Two skyphoi from the Agora, bearing ‘owners’ marks’ and associated with an abundant set of dining ware from the seventh century BC, lead to propose a new interpretation of ‘Building A’ as the meeting place for a group of men prefiguring the prytaneis from the Classical period.

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Balachandran, Sanchita. "Bringing Back the (Ancient) Bodies: The Potters’ Sensory Experiences and the Firing of Red, Black and Purple Greek Vases." Arts 8, no. 2 (2019): 70. http://dx.doi.org/10.3390/arts8020070.

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The study of Athenian black-figure and red-figure ceramics is haunted by nearly a thousand “hands” of the artisans thought to be responsible for their painted images. But what of the bodies attached to those hands? Who were they? Given the limited archaeological and epigraphic evidence for these ancient makers, this study attempts to recover their physical bodies through the ceramics production process—specifically the firing of vessels—as a communal activity potentially including a large cast of participants including craftsmen and craftswomen, metics, freed people and slaves. Using an experi

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Muskett, Georgina. "Papers on Special Techniques in Athenian Vases. By Kenneth Lapatin." American Journal of Archaeology 113, no. 3 (2009): 487–88. http://dx.doi.org/10.1086/ajs20627606.

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McDonnell, Myles. "The introduction of athletic nudity: Thucydides, Plato, and the vases." Journal of Hellenic Studies 111 (November 1991): 182–93. http://dx.doi.org/10.2307/631899.

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A swell of recent books on Greek athletics has resurrected, often no higher than a footnote, an old question: when did Greek athletes begin to exercise nude? Bronze Age archaeology and the Homeric poems make it fairly certain that athletic nudity was not practiced before the late eighth century. The evidence for its introduction is, however, contradictory. A complex, confused, and predominantly late tradition crediting the innovation variously to the Olympic victor Orsippos of Megara (or of Sparta), Akanthos of Sparta, or to an unnamed Athenian athlete, places it in the eighth or seventh centu

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Pritchard, David M. "Fool's Gold and Silver: Reflections on the Evidentiary Status of Finely Painted Attic Pottery." Antichthon 33 (November 1999): 1–27. http://dx.doi.org/10.1017/s0066477400002318.

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The imagery of black and red figure pottery continues to be a valuable source of information for the social and ideological history of ancient Athens. These images have traditionally provided historians with insights into material culture, religion and daily life activities, and increasingly, in large part due to francophone archaeologists like François Lissarrague, they are also being employed as detailed evidence of the conceptual world of archaic and classical Athenians. It is striking though that in spite of the clear evidentiary value of finely painted Attic pottery, almost no sustained s

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Pevnick, Seth D. "ΣϒPIΣKOΣ EΓPΦΣEN: Loaded Names, Artistic Identity, and Reading an Athenian Vase". Classical Antiquity 29, № 2 (2010): 222–53. http://dx.doi.org/10.1525/ca.2010.29.2.222.

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This paper examines the importance of artist names and artistic identity, especially as expressed in artist signatures, to the interpretation of ancient Greek pottery. Attention is focused on a calyx krater signed ΣϒPIΣKOΣ EΓPΦΣEN [sic], and it is argued that the non-Greek ethnikon used as artist name encourages a non-Athenian reading of the iconography. The painted labels for all six figures on this vase, together with parallels from other Athenian red-figure vases—including others from the Syriskos workshop—all suggest the presentation of an alternative, un-Athenian world view. Okeanos, Dion

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Adrienne Mayor, John Colarusso, and David Saunders. "Making Sense of Nonsense Inscriptions Associated with Amazons and Scythians on Athenian Vases." Hesperia: The Journal of the American School of Classical Studies at Athens 83, no. 3 (2014): 447. http://dx.doi.org/10.2972/hesperia.83.3.0447.

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Vickers, Michael. "Artful crafts: the influence of metalwork on Athenian painted pottery." Journal of Hellenic Studies 105 (November 1985): 108–28. http://dx.doi.org/10.2307/631525.

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Why did Athenian vase-painters choose the colours they did for the vases they decorated? Why did they choose black figures on red, or red figures on black; why were lekythoi often decorated on white ground? These are basic questions, but have rarely been asked. Many books and articles deal with the technical aspects of how these effects were achieved, but never seem to ask why. A few minutes' conversation with a modern potter will dispel any illusion that the colours so familiar from Attic pottery were the only ones compatible with the local clay. Even the orange of that clay was made more int

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O’Donovan, Shannon. "Athenian Vases and Heroes out of Context: Discovering what Theseus is doing in Etruria." Etruscan Studies 23, no. 1-2 (2020): 62–106. http://dx.doi.org/10.1515/etst-2018-0024.

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Yael, Young. "The Representation of Pointed Amphorae in Athenian Vase Paintings: An Iconographic Study." Art Style, Art & Culture International Magazine 7, no. 7 (2021): 159–79. https://doi.org/10.5281/zenodo.6371537.

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Art Style | Art & Culture International Magazine Abstract The article examines a group of images on Athenian ceramic vases in which pointed amphorae are depicted in various usages. This iconography appears primarily in the contexts of both the symposium and the komos, whose participants, along with members of the Dionysian thiasos, are shown sitting, leaning, playing, beating, and masturbating with this vessel. The utilization of this specific mundane object in such a manner is explored in light of psychologist James J. Gibson’s term ’affordance’, which refers to the pote

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GREEN, J. R. "COMIC CUTS: SNIPPETS OF ACTION ON THE GREEK COMIC STAGE." Bulletin of the Institute of Classical Studies 45, no. 1 (2001): 37–64. http://dx.doi.org/10.1111/j.2041-5370.2001.tb00231.x.

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Abstract The article represents a preliminary attempt to distinguish aspects of performance style in Athenian comedy from the later fifth to the third quarter of the fourth century on the basis of depictions on contemporary vases. It examines issues of dress and deportment, the changing place of female roles in comedy of the period (or the popular perception of these roles), and what one can observe of the growing subtlety of presentation. These developments are set against some literary evidence for the norms of public behaviour and appearance at that period. It also looks at what one can jud

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Margariti, Katia. "Signifying Lost Potential: The Hare in the Funerary Art of Archaic and Classical Athens." Hesperia: The Journal of the American School of Classical Studies at Athens 94, no. 1 (2025): 17–64. https://doi.org/10.2972/hes.2025.a954694.

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ABSTRACT: This article examines the iconography and function of the hare in Athenian funerary art of the Archaic and Classical periods. The animal appears on a limited number of vases and funerary reliefs decorated with scenes at the grave, images related to the hunt, or depictions of a deceased holding a pet hare. It is almost exclusively associated with male figures, especially of young age. This is due to the animal’s popularity as hunting prey and its highly sexual nature. A live hare in a funerary scene functions as a symbol of untimely death and lost potential for young males, emphasizin

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Meyer, Caspar. "Ancient vases in modern vitrines: the sensory dynamics and social implications of museum display." Bulletin of the Institute of Classical Studies 63, no. 1 (2020): 91–109. http://dx.doi.org/10.1093/bics/qbaa009.

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Abstract This contribution explores the changing sensory priorities underpinning the display of Greek painted pottery in European collections. The focus is on the introduction of glass-fronted cabinets in the purpose-designed public museums of art and archaeology of the mid-nineteenth century. Contrary to expectations, the contemporaneous debates surrounding the use of gallery furniture show that the museum stakeholders were less worried about the safety of the objects than the prospect of middle- and working-class visitors being exposed to the sexualized imagery on Athenian pottery. A survey

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Tsirogiannis, Christos, and David W. J. Gill. "“A Fracture in Time”: A Cup Attributed to the Euaion Painter from the Bothmer Collection." International Journal of Cultural Property 21, no. 4 (2014): 465–80. http://dx.doi.org/10.1017/s0940739114000289.

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Abstract:In February 2013 Christos Tsirogiannis linked a fragmentary Athenian red-figured cup from the collection formed by Dietrich von Bothmer, former chairman of Greek and Roman Art at New York’s Metropolitan Museum of Art, to a tondo in the Villa Giulia, Rome. The Rome fragment was attributed to the Euaion painter. Bothmer had acquired several fragments attributed to this same painter, and some had been donated to the Metropolitan Museum of Art as well as to the J. Paul Getty Museum. Other fragments from this hand were acquired by the San Antonio Museum of Art and the Princeton University

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Margariti, Katia. "Painting early death. Deceased maidens on funerary vases in the National Archaeological Museum of Athens." Opuscula. Annual of the Swedish Institutes at Athens and Rome 11 (November 2018): 127–50. http://dx.doi.org/10.30549/opathrom-11-07.

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The present paper studies the iconography of dead maidens depicted on a red-figured funerary loutrophoros and six white-ground lekythoi in the National Archaeological Museum of Athens, all of them dating to the 5th century BC. The scenes painted on the vases under consideration are representative of the iconography employed by Classical Athenian vase-painters for the depiction of deceased maidens, parthenoi. Dead maidens are not frequently seen on funerary clay loutrophoroi, but mostly appear in psychopompoi, tomb visit, and prothesis scenes of white lekythoi, where their premature death befor

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Busschaert, Sarah, Louise Détrez, and Marie-Christine Nollinger. "“Rétablir la partie antique isolée de toutes ses restaurations”: A major conservation treatment of the pointed amphora by the Achilles Painter." Technè 57 (2024): 118–27. http://dx.doi.org/10.4000/12cw9.

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Purchased in Rome during the winter of 1847-1848, the pointed amphora by the Achilles Painter is one of the centerpieces of the Duke of Luynes’ collection of Greek vases held at the Bibliothèque nationale de France (BnF). The rarity of its shape and the virtuosity of its decoration make it one of the greatest masterpieces of this Athenian vase painter active in the middle decades of the 5th century BC. However, scholars soon noticed the extent of its 19th-century illusionistic restoration.The renovation of the BnF museum provided the opportunity to resume the study and envision the conservatio

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Hall, Edith. "How much did pottery workers know about classical art and civilisation?" Bulletin of the Institute of Classical Studies 63, no. 1 (2020): 17–33. http://dx.doi.org/10.1093/bics/qbaa005.

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Abstract The voices of pottery workers across the British Isles during the heyday of the taste for classically themed ceramics are almost silent to us, since so few left memoirs or diaries. But other sources cumulatively build up a picture of skilled male, female, and child workers familiar with multifarious ancient artefacts and books visually reproducing them. At Etruria and Herculaneum, workers were encouraged to see themselves as participants in the rebirth of the ancient ceramic arts; they were trained in painstaking reproduction of details not only from ancient vases but from ancient gem

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Morgan, T. J. "Literate education in classical Athens." Classical Quarterly 49, no. 1 (1999): 46–61. http://dx.doi.org/10.1093/cq/49.1.46.

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In the study of education, as in many more travelled regions of Classical scholarship, democratic Athens is something of a special case. The cautions formulation is appropriate: in the case of education, surprisingly few studies have sought to establish quite how special Athens was, and those which have, have often raised more questions than they answered. The subject itself is partly to blame. The history of education invites comparison with the present day, while those planning the future of education rarely fail to invoke the past. The place of Classical Athens in European culture has ensur

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Heuer, Keely. "Tenacious Tendrils: Replicating Nature in South Italian Vase Painting." Arts 8, no. 2 (2019): 71. http://dx.doi.org/10.3390/arts8020071.

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Elaborate floral tendrils are one of the most distinctive iconographic features of South Italian vase painting, the red-figure wares produced by Greek settlers in Magna Graecia and Sicily between ca. 440–300 B.C. They were a particular specialty of Apulian artisans and were later adopted by painters living in Paestum and Etruria. This lush vegetation is a stark contrast to the relatively meager interest of Archaic and Classical Athenian vase painters in mimetically depicting elements of the natural world. First appearing in the work of the Iliupersis Painter around 370 B.C., similar flowering

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Shapiro, H. A. "Literacy and social status of archaic attic vase-painters." Revista do Museu de Arqueologia e Etnologia, no. 5 (December 18, 1995): 211. http://dx.doi.org/10.11606/issn.2448-1750.revmae.1995.109236.

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In recent years, new evidence has led some scholars to question the traditional view of Athenian potters and painters as banausoi of low social status whose lives seldom if ever intersected with those of the aristocracy (Keuls, 1989: 149-67). The evidence pertains mainly to the generation of the red-figure pioneers, who are excepcional in their strong sense of identity and self-conscious reference to each other and to their patrons. Their meeting ground was the symposium. The presente paper focuses on an earlier period, the mid-sixth century, and on certain vase inscriptions that suggest not o

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Gill, David W. J. "Pots and Trade: Spacefillers or Objets D'Art?" Journal of Hellenic Studies 111 (November 1991): 29–47. http://dx.doi.org/10.2307/631886.

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It is now a commonplace view that fine pottery may not have formed the major part of any cargo in antiquity. The archaeological evidence of shipwrecks seems to confirm the view held by most students of the ancient economy that pots—both fine and coarse—were merely ‘parasitic’ on the main items of trade, staples, metals and slaves. However there are some who plead a special case for the fine wares—especially the figure-decorated—during the archaic and classical periods. J. Boardman, for example, though in principle in agreement with the general view that pottery accompanied ‘more important mate

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Attula, Regina. "Athenian Vases - (B.) Cohen The Colors of Clay. Special Techniques in Athenian Vases. Pp. xii + 372, b/w & colour ills, map. Los Angeles: The J. Paul Getty Museum, 2006. Paper, US$44.95 (Cased. US$85). ISBN: 978-0-89236-942-3 (978-0-89236-571-5 hbk)." Classical Review 60, no. 1 (2010): 271–73. http://dx.doi.org/10.1017/s0009840x09991351.

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Spivey, Nigel. "Art and Archaeology." Greece and Rome 64, no. 1 (2017): 90–93. http://dx.doi.org/10.1017/s0017383516000280.

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The nineteenth-century French painter Gustave Courbet famously declared that he did not paint angels because he had never seen one. If artists of classical antiquity were ever troubled by such scruples regarding depictions of the supernatural, it is not (so far as I know) documented. This is not to say that the question of how an artist could represent, say, an Olympian deity, went completely unheeded: Dio Chrysostom's Olympic Discourse of ad 97 is one serious attempt to address that topic, with significant implications for the status of an artist (in this case, Pheidias) famed for ‘imagining’

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Billing, Christian M. "Representations of Greek Tragedy in Ancient Pottery: a Theatrical Perspective." New Theatre Quarterly 24, no. 3 (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 met

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Sparkes, B. A. "(J.) Boardman Athenian red figure vases: the classical period. A handbook. (World of art.) London: Thames and Hudson, 1989. Pp.252, 566 illus. £5.95." Journal of Hellenic Studies 111 (November 1991): 249–50. http://dx.doi.org/10.2307/631946.

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Cook, R. M. "John Boardman: Athenian Red Figure Vases, the Classical Period: a Handbook. (World of Art.) Pp. 252; 429 figs. London: Thames & Hudson, 1989. Paper, £5.95." Classical Review 40, no. 2 (1990): 515. http://dx.doi.org/10.1017/s0009840x00255297.

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Orehowskyi, Wadym. "TRADE AND MONEY CIRCULATION OF ANCIENT GREECE." BULLETIN OF CHERNIVTSI INSTITUTE OF TRADE AND ECONOMICS II, no. 90 (2023): 8–20. http://dx.doi.org/10.34025/2310-8185-2023-2.90.01.

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The article is devoted to highlighting the main directions and features of trade and money circulation in Ancient Greece. In the introduction, the author notes that the Kingdom of Egypt and the state entities of Mesopotamia were the first centers of regional trade. A separate "branch" of the trade system of the Mediterranean was made up of numerous polises of Ancient Greece, which were essentially separate states. It was the sea spaces that played a major role in a Greek trade. The latter contributed to the formation, on the one hand, of a unique "Mediterranean world", and on the other - the G

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Sparkes, Brian A. "Art and Archaeology - (B.) Cohen The Colors of Clay. Special Techniques in Athenian Vases. Los Angeles: The J. Paul Getty Museum, 2006. Pp. xii + 371, col. illus., map. £55. 9780892365715." Journal of Hellenic Studies 127 (November 2007): 224–25. http://dx.doi.org/10.1017/s007542690000241x.

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Kratzmueller, Bettina. "‘Men who were the most beautiful, not only among their fellow citizens, but in all Hellas’ (Aeschines,Against Timarchus1.156): sports and athletics on Athenian vases of the sixth to fourth centurybce." World Archaeology 44, no. 2 (2012): 202–16. http://dx.doi.org/10.1080/00438243.2012.669607.

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Burn, Lucilla. "Athenian Red Figure Vases: the Classical Period. A Handbook. By John Boardman. 210 × 148mm. Pp. 252, 566 ills. London: Thames and Hudson, 1989. ISBN 0-500-20244-3. £5·95 (p/b)." Antiquaries Journal 69, no. 2 (1989): 351. http://dx.doi.org/10.1017/s0003581500085632.

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Vyhnal, Christopher R. "Curricular Materials on the Chemistry of Pottery, Including Thermodynamic Calculations for Redox Reactions in the 3-Stage Firing Process of Athenian Black- and Red-Figure Vases Produced from the Sixth–Fourth Centuries BCE." Journal of Chemical Education 99, no. 2 (2021): 768–76. http://dx.doi.org/10.1021/acs.jchemed.1c00953.

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Burn, Lucilla. "Special Techniques - (K.) Lapatin (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. Pp. xiv + 242, b/w & colour figs, b/w & colour ills, b/w & colour maps. Los Angeles: The J. Paul Getty Museum, 2008. Paper, £50, US$75. ISBN: 978-0-89236-901-0." Classical Review 61, no. 1 (2011): 263–64. http://dx.doi.org/10.1017/s0009840x10002854.

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Spivey, Nigel, Francois Lissarrague, and Kim Allen. "Greek Vases: The Athenians and Their Images." American Journal of Archaeology 106, no. 2 (2002): 334. http://dx.doi.org/10.2307/4126263.

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Noble, Joseph Veach, and Toby Schreiber. "Athenian Vase Construction: A Potter's Analysis." American Journal of Archaeology 103, no. 4 (1999): 716. http://dx.doi.org/10.2307/507095.

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Lapatin, Kenneth D. S., and Toby Schreiber. "Athenian Vase Construction: A Potter's Analysis." Classical World 96, no. 2 (2003): 223. http://dx.doi.org/10.2307/4352747.

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Rysiaieva, Maryna. "On Ancient Greek Thymiateria and Their Purpose." Text and Image: Essential Problems in Art History, no. 2 (2019): 5–33. http://dx.doi.org/10.17721/2519-4801.2019.2.01.

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Abstract:

The paper looks at the ancient Greek thymiateria and aims at finding data in literary, epigraphic and visual sources that would cast light on the use of thymiateria in private and public rituals of the VIІ th century BC – IVth century AD. Systematic collection of data and its comparative historical analysis were in the core of the methodology. Among the main methods of analysing the collected sources, one should mention empirical, analytical, structural-typological and iconographical methods. A thymiaterion (an incense burner) is firstly mentioned in the Vth century BC in Herodotus’ Historia.

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Scheffer, Charlotte. "Works dealing with questions concerning ancient Greek vases (books reviewed: Approaches to the study of Attic vases, by P. Rouet; The Theseus Painter, by O. Borgers; The late mannierists in Athenian vase-painting, by T. Mannack; Non-Attic Greek vase inscriptions, by R. Wachter; Corpus Vasorum Antiquorum. Ny Carlsberg Glyptotek 1, by T. Fischer-Hansen; Corpus Vasorum Antiquorum. Amsterdam 3, by W.D.J. van de Put; Essays in honor of Dietrich von Bothmer, by A.J. Clarc & J. Gaunt, eds.)." Opuscula. Annual of the Swedish Institutes at Athens and Rome 1 (November 2008): 186–90. http://dx.doi.org/10.30549/opathrom-01-18.

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