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Journal articles on the topic 'Greek pottery; Waveline style'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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1

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 locall
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2

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 wh
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3

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 G
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4

Stojic, Milorad. "Hisar in Leskovac at the end of the early iron age." Starinar, no. 57 (2007): 175–89. http://dx.doi.org/10.2298/sta0757175s.

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All parts of the site Hisar in Leskovac provided material from Iron Age III according to the division by M. Garasanin (mainly from the 5th century BC). Four or perhaps five habitations from this period, in relation to the excavated surface (app. 15 000 m2), indicate a settlement with a larger number of dwelling places. Its architecture - wattle and daub huts and dug outs - has no particular characteristics, and is similar to habitations from previous periods in the Morava valley. Archaeological material from Iron Age III includes pottery made on the wheel of Greek style, hand made pottery and
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5

Malykh, S. E. "POTTERY OF THE TUNISIAN NABEUL: ANCIENT TRADITIONS AND MODERNITY." Journal of the Institute of Oriental Studies RAS, no. 1 (11) (2020): 178–85. http://dx.doi.org/10.31696/2618-7302-2020-1-178-185.

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The article examines the pottery production of the Tunisian city of Nabeul, the administrative center of the province of Cap Bon, located in the north-eastern part of the country, on the Mediterranean coast. Modern Nabeul is situated on the site of the ancient city of Neapolis. A common occupation of local residents — pottery — is due to the large deposits of marl clays available in the district. The origins of this craft originate in the first centuries of our era, when the Romans founded their city on the site of a small Greek trading settlement and brought here their traditions of pottery.
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6

MEDVESKAYA, I. N. "A Study on the Chronological Parallels between the Greek Geometric Style and Sialk B Painted Pottery." Iranica Antiqua 21 (January 1, 1986): 89–120. http://dx.doi.org/10.2143/ia.21.0.2014071.

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7

Głuszek, Inga. "The Athenian Red-Figure Pottery Found in Nikonion During Excavations of 2007-2012." Studies in Ancient Art and Civilisation 21 (July 27, 2018): 89–117. http://dx.doi.org/10.12797/saac.21.2017.21.06.

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The article discusses fragments of the Athenian red-figure pottery discovered during excavations in Nikonion, an ancient Greek colony founded on the northern coast of the Black Sea, at the end of the 6th century BC. The collection of Athenian pottery finds at this site is very diverse in terms of technique, style and phase of production. In a short introduction to the article the state of research on the finds of Athenian red–figure pottery from the site is presented, but the main focus is on the findings of the Ukrainian-Polish team of archaeologists who conducted joint excavations at the sit
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8

Demakopoulou, Katie. "A Mycenaean pictorial vase from Midea." Opuscula. Annual of the Swedish Institutes at Athens and Rome 13 (November 2, 2020): 113–21. http://dx.doi.org/10.30549/opathrom-13-04.

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The Greek-Swedish excavations on the Mycenaean acropolis of Midea have brought to light a large amount of fine decorated pottery, which includes numerous fragmentary vases and sherds with pictorial decoration. This material has firmly established Midea as an important find-spot of figure-style pottery, like other great Mycenaean Argive centres, such as Mycenae, Tiryns and Berbati. This paper presents a remarkable pictorial vase recently found at Midea. It is a ring-based krater, almost completely restored from fragments, decorated with a row of six birds. The bird is a common motif in Mycenaea
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9

Aslan, Carolyn C., and Ernst Pernicka. "Wild Goat style ceramics at Troy and the impact of Archaic period colonisation on the Troad." Anatolian Studies 63 (July 11, 2013): 35–53. http://dx.doi.org/10.1017/s0066154613000033.

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AbstractThe establishment of colonies along the Hellespont by inhabitants of Ionia, Athens and Lesbos is well-known from historical texts. Recently, stratified contexts at Troy as well as other surveys and excavations have yielded new information about the chronology and material markers of Archaic period settlements in the Troad and the Gallipoli peninsula. The archaeological evidence for colonisation in this region is not clearly seen until the late seventh to early sixth century BC when there is a dramatic change in the material culture. Destruction evidence from Troy indicates that the new
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10

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
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11

Whitley, James. "Social Diversity in Dark Age Greece." Annual of the British School at Athens 86 (November 1991): 341–65. http://dx.doi.org/10.1017/s0068245400014994.

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This paper attempts to provide new insights into the nature of Greek society in the Dark Ages (1100–700 B.C.). It re-examines the relationship between the archaeological evidence and the institutions and practices described in the Homeric poems. The archaeological evidence indicates that there were marked regional differences in settlement pattern, burial customs and pottery traditions. This must, it is argued, reflect profound regional differences in social organisation. Ethnographic analogies are used to make sense of some of these regional patterns. Two of the larger and more stable communi
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12

Shaw, J. W. "Sequencing the EH II ‘Corridor Houses’." Annual of the British School at Athens 102 (November 2007): 137–51. http://dx.doi.org/10.1017/s0068245400021456.

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One of the most exciting discoveries in Greek prehistory is a type of building of Early Helladic II date, discussed earlier by the present author and nicknamed “Corridor House.” The present study concerns itself with the relative chronology of seven of these, using two main criteria. One criterion concerns structural changes that can be ordered chronologically, namely the use of partial or complete “corridors” alongside a series of axially set rooms, with the more complete corridors, housing stairways, being later. A new structural criterion is whether the building used roof tiles. For instanc
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13

Sparkes, Brian A. "(J.W.) Hayes Greek and Greek-style painted and plain pottery in the Royal Ontario Museum, excluding black-figure and red-figure vases. Toronto: Royal Ontario Museum, 1992. Pp. xv + 223, ill. C$95. 0888543980." Journal of Hellenic Studies 117 (November 1997): 264. http://dx.doi.org/10.2307/632616.

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14

Boratav, Olcay. "Ceramics as the conveyance of art." Global Journal of Arts Education 6, no. 4 (2017): 133–39. http://dx.doi.org/10.18844/gjae.v6i4.1828.

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AbstractThe concept of art has varied according to space and time perspective in each and every period and it has emerged in different forms in every culture. Artists or designers produce a wide range of forms with different materials representing the period and culture while creating their ceramics. Ceramics symbolizes a thousand-year-old endeavor as well as being considered as one of the arts. It has shed light on the history in different shapes and cultures in addition to undertaking the task of conveyance of art with original structure and formal style in the works of art. Ceramics makes i
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15

Steiner, Ann, and Jenifer Neils. "An Imported Attic Kylix from the Sanctuary at Poggio Colla." Etruscan Studies 21, no. 1-2 (2018): 98–145. http://dx.doi.org/10.1515/etst-2018-0010.

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Abstract This study focuses on an Attic red-figure kylix excavated in a North Etruscan ritual context at a major sanctuary site in the Mugello region at Poggio Colla. Attributed to the Painter of the Paris Gigantomachy (490–460 B. C. E.), the kylix depicts youths boxing. Careful excavation of the site over 20 years allows detailed presentation here of the votive context for the kylix and thus supports a plausible hypothesis for how it was integrated into rituals marking the transition from the first monumental stone temple to its successor at the site, sometime in the late fifth-early fourth c
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16

Blecic-Kavur, Martina, and Boris Kavur. "Grave 22 of the Belgrade necropolis in Karaburma: Retrospective and perspective." Starinar, no. 60 (2010): 57–84. http://dx.doi.org/10.2298/sta1060057b.

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Almost four decades after its discovery was initially announced, the Celtic necropolis in Karaburma, a suburb of Belgrade, is still one of the most important archaeological sites for the interpretation of the historical, economic, and cultural processes taking place in the central Balkans from the 4th to the end of the 1st centuries B.C. Most of all, it represents a wide-ranging source for explaining the chronology of the oldest Celtic presence in this area, also illustrating cultural exchanges in the network in which they were included. In this necropolis, belonging to the regional military e
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17

Joháczi, Szilvia. "A New Method in Attribution? Attempts of the Employment of Geometric Morphometrics in the Attribution of Late Archaic Attic Lekythoi." Dissertationes Archaeologicae, April 8, 2019, 371–418. http://dx.doi.org/10.17204/dissarch.2018.371.

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In the Late Archaic - Early Classic period, the Attic ceramic industry was characterized by a kind of duality. On the one hand, the red-figure technique was flourishing, when Euphronios’, Douris’ or the Berlin Painter’s works represented the height of Greek vase painting. On the other hand, the market was also covered by large quantities of low-quality black-figure pottery. Not only in Athens, but even in the whole Ancient Mediterranean these mass-produced vessels emerge constantly, even from modern excavations. Therefore, in contrast to most vases of more talented painters they can be attache
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