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Dissertations / Theses on the topic 'Vase-painting'
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Hoyt, Sue Allen. "Masters, pupils and multiple images in Greek red-figure vase painting." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150472109.
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Benson, Lisa Virginia. "Hermonax : an early classical vase-painter /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9962504.
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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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Wachter, Rudolf. "Non-Attic Greek vase inscriptions : a philological study." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670296.
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EGAN, EMILY CATHERINE. "The Stylistic Relationship Between Wall Painting and Vase Painting at the Palace at Knossos During the Neo- and Final Palatial Periods." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1213729817.
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Zardini, Francesca. "The myth of Herakles and Kyknos : a study in Greek vase-painting and literature /." Verona : Fiorini, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9788887082937.
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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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Kopatos, Ferrer Anna-Maria. "The iconography of the so-called Boreads and Eileithyiai in black-figure vase-painting." Thesis, King's College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408717.
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Xu, Jialin. "Techniques of red-figure vase-painting in late sixth- and early fifth-century Athens." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670015.
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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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Zardini, Francesca. "The myth of Herakles and Kyknos : a study in early Greek vase-painting and literature." Thesis, University College London (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405416.
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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 framework these images operated within. This thesis analyses the use of gesture, posture and facial expressions in visual imagery, to explain how and why fear was represented. By examining specific topographies of fear, such as the realm of mythical and monstrous creatures as well as settings of warfare and human violence, this thesis demonstrates the role of fear-filled imagery in sharing and reinforcing ideas about culture, gender and status within Athenian society.
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Masters, Samantha. "The abduction and recovery of Helen : iconography and emotional vocabulary in Attic vase painting c. 550-350 BCE." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/3575.
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The antics of Helen of Sparta, famous both for her beauty and her adultery, have fascinated ancient and modern audiences alike. The subjects of her abduction from Sparta and recovery from Troy are explored in various ancient discourses. This study investigates the iconography of Attic vase-paintings, c. 550-350 BCE, that show (or have been identified as depicting) these two events in the life of Helen. My approach seeks to investigate their subtexts or metanarratives of emotion through a rigorous methodology. This process first involves engaging in a close reading of the vase scenes in order to identify their visual language, especially their emotional vocabulary. The second process contextualises the vases in the society that produced and used them. By reading them in their original context of production and reception, one can extrapolate a range of meanings these scenes could have had for their original audience. In doing this, there are two main goals: to establish which emotions are pertinent to the ancient audience in these two episodes (emotional content), and how emotions – in essence invisible – are communicated in the vase images (emotional language). Applying this methodology to the scenes yields significant results. The identification of the most typically emotional indicators includes the following: gesture; stance; gaze; clothing, physical attributes and icons; divinities and personifications; and contextual icons or information. The emotional content that emerges includes, in particular, the emotion of eros – its potentially destabalising and emasculating consequences – and the appropriateness of orgē and revenge. Another significant result is in relation to the traditional identification of the scenes. While most of the traditional identifications of Helen’s recovery stand firm, the opposite is true for the abduction. My rejection of the majority of images identified as Helen’s abduction by traditional scholarship is necessary due to a lack of evidence – inscriptional or iconographic – and the marked incongruity of these depictions with their context. These results demonstrate the merits of a solid methodology that takes the language of images seriously, as well as the social, political and ideological context in which the vases were produced and viewed.
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Martens, Didier. "Une esthétique de la transgression: le vase grec, de la fin de l'époque géométrique au début de l'époque classique." Doctoral thesis, Universite Libre de Bruxelles, 1990. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213114.
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Beaumont, Lesley Anne. "Studies on the iconography of divine and heroic children in Attic red-figure vase-painting of the fifth century." Thesis, Online version, 1993. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.366348.
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Mitchell, Alexandre G. "Comic pictures in Greek vase painting : humour in the polis and the Dionysian world in the sixth and fifth centuries B.C." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248968.
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Fornasier, Jochen. "Jagddarstellungen des 6. - 4. Jhs. v. Chr. : eine ikonographische und ikonologische Analyse /." Münster : Ugarit-Verl, 2001. http://www.loc.gov/catdir/toc/fy0608/2002444712.html.
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Olausson, Cajsa. "Att döda ett barn : Våld mot barn i grekiska mytologiska vasmotiv från arkaisk och klassisk tid." Thesis, Uppsala universitet, Antikens kultur och samhällsliv, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-353017.
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The depiction of violence has always been and will always be a fascinating but horrifying subject. Violence shown on ancient vase paintings has been the subject of multiple authors’ works. This study analyzes the depiction of violence against children in mythological scenes on vases from the ancient world by analyzing and comparing 39 scenes where the subject is rendered and explores the question of what happens if the interpretation of the vase painting lays the focus on the child. This is done by examining how the children die, the iconography of their deaths and the traces of violence left on their bodies, their relationship to the perpetrators, the importance of the perpetrator and the spectators in the scenes, how the iconography relates to the myth as known from literary sources, as well as the chronological and geographical evolution of the motifs. The essay focuses on five mythological children, Troilos, Astyanax, the children of Medea and Opheltes, who all are the object of violence and early death in their respective myths and on vase paintings. The comparison between the vase paintings is divided into the scenes that depicts the children about to be killed and scenes showing the children as already dead. An account of the relationship between the children and the perpetrator as well as the perpetrators motive for killing the child and how their appearance in the scenes compare to each other is presented. The results of the comparisons are used in a discussion also including the ancient attitudes towards children and violence and if the children's deaths could be interpreted as human sacrifice. The study concludes that the interpretation of the role of the children in representations of violence is complex and that there are many aspects that affect the understanding of the vase paintings as a whole. Changing the focus to the child will not change the overall interpretation of the mythological motif, however, the innocence of the child will add more horror and gruesomeness to the overall impression of the vase painting.Uppsatsens illustrationer har inte tagits med i den digitala versionen.
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Rosenzweig, Rachel. "Aphrodite in Athens : a study of art and cult in the classical and late classical periods /." view abstract or download file of text, 1999. http://wwwlib.umi.com/cr/uoregon/fullcit?p9957572.
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Thesis (Ph. D.)--University of Oregon, 1999.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-237). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9957572.
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Tosto, Vincent Boele Vincent. "The black-figure pottery signed [Nikosthenesepoiesen]." Amsterdam : A. Pierson Museum, 1999. http://catalogue.bnf.fr/ark:/12148/cb40094984n.
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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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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.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.
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.
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Kreilinger, Ulla. "Anständige Nacktheit : Körperpflege, Reinigungsriten und das Phänomen weiblicher Nacktheit im archaisch-klassischen Athen /." Rahden/Westf. : Leidorf, 2007. http://www.vml.de/d/detail.php?ISBN=978-3-89646-982-3.
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Söldner, Magdalene. "Bios eudaimon : zur Ikonographie des Menschen in der rotfigurigen Vasenmalerei Unteritaliens : die Bilder aus Lukanien." [Möhnesee] Bibliopolis, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015671623&linen̲umber=0002&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.
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Stewardson, Margaret Elizabeth. "Nature and construction in ancient Greek vase-painting : the rendering and contextual significance of natural and man-made settings in Athenian figural ceramics of the sixth to the fourth centuries B.C." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416859.
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Walker, Lauren L. "Boiotian black figure floral ware : a re-analysis of the Southern style with an introduction to floral groups from Halíartos." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85212.
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Black Figure Floral Ware is an understudied style of pottery which was produced in Boiotia and the nearby regions of Euboia and Phokis during the fifth and fourth centuries B.C.E. Floral Style vases are painted with compositions formed predominantly of palmettes and lotuses rendered in black gloss without the incised details which are typically associated with Black Figure pottery. The corpus of Boiotian Floral Ware is divided into two sub-styles: the Northern Style and the Southern Style. The Northern Style is thought to have been produced in the area North and West of the Kopais while the Southern Style was chiefly produced in the Thespiai-Thebes and the Tanagra regions. To date our understanding of the development of the Southern Style has been based on systematically excavated floral evidence from Rhitsona (Ancient Mykalessos) and the Thespian Polyandrion and random vases from the Skhimatari Museum. Previous research incorrectly identified Tanagra as the primary source of Southern Floral Ware with little regard for Thebes as an important producer. Newly discovered ceramic evidence from four Theban cemeteries now indicates that Thebes was in fact a major producer of Floral Ware. The excavations have brought to light new floral groups and have provided evidence which indicates that vases previously identified as Tanagran or Euboian are more likely to be Theban.This dissertation chronicles the morphological and iconographical development of the Southern Floral Style according to the systematically excavated floral vases from Rhitsona and the Thespian Polyandrion. Rim and base profiles from the Thespian Polyandrion, Thebes and Haliartos are classified and floral motifs from datable contexts are assigned to types. The evidence indicates that it is the overall shape of the vase and the decorative details within the compositions, rather than a specific rim or base type or compositional layout that identifies regional differences, if any. Newly excavated vases from Haliartos are presented not only to provide a contrast for the Southern Style Floral Ware, particularly in terms of their shape, but also in order to establish a bridge between this dissertation and any future studies of the Northern Style Floral Ware.
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Toillon, Valérie. "Corps et âme en mouvement. Expression et signification du mouvement dans la peinture de vases en Grèce ancienne (Ve s. av. J.-C.). Ivresse, possession divine et mort." Thesis, Besançon, 2014. http://www.theses.fr/2014BESA1009/document.
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Cette thèse se propose d’étudier l’expression du mouvement dans la peinture grecque ancienne, ici la peinture de vases, source très riche concernant l’univers visuel des Grecs de l’antiquité, et plus particulièrement le lien qui unit les émotions aux mouvements corporels. Les théories anciennes à propos de la représentation figurée sont unanimes : l’objet de la peinture est l’être humain et le peintre, dès les mythes qui relatent la création de la peinture et plus généralement des arts plastiques (sculpture et modelage), se doit de représenter le vivant sous tous ses aspects, extérieur comme intérieur; autrement dit, le corps humain apparaît comme le moyen le plus efficace pour exprimer et transmettre les émotions qui l’animent, par les mouvements ou les attitudes que le corps adopte ou encore les expressions faciales. Ce constat s’applique à l’expression des états émotionnels intenses ou altérés comme par exemple : les modifications qu’entraînent la consommation de vin, une action divine comme la possession par un dieu ou encore l’imminence de la mort. Il faut, pour mieux comprendre ces phénomènes, se tourner vers la conception ancienne de l’âme (θυμός et/ou ψυχή), qui dès l’époque homérique est conçue comme le siège des sentiments mais aussi comme un souffle qui entre et sort du corps. C’est une notion primordiale pour saisir la nature des mouvements qui animent les personnages figurés en proie à l’ivresse, sous le joug d’une possession divine ou sur le point de mourir : dans chacun de ces cas, l’âme est sollicitée d’une manière ou d’une autre, soit que ses liens avec le corps se trouvent relâchés ou qu’elle quitte temporairement ou définitivement le corps. Il apparaît que l’expression de ces états particuliers, dans l’imagerie grecque ancienne, n’ignore pas de tels concepts que ce soit à propos du but fixé à l’art ou sur la relation que l’âme entretient avec le corps : les mouvements corporels expriment clairement un état qui sort de l’ordinaire par l’orientation des corps, les gestes, les actions et les expressions faciales et ne semblent pas se borner à la figuration d’une simple réaction physiologique. Il s’agira également d’établir un lien entre les images anciennes et les théories modernes développées à propos de la figuration des mouvements dans l’art : le but étant de montrer que les peintres de vases privilégiaient bien plus l’expressivité, dans le but d’illustrer un concept, une idée, plutôt que de rendre compte d’une parfaite réalitéThis thesis proposes to study the expression and depiction of movement in ancient Greek painting, specifically vase painting. While illustrating the very rich and unique source of the visual world of ancient Greece, the emphasis is kept on the link which unites the emotions to the body movements, gesture or posture. Theories about ancient pictorial representations are unanimous on the subject of painting the human figure. From the myths concerning the creation of painting and visual arts (sculpture & modeling), the artist must portray and illustrate the living in all aspects, external and internal. Using the human figure and representation of the anatomy, appears to be the most effective way to convey the emotions and feelings that animate the body through the depiction of gesture, posture or facial expression. This portrayal applies to the expression of intense emotion or altered state of being such as: the over consumption of wine, being possessed by a god (divine action) or the imminence of death. For a better understanding of the portrayal of this phenomenon, it is necessary to turn to the origin of the ancient Greek idea of the soul (θυμός or/and ψυχή). From the Homeric age this concept can be understood as the basis of sentiment and emotion and can be seen as natural as a breath which enters and exits the body. This notion is of key importance, to understand the origin of movement that brings to life the characters depicted in the images, whether consumed by drunkenness, under the yoke of divine possession or about to die. In each case, the soul is solicited, in one way or another, whether in its temporary or permanent separation or dissociative state from the body. Whether the aim is set out in art or in the relationship that the soul maintains with the body, Ancient Greek imagery does not ignore such concepts as the expression of these intense emotional and altered states whatsoever. Bodily movements clearly articulate an out of the ordinary state by the orientation of the body, gestures, actions and facial expressions and does not seem to be limited to the representation of only a physiological reaction. A link will be established between ancient images and modern theories developed on the subject of representation of movement in art. The objective: To demonstrate that the artists who adorned ancient vases favored the illustration of a concept or an idea, by imagination and expressivity, above the reporting of a perfect reality
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Oulié, Elena. "L'aspective sur la céramique attique du VIIIème siècle av.J.-C au premier quart du VIème siècle avant J.-C." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20035.
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Dans le cadre du programme de renouvellement des approches en histoire de l’art grec mis en place dans l’équipe de recherche PLH-CRATA, je me suis engagée dans une thèse sur « L’aspective sur la céramique attique du VIIIe siècle av. J.-C. au premier quart du VIe siècle avant J.-C. ».Ce concept, élaboré par les égyptologues, désigne une construction de l’image qui n’est pas régis par le procédé de la perspective. Les différentes techniques de représentation en perspective ont toutes pour buts de représenter la vue d’objets en trois dimensions sur une surface donnée, en tenant compte des effets de l’éloignement et de leur position dans l’espace par rapport à l’observateur. Les Grecs nous ont légué leur vision perspective avec des figures conçues depuis un seul endroit en un seul moment. Toutefois, ce mode de représentation ne s’est mis en place que très progressivement, entre la fin du VIe siècle et le milieu du Ve siècle. Avant cette période, l’art de nombreuses cultures est régi par les principes de l’aspective. Cette notion associe plusieurs points de vue dans la représentation d’un même personnage. Elle peut aussi regrouper plusieurs moments d’une même histoire dans une image unique. L’artisan représente les parties comme si chacune d’entre-elles était isolée, s’affranchissant du regard subjectif de l’observateur. Il y a bien dans l’art archaïque grec une aspective. Il faut en déceler la présence, mais aussi en dégager les spécificités. C’est à cette tâche que je me consacre, dans une thèse conçue avec des gros plans sur certaines périodes clés. Les résultats sont particulièrement étonnants, puisqu’ils mettent en évidence, dans l’art géométrique, une présence plus marquée des procédés perspectifs qu’au VIIe et VIe siècle, au sein d’une image construite, par ailleurs, selon des procédés aspectifs. Les résultats montrent ainsi que, dès le départ, les deux conceptions de l’espace graphique connaissaient des interpénétrationsAs part of the renewal program study of history of Greek art developed in the research team PLH-CRATA, I am carrying out a thesis entitled : « The aspectivity in attic vase-painting : 900 – 575 ».This concept, elaborated by Egyptologists, refers to the construction of the image in graphic spaces which are not governed by perspective. Aspectivity is a close but distinct notion of what Waldemar Deonna called "primitivism". The perspective vision is the one that is natural for us. All the different techniques of perspective representation have in common the intention of representing the view of objects in three dimensions on a given space. They take into account the effects of the distance and the position in space with respect to the observer. The Greeks bequeathed us their perspective vision with figures conceived from a single place in a single moment. This representation is at the origin of the spatial and temporal unity. However, this mode of representation only took place very gradually between the end of the 6th century and the middle of the 5th century.Before this period, the art of many cultures is governed by the aspective principles. This notion, belonging to semiology, associates several points of view in the representation of the same character, whereas in natural vision we have only one. The aspective can also group together several moments of the same story in a single image, which can be read in one moment. The artist represents the parts as if each of them was isolated, as an enumeration of the various characteristics of the subject, freeing themselves from the subjective gaze of the observer placed in a certain place. The works do not seek to show a representation in time and space, but to show what must be, even if the events are not linked in time. The image becomes more a construction than a representation.There is, in Greek archaic art, as in the Egyptian and Near Eastern arts, an aspective. It is necessary to detect its presence, but also to identify its specificities. It is to this task that I dedicate myself, in a thesis conceived with close-ups on certain important periods. The results are particularly surprising, since they show, in the art of the Geometric period, a stronger presence of perspective processes that in the seventh and early sixth century BC. J.-C. within an image constructed otherwise by aspective processes. The results thus show that, from the start, the two conceptions of graphic space know some interpenetrations
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Piqueux, Alexa. "Le corps comique. Représentations et perceptions du corps dans la comédie grecque ancienne et moyenne (étude littéraire et iconographique)." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040273.
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L’étude du corps offre un angle d’approche privilégié pour appréhender les représentations théâtrales comiques de l’époque classique à Athènes et en Grande Grèce. Seule une analyse croisée des sources textuelles et iconographiques permet de faire toute la lumière sur la manière dont le corps comique était mis en scène, perçu et imaginé. Les conclusions de la thèse reposent en particulier sur la confrontation des comédies grecques du Ve et du IVe siècle av. J.-C. et de la céramique italiote à sujet comique, entre lesquelles elle établit un lien étroit. Le premier chapitre est consacré à la présentation des corpus et à leur mise en relation. Le deuxième décrit les aspects matériels du costume comique. Les troisième et quatrième portent sur la sémiologie du costume : sont d’abord étudiés les codes propres au genre, puis les éléments qui concourent à la caractérisation sociale et morale du personnage. Le cinquième et dernier chapitre traite de la fonction dramatique du geste comiqueAnalysis of the body provides an effective means of capturing comic performances in classical Athens and Magna Graecia. Textual and iconographic sources ought to be considered together to shed light upon the staging of the comic body as it was perceived and imagined. In particular, the conclusions of this work are based upon the comparison of Greek comedies from the 5th and 4th centuries B.C. and South-Italian vase-paintings of comic subjects. The first chapter presents the two corpuses and the questions raised by their comparison. Chapter two describes the material characteristics of the comic costume. The third and fourth chapters focus on the semiotics of the costume ; the signs of the genre are treated first, followed by a discussion of the social and moral characterization of the personages. The final chapter pertains to the dramatic function of the comic gesture
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Schott, Amy. "A comparison of iconography from northwestern Costa Rica and central Mexico /." 2009. http://minds.wisconsin.edu/handle/1793/38820.
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Vondrová, Hana. "Ženský svět v attickém a jihoitalském vázovém malířství." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-340020.
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Klíčová slova anglicky: woman, wedding, Attic vase-painting, South Italian vase-painting Abstrakt anglicky: The diploma thesis focuses on the search, documentation and interpretation pictures of women on South Italian vase painting concerning wedding ceremonies and the transition between children's age and maturity. Attributes, objects and divine beings, which together with the woman in the picture are occurring, are also monitored. Furthermore, this work describes myths that are recorded on the South Italian ceramics. In this thesis is also discussed the issue of connection between marriage and death in Greek society. Result of this work is to evaluate wedding themes in Attic and South Italian vases and to create a catalog of images with marriage motives.
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Ryan, Adrian John. "Computer aided techniques for the attribution of Attic black-figure vase-paintings using the Princeton painter as a model." Thesis, 2009. http://hdl.handle.net/10413/458.
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Jordan, Jeanne Aline. "Attic black-figured eye-cups." 1988. http://books.google.com/books?id=h4fWAAAAMAAJ.
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Pieterse, Tamaryn Lee. "The animal dimension : an investigation into the signification of animals in Homer and archaic Attic black figure vase painting." Thesis, 2000. http://hdl.handle.net/10413/5799.
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The aim of this dissertation was to investigate the representation of specific types of
animals as they occurred in Homer and archaic Attic black figure vase painting with a
view to understanding bow they were most likely perceived in antiquity. This
involved determining the underlying concepts around which each animal was
constructed by comparing and contrasting the imagery presented in the Homeric
works and archaic Attic black figure vase painting. The primary objective was to
suspend modern and westernized conceptions and to attempt to approach the animal
as from an ancient perspective. The Homeric works were chosen as representative of
the literary evidence since these poems offer the most complete, oldest extant
literature and are the result of a dynamic and continuous oral tradition. Similarly,
archaic Attic black figure vase painting was considered the most suitable corpus of
artistic evidence since the 6th century BC was a time when the artists actively engaged
with and manipulated their themes and subject matter within an established tradition;
this artistic fabric presents a parallel with the Homeric evidence. As a result of this
investigation, clear and discrete concepts and images were determined for each
animal.Thesis (M.A.)-University of Natal, Durban, 2000.
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許維真. "The Literatus Aesthetics of Chinese Consciousness in Sanyu’s（1901~1966）Painting──Flowers in a Vase as a Case Study." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/84459949489026749988.
Full textAbstract:
碩士東海大學
美術學系
98
Sanyu’s paintings can be divided into four main subjects: figures, still life, animal subjects, and landscapes. Sanyu's sculptures in color choices, painting styles, and the selections of flowers and bottles are all fitted in with Chinese characteristics. The purpose of this thesis is to study Sanyu’s (1901－1966)paintings and analyze the Chinese national features from them. Sanyu lived in the time of the culture fusion between Chinese and the West. Supporting the "work-study" policy, Sanyu went to Paris to study art in 1920. Sanyu was influenced by a diversity of art, therefore, he did not follow the main trends. However, he chosed artistic expression from his native culture. Therefore, Sanyu's paintings can naturally express "Chinese Consciousness". When Sanyu studied art in Paris, he admired modern art and also accepted the Western contemporary art. Nevertheless, Sanyu never gave up his traditional Chinese art and aesthetics. Sanyu's painting materials are mainly from the West: sketches, watercolors, painting, and so on. By using these western painting materials, Sanyu can usually present the attractiveness of Chinese ink, patterns, self-entertainment of literati, and so on, these all arose from Sanyu's Chinese traditional aesthetics. Comparing to Chinese artists of the same period, Sanyu's artistic expression had brideged the gap between traditional and modern art, and combined the plight between the East and the West. His art has innovative expression in content and form. Because of his talented performance, Sanyu is entitled "Pioneer of the 20th century Chinese modern art".
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Neer, Richard Theodore. "Pampoikilos representation, style, and ideology in Attic red-figure /." 1998. http://books.google.com/books?id=XIzWAAAAMAAJ.
Full textAbstract:
Thesis (Ph. D.)--University of California, Berkeley, May 1998."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).
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Kim, SeungJung. "Concepts of Time and Temporality in the Visual Tradition of Late Archaic and Classical Greece." Thesis, 2014. https://doi.org/10.7916/D8VT1QQJ.
Full textAbstract:
This dissertation presents, for the first time, a freestanding account of notions of time and temporality as seen in the visual arts of the late Archaic and Classical Greece and contextualizes it within the larger cultural history of time. There is a growing consensus among scholars regarding a societal shift in fifth-century Greek attitudes towards time, from the authority of the past to the uncertainties and the immediacy of the present. This dissertation explores such changing notions of time in the visual tradition in four different ways: firstly through the personification of the key notion of kairos, which embodies on many levels the manifestation of this new temporality; secondly by investigating the emergent interest of the "historical present" in the artistic subject matter of the so-called Historienbilder; thirdly through a detailed investigation of new pictorial strategies in Greek vase painting that carry specific temporal attributes, by focusing on the motifs of jumping, lifting and dropping; and lastly, by dissecting the anatomy of the popular motif of "erotic pursuits" in vase painting, which embodies the sensory nature of this new temporality that hinges upon the notion of suspense and delay. These investigations employ a new phenomenological framework that centers on the "embodied viewer", connecting the temporality as understood by the viewer with that which is portrayed in the object, bringing together the visible temporality in art and the experienced temporality of the society, which the viewer inhabits. This framework is first sketched out by offering a phenomenological reading of a full 3-D digital reconstruction of the Lysippan Kairos. Such changes in the notion of time in the visual arts, seen as early as the late sixth century BCE and fully manifest in the Classical period, is also put into relief by a brief examination of analogous literary techniques, with a focus on the case of Aeschylus.
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Olsson, Viveca. "The Lenaia vases revisited : image, ritual and Dionysian women /." 2006. http://www.loc.gov/catdir/toc/fy0712/2006502425.html.
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Oulié, 1989 Elena. "L'aspective sur la céramique attique du VIIIème siècle av.J.-C au premier quart du VIème siècle avant J.-C." Thesis, 2018. http://www.theses.fr/2018TOU20035.
Full textAbstract:
Dans le cadre du programme de renouvellement des approches en histoire de l’art grec mis en place dans l’équipe de recherche PLH-CRATA, je me suis engagée dans une thèse sur « L’aspective sur la céramique attique du VIIIe siècle av. J.-C. au premier quart du VIe siècle avant J.-C. ».Ce concept, élaboré par les égyptologues, désigne une construction de l’image qui n’est pas régis par le procédé de la perspective. Les différentes techniques de représentation en perspective ont toutes pour buts de représenter la vue d’objets en trois dimensions sur une surface donnée, en tenant compte des effets de l’éloignement et de leur position dans l’espace par rapport à l’observateur. Les Grecs nous ont légué leur vision perspective avec des figures conçues depuis un seul endroit en un seul moment. Toutefois, ce mode de représentation ne s’est mis en place que très progressivement, entre la fin du VIe siècle et le milieu du Ve siècle. Avant cette période, l’art de nombreuses cultures est régi par les principes de l’aspective. Cette notion associe plusieurs points de vue dans la représentation d’un même personnage. Elle peut aussi regrouper plusieurs moments d’une même histoire dans une image unique. L’artisan représente les parties comme si chacune d’entre-elles était isolée, s’affranchissant du regard subjectif de l’observateur. Il y a bien dans l’art archaïque grec une aspective. Il faut en déceler la présence, mais aussi en dégager les spécificités. C’est à cette tâche que je me consacre, dans une thèse conçue avec des gros plans sur certaines périodes clés. Les résultats sont particulièrement étonnants, puisqu’ils mettent en évidence, dans l’art géométrique, une présence plus marquée des procédés perspectifs qu’au VIIe et VIe siècle, au sein d’une image construite, par ailleurs, selon des procédés aspectifs. Les résultats montrent ainsi que, dès le départ, les deux conceptions de l’espace graphique connaissaient des interpénétrationsAs part of the renewal program study of history of Greek art developed in the research team PLH-CRATA, I am carrying out a thesis entitled : « The aspectivity in attic vase-painting : 900 – 575 ».This concept, elaborated by Egyptologists, refers to the construction of the image in graphic spaces which are not governed by perspective. Aspectivity is a close but distinct notion of what Waldemar Deonna called "primitivism". The perspective vision is the one that is natural for us. All the different techniques of perspective representation have in common the intention of representing the view of objects in three dimensions on a given space. They take into account the effects of the distance and the position in space with respect to the observer. The Greeks bequeathed us their perspective vision with figures conceived from a single place in a single moment. This representation is at the origin of the spatial and temporal unity. However, this mode of representation only took place very gradually between the end of the 6th century and the middle of the 5th century.Before this period, the art of many cultures is governed by the aspective principles. This notion, belonging to semiology, associates several points of view in the representation of the same character, whereas in natural vision we have only one. The aspective can also group together several moments of the same story in a single image, which can be read in one moment. The artist represents the parts as if each of them was isolated, as an enumeration of the various characteristics of the subject, freeing themselves from the subjective gaze of the observer placed in a certain place. The works do not seek to show a representation in time and space, but to show what must be, even if the events are not linked in time. The image becomes more a construction than a representation.There is, in Greek archaic art, as in the Egyptian and Near Eastern arts, an aspective. It is necessary to detect its presence, but also to identify its specificities. It is to this task that I dedicate myself, in a thesis conceived with close-ups on certain important periods. The results are particularly surprising, since they show, in the art of the Geometric period, a stronger presence of perspective processes that in the seventh and early sixth century BC. J.-C. within an image constructed otherwise by aspective processes. The results thus show that, from the start, the two conceptions of graphic space know some interpenetrations
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Kroutilová, Jamrichová Zuzana. "Možnosti využití genderové analýzy při interpretaci tzv. žánrových scén na černo- a červenofigurové keramice." Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-389452.
Full textAbstract:
Black and red figured pottery is a captivating, while also a vast and demanding subject of research. For decades, vases were primarily studied as valuable art objects and scenes depicted on them considered as testimonies of ideas and lives of their creators and users. Many researchers focussed on interpreting the scenes captured on these vessels. When studying works by our research predecessors, it can be noted that their methods and conclusions were often influenced by the socio-cultural context in which they lived and worked. The aim of this thesis is not to create new, surprising interpretations of selected scenes or to point at erroneous interpretations of other researchers. The aim of this work is to draw attention to how contemporary society has influenced researchers and the methods they use and conclusions they draw when interpreting scenes considered for long periods as immutable, final and undisputable. While re-evaluating adopted conclusions I drew on gender studies and gender analysis which require a multidisciplinary approach to research and interpretation of vase paintings. In four subject areas I pointed out to what extent the dichotomies within which we are used to think and with which we work, i.e. dichotomies of masculine - feminine, public - private, exterior - interior, but also...
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Wolmarans, Kristien. "Beauty and the eye of the beholder : female adornment in the wedding scenes on attic vases." Thesis, 2012. http://hdl.handle.net/10210/8151.
Full textAbstract:
M.A.During the second half of the fifth-century B.C. there was a sudden proliferation of Attic vases depicting adornment scenes. These scenes showed groups of women making themselves desirable and for the first time women were eroticised within the context of marriage. Some scholars have argued that this sudden abundance reflected a change in the Attic attitude towards women, reflecting their increased social standing. These scholars proposed various hypotheses. It is conjectured that Perikles' Citizenship Law of 451/450 increased the social standing of Athenian daughters. The Peloponnesian War that raged from 431 to 404 BCE might also have forced women to take on more public responsibilities; to fill the gaps left by the military men's absence. This would explain why private activities of women became the subject matter of vase paintings at that time. According to this viewpoint women became the new customers of the potters. There are even scholars who maintain that these scenes contain hints of sexual liaisons between women. A competing hypothesis is that these scenes were used to impose a patriarchal ideal of femininity onto girls preparing themselves for marriage. Both these approaches imply that women were the primary viewers of these scenes. The aim of this study is to evaluate these hypotheses and to explore whether there may be other explanations. In order to investigate these issues a visual semiotic analysis was performed of thirteen painted vases representative of a variety of painters and vase shapes. This analysis was done in two parts: a structural analysis and a pragmatic analysis. The structural analysis consisted of a syntactic and semantic analysis, and helped to identify the pertinent signs and what they refer to. Artistic principles and the theory of Gestalt played an important role in identifying key signs. The pragmatic analysis delved deeper and was used to establish what message Athenian men and women might have read into these painted vases. This brought to light the master narrative prescribed by the patriarchy as well as women's acceptance thereof and how women used it to condition their daughters. A new hypothesis is proposed to explain the increase in this type of subject matter on painted vases. It is concluded that the buyers of the vases were mostly men but that the consumers of these artistic scenes were both male and female. It is also probable that after the Peloponnesian War these vases depicted a return to basic patriarchal values that may have degenerated during the war. It was also found that Perikles' Citizenship Law would have contributed more to the social standing of the male guardian, than to that of a girl of marriageable age. The eroticisation of women within the confines of marriage would thus have propagated the message of procreation within the patriarchal family structure, rather than referring to erotic encounters between women. These scenes, instead of showing the increased social standing of women, reflect a reinforcement of patriarchal values.
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Toillon, Valérie I. "Corps et âme en mouvement. Expression et signification du mouvement dans la peinture de vases en Grèce ancienne (VIe-IVe s. av. J.-C.). Ivresse, possession divine et mort." Thèse, 2014. http://hdl.handle.net/1866/11412.
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zhu, cui. "Symbolique florale dans le tableau de Jean-Baptiste Belin de Fontenay Vase d’or, fleurs et buste de Louis XIV (1687)." Thèse, 2012. http://hdl.handle.net/1866/8412.
Full textAbstract:
Le tableau de Jean-Baptiste Belin de Fontenay intitulé Vase d’or, fleurs et buste de Louis XIV est le morceau de réception que le peintre a présenté à l’Académie royale de peinture et de sculpture en 1687.
Malheureusement peu étudié, ce tableau n’en comporte pas moins trois problématiques très intéressantes. Tout d’abord, il rassemble trois genres de peinture dans une seule composition : la nature morte, le portrait et la peinture d’histoire, illustrés respectivement par les fleurs, le buste du roi et la pièce d’armure. L’association de ces trois genres dans un tableau de nature morte est peu commune dans la peinture française du 17e siècle. Il est donc nécessaire de vérifier s’il existe un lien entre les fleurs, l’image de Louis XIV et l’armure. Ensuite, le contraste entre la polychromie des fleurs et la monochromie de la sculpture et de l’ameublement est frappante ; il est possible de lier ce contraste au phénomène des débats entre le dessin et la couleur de l’Académie royale de peinture et de sculpture à la deuxième moitié du 17e siècle. D’ailleurs, les fleurs, qui n’étaient pas le sujet central dans le programme original de Le Brun, deviennent le sujet principal du tableau et occupent une place plus importante que le buste de Louis XIV. Cette modification n’a cependant pas choqué les juges de l’Académie puisque la toile a été acceptée sans contestation. Elle amène donc à s’interroger sur la hiérarchie des genres de peinture qui est la doctrine officielle de l’Académie royale de peinture et de sculpture de l’époque.
Le noyau de la recherche consiste à vérifier si les fleurs n’occupent qu’une simple fonction décorative ou si elles peuvent être associées à des symboles. Notre recherche examine d’abord l’utilisation des symboles floraux dans la culture française du 17e siècle. Par la suite, elle étudie cette utilisation dans le domaine politique, à savoir que les fleurs pourraient être liées à la louange de Louis XIV. Enfin, elle analyse les domaines artistiques et esthétiques, c’est-à-dire la façon dont le tableau reflète, par l’utilisation des symboles floraux, l’évolution des théories de l’art, la hiérarchie des genres de peinture et les débats du dessin et de la couleur, en France, durant la deuxième moitié du 17e siècle.The painting by Jean-Baptiste Belin de Fontenay, Vase d’or, fleurs et buste de Louis XIV, is a reception piece of the french academician painter to the Académie royale de peinture et de sculpture in 1687. Unfortunately having been little studied, this painting reveals three very interesting issues. First of all, it contain three kind of painting in one composition: still life, portrait and history painting, illustrated respectively by the flowers, the bust of Louis XIV and the piece of armor. The combination of these three types in a still life is uncommon in the 17th century French painting. It is therefore necessary to check if there is a link between the flowers, the picture of Louis XIV and the armor. Then, the contrast between the polychrome of the flowers and the monochrome of the sculpture and furniture is striking, it is possible to associate this contrast to the phenomenon of the debates between drawing and color of the Académie royale de peinture et de sculpture during the second half of the 17th century. Moreover, the flowers, which were not the central subject in the original program of Le Brun, become the main subject of the table and occupy a more important place than the bust of Louis XIV. This change has not shocked the judges of the Academy since the painting was accepted without question. It therefore leads to think about the hierarchy of genres of painting, which was the official doctrine of the Académie royale de peinture et de sculpture at the time. The core of this research is to see if the flowers occupy a mere decorative function, or whether they may be associated with symbols. Our research will verify the employ of floral symbols in French culture of the 17th century and then developed this employ not only in the political field, which means the flowers are in praise of Louis XIV, but also in the aesthetics domain, that is to say how the painting reflects by employing floral symbols the evolution of the theories of art in France during the second half of the 17th century, the hierarchy of genres of painting and the debates between drawing and color.
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Zhu, Cui. "Symbolique florale dans le tableau de Jean-Baptiste Belin de Fontenay Vase d’or, fleurs et buste de Louis XIV (1687)." Thèse, 2012. http://hdl.handle.net/1866/8412.
Full textAbstract:
Le tableau de Jean-Baptiste Belin de Fontenay intitulé Vase d’or, fleurs et buste de Louis XIV est le morceau de réception que le peintre a présenté à l’Académie royale de peinture et de sculpture en 1687.
Malheureusement peu étudié, ce tableau n’en comporte pas moins trois problématiques très intéressantes. Tout d’abord, il rassemble trois genres de peinture dans une seule composition : la nature morte, le portrait et la peinture d’histoire, illustrés respectivement par les fleurs, le buste du roi et la pièce d’armure. L’association de ces trois genres dans un tableau de nature morte est peu commune dans la peinture française du 17e siècle. Il est donc nécessaire de vérifier s’il existe un lien entre les fleurs, l’image de Louis XIV et l’armure. Ensuite, le contraste entre la polychromie des fleurs et la monochromie de la sculpture et de l’ameublement est frappante ; il est possible de lier ce contraste au phénomène des débats entre le dessin et la couleur de l’Académie royale de peinture et de sculpture à la deuxième moitié du 17e siècle. D’ailleurs, les fleurs, qui n’étaient pas le sujet central dans le programme original de Le Brun, deviennent le sujet principal du tableau et occupent une place plus importante que le buste de Louis XIV. Cette modification n’a cependant pas choqué les juges de l’Académie puisque la toile a été acceptée sans contestation. Elle amène donc à s’interroger sur la hiérarchie des genres de peinture qui est la doctrine officielle de l’Académie royale de peinture et de sculpture de l’époque.
Le noyau de la recherche consiste à vérifier si les fleurs n’occupent qu’une simple fonction décorative ou si elles peuvent être associées à des symboles. Notre recherche examine d’abord l’utilisation des symboles floraux dans la culture française du 17e siècle. Par la suite, elle étudie cette utilisation dans le domaine politique, à savoir que les fleurs pourraient être liées à la louange de Louis XIV. Enfin, elle analyse les domaines artistiques et esthétiques, c’est-à-dire la façon dont le tableau reflète, par l’utilisation des symboles floraux, l’évolution des théories de l’art, la hiérarchie des genres de peinture et les débats du dessin et de la couleur, en France, durant la deuxième moitié du 17e siècle.The painting by Jean-Baptiste Belin de Fontenay, Vase d’or, fleurs et buste de Louis XIV, is a reception piece of the french academician painter to the Académie royale de peinture et de sculpture in 1687. Unfortunately having been little studied, this painting reveals three very interesting issues. First of all, it contain three kind of painting in one composition: still life, portrait and history painting, illustrated respectively by the flowers, the bust of Louis XIV and the piece of armor. The combination of these three types in a still life is uncommon in the 17th century French painting. It is therefore necessary to check if there is a link between the flowers, the picture of Louis XIV and the armor. Then, the contrast between the polychrome of the flowers and the monochrome of the sculpture and furniture is striking, it is possible to associate this contrast to the phenomenon of the debates between drawing and color of the Académie royale de peinture et de sculpture during the second half of the 17th century. Moreover, the flowers, which were not the central subject in the original program of Le Brun, become the main subject of the table and occupy a more important place than the bust of Louis XIV. This change has not shocked the judges of the Academy since the painting was accepted without question. It therefore leads to think about the hierarchy of genres of painting, which was the official doctrine of the Académie royale de peinture et de sculpture at the time. The core of this research is to see if the flowers occupy a mere decorative function, or whether they may be associated with symbols. Our research will verify the employ of floral symbols in French culture of the 17th century and then developed this employ not only in the political field, which means the flowers are in praise of Louis XIV, but also in the aesthetics domain, that is to say how the painting reflects by employing floral symbols the evolution of the theories of art in France during the second half of the 17th century, the hierarchy of genres of painting and the debates between drawing and color.