Approaching the Ancient Artifact by Amalia Avramidou

By Amalia Avramidou

This publication bargains a clean and well timed viewpoint at the learn of old paintings and archaeology. via a sequence of essays, the quantity explores the hyperlinks among textual content and photo and gives leading edge readings of narrative scenes on pottery and sculpture. themes taken care of comprise gender in antiquity, fantasy and artwork, and Athenian ritual and politics. This quantity is vital interpreting for college students and students of classical paintings and archaeology.

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In short, Shapiro’s own argument for the “emancipation” of Attic iconography from non-Athenian traditions rested on a comparison of the chest of Kypselos, as a quintessentially Peloponnesian work, with the mythological encyclopedia represented by the François Vase, a masterpiece and collaboration between two Athenian artists. ”36 More intriguing is the fact that the artist of one of the vases noted by Burkert, the hydria in Zurich, is also the painter of London B76 (another hydria with a Homeric scene, the chariot of Hektor, from Kameiros, Rhodes), and even painted the Burgon amphora, the earliest Panathenaic vase.

Kahil); red-figure Nicosthenic amphora, ca. v.  Kahil); Lorenz 2006, 330.  119–120, 125–126; Hedreen 2001, 32–37. On Aristophanes scholia attributing this incident to the Little Iliad and Ibykos, see also Gantz 1993, II: 650. v.  Kahil); Williams 1991, 56; Mangold 2000, 92–93; Giuliani 2003, 211. 101; BAPD 20199. 154: BAPD 695. , altar and/or cult statue, and tree, now often suggest various deities’ sanctuaries where the female figure seeks refuge: See Hedreen 1996, 178–182; Hedreen 2001, 32–33, 57–63.

25–31). Sisyphos in vase painting is the only Greek gravity depiction mentioned by Edwards/Bailey 2012, 1. , Gantz 1993, I: 597–602. Polyxena’s Dropped Hydria: The Epic Cycle and the Iconography of Gravity 17 François Vase, ca. ”14 Thus interpreted, this encounter would explain why Achilles’ ghost later selects Polyxena as the virgin to be sacrificed at the hero’s tomb, either to be his bride in the afterlife or to secure fair sailing for the Greek fleet. ”15 In a vignette omitting Troilos, the Berlin Painter spotlights Polyxena’s fateful fountain encounter with Achilles while she fills her hydria, a curvaceous kalpis, on a red-figure kalpis of ca.

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