Oriental Amphora In Corinth

The Greek Storage Jar (Amphora) depicting man and boy was created around 550-540 BCE. It was found in Ancient Greece. The amphora storage jar is made out of terracotta and it is eleven inches in height. Then it was painted on with black and brown paint. This jars colors are used to create contrast, the lines are used to unify it, the shapes on the object are the most important part of the image and patterns are used on the jar to help fill the space on the jar. Therefore colors are used to create contrast.

The durability of clay has brought forth an immense abundance of Greek pottery, a craft mastered by Athenian artists. Archeologists have found hundreds of varieties in creation, shape, function, style, and artwork in Archaic vases. The museum has been blessed with one of these priceless artifacts; it is the duty of this establishment to accumulate as much data as possible surrounding the vase. In first identifying technique, dimensions, and condition, as well as describing shape, ornament, and figural scenery, one may then begin to analyze the vase. This serves the general purpose of understanding where the artifact stands in Greek culture and history. Through the examination and research of figural scenes, it is then possible to compare

Pottery was a huge part of the ancient Greeks lives. The pots were very highly decorated usually with scenes depicting Greek gods as a way of worship to them. This paper will explore two examples of Greek pottery and explain their uses and what is seen on them and why.

The Beaker with Ibex Motifs is a prehistoric pottery art work, found in near-perfect condition during a 1906-1908 excavation of a Susian necropolis in Susa, Iran. The Beaker with Ibex Motifs is a large vessel with dimensions at 28.90 x 16.40 cm. Used by the first inhabitants of Susa, this beaker is a the first example of a funerary item. The identity of artist is unknown, however, it is thought the beaker was created sometime between 4200 and 3500 B.C.E.

The “Terracotta vase in the form of a bull's head” is dated ca. 1450 to 1400 B.C. from the Late Minoan II Period. The material used for the rhyton is terracotta and paint. The inventory number is 1973.35. The vase is located in the Metropolitan Museum of Art in the Greek and Roman Art Department in Gallery 151 at The Robert and Renée Belfer Court.

first piece is a red figure amphora from approximately 330 B.C.E called the Apulian Red Figure Loutropharos. It depicts Leda lovingly embracing Zeus as a swan after Aphrodite has helped to make Leda fall in love with Zeus. Potters and painters at this time would have been male, therefore they would have made things that applied to their male audiences. For that reason making an amphora with this myth on it would be make sense because the people handling amphora's would have been male. Amphora's were used to carry goods in for trade; this is something men would have done. However it may be more likely that this is a funerary amphora that would have marked an influential mans grave. We see in Leda's somewhat erotic embrace of Zeus that she has

The Squat Oinochoe was found in Corinth, Greece. It is believed that it was made around 590-570 BCE which places this piece of pottery in the Archaic Period of Greece. When it was discovered in Corinth, it was obvious it was influenced greatly due to the cultural interactions between the Aegean and the eastern Mediterranean regions during the eighth and seventh centuries BCE. The vase has feral goats, panthers, creatures, and oriental styled floral motifs on the body and shoulder of the vase.

Depicted in tomb and temple drawings are scenes of everyday living, models of people and animals, glass figures and containers, and jewelry made from gold and semi-precious

The piece is a red-figured, wine bowl that is attributed to the Niobid Painter. It was made in Athens, Greece around 460-450 BC, and found in Altamura. Puglia, Italy (British Museum). There are two scenes on top of one another that occur in the piece. The top scene is the creation of Pandora. She is standing rigid while five of the gods are standing around her. Athena is about to put a wreath on her head. The scene below displays a frieze of dancing and playing satyrs. Because the vase is round it isn’t possible to see all the figures in the piece. But looking at the piece from the front, six gods are portrayed in the top scene. The gods in the scene from left to right are: Zeus, Poseidon, Athena, Pandora, Ares, and Hermes. The gods in the piece are identifiable because of distinguishable traits that certain characters

When you hear of an Advanced Ancient civilization in North America, you usually think of either Mayans, Aztecs, or sometimes the Olmec. But in this paper I won’t be talking about any of those civilizations, we’ll be talking about the Native Americans that lived in the Mississippi Valley, by the Mississippi River. That have their capital not 6 miles outside of St.Louis.

Jaye Pont is an Australian potter by trade and achieved a PhD in ancient history (Catchpole, 2004). In 1998, in 2001 Pont joined the Anglo-American Project in Pompeii where she was able to make significant discoveries about their everyday life that enhances our knowledge and understanding of everyday life in Pompeii. Jaye Pont is well known in her field for the contributions she has made regarding Pompeii’s trading behaviours through the medium of pottery and has challenge preconceived beliefs and have allowed for new understandings of life in Pompeii. Pont disproved previous theories concerning overseas ceramic trading and, as a result there was need to revaluate Pompeii’s role in trade and commerce during the time before 79AD (Zarmati, 2005). Pont’s findings were significant to understanding life in Pompeii and her conclusions have been recognised in numerous scholarly articles, therefore publicising her findings and enhancing the public’s knowledge of Pompeii. Jaye Pont was at the forefront of archaeological investigation at Pompeii and has contributed significantly to our understanding of this ancient city today.

Kousser, Rachel. "Creating the past: The Venus de Milo and the Hellenistic reception of classical Greece." American journal of archaeology (2005): 227-250.

Martin Robertson and Mary Beard’s manuscript, Adopting an Approach, focuses on the study of Athenian pottery. The manuscript begins, by describing Sir John Beazley and his revolutionary method of studying Greek vases. The Beazley Method focuses on the technical conventions of Greek Vases such as naming the artist, dating the pieces and then grouping them based off of similar characteristics. Beazley “provided for the first time a comprehensive framework of analysis for Athenian painting, and a way of dating and classifying.” (Pg. 16) However, what Beard’s main argument suggests is that it is not the artists that help us understand the importance of the vases because even if a vase is assigned to a specific time period or artist, there is

Very few civilizations have had as profound an influence on the world as those of ancient Greece. The Greeks laid the foundations for fields varying from philosophy to political theory to war tactics. However, this influence was not just due to their intelligence or success, but their widespread presence in the Mediterranean. Greek culture was spread throughout their known world in two distinct manners, the foundation of apoikia in the Archaic Age (8th century to 500 B.C. ) and imperialists by poleis, primarily Athens of the Classical Age (490 - 323 B.C ). Though the culture of a mother city (mētropolis) may have spread through two very different manners of “colonization.” The word is not used in the literal sense, but rather hereafter used to mean “spreading of culture”, as the former can hardly be described using the contemporary definition of colonization and the latter was through Athenian empire-building. These developments had a significant impact on ancient Greece and our modern perception thereof. Like most of the ancient world, we can best analyze these methods of colonialism through extant artifacts. I will analyze an inscription of the foundation oath of Cyrene, which recounts the decision and manner in which the island of Thera sent its citizens to the form a new polis, and the fragments of the Lapis Primus, a marble monolith that documented tributes to Athens when the city was at the peak of its imperial age, evidencing the magnitude of their power and influence in the Greek region.

1 Corinthians 1:18-25, in many ways offers a measuring stick for what true wisdom and power is, according to Scripture. While the believers in Corinth are looking for, and claiming to have, true wisdom and power, Paul addresses the issue and makes it clear that true wisdom and power are found in Christ and in the message of the cross. In no uncertain terms, Paul states that the wisdom of the world is lacking and is unable to save “those who are perishing.” But, the so-called foolishness of God has the power to save those who believe, and is found only in the cross of Jesus Christ. While Jews and Greeks alike are searching for that which saves, Paul makes it clear that salvation is not found in the wisdom and power of