The Squat Oinochoe

Through further research, I have learned that this vase “depicts the heroes Achilles and Ajax playing a board game” (Two-Handled Jar with Achilles and Ajax).

This is a clay gourd that taken the shaped like a jug and have cinnamon color appearance and stand at 13 ¾ x 8 inches. This pottery were part of the Tonaltec pieces that have been a high recognition for a long time for the traveler and historians in the seventeenth century. The Tonaltec pottery is generally known in Mexico as “Guadalajara earthenware” which taken after a major city name nearest were it make. The Tonaltec pottery are make distinction between earthenware of water and earthenware of fire based on the differences in function and decoration the artist tried to make. The Tonaltec pottery is make of the burnished or greased clay and was fire once then is bathed in glaze and leave to be fire twice before it finish. The purpose of this

The small size and spherical shape of A18 suggests that it is an aryballos, the standard name for small rounded vases, that were often used to store perfume or oil (B. A. Sparkes, 1991). The aryballoi shape was most common in Corinth, and while Athenian examples also exist (University of Oxford, 2011a), the light colour of the clay suggests this particular example is Corinthian. This one has no foot, a single handle and a narrow neck with a wide, flat mouth that is suitable for pouring oil in small quantities. They were mostly worn as accessories by young men like athletes (Neer, 2012).

It is uncertain if the Etruscans prized the container as a luxury vase for the commodity that was shipped inside. Possibly they consumed the grain, wine or olive oil cleaned it and used as decoration (Martin 75-241). The amphora during the Classical and Hellenistic periods held about five gallons; however, they varied in size depending on the commodity being held. They were fabricated so they could be arranged upright on ships and horizontally by the end user. There was a plethora of amphora handles found in archeological sites, at least 130,000 in Athens and Alexandria. This quantity validates how ubiquitous they were in the ancient world, and how common in daily life they became (“Ancient” Garland). According to Stokstad and Cothren, to create a black-figure vase an artist follows this technique, “apply a slip to the surface of the pot and carefully manipulate the firing process in a kiln to control the amount of oxygen reaching the ceramics. This firing process involved three stages. In the first stage, oxygen was allowed into the kiln, which fixed the whole vessel in one overall shade of red depending on the composition of the clay. Then, in the reduction stage, the oxygen in the kiln was reduced to the minimum, turning the vessel black, and the temperature was raised to the point at which the slip partially became glasslike.

The word amphora derives from the Greek amphi- (on both sides) and -phoros (carrier). They are terracotta vases of variable size with two vertical handles, by which they are carried on both sides, designed for the transport and storage of liquids (principally olive oil and wine). They could be painted on their bellies (as in this case).

The Boscoreale dish was named after the location in which it was discovered, in a Roman villa at Boscoreale near Pompeii in 1895. The piece at Louvre was first thought to be the portrait of Cleopatra VII, beautifully adorned by a plentiful amount of symbols that is also present in the silver emblema with one absent in the latter that stands out in particular. The moon on top of the horn of plenty that adorned the dish was interpreted as a symbol of Cleopatra Selene as her second name in both ancient and modern Greek translate into the word moon. After the identifying the symbolism of the moon on the Louvre piece, it was widely accepted that both emblemas depicts Cleopatra Selene and not Cleopatra VII The meticulous amount of detail and work that can be seen in the silver emblema strongly suggests a portrait with idealized

Derived from the Greek word for water, the hydria was a clay jar used for the collection and storage of water during the advanced construction of aqueducts and fountain houses in Athens, rather than wells. Similar to others of its time, our hydria is made with terracotta and black paint. Terracotta, Italian for “baked earth,” is a ceramic (glazed or unglazed) where the body is fired and porous. While not watertight, surface-burnishing and paint or glaze can decrease its porousness and seal the material to become impermeable. The earliest vessels typically have a wide body and broadly rounded shoulder. Our hydria is approximately 17.5 inches tall (to rim) and 16 inches wide (diameter with handles). It has three handles consisting of two different shapes: A large vertical handle on the back for carrying the hydria when empty and for dipping and

Because it’s an Amphora, the jar has 2 handles that start about 1/3 of the way down the piece, go straight up and come back in at about a 45o-50o angle where they meet the top of the jar. As for the body, it starts with a small foot and immediately budges into a propane tank sized body. From there it thins into a neck that stays a consistent size all the way up to the mouth of the piece; the neck is about the same size as a small can of paint. To me, it seems this piece would be an expensive luxury item. The Greco-Roman-Parthian influence on the piece along with the addition of the Egyptian deity, 3D ornaments and bright and unique color seems to be the making of a costume made Amphora for a wealthy Roman buyer that was in the cult of Serapis.

The first vessel is a ceramic mixing bowl (column-krater), which is about 20 inches in height. The handles on each side of the vessel connect the rim of the vessel to its shoulder and serve as supportive items. Since the vessel is a bowl used for mixing wine and water, these columns also make it easier for people to hold it in carrying and wine pouring. The decoration of the vessel is left in the red clay color and the background is painted black due to the red-figure technique used in the firing process. The figures, such as the boars and

This was a statue of one of the most influential statues of western art. It was made by the Greeks and it did represent the spear-bearer. It did depict a solid well built, muscled standing athlete that did originally bear a spear that was balanced in his left shoulder. Its other name was Polykleitos and it was a stalwart symbol with humanist beauty. The statue did successfully encapsulate the movement of the human form through an eternally still image. The statue did stand as an everlasting watch that prevented the return of the archaic smiles as well as lifeless kouroi that was in the past (Lapatin 148).

The bear (v. 5) represents Medo-Persia. The three ribs in its mouth portray the three kingdoms this coalition defeated in its rise to power: Babylon, Lydia, and Egypt. It was “raised up on one side,” which symbolized the Persians’ subsequent dominance over the Medes. The leopard with four wings (v. 6) serves as an appropriate representation of Alexander the Great’s conquest as he established the Greek empire.

rather than southern Apennine peninsula (southern Italia ) population. That makes possible to conclude the version of Etruscan origin due to combined waves of migration from east. Francois Vase is a large Krater vase dating 570BC. It is competed in black-figure pottery style. It was discovered in 1845 in Etruria. It's 66cm high and covered with beautiful 270 human and animal figures and labelled with 121 inscriptions. There are 6 friezes or registeres on the vase. Many traditional illustrations of Greek Mythos are shown. These are Caledonian Hunt, Theseus and athenians at Knossos, battle of Lapithes and Centaures, funeral Games of Patrokles, wedding of Peleos and Thetis, Achilesus pursuit of Troiles, return of Gethestion to Olymp and many others scenes of Greek Mythos. In my opinion- the object is important as it is actually a kind of "visual book", etruscan comics. Animation media. Greek word "Mythos" means oral word, speech. But this vase is a visual media representation. So it is an attempt to create visual media source. This vase substituted books and cinema to ancient etruscans. It is an ancestor of modern books, cinema and

The object is classified as a vase. It is approximately 15 inches in length and 10 inches in diameter. It features one handle on each side of the vase along with a painting or “shield” of Medusa in the middle. Due to its age, the paint has begun to chip off but

The Sarcophagus of the Spouse and the Doryphoros (Spear Bearer) bear several differences due to the distinctions between the culture and the time period in which they were made. However, similarities between each sculpture are present as well. For example, both sculptures display several curved, rounded lines and any harsh lines are indiscernible. In the Sarcophagus of the Spouses, curved lines can be seen in the edges of the coffin and in the bodies while in the Doryphoros they’re seen through the “gradual S-motion” (pg #150) of the body. Though, the reason for such lines differs greatly for each sculpture and helps reveal the cultural concerns of the Etruscans and of the Ancient Greeks. As the Etruscans were concerned with living a fulfilling,

Most mythologies contain borrowed aspects from older accounts of the same stories. Myths serve to answer the questions mankind was and is unable to answer simply. Because of the yearning for knowledge mankind has always held, those who were looked towards for answers often had similar explanations based on what they were once told. This sharing of information has given historians an array of mythologies from across the world that can be placed on a semi-clear time line as they adapted and parts changed to better suit a single cultures demands. These oral traditions, later to be written, also found their way onto much art through the ages that now are often open to interpretation since the artists are long passed. The vase's image and text