Vases In Greek Art

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).

Ceramics class is a great place to relax in the midst of a long and tiring school day, and throughout this class my peers and I have learned and grew as artists while learning about what it takes to became better at pottery. A major example of this growth occurred as a result of the face jug assignment. After watching a documentary on the significance these jugs have had in American history, and the significance these artifacts had to do with the people who made them, we began. Through this assignment I learned more about African American origins, how the people were able to keep a minute part of themselves after being brought to a new land, and the change in meaning of the face jugs; I found it difficult to believe that such a simple thing

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

It is made of stonepaste covered with copper-green glaze. The only decorations are patterns carved around the body of the plate instead of being painted. This piece closely resembles Chinese celadon wares from Longquan. The glaze was made from copper instead of iron that was normally used for celadon wares. Differed from traditional colorful Persian art, this plate only has one color. Its monochrome green color, the lack of decoration and short foot demonstrate its imitation of celadon wares. Safavid craftsmen did not stop at purely borrowing Chinese designs, but incorporated local traditions in different ways. The blue-and-white porcelain-like potteries with Persian shapes are one significant example. The Tulip Vase (Figure 3) has a baluster form body with three short nozzles. This stonepaste piece was painted in blue under transparent glaze, thus only has two basic colors: blue and white. On the wide flat rims of each nozzle, there are painted flower petals surrounding the center opening. On the neck of the vase, there are repeating decorative motifs including perhaps birds and clouds at the top, along with vertical flowers and leaves motifs closer to the body. The paintings on the top part of the body appear to have three identical birds and clouds in compartmentalized sections around the vase. Below the birds, there are bamboos, rocks, flowers and a peacock. At the lowest part, there are repeating decorations in geometric forms and vine motifs. The iconographies of swirly clouds, bamboos and rocks are very similar to common Chinese ones. The swirly clouds means fortune and heaven, while the bamboos represents longevity, resilience, flexibility, and strength. Judging from the blue and white color. Meanwhile, the birds, peacocks and patterns on the lower part of body could be seen in both Chinese and Islamic artworks. The most distinct part is the shape of this vase. It is often

My chosen artifact is a perfume glass bottle dating to 1st century A.D. in ancient Rome, the vessel was created with the technique of glassblowing. Glass became affordable for common people when glassblowing spread throughout Rome, before this glass was normally made only in the form of small opaque bottles or large bowls that were not translucent like modern glass. Glass blowing was invented in the regions of Syria and Palestine in the 1st century B.C.E. and spread due to its ingenuity. The old method of creating glass required molds and there were not as many shapes, with glassblowing the vessels could be made in any size or shape. The new technique of making glassware allowed it to be more decorative and affordable for the common people. Once glassblowing spread the previous ways of making glass only continued with

A lekythos is an ancient Greek vase made of ceramic; the plural of lekythos is lekythoi (Reference #2). It has a narrow neck, single handle, and is tall with a small, deep mouth (Reference #7). The lekythos was used as a flask, used to hold olive oil and perfumes (Reference #1), and were developed in ancient Athens during the fifth century. In Classical Athens, lekythoi were painted in white ground with figurative scenes. White ground is a form of art used by Athenians in which they created the vase, fired it, and then the lekythos was painted in white. The figures and scenes were then painted on top of the white ground. This method meant that the paintings did not last as well, but were very beautiful in their original

While visiting the Mint museum there was one partial piece that caught my eye. There was a glass display with three ceramics in it and they were all so beautiful. One of the ceramics was a vase. The vase was from Pisgah Forest Pottery, simply titled Vase, and was created by Walter B. Stephen. This vase was about 14 or 15 inches tall and 7 inches wide and was made in circa 1945. The art on the vase was more realistic than abstract or Non- objective and was made with stoneware clay with a crystalline glaze and had multiple layers of porcelain.

Knowing the date it was painted and where it was painted is important as the vase on its own cannot help us identify and understand its historical context. We can assume that at this time the traditional pattern-based technique to vase painting had not yet kicked in, or it was not well recognized in China. However, the lack of the artist's name, we cannot determine when the painter was active and the possible reason he/she did not employ certain forms. Its form is a blank slate without any decorations except the black dripping glaze (earthenware with a black glaze). This is an 8th-century piece as most pottery during this period were increasingly round-faced and rotund, reflecting a change from the 7th-century

Majority of these types of vessels are found in graves, suggesting that the decorated ware is mostly used for funerary contexts, although there is also evidence to suggest that vessels included as grave goods were from everyday life. This seems likely as the introduction of the lug handles would elude to carrying. The Decorated pottery could have been a sign of prestige, the more elaborate the pot the higher status you held or were portrayed to hold in the afterlife. The shape and size, restricted neck of the vessel as well as the flat base could be suggestive of a storage jar but it is unlikely that a jug used in such a manor would be painted . Decorated pots were made at a limited number of workshops as they were a new type of ware for

The first and oldest work in my collection is a red-figure calyx krater, a type of large vase, which was painted by a Niobe painter and is known as Artemis and Apollo slaying the children of Niobe (ca. 450 BCE) (fig. 1). The vase features a scene from a myth in which twins Artemis and Apollo slaughter Niobe’s twelve children out of revenge. One can tell this is a depiction of Artemis because she is shown with a bow

The amphora has a figural scene on each of its two faces. These scenes are supplemented by floral patterns above the figural scenes and around the lip of the vase, which are identical on both sides. In this period the vegetation decorating painted vases is becoming stylised and symbolic.

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

Any person looking hard enough could stumble across this unexceptional vase at a local thrift store. Its blue and white floral design has been mimicked if not outdone numerous times and it doesn’t have much capacity to hold things, making it impractical. Its vibrant blue coloring makes it stand out in any room its placed in. For one small vase, this piece is one big eyesore.

A large number of Greek vases from the Geometric period (approximately 900 - 700 BCE) focus on burial and mourning styles. These vases come primarily from the provinces of Attica, Boeotia, and the Argolid on the Greek mainland. The styles shown on vases from these areas are so similar to one another that scholars believe the styles all originate from Bronze Age traditions some 800 - 1000 years prior. Although CU Art Museum

Statuary art is the style of art consisting of three-dimensional figures created by artists to display a person in the form of a statue as a symbol of honor or respect. Statues majorly evolved within Classical Greece, between the years 479-323 BCE, and during the Roman Empire times. Although during both eras they may have both been using the art of statuary and in which they exhibited similarities, they were in fact, very different. It began with the Greeks, using the form of art to display idealism, then the Romans continued to practice the art to display realism.