Vases In Greek Art

he Harvester’s Vase, a fascinating 3500 year old stone sculpture from the Aegean Bronze Age was a product of cultural interactions between the Minoans and the outside world. The vase is “unprecedented” in ancient art history due in part to the animated facial features and accurate human anatomy, thanks to the Minoans long history in making art and their mercantile economy. While Mycenaeans and Hellenic Greeks are more well-known and studied, Minoans played a huge in part in laying the foundations of Western art. Discovered in ruins of the Hagia Triada on the island of Crete. The Harvester’s vase was created around 1500 to 1450 BC, the vase is unique in that it is one of the few well preserved artifacts of the Minoan Kamares where they have

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).

Making these jugs were a way for the African slaves to express themselves. They were used for religious reasons and held burial significance. Ceramics class was effective in exposing a completely new form of art to me that I had no previous knowledge about. From this assignment I was able to learn more about African-American culture, the significance of pottery in the lives of different people and how the meaning of face jugs have shifted. As a result of what I have learned I am more curious of the history behind the things that I see and use in everyday

To the left of this women, there seems to be the exact same woman depicted as flying on the opposite end of the vase. This woman, however, is not holding a staff and seems to be wearing a content expression. The artist gave her expression a more naturalistic look to it, outlining the eyes, nose, and mouth with intelligent strokes of the brush. Looking at this figure as a whole, it can be concluded that the women to the left of the pillar is acting correctly, therefore pleasing the goddess. Whatever the case, both women are performing actions to please the gods, another job generally assigned to women.

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

Often the culture relied on the blending of old and young. Having the death of a great soldier on one side and the entering of youth on the other, I believe this vase was meant to show a contrast of old and young, and of the death and birth of

The piece of art that I’ve decided to do this research paper on is a ceremonial Inca Vase with Jaguar Handles. It is a popular vase within Inca ceramics. The Inca were a group of indigenous people who were possibly the world’s largest empire located in modern day Peru. They used a variety of craftsmanship, the most popular being the polychrome technique which portrayed a number of animals, waves, birds, and felines (Hood, 2017). These images were carried on throughout the Chavin culture and geometric patterns were found in Nazca ceramics (Hood, 2017).

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

Feelings of safety, happiness, and even fearlessness can be taken in from this vase. The monsters and dangers that were ended or killed by Hercules ravaged areas. In the case of the Nemean Lion, it was terrorizing the area, killing many farm animals, people, and whoever sought to kill it. With the lion dead, the people could feel safe in their travels and daily living. With this safety, people can feel more happiness in their everyday lives, without having to worry about the lion that for so long terrorized them. This could be the reason that the Berlin Painter created this masterpiece. It can bring so many emotions into the mind. The final emotion that can be pulled out is a sense of fearlessness. Life in this time period to most can be terrifying, due to the lack of what we have in today's world, and so many predatory animals that can wreak havoc among us. With the Nemean Lion out of the picture, the people have less to fear out in the wilderness, contributing to the other emotions that can possibly be felt through this work of art. Athena can be seen in the background, sort of looking over Hercules while he is strangling the lion. It seems this could be seen as how the gods are always looking over even mortals throughout their lives and adventures. This could emphasize the importance of worship to the gods, keeping the people

Cleveland Museum of Art (Ohio) has in its collection a very valuable piece – an Athenian neck-amphora produced in c. 550 – 500 BC. The vase was executed in the black-figure technique, and it is attributed to Antimenes Painter. The amphora is richly decorated. One part represents Herakles and the lion between Iolaos holding club and Athena with Boeotian shield. The other part features Dionysos standing with satyrs and maenads. I like the amphora very much, especially its decoration and an interesting subject matter.

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.

since it was not an extravagant bottle and had become common in the Empire through the art of glassblowing. The artifact I chose does not have a name other than Glass Perfume Bottle most likely because it is a common bottle that has been found in great numbers from the Roman Empire. The fact that a common person could afford a glass bottle of perfume demonstrates that Rome was an advanced society that was very specialized. Glassblowing was a profession that could be very prosperous if the individual was skilled since glass was sought after across Rome. The substantial amounts of perfume that was used in ancient Rome also points out that there was a clear concern for hygiene even among the lower class. The artifact seems plain in nature but it lets people today know a little more about everyday life for an ancient Roman citizen. Both glass vessels and perfumes were a common part of a society from thousands of years ago and they are still prevalent today. They let us grasp that Rome is comparable in many ways to a modern society in its diversity and

The vase presents a male figure with a helmet that is custom to military members. He is shown carrying an item with two heavy ends drooping and is shown hunched in order to carry a large barrel of items. The figure is most likely shown carrying military equipment. The figure’s body is also defined with toned and muscular arms highlighting body ideals. Beside the figure there is also another helmet, identical to the one on the figures head, a headgear with a large hook like shape on the top with small patterns decorating it. Right beside the figure, there is armor laying on the ground, angled towards the right causing our eyes to move towards that side. On the far right, another figure is shown, similar to the other figure. However according to the Metropolitan Museum of Art, this vase is in a fragmentary state, thus much of the paint has peeled off. This is reflected on that figure as only half of a body is displayed. To add on this lower half of the body is decorated with armor and long toned legs. This depicts the strength and power of the figures through the state of their bodies. Behind the figure there is a small feminine figure on the back of an animal, emphasized by the use of the black figure technique in comparison to the rest being painted through the red figure technique. This may represent an Amazonian since they were known for fighting and according to Greek Art: Pottery page 7, “vase shapes

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

This is where the story that is being presented on the vase is explained. In the case of Neck-amphora it shows a story of Herakles’ apotheosis and Athena. Herakles is on the right side of Athena dressed in lion skin that has white detailing as he is equipped with a club. When looking at his beard it is portrayed in the colour red (Moore & Bothmer, 1972). Athena, is shown climbing on to her chariot dressed in a decorated chiton.