Trademarks On Greek Vases

This work comprises a catalogue of marks designed to include all those that appear more than once on decorated Attic vases (for the partial exclusion of Attic glazed vases) as well as a complete lists of those on vases of ther fabrics.

This is an indispensable guide to anyone wishing to obtain greater understanding of Greek ceramics and heightened enjoyment of them."--BOOK JACKET.

Greek Painted Pottery has been used by classics and classical archaeology students for some thirty years. It thoroughly examines all painted pottery styles from the Protogeometric to the Hellenistic period from all areas of Greece and from the colonies in parts of Italy. In each case it covers the development of iconography and the use of colour, decorative motifs and the distinctive styles of each stage. It examines the most utilitarian pottery objects as well as some of the finest pieces produced by a flourishing civilisation. Other chapters cover the pottery industry and pottery-making techniques, including firing, the types of local clay which were used and inscription. This study also considers how one can date pottery and establish a chronology and the various methods by which these artefacts have been classified, preserved and collected. This is the third edition of this classic text, which has been extensively revised and includes a fully updated bibliography. This edition also includes coverage of new evidence and new theories which have surfaced since the book was last revised in 1972. With over 100 black and white photographs and plentiful line drawings, the new edition of this comprehensive text will be invaluable to students studying classical art, archaeology and art history.

Based on her study of Greek pottery sherds and vases and on her profound hands-on knowledge of pottery construction techniques, including experiments with the potting of Attic shapes, Toby Schreiber describes how ancient Greek potters constructed their vases. Drawn in large part from vases and fragments in the collection of the Getty Museum, the many photographs that accompany the text show how much even seemingly insignificant sherds may reveal about technique when studied by someone knowledgeable about potting. The drawings - all done by the author - demonstrate step by step with admirable clarity how the potter executed his craft. Written by a master potter, this is a book both for those who know little or nothing about potting techniques and for those who already have an understanding of these matters.

As the first extensive survey of the ancient Greek painters’ practice of writing nonsense on vases, The So-called Nonsense Inscriptions on Ancient Greek Vases by Sara Chiarini provides a systematic overview of the linguistic features of the phenomenon and discusses its forms and contexts of reception. While the origins of the practice lie in the impaired literacy of the painters involved in it, the extent of the phenomenon suggests that, at some point, it became a true fashion within Attic vase painting. This raises the question of the forms of interaction with this epigraphic material. An open approach is adopted: “reading” attempts, riddles and puns inspired by nonsense inscriptions could happen in a variety of circumstances, including the symposium but not limited to it.

The catalogue of the University of Melbourne's superb collection of Greek vases is now published as a sumptuous, fully colour-illustrated, cloth-covered volume which will suit the needs of students, researchers and interested readers. This richly illustrated book is a collectors' item, designed and produced to library specifications. It offers the complete scholarly apparatus for study of the vase collection, one of the finest in the country and comparable with others around the world. It will prove valuable as a reference text wherever classics, archaeology or art are studied. The book is a product of one of the most outstanding Classical Studies departments in Australia and is destined for libraries throughout the world. It is the first volume in a series planned to feature various aspects of the University's wider collection. Each vase, fully described and documented, appears in rich colour and detail. Styles and periods are introduced by contextualising photographs presented as dramatic double-page spreads. No effort has been spared to publish this collection as beautifully as these unique artifacts deserve.

These nonverbal marks do not form identifiable words but provide clues to the literacy and daily life at Gordion from the Bronze Age through the Hellenistic Period. The corpus is presented by type with description, interpretation, and functions of the various categories. University Museum Monograph, 63

English summary: The first complete catalogue of all the Greek vases in the National Museum of Natural History, Smithsonian Institution. It includes all the Attic painted pottery, both black- and red-figure, a Spartan and an Ionic cup, as well as two vases in the National Museum of American History. Italian description: Il primo catalogo completo di tutti i vasi greci conservati nel National Museum of Natural History, Smithsonian Institution. Comprende tutti i vasi attici dipinti, a figure nere e a figure rosse, una tazza di manifattura spartana e una ionica, oltre a due vasi conservati nel National Museum of American History.

How have two-dimensional images of ancient Greek vases shaped modern perceptions of these artefacts and of the classical past? This is the first scholarly volume devoted to the exploration of drawings, prints, and photographs of Greek vases in modernity. Case studies of the seventeenth to the twentieth century foreground ways that artists have depicted Greek vases in a range of styles and contexts within and beyond academia. Questions addressed include: how do these images translate three-dimensional ancient utilitarian objects with iconography central to the tradition of Western painting and decorative arts into two-dimensional graphic images carrying aesthetic and epistemic value? How does the embodied practice of drawing enable people to engage with Greek vases differently from museum viewers, and what insights does it offer on ancient producers and users? And how did the invention of photography impact the tradition of drawing Greek vases? The volume addresses art historians of the seventeenth to twentieth centuries, archaeologists and classical reception scholars.