Abstract This paper presents a description of the Red Figure Amphora, dating back to 440-430 B.C. The author examines the mythological paintings and carvings depicted on the amphora, and includes information provided by the legend displayed next to the artwork in the museum. The essay also analyzes the various techniques used in drawing, painting and carving, and goes into great detail about the Greek mythological story of the goddess Demeter and her daughter, Persephone, the subject of the artwork. The paper includes pictures of the amphora.
From the Paper "The Eleusinian Mysteries, held annually in honor of Demeter and Persephone, were the most sacred and revered of all the ritual celebrations of ancient Greece . They were instituted in the city of Eleusis , some twenty-two kilometers west of Athens , possibly as far back as the early Mycenaean period, and continued for almost two thousand years. Large crowds of worshippers from all over Greece (and later, from throughout the Roman Empire ) would gather to make the holy pilgrimage between the two cities and participate in the secret ceremonies, generally regarded as the high point of Greek religion. As Christianity began to spread, the Mysteries were condemned by the early Church fathers; yet the rites continued for hundreds of years more and exercised considerable influence on the formation of early Christian teachings and practices."
Abstract The Panathenaic Prize Amphora, on display in the collection of the Detroit Institute of Arts, is dated to around 375-70 B.C. and stands 33 inches high. It is attributed to the Asteios group and is an example of the ceramic black-figure ware that was a principal industry of Athens. This paper discusses the amphora and shows why its design and features are so typical of Athenian ceramic-ware production.
From the Paper "Various centers competed in the production and export of ceramic wares, but by the middle of the sixth century Athens had eliminated its principal rivals "and the many other wares that had flourished during the seventh and early sixth century had gradually disappeared, continuing only as local products" (Richter 315). Athens' dominance in the Mediterranean ceramics market extended from 550 to 400 B.C. and the Detroit example comes at the end of the city's reign. Black-figure technique also dominated production in the sixth century but was gradually overtaken in popularity by red-figure ware in the fifth century."
Abstract This paper discusses the amphora, or vase depicting the struggle between the Greek mythological hero, Herakles, and Kerberos, the two-headed dog, entitled Herakles Bringing Kerberos from the Underworld. The author discusses Herakles', or Hercules, twelfth labor and analyzing the paint, patterns, illustrations, and overall technique used by the artist.
From the Paper "This is an Attic black-figured belly amphora with the characteristic cylindrical handles. This vase is classified as B type. Like most belly amphora, this vase has a flamed picture and a ray-pattern at the base of body. There is bud-patterned ornament on the upper part of the panel. Subject is Herakles Bringing Kerberos from the Underworld. On the left panel Herakles is shown with the two headed monstrous dog Kerberos and a club in his hand. But his most characteristic lion fur is missing. At the center of picture, Kerberos is threatening Herakles with his snake-like tail. Behind the monster, Athena, who always supported him, is depicted with an Attic typed helmet. But the painter of the vase painted with black where he should depict the ear of goddess in white. And in black-figure, woman's face is usually painted white over black, but her features are not clear because the graved line of her face is very faint. She has her spear in her right hand and a shield in her left. She is wearing an aegis over her breast."
Abstract This paper will uncover the meaning behind the Exekias' Amphora Vase with Achilles and Ajax presented on its surface painting. The objectives of contour, shape, and other various elements of the vase will be covered to reveal the structural premise of the pottery. The characters on the vase will be discussed as well to give a more comprehensive historical background to the Greek work of art.
Abstract This paper explains that during this period both deities and ordinary mortals were depicted, but there was no homogeneity of technique, which ranged from a very natural and sculptural pottery in amphorae to a more studied and artificial style. The author points out that three of the objects represent tools. The amphora stored wine, the lekythos was used during religious ceremonies, and the krater was used to serve punch made from wine. The paper relates that, unlike the amphora, the lekythos style has only one handle, a more slender neck than an amphora, with a wider mouth, and probably held oil or perfumes, a claim that is advanced because they were often found in and around tombs that were excavated from ancient homes.
Table of Content
Background
Pottery
?The Bateman Amphora ?
?The Dipylon Amphora?
"Douris Lekythos"
"Bell Krater"
Statues
"Athlete Making an Offering"
"Kouros"
From the Paper "A late example, this torso--which is all that is left?is actually less well modeled than the "Athlete". The belly and rib cage, in fact, appear to be stylized, almost abstract. It may be that the work has weathered. But probably, the more geometric, and less curvilinear, detailing on this statue was the result of a transition between the drapery and highly stylized posing of earlier eras, including the "dark times" and the early Archaic period, to the more abundantly natural depictions of the statuary of the Classical period. Kouri, which means ?youths,? was an art form that didn?t last very long, only about a hundred years. It is thought, nonetheless, that they represented gods, warriors and, of course, athletes."
Abstract The Panathenaic Prize Amphora (accession no. 50.193) on display in the collection of the Detroit Institute of Arts is dated to around 375-70 B.C. and stands 33 inches high. It is attributed to the Asteios group and is an example of the ceramic black-figure ware that was a principal industry of Athens.
From the Paper "The Panathenaic Prize Amphora (accession no. 50.193) on display in the collection of the Detroit Institute of Arts is dated to around 375-70 B.C. and stands 33 inches high. It is attributed to the Asteios group and is an example of the ceramic black-figure ware that was a principal industry of Athens. The amphora represents the goddess Athena on one side and four male runners on the other. The presence of the runners "indicat[es] that the prize was for the winner of a foot race" and the amphora features an inscription that specifically identifies it as a prize "From the games in Athens" ("Panathenaic").
The condition of the amphora appears to be very good. There are cracks on the side featuring the runners and abrasions on all the figures. The left thigh, and the groin and buttocks of one of the runner is orange-red rather than black. It appears that..."
Abstract This paper explores the styles of ancient Greek art and the depiction of mythological and heroic images in art. The paper devotes time to describing the Mykonos amphora, the combination of scenes that depicts acts of Greek brutality and violence. The paper also describes many other pieces of pottery and art that are representations of the Trojan War's climactic events and discusses the tendency to merge together disparate episodes of the Iliad narrative. The writer opines that the images and depictions found on a great variety of ancient Greek pottery provide a fascinating glimpse into the cultural and artistic world of one of the first societies to practice democracy and to explain the natural world in scientific terms.
From the Paper "In essence, the oral history of the Trojan War has come down to us through the epic poem the Iliad by the Greek poet Homer who composed this famous account of the conflict between the Trojans and the Greeks sometime during the 8th century BCE and the Ilioupersis ("The Sack of Ilion") by Arktinos of Miletos which survives only in a few ancient references (Magrath, 2002). The basic tale of the Trojan War relates events that allegedly occurred some five hundred years prior to the writing of the Iliad and the Ilioupersis, circa the 13th century BCE during the Mycenaean Period in ancient Greece."
Tags: Trojan, War, Mykonos, amphora, Achaeans, Helen, Menelaus, Cassandra, Astyanax
