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."

Tags:demeter, persephone, hector, attica, zeus, underworld, athens, mythology, greece, homer, rites, kore

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."

Tags:Mediterranean, pottery, Panathenaia

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 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 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."

Tags:greek, athena, hermes, amphora, vase, monster, aegis, hero, olympia, attic

Abstract
This paper discusses the emergence of figural representation in Greek funerary pottery of the geometric period in a tradition which previously had none. The writer provides the historical and cultural background for the subject and explains the reason why this period is known as geometric. One of the earliest examples showing a figural composition, the Dipylon Amphora, and a slightly later work, the Geometric Krater, are discussed in detail. The writer explains that, although the figural representations on funerary pottery are visual windows into Greek life, belief, and culture, they do not provide sufficient information to enable archaeologists to determine how and why figural representation developed and then evolved in a Greek funerary context.

From the Paper
"By the time of the 8th century BCE, well into the Geometric period, Greek society provides numerous examples of an increasingly sophisticated social order, which included the arts. A social stratification meant that the wealthy could afford or command some truly impressive artistic works, including funerary pottery (Kleiner 101). The Geometric period is the earliest phase of "Greek" civilization, and is so named because of the abstract patterns that decorate many manufactured objects, especially pottery (Moore, 13). In the Geometric period we observe the first figural compositions since the Mycenaean palace destructions, occurring sometime around 1100 (13). Found artefacts in the Geometric are primarily funerary or dedicatory, and occur in relation to the rise of a "temple economy.""

Tags:myth, Eleusis Vase, Homeric Athenian, burial custom, bronze soldier value

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."

Tags:encaustic, technique, amphora, lekythos, krater

Abstract
This paper examines how there is little evidence as to how mythology and heroic images were first depicted in Greek art and pottery but it is known that the representation of the Trojan War was a favorite subject. The paper looks at how representations of Trojan War's climactic events can be found on several pieces of pottery such as the Mykonos amphora and the Ilioupersis krater which are described in detail.

From the Paper
"One figure on this particular amphora has mystified scholars; it depicts a single warrior, dead or dying from a neck wound. He is larger than the rest, and carries two spears (in contrast to the other warriors, who carry only a sword). One scholar on the subject, J. Christiansen, suggests this figure is the prince Deiphobos, who was slain by Menelaus just before his reunion with Helen. This is reasonable, considering the placement of this panel just above and to the right of the Helen-Menelaus reunion scene. The other possibility, put forth by M.E. Caskey, is that the dying warrior is Echion - according to Apollodorus as the first Greek to have exited the horse by jumping, killing himself in the process. The problem with this is that Echion is not mentioned at all in Homer or Aktinos, and had a very minor role in the story in any event, so it is not likely that the artist - had he even known about Echion - would have chosen to depict him so prominently. "

Tags:Mykonos, amphora, Ilioupersis, krater

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

Abstract
This paper explains that "Terracotta Loutrophoros" (Ceremonial Vase for Water), from the Archaic period, which is now housed in the Metropolitan Museum of Art, is a Greek black-figured funerary amphora that has two handles for carrying and an opening. Next, the author relates the way the vertical shape of the vessel is balanced by the horizontal narrative bands and the narrative scenes are placed in relationship to each other. The paper concludes that the figures, who are mourning the death of a youth, are able to portray their love for him thus making the vase not only a ritual object but also a work of art so descriptive that the viewer does not need a museum placard to understand the story.

From the Paper
"There is also great detail in all the women's gowns. The fabric patterns are almost all identical, which may indicate that it was customary to wear a typical kind of dress to a funeral. The white arms and faces may be intended to bring attention to the mourning gesture customary in humeral processions (arms held above the head). On the lower part of the neck, there are two guardian lions. Their presence may imply that the youth were courageous and brave fighters who may have fought other beasts and soldiers in their lifetime.
"The middle section of the amphora is the largest and most significant scene. Eight women surround the dead youth lying on the bier."

Tags:archaic scenes borders, women's gowns, painted