Introduction to Greek Pottery

3700411ae81a5ba151f9946dcb59c386?s=47 nichsara
September 25, 2012

Introduction to Greek Pottery

Lecture given Tuesday September 25, 2012

3700411ae81a5ba151f9946dcb59c386?s=128

nichsara

September 25, 2012
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  6. Z,/AG"D*#F,*>AB0* c%&,$"*>AB0*.G#H1*(9*25:;9* 398 AMERICAN JOURNAL OF ARCHAEOLOGY [AJA 82 FIG.

    6. Modern Greek pottery workshop
  7. U%$LG"D*#F,*.%#* Z-0IF%H*EG#F*.%/,$dH*VF,,A1*(9*SS;*=>?*

  8. None
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  13. FIG. 7. Munich 1717. Black-figure hydria Dionysos. The mask of

    Dionysos appears on a num- ber of vases, both by itself21 and as part of scenes of open-air location is consistent with the workshop arrangement suggested by the placement of figures U,,&G"D*#F,*QGA"* =AB(-4UGD'$,*W0&$GB1*.%/,$0*V%$-HF%I1*R$(FBG(1*(9* SS;*=>?*
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  15. treated raw clay and in the center are two settling

    basins. In the right-hand basin the clay has been cut into slabs for ease of handling. Although both scenes on the Robinson skyphos might be interpreted as showing a simple mass of raw clay, the different types of stippling incision strongly suggest two stages of purification comparable to the effects of the settling basins. Thus the herringbone-hatched mass on side B FIG. 5. Providence 25109. Red-figure lekythos fF,*QGA"* !M*0%'*EGAA*IB0*L,*M%$*L0*H%"D1*i*I%/,$H1* fF,"*(%L,1*R#F,"B1*B"&*F%A&*#F0*FB"&*B@%N,*#F,*-GA"j* cB0*#F,*-%#0A%G*B"&*BAA*#F,*-B"BH#$B*#'$"*B*D%%&*@AB(-1* cB0*#F,0*@,*E,AA*C$,&*B"&*M,#(F*#F,*I$G(,*BH-,&1* cB"0*@,G"D*H%A&*G"*#F,*LB$-,#IAB(,*B"&*LB"0*%"*#F,*$%B&H1* R"&*@$G"D*G"*L'(F*L%",01*B"&*LB0*L0*H%"D*@,*IA,BHG"D9* ='#*GM*0%'*OI%/,$HP*#'$"*HFBL,A,HH*B"&*&,(,Gk'A1* fF,"*&%*!*H'LL%"*#F,*$BNBD,$H*%M*-GA"H1* =%#F*Z0"#$GIH*OZLBHF,$P*B"&*ZLB$BD%H*O>$BHF,$P*B"&** *****RH@,#%H*Ol"g',"(FB@A,P*#%%1*B"&*ZB@B-#,H*OZFB-,4#%4.G,(,HP* R"&*iL%&BL%H*O>%"g',$%$*%M*#F,*l"@B-,&P1*EF%*LB-,H** *****L'(F*#$%'@A,*M%$*#FGH*($B]9* Z#BLI*%"*H#%-G"D*#'"",A*B"&*(FBL@,$H1*B"&*LB0*#F,*EF%A,*-GA"* =,*#F$%E"*G"#%*(%"M'HG%"1*EFGA,*#F,*I%/,$H*A%'&A0*EBGA9* RH*D$G"&H*B*F%$H,dH*TBE*H%*LB0*#F,*-GA"*D$G"&* f%*I%E&,$*BAA*#F,*I%#H*EG#FG"*G#9* m>%L,1*#%%1*&B'DF#,$*%M*#F,*Z'"1*>G$(,*%M*LB"0*HI,AAH1* >BH#*($',A*HI,AAH1*&%*,NGA*#%*#F,L*B"&*#F,G$*FB"&GE%$-9* W,$,*#%%*A,#*>F,G$%"*A,B&*LB"0*>,"#B'$H1* =%#F*#F%H,*#FB#*,H(BI,&*#F,*FB"&H*%M*W,$B-A,H*B"&*#F%H,*#FB#*I,$GHF,&9* cB0*#F,0*FGH*#F,H,*I%#H*FB$&1*B"&*LB0*#F,*-GA"*(%AABIH,9* R"&*LB0*#F,*I%/,$H*EBGA*BH*#F,0*H,,*#F,*LGH(FG,M9* ='#*!*HFBAA*$,T%G(,&*B#*#F,*HGDF#*%M*#F,G$*A'(-A,HH*($B]9n* R"&*GM*B"0%",*@,"&H*%N,$*#%*A%%-*G"#%*#F,*HI04F%A,1*LB0*FGH*EF%A,*MB(,** =,*H(%$(F,&1*H%*#FB#*BAA*LB0*A,B$"*#%*&,BA*T'H#A09*
  16. b,(%$B)N,*c%)MHo*Q,0*c,B"&,$* en though under both handles the figure ppears to

    be the base of the herm behind emphasized in the case of the youth to the B (fig. 2), where the herm base seems over him. mass of material in the center of each sonably be interpreted as clay-but not a parison with classical kilns shows little if nce in shape to the mass here."1 The two d examples for the study of Attic kiln are the seventh century kiln found under uildings at the site of the Tholos in the the fourth century kiln excavated in the 1" Considering the difference in dates, the arkably similar. In both cases, the kiln is in plan and has clay surfacing on the lls. A central column in both examples here was an upper chamber. This could een covered with a dome after the vases cked. The shape is paralleled by the kilns n the Penteskouphia plaquesl4 and on a kythos in Providence'" (fig. 5). The yphos, however, seems to show two some- nt subjects. On both sides the shape of the suggests a truncated cone rather than ristic dome profile of a kiln. Moreover, t of the surface is quite different on the nd in neither case is there any indication e, spyhole or door to the pottery chamber, e of which, from the examples on the uld normally be represented. Neither in surface treatment, then, do these masses ng but the vaguest resemblance to either d or the illustrated kilns. The craftsman- Theseus Painter is too good to allow us his as ineptitude on his part. An alterna- must be sought. ry part of a potter's workshop is a series r the preparation of the raw clay. "This hed . . . by mixing water with the clay he mixture stand in a large settling basin. mpurities fall to the bottom and the upper and water is pumped or bailed into an be seen in the courtyard of a modern Greek pottery workshop17 (fig. 6). At the far left is a mass of un- treated raw clay and in the center are two settling basins. In the right-hand basin the clay has been cut into slabs for ease of handling. Although both scenes on the Robinson skyphos might be interpreted as showing a simple mass of raw clay, the different types of stippling incision strongly suggest two stages of purification comparable to the effects of the settling basins. Thus the herringbone-hatched mass on side B FIG. 5. Providence 25109. Red-figure lekythos
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