Laconian Pottery

Pipili, Maria

doi:10.1002/9781119072379.ch5

Cited by 8 publications

(22 citation statements)

References 18 publications

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“…Other desirable foodstuffs do not all receive similar treatment, and the inclusion of inscriptions emphasises the royal monopoly, which added interest and value to the silphium but could also have had specific significance for the political or status identity of the user. However, as a valuable object for use in feasting contexts, the cup and its subject can be situated within the same elite sphere of concerns which are demonstrated through the sympotic scenes of many Laconian vases (Pipili 2018, 145–6). More specifically, the Arcesilas Cup could be considered alongside the Boreads Painter's wine-treading cup, which may or may not be mythical, and compared to contemporary scenes from other production centres depicting the preparation or production of wine or food 31…”

Section: Interpretation Of the Subjectmentioning

confidence: 99%

“…An Etruscan buyer, acquiring such a product for their own or a peer's use, seems unlikely. Besides the ongoing debate as to the likelihood of specific Etruscan commissions (Reusser 2002; Coudin 2009; Pipili 2018, 146), there are questions as to the wider engagement of Etruscans in Greek emporia. Some evidence indicates Etruscans were well established as traders and were active in trading centres around the Mediterranean (Camporeale 2004, 78–101), but there is very little ceramic or epigraphic evidence for Etruscan travellers at Greek or Egyptian sites in North Africa, despite their interest in aegyptiaca (Naso 2006, 194; Johnston 2013–15, 47, 78; Gorton 1996, 155–64; Hölbl 1979).…”

Section: Interpretation Of the Subjectmentioning

confidence: 99%

“…The cities shared ancestral and cult ties, not only through Thera, but also because Laconians took the opportunity to migrate onto the agricultural lands discovered by the Therans as they moved from hostile coastal sites like Aziris to more fertile regions (Herodotus 4.151–9; Vries 2015, 1–11; Schaus 2006, 175; 1985, 98–102; 1979, 105; Malkin 1994, 48–57, 169–81, 192–203; White 1984, 99; Currie 2005, 245; Evans 2013, 116–17; James 2005, 1–20) 33 . In part owing to these connections, there was an export market for a very wide array of Laconian pottery in Cyrene, which continued even while exports elsewhere declined (Pipili 2018, 138; Mei 2013; Coudin 2009, 86–92; Schaus 1985). Differences in the shapes and painters of Laconian pottery found at Cyrene, Tocra and Naucratis appear to present a picture of specific relationships between patrons and producers or traders, rather than some sort of cabotage trade in Laconian fine wares across North Africa (Pipili 2018, 141; Coudin 2009, 92–9; Schaus 2006, 176; Schaus 1979).…”

Section: Interpretation Of the Subjectmentioning

confidence: 99%

“…In part owing to these connections, there was an export market for a very wide array of Laconian pottery in Cyrene, which continued even while exports elsewhere declined (Pipili 2018, 138; Mei 2013; Coudin 2009, 86–92; Schaus 1985). Differences in the shapes and painters of Laconian pottery found at Cyrene, Tocra and Naucratis appear to present a picture of specific relationships between patrons and producers or traders, rather than some sort of cabotage trade in Laconian fine wares across North Africa (Pipili 2018, 141; Coudin 2009, 92–9; Schaus 2006, 176; Schaus 1979). With evidence for direct Cyrenean access to the Laconian market, and a Cyrenean presence at Naucratis in Egypt (Schaus 2006; Johnston 2013–15), we can, therefore, consider a Cyrenean commission highly plausible.…”

Section: Interpretation Of the Subjectmentioning

confidence: 99%

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The Arcesilas Cup in Context: Greek Interactions With Late Period Funerary Art

Skuse

2018

Annu. Br. Sch. Athens

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The iconography and composition of the Arcesilas Cup are widely acknowledged to have been modelled on weighing scenes found in Egyptian funerary art. However, less attention has been given to how the Arcesilas Painter came to experiment with a composition found in Egyptian funerary art, and why he would want to do so. This paper revises previous studies of the Arcesilas Cup's subject and its similarities to Egyptian illustrations of the weighing of the heart spell. Next, it explores how exchange and consumption in the sixth-century Mediterranean can be used to make sense of the cup's unique subject. Finally, it proposes contexts for the transmission of designs between Egyptian and Laconian artists.

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Section: Interpretation Of the Subjectmentioning

confidence: 99%

Section: Interpretation Of the Subjectmentioning

confidence: 99%

Section: Interpretation Of the Subjectmentioning

confidence: 99%

Section: Interpretation Of the Subjectmentioning

confidence: 99%

See 2 more Smart Citations

The Arcesilas Cup in Context: Greek Interactions With Late Period Funerary Art

Skuse

2018

Annu. Br. Sch. Athens

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“…6. For a discussion about Eastern influences in Laconian art and architecture, see Prost 2018, 168 and (mainly for vase paintings) Pipili 2018, 124–49, in particular 132.…”

mentioning

confidence: 99%

The Votive of Aiglatas, Spartan Runner. Old Evidence, New Knowledge

Nenci

2018

Annu. Br. Sch. Athens

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Much of what we know about ancient Sparta is based upon inscriptions. Extant inscribed objects are often left idle in storerooms, treated summarily, with modern scholars reliant upon dated epigraphical publications which focus mainly only on the texts of the inscriptions. However, the study of objects bearing inscribed texts together with their inscriptions can yield information that challenges what we suppose we know about ancient Sparta.This article analyses a Late Archaic inscribed stele from Sparta, bearing a dedication to Karneios by Aiglatas for his athletic victories. The stele has been used as evidence for two scholarly claims: that athletic competitions were performed at the Karneia festival, and that Apollo Karneios was represented with ram's horns.Adopting a holistic approach and a comparative methodology, the present study shows that these two modern claims are without foundation. By means of autopsy and comparative analysis, this work proposes a new reading of the inscription and a novel interpretation of Aiglatas’ dedication in its cultural context. In addition, this study does not confirm the existence of gymnastic contests at the Karneia, as claimed by earlier scholars; it argues instead that a torch race may have taken place before sacrifices at the festival. Finally, it is argued that there is no evidence that Apollo Karneios was represented with the ram's horns, which opens up new possibilities for understanding the deity and his religious value within Spartan society.

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Back to black: a mineralogical and chemical characterisation of Atticising fourth century BCE black gloss ware

Solard

Aloupi-Siotis²,

Heinze

et al. 2023

Archaeol Anthropol Sci

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Most previous studies on Attic black gloss technology focused on productions from Greece, especially Athens. However, the black gloss technique constitutes the most widespread decoration practice across the Mediterranean from the Archaic to the Hellenistic periods. Focusing on both Attic and Atticising black gloss productions from sites in Sicily and Asia Minor, our work aims to shed new light on the technology of this decoration and its transmission throughout the Mediterranean during the fourth century BCE. Additionally, to investigate the technological relationship between black and the less common intentional red gloss decorations, a selection of bichrome black-and-red and red gloss vessels were included in this study. For this purpose, we applied an integrated analytical approach, aiming to characterise both the chemistry and the mineralogy of archaeological black and red gloss decorations. This approach includes ceramic petrography, pXRF, µ-XRD2, and SEM-EDS. Specimens from the fourth century BCE from Manfria (chora of Gela), Iasos (Caria), and Priene (Ionia) were analysed. These assemblages reflect various production groups identified by the chemical and petrographic analyses of the ceramic bodies. The µ-XRD2 and SEM-EDS measurements of the gloss show a certain degree of mineralogical and chemical variability that does not necessarily correlate with the recognised production groups but, rather, reflects different technological practices. Despite this variability, the results suggest that the various gloss productions were produced with a very similar technological process and offer new insights into the mechanisms through which the black gloss technique diffused throughout the Mediterranean.

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Laconian Pottery

Cited by 8 publications

References 18 publications

The Arcesilas Cup in Context: Greek Interactions With Late Period Funerary Art

The Arcesilas Cup in Context: Greek Interactions With Late Period Funerary Art

The Votive of Aiglatas, Spartan Runner. Old Evidence, New Knowledge

Back to black: a mineralogical and chemical characterisation of Atticising fourth century BCE black gloss ware

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