Three Centuries of Hellenistic Terracottas

Thompson, Dorothy Burr

doi:10.2307/146782

Cited by 33 publications

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“…Roman innovation in this area also led to changes in water provision to meet the demands for everything from baths and decorative fountains to creative sources of entertainment and the furnishing of private houses [144][145][146][147][148][149][150][151][152].…”

Section: Northern Jordan From the Roman Through Early Islamic Periodsmentioning

confidence: 99%

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Untitled

2019

OAJAA

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The Greeks were the first to use the basic water supply elements collectively to serve the needs of the entire urban community, including obvious display and aesthetic uses. They were also the first to divide water into the three categories of potable, sub-potable and non-potable on the basis of source and use [1]. The Greeks preferred to obtain potable water, that is., drinking and cooking water, from a flowing source such as a spring or fountain. This accounted for less than six percent of their total water supply [1].Cisterns primarily supplied water for the sub-potable category. It is interesting that the Greeks also generally reused their water [1], what is today referred to as grey water. Non-potable wastewater, runoff, was used for irrigation, baths and sacrificial basins [1].

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Section: Northern Jordan From the Roman Through Early Islamic Periodsmentioning

confidence: 99%

“…Cisterns from this period were usually bottle or flask-shaped, a design developed over time to keep the water at greater deeps, allowing for less evaporation and cooler temperature. Most cisterns were also plaster-lined to help waterproof the cavity [33,34].…”

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2019

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“…In particular, it is in the 'Crouching Aphrodite', a third-century BC Hellenistic prototype that was widely copied, imitated and adapted in Roman art, that we can detect the most striking exhibition of voluptuous fat. 39 See Thompson (1954: especially 90-1, plate 21). 2).…”

Section: Fertilitymentioning

confidence: 99%

Obesity, Corpulence and Emaciation in Roman Art

Bradley¹

2011

Pap. Br. Sch. Rome

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This article explores the significance of sculptural and painted representations of 'overweight' and 'underweight' body types in the visual culture of Roman Italy from the fourth century BC through to the late Empire, and considers the relationship of this imagery to Greek and Hellenistic precedents. In spite of the topical character of fat in 21st-century sociology, anthropology and medical science, obesity and emaciation in the ancient world remain almost completely unexplored. This article sets out to examine the relationship of fat and thin bodies to power, wealth, character and behaviour, and seeks to identify patterns and continuities in the iconography of fleshiness and slenderness across a stretch of several hundred years. Such bodies could be evaluated in a number of different ways, and this article exposes the diverseand sometimes contradictoryresponses to body fat in the art and culture of the Roman world. It first examines the significance of obesity and emaciation in language, literature and medicine, and then discusses visual representations under three headings: 'Fertility'; 'The marginal and the ridiculous', examining the relationship between body fat, humour and figures at the edge of civilized society; and 'Portraits', exploring fat and thin in the portraiture of real-life individuals in the realms of philosophy, Hellenistic rulership, Etruscan funerary art and Roman public sculpture.L'articolo esplora il significato delle rappresentazioni scultoree e pittoriche dei tipi di corpi 'sovrappeso' e 'sottopeso' nella cultura figurative dell'Italia romana dal IV secolo a.C. fino al Tardo Impero e considera la relazione di questo immaginario con i precedenti greci ed ellenistici. A differenza del carattere topico del grasso nella sociologia, antropologia e scienza medica del XXI secolo, l'obesità e la magrezza nel mondo antico rimangono argomenti quasi del tutto inesplorati. L'articolo si propone di esaminare il rapporto del corpo grasso e magro con il potere, la ricchezza, il carattere e il comportamento, e cerca di identificare i modelli e le continuità nell'iconografia della grassezza e della magrezza attraverso un arco cronologico di vari centinaia di anni. Simili corpi potrebbero essere valutati attraverso varie strade e questo articolo espone le diversee a volte contradditorierisposte al corpo grasso nell'arte e nella cultura del mondo romano. Prima si esamina il significato dell'obesità e magrezza nel linguaggio, letteratura e medicina, e poi si discuta le rappresentazioni visuali sotto tre aspetti: 'la fertilità'; 'il marginale e il ridicolo', esaminando la 1 This article represents one small part of a long-term project on foul bodies in the history, literature and art of ancient Rome. I owe a large debt of thanks to many individuals for suggesting approaches to this topic, identifying appropriate material and shaping my arguments: ; the Editor and two anonymous readers of Papers of the British School at Rome; audiences at Cambridge and Nottingham; as well as all the perceptive comments on my p...

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“…71 D.B. Thompson ([1954] 87-88) explains that the cistern contained two unfinished marble statues (S 195, S 201). A small marble (ST 770) disk was found above the earliest floor of room 7 {Notebook KXXVI 5151).…”

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“…This combination of commercial and domestic functions in one building is a feature of many private structures excavated about the agora (H.A. Thompson [1954] 51).…”

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Fool's Gold and Silver: Reflections on the Evidentiary Status of Finely Painted Attic Pottery

Pritchard

1999

Antichthon

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The imagery of black and red figure pottery continues to be a valuable source of information for the social and ideological history of ancient Athens. These images have traditionally provided historians with insights into material culture, religion and daily life activities, and increasingly, in large part due to francophone archaeologists like François Lissarrague, they are also being employed as detailed evidence of the conceptual world of archaic and classical Athenians. It is striking though that in spite of the clear evidentiary value of finely painted Attic pottery, almost no sustained scholarly attention has been paid to the critical issue of whose lifestyle and ideological point of view were replicated in images by Athenian pottery painters. In light of this lacuna the recent research project of David Gill and Michael Vickers to isolate more exactly the status of red and black figure pots in Attic society would appear to be most promising. Their findings end up challenging two widely held but never fully substantiated articles of faith of classical archaeology, namely that this type of pottery was used extensively and valued highly by the Athenian elite, and that these ‘vases’ were an important and privileged medium for the development of Greek art. Gill and Vickers seek to demonstrate that the homes of upper class Athenians were crammed full of precious metal vessels and had no place for mere painted pots. They maintain instead that such fictile pieces were inexpensive, and slavishly imitated the shapes, colours and even imagery of the vastly more valuable vessels made of gold and silver. Consequently, Gill and Vickers argue that Attic finely painted pottery was entirely dependent on the artistry and inventiveness of the designers and smiths of precious metallic pieces.

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Three Centuries of Hellenistic Terracottas

Cited by 33 publications

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Obesity, Corpulence and Emaciation in Roman Art

Fool's Gold and Silver: Reflections on the Evidentiary Status of Finely Painted Attic Pottery

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