Three Centuries of Hellenistic Terracottas, I, B AND C

Thompson, Dorothy Burr

doi:10.2307/146725

Cited by 56 publications

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“…4a), which have been extensively established. [114][115][116][117] Unlike H 2 O 2 , the extremely reactive • OH could instantaneously invoke oxidative damage to biomolecules, e.g., proteins, lipids, and nucleic acids. [114][115][116][117] O 2…”

Section: Oxidative Damagementioning

confidence: 99%

Copper trafficking systems in cells: insights into coordination chemistry and toxicity

Han

2023

Dalton Trans.

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Section: Oxidative Damagementioning

confidence: 99%

Copper trafficking systems in cells: insights into coordination chemistry and toxicity

Han

2023

Dalton Trans.

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“…Miller (1974) identified the terracottas from Menon's Cistern in Athens as belonging to a sanctuary of Demeter. That was also due to the fact that Burr-Thompson had identified a nearby cistern (Demeter Cistern) as belonging to a sanctuary of Demeter (Burr-Thompson 1954, 87–107). In the same publication, Miller (1974, 216) tentatively suggested that the sanctuary of Pasikrata in Demetrias was really a Demeter sanctuary, because of the existence of the kausia boys, a suggestion which was later adopted by Batziou-Efstathiou (2010, 190).…”

Section: Interpretation Of the Kausia Boy Figurinesmentioning

confidence: 99%

The Kausia Boy Figurines From Demetrias: A Reassessment

Ieremias

2021

Annu. Br. Sch. Athens

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Demetrias has yielded the largest number of terracotta figurines of a popular iconographic type of the Hellenistic period: the ‘kausia boy’, shown standing, dressed in the chiton, chlamys, kausia and krepides. The rediscovery of the material from A.S. Arvanitopoulos’ excavations at Demetrias in the early twentieth century has provided an opportunity to reassess the significance of this iconographic type in the city and in the wider Hellenistic world. Combining and comparing the material from Arvanitopoulos’ excavations with that from other excavations in the city by the German Archaeological Institute and the Ephorate of Antiquities of Magnesia, it is now clear that the kausia boy figurines from Demetrias were discovered in various contexts, including sanctuaries, graves and the foundations of the royal palace (Anaktoron); the largest number was found in the sanctuary of Pasikrata. It has been possible to identify more than ten technical types, confirming the importance of these figures in the coroplastic production of the city. This paper also discusses the iconographic types of the ‘shepherds’, kausia-wearing boys holding the syrinx and the lagobolon, as well as the animal-carrying boys, since they too are wearing the same attire, and are mechanically related to the simple kausia boy types. The study of Demetrias’ specimens, combined with the study of the distribution of these iconographic types in the Hellenistic world and the relevant iconographic, literary and epigraphic evidence enable its reinterpretation.

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“…5th-century BC terracotta figurines of girls characterised as ‘dancing girls’ from Corinth and Athens often sport a polos (Davidson and Thompson 1943, 114–18; see also Nicholls 1995, 435–6). In the Hellenistic period, brides wore a type of crenelated polos that derived from the Hittite wall-crown worn by Cybele (Thompson 1954, 100; Müller 1915, 87–8, 466–551). On priestesses mimicking goddesses through their adornments: Connolly 2007, 104–15.…”

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CELEBRATING DEATH AT THE SANCTUARY OF ORTHIA: APROTHESISSCENE, THE IVORY CORPUS AND RITUAL LANDSCAPES IN THE ARCHAIC PERIOD

Daniels

2023

Annu. Br. Sch. Athens

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The corpus of carved ivories from the sanctuary of Orthia at Sparta forms one of the most cosmopolitan assemblages from Archaic Laconia. One image within this corpus, however, has remained an anomaly: a mirror-image scene on two plaques showing three figures mourning a deceased male in the prothesis ritual. The puzzling nature of these plaques rests on the dearth of imagery elsewhere in Laconia from this period displaying the prothesis, unlike Attica. These images have been viewed as representing a mythical death or a commemoration of an actual death, tied to a period in Sparta's history when elite groups claimed power through ostentatious ritual, but their overall meaning within Orthia's sanctuary remains obscure. I argue, however, that these plaques are not anomalies within the ivory corpus, nor are they divorced from the broader ritual programme in Orthia's sanctuary – rather, the ivory corpus itself represents a unified composition that merged scenes showing ideal activities for Spartan citizens with heroic episodes from myth, geared towards the achievement of everlasting kléos. The semantics of these combined iconographies are clarified via comparison with cultic implements described in ancient literature alongside extant examples of multi-scene figural pottery from the seventh and sixth centuries. This paper thus highlights the mythological and ideological meanings of the prothesis plaques within the broader ivory corpus, and elucidates the role of complex figural iconographies in the elaboration of heroic ideals centred on Spartan citizens in this period.

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Three Centuries of Hellenistic Terracottas, I, B AND C

Cited by 56 publications

References 0 publications

Copper trafficking systems in cells: insights into coordination chemistry and toxicity

Copper trafficking systems in cells: insights into coordination chemistry and toxicity

The Kausia Boy Figurines From Demetrias: A Reassessment

CELEBRATING DEATH AT THE SANCTUARY OF ORTHIA: APROTHESISSCENE, THE IVORY CORPUS AND RITUAL LANDSCAPES IN THE ARCHAIC PERIOD

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