Red-figure Pottery Research Articles

Investigations of black and red figure pottery shards and local clay, excavated at Ainos (Enez-Turkey), by multiple analytical techniques

Mineralogical compositions as well as firing conditions of black and red figure pottery shards, belonging to 4th-6th century BC, excavated at the archeological site Ainos (Enez-Turkey), were investigated using Fourier Transform Infrared (FT-IR), micro-Raman, and X-Ray Powder Diffraction (XRPD) techniques. Raw clay, obtained from a clay bed, that was unearthed during the archeological excavations at the same site, was also analyzed for comparison. To determine the firing temperature of the pottery shards, ceramic tablets were prepared from this raw clay sample (in three different firing temperatures: 650, 700 and 900 °C) and analyzed. The results allowed us to identify the mineral composition and to discuss the firing conditions. Chemometric analysis on the IR data was performed for revealing the distinct groups.

МАСТЕРСКАЯ МАСТЕРА ЙЕНЫ: НОВЫЕ МАТЕРИАЛЫ

The article analyzes three fragments of Attic red-figure pottery found during the excavations of the ancient Panticapaeum by the Bosporan Archaeological Expedition of the State Pushkin Museum of Fine Arts in 2021. One is the cup bottom on the low ring base showing a young man and a satyr in a tondo. The stylistic and compositional features allow us to attribute it to the Jena Painter, who was active between 400 and 380 BC. The second fragment belongs to a cup of a similar type: the image of two young men walking, one after the other is partially preserved in tondo; and the legs of two naked young men have survived on one of the outer sides. The painting of the tondo was most likely done by an anonymous painter of style B, and the decoration of the outer sides by the Q Painter. Finally, the third fragment is part of the cupskyphos, with two draped youths by the Painter of Kiel B 599. All three vessels were made in the same workshop, headed by the Jena Painter.

Exploring the raw materials and technological practice to obtain red and black surfaces of Apulian red figure pottery by Raman and SEM‐EDS investigations

AbstractIn this paper, 4th century BC Apulian red vases, from sites among the most relevant in Apulia (Italy), are studied by means of Raman spectroscopy. The effectiveness of this technique in the archaeometric research is emphasized, particularly regarding the manufacturing procedures and raw materials of black and red surfaces. Scanning Electron Microscopy and Energy Dispersive X‐ray Spectroscopy (SEM‐EDS) analyses are carried out jointly with Raman spectroscopy in order to complete the morphological and chemical information. The results show that two different clays have been employed for black gloss and ceramic body. The black gloss proves composed of the finest fraction of terre rosse—very common all over Apulia—with no organic material added to its clayey suspension. Traces of carbon found on the surfaces can be ascribed to fly ash deposited during the firing process. This research highlights that two more methods besides red engobe were used by Apulian potters to color red the surface of whitish/grayish vases realized with local raw materials, namely, the addition of either “miltos” or a clayey layer enriched in Fe oxides. A multi‐step firing (ox‐red‐ox), reaching the maximum temperature of about 900°C, can be deduced from the different mineralogical phases identified through Raman. The possibility of gaining information on the hematite particles size from the position of its characteristic Raman bands is successfully investigated, allowing to get clues on the presence of a surface layer in a nondestructive manner by comparing the particle size there and in the ceramic body.

The Distinctive Role of Chemical Composition in Archaeometry. The Case of Apulian Red Figure Pottery

Correlation of the scientific approach to the archaeological investigation and vice versa is considered, for at least the past 30 years, as the best strategy to answer questions in cultural heritage. Many archaeological queries have merged archaeological and scientific studies and have been carried out with a multidisciplinary approach that uses complementary analytical techniques. Here, we focused our efforts on outlining the strong relevance of elemental composition in chemistry and mineralogical investigations to answer important archaeological questions in the case of Apulian red figure pottery. This ceramic class is the most important quantitative handcraft production group of figured pottery in Magna Grecia and the most widespread and commercialized production from the third quarter of the fifth century to the end of the next century. The results obtained indicate that, by exploring chemical elements in the ceramic mixture, it is possible to extract information about provenance, manufacturing processes, originality and restoration techniques.

Book Review of The Regional Production of Red-Figure Pottery: Greece, Magna Graecia and Etruria, edited by Stine Schierup and Victoria Sabetai

Book Review of The Regional Production of Red-Figure Pottery: Greece, Magna Graecia and Etruria, edited by Stine Schierup and Victoria Sabetai

Building a step by step result in archaeometry. Raw materials, provenance and production technology of Apulian Red Figure pottery

Building a step by step result in archaeometry. Raw materials, provenance and production technology of Apulian Red Figure pottery

Archaeometry of ceramic materials

Abstract Ceramics are among the most studied findings, one of the best markers for providing technological and functional information in archaeological contexts. Their chemical-mineralogical characterization allows to answer a large number of historical-archaeological questions about classification, provenance, production technologies, trade routes, economic exchange, etc. The best methodological approach not only integrates morphological-stylistic studies to the archaeometric ones, but also includes a synergic instrumental strategy aimed both to take advantage of each different analytical technique to the best of its potentiality and to over step the problems connected to the preciousness and uniqueness of the objects. As far as the mineralogical and petrographical composition of preindustrial ceramics is concerned, its determination is crucial to answer provenance and technological issues like raw materials procurement and the production processes in this respect, equivalent firing temperature, redox atmosphere during firing are important factors that help in understanding the relevant mineralogical and micro-structural transformations. In this paper, we illustrate how an integrated approach of analytical techniques, tested on different classes of ceramics – pottery with spathic calcite, Apulian red figure pottery and technical ceramics – can provide answers to archaeological questions.

ОСНОВНІ ВІДОМОСТІ ПРО ДАВНЬОЕЛЛІНСЬКІ ФІМІАТЕРІЇ ТА ЇХ ПРИЗНАЧЕННЯ

The paper looks at the ancient Greek thymiateria and aims at finding data in literary, epigraphic and visual sources that would cast light on the use of thymiateria in private and public rituals of the VIІ th century BC – IVth century AD. Systematic collection of data and its comparative historical analysis were in the core of the methodology. Among the main methods of analysing the collected sources, one should mention empirical, analytical, structural-typological and iconographical methods. A thymiaterion (an incense burner) is firstly mentioned in the Vth century BC in Herodotus’ Historia. In centuries to come, the panhellenic name of thymiaterion would dominate and enter to Roman and Germanic languages. This device was used solely with fire, charcoal or heated pebbles to burn aromatic compounds, incense and aromatic plants and flowers in particular. Thymiateria didn’t have any fixed shapes or sizes. In narrative sources, they were also named bomiskos, libanotis (libanotris), escharis, tripodiskos etc. In this paper, I examine the basic constructive elements of thymiateria. As visual sources and lyric poetry suggest, they were used in the archaic period. The earliest instance of the use of thymiateria in the ritual practice date late to the VIth century BC in the Phanagoria of the Bosporus. The thymiateria is depicted on mostly in mythological scenes on the Athenian red-figure pottery late of the Vth – IVth centuries BC found in Panticapaeum and in the surrounding area. The Greek iconography of mythological scenes on the vases was clear for the locals. The majority of visual, numismatics and epigraphic sources that reveal the use of thymiateria on the Bosporus are dating to the IVth–ІІth centuries BC, when they were spread in Hellenistic Greece and, especially in sanctuaries of Delos. Although aroma was an essential part of thymiateria culture, only Orphic Hymns cast light on the use of particular incenses (in pure form or in compound) for each gods or heroes. One important question persists: which aromas were burnt in thymiateria and from which countries were they brought to Greece? From literary sources, we know that plant-based aromas, namely incense and myrrh were brought from South Arabia and Syria. Thymiateria were used during rituals in sanctuaries and temples, during religious processions, funerals, symposiums and wedding that were accompanied by aromatic smoke. The present essay should be regarded as a starting point for the further in-depth study of thymiateria from the Northern Black sea region and Olbia in particular.

The hand gesture and symbols of Sabazios

The material evidence left from the cult of Sabazios is meagre, apart from sculpted bronze hands dating to the Roman Empire. The hand is held in a certain pose, the so-called benedictio Latina gesture, and the hand was often covered with depictions of various objects and symbols. The bronze hands were probably attached to staffs and carried around in processions. This practice most likely spread via the channels of the Roman army during the Early Imperial period, but the gesture existed much earlier. The gesture is found on Attic black- and red-figured pottery, and is frequently associated with Hermes in his role as instructor and Psychopompos. From the beginning of the Hellenistic period the gesture was mainly used as an indication of speech, and for knowledge transmitted through speech. There are several examples of how the gesture was used to indicate the knowledge revealed through the initiations of mystery cults. Hermes is closely associated with Sabazios and is represented on the bronze hands, probably because of his role as instructor and Psychopompos; i.e. the position played by the mystagogue in the Sabazian mysteries. The gesture of the hands simply denoted the knowledge acquired through the initiation. The symbols on the hands are often associated with the Underworld, and it is suggested that knowledge acquired in the Sabazian mysteries dealt with life after death and the Underworld.

The Athenian Red-Figure Pottery Found in Nikonion During Excavations of 2007-2012

The article discusses fragments of the Athenian red-figure pottery discovered during excavations in Nikonion, an ancient Greek colony founded on the northern coast of the Black Sea, at the end of the 6th century BC. The collection of Athenian pottery finds at this site is very diverse in terms of technique, style and phase of production. In a short introduction to the article the state of research on the finds of Athenian red–figure pottery from the site is presented, but the main focus is on the findings of the Ukrainian-Polish team of archaeologists who conducted joint excavations at the site in the years 2007–2012. The described fragments of vessels, except for one item, come from the same archaeological context – a residential building discovered in the north-western part of the site dating back to the end of the 5th century – the first half of the 4th century BC. One vessel fragment comes from an earlier phase of the city development dated preliminarily to the second half of the 5th century BC.

The Wolfish Lover: The Dog as a Comic Metaphor in Homoerotic Symposium Pottery

This paper examines the image of the pet dog on Greek red-figure pottery from the late archaic and early classical periods. At least half of the representations depict the dogs accompanying boys and men in the gymnasium, often in homoerotic scenarios. The article suggests that rather than being ancillary figures, contributing to a sense of realism in the background setting, the dogs themselves are visual metaphors for the erastes, adding an element of humor and tension to the scenes. In the absence of a depiction of an erastes, a dog may be shown as a comic metonymic stand-in for the pursuing lover. These images are varied and multi-layered, with polyvalent meanings. Considering the representations of dogs within the context of the humorously and erotically charged symposium helps us to understand the function and meaning of the dog as a visual joke referring to the comically aggressive or foolish erastes.

AİNOS (ENEZ)’ TAN ELE GEÇEN KIRMIZI FİGÜRLÜ KERAMİKLER: GEÇ ARKAİK DÖNEM’DEN MÖ 5. YÜZYIL SONUNA KADAR TARİHLENEN BULUNTULAR

The main subject of this article is red-figure pottery from Ainos (Enez) in eastern Thrace from the late 6th century to the late 5th century BC. The material comes from the fill layers of the necropolis and a limited number of grave contexts as well as from the ancient acropolis, which is known today as the Medieval Castle. Ainos was a member of the Delian League and an ally of Athens in the 5th century BC. Available finds indicate that Athenian red figure pottery was being imported throughout the 5th century BC. The identified painters, shapes and subjects on the vases show parallelism with Athens. Calyx and bell crater, skyphos and cups are the most represented shapes. The earliest red figure pottery can be attributed to the Pioneer Group. However, the finds from the timespan between 500 to 480 BC constitute 4% of all the sherds. Available finds indicate that red figure and black figure pottery were in use simultaneously until the middle of the 5th century BC. In the second half of the 5th century, red figure shows an obvious increase. In contrast to some settlements in western Asia Minor, Ainos continued to import Athenian red figure pottery through the course of the 5th and 4th centuries BC. The city’s location on important trade routes between the North Aegean and the Black Sea and its large hinterland must have contributed to this situation. A remarkable increase in the quantity of red figure pottery in Ainos can be detected at the end of the 5th century BC in parallel with the trade boom between the Black Sea ports and Athens. Among the various subjects depicted on the vases, Dionysos and related scenes are popular from the beginning until the end of the 5th century BC. Also, scenes from women’s daily life, komos, soldiers’ farewells and sacrificial offerings are identified. Context graves in limited availability give us information about the intended purpose of the red figure pottery in Ainos. Accordingly, pelikai and hydriai were used as urns for cremation graves and lekythoi were used as grave goods. Although the examples of local productions in black figure technique from the late 6th and 5th century BC were identified in Ainos, available examples of red figure pottery from this period show the features of the Athenian clay, glaze and the painting style. The finds, which differ from Athenian imports, can be classified as belonging to the 4th century BC. On the other hand, the earliest examples of the local red figure pottery in Mainland Greece can be traced to the second half of the 5th century BC.

Red-figure vases from Durres – A reflection of a local culture?

Epidamnos/Dyrrhachion was one of the most important Greek colonies in the territory of modern Albania and in its necropolis a lot of red-figure ceramics was found. Many of these objects were very probably produced locally. The methods and style of the decoration of these ceramics was inspired by the South Italian production, however they have some specific characteristics: small size, limited iconography, and often low quality of execution. Many of them are decorated with the images of women, some as part of Dionysiac scenes, and some in everyday situations. I conduct a visual analysis of these images and vessels, asking the question whether or not they reflect the local culture and possible Illyrian influences. I especially focus on the question why these vases were interesting for the local consumer. The result of my inquiry is that pottery from Epidamnos does not reveal images of local costumes, nor new iconography. On the other hand, the frequent appearance of female figures, or scenes of nude athletes with women, can be interpreted as reflecting local ideology. The repetitiveness of the images speaks about an increased demand on the side of the consumers, which points to the significance of Illyrian population in the economic and social life of the coastal city. I suggest that use of red-figure pottery in funeral rituals was considered an expression of identity and status of middle class citizens of Epidamnos.

An archaeometric approach to gain knowledge on technology and provenance of Apulian red-figured pottery from Taranto

A large sampling of Apulian red-figured pottery fragments (fifth to fourth century BC) coming from Taranto (Italy) was analyzed by a multi-technique approach. The ceramic bodies’ elemental composition has been obtained by inductively coupled plasma mass spectrometry (ICP-MS), the mineralogical composition of pastes by polarized-light optical and electron microscopies (OM and SEM-EDS), and X-ray powder diffraction (PXRD). The results obtained from the statistical treatment of compositional data, combined with those driven from mineralogical composition of pastes, allow to formulate hypotheses about the provenance of the objects and the manufacturing tradition of the workshops, starting to make it possible to understand the relationships among ceramic technology, artistic expression, and workshop practice in the samples analyzed.

The Regional Production of Red-figure Pottery: Greece, Magna Graecia, and Etruria

The Regional Production of Red-figure Pottery: Greece, Magna Graecia, and Etruria

More than just pretty pictures: red-figure pottery production beyond Athens

Red-figure pottery first achieved prominence in the modern world through antiquarianism and the collection of souvenirs on the Grand Tour. This fundamentally shaped the scholarship of this class of pottery. Vases were valued for their completeness, their iconography—scenes depicting Greek myth and literature being particularly prized—and their aesthetic qualities. Famous private collections were formed, many of which subsequently entered the world's great museums. Less value was placed upon the vessels as archaeological objects. The contexts in which they were found, their associations with other objects and their roles in ancient society were given little consideration. The pursuit of intact vases led to a focus on cemeteries, and many discoveries were, and indeed continue to be, the result of looting. Thus, most museum collections are dominated by vessels without proper provenance. Moreover, collections are skewed towards funerary and, to a lesser extent, sanctuary evidence, and away from material used in domestic contexts. The importance of iconography and aesthetics means that museums tend to display the most varied and beautiful vessels, ignoring much of the output of ancient workshops.

CVA – NICHOLSON MUSEUM 2 - M. Turner, A. Cambitoglou Corpus Vasorum Antiquorum. The Nicholson Museum, The University of Sydney. Red Figure and Over-painted Pottery of South Italy. The Nicholson Museum Fascicule 2. Pp. 111, b/w & colour ills, pls. Sydney: The Nicholson Museum, The University of Sydney, 2014. Cased, AUD$100. ISBN: 978-1-74210-329-7.

<i>CVA</i> – NICHOLSON MUSEUM 2 - M. Turner, A. Cambitoglou Corpus Vasorum Antiquorum. The Nicholson Museum, The University of Sydney. Red Figure and Over-painted Pottery of South Italy. The Nicholson Museum Fascicule 2. Pp. 111, b/w &amp; colour ills, pls. Sydney: The Nicholson Museum, The University of Sydney, 2014. Cased, AUD$100. ISBN: 978-1-74210-329-7.

Provenance of Red-Figure Pottery of the Classical Period Excavated at Olympia

Neutron activation analysis (NAA) has been applied to a set of red-figure pottery fragments excavated in Olympia, in Elis: (a) to determine the provenance of these vases, since this is difficult by archaeological means, and the vessels might be local Elean or Attic, Corinthian or Italian products; and (b) to determine the characteristic elemental pattern of the clay paste prepared by the potters of this Elean region. Included for comparison are several Corinthian sherds excavated in Kyme, Italy, that are archaeologically classified as exports from Corinthia to Italy, and fragments of local Italian Corinthian imitations. The majority of the red-figure vases were made locally in the north-western Peloponnese and show the elemental pattern termed OlyA, which is represented in many vases and clay samples from this region that were known previously. It is not very different from the well-known pattern of the north-eastern Peloponnese (Argolid/Corinth) termed MYBE (Mycenae/Berbati), but can be separated by its lower Cs, Rb and K concentrations, as proven by many sherds from the Argolid and wasters from Berbati. Only a few red-figure vessels are imports from Attica, but none come from Italy.

DISCOVERING MACEDONIAN RED-FIGURE POTTERY: A NEW PELIKE ATTRIBUTED TO THE PELLA WORKSHOP

The question of the appearance, operating conditions and diffusion of the products of local red-figure pottery workshops in the fourth centurybc, in conjunction with the spread of Attic red-figure ware and its influence on local potteries, has been a focus of research in recent years. The result has been the recognition of a number of local workshops all across Greece, including those of Chalcidice, Boeotia, Euboea, Corinth, Elis, Sparta, Crete and the Agrinion Group. This article examines a red-figure pelike made by a previously unknown local workshop that was very likely located in Pella, the capital of the Kingdom of Macedonia. This vessel was in storage in the Archaeological Museum of Thessaloniki and is one of the best-preserved examples from that Macedonian workshop. In shape and decoration it recalls Attic vases of the second half of the fourth centurybc, and particularly the work of Group G and the Amazon Painter. The pelike dates fromc.320bcand is attributed to the Pella B Painter.

APULIAN VASE-PAINTING BY NUMBERS: SOME THOUGHTS ON THE PRODUCTION OF VASES DEPICTING INDIGENOUS MEN

AbstractThis paper examines the place of vases depicting indigenous men in the wider context of Apulian red-figure pottery production. Through an analysis of 13,577 vases, it is shown that those depicting indigenous men were only ever a tiny part of the overall output. The overwhelming majority of surviving Apulian vases lack a proper archaeological provenance, but although this limits certainty, the evidence suggests that the vases in question were primarily used in Central Puglia. The iconography of the vessels shows indigenous men in a positive light, as successful warriors who participated in banqueting and religious rituals. The scenes all have direct parallels in the wider iconography of Apulian red-figure, where Greek men are shown engaged in a similar range of activities. The paper considers why this idealized representation of indigenous male lifestyles is so indebted to Greek culture and argues for the continued importance of local identities.