|
Eye-cup
Eye-cup is the term describing a specific cup type in ancient Greek pottery, distinguished by pairs of eyes painted on the external surface. Description Classified as '' kylikes'' in terms of shape, eye-cups were especially widespread in Athens and Chalkis in the second half of the sixth century BC. The bowl of the eye-cup rests on a short squat foot; both sides are dominated by large painted pairs of eyes under arched eyebrows. The eyeballs are painted in silhouette style, later often filled with white paint or painted white on black. Some eyes are “female”, i.e. almond-shaped and without tear-ducts. Often, a stylized nose is placed centrally between the eyes. While used as a drinking vessel, due to the necessary inclination of the vessel, the cup with its painted eyes, the handles looking like ears and the base of the foot like a mouth, would have resembled a mask. Many of the vases also bear dionysiac imagery. The eyes are assumed to have served an apotropaic (evil-a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eye-cup Staatliche Antikensammlungen 589
Eye-cup is the term describing a specific cup type in ancient Greek pottery, distinguished by pairs of eyes painted on the external surface. Description Classified as '' kylikes'' in terms of shape, eye-cups were especially widespread in Athens and Chalkis in the second half of the sixth century BC. The bowl of the eye-cup rests on a short squat foot; both sides are dominated by large painted pairs of eyes under arched eyebrows. The eyeballs are painted in silhouette style, later often filled with white paint or painted white on black. Some eyes are “female”, i.e. almond-shaped and without tear-ducts. Often, a stylized nose is placed centrally between the eyes. While used as a drinking vessel, due to the necessary inclination of the vessel, the cup with its painted eyes, the handles looking like ears and the base of the foot like a mouth, would have resembled a mask. Many of the vases also bear dionysiac imagery. The eyes are assumed to have served an apotropaic (evil-a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lysippides Painter
The Lysippides Painter was an Attic vase painter in the black-figure style. He was active around 530 to 510 BC. His conventional name comes from a kalos inscription on a vase in the British Museum attributed to him; his real name is not known. Life and work His conventional name is derived from a ''kalos'' inscription on a neck amphora in the British Museum (B 211). He is considered the most significant pupil of Exekias, from whom he adopted not only his artistic style but also some important motifs, such as Ajax and Achilleus playing a board game. He also frequently painted scenes involving the hero Herakles. In total, about 30 known vases are ascribed to him. His collaboration with the Andokides Painter, usually considered the inventor of red-figure vase painting, is unusual. On seven bilingual vases, six belly amphorae and a cup (now in Palermo), he painted the red-figure side, while the Andokides Painter was responsible for the black-figure one. At times, the subjects ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bilingual Vase Painting
Bilingual vase painting is a special form of ancient Greek vase painting. The term, derived from linguistics, is essentially a metaphorical one; it describes vases that are painted both in the black-figure and in the red-figure techniques. It also describes the transitional period when black-figure was being gradually replaced in dominance by red-figure, basically the last quarter of the 6th and the very beginning of the 5th century BC. Their appearance may be due to the initial uncertainty of the market for the new red-figure style, although that style subsequently became dominant rather fast. History Bilingual vase painting was almost entirely restricted to belly amphorae of type B and to eye-cups. In some cases, either side of an amphora bore a depiction of the same motif, one in black-figure, the other in red-figure (e.g. on the belly amphora by the Andokides Painter, Munich 2301). Eye-cups usually feature a black-figure image on the interior, and red-figure motifs on the ex ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Apotropaic
Apotropaic magic (from Greek "to ward off") or protective magic is a type of magic intended to turn away harm or evil influences, as in deflecting misfortune or averting the evil eye. Apotropaic observances may also be practiced out of superstition or out of tradition, as in good luck charms (perhaps some token on a charm bracelet), amulets, or gestures such as crossed fingers or knocking on wood. Many different objects and charms were used for protection throughout history. Symbols and objects Ancient Egyptian Apotropaic magical rituals were practiced throughout the ancient Near East and ancient Egypt. Fearsome deities were invoked via ritual in order to protect individuals by warding away evil spirits. In ancient Egypt, these household rituals (performed in the home, not in state-run temples) were embodied by the deity who personified magic itself, Heka. The two gods most frequently invoked in these rituals were the hippopotamus-formed fertility goddess, Taweret, and the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Exekias Dionysos Staatliche Antikensammlungen 2044
Exekias ( grc, Ἐξηκίας, ''Exēkías'') was an ancient Pottery of Ancient Greece, Greek vase painter and potter who was active in Athens between roughly 545 BC and 530 BC. Exekias worked mainly in the black-figure pottery, black-figure technique, which involved the painting of scenes using a clay slip that fired to black, with details created through incision. Exekias is regarded by art historians as an artistic visionary whose masterful use of incision and psychologically sensitive compositions mark him as one of the greatest of all Attic vase painters. The Andokides painter and the Lysippides Painter are thought to have been students of Exekias. Background The works of Exekias are distinguished by their innovative compositions, precise draughtsmanship, and subtle psychological characterization, all of which transcend the inherent challenges of the black-figure technique. John Boardman (art historian), John Boardman, the eminent historian of Greek art, described Exe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Exekias
Exekias ( grc, Ἐξηκίας, ''Exēkías'') was an ancient Greek vase painter and potter who was active in Athens between roughly 545 BC and 530 BC. Exekias worked mainly in the black-figure technique, which involved the painting of scenes using a clay slip that fired to black, with details created through incision. Exekias is regarded by art historians as an artistic visionary whose masterful use of incision and psychologically sensitive compositions mark him as one of the greatest of all Attic vase painters. The Andokides painter and the Lysippides Painter are thought to have been students of Exekias. Background The works of Exekias are distinguished by their innovative compositions, precise draughtsmanship, and subtle psychological characterization, all of which transcend the inherent challenges of the black-figure technique. John Boardman, the eminent historian of Greek art, described Exekias' style as follows: "The hallmark of his style is a near statuesque dignit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Epiktetos
Epiktetos was an Attic vase painter in the early red-figure style. Besides Oltos, he was the most important painter of the Pioneer Group. He was active between 520 BC and 490 BC. His name translates as "newly acquired", which is most probably a reference to his slave status. Career At the beginning of his career, Epiktetos painted a chalice krater made by the potter Andokides, but later he turned to smaller vessels, such as cups and plates. Throughout his long career, he worked for a variety of potters, including Andokides, Hischylos and the Nikosthenes-Pamphaios workshop. Since he signed one plate as painter and potter, he may have carried out both functions at least for some of the time. That plate was a votive offering, dedicated on the Athenian Acropolis. On one kylix, he collaborated with the Euergides Painter. He appears to have been aware of his talent, as he signed more than half of the works ascribed to him. His first vases were bilingual eye-cups. The eight bi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lydos
Lydos (Greek: Λυδός, ''the Lydian'') was an Attic vase painter in the black-figure style. Active between about 560 and 540 BC, he was the main representative of the '’’Lydos Group’’’. His signature, ό Λυδός, ho Lydos ("the Lydian)", inscribed on two vases, is informative regarding the cultural background of the artist. Either he immigrated to Athens from the Lydian empire of King Kroisos, or he was born in Athens as the son of Lydian parents. In any case, he learned his trade in Athens. Style It is difficult to definitely recognise his work, since he was the centre and main artist of a highly productive Attic pottery workshop. For that reason, many vases are simply described as "in the style of Lydos". Several other individual artists within his circle can be identified, including the Painter of Vatican 309 and Painter of Louvre F 6. These works are quite homogeneous in style, but differ considerably in terms of quality. The style of Lydos strongly resem ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kylix (drinking Cup)
In the pottery of ancient Greece, a kylix ( , ; grc, κύλιξ, pl. κύλικες; also spelled cylix; pl.: kylikes , ) is the most common type of wine-drinking cup. It has a broad, relatively shallow, body raised on a stem from a foot and usually two horizontal handles disposed symmetrically. The main alternative wine-cup shape was the ''kantharos'', with a narrower and deeper cup and high vertical handles. The almost flat interior circle of the base of the cup, called the tondo, was generally the primary surface for painted decoration in the black-figure or red-figure pottery styles of the 6th and 5th century BC, and the outside was also often painted. As the representations would be covered with wine, the scenes would only be revealed in stages as the wine was drained. They were often designed with this in mind, with scenes created so that they would surprise or titillate the drinker as they were revealed. Etymology The word comes from the Greek ''kylix'' ("cup"), ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mastos Painter
The Mastos Painter ('' fl.'' mid-6th century BC) was a painter of ancient Greek vases. He is named for a black-figure '' mastos'' used by the art historian John Boardman to illustrate the type, which is shaped like a woman's breast (Greek ''mastos''). Works The Mastos Painter belonged to the circle of the Lysippides Painter. The work for which he was named depicts Dionysus, two horse-legged satyrs or silens, and Hermes as they "gaze admiringly" at Ariadne holding the infant Oinopion, her child with Dionysus. This "gentle kind of narrative" is characteristic also of the Antimenes Painter, the mature work of the Andokides Painter, and Oltos and Epiktetos around 515 BC. Although the painter takes his name from his exemplary ''mastos'', he also produced work on other vase types. On a belly amphora executed around 525 BC, he depicts an ivy-bearing Dionysus bringing his mother Semele from the underworld; the god looks back at her as she climbs into a chariot drawn by the magnifi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nikosthenes
Nikosthenes was a potter of Greek black- and red-figure pottery in the time window 550–510 BC. He signed as the potter on over 120 black-figure vases, but only nine red-figure. Most of his vases were painted by someone else, called Painter N (for Nikosthenes). Beazley considers the painting "slovenly and dissolute;" that is, not of high quality. In addition, he is thought to have worked with the painters Anakles, Oltos, Lydos and Epiktetos. Six's technique is believed to have been invented in Nikosthenes' workshop, possibly by Nikosthenes himself, around 530 BC. He is considered transitional between black-figure and red-figure pottery. The pottery workshop Nikosthenes was the owner of a workshop in Athens in the latter part of the 6th century BC. On the theory that the number of signed works reflects the number of total works, the high number of signatures referring to Nikosthenes suggests that he had one of the largest if not the largest manufacturing center in Athens. He ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
.jpg "Click for more on -> Kylix (drinking Cup)")
