The Potters' Quarter the Pottery

Stillwell, Agnes Newhall; Benson, J. L.; Boegehold, Alan L.; Boulter, Cedric G.

doi:10.2307/4390695

Cited by 19 publications

(11 citation statements)

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“…Use of added white and purple. It can hardly be earlier than Middle Corinthian (595/590–570 bc ) (Stillwell and Benson 1984, pl. 53). Uncertain example.…”

Section: Catalogue Of Objectsmentioning

confidence: 99%

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Vase ‘Nam 14177’ in the National Archaeological Museum, Athens and the Group of ‘Upside-Down’ Painted Vases

Zosi

2014

Annu. Br. Sch. Athens

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A thorough examination of a vase (inventory no. NAM 14177) kept in the storerooms of the National Archaeological Museum in Athens leads to different conclusions from those reached in its original publication. The shape is that of an early type of aryballos dated to the Middle Protocorinthian period (690–670bc). It bears a puzzling decoration of ships and standing figures with upraised arms on the body, and the same decoration on the shoulder where, however, it is upside-down. This article attempts to collect together and discuss vases that have been decorated in this manner. The majority of them are kotylai, and their chronology fits into the period between Early Protocorinthian and Middle Corinthian, although the majority of them are dated to the Protocorinthian period.

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“…Use of added white and purple. It can hardly be earlier than Middle Corinthian (595/590–570 bc ) (Stillwell and Benson 1984, pl. 53). Uncertain example.…”

Section: Catalogue Of Objectsmentioning

confidence: 99%

“…1412. The clay and the decoration appear to be Geometric, but it is not clear whether the upside-down incised bird was done in the Geometric period or later (Stillwell and Benson 1984, pl. 59).…”

Section: Catalogue Of Objectsmentioning

confidence: 99%

Vase ‘Nam 14177’ in the National Archaeological Museum, Athens and the Group of ‘Upside-Down’ Painted Vases

Zosi

2014

Annu. Br. Sch. Athens

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“…7,8 & 10). Many design types are not found at Corinth (Benson 1984;Stillwell & Benson 1984; note also the earlier Thapsos class of vases: Bosana-Kourou 1983). Analysis of the pattern of deposition of pots in the sample studied revealed that the only statistically significant difference in consumption of different designs is between Corinth and elsewhere (Shanks 1992a, ch.…”

Section: Lifestylementioning

confidence: 99%

Art and an Archaeology of Embodiment: Some Aspects of Archaic Greece

Shanks¹

1995

CAJ

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This article seeks to gain an understanding of distinctive changes in certain artefacts produced in Corinth in the late eighth and seventh centuries BC. The focus is the development of figurative imagery on miniature ceramic vessels (many of them perfume jars) which travelled from Corinth particularly to sanctuaries and cemeteries in the wider Greek world. Connections, conceptual and material, are traced through the manufacture and iconography of some 2000 pots, through changing lifestyles, with juxtapositions of contemporary poetry from other parts of the Greek world. Aspects of embodiment are foregrounded in a discussion of stylization and drawing, the character of monstrosity (appearing in ceramic decoration), experiences of risk in battle, discipline and control. Techniques of the self (leading through the floral to wider lifestyles) also feature in this context, together with perfume, and the consumption or deposition of the pots in circumstances of contact with death and divinity. The argument is made that the articulation of an ideological field lay at the core of the changes of the early city states such as Corinth. The article is offered as a contribution to a contextual and interpretive archaeology. It attempts to develop concepts for dealing with power relations in an understanding of material culture production which foregrounds human agency and embodied experience.

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“…2 The Potters' Quarter at Corinth gives a better idea than other sites of this aspect, but there are no kilns there, and we do not know how typical the Potters' Quarter was -there were other areas of production at Corinth. 3 A workshop find such as that of the Jena Painter in Athens has given only a little help. 4 Literary references are sparse, more helpful are the representations on vases, but these are few and limited in the information they provide.…”

Section: Shopsmentioning

confidence: 99%

V. Shops and Shapes

1991

New Surveys in the Classics

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Admiration for the quality and appearance of Greek pottery, and interest in the subject matter of the figured scenes, have until recently tended to draw attention away from other aspects of the study. In reaction to what is seen as an overemphasis on attribution, both of painters and of potters, one approach which has been adopted is to consider the organization of the shops which produced the pottery, to see the pottery in its sociological context. Talk of ‘pupils’, ‘masters’, ‘influence’ etc. presupposes that we know the arrangements under which the potters and painters worked, but hard facts are few.There is evidence from excavated kilns, but the workshops which lay nearby and their spatial organization are less well known. The Potters’ Quarter at Corinth gives a better idea than other sites of this aspect, but there are no kilns there, and we do not know how typical the Potters’ Quarter was - there were other areas of production at Corinth.

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The Potters' Quarter the Pottery

Cited by 19 publications

References 0 publications

Vase ‘Nam 14177’ in the National Archaeological Museum, Athens and the Group of ‘Upside-Down’ Painted Vases

Vase ‘Nam 14177’ in the National Archaeological Museum, Athens and the Group of ‘Upside-Down’ Painted Vases

Art and an Archaeology of Embodiment: Some Aspects of Archaic Greece

V. Shops and Shapes

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