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Combines multiple theoretical perspectives and diverse media to examine the relation between music and memory in ancient Greece and Rome.
Athenian Potters and Painters III presents a rich mass of new material on Greek vases, including finds from excavations at the Kerameikos in Athens and Despotiko in the Cyclades. Some contributions focus on painters or workshops – Paseas, the Robinson Group, and the structure of the figured pottery industry in Athens; others on vase forms – plates, phialai, cups, and the change in shapes at the end of the sixth century BC. Context, trade, kalos inscriptions, reception, the fabrication of inscribed painters’ names to create a fictitious biography, and the reconstruction of the contents of an Etruscan tomb are also explored. The iconography and iconology of various types of figured scenes on Attic pottery serve as the subject of a wide range of papers – chariots, dogs, baskets, heads, departures, an Amazonomachy, Menelaus and Helen, red-figure komasts, symposia, and scenes of pursuit. Among the special vases presented are a black spotlight stamnos and a column krater by the Suessula Painter. Athenian Potters and Painters III, the proceedings of an international conference held at the College of William and Mary in Virginia in 2012, will, like the previous two volumes, become a standard reference work in the study of Greek pottery.
The Attic white lekythoi, funerary vases long appreciated for their beautiful polychrome images, evoke the style of lost classical wall and mural paintings. This richly illustrated volume closely examines the four major types of scenes: domestic pictures; the mythological conductors of the soul; the prothesis (wake); and visits to the grave. John Oakley analyzes these pictures in context, documenting relationships between the "rites of passage," Athenian history, and the changing perceptions of death in fifth-century Athens.
It has often been thought that participation in fertility rituals was women's most important religious activity in classical Greece. Matthew Dillon's wide-ranging study makes it clear that women engaged in numerous other rites and cults, and that their role in Greek religion was actually more important than that of men. Women invoked the gods' help in becoming pregnant, venerated the god of wine, worshipped new and exotic deities, used magic for both erotic and pain-relieving purposes, and far more besides. Clear and comprehensive, this volume challenges many stereotypes of Greek women and offers unexpected insights into their experience of religion. With more than fifty illustrations, and translated extracts from contemporary texts, this is an essential resource for the study of women and religion in classical Greece.
This volume presents the proceedings of the second Athenian Potters and Painters conference, which was held at the American School of Classical Studies, Athens 2007. Together with the 1994 conference (Volume I, Oxbow 1997), these are the first of their kind - focusing purely on Athenian pottery and addressing key aspects of its study. The thirty-two papers contained here are the result not only of a large amount of new material but also the dynamic appearance of a younger generation of scholars dealing with the subject. Subject areas range from the study of the potters and painters themselves, to shape, subject matter, chronology, export, excavation pottery, context, and the influence of Athenian vases on pottery from other regions of the Mediterranean and vice versa. Three papers in Greek.
Here Sian Lewis considers the full range of female existence in classical Greece - childhood and old age, unfree and foreign status, and the ageless woman characteristic of Athenian red-figure painting. Ceramics are an unparalleled resource for women's lives in ancient Greece, since they show a huge number of female types and activities. Yet it can be difficult to interpret the meanings of these images, especially when they seem to conflict with literary sources. This much-needed study shows that it is vital to see the vases as archaeology as well as art, since context is the key to understanding which images can stand as evidence for the real lives of women, and which should be reassessed.
One of the greatest benefits of studying the ancient Greek and Roman past is the ability to utilise different forms of evidence, in particular both written and archaeological sources. The contributors to this volume employ this evidence to examine ancient housing, and what might be learned of identities, families, and societies, but they also use it as a methodological locus from which to interrogate the complex relationship between different types of sources. Chapters range from the recreation of the house as it was conceived in Homeric poetry, to the decipherment of a painted Greek lekythos to build up a picture of household activities, to the conjuring of the sensorial experience of a house in Pompeii. Together, they present a rich tapestry which demonstrates what can be gained for our understanding of ancient housing from examining the interplay between the words of ancient texts and the walls of archaeological evidence.