By Amalia Avramidou
ISBN-10: 3110308738
ISBN-13: 9783110308730
This e-book bargains a clean and well timed viewpoint at the research of old paintings and archaeology. via a chain of essays, the quantity explores the hyperlinks among textual content and photograph and provides cutting edge readings of narrative scenes on pottery and sculpture. issues taken care of comprise gender in antiquity, fantasy and artwork, and Athenian ritual and politics. This quantity is vital analyzing for college kids and students of classical artwork and archaeology.
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Extra info for Approaching the Ancient Artifact
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12 Sarah P. ] behind throne. Paris, Musée du Louvre inv. Clarac 608 (Ma 697): from Samothrace? Photo: Hervé Lewandowski. © RMN-Grand Palais/Art Resource, NY. return (ransom) of his daughter. ). Meanwhile, in Attic art, a single work (the François Vase, ca. 560 BCE) shows Priam’s seat as a mere thakos, in contrast to the elaborate throne where Zeus sits. 13, from the House of the Nymphs, Nabeul (Tunisia). 32 Morris 2003, 11–16. Helen Re-Claimed, Troy Re-Visited: Scenes of Troy in Archaic Greek Art 13 the depiction of kings like Priam, the events of his life most popular in mainland Greek art – his abject appeal to Achilles for his son’s body, or pitiful death at the hands of Achilles’ son, Neoptolemos – do not offer occasions for a noble image of a king enthroned in all his power and regal trappings.
3 Parca 1991 on a late tragic version (where Odysseus delivered letters to Helen). 4 As argued by Davies 1977, 78–70; in the Corinthia, a limestone altar on a smaller scale, with Doric triglyph frieze, would be typical of the Archaic period. 5 Bérard 1977, with response by Davies 1977, 83–85; Danek 2005. 6 Espermann 1980, 35–49; the story also appealed to comic poets (Epicharmus). Helen Re-Claimed, Troy Re-Visited: Scenes of Troy in Archaic Greek Art 5 προσήνεπεν, has no clear subject – in a short speech, whose content is unclear but involved the gods, and obtaining something, without guile.
5 As early moderns understood after Galileo and Newton, rocks and other objects fall (at the same speed) in a downward trajectory because of the earth’s gravitational pull. Ancient Greeks perceived the phenomenon of gravity differently. , the Earth. Athenian vase painters of the sixth and fifth centuries BCE recorded not only ubiquitous natural effects of gravity but also their harnessing. In the Antimenes Painter’s depiction of olive harvesting on a black-figure neck amphora of ca. 520– 1 Moon 1983.