The Painter of Vatican 365 is an Athenian black-figure painter active in the third quarter of the 6th c. BCE. The name derives from a vase found in Cerveteri (Rome, Vatican A365; BAPD 301601) depicting the Battle of Gods and Giants. Other subjects are chariots, warriors, and Herakles. Mainly a painter of the amphora, findspots for these vases are in Etruria and Cyprus.
Painter of Vatican 365
Pheidippos is an Athenian red-figure painter active ca. 525-515 BCE who mainly painted bilingual cups (black-figure interior, red-figure exterior). The name is inscribed as painter (“egrapsen”) on an eye-cup from Vulci (London, British Museum E6; BAPD 200378) showing athletes. The painter collaborated with the potter Hischylos (see Hischylos Painter [Red-figure]). Other subjects are warriors, riders, Dionysos, and revelers (“komasts”). The only known findspot is Vulci.
Fidipo
Feidippos (vaasimaalari)
Pheidippos
Pheidippos
Pheidippos
Pheidippos
Pheidippos
Pheidippos
Pheidippos
Pheidippos
Pheidippos
Sosias-maalari
The Sosias Painter is an Athenian red-figure painter and part of the Pioneer Group active ca. 510-500 BCE. The name derives from the potter ("epoiesen") who signs as Sosias on a cup from Vulci (Berlin, Antikensammlung F2278; BAPD 200108) showing Achilles and Patroklos on the interior and the introduction of Herakles to Olympus on the exterior. Shapes are stands, plates, and cups. Other scenes include a winged female and a satyr. Another findspot is the Athenian Acropolis.
Sosias Painter
Sosias Painter
Sosias Painter
Sosias-Maler
Sosias-Maler
Sosias Painter
Sosias Painter
Sosias Painter
Sosias Painter
Sosias Painter
The Ure Museum of Greek Archaeology contains one of the most important collections of Greek antiquities in the United Kingdom. The Museum forms part of the Department of Classics at the University of Reading and is situated on the university's Whiteknights Campus, about two miles from the centre of the English town of Reading, Berkshire.
Ure Museum of Greek Archaeology
Epicteto
Epiktetos is an Athenian red-figure painter active ca. 520-490 BCE who painted bilingual cups (black-figure interior, red-figure exterior). The name is inscribed on vases as both potter (“epoiesen”) and painter (“egrapsen”). The painter is thought to have decorated vases for the potters Hischylos, Python, Pistoxenos, and the Nikosthenes-Pamphaios workshop. Other shapes are plates, kraters, the askos, oinochoe, and pelike. Scenes include satyrs, centaurs, Herakles and Busiris, the symposion, erotic scenes, athletes, and male revelers (“komasts”). Some findspots are Athens (Acropolis, Agora), Etruscan sites (Vulci, Gravisca, Cerveteri, Adria), and a shipwreck off the coast of Gela (Sicily).
Епіктет
Epictet
爱比克泰德
Epiktetos
Epiktetos
Эпіктэт
Epiktetos
Epiktetos
Epiktetos
Epiktetos
Epiktetos
Epiktetos
Epiktet
Epitteto
Эпиктет
The Phiale Painter was a painter of the Attic red-figure style. He was active around 460 to 430 BC. The Phiale Painter is assumed to have been a pupil of the Achilles Painter.
Вазописец фиал
Phiale-Maler
Phiale Painter
Pyxides
Pithoi
Reserving is the practice of deliberately leaving a figure or detail unpainted. The reserved surface is the color of the fired clay, such as the orange-red of Athenian black-figure (see Black-figure) and red-figure (see Red-figure) vases. The technique is used on some Orientalizing vessels (see Orientalizing) as well as in East Greek and Boeotian black-figure.
Reserving
Kyliks
Kyliks
Kiliks
Kiliks
קיליקס
kylix
kylix
سبوی دستهدار
Киликс
Килик
Килик
Cílice
Kílix
Kílix
Kylix
Kylix
Kylix
Kylix
Kylix
Kylix
Kylix
Kylix (vase)
Кілікс
基里克斯杯
Κύλιξ
киликс
Η κύλικα είναι ένα μεγάλου μεγέθους κύπελλο για την πόση οίνου. Διαθέτει ένα σχετικά αβαθές σώμα, δύο οριζόντιες λαβές και τις περισσότερες φορές ένα ψηλό πόδι (στέλεχος) πάνω από τη βάση. Υπάρχουν πολλοί τύποι κυλίκων, όπως των Κωμαστών, ταινιωτές, Σιάνων, τύπου Α και τύπου Β.
Der Kylix ist eine große Schale zum Trinken von Wein. Es besitzt eine niedrige Gefäßform, zwei horizontale Henkel und meist einen hohen Stiel mit Standfuß. Es gibt viele unterschiedliche Typen an Kylixschalen, wie z.B. Komastenschalen, Bandschalen, Randschalen, Sianaschalen, Typ A und Typ B.
Kilix
кілік
Kylix (Gefäß)
Drinkschaal
cylix
The kylix is a large cup used for drinking wine. It has a relatively shallow bowl, two horizontal handles, and usually, but not necessarily, a high stem above the foot. There are many types of kylix cups such as Komast, Band, Lip, Siana, Type A, and Type B.
キュリクス
كيليكس
大英博物馆
British Museum
大英博物館
British Museum
British Museum
British Museum
British Museum
British Museum
Британский музей
The British Museum is a museum in London dedicated to human history and culture. Its permanent collection, numbering some 8 million works, is among the largest and most comprehensive in existence and originates from all continents, illustrating and documenting the story of human culture from its beginnings to the present.
Muzeum Brytyjskie
Museu Britânico
Museo Británico
Lion Painter
Lion Painter
Lion Painter
Lion Painter
Lion Painter
Lion Painter
Lion Painter
Lion Painter
Lion Painter
Löwen-Maler
The Lion Painter is an Athenian black-figure painter active ca. 630-600 BCE. On examples of the neck amphora, there are lions, boars, birds, and hybrid creatures. The major findspot is Vari.
Bucci-Maler
Bucci-Maler
Bucci-Maler
Bucci-Maler
The Bucci Painter is an Athenian black-figure painter active in the late 6th c. BCE. The name derives from an amphora formerly in a private collection (now New Orleans, Isaac Delgado Museum of Art 2033 [16.38]; 301635) showing Herakles and Hermes between columns. Mainly a painter of the amphora, subjects include chariots, youths, departures, and Herakles. Findspots are Vulci, Taranto, and Kamiros (Rhodes).
Bucci Painter
Bucci Painter
Bucci Painter
Ένα μικρό μεγέθους αγγείο με πόδι και μια επίπεδη άνω επιφάνεια και προχοή στη μία του πλευρά, το θήλαστρο, καλείτο βομβυλιός. Χρησιμοποείτο για την κατανάλωση υγρών από μικρά παιδιά και αρρώστους.
θήλαστρο
Saugflasche
A small, footed container with a flat top and a spout at its side, the feeder was used for providing drinks to small children or invailds. It is also known as a bombylios.
Bombylios
Ein Gefäß mit kleinem Fuß, flachem Deckel und Ausguß auf der Seite. Es fand Verwendung als Trinkflasche für kleine Kinder und Kranke. Auch als Bombylios bekannt.
Feeder
The Bowdoin-Eye Painter is an Athenian red-figure cup painter active ca. 520-500 BCE who painted bilingual cups (black-figure interior, red-figure exterior). The name derives from a cup from Cerveteri (Brunswick, Maine, Bowdoin College 1913.2; BAPD 200369) showing athletes on the exterior and interior. Other subjects are warriors, satyrs and maenads, and revelers (“komasts”). Findspots include sites in Etruria (Vulci, Roselle), the Athenian Acropolis, and Olbia (Black Sea).
Bowdoin-eye Painter
The Hermaios Painter is an Athenian red-figure cup painter active ca. 520-510 BCE, formerly said to be related to the Severeano Group. The name derives from the potter (“epoiesen”) who signs as Hermaios on several examples. Subjects appearing on the cup interior include Dionysos, revelers (“komasts”), the symposion, athletes, warriors, riders, and Amazons. Findspots are Athens (Agora, unspecified sites), Marion (Cyprus), Etruria (Vulci, Chiusi, Cerveteri), and Naukratis.
Hermaios Painter
Alabaster
อะลาบาสเทอร์
alabaster
alabaster
alabaster
Albaatar
alabastr
Albastar
алебастр
գիպս
Алебастр
Alabastro
مرمر
Алебастр
Алебастр
Алебастр
Алебастр
Alabastro
alabastro
alabastro
alabastro
alabast
alabastro
alabast
alabastre
алабастер
Harzuri
Alebastras
alabastru
Alabastur
albâtre
رخام گچی
alabástrom
ཀ་མ་རུ
Alabaster is a mineral or rock that is soft, often used for carving, and is processed for plaster powder. Archaeologists and the stone processing industry use the word differently from geologists. The former use is in a wider sense that includes varieties of two different minerals: the fine-grained massive type of gypsum and the fine-grained banded type of calcite.
Alabastrs
알라바스터
アラバスター
Алабастър
Alebastr
Alebastr
Alabasteri
אלבסטר
Kaymak taşı
albast
Алабастер
汉白玉
Alabastre
Alabast
Alabaster
Alabaster
Alabaster
Брыг
بريغوس
Brygos
Brygos
Brygos
Brygos
Brygos
Brygos
Brygos
Brygos
Brigos
Brygos (savenvalaja)
Brygos was an ancient Greek potter, active in Athens between 490 and 470 BC. He is known as a producer of excellent drinking cups.
Βρύγος
Brigo
The Bonn Painter is an Athenian red-figure painter active ca. 505-480 BCE. The name derives from a cup (Bonn, Akademisches Kunstmuseum 1644; BAPD 203666) showing centaurs on the exterior and an archer on the interior. The primary shape is the cup. Subjects include the symposion, warriors, Theseus, hunting, and satyrs. Findspots are Vulci, Taranto, Spina, Orvieto, and possibly Chiusi.
Bonn Painter
Painter of Vatican 309
Maler von Vatikan 309
Painter of Vatican 309
Painter of Vatican 309
Painter of Vatican 309
Painter of Vatican 309
Painter of Vatican 309
Painter of Vatican 309
Pintor de Vatican 309
The Painter of Vatican 309 is an Athenian black-figure painter active in the mid-6th c. BCE and is classified as a “companion” to Lydos. The name derives from a neck amphora found in Cerveteri (Rome, Vatican 309; BAPD 300873) featuring animal friezes and a duel. Primarily a painter of the neck amphora, other shapes are plates and column kraters. Subjects include animals, duels, riders, and a few scenes of Herakles and Theseus. Known findspots are Athens, Delos, Etruria, Naukratis, and Histria (Romania).
Peintre du Vatican 309
The Syriskos Painter is an Athenian red-figure painter connected to the Syriskos Group, active ca. 470’s BCE and earlier, who uses white-ground. The name (meaning “Little Syrian”) derives from the signature as potter (“epoiesen”) on an astragalos (knucklebone-shaped vase) (Rome, Villa Giulia 866; BAPD 202749), showing Nike, Eros, and a lion. Shapes are the pelike, rhyton in the shape of a ram’s head, kantharos in the shape of a woman’s head, amphora, krater, alabastron, psykter, hydria, and lekythos. Subjects include Dionysos and followers, the symposion, warriors, athletes, and Theseus and the Minotaur. Some findspots are the Athenian Acropolis, Tanagra, sites in Etruria (Vulci, Tarquinia, Cerveteri, Orvieto), southern Italy, Sicily, Naukratis, and Ampurias (Spain).
Syriskos
Psykter Kolonnetenkrater
Σπανιότερος, ωστόσο παρόμοιος με τον ψυκτήρα-αμφορεά, ο ψυκτήρας-κιονωτός κρατήρας είναι ένα αγγείο με διπλά τοιχώματα που προοριζόταν για να διατηρείται δροσερός ο κεκραμένος οίνος. Στο εξωτερικό τοίχωμα του αγγείου υπάρχει μια προχοή κοντά στον ώμo, ενώ συνήθως διαθέτει μια προχοή απορροής ακριβώς πάνω από το πόδι.
Der Psykter Kolonetenkrater ist seltener aber ähnlich der Psykter Amhore. Der doppelwandige Behälter wurde zum kühlen von Wein oder Wasser verwendet. Der äußere Gefäßkörper hat einen Ausguß nahe der Schulter, der zur Befüllung des Zwischenraums zwischen den Wänden mit Eis oder Eiswasser gedient hat. Es hat üblicherweise einen Ausguß oberhalb vom Fuß.
ψυκτήρας-κιονωτός κρατήρας
Psykter Column Krater
Rarer than but similar to the psykter-amphora, the psykter-column-krater is a double-walled vessel meant to cool wine or water. The outer vessel has a spout near the shoulder through which ice or ice water was poured into the space between the two walls. It usually has a drain spout just above the foot, directly below the pour spout.
Paseas (vaasimaalari)
Paseas
Paseas
Paseas
Paseas
Paseas
Paseas
Paseas
Paseas
Paseas
Paseas
Paseas (sometimes known as the Cerberus Painter) is an Athenian black-figure painter active ca. 525-510 BCE. The painter also painted in red-figure (see Paseas [Red-figure]) and usually painted on white-ground. The name derives from a black-figure pinax (plaque) dedicated on the Athenian Acropolis (Athens, National Museum Acr. 2583; BAPD 301992), inscribed: “one of the paintings of Paseas.” It belongs to a series dedicated to Athena that feature the goddess, in one instance alongside Herakles. Other findspots are the Athenian Agora, Chiusi, Taranto, Vulci, and Cerveteri.
The Elpinikos Painter is an Athenian red-figure cup painter active in the early 5th c. BCE. The name derives from the inscription “Elpinikos kalos” (“Elpinikos is beautiful”) on several examples. Subjects include Menelaus and Helen, the symposion, and youths. Findspots are sites in Etruria (Orvieto, Vulci, Cerveteri).
Elpinikos Painter
Η ονομασία προέρχεται από το ρήμα ἐπιχέω, χύνω υγρό πάνω από κάτι, και χρησιμοποείται για μια μόνωτη οινοχόη με έναν επιμήκη, στενό λαιμό και ένα σώμα σε σχήμα καρουλιού. Αυτός ο τύπος αγγείου είναι προϊόν κυρίως των εργαστηρίων της Νότιας Ιταλίας
επίχυσις
Epichysis
Epichysis
Епіхізис
The term literally means 'a pouring on.' It is used for a one-handled jug with a long, narrow neck and a reel-shaped body. This vase type is mainly a South Italian product.
Эпихизис
Der Begriff bedeutet übersetzt 'übergießen'. Für einen einhenkeligen Krug mit einem langen, schmalen Hals und einem spulenförmigen Körper. Hauptsächlich in Süditalien hergestellt.
épichysis
Epiquisis
Choes
Museo J. Paul Getty
The J. Paul Getty Museum, commonly referred to as the Getty, is an art museum in California housed on two campuses: the Getty Center and Getty Villa.
J・ポール・ゲティ美術館
Музей Гетти
Getty Museum
J. Paul Getty Museum
J. Paul Getty Museum
J. Paul Getty Museum
The Painter of the Birth of Athena is an Athenian red-figure painter active in the first half of the 5th c. BCE. The name derives from a pelike found at Vulci (London, British Museum E410; BAPD 205560) showing the Birth of Athena. Shapes are the pelike and the stamnos. Subjects include Dionysos and followers, gods and goddesses, and funerary scenes. Other findspots are Cerveteri and the Athenian Agora.
Pintor del nacimiento de Atenea
Painter of the Birth of Athena
Painter of the Birth of Athena
Painter of the Birth of Athena
Painter of the Birth of Athena
Maler der Geburt der Athena
Maler der Geburt der Athena
Painter of the Birth of Athena
Painter of The Birth of Athena
Peintre de la naissance d'Athéna
Providence Painter
Providence Painter
Providence Painter
Providence Painter
Providence Painter
Providence Painter
Providence-Maler
Providence-maalari
Peintre de Providence
Pittore di providence
The Providence Painter is an Athenian red-figure painter active ca. 475-450 BCE. The name derives from a neck amphora (Providence, Rhode Island School of Design 15.005; BAPD 207352) showing Apollo with a kithara. Other shapes are the Panathenaic amphora, hydria, lebes gamikos, stamnos, lekythos, oinochoe, column krater, and cups. Subjects include Dionysos and followers, other gods and goddesses, the Apotheosis of Herakles, women (domestic activities, pursuit scenes), athletes, warriors, revelers (“komasts”), and a wedding. Some findspots are Etruria (Cerveteri, Vulci), sites in southern Italy and Sicily, Athens (Acropolis, Agora), Eretria, Thebes, Ampurias (Spain), and Al Mina.
Pintor de Providence
Айнек
Stiklas
ဖန်
Itavera
Gwerenn
Sklo
زجاج
მინა
Iloilo
Q'ispillu
vidre
скло
Авг
ħġieġ
beira
Vitrum
vitro
üveg
Gwydr
Vitro
Vitro
Salamin
شیشہ
גלאז
пыяла
Şüşə
Kaca
സ്ഫടികം
γυαλί
Kaca
유리
Kaca
గాజు
Быяла
vidrio
steklo
ਕੱਚ
Kioo
vidro
vidro
ガラス
Gler
verre
glês
Bidru
lasi
sklo
কাঁচ
pentua
szkło
Vè
कांच
काँच
แก้ว
Shisha
xham
vetro
Cam
Cam
Glass is an amorphous solid (non-crystalline) material that exhibits a glass transition, which is the reversible transition in amorphous materials (or in amorphous regions within semicrystalline materials) from a hard and relatively brittle state into a molten or rubber-like state.
شیشه
Шкло
stikls
glass
Staklo
Staklo
Gloine
Staklo
ապակի
Sioʻata
Стъкло
thủy tinh
Glaas
玻璃
ښيښه
Glas
Glas
Glas
Glas
Vidre
стакло
Veire
काच
стакло
ಗಾಜು
شيشو
Glass
ብርጭቆ
ئەينەك
Әйнек
Кантăк
கண்ணாடி
klaas
стекло
Ангали
Gelas
glas
זכוכית
glas
glas
glas
sticlă
Continuous-curve Hydria
Kalpis
The so-called Kalpis or Continuous-curve Hydria differs from the Shoulder Hydria in several ways: the neck, shoulder, and body form a continuous curve; its vertical handle is cylindrical and is rooted on the neck rather than on the lip; its foot shape is more varied; its rim is concave on top; and it is usually smaller. It was popular between the end of the sixth through the fourth century B.C.
Six’s technique describes figures painted in white, red, or pink silhouette on a black surface with their details incised (see Incised). Although giving the appearance of red-figure (see Red-figure), it is considered an example of polychrome painting (see Polychrome; see Black Polychrome; see Added Color). The technique is first used for full figures ca. 530 BCE and continues through the early 5th c. BCE. Mainly appearing on small vessels, such as the lekythos, its invention is attributed to the potter Nikosthenes (see Nikosthenes). Versions have been identified on vases from Corinth, Boeotia, and East Greece. The name derives from the Dutch scholar Jan Six who first described it in the late 19th century.
Six's Technique
Bail Amphora
Die Henkel der Bügelamphoren reichen über die Mündung. Dieser Amphorentyp wurde für die Lagerung und den Transport von Wein, Öl und anderen Inhalten, zum Servieren von Wein am Tisch, oder als Aschenurnen für die Toten.
The handles of the bail amphora reach over the mouth. This type of amphora was used for storing and carrying wine, oil, and other commoditities, for serving wine at the table, and as an ash urn for the dead.
καδόσχημος αμφορέας
Bügelamphore
Bügelhenkelamphore
Ο καδόσχημος αμφορέας διαθέτει μια γεφυρόστομη λαβή πάνω από το χείλος του. Αυτός ο τύπος αμφορέα χρησιμοποιείτο για την αποθήκευση και τη μεταφορά οίνου και άλλων προϊόντων, για το σερβίρισμα του οίνου στο τραπέζι, καθώς και για τεφροδόχος για τους νεκρούς.
Attic Black-figure potter, active 560-530 BCE.
Xenokles
The Clinic Painter is an Athenian red-figure painter active ca. 470-460 BCE. The name derives from an aryballos (Paris, Louvre CA2183; BAPD 210078) showing a medical scene. Shapes are mainly cups, but also the askos, aryballos, stamnos, and oinochoe. Subjects include Dionysos and followers, revelers (“komasts”), Eros, warriors, youths, men, women, Herakles, and the Embassy to Achilles. Findspots are Adria, Spina, Etruria (Vulci, Chiusi, Orvieto), and Nola.
Clinic Painter
Pinakes
Lebetes
Phormiskoi
The Euergides Painter is an Athenian red-figure cup painter active ca. 515-500 BCE. The name derives from the potter ("epoiesen") who signs as Euergides on several examples. Shapes are cups and the alabastron. Subjects include warriors, women, athletes, satyrs and maenads, hunting, Theseus and the Minotaur, Achilles and Ajax, and revelers (“komasts”). The painter also places sphinxes, griffins, and winged horses near the cup handles. A notable example is the cup dedicated on the Athenian Acropolis (Athens, National Museum Akr. 2.166; BAPD 200761) showing Athena watching metalworkers. Other findspots are the Athenian Agora, Thasos, Eretria, Etruria (Vulci, Cerveteri, Gravisca), Kerch, and Naukratis.
Euergides Painter
The Salting Painter is an Athenian red-figure cup painter active ca. 510-500 BCE. The name derives from the previous owner (Walter Salting) of a cup (London, Victoria and Albert Museum C2 496.1910; BAPD 201631) showing an athlete with a discus on the interior. Other scenes include warriors and revelers (“komasts”). Findspots are mainland Greece (Corinth, Atalanti), Etruria, Rome, and Naukratis.
Salting Painter
-0323
-0480
Oon
Oon
The oon is an egg-shaped vessel.
Πήλινο ομοίωμα αυγού.
ωόν
Ein Ei-förmiges Gefäß.
Nikosthenes-maalari
Nikosthenes Painter
Nikosthenes Painter
Nikosthenes Painter
Nikosthenes Painter
Nikosthenes Painter
Nikosthenes Painter
Nikosthenes Painter
Nikosthenes Painter
Nikosthenes-Maler
Peintre de Nicosthénès
The Nikosthenes Painter (also known as the Painter of Sleep and Death) is an Athenian red-figure painter active ca. 510-500 BCE. The name derives from the potter ("epoiesen") who signs as Nikosthenes on several examples (see Nikosthenes [Black-figure]). Shapes are cups, the skyphos, kantharos, pyxis, and neck amphora. Subjects include athletes, satyrs and maenads, revelers (“komasts”), warriors, Herakles, Hermes and cattle, and Odysseus under the ram. Some findspots are Etruria (Cerveteri, Vulci, Gravisca, Orvieto, Tarquinia), Athens (Acropolis, Agora), Naukratis, Clazomenae, Marseille, and Leuke (Black Sea).
Kerameikos-Maler
The Cerameicus Painter is an Athenian black-figure painter active ca. 600-570 BCE. The name derives from vases found in the Athenian Kerameikos. Shapes include the lekanis, oinochoe, skyphos, and loutrophoros. The decoration focuses on animals with the occasional human. Findspots include Athens, Attica, Samos, Naukratis, and Cumae (Italy).
Ceramicus Painter
Ceramicus Painter
Ceramicus Painter
Ceramicus Painter
Ceramicus Painter
Ceramicus Painter
Ceramicus Painter
Cerameicus Painter
Cerameicus Painter
Semi-outline is a decorative style that combines both outline and silhouette techniques (see Outline; see Silhouette). It can be applied to a single figure, or in varying degrees to different figures and details in the same scene. Semi-outline appears on Athenian black-figure vases (see Black-figure), such as on eye cups and Little Master cups, and on the Athenian white-ground (see White-ground) lekythos.
Semi-outline
Painter of Acropolis 606
Painter of Acropolis 606
Peintre de l'Acropole 606
Painter of Acropolis 606
Painter of Acropolis 606
Painter of Acropolis 606
Painter of Acropolis 606
Pintor de la Acrópolis 606
Pittore dell'Acropoli 606
Maler von Akropolis 606
The Painter of Acropolis 606 is an Athenian black-figure painter active ca. 570-560 BCE. The name derives from a dinos found on the Athenian Acropolis (Athens, National Museum Acr. 606 [15116]; BAPD 300754) that displays warriors and battle. Shapes include the column krater, neck amphora, amphora, dinos (lebes), and hydria. Findspots are in Athens and Attica, as well as Odessa (Black Sea), Sicily, and Cyprus.
Attika
Attika
Attika
Attyka
アッティカ
Attique
Ática
Ática
阿提卡
Attica is an historical region that encompasses the city of Athens, the capital of Greece.
Attica
Аттика
Attica
Das Lydion ist nach dem Gebiet Lydien in Kleinasien benannt. Es ist ein breites, henkelloses Parfumtöpfchen mit ausgebogener Lippe. Es wurde für das lydische Bakkaris Parfume verwendet.
Η ονομασία του προέρχεται από την περιοχή της Λυδίας στην κεντρική Μικρά Ασία. Είναι ένα ευρύ, άωτο αγγείο, με ένα επίπεδο χείλος και πόδι. Χρησιμοποιείτο για τη φύλαξη του λυδικού αρώματος βάκκαρις.
Лідіон
lydion
Лидион
lidion
The lydion derives its name from the area of Lydia in Asia Minor. It is a fat, handleless perfume pot with an outturned flat lip used for the Lydian bakkaris perfume.
Lydion
Lydion
λύδιον
Eine flache Schale mit einem Henkel. Die Form ist in der attischen schwarzen Glanztonware des 5. und 4. Jhs. v.Chr. typisch.
A low cup with one handle. The shape is common in Attic black-glazed pottery of the 5th c. and 4th c. BCE.
One-handled Cup
einhenkelige Schale
Ένα χαμηλό κύπελλο με μία λαβή. Αυτό το σχήμα είναι κοινό στην αθηναϊκή μελαμβαφή κεραμική του 5ου και 4ου αι. π.Χ.
μόνωτο κύπελλο
Chalice
Der Kelch ist eine schale mit konischem Fuß, tiefen Wänden und horizontalen Henkeln an der Basis der Wand.
Η χιακή κύλικα είναι ένα αγγείο πόσης με ένα κωνικό πόδι, βαθιά τοιχώματα και οριζόντιες λαβές στη βάση των τοιχωμάτων.
χιακή κύλικα
Kalyx
The chalice is a cup with a conical foot, a deep wall, and horizontal handles at base of the wall.
テラコッタ
Terracota
Terracota
Терракота
Terre cuite
Most common material of Greek and Roman fired clay vessels.
陶瓦
Terrakotta
Terrakotta
Terracotta
Terracotta
Terakota
Terra cotta
Antidoros
Antidoros
Antidoros
Antidoros
Antidoros
Antidoros
Antidoros
Antidoros
Antidoros
Antidoros
Antidoros in an Athenian black-figure potter of Little Master cups active beginning in the mid-6th c. BCE. The name derives from vases signed as potter ("epoiesen") by Antidoros. Andidoros may have worked with more than one painter. Subjects include Pygmies and cranes, hunting, and chariots. Examples have been found in Taranto.
Pintor de Tithonos
Tithonos-Maler
The Tithonos Painter is an Athenian red-figure painter active ca. 500-480 BCE. The name derives from a neck amphora from Suessula (Boston, Museum of Fine Arts 03.816; BAPD 203171) showing Eos and Tithonos. Other shapes are the lekythos and stamnos. Subjects include Dionysos and followers, revelers (“komasts”), warriors, religion, and athletes. Findspots are Eretria, Kydonia (Crete), Adria, Vulci, Nola, Gela, and Syracuse.
Tithonos Painter
Carpenter Painter
Carpenter Painter
Carpenter Painter
Carpenter Painter
Carpenter Painter
Carpenter Painter
Carpenter Painter
Carpenter Painter
Schreiner-Maler
Pintor del carpintero
The Carpenter Painter is an Athenian red-figure painter active ca. 515-500 BCE. The name derives from a cup found in Chuisi (London, British Museum E23; BAPD 201642) showing a carpenter on its interior. Though primarily a cup painter, a hydria has been attributed to the same painter. Subjects include revelers (“komasts”), the symposion, youths, Herakles, satyrs, and hunting. Findspots are sites in Etruria (Orvieto, Vulci), and a cup “near” the painter stylistically was found in Corinth.
The Akestorides Painter is an Athenian red-figure painter active ca. 470-450 BCE. The name (“Akestorides”) is inscribed on a cup from Aegina (New York, Metropolitan Museum of Art 22.139.72; BAPD 209611) showing a boy playing the lyre. The main shape is the cup. Subjects include satyrs and maenads, revelers (“komasts”), athletes, musicians, and draped figures. Findspots are Vulci, Orvieto, Koropi (Attica), Athens, Aegina, and Kerch.
Akestorides Painter
Η ονομασία του αγγείου προέρχεται από το ρήμα χέω. Πρόκειται για έναν τύπο οινοχόης με ευρύ σώμα, χαμηλά τοποθετημένη λαβή και τριφυλλόσχημο στόμιο. Χρησιμοποιείτο στην εορτή των Ανθεστηρίων και σαν μέτρο χωρητικότητας (3,28 λίτρα) στον διαγωνισμό πόσης που λάμβανε χώρα τη δεύτερη ημέρα της εορτής. Μικρού μεγέθους χόες δίνονταν ως δώρα σε παιδιά ηλικίας τριών ετών κατά την εορτή.
χους
chous
Choenkanne
From the verb 'to pour,' the chous is a broad-bodied jug with a low handle and trefoil mouth. It was used in the Anthesteria festival and as a measure fixed for participants in drinking bouts (3.28 liters). Small choes were used for children's day, when 3-year-olds received them.
Vom Verb "ausgießen". Krug mit gedrungenem Gefäßkörper, tiefsitzendem Henkel und Kleeblattmündung. Es wurde im Anthesterienfest als Maßeinheit für Wetttrinken verwendet (3.28 Liter). Kleine Choenkännchen wurden dreijährigen Kindern geschenkt.
Chous
Chous
In der Mittelgeometrischen Zeit hat sich der Humpen aus dem Tasse entwickelt. Es hat einen Henkel, der oft über die Lippe reicht.
The tankard developed from the mug late in the Middle Geometric period. It has a single handle that often rises above the mouth. In the Late Geometric period, the rim begins to overhand the largest diameter.
Η ευρύστομη πρόχους εξελίχθηκε από το κύπελλο στην τελευταία φάση της Μέσης Γεωμετρικής περιόδου. 'Εχει μία μόνο λαβή που συχνά υψώνεται πάνω από το στόμιο. Κατά την Ύστερη Γεωμετρική περίοδο, το χείλος αρχίζει να έχει τη μεγαλύτερο διάμετρο.
Tankard
ευρύστομη πρόχους
Humpen
Harrow Painter
Harrow Painter
Harrow Painter
Harrow Painter
Harrow Painter
Harrow Painter
Harrow Painter
Harrow Painter
Harrow Painter
Harrow Painter
Harrow Painter
The Harrow Painter is an Athenian red-figure painter active ca. 480-460 BCE. The name derives from an oinochoe (Harrow, UK, Harrow School Museum 56; BAPD 202673) showing a boy with a hoop. Other shapes include a wide range of pots: the neck amphora, pelike, stamnos, column krater, and hydria. Subjects include generic scenes (youths, men, women), Dionysos and followers, gods and goddesses, Theseus, Herakles, centaurs, the symposion, and Capture of Silenos. Some findspots are Athens (Acropolis, Agora), Etruria (Vulci, Cerveteri), Nola, Falerii, sites in Sicily, Gordion, Kerch, and Bourges (France).
Askorn
Ndok
Laf
os
Ossu
os
os
Lerapo
osto
eshtra
knokkel
коска
сөяк
косць
Ch'aka
Һөйәк
luu
luu
عظم
അസ്ഥി
Cnàmh
Asgwrn
骨
kost
استخوان
kość
ביין
Osso
Tullu
ହାଡ଼
Cnámh
Mfupa
кост
Hestî
hueso
Zo
ਹੱਡੀ
ఎముక
अस्थि
अस्थि
अस्थि
எலும்பு
ہڈی
ಮೂಳೆ
Kosť
Been
кістка
骨骼
xương
Kemik doku
bot
עצם
Buto
osso
osso
Mokúwa
กระดูก
Egungun
кость
Óso
Knaok
အရိုး
Kangue
Kosti
Кост
Ոսկոր
অস্থি বা হাড়
bein
ben
csont
hezur
Knochen
Яс
ھڏو
አጥንት
Suyak
Шăмă
kauls
Sümük
òs
Tulang
Tulang
Tulang
A bone is a rigid organ that constitutes part of the vertebrate skeleton in animals.
Bone
Oxhea
Os
Қарға сүйек, құстұмсықша сүйек
Bein
Bonke
Ueso
Kaulas
Οστό
ძვალი
Osto
Kost
Kost
Kost
হাড়
Knogle
Bom
뼈
dákti
Устухон
Balung
The name 'mug' is used to designate a deep, one-handled drinking cup. See kothon.
κύπελλο
Napf
Mug
Η ονομασία "κύπελλο"χρησιμοποιείται για ένα βαθύ, μόνωτο αγγείο πόσης. Βλ. κώθων.
Tasse
Der Begriff Tasse wird verwendet um einen tiefen, einhenkeligen Trinkbecher zu bezeichnen. Siehe auch Kothon
Continuous-Curve Amphora
Belly Amphora
amphore à panse
Πλατύσωμος αμφορέας
Bauchamphora
A belly amphora has a continuous, smooth curve from lip to foot. These amphorae have been classified as Types A, B, and C, based on differences in the shape of lips, feet, and handles.
One-Piece Amphora
Ο ενιαίος αμφορέας διαθέτει ένα συνεχές, ρέον περίγραμμα από το χείλος έως τη βάση. Οι αμφορείς αυτής της κατηγορίας ταξινομούνται ως Α, Β και Γ ανάλογα με τις διαφορές των χειλών, των βάσεων και των λαβών τους.
Die Gefäßform der Bauchamphore ist von der Lippe bis zum Fuß durchgehend und fließend. Diese Amphoren werden eingeteilt in Typ A, B, C auf Grund von unterschiedlichen Lippen-, Fuß-, und Henkelformen.
anfora a profilo continuo
amfora wybrzuszona
Eufronio
Euphronius
欧弗洛尼奥斯
Euphronius
Eufrónio
Euphronios is an Athenian red-figure painter active ca. 520-505 BCE, who signed as both painter (“egrapsen”) and potter (“epoiesen”). Euphronios is considered a member of the Pioneer Group, along with Euthymides, Phintias, and other vase-painters. Shapes connected to the painter are cups, the calyx krater, stamnos, psykter, and pelike. The cup is the main shape connected to the potter. Scenes include Herakles and Antaios, athletes, the symposion, and Amazons. One of the best known works is a krater formerly in the Metropolitan Museum of Art (1972.11.10; BAPD 187) showing the personifications of Sleep (“Hypnos”) and Death (“Thanatos”) carrying Sarpedon from the battlefield at Troy. Some findspots are sites in Etruria (Vulci, Cerveteri, Orvieto, Tarquinia), Athens (Agora, Acropolis), Thasos, and Olbia (Black Sea).
אופרוניוס
エウフロニオス
Еўфроній
Евфроний
Евфроний
Ευφρόνιος
Eufronije
Eufronije
Euphronios
Euphronios
Euphronios
Euphronios
Euphronios
Euphronios
Ефроній
Ефроний
Eufronios
Eufronios
Eufronios
Eufronios
Eufronios
Eufronios
Nearchos is an Athenian black-figure painter active ca. 570-555 BCE who signed as both potter (“epoiesen”) and painter (“egrapsen”). Painting in a miniature style, the artist decorated the kantharos, Little Master cup, plaque (pinax), column krater, and aryballos. Subjects include Herakles, Trojan War, Gigantomachy, Pygmies versus cranes, and Amazons. Findspots include the Athenian Acropolis, Etruria (Cerveteri, Vulci, Vetulonia), Naukratis, Berezan, and Samos (Heraion).
Néarchos
ネアルコス
Nearkhos
Nearchos
Nearchos
Nearchos
Nearco (pintor)
Nearchos
Nearchos
Nearchos
Nearc
Nearco
Pseudo Panathenaic amphorae are unofficial imitations of Panathenaic amphorae that lack prize inscriptions. They are visually almost identical to their official counterparts.
Οι ψευδοπαναθηναϊκοί αμφορείς είναι ανεπίσημες μιμήσεις των παναθηναϊκών αμφορέων, σχεδόν πανομοιότυποι με τους κανονικούς, αλλά χωρίς την επιγραφή "Τῶν Ἀθήνηθεν ἄθλων " (τα αγωνίσματα από την Αθήνα).
ψευδοπαναθηναϊκός αμφορέας
Pseudo Panathenaic Amphora
Pseudo panathenäische Preisamphoren sind Imitationen der panathenäischen Amphoren ohne Preisinschrift.
Pseudo-Panathenäische Preisamphore
κύλικα τύπου Ντρόουπ
Η ονομασία των κυλικών αυτού του τύπου προέρχεται από τον πρώτο τους μελετητή, Γ. Π. Ντρόουπ (J. P. Droop). Αποτελούν μια παραλλαγή των μικρογραφικών κυλίκων και διαθέτουν μελαβαμφές καμπύλο χείλος, που ξεχωρίζει από το σώμα πιο έντονα από τις μικρογραφικές κύλικες,ψηλό πόδι με έναν πλαστικό δακτύλιο και μια εξηρημένη -εδαφόχρωμη- ζώνη (ορισμένες φορές με αυλακώσεις) στο πάνω μέρος του και ένα μελαμβαφές πέλμα. Στο εσωτερικό του κοίλου ποδιού υπάρχει μια πλατιά μελανή ταινία και στο κύπελλο της κύλικας μια εξηρημένη ταινία χαμηλά στο χείλος, ενίοτε και έναν εξηρημένο δίσκο εσωτερικά.
Droop Cup
Nach dem Wissenschaftler benannt, der sie zuerst untersucht hat. Droop cups sind eine Variante der Kleinmeisterschale. Die Schale hat eine konkave, schwarz bemalte Randzone, die vom Bauch stark abgesetzt ist. Der Gefäßkörper ist mit einem Wulst und einem tongrundigen Band (manchmal gerillt) vom hohen Stiel getrennt. Die dicke Fußplatte ist schwarz bemalt.
Named for the scholar who first studied them, Droop cups (pronounced 'Drope') derive their shape from Little Master cups. They have concave black lips marked off more clearly from the body than the Little Master cups, a tall-stemmed foot with a plain fillet and band (sometimes grooved) at the top, and a black toe. There is a broad black band within the hollow foot, in the bowl a reserved band low in the lip, and sometimes a reserved center disc.
Droop-Schale
Lagynoi
Impressed describes decoration that is added by impressing or stamping (see Stamped) designs onto the surface of the vessel before it is painted. In Athens, it first appears around the middle of the 5th c. BCE perhaps in the work of the Sotades Painter (see Painter). The ornament generally consists of small and simple motifs, such as rosettes, concentric circles, palmettes, ovules, and tongues. Impressed and stamped decoration usually appears on drinking vessels.
Impressed
Pittore di Agrigento
Agrigento Painter
Agrigento Painter
Agrigento Painter
Agrigento Painter
Agrigento Painter
Agrigento Painter
Agrigento Painter
The Agrigento Painter is an Athenian red-figure painter active ca. 470-440 BCE and a member of the Mannerist Group. The name derives from a calyx krater from Agrigento (Agrigento, Archaeological Museum; BAPD 206657) showing Herakles and Nessos. Other shapes are the column-krater, bell krater, stamnos, pelike, dinos, amphora, and hydria. Scenes include Herakles, Theseus, Dionysos and followers, Amazons, the symposion, revelers (“komasts”), musicians, warriors, and generic males (youths, boys, men). Some findspots are Bologna, Spina, Tarquinia, sites in southern Italy and Sicily, the Athenian Agora, Corinth, Rheneia (Delos), Ampurias (Spain), and Naukratis.
Agrigento-Maler
Peintre d'Agrigente
An Attic vase painter active 430-410 B.C.
Polion
Nikoxenos-Maler
Nikoxenos Painter
Nikoxenos Painter
Nikoxenos Painter
Nikoxenos Painter
Nikoxenos Painter
Nikoxenos Painter
Nikoxenos Painter
Nikoxenos Painter
The Nikoxenos Painter is an Athenian red-figure painter active late 6th to early 5th c. BCE and affiliated with the Leagros Group. The painter also produced black-figure and bilingual vases (see Nikoxenos Painter [black-figure]). The name derives from a Panathenaic amphora from Capua, Italy (Oxford, Mississippi University Museum 1977.3.115; BAPD 202964) with “Nikoxenos kalos” (“Nikoxenos is beautiful”) inscribed on Athena’s shield. Other shapes are the amphora, hydria, and pelike. Subjects include the Death of Priam, Perseus and Medusa, and religion. Findspots are sites in Etruria (Vulci, Tarquinia, Cerveteri), the Athenian Acropolis, Aegina, and Naukratis.
Pintor de Nicóxeno
Taleides-Maler
The Taleides Painter is an Athenian black-figure painter of Little Master cups active in the second quarter of the 6th c. BCE. The name derives from vases signed as potter (“epoiesen”) by Taleides. Shapes include the lekythos, oinochoe, and hydria. Subjects are youths, warriors, riders, Theseus and the Minotaur, and Herakles. Known findspots are Italy and Sicily, Berezan, and Greece.
Taleides Painter
Taleides Painter
Taleides Painter
Taleides Painter
Taleides Painter
Taleides Painter
Taleides Painter
Taleides Painter
Taleides Painter
Taleides-maalari
Term used to describe ancient Mediterranean vessels in the form of heads or animals or groups that were partially formed in molds like terracotta statuettes.
Vase Plastique
Plastic Vase
Added color refers to additional pigments that are painted onto a vase’s surface either before or after firing. It is a frequent component of black-figure, red-figure, and white-ground vases. The most commonly added colors are matte white (primary clay with minimal iron oxide) and matte red/purple (mainly red ochre), and occasionally added yellow. Other added colors are vegetable-based greens, blues, and pinks, as well as gold (gilding), and were likely applied after the firing process.
Added Color
килик од типот А
kylix decorado con ojos
Kylix, tipo A
Type A is the preferred cup shape of black-figure vase painters from about 530 BCE. The cup has a deep bowl without an offset lip, a low flaring foot with a pronounced concave edge, and usually a fillet between the thick stem and the bowl.
Kylix, type A
Ο τύπος Α είναι ο περισσότερο δημοφιλής τύπος κύλικας του μελανόμορφου ρυθμού, περίπου από το 560 και εξης. Η κύλικα έχει ένα βαθύ σώμα, με χείλος που σχηματίζει ενιαία καμπύλη, ένα πλατύ, διευρυνόμενο πόδι, με τονισμένο δισκοειδές πέλμα, και συνήθως έναν πλαστικό δακτύλιο στο σημείο ένωσης του ποδιού με το σώμα.
Kylix Type A
Typ A Kylix
κύλικα τύπου Α
Typ A ist die bevorzugte Schalenform der schwarzfigurigen Vasenmaler beginnend um 530 v.Chr. Die Schale hat eine tiefe Gefäßform ohne abgesetzem Rand, einem breiten Fuß und meistens trennt eine Rippe den dicken Stiel vom Gefäßkörper.
Kiss Painter
The Kiss Painter is an Athenian red-figure cup painter active ca. 510-500 BCE. The name derives from scenes of a youth and girl embracing. Other subjects are athletes and revelers (“komasts”). Findspots are sites in Etruria (Chiusi, Arezzo).
Kuss-Maler
Kuss-Maler
Kuss-Maler
Kuss-Maler
Bir
מתכת
metall
metall
metall
metall
metall
ધાતુ
مېتال
Q'illay
metal
metal
metal
metal
metal
metal
metal
metal
Lajwerd
I-metal
ধাতু
ধাতু
धातु
धातु
A metal (from Greek μέταλλον métallon, "mine, quarry, metal") is a material that, when freshly prepared, polished, or fractured, shows a lustrous appearance, and conducts electricity and heat relatively well.
Metallar
ਧਾਤ
ଧାତୁ
Metal
Metal
Metal
ലോഹം
Kuarepoti
Кӧртулов
Metal
Metal
Metal
Metal
Metal
Metal
Metal
Metal
धातू
లోహాలు
Dade
μέταλλο
Metalo
металл
Metaly
митал
Металлдар
Металл
Металл
ლითონები
металдар
Metalai
Metallum
Metall
Metall
Metali
Logam
Logam
Logam
Meatailt
ಲೋಹ
métal
금속
فلز
فلز
kovine
โลหะ
metallo
دھات
دھات
Miotal
உலோகம்
metalo
Insimbi
Simbi
kov
kov
Karfe
Metallo
metel
Mẹ́tàlì
málmur
מעטאל
metaal
Метал
Метал
metaal
Згъæр
သတ္တု
Metaal
метал
метал
kovina
метал
metāls
metalli
Металдар
金属
金属
kim loại
fém
logam
մետաղ
Bronze
Bronze
Bronzo
Bronze
Bronze
مفرغ
สำริด
Brûns
бронза
бронза
വെങ്കലം
бронза
бронза
бронза
бронза
Pronks
μπρούντζος
青銅
Champi
Gangsa
brontze
Ibhulonze
ಕಂಚು
bronzo
bronzo
bronce
bronce
בראנדז
բրոնզ
कांसा
برونز
ਕਾਂਸਾ
bronze
bronze
bronze
bronze
đồng điếu
brons
brons
bron
Perunggu
Perunggu
бөренҗ
бронз
cré-umha
ပန်းတဉ်း
કાંસું
ארד
Tansong pula
Bróns
కంచు
Bronze is an alloy consisting primarily of copper, commonly with about 12–12.5% tin and often with the addition of other metals (such as aluminium, manganese, nickel or zinc) and sometimes non-metals or metalloids such as arsenic, phosphorus or silicon.
Bronza
Бронза
Bronza
Bronza
चरेस
Umha
bronz
brąz
bronz
bronz
ব্রোঞ্জ
bronz
ბრინჯაო
کانسی
வெண்கலம்
Brons
Brons
efydd
tunc
Shaba
bronse
bronse
Bronca
ናስ
pronssi
Биринҷӣ
Bronz
Prunggu
Коло
青铜
aes
청동
Tunç
Arem
bronza
कांसे
Alimo
Қола
The Swing Painter is an Athenian black-figure painter active ca. 540-520 BCE. The name derives from an amphora (Boston, Museum of Fine Arts 98.918; BAPD 301521) showing a woman on a swing. Shapes are different amphora types, including the Panathenaic amphora. Scenes include both myth and everyday life: Herakles, Gigantomachy, centaurs, Amazons, Dionysos, warriors, riders, athletes, and revelers ("komasts"). Many vases have been found in Etruria, as well as Greece, Sicily, Cyrene, and Miletos.
Swing Painter
Swing Painter
Swing Painter
Swing Painter
Swing Painter
Swing Painter
Swing Painter
Swing Painter
Swing Painter
Ζωγράφος της Αιώρας
Schaukel-Maler
The Winchester Painter is an Athenian red-figure cup painter active ca. 520-500 BCE. The name derives from an eye-cup (Winchester, UK, Winchester College 42; BAPD 200403) showing jumpers on the exterior and a satyr on the interior. Satyrs and athletes appear on other cups. Findspots are Greece and Vulci.
Winchester Painter
Epidromos Painter
Epidromos Painter
Epidromos Painter
Epidromos Painter
Epidromos Painter
Epidromos Painter
Epidromos Painter
Epidromos Painter
Peintre d'Epidromos
The Epidromos Painter is an Athenian red-figure cup painter active ca. 510-500 BCE. The name derives from the inscription “Epidromos kalos” (“Epidromos is beautiful”) on several cups. Subjects include the symposion, sacrifice, Dionysos and followers, athletes, warriors, and Herakles. Findspots are sites in Etruria (Cerveteri, Vulci, Chiusi) and Spina.
Epidromos-Maler
The person responsible for painting or otherwise illustrating a vase.
Painter
Ptoon-Maler
Pintor de Ptoon
Ptoon Painter
Ptoon Painter
Ptoon Painter
Ptoon Painter
Ptoon Painter
Ptoon Painter
Ptoon Painter
Ptoon Painter
The Ptoon Painter is an Athenian black-figure painter active ca. 565-555 BCE. The name derives from the column krater discovered in Boeotia (Mt. Ptoon) (Athens, National Museum 1001; BAPD 300776) decorated with animals. Other shapes include the ovoid neck amphora, hydria, and Siana cup. Subjects are warriors, the symposion, draped, males, mythological scenes, and animals. Findspots include Rhodes, Vulci, Sicily, and Tocra.
Duris
Duris
Дуріс
Dúrides
杜里斯
Дурыс
Δούρις
ドゥリス
Дурис
Duride
Douris is an Athenian red-figure painter and potter active ca. 500-460 BCE. The name derives from the signature of Douris as painter (“egrapsen”) on many vases. Shapes are primarily the cup, but also the lekythos, pyxis, neck amphora, psykter, and rhyton in the shape of an animal. Scenes include the symposion, revelers (“komasts”), musicians, warriors, athletes, Dionysos and followers, Herakles, Theseus, Zeus and Ganymede, and the Trojan War. Some findspots are Etruria (Vulci, Orvieto, Chiusi, Cerveteri, Tarquinia), Adria, sites in southern Italy and Sicily, Athens (Agora, Acropolis, Kerameikos), Ampurias (Spain), and Naukratis.
Douris
Douris
Douris
Douris
Douris
Douris
Duris
Duris
Primarily a red-figure shape, the Type B cup comes in shortly after the invention of the technique and was never popular in black-figure. The bowl of the cup passes directly into the stem without interruption, the shape of the foot is a torus, and there is usually a small chamfer on its top surface near the edge.
κύλικα τύπου Β
Hauptsächlich eine rotfigurige Form, die kurz nach dem Aufkommen der rotfiguren Vasenmalerei entstanden ist. In der schwarzfigurigen Vasenmalerei war diese Form nie beliebt. Der Gefäßkörper der Schale geht nahtlos in den Stiel über.
Kylix Type B
Kylix, tipo B
Βασικά ένα σχήμα του ερυθρόμορφου ρυθμού, η κύλικα τύπου Β εμφανίστηκε λίγο μετά την εφεύρεση της ερυθρόμορφης τεχνικής και δεν υπήρξε ποτέ δημοφιλής στον μελανόμορφο ρυθμό. Το σώμα του αγγείου συνδέεται με μια συνεχή καμπύλη με το πόδι, που απολήγει σε μια δισκοειδή επίπεδη βάση, που συνήθως έχει μια μικρή λοξότμηση στην άνω επιφάνειά της, κοντά στην άκρη της.
киликс од типот Б
Typ B Kylix
Kylix, type B
The Palazzolo Painter is an Athenian black-figure painter of Komast cups affiliated with the Komast Group and dated to the 560’s BCE or later. The name derives from a cup found at Akrai, Sicily (Palazzolo; BAPD 305020). Shapes include the Komast cup, Siana cup, and skyphos. The main subject is male revelers ("komasts") dancing alongside females. Findspots include Athens, Sicily, and Naukratis.
Palazzolo Painter
Kantharoi
The Oionokles Painter is an Athenian red-figure painter active ca. 480-470 BCE. The name derives from the inscription “Oionokles kalos” (“Oionokles is beautiful”) on several examples. Shapes are the neck amphora, lekythos, loutrophoros, and column krater. Subjects include Dionysos and followers, revelers (“komasts”), warriors, Eos and Tithonos, the Death of Orpheus, Theseus, and musicians. Findspots are Vulci, sites in southern Italy and Sicily, Rheneia (Delos), Anavysos (Attica), and Athens.
Pictor Oeonoclis
Ζωγράφος του Οινοκλή
Oionokles Painter
Oionokles-Maler
Neandros is an Athenian black-figure potter of Little Master cups active in the mid-6th c. BCE. The name derives from the signature on cups signed as potter ("epoiesen") by Neandros. Decorating both band-cups and lip-cups, scenes include chariots, men, and Herakles. Findspots are Vulci and Corinth.
Neandros
Ψίαξ
Псіакс
Psjaks
プシアクス
Псиакс
Psiax is an Athenian black-figure painter active ca. 525-500 BCE. The painter also works in the red-figure technique (see Psiax [red-figure]) and sometimes paints on white-ground. Formerly known as the Menon Painter, the name Psiax appears alone on black-figure examples, and as painter ("egrapsen") on some red-figure vases. Shapes include the kyathos, amphora, hydria, plates, and the alabastron. Scenes derive from both stock (youths, warriors, women dancing) and myth (Herakles, Dionysos, Amazons). Findspots are sites in Etruria, Xanthos (Turkey), Sicily, and Greece.
Psíax
Psiax
Psiax
Psiaks
Psiax
Psiax
Psiax
Psiax
Psiax
Psiaks
Psiax
Psiax
Käfig-Maler
Cage Painter
The Cage Painter is an Athenian red-figure painter active ca. 490-480 BCE. The name derives from a cup from Orvieto (London, British Museum 1901.5-14.1; BAPD 203642) showing a boy holding a bird-cage. Shapes are the cup and pyxis. Subjects include athletes, the symposion, men, and youths. Findspots are Orvieto, Tarquinia, and Chiusi.
Peintre de la Cage
Bedeuted "Weinschlauch". Konventionell (und fälschlicherweise) verwendet für kleines, flaches Gefäß mit einem engen, abfallenden Ausguss und einem Bügelhenkel. Eine weitere Variante ist der Doppelaskos.
Asco (vaso)
ασκός
Askos
Askos
Askos
Askos
Askos
Askos
Askos
Askos
Askos
Askos
Asko
Meaning 'wine-skin,' the term askos is conventionally (and erroneously) used for a small, flat vase, with narrow sloping spout and handle arching over body. A variant exists in the form of a double-askos.
askos
askos
Аскос
Аскос
Аскос
아스코스
Η ονομασία αυτή, που προέρχεται από τον δερμάτινο σάκο για τη φύλαξη οίνου, τον ασκό, αποδίδεται συμβατικά (και λανθασμένα) σε ένα μικρό, επίπεδο αγγείο με στενή, λοξή προχοή και μια τοξωτή λαβη. Μια επιπλέον παραλλαγή του είναι ο διπλός ασκός.
Luterio
Louterion
Ο όρος "λουτήριο", που προέρχεται από το ρήμα λούω, προσδιορίζει μια λεκάνη με δύο λαβές και προχοή.
Der Begriff bedeutet 'waschen' und bezeichnet eine Schüssel mit zwei Henkeln und einem Ausguß.
λουτήριο
The term 'louterion' (coming from a word meaning 'wash’) is used to denote a bowl with two handles and a spout.
loutérion
Luterion
Crete was once the center of the Minoan civilization (c. 2700–1420 BC).
Crete
Тампський музей мистецтва
Tampa Museum of Art
The Tampa Museum of Art is located in downtown Tampa, Florida. It exhibits modern and contemporary art, as well as Greek, Roman, and Etruscan antiquities.
Ένα κοινό σχήμα της Μέσης Πρωτοκορινθαικής περιόδου. Αυτός ο αρύβαλλος διαθέτει ένα ωοειδές σώμα που προοδευτικά στενεύει στον λαιμό, καταλήγοντας σε ένα πλατύ χείλος.
Ovoid Aryballos
kugeliger Aryballos
A common shape in Middle Protocorinthian, this aryballos has an ovoid body that gradually narrows at the neck before flaring at its lip.
ωοειδής αρύβαλλος
Eine häufige Form in der mittel-protokorinthischen Phase. Dieser Aryballos hat einen kugeligen Körper, der zum Hals hin langsam schmaler wird und mit außen gestelltem Rand.
The Painter of Louvre G265 is an Athenian red-figure cup painter active ca. 470-460 BCE. The name derives from a cup found at Vulci (Paris, Louvre G265; BAPD 204532) showing the Deeds of Theseus. Other subjects include religion, warriors, athletes, Dionysos and followers, revelers (“komasts”), and the Death of Orpheus. Findspots are Vulci, Orvieto, and Nola.
Painter of Louvre G 265
Kantaro
canthare
kantharus
Κάνθαρος
康塔羅斯酒杯
кантарос
კანთაროსი
Кантарос
kantharos
kantharos
kantharos
Das griechische Wort kommt von 'Käfer'. Der Begriff Kantharos wird jetzt allgemein verwendet für Trinkgefäße mit zwei vertikalen, meist hochgeschwungenen Henkeln. Es gibt verschiedene Typen von Kantharoi dessen Vorbild bei Metalgefäßen zu finden ist. Sie werden in Darstellungen oft in den Händen von Dionysos, dem Gott des Weins, abgebildet. Der Kantharos besitzt unterschiedliche Gefäßformen.
From the Greek word for 'beetle,' the term kantharos is now used conventionally for a drinking cup with two vertical, usually high-swung, handles. The shape, most likley derived from metal vessels, is often shown in the hands of Dionysos, the god of wine. The kantharos has various different forms.
cântaro
Kantaros
カンタロス
Kantharos
Kantharos
جام خرگوشی
Kantharos
Kantharos
Kantharos
Kantaros
Kantharos
Kantharosz
Η ονομάσια του αγγείου προέρχεται από την αρχαία ελληνική λέξη για το σκαθάρι. Ο όρος "κάνθαρος" χρησιμοποιείται σήμερα γενικά για το αγγείο πόσης με δύο κάθετες, συνήθως καμπύλες λαβές. Το αγγείο, το σχήμα του οποίου προέρχεται πιθανότατα από μεταλλικά πρότυπα, βρίσκεται συχνά στα χέρια του Διονύσου, θεού του οίνου. Ο κάνθαρος απαντά σε διάφορες μορφές.
Канфар
Канфар
Канфар
The Flying-Angel Painter is an Athenian red-figure painter active ca. 480-470 BCE. The name derives from an amphora found in Capua (Boston, Museum of Fine Arts 98.882; BAPD 202711) showing a satyr supporting a child-satyr on his shoulders with outstretched arms (“flying-angel”). Shapes include the amphora (Type C), kraters, pelike, lekythos, and a Panathenaic amphora with revelers (“komasts”). Other subjects are athletes, the symposion, Dionysos and followers, warriors, and Herakles. Some findspots are Cerveteri, Chiusi, Gela, Athens (Acropolis, Agora), Rheneia (Delos), Cyrene, and Kerch.
Flying-angel Painter
Siana Cup
Сианские чаши
Sianaschalen
Copa de Siana
Η ονομάσια προέρχεται από μια τοποθεσία της Ρόδου όπου βρέθηκαν παραδείγματα αυτών των κυλίκων. Οι κύλικες τύπου Σιάνων διακρίνονται από τις κύλικες των Κωμαστών από το ψηλότερό πόδι και χείλος τους. Επιπλέον, σε αντίθεση με τις κύλικες των Κωμαστών, φέρουν διακόσμηση εσωτερικά, στο μετάλλιό τους, ενώ εντοπίζονται δύο τρόποι διακόσμησης της εξωτερικής πλευράς. Μια διμερής διακόσμηση, όπου υπάρχουν δύο ζώνες σε κάθε πλευρά, μία στο χείλος (συνήθως με φυτικά μοτίβα) και μια εικονιστική σκηνή στο σώμα. Στην ενιαία διακόσμηση απαντά μία μόνο εικονιστική σκηνή που καταλαμβάνει ολόκληρο το σώμα και το χείλος. Οι κύλικες τύπου Σιάνων έχουν επηρεαστεί τόσο ως προς το σχήμα όσο και ως προς τη διακόσμηση από πρότυπα της ανατολικής Ελλάδας.
Benannt nach einem Fundort auf Rhodos. Sianaschalen können von Komastenschalen durch den höheren Fuß und der längeren Lippe unterschieden werden. Im Gegensatz zur Komastenschale besitzen sie auf der Innenseite einen Dekor (Tondo). Für die Außenseite gibt es zwei Dekorschemata: der Doppeldecker-Typ umfasst zwei übereinander liegende Friese, einen auf der Lippe (meistens floral) und eine figürliche Darstellung am Gefäßkörper. Beim Knickfries-Typ ist eine einzige Dekorszene über den gesamten Gefäßkörper bis zur Lippe dargestellt. Teile der Form und Dekoration von Sianaschalen dürften auf ostgriechische Vorläufer zurückgehen.
Сіанські чаші
κύλικα τύπου Σιάνων
Named after a site on Rhodes where examples were found, Siana cups can be distinguished from Komast cups by their taller feet and lips. They are decorated on the tondo (another difference from Komast cups) and there are two schemes for decorating the exterior. The 'double-decker' type involves two friezes on each side, one on the lip (usually floral), and a figured scene on the body. The 'overlap' type uses a single frieze on each side to cover the total height of the body and lip. Aspects of the form and decoration of Siana cups appear to be indebted to East Greek models.
The Type C cup has a rather shallow bowl and a plain or offset lip. The cup can be stemmed or stemless. The stem, when present, is very short with a fillet at its base, and the foot is a thick torus. In the stemless versions, there is simply a fillet between bowl and foot.
κύλικα τύπου Γ
Schale Typ C hat einen niedrigen Gefäßkörper und einen einfachen oder leicht abgesetzten Rand. Die Schale erscheint mit einem kurzen oder ohne Stiel.
Η κύλικα τύπου Γ έχει ένα μάλλον αβαθές κύπελλο και ένα ενιαίο ή ελαφρά έξω νεύον χείλος. Η κύλικα μπορεί να έχει πόδι ή και όχι. Το πόδι, όταν υπάρχει, είναι βραχύ με έναν πλαστικό δακτύλιο ανάμεσα σε αυτό και τη συμπαγή δισκοειδή βάση. Στην εκδοχή χωρίς πόδι υπάρχει απλώς ένας δακτύλιος ανάμεσα στο σώμα και τη βάση.
Typ C Kylix
Kylix Type C
Italy
The production place of Italy.
Lydia
Эдынбургскі вазапісец
Edinburgh-Maler
The Edinburgh Painter is an Athenian black-figure painter active ca. 500 BCE, who sometimes applies white-ground to black-figure. The name derives from a lekythos (Edinburgh, Royal Scottish Museum L224.379; BAPD 380848) showing the Ransom of Hector. The painter has been connected to the Leagros Group and the Dot-Band Class. The lekythos is the main shape, as well as the amphora and small hydria. Scenes include myths, chariots, warriors, Herakles, Athena, and Dionysos. Findspots are Gela and other sites in Sicily, Athens (Kerameikos, Agora, Acropolis), Etruria and southern Italy, Cyrene, and Xanthos (Turkey).
Malarz Edynburski
Edinburgh Painter
Edinburgh Painter
Pittore di Edimburgo
Edinburgh Painter
Edinburgh Painter
Edinburgh Painter
Единбурзький вазописець
Edinburgh Painter
Edinburgh Painter
Edinburgh Painter
Edinburgh Painter
The Euaion Painter is an Athenian red-figure painter active ca. 460-440 BCE. The name derives from the inscription “Euaion kalos” (“Euaion is beautiful”) on a cup (Paris, Louvre G401; BAPD 209713) showing satyrs and maenads. The main shape is the cup. Other shapes are the skyphos, oinochoe, pyxis, hydria, and calyx krater. Other subjects include the symposion, revelers (“komasts”), athletes, warriors, Boreas and Oreithyia, Atalanta, and Theseus. Some findspots are Etruria (Vulci, Cerveteri, Orvieto), sites in southern Italy and Sicily, Aleria (Corsica), Athens (Agora, Acropolis, Kerameikos), Le Cayla (France), and Kerch.
Euaion Painter
Euaion Painter
Euaion Painter
Euaion Painter
Euaion Painter
Euaion Painter
Euaion Painter
Euaion Painter
Euaion Painter
Peintre d'Euaion
Ambrosios Painter
Ambrosios Painter
Ambrosios Painter
Ambrosios Painter
Ambrosios Painter
Ambrosios Painter
Ambrosios-Maler
The Ambrosios Painter is an Athenian red-figure cup painter active ca. 510-500 BCE. The name derives from the appellation “Ambrosios'' inscribed on the interior of a cup (Orvieto, Museo Civico, Faina 62; BAPD 201580) showing warriors and athletes on the exterior and a reveler (“komast”) on the interior. Subjects include Dionysos and followers, Nessos and Deianira, the symposion, Herakles, athletes, fishing, and hunting. Findspots include sites in Etruria (Orvieto, Cerveteri, Vulci, Gravisca), Athens (Acropolis, Agora), and Naukratis.
Ambrosios Painter
Ambrosios Painter
Ambrosios Painter
Nikoxenos Painter
Nikoxenos Painter
Nikoxenos Painter
Nikoxenos Painter
Nikoxenos Painter
Pintor de Nicóxeno
Nikoxenos-Maler
The Nikoxenos Painter is an Athenian black-figure painter, affiliated with the Leagros Group, active late 6th and early 5th c. BCE. The painter also produced red-figure and bilingual vases (see Nikoxenos Painter [red-figure]). The name derives from a Panathenaic amphora from Capua, Italy (Oxford, Mississippi University Museum 1977.3.115; BAPD 202964) with “Nikoxenos kalos” (“Nikoxenos is beautiful”) inscribed on Athena’s shield. Black-figure shapes include the neck amphora, hydria, and pelike. Scenes are of Dionysos, Athena, Herakles and Amazons, soldiers arming, the fountain-house, Perseus and Medusa, and the Judgment of Paris. Findspots are Etruria, southern Italy, Athens, Marathon, and northern Greece.
Nikoxenos Painter
Nikoxenos Painter
Nikoxenos Painter
cratère à colonnettes
crátera de columnas
столбен кратер
Der Kolonettenkrater hat einen abgesetzten Hals mit weiter Mündung, die einen breiten Rand mit überhängender Lippe besitzt. Seinen Namen hat er von den zwei parallelen Stabhenkeln, die oben mit Henkelplatte angebracht waren und bis zur Kraterschulter reichen.
κορινθιακός κρατήρας
Kolonettenkrater
The column-krater has an articulated neck, whose wide mouth culminates in a broad rim with an overhaning lip. It takes its name from the two pairs of columnar handles; these attach to handle plates at their top and to the krater shoulder at their base.
Ο κιονωτός κρατήρας διαθέτει έναν λαιμό που αρθρώνεται ξεχωριστά από το σώμα του αγγείου, το ευρύ στόμιο του οποίου περιβάλλεται από ένα πλατύ χείλος που έχει κλίση προς τα έξω. Η ονομασία του προέρχεται από τα δύο ζεύγη κιονωτών λαβών, που προσαρτώνται στο πάνω μέρος τους σε οριζόντια πλακίδια και στον ώμο του αγγείου τους στη βάση τους.
colonettenkrater
cratere a colonnette
Column Krater
The Centaur Painter is an Athenian black-figure painter of Little Master cups active in the second quarter of the 6th c. BCE. The name derives from a preference for painting centaurs and other equids. Known findspots include the Athenian Agora, Vulci, Berezan, and Cyprus.
Centaur Painter
Οι αρχαίες περιγραφές εξισώνουν αυτόν τον όρο με ένα λακωνικό αγγείο πόσης, με βαθύ σώμα δύο οριζόντιες λαβές κοντά στη βάση του.
Ancient descriptions equate this term with a Laconian drinking cup with a deep body and two horizontal handles set near the base.
Antike Beschreibungen setzen den Namen mit einer lakonischen Trinkschale gleich, mit tiefem Gefäßkörper und zwei horizontal Henkeln, die nahe am Boden angebracht sind.
lácaina
Lakaina
Lakaina
Lakaina
λάκαινα
Klitija
Klitija
Клитий
Клитий
克利提亚斯
Klitias
Klitias
Kleitias
Kleitias
Kleitias
Kleitias
Kleitias
Kleitias
Kleitias
Kleitias
Клітій
Clitias
Clítias
Clitias
Kleitias is an Athenian black-figure painter active ca. 575-550 BCE who signs his name as painter (“egrapsen”). His best-known work is a volute-krater known as the François Vase, which was found in Chuisi (Etruria) and is now in Florence (Archaeological Museum 4209; BAPD 300000).It displays a series of mythological scenes and a large number of inscriptions. Other vases attributed to the painter portray Odysseus, warriors, Amazons, dancing youths, and maidens. Other shapes include the Siana cup, Little Master cup, skyphos, and hydria. Findspots include Athens (Acropolis, Agora), Samos (Heraion), Naukratis, Etruria, and Cyrene.
Der Begriff bedeutet 'Trinkgefäß' wird aber fälschlicherweise mit dem Gefäß 'Lebes' gleichgesetzt.
Dinos
Dinos
Dinos
Dinos
Dinos
Dinos
Dinos
Dinos
Ο όρος "δίνος" σήμαινε στην αρχαιότητα ποτήριο, αλλά χρησιμοποιείται σήμερα εσφαλμένα για να προσδιορίσει το ίδιο σχήμα όπως ο "λέβης".
dino
Дінос
Динос
The term means 'drinking cup,' but is now wrongly used to designate the same shape as 'lebes.'
δίνος
다이노스
dinos
dinos
South Italian (including Sicilian) styles of Greek-styled pottery.
For South Italy as a production place, use kid:south_italy.
South Italian
ψυκτήρας-αμφορέας
Psykter Amphora
Psykter Amphore
Ο ψυκτήρας-αμφορέας είναι ένα αγγείο με διπλά τοιχώματα, τα οποία προσαρτώνται στον λαιμό και στη βάση. Στην εξωτερική επιφάνεια του αγγείου υπάρχει μια προχοή, μέσω της οποίας γέμιζαν το διάστημα ανάμεσα στα δύο τοιχώματα με πάγο ή παγωμένο νερό. Διαθέτει συνήθως και μια προχοή απορροής, πάνω από το πόδι. Το σχήμα παραγόταν πιθανώς μόνο κατά τον 6ο αι. π. X.
Die Psykter Amphore ist ein doppelwandiger Behälter dessen Wände am Hals und Fuß verbunden sind. Der äußere Gefäßkörper hat einen Ausguß, der zur Befüllung des Zwischenraums mit Eis oder Eiswasser gedient hat. Es hat üblicherweise einen Ausguß oberhalb vom Fuß. Die Gefäßform wurde wahrscheinlich nur im 6. Jh.n.Chr. produziert.
The psykter-amphora is a double-walled container whose walls are attached at the neck and at the base, the outer vessel having a spout at the shoulder through which ice or ice water was poured into the space between the two walls. It usually has a drain spout just above the foot, directly below the pour spout. The shape was probably only produced in the 6th c. BCE.
cotile
kotyle
Als Alternative zu Skyphos verwendet. Der Begriff bezeichnet eine tiefe Schale mit zwei horizontalen Henkeln, das keine abgesetzte Lippe aufweist.
Χρησιμοποείται ως εναλλακτικός όρος για τον σκύφο και προσδιορίζει ένα βαθύ κὐπελλο με δύο οριζόντιες λαβές που δεν έχει έξω νεύον χείλος.
kotülé
cotyle
Kotyle
Kotyle
Kotyle
Κοτύλη (αγγείο)
cótila
Kotile
Котіла
Котила
Used as an alternative for skyphos, the term kotyle refers to a deep cup with two horizontal handles that lacks an offset lip.
Cotyla
Kotylé
Còtila
The Camel Painter is a black-figure painter active in the mid-6th c. BCE. There is debate about whether the painter is Athenian or Boeotian. The name derives from a skyphos (Munich, Antikensammlungen 2008; BAPD 310291) showing youths with a camel. Other scenes are athletes and Ajax with the body of Achilles. Shapes are the skyphos and cups. Findspots include sites in Boeotia and Miletus.
Camel Painter
Painter of Louvre F6
Painter of Louvre F6
Pintor de Louvre F6
Peintre du Louvre F6
The Painter of the Louvre F6 is an Athenian black-figure painter active in the mid-6th c. BCE and is classified as a “companion” to Lydos. The name derives from a hydria (Pairs, Louvre F6; BAPD 300899) showing Dionysos with maenads and satyrs on the shoulder and a duel on the body. Shapes include the column krater, belly amphora (Type B), and the shouldered hydria. Subjects are gods, warriors, Herakles, centaurs, Theseus, and athletes. Known findspots are in Greece and Italy, as well as Berezan and Cyrene.
Maler von Louvre F 6
Maler von Louvre F 6
The Goluchow Painter is an Athenian red-figure painter active in the late 6th c. BCE. The name derives from an olpe from Cerveteri (Warsaw, National Museum 142463, ex Goluchow; BAPD 200045) showing a discus thrower. The other shape is the oinochoe, and scenes are of athletes, a satyr, and musicians. Other findspots are Vulci and Athens.
Goluchow Painter
Polychrome refers to vases that feature multiple colors in addition to the usual red and black derived from firing Athenian clay and slip (see Added Color). Examples of polychrome are relatively rare in Athenian vase-painting, but are found more regularly on Corinthian and South Italian wares. Several polychrome vessels in the form of the oinochoe are from the Athenian Agora.
Polychrome
Archaic and Classical Greek (non-South Italian) shapes.
application/vnd.google-apps.spreadsheet
Kaktus-Maler
Kaktus-Maler
Cactus Painter
Cactus Painter
The Cactus Painter is an Athenian black-figure painter ca. 510-500 BCE. Named for a distinct style of palmette tendrils, this is mainly a painter of the lekythos. Scenes include Herakles, Ajax and Achilles, horsemen, and youths. Findspots are Eretria and Thebes.
Archikles is an Athenian black-figure potter of Little Master cups active in the mid-6th c. BCE. The name derives from the signature on cups signed as potter ("epoiesen") by Archikles. A band-cup signed as potter by Archikles and Glaukytes shows the Kalydonian Boar Hunt on one side and Theseus fighting the Minotaur on the other. The main findspot is Vulci.
Archikles
Stamnoi
The Siren Painter is an Athenian red-figure painter active ca. 480-470 BCE. The name derives from a stamnos from Vulci (London, British Museum E440; BAPD 202628) showing Odysseus and the Sirens. Shapes are the pelike and stamnos. Subjects include Herakles and Deianira, Perseus and a Gorgon, and the Struggle for the Delphic Tripod. Findspots are Vulci and perhaps Cerveteri.
Siren Painter
Siren Painter
Siren Painter
Siren Painter
Siren Painter
Siren Painter
Siren Painter
Siren Painter
Siren Painter
Siren Painter
Seireeni-maalari
Pittore delle sirene
Онесим
Онесім
Onesimus
Onesimos is an Athenian red-figure painter active ca. 505-480 BCE, and associated with the Proto-Panaitian Group. The name derives from a cup found at Vulci signed as painter (“egrapsen”) by Onesimos and as potter (“epoiesen”) by Euphronios (Paris, Louvre G105; BAPD 203218) showing horsemen. The primary shape is the cup (kylix). Other shapes are the skyphos, plate, and pyxis. Subjects include Theseus, Herakles, the Trojan War, the symposion, revelers (“komasts”), athletes, and nude females. Some findspots are Etruria (Vulci, Cerveteri, Tarquinia, Chiusi, Orvieto), sites in southern Italy and Sicily, Athens (Acropolis, Agora), and Naukratis.
Onésimo
Onesimo
Onesimos (vaasimaalari)
Анесім
Onesimos
Onesimos
Onesimos
Onesimos
Onesimos
Onesimos
Onesimos
Onesimos
Onesimos
Hydriai
Die Kasselschalen haben eine flache Gefäßform und sind meistens kleiner. Sowohl der Rand als auch der Gefäßkörper sind mit einfachen ornamentalen Bändern dekoriert. Zungenbänder finden sich üblicherweise am Rand sowie Strahlen im unteren Gefäßdrittel.
Related to the Little Master cups, Kassel cups have a rather flat, band-cup shape and are generally small. Both the lip and body are usually covered with simple patterned bands. Tongues are common at the lip, as are rays above the foot, and some Kassel cups have silhouette figures in the handle zone.
κύλικα τύπου Κάσσελ
Συγγενείς προς τις μικρογραφικές κύλικες, οι κύλικες τύπου Κάσσελ έχουν ένα μάλλον επίπεδο σχήμα όμοιο με εκείνο των ταινιωτών κυλίκων και είναι γενικά μικρού μεγέθους. Τόσο το χείλος όσο και το σώμα καλύπτονται με ζώνες απλών διακοσμητικών μοτίβων. Γλωσσοειδή κοσμήματα είναι κοινά στο χείλος, όπως και οι ακτίνες πάνω από το πόδι, ενώ ορισμένες κύλικες αυτού του τύπου φέρουν μορφές στην τεχνική της σκιαγραφίας στη ζώνη των λαβών.
Kassel-Schale
Kassel Cup
Peintre de Munich 1410
Maler von München 1410
Painter of Munich 1410
Painter of Munich 1410
Painter of Munich 1410
Pintor de Múnich 1410
The Painter of Munich 1410 is an Athenian black-figure painter active in the third quarter of the 6th c. BCE. The name derives from an amphora from Vulci (Munich, Antikensammlungen 1410; BAPD 301593) showing a duel over a fallen warrior. Shapes include several amphora types and the hydria. Scenes include warriors, Amazons, and possibly the wedding of Peleus and Thetis. Known findspots are the Athenian Agora, Vulci, and Orvieto.
BMN-Maler
Bmn Painter
Pittore BMN
The BMN Painter is an Athenian black-figure painter active ca. 550-510 BCE, who worked with the potter Nikosthenes. The acronym derives from “British Museum Nikosthenes” and refers to a neck amphora from Agrigento with Nikosthenes signed as potter ("epoiesen") (London, British Museum B295; BAPD 302838). The painter decorated the amphora and Little Master cups, as well the hydria and oinochoe. Subjects are youths, athletes, warriors, Theseus and the Minotaur, and Herakles. Known findspots are in Etruria, Sicily, and Greece.
Pintor BMN
BMN-schilder
Painter of Berlin 1686
Pintor de Berlín 1686
Берлинский вазописец
The Painter of Berlin 1686 is an Athenian black-figure painter active ca. 550-530 BCE. The name derives from an amphora (Berlin, Antikensammlung F1686; BAPD 320383) portraying a sacrifice to Athena. Other scenes include courting, choral performance, Herakles, and warriors. Findspots are Etruria, Sicily, sites in Greece, Cyrene, and Kerch (Black Sea).
Maler von Berlin 1686
Maler von Berlin 1686
Peintre de Berlin 1686
Painter of Berlin 1686
Painter of Berlin 1686
The Pedieus Painter is an Athenian red-figure cup painter active in the late 6th c. BCE. The name derives from the inscription “Pedieus kalos” (“Pedieus is beautiful”) on several examples. Subjects include Amazons, horsemen, warriors, and women. Findspots are Thebes, Athens, Camiros (Rhodes), and sites in Etruria (Cerveteri, Tarquinia, Gravisca).
Pedieus Painter
Pedieus Painter
Pedieus Painter
Pedieus Painter
Pedieus Painter
Pittore di Pedieus
Pedieus Painter
Pedieus Painter
Pedieus-Maler
Peintre de Pédieus
Timiades Painter
Timiades Painter
The Timiades Painter is an Athenian black-figure painter of the Tyrrhenian Group active ca. 565-550 BCE and prolific painter of the ovoid neck amphora. The name derives from an amphora discovered in Vulci (Boston 98.916; BAPD 310045) showing a Greek warrior, whose name is inscribed “Timiades,” fighting Amazons. Scenes include male revelers ("komasts"), satyrs, erotic scenes, Trojan War, and Herakles/Amazons. Findspots include Etruria, Clazomenae, and Tharros (Sardinia).
Timiades-Maler
Timiades-Maler
Timiades-Maler
The Medea Group decorated vases in the black-figure technique in Athens in the late 500s B.C.
Medea Group
Pitcher
κανάτα
‘Pitcher’ is a generic term for a container with a handle and lip used for pouring liquids. See oinochoe and olpe.
Krug
Krug' ist ein generischer Begriff für ein Gefäß mit einem Henkel und Lippe zum Ausschenken von Flüssigkeiten. Siehe Oinochoe und Olpe.
"Κανάτα" είναι ένας γενικός όρος για ένα αγγείο με λαβή και χείλος που χρησιμοποιείται για άντληση υγρών και για σερβίρισμα. Βλ. οινοχόη και όλπη.
კერძი
plato
Ferculum
oúnjẹ
plado
The name dish is given to almost any sizeable, shallow bowl.
Disho
plater
Gericht
ēdiens
Ризыҡ
prato
matrett
matrett
ഭക്ഷണം
Dish
món ăn
јадење
կերակուր
Таом
Prato
plat
piatto
јело
maträtt
fel de mâncare
pokrm
מנה
Kleine Variante der Schale.
страва
страва
ਡਿਸ਼
gerecht
Plat
料理
potrawa
блюдо
ରାନ୍ଧଣା
mets
पकवान
πινάκιο με πόδι
jedlo
Patiekalas
Το όνομα προσδιορίζει γενικά ένα ρηχό αγγείο με πόδι.
madret
ашамлык
菜肴
Плакия
makanan
بشقاب
ruokalaji
fogás
طبق
Peintre de Camtar
Camtar-Maler
Camtar-Maler
The Camtar Painter is an Athenian black-figure painter dated to the mid-6th c. BCE. The name derives from vases in Cambridge (“Cam”) and Tarquinia (“Tar”). The main shape is the ovoid neck amphora. Subjects include Herakles/Amazons and the Arming of Achilles. Findspots include Etruria (Cerveteri, Vulci, Tarquinia), Marseilles, Sardis, and Naukratis.
Camtar Painter
Camtar Painter
Camtar Painter
Camtar Painter
Camtar Painter
Camtar Painter
Pintor de Camtar
Ψίαξ
Psiax
Psiax
Psiax
Psiax
Psiax
Псіакс
Psiax
Psiax
Psiax
Psiax
Psiax is an Athenian red-figure painter active ca. 525-500 BCE, who also worked in the black-figure technique (see Psiax [Black-figure]) and sometimes painted on white-ground. Formerly known as the Menon Painter, Psiax signs as painter ("egrapsen") on some red-figure vases or simply as “Psiax” in black-figure. Shapes include cups, the amphora, alabastron, and mastoid. Scenes derive from both stock (youths, warriors, women dancing) and myth (Herakles, Dionysos, Amazons). Findspots include the Athenian Acropolis, sites in Etruria, and Kerch.
Psíax
プシアクス
Psjaks
Psiaks
Psiaks
Псиакс
Tagesanbruchs-Maler
Aamunkoittomaalari
夜明けの画家
Pintor del alba
Daybreak Painter
The Daybreak Painter is an Athenian black-figure painter associated with the Leagros Group, active ca. 520 to 500 BCE. The name derives from a lekythos from Eretria (Athens, National Museum 513; BAPD 302371) showing Helios rising from the sea. Shapes are the lekythos, oinochoe, olpe, and hydria. Other scenes include Odysseus and Circe, Herakles, warriors, the symposion, and Dionysos. Findspots are Rhodes, Etruria, southern Italy, and Sicily.
Η πλημοχόη τύπου Α είναι ο πρωιμότερος των δυο τύπων και διακρίνεται από το βραχύ, πλατύ πόδι του. Οι ειδικοί δεν συμφωνούν πλήρως για το όνομα του αγγείου και καλείται επίσης "εξάλειπτρο" και (λανθασμένα) " κώθων". Βλ. παρ. το λήμμα πλημοχόη.
πλημοχόη τύπου Α
Typ A Plemochoё ist die frühere Variante der zwei Typen und ist charakterisiert durch einen kürzeren breiten Fuß. Der Begriff dieses Gefäßes ist umstritten und es wird auch als 'Exaleiptron' oder (inkorrekt) als 'Kothon' bezeichnet. Siehe 'Exaleiptron'
Plemochoe Typ A
Plemochoe Type A
The Type A plemochoё is the earlier of the two types and is differentiated by its shorter, wider flaring foot. Authorities do not fully agree on the name of this vase and it is also called ‘exaleiptron’ and (incorrectly) ‘kothon.’ For further information on terminology, see 'plemochoё.'
Kapaku
Qhupiña
Geçmeli kapak
κάλυμμα
låg
뚜껑
deksel
pokrywka
Poklopac
Eine Vielzahl an Gefäßformen besitzen einen Deckel, wie die Pyxis, Lekane, Lebes Gamikos und manchmal Amphore und Oinochoe.
Поклопац
Μια πλειάδα σχημάτων διαθέτουν κάλυμμα, όπως η πυξίδα, η λεκανίς, ο γαμικός λέβης και μερικές φορές ο αμφορέας και η οινοχόη.
Deckel
Tapa
Қақпақша түрлері
Tapa
Tapa
Lid
Капкак
Capac
Кришка
Lids were associated with a variety of vase shapes. Vessels that generally had lids were the pyxis, lekanis, lebes gamikos, and sometimes the amphora and oinochoe.
Lido
couvercle
מכסה
Lock
Крышка
蓋
Nikosthenes (savenvalaja)
Nikosthenes
Nikosthenes
Nikosthenes
Nikosthenes
Nikosthenes
Nikosthenes
Nikosthenes
Nikosthenes
Nikosthenes
Nikosthenes
Nicostene
Нікосфен
Никосфен (тăм савăт ăсти)
Nicosthénès
Никосфен (гончар)
Nikosthenes is an Athenian potter active ca. 540-510 BCE. Signing a large number of vases as potter ("epoiesen"), Nikosthenes is associated with Painter N and several other painters. Shapes include the Nikosthenic amphora (based on an Etruscan shape), Nikosthenic pyxis, kyathos-dipper, skyphos, and psykter. Subjects include satyrs, Dionysos, warriors, revelers ("komasts"), athletes, riders, and scenes with Athena. Most examples have been discovered in Etruria.
The Wraith Painter is an Athenian black-figure painter active in the third quarter of the 6th c. BCE. The name derives from the ghost-like style of the figures on the vases. Shapes are cups and the lekythos, and subjects include warriors, riders, Dionysos and followers, and Amazons. Findspots are the Athenian Acropolis, Thasos, Italy, Sicily, and France.
Wraith Painter
Wraith Painter
Wraith Painter
Wraith Painter
Wraith Painter
Wraith Painter
Wraith Painter
Wraith Painter
Wraith Painter
Geister-Maler
Geister-Maler
Kleophrades-Maler
Kleophrades Painter
Pittore di Kleophrades
Мастер Клеофрада
The Kleophrades Painter is the name given to the anonymous red-figure Athenian vase painter, who was active from approximately 510 – 470 BCE and whose work, considered amongst the finest of the red figure style, is identified by its stylistic traits.
Hischylos was a black-figure Athenian potter, active ca. 530 BCE.
Hischylos
The Hermogenes Painter is an Athenian black-figure painter associated with the potter, Hermogenes.
Hermogenes Painter
The Diosphos Painter is an Athenian black-figure painter active in the first half of the 5th c. BCE. The name derives from the inscription “kalos Diosphos” (“Diosphos is beautiful”) on a small neck amphora (Paris, Cabinet des Médailles 219; BAPD 305526) showing the Birth of Dionysos. The Diosphos Painter also worked in white-ground and Six’s technique. Mainly a lekythos painter, other shapes are the neck amphora, alabastron, kyathos, and epinetron. Scenes include representations of myths (Amazons, Herakles, Memnon), chariots, warriors, and Dionysos. Findspots are Athens (Acropolis, Kerameikos, Agora), Corinth, Perachora, sites in Italy and Sicily, and Rhodes.
Вазапісец Дыясфос
Pintor de Diosfo
Diosfos-maalari
Diosphos Painter
Diosphos Painter
Diosphos Painter
Diosphos Painter
Diosphos Painter
Diosphos Painter
Peintre de Diosphos
Pittore di Diosphos
ディオスポス
Diosphos-Maler
Apulia
Apulia
Apulia
Puglia
Apulien
Apulien
Apulia (Italian: Puglia)[note 1] is a region of Italy in Southern Italy bordering the Adriatic Sea in the east, the
Ionian Sea to the southeast, and the Strait of Òtranto and Gulf of Taranto in the south. It was a major producer of Red Figure pottery during the
Classical period.
Apulië
プッリャ州
Apúlia
Pouilles
Апулия
普利亚
Indianapolis Museum of Art at Newfields
The Indianapolis Museum of Art (IMA) is an encyclopedic art museum located at Newfields, a 152-acre campus near downtown Indianapolis. The Indianapolis Museum of Art is the ninth oldest and eighth largest encyclopedic art museum in the United States. The permanent collection comprises over 54,000 works, including African, American, Asian, and European pieces.
Olpai
Coral red (or “intentional red”) is the term used to describe a color applied to some vases in the 6th and 5th c. BCE. The color was painted onto entire vases (called “red-bodied” vessels) but did not adhere well to the surface. It is debated whether coral red derives from a mixture of red ochre or comes from a refined form of natural clay and yellow ochre that transforms to coral red when fired. The earliest known example of coral red is a kylix signed as potter (“epoiesen”) by Exekias (Munich, Antikensammlungen 2044; BAPD 310403) showing Dionysos reclining inside a ship on the cup’s interior (see Exekias). The technique appears mostly on small shapes and on a volute krater attributed to the Kleophrades Painter (see Kleophrades Painter).
Coral Red
exaleiptra
Der Begriff "Stamnos" wird allgemeint (und fälschlicherweise) verwendet, um ein Aufbewahrungs- und Mischgefäß zu bezeichnen, das zwei kleine horizontale Henkel besitzt, die am kompakten runden Körper angebracht sind und auch einen kurzen Hals und einen Deckel aufweist
Стамнас
Η ονομασία "στάμνος" χρησιμοποιείται συμβατικά (και λανθασμένα) για να προσδιορίσει ένα αγγείο φύλαξης και ανάμειξης με δύο μικρές οριζόντιες λαβες προσαρτημένες σε ένα συμπαγές, βολβοειδές σώμα, με βραχύ λαιμό και κάλυμμα.
Στάμνος
Стамнос
Стамнос
Стамнос
Ստամնոս
Stamnos
stamnos
Stamnos
stamnos
Stamnos
Stamnos
Stamnos
Stamnos
Stamnos
Stamnos
stamnos
The term ‘stamnos’ is conventionally (and wrongly) used to designate a storing and mixing bowl with two small horizontal handles attached to a compact, bulbous body, a short neck and a lid.
Plemochoe Type B
The Type B plemochoё is the later of the two types and is differentiated by its tall, medium-wide stem terminating in a disc-like foot. Authorities do not fully agree on the name of this vase and it is also called ‘exaleiptron’ and (incorrectly) ‘kothon.’ For further information on terminology, see 'plemochoё.'
πλημοχόη τύπου Β
Typ B Plemochoё ist die spätere Variante der zwei Typen und ist charakterisiert durch einen hohen Stiel mit rundem Standfuß. Der Begriff dieses Gefäßes ist umstritten und es wird auch als 'Exaleiptron' oder (inkorrekt) als 'Kothon' bezeichnet. Siehe 'Exaleiptron'
Plemochoe Typ B
Η πλημοχόη τύπου Β είναι ο υστερότερος των δύο τύπων και διακρίνεται από το ψηλό, διευρυνόμενο πόδι με δισκοειδή βάση. Οι ειδικοί δεν συμφωνούν πλήρως για το όνομα του αγγείου και καλείται επίσης "εξάλειπτρο" και (λανθασμένα) " κώθων". Βλ. παρ. το λήμμα πλημοχόη.
Attic vase painters, active ca. 480-450 B.C.
Group of Würzburg 221
application/vnd.google-apps.spreadsheet
Notable groups derived from the Beazley Archive.
The Epitimos Painter is an Athenian black-figure painter of Little Master cups active in mid-6th c. BCE. The name derives from vases signed as potter ("epoiesen") by Epitimos. Subjects include youths, warriors, and erotic scenes. The main findspot is Vulci.
Epitimos Painter
Attic potter, active 6th century BCE.
Epitimos
Lekanendeckel
κάλυμμα λεκανίδας
Lekanis Lid
Lekanendeckel vom 6. bis zum frühen 5. Jh.v.Chr. sind konvex ausgeformt und zusammen mit der Lekane erwecken sie einen fast kugeligen Eindruck. Im restlichen 5. und im 4. Jh. wurde der Deckel flacher. Der Deckel weist einen Stiel oder Knauf als Deckelgriff auf.
Lekanis lids from the 6th through early 5th c. were convex and created an almost circular appearance with the lekanis itself. For the rest of the 5th and into the 4th c., the lid became flatter, answering the parallel development of the bowl. The lid generally has a central stem or knob for a handle.
Τα καλύμματα της λεκανίδας από τον 6ο έως τον πρώιμο 5ο αι. π.Χ. έχουν καμπύλο σχήμα και μαζί με τη λεκανίδα δίνουν την εντύπωση ενός σχεδόν κυκλικού σχήματος. Κατά τον υπόλοιπο 5ο αι. και κατά τον 4ο, το κάλυμμα έγινε πιο επίπεδο, σε συνάρτηση με την ανάλογη εξέλιξη της λεκανίδας. Γενικά, το κάλυμμα διαθέτει ένα κεντρικό στέλεχος ή κομβίο ως λαβή.
Theseus-maalari
Theseus Painter
Theseus Painter
Theseus Painter
Theseus Painter
Theseus Painter
Theseus Painter
Theseus Painter
Theseus Painter
Theseus Painter
Theseus-Maler
The Theseus Painter is an Athenian black-figure painter active late 6th and early 5th c. BCE who sometimes uses white-ground and Six’s technique. The name derives from the painter’s fondness for the hero Theseus. Primarily a painter of the skyphos and lekythos, other shapes are the oinochoe, loutrophoros, alabastron, and pelike. Scenes include Dionysos, Herakles, warriors, revelers ("komasts"), youths, athletes, and prothesis (laying out the body of the deceased). Findspots are Athens (Acropolis, Agora), Thasos, Taranto, Rhodes, Delos, and Corinth.
período orientalizante
período orientalizante
Orientalisoiva kausi
Ориентализирующий стиль
東方化様式
céramique orientalisante
Орієнталізуючий стиль
Orijentalizacijski period
Orientalizirano obdobje
Período orientalizante
orientiĝanta periodo
Orientalizing
Orientalisierend
Арыенталізавальны стыль
període orientalitzant
Ориентализиращ период
periodo orientalizzante
Ανατολίζων, -ούσα, -όν
Aetas orientalizans
Styl orientalizujący
東方化時期
Orientalizing denotes Greek vases and other arts produced ca. 700-600 BCE. It thus falls between the Geometric (ca. 900-700 BCE) and Archaic (ca. 600-480 BCE) stylistic periods. It is divided into phases, according to region and stylistic development. The term derives from discernible changes in the techniques and appearance of pottery, sculpture, and architecture based on Greek contact with the Near East and Egypt. Chief stylistic trends in vase-painting include the use of animal friezes, hybrid creatures, and rosettes. The term Orientalizing is applied to Athens (where it is also called Protoattic) and other regions, such as Corinth (where it is also called Protocorinthian), East Greece, Crete, and the Cycladic islands. The main vase-painting techniques in Athens and Attica are silhouette, outline, some incision, and the Black and White Style, and major painters include the Analatos Painter, Nettos (Nessos) Painter, and Ram Jug Painter.
Ο όρος «ανατολίζων» χρησιμοποιείται για αγγεία και άλλα τέχνεργα που δημιουργήθηκαν περίπου μεταξύ του 700-600 π.Χ. Έτσι, τοποθετείται μεταξύ της τεχνοτροπίας της Γεωμετρικής (περ. 900-700 π.Χ.) και της Αρχαϊκής (600-480 π.Χ.) περιόδου. Διαιρείται σε φάσεις σύμφωνα με την εκάστοτε περιοχή και την τεχνοτροπική εξέλιξη. Ο όρος προέρχεται από μια ευδιάκριτη αλλαγή στις τεχνικές και στη μορφή της κεραμικής, πλαστικής και αρχιτεκτονικής λόγω των επαφών μεταξύ του ελλαδικού χώρου και της Εγγύς Ανατολής αλλά και της Αιγύπτου. Οι κατ’ εξοχήν τεχνοτροπικές τάσεις στην αγγειογραφία περιλαμβάνουν τη χρήση ζωφόρων με ζώα, μιξογενή όντα και ρόδακες. Ανατολίζουσα χαρακτηρίζεται η κεραμική της Αθήνας αυτής της περιόδου (που καλείται επίσης Πρωτοαττική), της Κορίνθου (που καλείται επίσης Πρωτοκορινθιακή), καθώς και άλλων περιοχών, όπως της Ανατολικής Ελλάδας, της Κρήτης και των Κυκλάδων. Οι κύριες τεχνικές της αγγειογραφίας στην Αθήνα και στην Αττική είναι η σκιαγραφία, το περίγραμμα, η περιορισμένη εγχάραξη και ο λεγόμενος ασπρόμαυρος ρυθμός. Στους μείζονες αγγειογράφους της περιόδου συγκαταλέγονται ο ζωγράφος του Αναλάτου, ο ζωγράφος της Οινοχόης των Κριών και ο ζωγράφου του Νέσσου (ή Νέττου).
Orientalisierend bezeichnet griechische Vasen und andere Objekte, die im Zeitraum von ca. 700-600 v. Chr. produziert wurden. Es fällt daher zwischen die geometrische (ca. 900-700 v. Chr.) und der klassischen (ca. 480-323 v. Chr.) stilistischen Periode. Sie wird je nach Region und stilistischer Entwicklung in Phasen unterteilt. Der Begriff leitet sich von den erkennbaren Veränderungen in der Technik und dem Erscheinungsbild von Keramik, Skulptur und Architektur basierend auf den griechischen Kontakten mit dem Nahen Osten und Ägypten ab. Die häufigsten stilistischen Tendenzen in der Vasenmalerei beinhalten den Einsatz von Tierfriesen, Hybridkreaturen und Rosetten. Der Begriff Orientalisierend trifft auf die bemalten Vasen von Athen (wo es auch als Protoattisch bezeichnet wird) und anderer Regionen zu, etwa Korinth (wo es als Protokorinitisch bezeichnet wird), östliches Griechenland, Kreta und den Kykladen. Die häufigste Technik der Vasenmalerei in Athen und Attika sind Umrisszeichnung, ein wenig Ritzung und der Black-and-White Stil. Die wichtigsten Vertreter sind der Analatos-Maler, der Nettos (Nessos)-Maler, und der Maler der Widder-Kanne.
Antifonte
Antifonte
The Antiphon Painter is an Athenian red-figure painter active ca. 490-470 BCE. The name derives from the inscription “Antiphon kalos” (“Antiphon is beautiful”) on a stand from Pomarico (southern Italy) (Berlin, Antikensammlung F2325; BAPD 203436) showing athletes. The cup is the main shape, and subjects include warriors, hunting, Herakles, Theseus, the symposion, and revelers (“komasts”). Findspots are the Athenian Acropolis, Etruria (Orvieto, Vulci, Tarquinia, Cerveteri, Chiusi), and sites in southern Italy.
Antiphon-Maler
Вазапісец Антыфона
Antiphon Painter
Antiphon Painter
Antiphon Painter
Antiphon Painter
Antiphon Painter
Antiphon Painter
Вазописець Антифона
Antiphon
Вазописец Антифона
The C Painter is an Athenian black-figure painter active ca. 570-560 BCE. The name derives from the “Corinthianizing” style of painting. Shapes are the Siana cup, lekanis, tripod kothon (or pyxis), skyphos, and lekythos. Subjects include dueling warriors, horsemen, the symposion, male revelers ("komasts"), and mythological scenes. Findspots include Athens, Eleusis, Perachora, Corinth, southern Italy, Rhodes, Kavala, and Naukratis.
Pintor C
C Painter
C Painter
C Painter
C Painter
C-Maler
Pittore C
Civico Painter
Civico Painter
Civico Painter
Civico Painter
Civico Painter
Civico-Maler
Civico-Maler
The Civico Painter is an Athenian black-figure Siana cup painter active ca. 575-555 BCE. The name derives from a cup fragment from Orvieto (Museo Civico 597; BAPD 300647) with male figures. Subjects include warriors, Theseus and the Minotaur, and athletes. Findspots include Tocra (Libya), Taranto, Orvieto, and Thebes.
A red-figure vase painter active in the early Archaic period; he specialized in the decoration of cups.
Chaire Painter
Pintor de Berlín A 34
Maler von Berlin A 34
Painter of Berlin A 34
Painter of Berlin A 34
Peintre de Berlin A 34
The Painter of Berlin A 34 (formerly known as the Woman Painter) is an Athenian black-figure painter active ca. 630-620 BCE. The name derives from a fragmentary krater found on Aegina (Berlin, Antikensammlung A 34; BAPD 218722) with a procession of women. The painter is among the first attributed artists of Attic black-figure vase-painting. The main shape is the krater. This painter uses a mix of techniques (outline and black-figure) and a variety of motifs, such as zigzags, dot rosettes, black-and-white patterned rays, and animals on a large scale. Findspots include Athens (Kerameikos, Agora), Aegina, and Vourva.
An Athenian red figure painter whose name is unknown. He is named for the location of one of his vases.
Villa Giulia Painter
pittore di Eucharides
Peintre d'Eucharidès
Pintor de Eucárides
The Eucharides Painter is an Athenian red-figure painter active ca. 500-470 BCE who painted in black-figure (see Eucharides Painter [Black-figure]). The name derives from the inscription “Eucharides kalos” (“Eucharides is beautiful”) on a red-figure stamnos (Copenhagen, National Museum 124 BAPD 202230) showing youths, women, and Eros. Shapes are cups, the column krater, calyx krater, hydria, and lekythos. Subjects include youths, Dionysos and satyrs, Danae and Perseus, the symposion, warriors, and religion. Findspots are Eleusis, Athens (Acropolis, Agora), Vulci, Spina, Cerveteri, Locri (south Italy), Pompeii, sites in Sicily, Patera (Lycia, Turkey), and Naukratis.
Eucharides-Maler
Eucharides Painter
Вазапісец Поласа
Pintor de Polos
The Polos Painter is an Athenian black-figure painter active ca. 575-565 BCE. The name derives from the cross-hatched crown (“polos”) worn by his female and hybrid figures. Shapes include the lekanis, pyxis, hydria, skyphos, and plate. Findspots include Athens (Agora, Acropolis), Cyrene, Tocra (Libya), Naukratis, and Samos (Heraion).
Peintre du Polos
Polos-Maler
Polos Painter
Polos Painter
Polos Painter
Polos Painter
Polos Painter
Polos Painter
Polos Painter
The Delos Painter is an Athenian red-figure cup painter active ca. 520-500 BCE. The name derives from a cup found in Delos (Delos, Archaeological Museum 652; BAPD 201559) showing a satyr and maenad on one side and a fight on the other. Other subjects include Dionysos and Herakles. Other findspots are the Athenian Agora and Gravisca.
Delos Painter
Kothones
エウテュミデス
Еўфімід
Euthymides
Euthymides
Euthymides
Ευθυμίδης
Euthymides
Euthymides
Euthymides
Euthymides
Euthymidès
Eutimides
Eutymides
Евфимид
Eutimide
Eutímides
Eutímides
Евфимид
Евфімід
Euthymides is an Athenian red-figure painter active ca. 515-500 BCE, who signed as both painter (“egrapsen”) and potter (“epoiesen”). Euthymides is considered a member of the Pioneer Group, along with Euphronios, Phintias, and other vase-painters. One of the best known works is an amphora (Munich, Antikensammlungen 2307; BAPD 200160) featuring revelers (“komasts”) and the inscription “as never Euphronios.” Shapes include different amphora types, the hydria, and cups. Scenes are Dionysos and followers, other gods, athletes, Theseus, Herakles, and the symposion. Some findspots are Vulci and other sites in Etruria, Athens (Acropolis, Agora), sites in Sicily and southern Italy, and Vix (France).
Castellani Painter
Castellani Painter
Castellani Painter
Castellani Painter
Castellani Painter
Castellani Painter
Castellani Painter
The Castellani Painter is an Athenian black-figure painter of the Tyrrhenian Group active ca. 560-550/45 BCE. The name derives from an amphora formerly in the Castellani collection (Rome, Villa Giulia 50652; BAPD 310041) showing Amazons on one side and centaurs on the other. The primary shape is the ovoid neck amphora. Vases portray the symposion, Herakles/Amazons, weddings, male revelers ("komasts"), satyrs and maenads, erotic scences, and fights. Findspots include sites in Etruria (Cerveteri, Vulci, Tarquinia).
Peintre de Castellani
Castellani-Maler
Pintor de Castellani
Situlae
Pittore di Heidelberg
Heidelberg-Maler
Heidelberg Painter
Heidelberg Painter
Heidelberg Painter
Heidelberg Painter
Heidelberg Painter
Heidelberg Painter
Heidelberg Painter
Pintor de Heidelberg
The Heidelberg Painter is an Athenian black-figure painter active ca. 560-540 BCE. The name derives from a cup found near Phaleron (Heidelberg, University vi.29; BAPD 300545) showing gods. The main shape is the Siana cup. Subjects include warriors, youths, the symposion, athletes, Herakles, and mythological scenes. Findspots include Thasos (Artemision), Sicily, Miletus, Taranto, Berezan, and Corinth.
Hydrie
Hídria
Υδρία
хидрија
ヒュドリア
Хидрия
Hydria (aardewerk)
Von griechisch 'hydor', bezeichnet 'Wasser'. Die Hydria diente als Wasserkrug für Brunnen. Sie besitzt einen ovalen Gefäßkörper, zwei horizontale und einen vertikalen Henkel. Diese Gefäße wurden aus Bronze sowie Ton (Gebrauchskeramik und Feinware) hergestellt. Siehe auch Kalpis.
Гідрыя
Hüdria
Hüdria
Η ονομασία προέρχεται από την αρχαία ελληνική λέξη για το νερό, ὕδωρ, και το αγγείο χρησίμευε για τη μεταφορά του νερού από τις κρήνες. Διαθέτει ένα ευρύ, ωοειδές σώμα, δύο οριζόντιες και μία κάθετη λαβή. Το αγγείο απαντά σε μέταλλο, στην τραχεία και γραπτή κεραμική. Βλ. επίσης καλπίς
Хидрија
Гідрія
Hidrija
Hidrija
Hydria
Hydria
Hydria
Hydria
Hydria
Hydria
Hydria
Hydria
Hydria
Taking its name from the Greek 'hydor,' meaning 'water,' the hydria is a water-pot for the fountain. It has a capacious oval body, two horizontal handles, and one vertical handle. This type of vase was manufactured in bronze, in coarseware, and in fineware. See also kalpis.
হাইড্রিয়া
hídria
Hidria
Hidria
提水罐
hydria
hydria
Гидрия
Pintor de Socles
Sokles is an Athenian black-figure painter of Little Master cups active in the mid-6th c. BCE. The name derives from vases signed as potter ("epoiesen") by Sokles, and it is possible the potter and painter may be one in the same. Shapes are lip-cups, band-cups, and the kantharos. Subjects include Herakles fighting centaurs, youths, and Trojan War subjects. Findspots include Etruria, Berezan, Daskyleion (Turkey), and Greece.
Sokles-Maler
Sokles-Maler
Sokles Painter
Sokles Painter
Sokles Painter
Sokles Painter
Sokles Painter
Sokles Painter
Sokles Painter
Вазописець Тріптолема
Triptolemos
Мастер Триптолема
Pittore di Trittolemo
Triptolemos Painter
Triptolemos Painter
Triptolemos Painter
Triptolemos Painter
Triptolemos Painter
Triptolemos Painter
Triptolemos Painter
Pintor de Triptólemo
The Triptolemos Painter is an Athenian red-figure painter (and perhaps potter) active ca. 480-470 BCE. The name derives from a stamnos found at Vulci (Paris, Louvre G187; BAPD 203793) showing Triptolemos, Demeter, and Persephone on one side. Shapes are kraters, the stamnos, amphora, oinochoe, pelike, hydria, alabastron, skyphos, and cup (kylix). Subjects include athletes, warriors, revelers (“komasts”), the symposion, erotic scenes, religion, Dionysos and followers, musicians, Herakles, and Theseus. Some findspots are Adria, Etruria (Cerveteri, Orvieto, Tarquinia, Vulci), sites in southern Italy and Sicily, Athens (Agora, Acropolis), Rheneia (Delos), and Berezan.
Triptolemos-Maler
Όπως φαίνεται και από την ονομασία του, το σχήμα του αγγείου είναι αυτό του γυναικείο στήθους.Συνήθως διαθέτει μια κάθετη και μια οριζόντια λαβή και μερικές φορές η θηλή έχει αντικατασταθεί με πόδι.
Мастос
Мастос
Мастос
mastos
The name of this vessel comes from the word 'mastos' meaning 'breast,' since the shape of the cup resembles a woman's breast. It is usually furnished with one vertical and one horizontal handle and is sometimes provided with a foot instead of a nipple.
Mastos
Mastos
Mastos
Mastos
Der Name dieses Gefäßes stammt vom Wort 'Mastos', 'Brust' ab, da die Gefäßform einer weiblichen Brust ähnelt. Sie besitzt meistens einen vertikalen und einen horizontalen Henkel und hat manchmal einen Fuß anstelle der Brustwarze.
μαστός
Priamos-Maler
Pittore di Priamo
Pintor de Príamo
Priam Painter
Priam Painter
Priam Painter
Priam Painter
Priam Painter
Priam Painter
Priam Painter
The Priam Painter is an Athenian black-figure painter active in the last quarter of the 6th c. BCE. The name derives from a hydria discovered in Etruria (Madrid, Archaeological Museum 10920; BAPD 301795) showing Priam beside a chariot. Shapes are the amphora in different forms and the hydria. Scenes include chariots, Herakles, Dionysos, battles, and hoplites. Findspots are sites in Etruria and Sicily.
Python
Greek potter, active ca. 500-480 BCE in Athens, Greece.
Paterai
Marathon-Maler
Marathon-Maler
Marathon-Maler
The Marathon Painter is an Athenian black-figure painter connected with the Class of Athens 581 and active in the early 5th c. BCE. A lekythos painter, the name derives from vessels deposited with the Athenian dead after the Battle of Marathon. Scenes are chariots, Dionysos, Herakles, and Athena. Findspots other than Marathon are Sicily, Thebes, Olympia, Rhodes, and southern Italy.
Marathon Painter
Marathon Painter
Marathon Painter
Marathon Painter
Marathon Painter
The Pithos Painter is an Athenian red-figure cup painter active at the end of the 6th c. BCE. The name derives from the storage vessel (pithos) represented in several scenes. Subjects include youths, satyrs, warriors, archers, athletes, and the symposion. Findspots are Athens (Agora, Acropolis), Camiros (Rhodes), Chios, Rhitsona, Perachora, Delos, Olynthos, Adria, Gela, Naukratis, Al Mina, sites in Israel, Olbia, and the River Thames (Reading, UK).
Pithos-Maler
Pithos-Maler
Pithos Painter
Pithos Painter
Аффектер
Affecter
Affecter
Pittore Affettato
Affecter
Affecter
Affecter
Affecter
Affecter
Affecter
Affecter
L'Affecté
The Affecter is an Athenian black-figure painter (and possibly potter) active ca. 540-520 BCE. The name derives from the mannerist (i.e. affected) style of the figures. Shapes are various amphora types, including ovoid and Type C, as well as smaller shapes. Subjects include stock iconography (draped, men, warriors, riders, dancers) and myth (Herakles, Theseus). Findspots include Etruria, southern Italy, Naukratis, and Greece.
Beldam-Maler
The Beldam Painter is an Athenian black-figure painter active in the second quarter of the 5th c. BCE, who also uses added white and white-ground. The name derives from a lekythos found in Eretria (Athens, National Museum 1129; BAPD 352144) showing satyrs torturing a woman described by Emilie Haspels (1894-1980) as a “beldam.” The main shape is the lekythos of different types, including the “chimney lekythos” and pattern lekythos, the skyphos, alabastron, kantharos, and bell krater. Scenes include Amazons, centaurs, satyrs, and maenads. Findspots are Athens (Kerameikos, Agora) and Attica, Corinth, Eretria, Perachora, Boeotia, Argos, Olympia, sites in Italy and Sicily, Ampurias (Spain), the Black Sea, and Pitane (modern Turkey).
Pintor de Beldam
Beldam Painter
Beldam Painter
Beldam Painter
Beldam Painter
Beldam Painter
Beldam Painter
Beldam Painter
Beldam Painter
Der Begriff spielt auf den kleinformatigen Dekor an. Diese Schale hat einen hohen Standfuß und eine abgesetzte, konkave Lippe. Die Gefäße werden in zwei Varianten unterteilt: Lippenschalen und Bandschalen.
Kleinmeister-Schalen
The term 'Little Master cup' is a translation of the German Kleinmeisterschale, alluding to the small scale of the decorative elements. It has a high-stemmed foot and an offset concave lip. Examples are divided into two categories: lip-cups and band-cups.
Copas de los pequeños maestros
μικρογραφικἠ κύλικα
Мали мајстори
Little Master Cup
Η ονομασία "μικρογραφική κύλικα" παραπέμπει στις μικρές διαστάσεις του διακόσμου. Το αγγείο αυτού του τύπου διαθέτει ένα ψηλό πόδι και ένα έξω νεύον καμπύλο χείλος. Οι κύλικες αυτού του τύπου χωρίζονται σε δύο κατηγορίες: τις χειλεωτές και τις μικρογραφικές κύλικες.
Kleophrades signed cups as potter (epoiesen 'made it') that were decorated by a variety of painters. Other vases have been attributed to him on the basis of style. He was the son of the potter Amasis (q.v.).
Kleophrades
Pittore di Antimene
Peintre d'Antiménès
Antimenes Painter
Antimenes Painter
Ζωγράφος του Αντιμένη
Antimenes Painter
Antimenes Painter
Antimenes Painter
Antimenes Painter
Pintor de Antimenes
Вазописец Антимена
The Antimenes Painter is an Athenian black-figure painter active ca. 530-510 BCE. The name derives from the inscription “kalos Antimenes” (“Antimenes is beautiful”) appearing on a hydria from Vulci (Leiden, (Rijksmuseum II167 [PC63]; BAPD 320011) showing men washing in a fountain-house. Shapes are mostly the hydria and neck amphora. The painter has a wide range of mythological scenes, including Herakles, Dionysos, Amazons, Theseus and the Minotaur, and the Gigantomachy, as well as everyday scenes of the fountain-house and olive picking. Most examples have been discovered in Vulci and Tarquinia.
Antimenes-Maler
Antimenes-maalari
oinokhoé
Oenochoe
Enócoa
彩陶酒罈
Der Begriff 'Oinochoe' bedeutet 'Wein-Ausgießer'. Die Gefäßform des Weinkruges gibt es in verschiedenen Ausformungen (konisch, konkav, konvex). Alle besitzen aber einen vertikalen Henkel. Die Mündung ist rund, kleeblattförmig oder schnabelförmig gestaltet.
Œnochoé
Ojnochoe
Η ονομασία "οινοχόη" προέρχεται από τις λέξεις οἶνος και χέω,δηλαδή σερβίρω οίνο. Υπάρχουν διάφορες παραλλαγές του σχήματος της οινοχόης (κωνικό, κοίλο, καμπύλο) και συνήθως διαθέτουν μία μόνο κάθετη λαβή. Το στόμιο μπορεί να είναι κυκλικό, τριφυλλόσχημο ή ραμφόσχημο.
oinochoé
Ойнохойя
Oenochoe
Oinokoe
Enócoe
Ойнохое
Enokoe
Oenochoë
Enòcoa
oinokhoe
オイノコエ
Oinochoë
ојнохое
Ојнохое
The term 'oinochoe' means 'wine-pourer.' The wine jug is fashioned in many varieties (conical, concave, convex) but is usually furnished with a single vertical handle. The mouth can be round, trefoil, or beak-shaped.
Айнахоя
Οινοχόη
Ойнохоя
Oinokhoe
Oinochoe
Oinochoe
Oinochoe
Oinochoe
Oinochoe
Oinochoe
Oinochoe
Oinochoe
The University of Virginia Art Museum
The Fralin Museum of Art of the University of Virginia
The Fralin Museum of Art
Erzgießerei-Maler
Pittore della Fonderia
The Foundry Painter is an Athenian red-figure painter active ca. 480-470 BCE. The name derives from a cup (Berlin, Antikensammlung F2294; BAPD 204340) showing sculptors on the exterior and Hephaistos and Thetis on the interior (Arming of Achilles). The cup is the main shape, and other shapes are the oinochoe and skyphos. Subjects include the symposion, athletes, horsemen, centaurs, Theseus, and the Trojan War. Some findspots are Etruria (Cerveteri, Vulci, Tarquinia, Orvieto, Todi), Adria, sites in southern Italy, and Tanagra.
Pintor de la Fundición
Foundry Painter
Foundry Painter
Foundry Painter
Foundry Painter
Η ονομασία προέρχεται από τις λέξεις πλήμη (πλημμύρα) και χέω.Το σχήμα του είναι ευρύ και αβαθές με πλατύ ώμο, διαθέτοντας ένα ψηλό πόδι. Θεωρείται ότι περιείχε αρωματισμένο νερό για προσωπική χρήση, για λατρευτικές τελετές και για προσφορές σε τάφους. Οι ειδικοί δεν συμφωνούν πλήρως για το όνομα του αγγείου και καλείται επίσης "εξάλειπτρο" και (λανθασμένα) " κώθων". Υπάρχει μια τάση να αποδίδεται η ονομασία "εξάλειπτρο" στην άποδη εκδοχή του αγγείου, ειδικότερα για τα κορινθιακά παραδείγματα, και η "πλημοχόη" για τα αθηναϊκά παραδείγματα με το ψηλό πόδι, που συχνά διαθέτουν κάλυμμα.
Племохоя
Plemócoe
plemochoe
Plemochoe
Plemochoe
Plemochoe
πλημοχόη
Plemochoё' bedeutet 'gießen' und die Gefäßform ist eine flache Schüssel mit Deckel mit breiter Schulter und hohem Fuß. Es wird angenommen, dass es parfümiertes Wasser für persönlichen Gebrauch, für religiöse Zeremonien und für das Grab enthielt. Der Begriff dieses Gefäßes ist umstritten und es wird auch als 'Plemochoё' oder (inkorrekt) als 'Kothon' bezeichnet. Für die stielosen Gefäßen, vor allem die korinthischen Beispiele, wird nun überwiegend der Begriff Exaleiptron verwendet, die Gefäße mit hohem Stiel aus Athen werden hingegen als 'Plemochoё' bezeichnet und besitzen oft einen Deckel.
Племохойя
Plemochoё' means 'full-pouring,’ and the shape is a low-lidded bowl with a wide shoulder and high foot. It is thought to have held scented water for personal use, for religious ceremonies, and for the grave. Authorities do not fully agree on the name of this vase and it is also called ‘exaleiptron’ and (incorrectly) ‘kothon.’ There is a tendency to use the name ‘exaleiptron’ for the stemless version of the vase, in particular for the Corinthian examples, and ‘plemochoё’ for the Athenian high-footed shape, which is also frequently provided with a lid.
The Perseus Painter is an Athenian red-figure painter active ca. 470-450 BCE, and a member of the Mannerist Group. The name derives from a hydria found at Vulci (Berlin, Antikensammlung F2377; BAPD 206718) showing Athena and Perseus. Other shapes are the pelike, neck amphora, loutrophoros, lebes gamikos, and krater. Scenes include Dionysos and satyrs, other gods and goddesses, herms, and funerary scenes. Findspots are the Athenian Agora, Camiros (Rhodes), Cyrenaica (Libya), sites southern Italy, and Etruria (Vulci, Cortona).
Perseus Painter
Dinoi
Pan-maalari
Pan Painter
Pan Painter
Pan Painter
Pan Painter
Pan Painter
Pan Painter
Pan Painter
Pan Painter
Pittore di Pan
Pintor de Pan
パンの画家
Вазописец Пана
Вазапісец Пана
The Pan Painter is an Athenian red-figure vase-painter active ca. 490/80-450 BCE and a member of the Mannerist Group. The name derives from a bell krater discovered in Cumae (Boston, Museum of Fine Arts 10.185; BAPD 206276 ) showing Pan and a shepherd on one side and the Death of Aktaion on the other. Other shapes are kraters of different types, the amphora in different forms, the pelike, stamnos, lebes gamikos, loutrophoros, hydria, lekythos, alabastron, skyphos, and cups. Scenes include Nike, Dionysos and followers, gods and goddesses, Herakles and Busiris, Eos and Kephalos, Achilles, warriors, revelers (“komasts”), hunting, fishing, and funerary scenes. Some findspots are Athens (Acropolis, Agora, Kerameikos), Etruria (Cerveteri, Vulci), and sites in southern Italy and Sicily.
Pan-Maler
Вазописець Пана
Malarz Pana
Slikar Pana
Slikar Pana
Pintor de Epelio
Epeleios-Maler
Epeleios Painter
Epeleios Painter
Epeleios Painter
Epeleios Painter
Epeleios Painter
Epeleios Painter
Epeleios Painter
Epeleios Painter
The Epeleios Painter is an Athenian red-figure cup painter active ca. 515-500 BCE. The name derives from the appellation “Epeleios” inscribed on several vases. Subjects include revelers (“komasts”), sacrifice, satyrs and maenads, athletes, and youths with horses. Some findspots are Etruria (Vulci, Gravisca, Chiusi, Roselle), Athens (Acropolis, Agora), Selinus, and Olbia.
Athenian red-figure vase-painter whose name is unknown. Nevertheless consistent individual characteristics of style suggest the existence of a unique artistic personality. Beazley called him the Nikosthenes Painter naming him after the potter Nikosthenes who signed some of the vases he decorated.
Nikosthenes Painter
The Troilos Painter is an Athenian red-figure painter active ca. 470-460 BCE who painted using black-figure. The name derives from a hydria from Vulci (London, British Museum 99.7-21.4; BAPD 203082) showing Troilos and Polyxena. Shapes are the amphora, stamnos, pelike, calyx krater, hydria, and lekythos. Subjects include the Struggle for the Delphic Tripod, gods and goddesses, Herakles and Busiris, the Death of Orpheus, the Gigantomachy, and athletes. Some findspots are Etruria (Vulci, Cerveteri), Orvieto, Nola, and Duvanlij (Thrace).
Troilos Painter
Вазописец Ахилла
Achilles-schilder
Pittore di Achille
Achilles Painter
Pintor de Aquiles
Pintor de Aquiles
The Achilles Painter, was a vase-painter active ca. 470-425 BC. His name vase is an amphora, Vatican 16571, in the Vatican museums depicting Achilles.
Malarz Achillesa
Achilleus-Maler
Андокид (гончар)
Andokides
Andokides
Andokides
Андокід
Андокід
Andokides is an Athenian potter active ca. 530 BCE. Signing as potter ("epoiesen") on a number of vases, the potter is associated with several painters: the Andokides Painter, Psiax, and Epiktetos. Shapes are mainly cups, the amphora, and hydria. Subjects include Dionysos, Herakles, and Athena as well as athletes, warriors, and the symposion. Examples have been discovered in Etruria.
Andokides (Töpfer)
Andokides (pottenbakker)
Andokides (keramiker)
アンドキデス
Andocide (ceramista)
Andócides (alfarero)
Kalathoi
Pasiades
Pasiades
Pasiades
Pasiades
Pasiades
Pasiades
Pasiades
Pasiades
Pasiades
Pasiades
Pasiades
Pasiades
The Pasiades Painter is an Athenian red-figure painter active ca. 520-500 BCE, associated with the Group of the Paidikos Alabastra. The name derives from the potter (“epoiesen”) who signs as Pasiades on several examples. The name Pasiades inscribed as painter (“egrapsen”) on a white lekythos from the Athenian Agora (Athens, Agora Museum AP 422; BAPD 200898) is not considered to be the same artist as the Pasiades Painter. Subjects include Penthesilea, women, and maenads. Known findspots are Attica, Delphi, and Marion (Cyprus).
Пасиад (вазописец)
Пасіад
-0480
-0600
χαλκιδίζουσα κύλικα
chalkidisierende Schale
Chalcidising Cup
The Chalcidising Cup is a type of cup produced in Athens ca. 520 BCE that copies a shape made in southern Italy. Most feature eyes on the exterior, some with figures (satyrs, Dionysos, warriors), and a gorgoneion in the interior. Their painters are not named. Findspots are in Etruria, the Black Sea, and Attica.
Η κύλικα δεν διαθέτει πόδι και το σώμα συνδέεται απευθείας με μια ψηλή εδαφόχρωμη βάση. Το σχήμα αυτής της κύλικας αναφέρεται ως "χαλκιδίζον", επειδή μιμείται οφθαλμωτές κύλικες που παράγονταν από το μελανόμορφο κεραμικό εργαστήριο που είναι γνωστό ως Χαλκιδικό και αναπτύχθηκε από Έλληνες αποίκους στη Μεγάλη Ελλάδα.
Die Schale hat keinen Stiel und der Gefäßkörper ist direkt auf einem hohen Fuß angebracht. Diese Gefäßform ist eine Sonderform der attischen Augenschale und wird als chalkidisierende Schalen bezeichnet, weil sie von chalkidischen Töpfern in Unteritalien entwickelt wurden.
The Thaliarchos Painter is an Athenian red-figure painter active in the late 6th c. BCE. The name derives from the inscription “Thaliarchos kalos” (“Thaliarchos is beautiful”) on a pyxis lid from Athens (Paris, Petit Palais 382; BAPD 200657) showing a helmet-maker. The pyxis lid is the preferred shape. Other subjects include satyrs, Athena’s head, and a dwarf. Findspots are Athens (Acropolis, unspecified sites), Megara, and Monte Lato (Sicily).
Thaliarchos Painter
The Matsch Painter is an Athenian red-figure painter active ca. 480-470 BCE. The name derives from the former collector of a pelike (Pennsylvania, Private Collection; BAPD 202568) showing a man with a staff and a woman with a basket. Other shapes are the neck amphora and column krater. Subjects include Herakles and Geras (“old age”), Dionysos and followers, and warriors. Findspots are Padula (southern Italy) and Cerveteri.
Matsch Painter
The Euaichme Painter is an Athenian red-figure painter active ca. 480-460 BCE. The name derives from a cup from Vico Equense (Naples) (Boston, Museum of Fine Arts 01.8097; BAPD 209665) showing Nestor and Euaichme. The main shapes are cups and the skyphos. Subjects include men, women, youths and boys, athletes, the symposion, and the Marriage of Peleus and Thetis. Findspots are Etruria (Vulci, Cerveteri, Chiusi), Bologna, sites in southern Italy and Sicily, Ampurias (Spain), and Kerch.
Euaichme Painter
Лагінос
λάγυνος
lagynos
lagynos
A wine jug with low, bulging body, flat shoulder, tall neck and long vertical handle.
Ein Weinkrug mit gedrungenem Gefäßkörper, flacher Schulter, langem Hals und langem vertikalem Henkel.
Лагинос
lagena
Lagynos
Lagynos
Lagynos
Lagynos
Lagynos
Lagynos
Μια οινοχόη της Ελληνιστικής περιόδου, με χαμηλό, προεξέχον σώμα, επίπεδο ώμο, μακρύ λαιμό και μια κάθετη λαβή.
Generic term for West Greece, including Magna Graecia, Spain, Southern France, and North Africa.
West Greece
Kuchadudza
Incised (or incision) refers to lines cut into the surface of a vessel using a sharp tool. It is primarily employed to create details on human and animal figures in the black-figure technique (see Black-figure), but can also be used to make inscriptions. Incisions are applied when the vase has reached its leather-hard stage prior to being fired, although sometimes lines were re-incised afterward.
cincelado
insnijden
Incised
incisé
Einschnitt
Colmar Painter
Colmar Painter
Colmar Painter
Colmar Painter
Colmar Painter
Colmar Painter
Colmar Painter
Colmar Painter
Colmar Painter
Colmar Painter
The Colmar Painter is an Athenian red-figure cup painter active ca. 505-480 BCE. The name derives from a cup (Colmar, Musée d’Unterlinden 48; BAPD 203691) showing athletes. The painter also decorated a rhyton in the shape of a donkey’s head. Subjects include athletes, warriors, Herakles, Theseus, the symposion, satyrs, and male revelers (“komasts”). Findspots are Athens (Acropolis, Agora), sites in Etruria (Vulci, Orvieto, Tarquinia, Chuisi), and Ampurias (Spain).
The nestoris is a wide-mouthed jar with two horizontal high-swung handles from shoulder to lip. It is South Italian and derived from a native, non-Greek shape.
Нестарыда
nestoris
νεστορίς
Nestoris
Nestoris
Η νεστορίς είναι ένα ευρύστομο αγγείο με δύο, συνήθως, οριζόντιες και δύο κάθετες τοξωτές λαβές από τον ώμο στο χείλος. Είναι προϊόν των κεραμεικών εργαστηρίων της Κάτω Ιταλίας και μιμείται το σχήμα ενός τοπικού, μη ελληνικού αγγείου.
Несторида
Несторида
Der Nestoris ist ein Gefäß mit breiter Mündung und zwei hoch geschwungenen Henkeln, die von der Lippe bis zur Schulter reichen. Es wird aus Süditalien, von einer lokalen, nicht-griechischen Form abgeleitet.
Trozzella
Геометричний стиль
Geometrična umetnost
Геометричен стил
Geometrisch bezeichnet griechische Vasen und andere Objekte, die im Zeitraum von ca. 900-700 v. Chr. produziert wurden. Es fällt daher zwischen die so-genannten „Dunkle Jahrhunderte“ (ca. 1100-900 v. Chr.), eine Periode mit einer geringen Anzahl an figürlich-dekorierten Vasen, und die orientalisierende stilistische Periode (ca. 700-600 v. Chr.). Die Geometrik wird meistens in die folgenden Phasen unterteilt: Protogeometrisch (ca. 1050/1000-900 v. Chr.); früh- (ca. 900-850 v.Chr.), mittel- (ca. 850-750 v. Chr.) und spätgeometrisch (ca. 750-700 v. Chr.). Der Begriff geometrisch ist aus erkennbaren Entwicklungen in der Technik, dem Erscheinungsbild der Keramik, Skulptur und Architektur abgeleitet. Haupt stilistische Tendenzen in der Vasenmalerei beinhalten den Einsatz von horror vacui („Bedürfnis freie Flächen zu füllen“), griechische Mäander Ornamente und andere geometrische Motive, mit Kompass gezeichnete konzentrische Kreise und Halbkreise und eingeschränkte Repräsentationen von figurlichen Motiven. Der Begriff trifft auf die dekorierten Vasen von Athen und Attika und anderen Regionen antiken Griechenlands, wie etwa Kreta, Euböa, Böotien, Korinth und die Argolis, sowie dem östlichen Griechenland zu. Die häufigste Technik der Vasenmalerei in Athen und Attika sind Umrisszeichnung. In der Spätgeometrik wird Umrisszeichnung manchmal mit Schraffierung und Umriss kombiniert. Zu den wichtigsten Vertretern der attischen Vasenmalerei gehören der Dipylon-Maler , der Hirschfeld-Maler. Beide waren darauf spezialisiert große Gefäße zu dekorieren, die mit dem Grabritus in Verbindung gebracht werden.
Seni Geometris
estil geomètric
Styl geometryczny
幾何学様式
arte geometrica
Ο όρος «γεωμετρικός» χρησιμοποιείται για αγγεία και άλλα τέχνεργα που δημιουργήθηκαν περίπου μεταξύ του 900-700 π.Χ. Έτσι, τοποθετείται μεταξύ της τεχνοτροπίας των λεγόμενων «Σκοτεινών Χρόνων» (περ. 1100-900 π.Χ.) −που υποδιαιρούνται στην Υπομυκηναϊκή και Πρωτογεωμετρική περίοδο, κατά τις οποίες αγγεία με εικονιστικές σκηνές είχαν σχεδόν εκλείψει− και της Ανατολίζουσας περιόδου (περ. 700-600 π.Χ.). Η Γεωμετρική περίοδος διαιρείται συνήθως στις ακόλουθες φάσεις: Πρώιμη (900-850 π.Χ.), Μέση (περ. 850-760 π.Χ.) και Ύστερη (περ. 760-700 π.Χ.) . Ο όρος Γεωμετρική προέρχεται από μια ευδιάκριτη εξέλιξη στην τεχνική και τη γραπτή διακόσμηση των αγγείων. Στις κύριες τεχνοτροπικές τάσεις της αγγειογραφίας περιλαμβάνεται το λεγόμενο horror vacui, ο φόβος του κενού, με την πληθώρα των παραπληρωματικών κοσμημάτων, η χρήση του μαιάνδρου, απλού ή σύνθετου, και άλλων γεωμετρικών μοτίβων, οι ομόκεντροι κύκλοι που έχουν σχεδιαστεί με διαβήτη, τα ημικύκλια, καθώς και η περιορισμένη χρήση των ανθρωπίνων μορφών, που αυξάνεται ωστόσο κατακόρυφα την τελευταία φάση της περιόδου. Οι τάσεις αυτές απαντώνται στη γραπτή διακόσμηση των αγγείων της Αθήνας και Αττικής, καθώς και άλλων περιοχών της Αρχαίας Ελλάδας, όπως η Κρήτη, η Εύβοια, η Βοιωτία και η Αργολίδα και η Ανατολική Ελλάδα. Η κύρια τεχνική διακόσμησης στην Αττική είναι της σκιαγραφίας, που κατά την Ύστερη Γεωμετρική περίοδο συνδυάζεται μερικές φορές με την τεχνική του περιγράμματος. Στους μείζονες Αθηναίους αγγειογράφους της περιόδου περιλαμβάνονται ο ζωγράφος του Διπύλου και ο ζωγράφος του Hirschfeld, οι οποίοι ειδικεύονται στη διακόσμηση υπερμεγέθων αγγείων που χρησιμοποιούνταν ως ταφικά αγγεία.
Geometrijski stil
Geometric
geometria arto
période géométrique
Geometrisch
periodo geométrico
Geometrisk tid
Γεωμετρικός
geometrisk tid
Геометријски стил
geometrikus stílus
Stilus geometricus
Геометрический стиль
Geometric denotes Greek vases and other arts produced ca. 900-700 BCE. It thus falls between the so-called “Dark Ages” (ca. 1100-900 BCE), a time of limited production in figure-decorated vases, and the Orientalizing stylistic period (ca. 700-600 BCE). The Geometric is usually divided into the following phases: Protogeometric (ca. 1050/1000-900 BCE); Early (ca. 900-850 BCE); Middle (ca. 850-750 BCE); and Late (ca. 750-700 BCE). The term Geometric derives from a discernible development in the techniques and appearance of pottery, sculpture, and architecture. Chief stylistic trends in vase-painting include the use of horror vacui (“fear of empty space”), Greek key patterns and other geometric motifs, compass-drawn concentric circles and semi-circles, and limited representation of figural forms. It applies to the decorated vases of Athens and Attica, and of other regions of ancient Greece such as Crete, Euboea, Boeotia, Corinth and the Argolid, and East Greece. The main vase-painting technique in Athens and Attica is silhouette, and in the Late Geometric silhouette is sometimes combined with cross-hatching and outline. Major Athenian painters include the Dipylon Master and the Hirschfeld Painter, both of whom specialized in decorating large vessels associated with funerary rites.
Геаметрычны стыль
אמנות גאומטרית
Período geométrico
Geometrische periode
Geometreschen Zäitalter
기하학 양식
Երկրաչափական ոճ
Geometrinen kausi
几何艺术
Geomeetriline stiil
هنر هندسی
Pelike ist ein allgemeiner Name für eine Amphore mit weiter Mündung und einem tiefen Schwerpunkt, da der breiteste Durchmesser in der unteren Gefäßhälfte liegt. Sie haben einen soliden Standfuß.
Pelike' is a conventional name for a type of amphora that has a wide mouth and the maximum width low down on the body, producing a pear-shaped outline.
pelike
pelike
pelike
Πελίκη
pélikè
пелике
Пелика
pélica
"Πελίκη" είναι η συμβατική ονομασία για ένα είδος αμφορέα με ευρύ στόμιο και χαμηλή μέγιστη διάμετρο.
Пеліка
Пеліка
peliké
peliké
Pelike
Pelike
Pelike
Pelike
Pelike
Pelike
Pelike
Pelike
Пелике
Pelikai
Tleson Painter
Pintor de Tlesón
Tleson painter
Tleson painter
Tleson-maalari
Tleson-Maler
Tleson-Maler
The Tleson Painter is an Athenian black-figure painter of Little Master cups active from ca. 555 to 535 BCE. The name derives from vases signed by the potter “Tleson, son of Nearchos” (“Tleson ho Nearcho epoiesen”), and it is possible that painter and potter are one in the same. Decorated shapes are band-cups and lip-cups, and subjects include animals, Herakles, and Theseus. Findspots are in Vulci and elsewhere in Italy, Sicily, Berezan, Naukratis, and the Athenian Acropolis.
Tleson Painter
Tleson Painter
Tleson Painter
Tleson Painter
Tleson Painter
Athena Painter
Athena-Maler
Peintre d'Athéna
The Athena Painter is an Athenian black-figure painter active ca. 490-460 BCE. The name derives from a preference for showing scenes of Athena. A few red-figure vases have been connected to this painter, who is perhaps the same artist as the Bowdoin Painter (see Bowdoin Painter [red-figure]). White-ground vases by the painter or from the painter’s workshop are attributed to the Sèvres Class. The main shapes are the lekythos and oinochoe. Findspots are Eretria, Athens, Olympia, Delphi, Rhodes, Etruria, southern Italy, and Sicily.
Вазописец Афины
Athena Painter
Athena Painter
Athena Painter
Athena Painter
Athena Painter
Athena Painter
Athena Painter
The so-called Shoulder Hydria is primarily a black-figure shape and dates mostly from ca. 525 through the second quarter of the fifth century B.C.
Shoulder Hydria
The word 'olpe' is Greek for 'jug' and is conventionally used for a slender-shaped jug with a low handle and no separate neck.
Ольпа
Ольпа
Ольпа
Olpe
Olpe
Olpe
Olpe
Olpe
όλπη
olpa
Ein griechisches Wort 'Olpe' bezeichnet 'Kanne' und wird allgemein für eine schlanke Kanne ohne separatem Hals verwendet. Sie besitzt meistens einen niedrigen Henkel
Olpé
olpé
Η λέξη "όλπη" προσδιορίζει έναν τύπο οινοχόης με ενιαίο, ραδινό σώμα, με συνεχή καμπύλη και μια χαμηλή λαβή.
олпа
A red figure painter active in Apulia from 370 to 360 B.C.
Cotugno Painter
Krateres or Kraters
The term phormiskos in ancient literary sources applies to all manner of woven bags, sacks, or baskets made from materials including cloth, leather, or rushes. The ceramic Athenian phormiskos is a rare type of gourd-shaped vase that was produced from the 6th c. BCE until around 480 BCE. The shape ranges from spherical, to pear-shaped, to ovoid, to elongated ovoid; all have a slender neck that forms a single contour from lip to a rounded bottom. They are false vases, since the hollow interior of the body connects to a solid neck. Because of this, along with their name, and their largely funerary iconography, they were likely made specifically as a type of grave good that mimicked astragal (knucklebone) sacks made of perishable materials.
φορμίσκος
Phormiskos
Phormiskos
Der Begriff Phormiskos wird in der antiken Literatur verwendet, um jede Form von gewebtem Taschen, Säcken oder Körben zu bezeichnen, die aus Stoff, Leder oder Binsen hergestellt wurden. Der tönerne attische Phormiskos imitiert diese Tragebehälter aus organischem Material. Er ist ein seltener Typ mit einer birnen- oder beutelförmige Gefäßform, die vom 6. Jh.v. bis um 480 v.Chr. hergestellt wurde. Alle haben einen schmalen Hals.
Η ονομασία "φορμίσκος" απαντά στην αρχαία γραμματεία για κάθε είδους πλεκτό πουγκί,σακίδιο ή καλάθι κατασκευασμένο από υλικά όπως ύφασμα, δέρμα ή καλάμια. Ο πήλινος αθηναϊκός φορμίσκος είναι ένα σπάνιο αγγείο σε σχήμα φλασκιού που παραγόταν από τον 6ο αι. π.Χ. έως περίπου το 480 π.Χ. Το σχήμα ποικίλει από σφαιρικό σε απιόσχημο, σε ωοειδές και σε επίμηκες ωοειδές. Όλα έχουν έναν λεπτό λαιμό που σχηματίζει μια συνεχή καμπύλη από το χείλος έως τον σφαρικό πυθμένα. Δεν πρόκειται για πραγματικά αγγεία, καθώς το κοίλο εσωτερικό του σώματος συνδέεται με έναν συμπαγή λαιμό. Εξαιτίας αυτού, όπως φαίνεται και από την εικονογραφία των ταφικών θεμάτων, οι φορμίσκοι προφανώς κατασκευάζονταν ως ένα είδος ταφικού κτερίσματος που μιμείτο το πουγκί από φθαρτό υλικό, στο οποίο μετέφεραν τους αστραγάλους (κότσια).
Hermogeno
Ερμογένης
Hermogenes
Hermogenes
Hermogenes
Hermogenes
Hermogenes
Hermogenes
Hermogenes
Hermogenes
Hermogénès
Hermégenes
Hermogenes is an Athenian black-figure potter of Little Master cups active ca. 560-540 BCE. The name derives from vases signed as potter ("epoiesen") by Hermogenes, and it is possible the potter and painter may be one in the same. The potter specialized in lip-cups, many of which depict female heads in outline. Some band-cups are decorated with a warrior on a chariot and may be the work of a seperate painter. Findspots include Italy, Sicily, the Athenian Agora, and Miletos.
Hermogenes (savenvalaja)
Phialai
πίνακας
Οι πίνακες είναι επίπεδες ορθογώνιες πλάκες με γραπτή ή ανάγλυφη διακόσμηση, που χρηιμοποιούνταν για τη διακόσμηση ταφικών κτισμάτων ή αναρτόνταν στα ιερά ως αναθήματα.
Pinax ist ein griechischer Begriff für 'Teller'. Der Begriff wird jetzt für flache, rechteckige Platten verwendet, die dekoriert in Gräbern oder Heiligtümern aufgehängt wurden.
Pinax' is a Greek word for 'plate'. The term is usually now applied to a flat rectangular slab that was decorated and hung on tombs or in sanctuaries.
Пінака
Пінака
Pinax
pinax
Pinax
Pinax
Pinax
Pinax
pinax
pinax
Pinaks
Пинака
Epichysides
スミクロス
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros
Smikros is an Athenian red-figure painter and part of the Pioneer Group active ca. 510-500 BCE. The name is inscribed as painter (“egrapsen”) on several vases. Shapes include the stamnos, pelike, and psykter. Subjects are the symposion, musicians, Dionysos and satyrs, and the Abduction of Thetis by Peleus. Findspots include Etruria (Todi, Cerveteri, Elea) and Athens (Kerameikos).
Esmicros
Σμίκρος
Maler der Pariser Gigantomachie
Maler der Pariser Gigantomachie
Pintor de Paris Gigantomachy
Painter of The Paris Gigantomachy
The Painter of the Paris Gigantomachy is an Athenian red-figure painter active ca. 480-460 BCE. The name derives from a cup found at Vulci (Paris, Cabinet de Médailles 573; BAPD 204546) showing the Gigantomachy on the interior and exterior. Shapes are primarily the cup, but also the lekythos, oinochoe, and neck amphora. Subjects include athletes, revelers (“komasts”), centaurs, satyrs, the symposion, and religion. Some findspots include Adria, Etruria (Vulci, Orvieto, Tarquinia, Cerveteri, Chiusi), Nola, Gela, the Athenian Agora, Tanagra, and Ampurias (Spain).
Painter of the Paris Gigantomachy
malarz Gigantomachii z Paryża
Painter of the Paris Gigantomachy
Painter of the Paris Gigantomachy
Painter of the Paris Gigantomachy
Amphore Typ C
αμφορέας τύπου Γ
Амфора од типот Ц
amphore de type C
Ο αμφορέας τύπου Γ διαθέτει ένα καμπύλο χείλος και ομοίως καμπύλη ή δισκοειδή βάση, ενώ εντοπίζονται διάφοροι τύποι λαβών. Κατασκευαζόταν από το τελευταίο τέταρτο του 6ου αι. π.Χ. στον αθηναϊκό μελανόμορφο ρυθμό, ιδίως στο εργαστήριο του Επιτηδευμένου, και περίπου από το 520 π.Χ. έως το 470 π.Χ. απαντά και στον αθηναϊκό ερυθρόμορφο.
The amphora Type C has a rounded lip and torus or echinus foot and its handles vary in shape. It was potted from the second quarter of the 6th c. BCE in the black-figure technique (especially by the Affecter's workshop), and from ca. 520 BCE to 470 BCE in the red-figure technique.
Amphora Type C
Amphore Typ C hat eine runde Lippe und einen Wulst- oder Echinusfuß. Die Henkel variieren in der Form. Sie wurde im zweiten Viertel des 6. Jhs als schwarzfigurige (vor allem der Affecter Werkstatt) und als rotfigurig ca. von 520-470 n.Chr. hergestellt
anfora, tipo C
amforă de tip C
Schuwalow-Maler
Shuvalov Painter
Shuvalov Painter
Shuvalov Painter
Shuvalov Painter
Shuvalov Painter
Shuvalov Painter
Pittore di Shuvalov
Ζωγράφος του Σουβάλωφ
Peintre de Shuvalov
The Shuvalov Painter was an Attic vase painter of the red-figure style, active between 440 and 410 BC, i.e. in the High Classical period (Parthenon period). The Shuvalov painter's conventional name was allocated by John Beazley, who chose for a name vase an amphora that is now at the Hermitage Museum, St. Petersburg.
Вазапісец Шувалава
Pintor Shuvalov
Stamped describes the technique of using a mold-made terracotta stamp for decoration. Designs are stamped or impressed (see Impressed) into the soft clay surface of the vessel before it is painted. In Athens, stamped or impressed decoration first appears around the middle of the 5th c. BCE, perhaps in the work of the Sotades Painter (see Sotades Painter). The ornament generally consists of small and simple motifs, such as rosettes, concentric circles, palmettes, ovules, and tongues. Stamped decoration usually appears on the interiors of drinking vessels, some of which have red-figure on their exteriors.
Stamped
A vase with narrow neck, flaring lip, rounded body, shallow foot, and no handle. It is sometimes called a flask.
Ein Gefäß mit schmalem Hals, ausgebogener Lippe, rundem Körper, und niedrigem Fuß. Es hat keinen Henkel.
μυροδοχείο
Bottle
flask
Ένα αγγείο με στενό λαιμό, πλατύ χείλος, σφαιρικό σώμα και χαμηλή βάση. Δεν διαθέτει λαβή.
Flasche
Anagyrus Painter
Anagyrus Painter
Anagyrus Painter
Anagyrus Painter
Anagyrus Painter
Anagyrus Painter
Anagyrus Painter
Anagyrus Painter
Anagyrus Painter
The Anagyrus Painter is an Athenian black-figure painter dated to the first quarter of the 6th c. BCE. The name derives from the ancient name for Vari (Attica), where many vases have been found. Shapes include the amphora, oinochoe, chalice, and plate. Other findspots include Spata (Attica) and the Athenian Agora.
Anagyrus-Maler
Pintor de Aqueloo
Acheloos Painter
Acheloos Painter
Acheloos Painter
Acheloos-Maler
Akheloos-maalari
Peintre d'Acheloos
The Acheloos Painter is an Athenian black-figure painter active from the end of the 6th c. BCE who is associated with the Leagros Group. The name derives from an amphora found at Vulci (Berlin, Antikensammlung F1851; BAPD 302396) depicting Herakles and Acheloos. Shapes include the neck amphora, lekythos, and hydria. Subjects are mythological with many featuring Herakles. Findspots include Vulci, Cerveteri, and sites in southern Italy and Sicily.
Acheloos Painter
Acheloos Painter
Вазописец Ахелоя
Acheloos Painter
Acheloos Painter
Elbows Out
Elbows Out
Elbows Out
Elbows Out
Elbows Out is an Athenian black-figure painter active ca. 550-530 BCE. The name derives from the exaggerated arm gestures of the figures. Like the Affecter, Elbows Out is classified as a mannerist painter. Shapes include band-cups, lip-cups, the skyphos, lekythos, and amphora. Subjects are animals, youths, women, and erotic scenes. Examples have been discovered in the Black Sea, Etruria, Naukratis, and Greece.
Elbows Out
Elbows Out
Elbows Out
Elbows Out
Elbows Out
Elbows Out
Elbows Out
Elbows Out
Η ονομασία "λουτροφόρος", που προέρχεται από τις λέξεις λουτρὸν και φέρω, αποδίδεται σε ένα αγγείο τελετουργικού καθαρμού. Είναι μια επιμήκης εκδοχή του αμφορέα με λαιμό, με δυό κάθετες λαβές. Μια ελαφρώς διαφορετική εκδοχή μιμείται την υδρία με δύο κάθετες και μια οριζόντια λαβή ("λουτροφόρος-υδρία").
loutrophore
The loutrophoros, meaning ‘carrying to the bath,’ was a vessel used for ritual cleaning. It is a tall version of the neck-amphora with two very long vertical handles. A slightly different version imitates the hydria with two horizontal and one vertical handle (‘loutrophoros-hydria’).
Loutroforos
Die Loutrophoros bedeutet 'zum Bad tragen' und war ein Gefäß für rituelles Waschen. Sie ist eine Variante der Halsamphore mit zwei sehr langen vertikalen Henkeln. Eine leicht veränderte Variante imitiert die Hydria mit zwei horizontalen und einem vertikalen Henkel ('Loutrophoros-Hydria').
Lutròfor
Lutróforo
Lutroforos
Lútroforos
Lutrofor
Лутрофор
Лутрофор
Loutrophoros
Loutrophoros
Loutrophoros
Loutrophoros
lutróforo
Лутрофор
Лутрафор
λουτροφόρος
panethenisk amfora
Panathenaeïsche amfora
amphore panathénaïque
Anfora panatenaica
Αμφορέας των Παναθηναίων
Amfora panatenajska
Ánfora panatenaica
Panathenaic Amphora
Οι παναθηναϊκοί αμφορείς είναι μεγάλου μεγέθους ωοειδή αγγεία με στενό, βραχύ λαιμό και κάλυμμα που δίδονταν ως έπαθλα στους νικητές των αγωνισμάτων των Μεγάλων Παναθηναίων, που διοργανώνονταν κάθε τέσσερα χρόνια στην Αθήνα προς τιμήν της πολιουχού θεάς της, Αθηνάς. Γεμίζονταν με λάδι από τις ιερές ελιές της Αθηνάς. Η σειρά των παναθηναϊκών αμφορέων, που θεωρείται ότι ξεκινά με την αναδιοργάνωση των Παναθηναίων τη δεκαετία του 560 π.Χ, παραγόταν έως και την Ελληνιστική περίοδο·χρησιμοποιείτο πάντα η μελανόμορφη τεχνική για τη διακόσμησή τους. Ο παναθηναϊκοί αμφορείς της Κλασικής περιόδου διακρίνονται για την ποιότητα κατασκευής τους.
панатенајска амфора
Панафинейские амфоры
Panathenäische Preisamphore
Àmfora panatenaica
Панафінейські амфори
Panathenaic amphorae are big, ovoid, lidded vases that were presented as prizes to winners of the Panathenaic Games, which were held once every four years in Athens in honor of Athena, patroness of the city. They were filled with olive oil from Athena's sacred trees. The series, presumed to date to the reorganization of the games about 560 BCE, was produced through the Hellenistic period and beyond. The Panathenaic amphorae of the Classical period are of the finest quality construction. Panathenaic amphorae were only decorated in the black-figure technique.
אמפורה פאן-אתנאית
Ânfora panatenaica
Anfora panatenaiko
Panathenäische Preisamphoren sind große, bauchige Gefäße mit Deckel. Sie besitzen einen Standfuß und wurden häufig im schwarz-figurigen Stil bemalt. Sie wurden mit Olivenöl befüllt und als Preis an die Sieger der Panathenäischen Spiele überreicht.
Hergestellt um in die kleeblattförmige Mündung eines Gefäßes zu passen. Grobe Oinochoendeckel sind in der orientalisierenden Phase der korinthischen Keramik häufig.
Το κάλυμμα αυτού του είδους προοριζόταν για το τριφυλλόσχημο στόμιο του αγγείου. Αδρά κατασκευασμένα καλύμματα ήταν πολύ κοινά κατά την ανατολίζουσα φάση της κορινθιακής κεραμικής.
Oinochoe Lid
Made to fit the trefoil mouth of the vase, rough oinochoe lids are very common in the Orientalizing phase of Corinthian pottery.
κάλυμμα οινοχόης
Oinochoendeckel
cratère en cloche
ѕвонест кратер
Der Glockenkrater ist eine rot-figurige Innovation. Er weist einen niedrigen oder manchmal modifizierten Standfuß mit dem leichten Ansatz eines Stiels auf. Die Gefäßform erinnert an eine umgedrehte Glocke mit einer leicht nach außen gebogenen Mündung with gerundeten Lippe. Er hat massive, horizontale, zylindrische Henkel, die parallel unter dem Rand angebracht sind.
The bell-krater is an innovation belonging to the red-figure technique. The body rises from a low disk-foot or sometimes a modified disk-foot into the hint of a stem before expanding into the shape of an inverted bell with a mildly flaring mouth with a torus lip. It has sturdy, horizontal, cylindrical handles that are located high up on the body opposite one another and are slightly upturned.
crátera de campana
κωδωνόσχημος κρατήρας
klokkrater
Glockenkrater
cratere a campana
Bell Krater
Ο κωδωνόσχημος κρατήρας είναι μια καινοτομία του ερυθρόμορφου ρυθμού. Διαθέτει μια χαμηλή δισκοειδή βάση, που μερικές φορές τροποποιημένη απολήγει σε ένα βραχύ στέλεχος. Το σχήμα του σώματος του αγγείου θυμίζει ανεστραμμένο κώδωνα, με ένα ελάφρά έξω νεύον στόμιο και καμπύλο χείλος. Oι συμπαγείς οριζόντιες και κυλινδρικές λαβἐς του αγγείου, ελαφρά στραμμένες προς τα άνω, τοποθετούνται συμμετρικά ψηλά στο σώμα του αγγείου.
plat à poisson
Рыбное блюдо
Ein Teller mit niedrigem Standfuß, überhängendem Rand und kleiner Vertiefung in der Bodenmitte für Sauce. Fischdekor ist die häufigste Form von Dekor.
Fischteller
ψαροπινάκιο
A plate with a low foot, an overhanging rim, and a small depression in the centre of its floor for sauce. When figural, it is usually decorated with fish.
Ένα πινάκιο με χαμηλό πόδι και κρεμάμενο χείλος και μια μικρή κοιλότητα στο κέντρο του για σάλτσα. Όταν φέρει εικονιστική διακόσμηση, σύνηθως απεικονίζονται ψάρια.
Fish Plate
Рибне блюдо
An uncommon form of the kantharos. The elements of foot, lower and upper walls and rim are the same as for the moulded-rim kantharos, but the single handle spans from the upper part of the lower wall to the bottom edge of the moulding. Lacking a spur, the cup is narrower than typical kantharoi, and while it is sometimes ribbed it is never found with stamping.
One Handled Kantharos
Eine ungewöhnliche Kantharosform, die nur einen Henkel besitzt, der von der oberen Hälfte der unteren Gefäßwand bis zum Rand. Die Gefäße sind schmaler als 'normale' Kantharoi und besitzen manchmal einen gerippten Dekor aber nie einen Stempeldekor.
μόνωτος κάνθαρος
Μια ασυνήθης μορφή κανθάρου. Ως προς το πόδι, τα κατώτερα και τα υψηλότερα τοιχώματα του σώματος και το χείλος είναι ίδιος με τον συνήθη κάνθαρο, αλλά η μοναδική λαβή του αγγείου εκτείνεται από το ανώτερο τμήμα του κατώτερου τοιχώματος έως το χείλος. To αγγείο είναι μικρότερο από τους τυπικούς κανθάρους και ενώ μερικές φορές μπορεί να φέρει ανάγλυφη ραβδωτή διακόσμηση, ποτέ δεν απαντά εμπίεστη.
einhenkeliger Kantharos
Black polychrome is a light-on-dark technique where vessels are painted with a black glaze (see Black Glaze) and details are added in other colors, such as red and white. Ornaments or patterns can also be incised. In Athens the technique appears on the phiale in the late 6th c. BCE, and can include floral motifs, animals, or human figures. Those with floral ornamentation probably imitated metal vessels. The technique is related to Six’s Technique (see Six’s Technique), which was also made in Athens. It also resembles East Greek Vroulian ware in some examples. Findspots include the Athenian Acropolis and Eleusis.
Black Polychrome
The Falmouth Painter is an Athenian black-figure painter affiliated with the Komast Group and dated to the 560’s BCE or later. The name derives from a cup formerly in Falmouth, England (BAPD 305012). Shapes include Komast cups depicting male revelers ("komasts"). Most of the findspots are outside of Greece.
Falmouth Painter
κύπελλο
Schale
Γενικός όρος για αγγείο πόσεως με δύο λαβές, Βλ. κύλικα και σκύφος.
A general term for a two-handled container for drinking. See kylix and skyphos.
Cup
Ein allgemeiner Begriff für ein zweihenkeliges Gefäß zum Trinken. Siehe Kylix, Skyphos.
Lysippides-maalari
Lysippides Painter
Lysippides Painter
Lysippides Painter
Lysippides Painter
Lysippides Painter
Lysippides Painter
Lysippides Painter
Lysippides-schilder
Lysippides-Maler
Peintre de Lysippidès
The Lysippides Painter is the conventional name Sir John Beazley (1885-1970) applied to the individual who he believed painted the black-figure work of the red-figure painter known as the Andokides Painter (see Andokides Painter [Black-figure]; see Andokides Painter [Red-figure]; see Andokides potter [Black-figure]) (ca. 530-515 BCE). It is still debated as to whether they are two artists with identical style or the same artist working in two techniques. Scholars believe the painter to be a student of Exekias.
Pittore di Lisippide
A white-ground artist active in Athens from 470-460 B.C.
Vouni Painter
Nestorides
பாறை
Stone
حجر
Gestengs
iezis
A rock is any naturally occurring solid mass or aggregate of minerals or mineraloid matter. It is categorized by the minerals included, its chemical composition and the way in which it is formed. Rocks are usually grouped into three main groups: igneous rocks, metamorphic rocks and sedimentary rocks.
dağ süxurlar
гірські породи
Craig
Roche
batu
Rocha
àpáta
चट्टान
Mwamba
rots of gesteente
đá
암석
Dhagax
Uyaġak
roccia
Rumi kaq
roche
kivi
rocha
klippe
карпа
تاش
Ròca
skała
obotan
carraig
Arroka
Чулуу
тау токымы
Petro
Dombo
Kamnina
hornina
Uoliena
roca
roca
שטיין
Petra
Petra
piatră
শিলা
Hornina
खडक
Скала
ապար
ಕಲ್ಲು
стена
Rock
শিল
صخر
రాయి
Togʻ jinslari
Πέτρωμα
kőzet
Ròch
ქანი
Makatuʻu
горная порода
കല്ല്
Тау жынысы
Stein
Тоо тектер
ଶିଳା
kivim
Stiente
سنگ (زمینشناسی)
Rin
Kevir
پٿر
горная парода
Lapis
ကျောက်
Shkëmbi
bergart
bergart
bergart
סלע
Roca
Watu
Clach
Kayaç
Stijena
ਚੱਟਾਨ
Batu
Batu
หิน
Klip
岩石
岩石
පාෂාණ
petro
Тау тоҡомо
Doj
Gestein
stijena
berg
stijena
Vatu
ᐅᔭᕋᒃ
शैल
Bedeutet "auf beiden Seiten tragen". Die Amphore wurde aus allen Fabrikaten hergestellt. Es hat zwei vertikale Henkel, einen breiten Körper und schmalen Hals. Manche haben einen breiten Fuß (Knauf), wurden in unterschiedlichen Größe produziert und manche haben einen Deckel. Verwendung für flüssige und feste Nahrungsmittel. Die Haupttypen sind: 1) Transportamphore - eine große, grobe Form mit langem Körper, schmaler Fuß (Knauf), und enger Mündung, die verschlossen werden kann. 2) Halsamphore - viele Varianten in Feinware; Hals vom Körper abgesetzt. Spezielle Typen sind z.B. Nikostenische, Nolan, Panathenäische Preisamphore, Spitzamphore 3) Bauchamphore - gleitender Übergang vom Körper zum Hals. Gestaltung der Henkel, der Mündung und der Füße variieren.
Amforo
Amforo
amfora
amfora
amfora
Meaning 'carry on both sides,' the amphora is made in all fabrics. It has two vertical handles, a wide body, and a narrower neck. Some have a broad foot, some have lids and their size can vary. Used for both liquids and solids, the three main types are: 1) Transport amphora -- a large coarse-ware shape with a long body, small toe and narrow mouth that can be stoppered. 2) Neck amphora -- there are many varieities in fine ware, all sharing an offset neck. In addition, there are specially named variants, e.g. Nikosthenic, Nolan, Panathenaic, and pointed. 3) Belly amphora -- the body and neck form a continuous curve. The forms of handles, mouth, and feet differ among the various types of amphorae.
Añforenn
Amfora
Amfora
Amfora
Amfoor
Amfora
Amfora
Amfora
Amfora
Amfora
Amfora
Amfora
Amfora
Amfora
Amfora
Amfora
Αποτελεί απλολογία της λέξης ἀμφιφορεύς, δηλαδή το αγγείο που φέρεται και από τις δύο λαβές του. Ο αμφορέας απαντά σε όλες τις κατηγορίες κεραμικής. Έχει δύο κάθετες λαβές, ευρύ σώμα και στενότερο λαιμό. Οι αμφορείς κατασκευάζονταν σε διάφορα μεγέθη και ορισμένοι μπορεί να διαθέτουν μια πλατιά βάση ή κάλυμμα. Χρησιμοποιούνταν για τη φύλαξη στερεών τροφίμων, καθώς και υγρών. Οι τρεις βασικοί τύποι αμφορέα είναι:1) Ο οξυπύθμενος αμφορέας, ένα μεγάλου μεγέθους αγγείο, που ανήκει στην τραχεία, χρηστική κεραμική, με επίμηκες σώμα, οξύληκτη απόληξη (το λεγόμενο έμβολο) και στενό λαιμό που μπορούσε να σφραγιστεί. 2) Αμφορέας με λαιμό - υπάρχουν διάφορες παραλλαγές του στη γραπτή κεραμική, με κοινό τους στοιχείο τον λαιμό που διακρίνεται από το σώμα του αγγείου. Επιπλέον, υπάρχουν ειδικά ονοματισμένες παραλλαγές, π.χ. νικοσθένειοι αμφορείς, τύπου Νόλα, παναθηναϊκοί και οξυπύθμενοι. 3) Ενιαίου σχήματος, στους οποίους σχηματίζεται μια συνεχής καμπύλη από τον λαιμό στο σώμα. Το σχήμα των λαβών, του χείλους και της βάσης διαφέρει ανάμεσα στους διάφορους τύπους του ενιαίου αμφορέα.
アンフォラ
Amforă
آمفورا
Амфора
Амфора
Амфора
Амфора
Амфора
Амфора
Anfora
Ánfora
أمفورة
Anfora
amfóra
Амфара
Amphora
Amphora
Amphora
双耳瓶
அம்ப்போரா மதுச்சாடி
Ամֆորա
àmfora
Amphore
Amphore
αμφορέας
암포라
אמפורה
Ânfora
ಆಂಫೋರ
амфора
Amphor
The Leningrad Painter is an Athenian red-figure painter active ca. 470-450 BCE and a member of the Mannerist Group. The name derives from an amphora (Type B) discovered in south Russia (St. Petersburg, State Hermitage Museum B2228; BAPD 206561) showing a musician (kitharode) with listeners. Shapes are kraters, the pelike, the amphora in different forms, and hydria. Scenes include Dionysos and followers, worship of Dionysos, a satyr-play, the symposion, revelers (“komasts”), musicians, athletes, warriors, Herakles, centaurs, and Helios. A rare scene of vases being decorated is shown on a hydria from Ruvo (Vicenza, Banca Intesa 2; BAPD 206564). Some findspots are Bologna, Etruria (Vulci, Cerveteri), sites in southern Italy and Sicily, Corinth, the Athenian Agora, Rheneia (Delos), Camiros (Rhodes), Al Mina, Aspendos (Turkey), and Naukratis.
Leningrad Painter
The Argos Painter is an Athenian red-figure painter active ca. 480-470 BCE. The name derives from a stamnos from Cerveteri (Vienna, Kunsthistoriches Museum 3729; BAPD 202608) showing the Death of Argos. Shapes are the pelike and stamnos. Subjects include Dionysos and followers, Triptolemos and Demeter, centaurs, athletes and musicians, and a man leading a camel. Other findspots are Veii and Falerii.
Argos Painter
Σπανιότερος, ωστόσο παρόμοιος με τον ψυκτήρα-αμφορεά, ο ψυκτήρας-καλυκωτός κρατήρας είναι ένα αγγείο με διπλά τοιχώματα για να διατηρείται δροσερός ο κεκραμένος οίνος. Στο εξωτερικό τοίχωμα του αγγείου υπάρχει μια προχοή κοντά στον ώμo, ενώ συνήθως διαθέτει μια προχοή απορροής ακριβώς πάνω από το πόδι.
Rarer than but similar to the psykter-amphora, the psykter-calyx-krater is a double-walled vessel meant to cool wine or water. The outer vessel has a spout near the shoulder through which ice or ice water was poured into the space between the two walls. It usually has a drain spout just above the foot, directly below the pour spout.
ψυκτήρας-καλυκωτός κρατήρας
Psykter Kelchkrater
Psykter Calyx Krater
Der Psykter Kelchkrater ist seltener aber ähnlich der Psykter Amhore. Der doppelwandige Behälter wurde zum kühlen von Wein oder Wasser verwendet. Der äußere Gefäßkörper hat einen Ausguß nahe der Schulter, der zur Befüllung des Zwischenraums zwischen den Wänden mit Eis oder Eiswasser gedient hat. Es hat üblicherweise einen Ausguß oberhalb vom Fuß.
Stemmed Plate
To πινάκιο με πόδι είναι ρηχό αγγείο προσκολημμένο σε ένα πόδι, το οποίο μπορεί να είναι ψηλό ή χαμηλό και να διευρύνεται προς τη βάση. Η επιφάνεια του πινακίου έχει κλίση προς το κέντρο, όπου μερικές φορές υπάρχει μια βάθυνση. Το σχήμα του ποδιού και η παρόμοια διακόσμηση υποδεικνύουν ότι πολλά από τα πινάκια με πόδι προέρχονται από ένα κεραμικό εργαστἠριο, τοποθετούμενα σε μια στενή περίοδο μεταξύ του ύστερου 6ου αι. π.Χ. και του πρώιμου 5ου αι. π.Χ.
Teller mit Fuß
Der Teller mit Fuß beschreibt einen Teller oder flache Gefäßform mit Stiel.
πινάκιο με πόδι
The stemmed plate is a plate or shallow dish attached to a stem. The stem can be low or high and spreads to the foot; the floor slopes to the center where there is sometimes a small depression. The shape of the foot and the similar decorations suggest that many of the stemmed plates came from one shop over a short period of time between the late 6th c. to early 5th c. BCE.
The Telephos Painter is an Athenian red figure painter active ca. 470-460 BCE. The name derives from a cup found in eastern Etruria (Boston, Museum of Fine Arts 98.931; BAPD 205037) showing Telephos at the palace of Agamemnon. The main shape is the cup, but also the phiale, neck amphora, lekythos, and rhyton in the shape of a donkey head. Subjects include the symposion, revelers (“komasts”), satyrs, athletes, warriors, Eos and Tithonos, and the Ilioupersis. Some findspots are Orvieto, Etruria (Vulci, Tarquinia), sites in southern Italy and Sicily, Eretria, Athens (Acropolis, unspecified sites), and Camiros (Rhodes).
Telephos Painter
The Kyllenios Painter is an Athenian black-figure painter of the Tyrrhenian Group dated ca. 560-550 BCE and a painter of the ovoid neck amphora. The name derives from a vase found in Cerveteri (Berlin, Antikensammlung F1704; BAPD 310014) featuring the Birth of Athena and the inscription: “I am Hermes of Kyllene.” Other subjects are Herakles, centaurs, Amazons, the Kalydonian Boar Hunt, athletes, and the Gigantomachy. The main findspot is Cerveteri.
Kyllenios Painter
Kyllenios Painter
Kyllenios-Maler
Kyllenios-Maler
Kyllenios Painter
Kyllenios Painter
Kyllenios Painter
Kyllenios Painter
Kyllenios Painter
Pintor Cilenio
Miniaturen der Panathenäischen Preisamphoren sind Salbgefäße mit kleinen Henkeln und schmalem Fuß. Sie sind meistens mit schwarz-figuriger Malerei verziert und sind zwischen 0,08 bis 0,19 m hoch.
Miniature Panathenaic amphorae are ointment vessels with a similar shape to the regular-sized Panathenaic amphorae with small handles and a narrow foot. They are usually decorated in black-figure and measure about 8 - 19 cm (about 3.1 - 7.5 in) high.
Οι μικρογραφικοί παναθηναϊκοί αμφορείες είναι ελαιοδόχα αγγεία, το σχήμα των οποίων είναι όμοιο με τους κανονικού μεγέθους παναθηναϊκούς αμφορείς, με μικρές λαβές και ένα στενό πόδι. Συνήθως διακοσμούνται με τη μελανόμορφη τεχνική και έχουν ύψος περίπου από 8 έως 19 εκατοστά.
Miniatur einer Panathenäischen Preisamphore
Miniature Panathenaic Amphora
μικρογραφικός παναθηναϊκός αμφορέας
Лекиф
レキュトス
Lekitos
lekyth
lècit
Lécythe
Lekyth
Lecito
λήκυθος
Léküthosz
Lekythos ist ein allgemeiner Begriff zur Bezeichnung von Ölgefäßen. Der Begriff wird jetzt allgemein für ein zylindrisches Gefäß mit einem Fuß, einem vertikalen Henkel, schmalem Hals und kleiner Mündung verwendet. Die Grundform wird manchmal aufwendig gestaltet, z.B. als Eichel oder Mandel sowie in eine menschliche Figur; manche Gefäße besitzen einen Applikendekor.
Ως λήκυθος προσδιοριζόταν γενικά στην αρχαιότητα το ελαιοδοχείο. Ο όρος χρησιμοποείται σήμερα για αγγεία επιμήκους ή πεπλατυσμένου σχήματος με πόδι, μια κάθετη λαβή, στενό λαιμό και ένα μικρό στόμιο. Ορισμένες φορές η βασική μορφή μεταπλάθεται σε εξεζητημένα σχήματα, όπως βελανίδι, αμύγδαλο ή ανθρώπινη μορφή. Ορισμένα αγγεία φέρουν επίθετο διάκοσμο.
lekythos
خمره روغن
Lekythos
Lekythos
Lekythos
Lekythos
לקיתוס
Lekythos' is a general word used to denote an oil bottle. The term is now conventionally used for tall and squat shapes with a foot, a single vertical handle, a narrow neck and a small mouth. Sometimes the basic form is fashioned into fancy shapes such as an acorn or an almond, or into a human figure. Some carry appliqué designs.
lécito
Лекит
Lekitas
Лекіф
Лекіф
Lekyytti
lékythos
лекит
Lekit
Lekit
lecit
Lekyt
Lekyt
橄欖油瓶
Піксіда
Pixis
Pyxiden sind runde Schatullen mit Deckel in unterschiedlichen Größen und Formen. Sie wurden zur Aufbewahrung von Kosmetik, Puder oder Schmuck verwendet. Manche wurden in Gräbern gelegt.
Πυξίδα
Pyxides are round, lidded boxes of various shapes and sizes used for cosmetics, powder or jewelry. Some were put in tombs. The term 'skyphoid-pyxis' is used to designate a shape that became a Sicilian specialty with an ovoid body, a lid, and two horizontal handles.
Pyksis
ピュクシス
pyxide
Піксида
Οι πυξίδες είναι κυλινδρικά αγγεία με κάλλυμα, που χρησιμοποιούνταν για τη φυλαξή ειδών καλλωπισμού, πούδρας ή κοσμημάτων. Ορισμένες τοποθετούνταν στους τάφους ως κτερίσματα. Ο όρος "σκυφοειδής πυξίδα" προσδιορίζει ένα σχήμα που αποτελούσε ειδικό προϊόν του σικελικού εργαστηρίου, με ωοειδές σώμα, κάλυμμα και δύο οριζόντιες λαβές.
Pyxis
pyxis
Pyxis
pyxis
Pyxis
pyksis
Pyxis
pyxis
Pyxis
Piksida
Пиксида
Пиксида
The Pharos Painter is an Athenian black-figure painter active ca. 540-520 BCE. The name derives from vases with scenes of two women sharing a cloak (“pharos”). Frequently painting the lekythos, compositions consist of a central panel on the body of the vase. Findspots include Locri (south Italy), Rhodes, and the Athenian Kerameikos.
Pharos Painter
Pharos Painter
Pharos Painter
Pharos Painter
Pharos Painter
Pharos Painter
Pharos-Maler
Pharos-Maler
Pharos-Maler
Pharos Painter
Die Schnabelkanne ist eine Oinochoe mit Kleeblattmündung, schmalem Hals und die Gefäßform ist gerade bis auf eine etwas breiter ausgeformte Schulter. Die Gefäßform war in der korinthischen Keramik bis in das frühe 6. Jh.v. beliebt.
ραμφόστομη οινοχόη
Η ραμφόστομη οινοχόη διαθέτει τριφυλλόσχημο στόμιο, στενό λαιμό και ένα χαμηλό, πεπλατυσμένο σώμα. Κατά την πρώιμη πρωτοκορινθιακή κεραμική ο λαιμός γίνεται ψηλότερος και το περίγραμμα του σώματος πιο έντονο, πλησιάζοντας εκείνο του ρηχού κώνου. Το σχήμα παραμένει δημοφιλές στην κορινθιακή κεραμική έως και τον πρώιμο 6ο αι. π.Χ.
Schnabelkanne
Beaked Oinochoe
The beaked oinochoe is an oinochoe with a trefoil mouth, narrow neck and a body that consists of a little more than a broad shoulder. In Early Protocorinthian, the neck becomes taller and the contour of the body is straightened until it approaches a more or less shallow cone; this shape remains popular in Corinthian pottery until the early 6th c. BCE.
Λυδός
Lydos (Vasenmaler)
Лидос (вазописец)
Lydos
Lydos
Lydos
Lido
Lydos
Lydos
Lydos
Lydos
Lydos
Лідос
Lido (ceramografo)
Lydos is an Athenian black-figure painter active ca. 560-540 BCE. The name derives from vases signed as “ho Lydos” (“the Lydian”), such as a dinos from the Athenian Acropolis (Athens, National Museum Acr. 607; BAPD 310147) where he is signed as painter ("egrapsen"). Lydos painted a variety of large and small shapes, including the column krater, amphora, hydria, Siana cup, cups of other types, and plates. Scenes include Herakles, Dionysos, Theseus, draped men, and the Trojan War. The vases have been found primarily in Athens (Acropolis, Agora, Kerameikos), southern Italy, Etruscan sites, and Sicily.
amfora typu A
Amphore vom Typ A
The amphora Type A has a flaring lip with concave sides, flat flanged handles, a foot with the upper part stepped, and a lower echinus or torus. An early amphora shape that was popular in the black-figure technique, it was produced from the early 6th c. BCE to about 440 BCE.
Amphore Typ A hat einen nach außen gestellten Rand mit konkaver Lippe, flacher Henkel mit Rippe und einem abgetrepptem Fuß. Eine frühe Amphorenform, die besonders beliebt war als Schwarzfigurige Amphore, welche vom frühen 6. Jh.v.Chr. bis 440 v.Chr. produziert wurde.
anfora di tipo A
Ο αμφορέας τύπου Α διαθέτει ένα έξω νεύον χείλος με κυρτές πλευρές, επίπεδες λαβές τετράγωνης διατομής με πτερύγια και βαση με δυο βαθμίδες, μία κατακόρυφη και μία χαμηλότερη κυρτή ή δισκοειδή. Αποτελεί ένα πρώιμο σχήμα αμφορεά, που ήταν δημοφιλές στη μελανόμορφη τεχνική και παραγόταν από τον πρώιμο 6ο αι. π.Χ. έως περίπου το 440 π.Χ.
amforă de tip A
Amphora Type A
αμφορέας τύπου Α
amphore de type A
In size, the Type D pyxis (or box-pyxis) is close to the powder pyxis, but it is more substantially made and was popular during the late 5th and 4th centuries. It consists of a small cylinder with a flat cover and can be divided into two classes according to the differing shapes of the lid. The lid consists of a slim flat disc with thickened rim, not unlike the discs and stands, but provided with a flat area beneath, made to fit the inside of the mouth of the bowl.
πυξίδα τύπου Δ
Die Typ C pyxis (oder Schatullenpyxis) ist im Bezug auf die Größe ähnlich der Puderpyxis, aber sie ist solider hergestellt und war im späten 5. und 4. Jh. beliebt. Sie besteht aus kleinen Zylindern mit einem flachen Deckel und kann aufgrund der Deckelform in zwei Gruppen unterteilt werden.
Ως προς το μέγεθος, η πυξίδα τύπου Δ πλησίαζει την κυλινδρική πυξίδα ("πουδριέρα"), αλλά είναι πιο συμπαγής στην κατασκευή και ήταν δημοφιλής τον ύστερο 5ο και τον 4ο αι. Αποτελείται από ένα μικρό κυλινδρικό σώμα με ένα επίπεδο κάλυμμα και μπορεί να διαιρεθεί σε δύο κατηγορίες ανάλογα με το διαφορετικά σχήματα του καλύμματος. Το κάλυμμα αποτελείται από έναν λεπτό επίπεδο δίσκο με παχύτερο χείλος, παρόμοια με τους δίσκους και τα υπόστατα, αλλά διαθέτει ένα επίπεδο τμήμα στην κάτω επιφάνεια που εφάπτεται εσωτερικά με το στόμιο της πυξίδας.
Pyxis Typ D
Pyxis Type D
Unguentarion
unguentarium
unguentarium
unguentário
μυροδοχείο
balsamario
Η αττική εκδοχή παραγόταν για να φέρει εισηγμένο άρωμα, με το ξένο στην αττική κεραμική σχήμα να προδίδει το περιεχόμενο του αγγείου. Από την Πρώιμη Ελληνιστική περίοδο και εξής, όταν το ατρακτοειδές μυροδοχείο έχει γίνει το σύνηθες αγγείο εξαγωγής αρωμάτων, το μικρό αντίστοιχο μελαμβαφές αττικό προϊόν θα είχε καταστεί περιττό.
Die attische Variante wurde produziert, um sie mit importiertem Parfum zu befüllen. Die fremde Form war ein Indiz für die Identifikation des Inhaltes. Beginnend in hellenistische Zeit, als das spindelförmiges Ungentarium das üblich Exportgefäß für Parfum geworden war, ist das kleine, schwarze Attische Pendent überflüssig geworden.
Unguentarium
Unguentarium
The Attic version was made to be filled with imported perfume, the foreign shape providing a recognizable identification of the contents. From the early Hellenistic period onwards, when the developed fusiform unguentarium had become the usual export container for perfume, the small Attic black equivalent would have been superfluous.
Унгвентаријум
угвентариум
kratér
Kratér
Kratér
Kratér
Κρατήρας
Кратер
Кратер
Кратер
Cratera
Cratère
From the Greek word meaning 'to mix,' a krater is a large, open bowl for mixing water and wine.
кратер
кратер
Krateeri
クラテール
Crátera
kratero
Krateer
كراتر
Vom griechischen Wort 'mischen'. Ein Krater ist eine große, offene Schüssel zum Mischen von Wasser und Wein.
Η λέξη προέρχεται από το αρχαίο ρήμα κεράννυμι, που σημαίνει αναμειγνύω, και προσδιορίζει ένα μεγάλου μεγέθους ανοικτό αγγείο στο οποίο γινόταν η κρᾶσις,η ανάμειξη του οίνου με το νερό.
Krater (vaas)
კრატერი
crater
crater
crater
Krater
Krater
Krater
Krater
Krater
Krater
Krater
Krater
Krater
Krater
Krater
Krater
Кратар
Kratera
Cratere
krátér
क्रातेर
The Type A Exaleiptron dates earlier than Type B and displays a shorter, wider flaring foot.
Type A Exaleiptron
Red-line Painter
Red-Line Painter
Red-Line Painter
Rote-Linie-Maler
Rote-Linie-Maler
Red-Line Painter
Red-Line Painter
Red-Line Painter
Red-Line Painter
Rote-Linie-Maler
The Red-Line Painter is an Athenian black-figure painter active late 6th to early 5th c. BCE. The name derives from the red bands painted below the main composition. Shapes are the neck amphora, oinochoe, hydria, olpe, and pelike. Scenes include Dionysos and followers, Herakles, chariots, the symposion, and warriors. Findspots are Vulci, Spina, Sicily (Morgantina, Gela, Agrigento, Selinus), the Athenian Agora, Cyrene, and Cyprus.
קדרות הדמות האדומה
赤絵式
Red-figure
црвенофигурен вазопис
rødfigurvaser
ruĝfigura ceramiko
Cerámica de figuras rojas
Irudi gorrien zeramika
Краснофигурная вазопись
Червонофігурний вазопис
Red-figure is a light-on-dark technique used for figure decoration on a wide variety of shapes. It was invented in Athens ca. 530-520 BCE. Red-figure decoration is created by leaving figures and shapes in reserve (see Reserving) on the untreated or lightly treated surface of the vessel, often outlining them. Linear details are then created using gloss, dilute gloss, and relief lines. The areas outside the outlined figures are painted with clay slip. Vases are fired in three stages, resulting in reserved red figures (human and animal) against a black background. The red-figure technique was first used by the Andokides Painter (see Andokides Painter [Red-figure]; see Andokides Painter [Black-figure]), who is best known for bilingual vases (vessels decorated with the same scene on both sides, one in red-figure and the other in black-figure).
Rödfigurig keramik
Styl czerwonofigurowy
Registro de pintura vermelha em cerâmica grega
Хӗрлӗ кӗлеткеллӗ ваза ӳнерӗ
ceràmica de figures vermelles
Punakuviokeramiikka
Crvene figure na crnoj pozadini
Rooifiguurstyl
vörösalakos vázafestészet
紅彩陶器
Ceramica a figure rosse
Чырвонафігурны вазапіс
Rødfigurs-keramik
céramique à figures rouges
Ερυθρόμορφος ρυθμός
Roodfigurige stijl
Rdečefiguralni dekorativni slog
Rotfigurige Vasenmalerei
Tembikar sosok-merah
црвене фигуре на црној позадини
Pyxis Typ C
Pyxis Type C
The Type C pyxis is a broad, squat version of the Type A and has deeply concave sides resting on a low ring foot. The flanged lid is convex, often with a metal ring handle. The container is usually twice as wide as it is high. It was made as early as the mid 5th c. and was popular from the last quarter of the 5th through the first half of the 4th c. BCE.
Die Typ C Pyxis is eine breite, bauchige Version von Typ A und hat tiefe konkave Wände, die auf einem niedrigen Standfuß aufsitzen. Der gerippte Deckel ist konkav, oft mit einem Metallringhenkel. Die Schatulle ist oft doppelt so breit with hoch. Es wurde frühestens in der Mitte des 5. Jhs. hergestellt und war vom letzten Viertel des 5. Jhs bis in die erste Hälfte des 4. Jhs.v.Chr. beliebt.
Η πυξίδα τύπου Γ είναι μια ευρεία, πεπλατυσμένη εκδοχή του τύπου Α, με βαθιά κοίλες πλευρές και μια χαμηλή δαχτυλιόσχημη βάση. Το ημισφαιρικό κάλυμμα διαθέτει συχνά έναν μεταλλικό δακτύλιο για λαβή. Η πυξίδα είναι συνήθως δύο φορές πιο ευρεία από το ύψος της. Κατασκευαζόταν ήδη από τα μέσα του 5ου αι. π.Χ. και ήταν δημοφιλής από το τελευταίο τέταρτο του 5ου αι. έως και το πρώτο μισό του 4ου αι. π.Χ.
πυξίδα τύπου Γ
Κόρινθος
科林斯
Korinto
Korinto
Korin
Կորինթոս
Korintti
کورینتوس
קורינתוס
Коринф
Коринф
Коринф
Korintho
Corinto
Corinto
Corinto
Corinto
Korinthe
코린토스
Korint
Korint
Korint
Korint
Korint
Korint
Korint
Korint
Korint
Corinth
Corinth
Korinthos
کورینتھ
Коринт
Коринт
Korintos
Korinte
Korinte
Korinth
Korinth
Korinth
Korinta
Карынф
Korent
Corinthe
كورنث
Corinth was a city-state (polis) on the Isthmus of Corinth, the narrow stretch of land that joins the Peloponnese to the mainland of Greece, roughly halfway between Athens and Sparta.
An Choraint
Korinthosz
コリントス
Korynt
Korintas
Corinthus
Corint
Korintus
Corint
Corint
Korinti
Корїнѳъ
კორინთი
Stile delle capre selvatiche
The Wild Goat Style is a modern term describing vase painting produced in the east of Greece, namely the southern and eastern Ionian islands, between circa 650 to 550 BCE.
Wild Goat Style
Οι κὐλικες με κάλυμμα είναι ἐνας τύπος περίτεχνου αγγείου ("trick vase"), με σύμφυτο κάλυμμα και σύνθετη εσωτερική διαρρύθμιση, που ξεγελούσε ή διασκέδαζε τον ανυποψίαστο χρήστη του αγγείου. Οι κύλικες με κάλυμμα παράγονταν στην Αθήνα για περίπου έναν αίωνα, από το 540 π.Χ. και εξής.
Deckelschale
Covered cups are kylikes that are a type of 'trick vase,' that is, they have fixed lids and contain elaborate internal elements designed to deceive or amuse an unwary user. Covered cups were produced in Athens for roughly a century beginning around 540 BCE.
Covered Cup
κύλικα με κάλυμμα
Amphore Typ B hat einen nach außen gestellten Rand mit gerader oder ganz leicht konkaver Lippe, einem Echinusfuß und zylindrischen Henkeln. Es ist eine der ältesten Formen, die zwischen dem späten 7. Jh. v.Chr. bis 425 v.Chr. hergestellt wurde.
The amphora Type B has a flaring lip with straight or slightly concave sides, an echinus foot, and cylindrical handles. It is one of the oldest shapes, produced from the late 7th c. BCE until about 425 BCE.
Amphora Type B
Ο αμφορέας τύπου Β διαθέτει ένα έξω νεύον χείλος με ευθείες ή ελαφρά καμπύλες πλευρές, λαβές κυλινδρικής διατομής και καμπύλη βάση. Είναι ένας από τους παλαιότερους τύπους αμφορέα, που κατασκευαζόταν από τον ύστερο 7ο αι. π.Χ. έως περίπου το 425 π.Χ.
Амфора од типот Б
amphore de type B
amforă de tip B
αμφορεάς τύπου Β
Amphore Typ B
anfora, tipo B
The Fallow Deer Painter is an Athenian black-figure painter of the Tyrrhenian Group active ca. 560-545/50 BCE. The name derives from the appearance of deer with white spots on their backs on several examples. The primary shape is the ovoid neck amphora. Subjects are Amazons, Gigantomachy, Herakles, Trojan War, and hunting. Findspots are Vulci and Tarquinia.
Fallow Deer Painter
The Gorgon Painter is an Athenian black-figure painter who was active ca. 600-580 BCE. The name derives from a dinos (Paris, Louvre E874; BAPD 300055) showing Perseus and Gorgons. Other shapes include the oinochoe, lekythos, amphora, and the olpe. In addition to large animals, there are scenes of myth (Herakles, Hermes, centaurs). Findspots are Athens (Agora, Acropolis), Naukratis, Heraion, Vari, and Cortona (Italy).
Gorgon-maalari
Peintre de la Gorgone
Pittore della Gorgone
Pintor de la Gorgona
Gorgo-Maler
Gorgon Painter
Gorgon Painter
Gorgon Painter
Gorgon Painter
Gorgon Painter
Gorgon Painter
Malarz Gorgony
Apollodoro
Ἀπολλόδωρος
Apollodoros is an Athenian red-figure cup painter active in the late 6th c. BCE. The name derives from the painter (“egrapsen”) who signs as Apollodoros on a fragmentary cup (Rome, Villa Giulia, ex Castle Ashby; BAPD 201006) showing warriors. Other scenes include Dionysos and followers, the symposion, revelers (“komasts”), religion, and Theseus and the Minotaur. Some findspots are sites in Etruria (Cerveteri, Orvieto, Gravisca, Tarquinia, Vulci) and the Athenian Acropolis.
Apollodoros
Apollodoros
Apollodoros
Apollodoros
Apollodoros
Apollodoros
Apollodoros
Apollodoros
Apollodoros
Apollodoros
Kernoi
Kamares wares are a distinctive type of ceramic produced in Crete during the Minoan period.
Cerâmica Kamares
Kamares-Stil
Kamares Ware
Stile di Kamares
Камарес (стиль)
The Tyrrhenian Amphora or Ovoid Amphora displays less of an obvious shoulder.
Tyrrhenian Amphora
Ovoid Amphora
Mastoi
Plemochoai
Pointed Amphora
οξυπύθμενος αμφορέας
Eine Transportamphore mit langem Hals und spitzem Boden.
The pointed amphora is an amphora that elongates at the neck and forms a pointed bottom. It was often used for transport.
Spitzamphore
Ο οξυπύθμενος αμφορέας είναι ένας τύπος αμφορέα με επιμήκη στενό λαιμό και οξύληκτη απόληξη (έμβολο). Αποτελούσε τον κατ' εξοχήν τύπο εμπορικό τύπο αγγείου, που χρησιμοποιείτο για την αποθήκευση και μεταφορά αγαθών.
αρυβαλλοειδής λήκυθος
Bauchlekythos
Die bauchige Lekythos ist eine Lekythosform ohne scharfabgesetzer Schulter.
The squat lekythos is a type of lekythos that lacks the sharp shoulder of the cylindrical types that was made primarily in the late 4th c. BCE.
Squat Lekythos
Η αρυβαλλοειδής λήκυθος είναι ένας τύπος ληκύθου που δεν διαθέτει τον αρθρωμένο ώμο των κυλινδρικών τύπων και κατασκευαζόταν κυρίως τον 4ο αι. π.Χ.
Fitzwilliam Museum
Fitzwilliam Museum
Museu Fitzwilliam
Museu Fitzwilliam
Fitzwilliam Museum
Fitzwilliam Museum
Fitzwilliam Museum
Fitzwilliam Museum
Ֆիցվիլյամ թանգարան
Fitzwilliam Museum
Fitzwilliam Museum
Музей Фіцуільяма
Fitzwilliam-Museum
Музей Фіцвільяма
The Fitzwilliam Museum is the art and antiquities museum of the University of Cambridge.
Fitzwilliam Müzesi
Музей Фицуильяма
フィッツウィリアム美術館
피츠윌리엄 박물관
Μουσείο Φιτζγουίλλιαμ
Amgueddfa Fitzwilliam
Fitzwilliamovo muzeum
Fitzwilliamovo muzeum
菲茨威廉博物馆
Museo Fitzwilliam
Museo Fitzwilliam
Muzeo Fitzwilliam
Fitzwilliam Museoa
Βασισμένο σε αιγυπτιακά πρότυπα που κατασκευάζονται από τον ομώνυμο λευκό ημιδιαφανή λίθο, αυτό το μικρού μεγέθους αγγείο χρησιμοποιείτο για τη φύλαξη αρωματικών ελαίων. Διαθέτει ένα πλατύ, επίπεδο χείλος, στενό λαιμό, επίμηκες σώμα, μερικές φορές με αποφύσεις ("ώτα"), και συνήθως δεν έχει βάση. Αποτελούσε τμήμα της σκευής καλλωπισμού των γυναικών και είχε και λατρευτική χρήση. Το περιεχόμενό του εξαγόταν με μια σπαθίδα (σπάτουλα).
Based on Egyptian alabaster prototypes, this small vase for perfume or oil has a broad, flat mouth, narrow neck, a thin, bag-shaped body (sometimes with lugs), and is usually footless. Used for women's toilet and for cult, its contents were extracted with a dipstick.
Αλάβαστρο
Alabastron
Alabastron
Alabasztron
Алабастрон
Алабастрон
Алабастрон
Alabastrono
Alabastron
Alabastron
Alabastron
Alabastron
Alabastron
Alabastron
Alabastron
Alabastron
Alabastron
alabastre
Alabastro (vaso)
Alabastre
αλάβαστρον
alabastron
alabastron
Alabastre
Basiert auf einem ägyptischen Prototyp aus Alabaster. Dieses kleine Gefäß für Parfum und Salb-Öl hat einen breiten, flachen Mund, schmalen Hals, einen dünnen schmallen Körper (manchmal mit Ösen) und meistens ohne Fuß. Verwendung von Frauen als Toilettenartikel und im Kult als Salbgefäß. Der Inhalt wurde mit einem Stäbchen entnommen.
Алабастран
Alabastrón
アラバストロン
The P.S. Painter is an Athenian red-figure painter connected to the Syriskos Group, active ca. 470’s BCE and earlier. The name derives from the signature as potter (“Pistoxenos Syriskos epoiesen”) on two vessels (the skyphos) belonging to a private collection in England (Whitby, UK, Mulgrave Castle). Subjects on both sides of one skyphos are women at a fruit tree (BAPD 352513), and on the other skyphos are Theseus and Prokrustes and Theseus and Sinis (BAPD 352514). Findspots are unknown.
PS Painter
The Goltyr Painter is an Athenian black-figure painter of the Tyrrhenian Group dated ca. 565-550 BCE. The name derives from an amphora (Poland, Warsaw Archaeological Museum 142445; BAPD 310103) showing a komos. It is a contraction of two words: “Goluchow”, the former collection in Poland, and “Tyrrhenian”.The primary shape is the ovoid neck amphora. Scenes depict centaurs, Amazons, warriors, hunting, and male revelers ("komasts"). Findspots include Vulci and Cerveteri.
Goltyr-Maler
Goltyr Painter
Goltyr Painter
Goltyr Painter
Goltyr Painter
Goltyr Painter
Goltyr Painter
Goltyr Painter
Goltyr Painter
Pintor Goltyr
патера
圓盤飾
patère
Patera' ist ein lateinisches Wort für 'Schale', ähnlich der Phiale.
Патера
Патера
patera
パテラ
Patera
Hamam tası
Patera
patera
patera
Patera
Patera
patera
Patera
Pátera
پیاله
Η λατινική λέξη patera προσδιορίζει ένα πλατύ ευρύ πιάτο που χρησιμοποιείτο κυρίως για προσφορές, αντίστοιχα με τη φιάλη.
Pàtera
Patera' is a Latin word for 'dish' that is sometimes used to designate a dish like the phiale.
The Hegesiboulos Painter is an Athenian red-figure cup painter active ca. 510-500 BCE. The name derives from the potter (“epoisen”) who signs as Hegesiboulos on a cup (New York, Metropolitan Museum of Art 07.286.47; BAPD 201603) showing a man and his dog (surrounded by coral-red) on the interior and a symposion and komos on the exterior. A fragment of an unidentified shape from the Athenian Acropolis (Athens, National Museum 2.538; BAPD 201604) showing a symposion has been connected to the painter.
Hegesiboulos Painter
The Guglielmi Painter is an Athenian black-figure painter, or group of painters (Guglielmi Group) associated with the Tyrrhenian Group, active ca. 560-545/50 BCE. The name derives from an amphora formerly in the Guglielmi collection (Rome, Vatican 34526; BAPD 310055) showing Amazons and warriors. Shapes include the ovoid neck amphora and the hydria. Subjects include male revelers ("komasts"), Trojan War battles, Amazons, and centaurs. Vulci is the primary findspot.
Guglielmi Painter
Guglielmi Painter
Guglielmi-Maler
Guglielmi-Maler
Guglielmi-Maler
Hypsis
Hypsis
Hypsis
Hypsis is an Athenian red-figure painter and part of the Pioneer Group active ca. 510 BCE. The name is inscribed as painter (“egrapsen”) on a hydria from Vulci (Munich, Antikensammlungen 2423; BAPD 200170) showing Amazons. The preferred shape is the hydria. Another subject includes women at a fountain house. The vases have been found at Vulci.
Hipsis
മാർബിൾ
Marmura
سنگ مرمریت
marmors
කිරිගරුඬ
Marmar
Marmar
Marmuras
رخام
Marmari
marmor
marmor
marmor
marmor
marmor
marmor
marmor
marmor
Marble is a metamorphic rock composed of recrystallized carbonate minerals, most commonly calcite or dolomite. Marble is typically not foliated, although there are exceptions. In geology, the term marble refers to metamorphosed limestone, but its use in stonemasonry more broadly encompasses unmetamorphosed limestone. Marble is commonly used for sculpture and as a building material.
ਮਾਰਬਲ
мермер
мермер
Marbr
大理石
Marumaru
мрамор
мрамор
Мрамор
მარმარილო
Marmoro
мармур
мармур
μάρμαρο
대리암
mármore
mármore
Marmor
Mramor
Mramor
หินอ่อน
marmori
பளிங்கு
mármol
mermer
Marber
Marble
Mermer
Мәрмәр
мәрмәр
Гантиг
marmo
سنگ مرمر
سنگ مرمر
mramor
mramor
mramor
ಅಮೃತಶಿಲೆ
মার্বেল
Đá hoa
Pachar
စကျင်ကျောက်
marmur
marmer
haitzurdin
שיש
marbre
marbre
marmoro
Marmer
Marmer
márvány
संगमर्मर
mərmər
մարմար
Marmore
大理岩
Мармар
Marbre
Marbre
संगमरवर
marmar
Dieser Begriff bezeichnet einen Schöpfer in Form einer tiefen Schale mit langem Henkel.
κύαθος
Киаф
Kiathos
кијат
This term indicates a deep ladle with a cup-shaped container and a long handle.
Kyathos
kyathos
kyathos
kyathos
Kyathos
Kyathos
Kyathos
Kyathos
Kyathos
Kyathos
Кіаф
Αυτός ο όρος προσδιορίζει μια βαθιά κουτάλα (ἀρύταινα) σε σχήμα κυπέλλου, με μια μακριά λαβή και χαμηλή βάση.
Kjatos
cíato
エクセキアス
Эксекий
Эксекий
Эксекий
Exekias
Exekias
Exekias
Exekias
Exekias
Exekias
Exekias
Exekias
Exékiasz
Exéquias
埃克塞基亚斯
Exèquies
Ексекій
Эксекій
Εξηκίας
Exequias (pintor)
Eksekija
Eksekija
Eksekias
Eksekias
Exekias is an Athenian potter ("epoiesen") and painter ("egrapsen") active from ca. 545-530 BCE. The painter’s work is generally considered to represent the apex of the black-figure technique, characterized by elegant draughtsmanship and intricately detailed ornamentation. Closely associated with Group E, Exekias mainly decorates the amphora, but also the pinax (plaque) and cups. Among his best known works are Ajax and Achilles, Achilles and Penthesilea, the Suicide of Ajax, and Dionysos reclining in a boat in possible reference to a Homeric Hymn. The plaques depict scenes connected to the funeral and perhaps lined the inside of the tomb. Main findspots are Athens (Acropolis, Agora), Italy (mostly Etruria), as well as Samos, Miletos, Berezan, and Cyrene.
Exékias
Exékias
Ексекий
Schalen-Skyphos
Η κύλικα-σκύφος είναι μια ρηχότερη εκδοχή του σκύφου με κοίλο χείλος.
κύλικα-σκύφος
The cup-skyphos is a shallower version of the skyphos with a concave lip.
Cup Skyphos
Der Schalenskyphos ist eine flachere Form des Skyphos mit einem konkaven Rand.
Schalenskyphos
Το μαστοειδές κύπελλο είναι μια παραλλαγή του μαστού χωρίς πόδι, με επίπεδο πυθμένα και έξω νεύον χείλος. Το αγγείο είναι άωτο ή έχει οριζόντιες λαβές λίγο πιο κάτω από το χείλος.
Mastoid
Mastoid
Die Mastoid Schale besitzt keinen Fuß und hat im Gegensatz zur Mastosschale einen flachen Boden. Die Lippe ist ausgestellt. Manche Gefäße besitzen einen horizontalen Henkel, der direkt unter dem Rand angebracht ist.
μαστοειδές κύπελλο
The mastoid cup is a footless, flat-bottomed version of the mastos with an outturned lip. The cup is either handleless or has horizontal handles attached a little below the rim.
The Dish Painter is an Athenian red-figure painter active ca. 470-460 BCE. The name derives from the preference for decorating stemmed dishes. Subjects are youths with lyres, a dancing girl, and a maenad. Findspots are Nola and Santa Maria di Capua.
Dish Painter
Rycroft-Maler
Pintor de Rycroft
The Rycroft Painter is an Athenian black-figure painter active in the last quarter of the 6th c. BCE. The name derives from an amphora (Type A) discovered in Vulci, formerly in the Rycroft collection (Oxford, Ashmolean Museum 1965.118; BAPD 301824), showing Leto on one side and Apollo and Artemis on the other. The painter is thought to be related to the Priam Painter and to Psiax. Shapes include the amphora in different forms, kraters, and the hydria. Scenes are of chariots, Herakles, Dionysos, and the Ransom of Hector. Findspots are sites in Etruria, Sicily, Athens (Agora, Acropolis), and Cyrene.
Rycroft Painter
Rycroft Painter
Rycroft Painter
Rycroft Painter
Rycroft Painter
Rycroft Painter
Rycroft Painter
Rycroft Painter
The Oinanthe Painter is an Athenian red-figure painter active ca. 470-450 BCE and a member of the Mannerist Group. The name derives from the inscription “Oinanthe kale” (“Oinanthe is beautiful”) on a hydria found at Vulci (London, British Museum E182; BAPD 206695) showing the Birth of Erichthonios. Other shapes are the column krater, pelike, and hydria. Scenes include Theseus and gods and goddesses. Findspots are Norcia (southern Italy) and Vulci.
Oinanthe Painter
Leagros-Gruppe
Εργαστήριο του Λεάγρου
groupe de Leagros
Grupul Leagros
Leagros Group
Gruppo di Leagros
The Leagros Group is a group of black-figure painters active ca. 520-500 BCE. The name derives from the inscription “Leagros kalos” (“Leagros is beautiful”) on several vases. Painters identified with the group include the Acheloos Painter, Chiusi Painter, and Daybreak Painter. Also associated are the Antiope Group, Group of Würzburg 210, and Group of Vatican 424. Several hundred vessels are attributed to the group, including shapes like the neck amphora, hydria, lekythos, krater, and Panathenaic amphora. Favorite scenes of the group are Herakles and the Trojan War, as well as Dionysian themes. Findspots are Vulci and other Etruscan sites, southern Italy and Sicily, and the Athenian Agora.
The Painter of Eleusis 767 is an Athenian black-figure painter who worked in the first quarter of the 6th c. BCE. The name derives from a tall neck amphora found at Eleusis (Eleusis, Archaeological Museum 767; BAPD 300247) decorated with animals and women. Other findspots are in Athens (Acropolis, Agora).
Painter of Eleusis 767
Aryballos ist der konventionelle Name für ein birnen- oder kugelförmiges Ölgefäß mit ein- oder zwei Henkeln. Mit oder ohne Fuß. Von Athleten verwendet. Manche Aryballoi imitieren die Form eines Kopfes, Tieres oder Vogels.
aribal
aribal
"Αρύβαλλος" είναι η συμβατική ονομασία ενός ωοειδούς ή σφαιρικού αγγείου για τη φύλαξη αρωματικών ελαίων, το οποίο διέθετε μία ή δύο λαβές. Χρησιμοποιείτο από αθλητές, και απαντά με ή και χωρίς βάση. Ορισμένοι αρύβαλλοι έχουν πλαστεί στο σχήμα μιας κεφαλής, ενός ζώου ή πτηνού.
αρύβαλλος
アリュバロス
Արիբալլոս
Арыбал
Aryballe
Aryballos is the conventional name for an ovoid or ball-shaped oil pot with one or two handles. Used by athletes, it can be footed or footless. Some aryballoi are potted in the shape of a head, animal, or bird.
Ariballo
ариболос
Aríbalo
Aríbalo
Aríbal
Aríbalo
Aribal
Арибал
Арибал
Арибал
Aryballos
Aryballos
Aryballos
Aryballos
Aryballos
Aryballos
Arybalos
aryballos
aryballos
aryballos
Aribalo
The Prometheus Painter is an Athenian black-figure painter of the Tyrrhenian Group active ca. 570-555 BCE. The name derives from an amphora (Florence, Archaeological Museum 76359; BAPD 310028) showing Herakles freeing Prometheus. Shapes are the neck amphora, hydria, and column krater. Subjects include Herakles/Amazons, Trojan War, and Birth of Athena. Findspots include Etruria, Clazomenae, Cyrene, and the Athenian Agora.
Prometheus Painter
Incense Burner
This shape is also known as a thymiaterion.
βλ. θυμιατήριο
Räuchergefäß
Diese Gefäßform ist auch als Thymiaterion bekannt.
Myson (vaasimaalari)
Myson
Myson
Myson
Myson
Myson
Myson
Myson
Myson
Myson is an Athenian red-figure painter active ca. 500-475 BCE. The name derives from signatures as painter (“egrapsen”) and potter (“epoiesen”) on a column krater from the Athenian Acropolis (Athens, National Museum Akr. 806; BAPD 202359) showing Athena. Other shapes are the pelike, calyx krater, psykter, and oinochoe. Scenes include revelers (“komasts”), the symposion, athletes, Dionysos and satyrs, Croesus seated on a pyre, Amazons, the Struggle for the Delphic Tripod, and other scenes with Herakles. Some findspots are Athens (Acropolis, Agora, Kerameikos), Etruria (Vulci, Cerveteri), Orvieto, Falerii, Locri (south Italy), and Kerch.
Misone
Misone
Misón
An amphora where the neck joins the body at sharp angles instead of a smooth curve. The neck and the body are offset, meaning that the curve and shape changes radically where the neck meets the shoulder.
Amphore wo der Hals deutlich vom Körper durch einen scharfen Knick statt eines fließenden Übergangs abgesetzt ist.
αμφορέας με λαιμό
amphore à col
amfora szyjowa
Halsamphora
anfora a collo
Ένας τύπος αμφορέα, στον οποίο ο λαιμός διακρίνεται σαφώς από το σώμα. Σε αντίθεση με τον ενιαίο αμφορέα, το συνεχές περίγραμμα του αγγείου διακόπτεται στο σημείο όπου ο λαιμός ενώνεται με τον ώμο του αγγείου.
Neck Amphora
Plemochoe
The term ‘exaleiptron’ comes from the word meaning ‘to anoint,’ and the shape is a low-lidded bowl with a wide shoulder and high or low foot. It is thought to have held scented water for personal use, for religious ceremonies, and for the grave. Authorities do not fully agree on the name of this vase and it is also called ‘plemochoё’ and (incorrectly) ‘kothon.’ There is a tendency to use the name ‘exaleiptron’ for the stemless version of the vase, in particular for the Corinthian examples, and ‘plemochoё’ for the Athenian high-footed shape, which is also frequently provided with a lid.
O όρος "εξάλειπτρο" προέρχεται από ρήμα ἐξαλείφω, αλείφω πλήρως, χρίω και προσδιορίζει ένα αγγείο με πλατύ σώμα και κάλυμμα που στηρίζεται σε ένα ψηλό ή χαμηλό πόδι. Θεωρείται ότι περιείχε αρωματισμένο νερό για προσωπική χρήση, για λατρευτικές αλλά και νεκρικές τελετές. Οι μελετητές δεν συμφωνούν πλήρως για το όνομα αυτού του αγγείου, το οποίο καλείται επίσης "πλημοχόη"και −λανθασμένα− "κόθων". Υπάρχει μια τάση να χρησιμοποιείται η ονομασία "εξάλειπτρο" για την άποδη εκδοχή του αγγείου, ειδικότερα για τα κορινθιακά παραδείγματα, και "πλημοχόη"για τα αθηναϊκά παραδείγματα με ψηλό πόδι, που συχνά φέρουν και κάλυμμα.
Exaleiptron
Exaleiptron
Племохойя
Kothon
εξάλειπτρο
Exaleiptron
Exaleiptron
Exaleiptron
Der Begriff 'Exaleiptron' leitet sich ab vom Begriff "salben". Das Deckelgefäß besitzt eine flache Gefäßform mit breiten Schultern und hohem oder etwas niedrigerem Standfuß. Es dürfte als Behälter für parfümiertes Wasser für den privaten Gebrauch, bei religiösen Zeremonien oder bei Gräbern gedienten haben. Der Begriff dieses Gefäßes ist umstritten und es wird auch als 'Plemochoё' oder (inkorrekt) als 'Kothon' bezeichnet. Für die stielosen Gefäßen, vor allem die korinthischen Beispiele, wird nun überwiegend der Begriff Exaleiptron verwendet, die Gefäße mit hohem Stiel aus Athen werden hingegen als 'Plemochoё' bezeichnet und besitzen oft einen Deckel.
πυξίδα τύπου Α
The canonical Type A pyxis has concave sides, a flat floor, and a flanged rim. Some have a low tripartite, quadripartite, or continuous foot, while others have no foot. The lid is thrown separately and is flat on top with a concave outer edge that continues and completes the curving concave wall of the pyxis body. It was created from the 6th c. into the first half of the 4th c. BCE.
Pyxis Typ A
Ο κανονικός τύπος Α έχει κοίλες πλευρές, επίπεδο πυθμένα και διευρυνόμενο χείλος. Ορισμένα παραδείγματα έχουν ένα χαμηλό τριμέρες, τετραμερές ή ενίαιο πόδι, ενώ άλλα δεν διαθέτουν καν πόδι. Το κάλυμμα πλάθεται ξεχωριστά στον κεραμικό τρόχο και είναι επίπεδο στην κορυφή με κοίλες παρυφές που συνεχίζουν και συμπληρώνουν το καμπύλες τοίχωμα του σώματος. Απαντά από τον 6ο αι. έως το πρώτο μισό του 4ου αι. π.Χ.
Pyxis Type A
Die kanonische Typ A Pyxis hat konkave Wände, einen flachen Boden, und einen gerippten Rand. Manche haben einen niedrigen drei-, viergliedrigen oder kontinuierlichen Fuß, andere haben keinen Fuß. Der Deckel wird separat hergestellt und ist oben flach mit einem konkaven äußeren Rand, der weiterläuft, und vervollständigt die geschwungene konkave Wand des Pyxidengefäßkörpers. Es wurde vom 6. Jh. bis in die erste Hälfte des 4. Jhs.v.Chr. hergestellt.
Added red refers to an additional red-colored pigment, typically made of red ochre, that is painted onto a Greek vase before firing. Various tints can result, including brown and purple. Added red is used for details such as blood, clothing, hair fillets, and decorative borders. It is also used for lettering on red-figure vases.
Added Red
Lakaina
A Bronze Age Minoan style perhaps inspired by frescoes, the entire surface of a pot was covered with sea creatures, octopus, fish and dolphins, against a background of rocks, seaweed and sponges.
Marine Style
Eine geometrische Gefäßform, die konische Oinochoe ist klein mit einer Kleeblattmündung, einem schmalen Hals. Diese konische Oinochoenform war in der korinthischen Keramik bis in das frühe 6. Jh.v. beliebt.
κωνική οινοχόη
konische Oinochoe
A minor Geometric shape, the conical oinochoe is small with a trefoil mouth, a narrow neck, and a body that consists of little more than a broad shoulder. In Early Protocorinthian the body is straightened until it approaches a more or less shallow cone, and the neck becomes taller; this conical oinochoe shape remains popular in Corinthian pottery until the early 6th c. BCE.
Conical Oinochoe
Ένα λιγότερο κοινό σχήμα της Γεωμετρικής περιόδου, η κωνική οινοχόη είναι μικρού μεγέθους, με τριφυλλόσχημο στόμιο, στενό λαιμό και ένα χαμηλό, πεπιεσμένο σώμα. Στην πρώιμη πρωτοκορινθιακή κεραμική το σχήμα του σώματος αποκτά μια περίπου κωνική μορφή και ο λαιμός γίνεται ψηλότερος. Αυτή η κωνική οινοχόη παραμένει δημοφιλής στην κορινθιακή κεραμική μέχρι και τον πρώιμο 6ο αι. π.Χ.
kelkkrater
Ο καλυκωτός κρατήρας είναι ένα από τα μεγαλύτερα αθηναϊκά αγγεία, το σώμα του οποίου μοιάζει με κάλυκα λουλουδιού. To κατώτερο τμήμα του σώματος έχει καμπύλο περίγραμμα, το ανώτερο κοίλο. Οι μεγάλες και συμπαγείς λαβές του αγγείου είναι προσαρτημένες στο κατώτερο τμήμα του αγγείου, καμπυλώνοντας προς τα πάνω. Ο καλυκωτός κρατήρας εμφανίζεται στον αθηναϊκό μελανόμορφο στο β΄ μισό του 6ου αι. π.Χ. και παραμένει δημοφιλές σχήμα μέχρι και το τέλος του ερυθρόμορφου ρυθμού.
cratere a calice
Der Kelchkrater ist eines der größten attischen Gefäßformen und erinnert an eine glockenförmige Blume. Der untere Gefäßkörper ist konvex, während die obere Gefäßhälfte nach außen geformt ist. Die Henkel sind groß und massiv und sind in der unteren Gefäßhälfte angebracht. Der Kelchkrater kommt in der attischen Schwarzfigurigen Vasenmalerei in der zweiten Hälfte des 6. Jhs. v.Chr. und ist eine beliebte Form bis zum Ende der Rotfigurigen Vasenmalerei.
The calyx-krater is one of the largest Attic vases, and is reminiscent of a bell-shaped flower. It is named for its convex lower body that has the configuration of the calyx of a flower, while the flaring upper body is suggestive of the bell-shaped corolla. It has large, robust, upturned handles situated opposite one another on the cul.The calyx-krater appears in Attic black-figure after the middle of the 6th c. BCE and is a popular shape until the end of red-figure.
Calyx Krater
crátera-cáliz
Kelchkrater
καλυκωτός κρατήρας
ελικωτός κρατήρας
crátera de volutas
krater wolutowy
volutenkrater
A krater with volutes that curl over the rim, it is the most elaborate vase of its type. The ancient name is Laconian in origin.
Ein Krater mit Voluten, die über dem Rand angebracht sind. Der antike Name ist Krater Lakonikos und er stellt den am kunstvollsten gestalteten Krater dar.
Volutenkrater
Ένας κρατήρας με ελικωτές λαβές, που απολήγουν στο χείλος του αγγείου. Η αρχαία ονομασία του αγγείου, "κρατὴρ λακωνικός", καταδεικνύει την καταγωγή του.
cratère à volutes
Volute Krater
завоен кратер
cratere a volute
Pintor del masto
Pentristo de la Mamforma Pokalo
Mastos Painter
The Mastos Painter is an Athenian black-figure painter active ca. 530 BCE. The name derives from a mastos (breast-shaped cup) (Würzburg, Martin von Wagner Museum 391; BAPD 302277). Other shapes are the amphora and hydria. Subjects include Dionysos, Herakles, warriors, and the symposion. Findspots are the Athenian Acropolis and Etruria.
Mastos-Maler
Peintre du Mastos
Bellerophon-Maler
The Bellerophon Painter is an Athenian black-figure painter active ca. 630-600 BCE. On two examples of the neck amphora, Bellerophon and the chimera are shown, giving the painter its name. Findspots include Vari and Etruria.
Bellerophon Painter
Pittore di Bellerofonte
Bellerophon Painter
Bellerophon Painter
Bellerophon Painter
Bellerophon Painter
Bellerophon Painter
Bellerophon Painter
Bellerophon Painter
Paseas (vaasimaalari)
Paseas (sometimes known as the Cerberus Painter) is an Athenian red-figure vase-painter active ca. 525-510 BCE, who also painted in black-figure (see Paseas [Black-figure]) and usually painted on white-ground. The name derives from a black-figure pinax (plaque) dedicated on the Athenian Acropolis (Athens, Akr. National Museum 1.2583; BAPD 301992), inscribed: “one of the paintings of Paseas.” It belongs to a series of plaques dedicated to Athena that features the goddess. The painter’s red-figure work consists mostly of cups and plates. Other red-figure shapes are the lekythos and alabastron. Findspots include sites in Etruria and the Athenian Acropolis.
Paseas
Paseas
Paseas
Paseas
Paseas
Paseas
Paseas
Paseas
Paseas
Paseas
Skyphoi
Louteria
Athenian potter who signed the calpis in the British Museum 'Meidias epoiesen' (made it).
Meidias
The Type B exaleiptron is the later of the two types and is differentiated by its tall, medium-wide stem terminating in a disc-like foot. Authorities do not fully agree on the name of this vase and it is also called ‘plemochoё’ and (incorrectly) ‘kothon.’ For further information on terminology, see 'exaleiptron.'
εξάλειπτρο τύπου Β
Exaleiptron Type B
Το εξάλειπτρο τύπου Β είναι η υστερότερη των δύο εκδοχών του αγγείου και διακρίνεται από το ψηλό πόδι που απολήγει σε μια δισκοειδή βάση.Οι μελετητές δεν συμφωνούν πλήρως για το όνομα του αγγείου και αποκαλείται επίσης "πλημοχόη"και −λανθασμένα− "κόθων", Βλ. "εξάλειπτρο".
Typ B Exaleiptron ist die spätere Variante der zwei Typen und ist charakterisiert durch einen hohen Stiel mit rundem Standfuß. Der Begriff dieses Gefäßes ist umstritten und es wird auch als 'Plemochoё' oder (inkorrekt) als 'Kothon' bezeichnet. Siehe 'Exaleiptron'
Exaleiptron Typ B
Lekanides
The use of white-ground (see White-ground) with the black-figure technique (see Black-figure) was pioneered by the Edinburgh Painter (see Edinburgh Painter) during the late 6th c. BCE. A white slip (see Added White) is applied to the surface of the vase onto which human or animal figures are painted using black-figure. Shapes include the lekythos, oinochoe, and small neck-amphora.
Black-figure White Ground
Painter of London B 76
Painter of London B 76
Painter of London B 76
Painter of London B 76
Painter of London B 76
Painter of London B 76
Pintor de Londres B 76
The Painter of London B76 is an Athenian black-figure painter active ca. 580-550 BCE. The name derives from hydria found at Camiros, Rhodes (London, British Museum B76; BAPD 300790) showing Hector (inscribed) next to a frontal chariot. Other shapes include the neck amphora, dinos (lebes), loutrophoros, belly amphora, and column krater. Subjects are Theseus and the Minotaur, Trojan War, and the Kalydonian Boar Hunt. Findspots include Athens (Agora, Acropolis), Eleusis, Cyrene, Taranto, and Vulci.
Peintre de Londres B 76
Maler von London B 76
Pittore di London B 76
Hermonax
Hermonax
Hermonax
Hermonax
Hermonax
Hermonax
Hermonax
Hermonax
Hermonax
Hermonax
Hermonax is an Athenian red-figure painter active ca. 475-450 BCE. The name derives from the signature as painter (“egrapsen”) on several vases. Shapes are the stamnos, pelike, neck amphora, loutrophoros, oinochoe, lekythos, lekanis, and cups. Subjects include Dionysos and followers, revelers (“komasts”), weddings, warriors, the Death of Orpheus, Zeus and Ganymede, Boreas and Oreithyia, Eros and lovers, and youths and young women. Some findspots are sites in southern Italy and Sicily, Cerveteri, Ampurias (Spain), Athens (Agora, Acropolis), Argos, Brauron, Camiros (Rhodes), and Xanthos (Turkey).
Hermonaks
Hermonaks
Гермонакс
Гермонакс
ヘルモナクス
The Pig Painter is an Athenian red-figure painter active ca. 470-450 BCE and a member of the Mannerist Group. The name derives from a pelike (Cambridge, Fitzwilliam Museum 9.17; BAPD 206456) showing men and pigs. Other shapes are the column-krater, hydria, and neck amphora. Subjects include Dionysos and followers, the symposion, revelers (“komasts”), athletes, and Theseus. Some findspots are the Athenian Agora, Corinth, Olympia, Camiros (Rhodes), sites in southern Italy and Sicily, Naukratis, and Kerch.
Pig Painter
Der Ständer ist viel kleinerdimensioniert als andere Stützen, die als Basis für Vasen gedacht waren. Der Ständer hat eine breite, flache Oberfläche, die often in schwarz- oder rotfiguriger Malerei bemalt ist. Die breite Oberfläche sitzt auf einem Stiehl auf.
Stand
Ständer
υποστατό
Το υποστατό είναι πολύ μικρότερο σε μέγεθος από άλλα στηρίγματα που προορίζονταν ως βάσεις για αγγεία. Το υποστατό έχει μια πλατιά, επίπεδη επιφάνεια στο άνω μέρος που συχνά φέρει μελανόμορφο ή ερυθρόμορφο διάκοσμο. Το ευρύ άνω μέρος στηρίζεται σε ένα διευρυνόμενο πόδι, συνήθως με έναν πλαστικό δακτύλιο στον κορμό του.
The stand is much smaller in size than other supports intended to serve as bases for vases. The stand has a wide, flat surface on top that is often decorated with black- or red-figure. The wide top rests on a stemmed foot, usually with a fillet on the stem.
Pintor N
Maler N
Painter N is an Athenian black-figure painter connected to the workshop of the potter Nikosthenes and active ca. 540-520 BCE. The Nikosthenic amphora was probably decorated by Painter N as well as the kyathos, cups, and psykter. Decorative subjects include satyrs, Dionysos, warriors, revelers ("komasts"), athletes, riders, and scenes with Athena. Most have been discovered in Etruria.
Painter N
Painter N
Painter N
Епінетрон
Επίνητρον
Эпінетран
Эпинетрон
Der Begriff bezeichnet ein langes, halbzylindrisches Gefäß zur Abdeckung von Knie und Oberschenkel. Es wurde im Herstellungsprozess von Wolle eingesetzt um daraus Schmutz zu entfernen.
Epinetron
Epinetron
Epinetron
Epinetron
Epinetron
Epinetron
Epinétron
Ο όρος αναφέρεται σε ένα επίμηκες, ημικυλινδρικό αγγείο, που τοποθετούνταν στο γόνατο και στον μηρό και χρησίμευε στο γνέσιμο του μαλλιού. Είναι ευρύτερο στο ανοικτό του άκρο, όπου ο μηρός είναι πλατύτερος, και κλειστό στο στενότερο άκρο, ώστε να προσαρμόζεται πάνω στο γόνατο. Το άνω μέρος του επίνητρου καλυπτόταν με εγχάρακτο φολιδωτό μοτίβο, που δημιουργούσε την απαραίτητη τραχύτητα όταν τριβόταν το μαλλί πάνω σε αυτό. Το σχήμα δεν είναι κοινό στον μελανόμορφο ρυθμό.
The term refers to a long, semi-circular cover for the knee and thigh, over which wool was drawn to remove dirt. It is wider at the open end where the thigh is thicker and closed at the narrow end to fit over the knee cap. The top of the epinetron is covered with an incised scale pattern, which produced the necessary roughness when the wool was rubbed against it. The shape is uncommon in black-figure.
épinétron
Onos
epinetrão
Oinochoai
Princeton Painter
Princeton Painter
Pintor de Princeton
Peintre de Princeton
Princeton-Maler
The Princeton Painter is an Athenian black-figure painter active ca. 545-530 BCE and a member of the Princeton Group. The name derives from an amphora with a Panathenaic body found at Nola (Princeton, University Art Museum 169; BAPD 320405) showing a man and a woman in a chariot. Shapes include the belly and neck amphora. Scenes include stock motifs (warriors, draped men) and depictions of Herakles, Theseus, Trojan War scenes, and the Gigantomachy. Large numbers of vases have been found in Vulci, while others come from Greece, Egypt, Cyrene, and Susa (Persia).
Princeton Painter
Princeton Painter
Princeton Painter
Princeton Painter
Princeton Painter
A Group is a role that applies specifically within the context of Archaic or Classical Greek pottery.
Sir John Beazley used the term group in two different ways. The first was for vases that were closely related but could not be assigned to a single painter's hand. The second indicates the work of artists with similar or related styles, such as the Pioneer Group. Some groups, such as the Tyrrhenian Group or the Leagros Group, belong to both categories.
Group
The person responsible for shaping or forming the vessel, whether wheeled or by some other technique.
Potter
siehe Ringvase.
δακτυλιόσχημος αρύβαλλος
Ringaryballos
See ring vase.
Ring Aryballos
βλ. δακτυλιόσχημο αγγείο
Skythes is an Athenian red-figure cup painter active ca. 520-505 BCE who painted bilingual cups (black-figure with coral red exterior, red-figure interior). The name Skythes (“the Scythian”) is inscribed as painter (“egrapsen”) on several vases. Subjects include Herakles, Theseus, athletes, revelers (“komasts”), Dionysos and followers, and warriors. Findspots are Athens (Acropolis, Agora), Boeotia, Aegina, and sites in Etruria (Vulci, Cerveteri, Chiusi, Gravisca).
Skythes
Skythes
Skythes
Skythes
Skythes
Skythes
Skythes
Skythes
Skythes (vaasimaalari)
Escita
Skythès
cérnos
Ein Kultgefäß mit großem Gefäßkörper und Fuß. Kleine Schalen sind am Rand befestigt.
Κέρνος
cernos
Kernos
Kernos
Kernos
Kernos
Kernos
Кернас
A cult vase, the kernos has a large bowl on its foot and small bowls attached to the rims.
קרנוס
kernos
Ένα σκεύος λατρευτικής χρἠσης, ο κέρνος έχει πόδι που φέρει μια ευρύχωρη λεκάνη, με μικρότερα κύπελλα προσκολημμένα στο χείλης της.
Кернос
Кернос
Peintre d'Athènes 533
Maler von Athen 533
Maler von Athen 533
Maler von Athen 533
The Painter of Athens 533 is an Athenian black-figure painter active ca. 575-555 BCE. The name derives from a cup found in Athens (Athens, National Museum 533; BAPD 300611) showing males and animals. Shapes include the cup, lekythos, and Siana cup. The painter may be the first to decorate the inside tondo of the cup. Subjects are dancers, warriors, and animals. Findspots include Turkey (Miletus, Pitane, Gordion), Sicily, Marseilles, and Rhitsona.
Painter of Athens 533
Pintor de Atenas 533
The Hischylos Painter is an Athenian red-figure cup painter active ca. 525-500 BCE. The name derives from the potter ("epoiesen") who signs as Hischylos on several examples. Other than the cup, shapes include the column krater and bell krater. Subjects are warriors and athletes. Findspots are Vulci, Taranto, and the Athenian Acropolis.
Hischylos Painter
Pintor KY
The KY Painter (Komast Y) is an Athenian black-figure painter affiliated with the Komast Group and dated to the 570’s and 560’s BCE. Shapes include the Komast cup, skyphos, lekanis, and column krater. The main subject is male revelers ("komasts"). Komast cups attributed to the painter have been discovered in the Greek mainland and were widely distributed around the Mediterranean and the Black Sea.
Ky Painter
KY Painter
KY-maalari
KY-Maler
The Madrid Painter is an Athenian black-figure painter active in the last quarter of the 6th c. BCE. The name derives from a hydria in Madrid (Madrid, Archaeological Museum 10913; BAPD 301766) showing the Struggle for the Delphic Tripod. Shapes are the hydria, neck amphora, and column krater. Scenes include Ajax and Achilles, Dionysos, and Herakles. Findspots are Vulci and other sites in Etruria, Nola, Syracuse, and Athens.
Madrid Painter
Madrid Painter
Madrid Painter
Madrid Painter
Madrid Painter
Madrid Painter
Madrid Painter
Madrid Painter
Madrid Painter
マドリードの画家
Madrid-Maler
Plastic vases (from the German Plastik, meaning sculpture) are mold-made figural vessels taking human, animal, or hybrid forms. While the sculptural elements of a plastic vase are often made in two-part molds, parts can also be modeled by hand or wheel-thrown. This type of vase reached its peak popularity in Athens during the 5th c. BCE. Plastic vases were also produced in Corinth and Boeotia.
Plastic
The Sandal Painter (also known as the Rhitsona Painter) is an Athenian black-figure painter active ca. 575-555 BCE. The name derives from a lekythos found in Etruria (Bologna, Museo Civico Archeologico PU 204; BAPD 300643) showing one boy hitting another with a sandal. Shapes include the Siana cup, lekythos, and Little Master cup. Subjects are athletes, satyrs, and warriors. Findspots include Attica, the Athenian Agora, Ampurias, Etruria, Rhitsona, Naukratis, and the Black Sea.
Sandal Painter
The collection of the British Museum (institution).
British Museum (collection)
Το εξάλειπτρο τύπου Α είναι η πρωιμότερη εκδοχή των δύο τύπων και διακρίνεται από το βραχύτερο, πλατύτερο και διευρυνόμενο πόδι. Οι μελετητές δεν συμφωνούν πλήρως για το όνομα του αγγείου και αποκαλείται επίσης "πλημοχόη"και −λανθασμένα− "κόθων", Βλ. "εξάλειπτρο".
εξάλειπτρο τύπου Α
The Type A exaleiptron is the earlier of the two types and is differentiated by its shorter, wider flaring foot. Authorities do not fully agree on the name of this vase and it is also called ‘plemochoё’ and (incorrectly) ‘kothon.’ For further information on terminology, see 'exaleiptron.'
Exaleiptron Typ A
Typ A Exaleiptron ist die frühere Variante der zwei Typen und ist charakterisiert durch einen kürzeren breiten Fuß. Der Begriff dieses Gefäßes ist umstritten und es wird auch als 'Plemochoё' oder (inkorrekt) als 'Kothon' bezeichnet. Siehe 'Exaleiptron'
Exaleiptron Type A
Saconídes
Sakonides
Sakonides
Sakonides
Sakonides
Sakonides
Sakonides
Sakonides
Sakonides
Sakonides
Sakonides
Sakonides is an Athenian black-figure painter of Little Master cups active ca. 560-520 BCE. The signature as painter ("egrapsen") appears on several cups, including one cup of Type A from the Athenian Acropolis (Athens, National Museum Acr.; BAPD 301108). Subjects are mostly female heads, but also Herakles, youths, and riders. Other findspots include Etruria, Sicily, Thrace, and Olbia.
Xenokles-Maler
Xenokles-Maler
Pintor de Jenocles
Xenokles Painter
Xenokles Painter
Xenokles Painter
Xenokles Painter
Xenokles Painter
Xenokles Painter
Xenokles Painter
The Xenokles Painter is an Athenian black-figure painter of Little Master cups active in the mid-6th c. BCE. The name derives from vases signed as potter ("epoiesen") by Xenokles. Shapes include more lip-cups than band-cups and at least one oinochoe. Subjects include the gods, animals, youths, and Herakles. Findspots are in Etruria and southern Italy, Berezan, Miletos, and the Athenian Acropolis.
The Type B Exaleiptron displays a tall, medium-wide stem that terminates in a disk-like foot.
Type B Exaleiptron
Added white refers to an additional white-colored pigment that is painted onto a Greek vase, usually before firing. Most notably, added white is used for the skin coloring of women in the black-figure technique, or as “second white” on white-ground vases. The white pigment comes from natural materials, such as calcareous clay, lead, or perhaps bone.
Added White
Silhouette is used to describe figures or objects painted in solid black against a lighter colored background. In the black-figure technique (see Black-figure), figures and objects are painted in silhouette before employing incision for details (see Incised). Examples are also found in Geometric (see Geometric), Orientalizing (see Orientalizing), and red-figure vase-painting (see Red-figure), as well as on Boeotian “geometricizing” vases.
Silhouette
Sokles
Sokles
Sokles
Sokles
Sokles
Sokles
Sokles
Sokles
Sokles
Socles
Sokles was an ancient Greek potter, active in the middle of the 6th century BCE, in Athens, who signed Little Masters cups.
The Harvard Art Museums is part of Harvard University and comprise three museums: the Fogg Museum (established in 1895), the Busch-Reisinger Museum (established in 1903), and the Arthur M. Sackler Museum (established in 1985) and four research centers: the Archaeological Exploration of Sardis (founded in 1958), the Center for the Technical Study of Modern Art (founded in 2002), the Harvard Art Museums Archives, and the Straus Center for Conservation and Technical Studies (founded in 1928). The three museums that comprise the Harvard Art Museums were initially integrated into a single institution under the name Harvard University Art Museums in 1983. University was dropped from the institutional name in 2008.
Гарвардский художественный музей
musées d'art de Harvard
哈佛藝術博物館
Harvard Art Museums
Harvard Art Museums
Harvard Art Museums
schilder van de Nicosia-olpè
Pintor de Nicosia Olpe
Painter of the Nicosia Olpe
Painter of the Nicosia Olpe
Painter of the Nicosia Olpe
The Painter of the Nicosia Olpe is an Athenian black-figure painter active ca. 500 BCE. The name derives from a vase (Nicosia, Cyprus Museum C 809; BAPD 330183) showing a man, woman, and youth. Other shapes are cups, the lekythos, and small amphora. Scenes include chariots, arming, men with spears, riders, Herakles, Theseus and the Minotaur, Birth of Athena, and Ajax and Cassandra. Findspots are Italy, Sicily, Cyrene, Naukratis, and Greece.
Painter of The Nicosia Olpe
Maler der Nikosia-Olpe
Peintre d'Oakeshott
The Oakeshott Painter is an Athenian black-figure painter of Little Master cups active in the second quarter of the 6th c. BCE. The name derives from a cup, formerly in the Oakeshott collection (Oxford, Ashmolean Museum 1972.162; BAPD 350750), showing animals. Shapes are band-cups and some lip-cups. One lip-cup (Boston, Museum of Fine Arts (69.1052; BAPD 210) features figure decoration on the interior. Subjects are Dionysian, and findspots include Samos, Etruria, and Cyrene.
Oakeshott Painter
Oakeshott-Maler
Pintor de Oakeshott
Black pattern is a term sometimes used to describe Athenian vases without human or animal figures. The decoration includes floral, linear, or patterned bands. On some vases, large areas of the surface are painted black with a reserved band for decoration. Examples are dated from the mid-6th through the 4th c. BCE. Other regions producing their own versions of black pattern decoration included Corinth, Boeotia, Laconia, and South Italy.
Black Pattern
Amasis (savenvalaja)
Amasi
Αμάσις
Amaszisz
Amasis was an ancient Attic potter, active in Athens between 560/550 and 530/520 BCE. Amasis’s pottery workshop also employed a well-known painter, who is conventionally named the Amasis Painter after the potter, and generally considered as one of the best Archaic vase painters.
Амасис (тăм савăт ăсти)
Amasis
Amasis
Amasis
Amasis
Amasis
Amasis
Амасіс
Амасіс (гончар)
Амасис (гончар)
Phiale
Phiale
Phiale
Phiale
Phiale
Die Form geht auf östliche Prototypen zurück und findet sich sehr oft bei Metallgefäßen. Es ist eine flache, henkellose Opferschale, manchmal mit abgesetztem Rand. Am Schalenboden erhebt sich in der Mitte ein Mittelbuckel (Omphalos), wodurch der Finger die Schale beim Ausgießen besser fassen kann.
фијала
Фіала
Fiale
Fiale
Фіяла
fiálé
The shape, derived from eastern prototypes, is often found in metal. It is a flat, handleless libation bowl, sometimes with an offset rim. In the centre of the floor is a raised navel (omphalos) which enables the finger to be inserted beneath when tipping the bowl.
Фиала
피알레
Фиала
φιάλη
Το σχήμα προέρχεται από ανατολίτικα πρότυπα και απαντά συχνά σε μεταλλικά αγγεία. Είναι ένα ρηχό, ανοικτό αγγείο, μερικές φορές με ένα έξω νεύον χείλος, που χρησιμοποιείτο για την τελετουργική προσφορά υγρών, τις σπονδές. Στο κέντρο του φέρει ένα εξόγκωμα, τον ομφαλό, που επιτρέπει να τοποθετηθεί στην κοιλότητα στο κάτω επιφάνεια του αγγείου ο δείκτης για την έκχυση του υγρού της φιάλης κατά τη σπονδή.
phiale
phiale
phiale
Nessos-Maler
The Nessos Painter (also called the Nettos Painter) is an Athenian black-figure painter active from ca. 620-600 BCE. The name derives from an amphora found in Athens (Athens, National Museum 1002; BAPD 300025) showing a scene of Herakles fighting the centaur Nessos on the neck. Shapes include large vessels, such as the neck amphora, belly amphora, and skyphos-krater. The painter prefers mythological scenes, large figures, and Corinthian-style filling ornamentation. Findspots include Athens and Attica, Samos, Cyrene, Naukratis, and Cerveteri.
Ζωγράφος του Νέσσου
Nessos Painter
Вазописец Несса
Pittore di Nesso
Nessos Painter
Nessos Painter
Nessos Painter
Nessos Painter
Nettos Painter
Nessos-maalari
Peintre de Nessos
Pintor de Neso
Вазописець Несса
Хура кӗлеткеллӗ ваза ӳнерӗ
Cerámica de figuras negras
Sortfigurs-keramik
ceramică cu figuri negre
Tembikar sosok-hitam
Чернофигурная вазопись
Registro de pintura negra em cerâmica grega
Mustafiguuriline stiil
黒絵式
ceràmica de figures negres
Mustakuviokeramiikka
黑彩陶器
Siyah figür tekniği
црне фигуре на црвеној подлози
Чорнофігурний вазопис
Tembikar figura hitam
црнофигурен вазопис
cerámica de figuras negras
nigrafigura ceramiko
Svartfigurvaser
Black-figure is a dark-on-light technique used for figure decoration on a wide variety of shapes. It was invented in Corinth ca. 700 BCE and was used in Athens by ca. 630 BCE. The decoration is created by applying silhouetted figures (see Silhouette) in clay slip to the surface of the vessel, incising linear details, and sometimes adding color before firing (see Added Color; see Added Red; see Added White). Vases are fired in three stages, resulting in black figures (human and animal) against an untreated (or lightly treated) lighter colored background. The creation of the black-figure technique has been attributed to the influence of minor arts from the Near East, most likely ivories and metalwork. Regional versions of the black-figure technique were also used in Laconia, Boeotia, East Greece, northern Greece, West Greece, and Etruria.
Swartfiguurstyl
Svartfigurig keramik
Чорнафігурны вазапіс
Črnofiguralni dekorativni slog
Ceramica a figure nere
Crne figure na crvenoj podlozi
Black-figure
céramique à figures noires
Styl czarnofigurowy
Zwartfigurige stijl
Schwarzfigurige Vasenmalerei
Μελανόμορφη αγγειογραφία
קדרות הדמות השחורה
Classical denotes Greek vases and other arts produced from ca. 480-323 BCE. It thus falls between the Archaic (ca. 600-480 BCE) and Hellenistic (323-31 BCE) stylistic periods. These dates are based on two historical events: the Persian invasion of Athens in 480 BCE and the death of Alexander the Great in 323 BCE. Classical is often divided into the three phases of Early, High, and Late, based on stylistic development. The main vase-painting techniques in Athens are red-figure and white-ground, with black-figure still in use for the Panathenaic amphora. Major Athenian vase-painters from this time include the Pan Painter, Niobid Painter, Achilles Painter, Polygnotos, and Eretria Painter.
Грек классикалық мәдениеті
Klassisch bezeichnet griechische Vasen und andere Objekte, die im Zeitraum von ca. 480-323 v. Chr. produziert wurden. Es fällt daher zwischen die archaische (ca. 600-480 v. Chr.) und die hellenistische (323-31 v. Chr.) stilistische Phase. Diese Zeitpunkte basieren auf zwei historischen Ereignissen: die persische Invasion von Athen in 480 v. Chr. Und dem Tod von Alexander dem Großen in 323 v. Chr. Die Klassik wird, basierend auf stilistischen Entwicklungen, oft in die drei Phasen früh-, hoch-, und spätklassisch unterteilt. Die häufigste Technik der Vasenmalerei in Athen ist rot-figurig und weiß-grundig, wobei schwarz-figurig noch für die Panathenäischen Amphoren in Gebrauch war. Zu den wichtigsten Vertretern der attischen Vasenmalerei gehören der Pan-Maler, der Niobid-Maler, der Achilles-Maler, Polygnotos und der Eretria-Maler.
Klasična Grčka
Epocha classic
Det klassiske Hellas
Klassieke Griekeland
古典希臘時期
Klasik Yunanistan
Klasika Grekia
Klasikong Gresya
Класическа Гърция
یونان کلاسیک
Époque classique
Klassik Yunanıstan
Klassieke periode
古典ギリシア
Klasické Řecko
Klasična Grčija
Класічная Грэцыя
그리스 고전기
Hy Lạp cổ điển
Sejarah Yunani Klasik
Grezia klasikoa
Grécia Clássica
Klassisch
کلاسیکی یونان
класична Грција
عصر كلاسيكي
Grecia classica
Grecia clasică
Helenët
Klasseschen Zäitalter
Klasikinė Graikija
Classical
प्राचीन यूनानी सभ्यता
Դասական Հունաստան
Grecia clásica
Grecia clásica
יוון הקלאסית
Klasika Grekio
Klassisk tid
Okres klasyczny (Grecja)
Класична Греція
Ο όρος «κλασικός» χρησιμοποιείται για αγγεία και άλλα τέχνεργα που δημιουργήθηκαν περίπου μεταξύ του 480-323 π.Χ. Έτσι, τοποθετείται ανάμεσα στην τεχνοτροπία της Αρχαϊκής (περ. 600-480 π.Χ) και της Ελληνιστικής περιόδου (περ. 323-31 π.Χ.). Το χρονικό πλαίσιο της Κλασικής περιόδου βασίζεται σε δύο ιστορικά γεγονότα: την Περσική εισβολή και την καταστροφή της Αθήνας το 480 π.Χ. και τον θάνατο του Μεγάλου Αλεξάνδρου το 323 π.Χ. Η Κλασική περίοδος διαιρείται συχνά σε τρεις φάσεις, Πρώιμη, 'Ωριμη και Ύστερη, με βάση την τεχνοτροπική εξέλιξη. Οι βασικές τεχνικές διακόσμησης αγγείων στην Αθήνα είναι η ερυθρόμορφη και του λευκού εδάφους, με τη μελανόμορφη τεχνική να χρησιμοποιείται ακόμα για τους παναθηναϊκούς αμφορείς. Στους μείζονες Αθηναίους αγγειογράφους αυτής της περιόδου περιλαμβάνονται ο ζωγράφος του Πανός, ο ζωγράφος των Νιοβιδών, ο ζωγράφος του Αχιλλέα, ο Πολύγνωτος και ο ζωγράφος της Ερέτριας.
กรีซยุคคลาสสิก
Klassiska Grekland
Класична Грчка
Классическая Греция
Κλασικός, -ή, -ό
Eucharides Painter
Eucharides-Maler
The Eucharides Painter is an Athenian black-figure painter active ca. 500-470 BCE, who also painted in red-figure (see Eucharides Painter [Red-figure]). The name derives from the inscription “Eucharides kalos” (“Eucharides is beautiful”) on a red-figure stamnos (Copenhagen, National Museum 124 BAPD 202230) showing youths, women, and Eros. Shapes are the Panathenaic amphora, hydria, pelike, and neck amphora. Subjects include music, horse races, warriors, Ajax and Achilles, and daily life. Findspots are Athens (Acropolis, Agora, Kerameikos), Vulci, Nola, Cumae, Samos, Corinth, Kerch, Locris (Greece), and Al Mina.
pittore di Eucharides
Peintre d'Eucharidès
Pintor de Eucárides
psítere
psykter
Psükteer
psykter
Psykter' comes from a word for 'cooling.' The term is used now to denote an Attic shape with a broad, hollow stem, a bulging, mushroom-shaped body, and a broad mouth. It was sometimes furnished with a lid and pierced tubes for cord. The psykters was filled with snow or cold water and set to float in a krater full of wine.
Psykter
Псиктер
פסכתר
Psykter
Psykter
Псиктер
Psykter
Psyktér
Psykter
Псиктер
Псиктер
Psykter
Psykter
Psykter
Psictero
プシュクテル
Psykter bedeutet 'kühlen'. Der Begriff wird heute verwendet um eine attische, pilzähnliche Form mit einem zylindrischen, hohlen Fuß und breiter Mündung zu beschreiben. Manche Gefäße hatten einen Deckel und kleine Griffe durch die eine Kordel gezogen wurde. Es wurde mit Schnee oder kaltem Wasser befüllt und in einen mit Wein gefüllten Krater gesetzt.
Ψυκτήρ
Ο ψυκτήρας, όπως προδίδει το όνομά του, προορίζεται να ψύχει, να παγώνει, και προσδιορίζει ένα αττικό αγγείο με ένα ευρύ, κοίλο στέλεχος, ένα πεπιεσμένο μανιταρόσχημο σώμα και ένα ευρύ στόμιο. Ορισμένες φορές φέρει κάλυμμα και διάτρητες αποφύσεις για ανάρτηση με σχοινί. Ο ψυκτήρας γεμιζόταν με χιόνι ή κρύο νερό και αφηνόταν να επιπλεύσει μέσα στον γεμάτο με κεκραμένο οίνο κρατήρα.
Псіктар
The Painter of Boston CA is a black-figure painter active ca. 575-555 BCE. The name derives from a Siana cup from Thebes (Boston, Museum of Fine Arts 99.519; BAPD 300620) showing Circe and Acheloos. The main shape is the Siana cup, but a Panathenaic amphora fragment with a runner is also attributed to this artist. Findspots include the Athenian Acropolis, Kavala, Rhodes, southern Italy, and Naukratis.
Бостонський вазописець СА
Бостанскі вазапісец CA
Schilder van Boston CA
Schilder van Boston CA
Бостонский вазописец СА
Maler von Boston CA
Painter of Boston CA
The Scheurleer Painter is an Athenian red-figure cup painter active in the late 6th c. BCE, who also painted bilingual cups (black-figure interior, red-figure exterior). The name derives from a cup in the Scheurleer Collection (Amsterdam, Allard Pierson Museum 997; BAPD 200319) showing athletes. Other subjects include warriors, satyrs, and revelers (“komasts”). Findspots are Vulci, Gravisca, and Olbia (Black Sea).
Scheurleer Painter
κάλυμμα πυξίδας
Tα καλύμματα των πυξίδων διαφέρουν ανάλογα με τον κάθε τύπο της πυξίδας. Μπορούν να είναι επίπεδα, κοίλα, θολωτά ή κωνικά και να εφάπτονται στο πάνω μέρος της πυξίδας ή μπορούν να έχουν βαθειές πλευρές και να προεξέχουν περιμετρικά από το σώμα της πυξίδας. Οι λαβές είναι συχνά κομβόσχημες ή μεταλλικοί δακτύλιοι.
The pyxis lid varies widely depending on the shape of the pyxis itself. Lids can be flat, concave, domed, or conical and rest on top of the pyxis or can be deep-sided and slip over the sides of the box. The handles are often knobs or metal rings.
Pyxis Lid
Pyxidendeckel
Der Pyxidendeckel variert je nach Form der Pyxis. Der Deckel kann flach, konkav, kuppelförmig oder konisch sein. Er sitzt entweder oben auf der Pyxis auf oder er kann tief sitzen und hängt auf allen Seiten über die Schatulle. Die Henkel sind often Knaufe oder Metallringe.
The term kothon is used for a variety of different shapes. Some equate it (wrongly) with the exaleiptron, while others use the word to refer to a deep one-handled drinking cup. The vessel is sometimes ribbed and was carried by soldiers and travellers. The word kothon can also refer to the pilgrim flask shape.
κόθων
kóthon
Кофон
Кофон
Der Begriff Kothon wird für mehrere unterschiedliche Gefäßformen verwendet. Manche setzen es (inkorrekt) mit dem Exaleiptron gleich, während andere hingegen den Begriff für ein tiefes einhenkeliges Trinkgefäß verwenden. Das Gefäß ist manchmal gerippt und wurde von Soldaten und Reisenden mitgeführt. Der Begriff Kothon kann auch eine Pilgerflasche bezeichnen.
Ο όρος "κόθων" χρησιμοποιείται για διάφορα σχήματα. Ορισμένοι μελετητές τον εξισώνουν (λανθασμένα) με το εξάλειπτρο, ενώ άλλοι τον χρησιμοποιούν για ένα βαθύ μόνωτο κύπελο. Το αγγείο φέρει ενίοτε ραβδωτή διακόσμηση και το έπαιρναν μαζί τους στρατιώτες και ταξιδευτές. Η λέξη "κόθων" μπορεί επίσης να προσδιορίζει και το σχήμα του φιαλίδου ευλογίας.
Kothon
Kothon
Το δακτυλιόσχημο αγγείο έχει τη μορφή ενός φουσκωμένου σωσίβιου με κάθετη εκροή. Είναι κυρίως ένα κορινθιακό και βοιωτικό σχήμα.
Ringvase
δακτυλιόσχημο αγγείο
Ring Vase
The ring vase is shaped like a bloated lifebelt with a vertical spout. It is largely a Corinthian and Boeotian shape.
Die Ringvase hat die Form eines aufgeblähten Rettungsrings mit vertikalem Ausguß. Es ist hauptsächlich eine korinthische und böotische Gefäßform
Rhyta
-0700
-0900
-0600
-0700
ηθμός
Strainer
Ο ηθμός είναι μια διάτρητη λεκάνη που χρησιμοποιείτο για το στράγγισμα του οίνου ή, στη μεγαλύτερη εκδοχή του, για μαγείρεμα.
Das Sieb ist ein schalenförmiges Gefäß mit Löchern zum Abseihen von Wein oder in einer größeren Ausführung für den Küchengebrauch.
Sieb
The strainer is a perforated bowl that was used for straining wine or, in its larger form, used for cooking.
Black glaze, also called “black gloss,” “black-painted,” or “black,” denotes the black slip that is applied to the entire surface of a Greek vase. Black glaze consists of a diluted form of the natural clay that is transformed through a chemical reaction during the firing process (see Black-figure). Surface decoration could include added color, gilding, relief, incision or stamped motifs. It has been suggested that the technique was meant to evoke metal vessels. Athens was the main producer of black glaze vases until c. 400 BCE. Other regions included South Italy and the Eastern Mediterranean, where they were made until the 1st c. BCE.
Black Glaze
The Boot Painter is an Athenian red figure painter active ca. 470-460 BCE. The name derives from several cups depicting naked women putting on or holding boots. The main shape is the cup, but also the oinochoe. Subjects include men, women, boys, athletes, satyrs, Theseus, and a pyrrhic dancer. Findspots are Etruria (Vulci, Tarquinia, Chiusi), sites in southern Italy, and Ampurias (Spain).
Boot Painter
Eucharides Painter is the common nickname of an ancient Greek artist who decorated but did not sign attic vases. Neither his real name, nor the dates of his birth and death are known. Presumably this artist was a pupil of the Nikoxenos painter.
Eucharides Painter
The Nikon Painter is an Athenian red-figure painter active ca. 470-450 BCE. The name derives from the inscription “Nikon kalos” or “kalos Nikon” (“Nikon is beautiful”) on several examples. Also attributed to the painter is a white-ground lekythos from Eretria (Brussels, Musées Royaux A1019; BAPD 207607) showing a mistress and maid.
Nikon Painter
The Geras Painter is an Athenian red-figure painter active ca. 480-470 BCE. The name derives from a pelike (Paris, Louvre G234; BAPD 202622) showing Herakles and Geras (“old age”). Other shapes are the neck amphora, kraters, hydria, and stamnos. Subjects include Dionysos and followers, Ganymede, Theseus, Europa, Aktaion, Triptolemos and Demeter, and Herakles. Findspots are Vulci, Nola, sites in Sicily, and Locris (Greece).
Geras Painter
application/vnd.google-apps.spreadsheet
Greek vase-making techniques derived and augmented from the Beazley Archive Pottery Database.
application/vnd.google-apps.spreadsheet
Primary time periods related to Greek ceramics from post-Bronze Age until the end of the Classical era.
A subtype of amphora
Nolan Amphora
Lekythoi
Ryton
Η ονομασία "ρυτό" προέρχεται από το ρήμα ῥέω και προσδιορίζει ένα μόνωτο αγγείο πόσης, το σώμα του οποίου διαμορφώνεται στο σχήμα της κεφαλής ενός ζώου (πρόβατο, γάιδαρος κ.ά.) ή ενίοτε σε πιο σύνθετες δημιουργίες (πυγμαίος και γερανός, νέγρος παις και κροκόδειλος, έφιππη Αμαζόνα, καμήλα και καμηλιέρης). Αρχικά κατασκευάζονταν από κέρατα, εξού και το σχήμα. Η ιδέα του αγγείου προήλθε από την Περσία.
‘Rhyton’ comes from a word for 'flow.' The term is used to denote a one-handled drinking cup whose bowl is fashioned into the shape of an animal’s head (sheep, donkey, etc.) or occasionally a more complex creation (pygmy and crane, African child and crocodile, mounted Amazon, camel and driver). It was originally made from horn, hence its shape. The idea was borrowed from Persia.
ríton
ríton
Rhüton
تکوک
Rhyton' kommt vom Wort für 'fließen'. Der Begriff bezeichnet eine einhenkelige Trinkschale, die in der Form eines Tierprotoms (Schaf, Esel, etc.) oder manchmal eine komplexere Kreation (Pygmäe und Kranich, afrikanisches Kind und Krokodil, berittene Amazone, Kamel und Führer). Es wurde ursprünglich aus Horn hergestellt, daher die Form. Die Idee stammt aus Persien.
リュトン
Ρυτό
来通
Riton
Riton
Riton
Riton
Riton
ритон
rhyton
rhyton
rhyton
Rhyton
Rhyton
Rhyton
Rhyton
Rhyton
Rhyton
rhyton
rhyton
rhyton
Рытон
Ритон
Ритон
Ритон
Ритон
The Euphiletos Painter is an Athenian black-figure painter active in the last quarter of the 6th c. BCE. The name derives from an inscription “Euphiletos kalos” (“Euphiletos is beautiful”) on a Panathenaic amphora from Vulci (London, British Museum B134; BAPD 301687) showing a pentathlon. Other shapes include the neck amphora, hydria, belly amphora (Type B), oinochoe, and plaques. Scenes include athletes, chariots, Herakles, Dionysos, and weddings. Findspots are many sites in Etruria, the Athenian Acropolis, and Cyprus.
Вазописец Евфилета
Euphiletos Painter
Euphiletos Painter
Euphiletos Painter
Euphiletos Painter
Euphiletos Painter
Pittore di Euphiletos
Euphiletos Painter
Euphiletos Painter
Eufiletos-maalari
Euphiletos-Maler
Peintre d'Euphilétos
Psykteres
Vasiliki Ware
The EM IIA and IIB Vasiliki Ware, named for the Minoan site in eastern Crete, has mottled glaze effects, early experiments with controlling color, but the elongated spouts drawn from the body and ending in semicircular spouts show the beginnings of the tradition of Minoan elegance.
Painter of the Vatican Mourner
Painter of the Vatican Mourner
The Painter of the Vatican Mourner is an Athenian black-figure painter active ca. 560-540 BCE, who has been associated with Group E. The name derives from an amphora from Vulci (Rome, Vatican 350; BAPD 310352) featuring a woman mourning over a deceased warrior (perhaps Eos and Memnon). Shapes are mostly the amphora and other large vessels. Scenes are of the Trojan War along with wedding and funerary iconography. Known findspots include Italy, Sicily, Naukratis, and Athens.
Painter of The Vatican Mourner
Maler der Trauernden im Vatikan
Pintor del Vatican Mourner
Painter of the Vatican Mourner
Painter of the Vatican Mourner
Tingga
ტყვია
Olovo
Olovo
Olovo
ਸਿੱਕਾ
plumbum
plumbum
সীসা
lood
lood
납
olovo
olovo
Хура тăхлан
свинец
Risasi
Plumbi
ołów
Loead
בליי
Lead
Lead
Lead
Qurğuşun
Plomo
berun
plumb
chì
свинець
ཞ་ཉེ།
blý
Timbal
Timbal
సీసపద్యము
सिसा
kurşun
قوغۇشۇن
bly
bly
bly
bly
കറുത്തീയം
plombo
plumbo
plumbo
ólom
ஈயம்
Коргошун
سیسہ
piombo
लिड
سرب
Titi
Leoaie
Blei
Prumu
सीसा
Кургаш
Luaidhe
Luaidhe
svins
Qoʻrgʻoshin
સીસું
Ширысь
plomo
Sirb
Lead is a chemical element with the symbol Pb (from the Latin plumbum) and atomic number 82. It is a heavy metal that is denser than most common materials. Lead is soft and malleable, and also has a relatively low melting point.
Plonk
ସୀସା
matā
Зды
plom
plom
鉛
Свінец
կապար
Švinas
ခဲ
सीसम्
Umthofu
Plomb
lyijy
Plon
Piombu
铅
እርሳስ
ċomb
Сурб
Yienz
олово
олово
олово
Dilyį́hí
Bly
Plwm
Blýggj
ตะกั่ว
svinec
עופרת
Bläi
plumbin
Chumbo
Қорғасын
رصاص
ಸೀಸ
Хар тугалга
plomb
शिसे
μόλυβδος
chumbo
Plii
Òjé
σκυφοειδής κρατήρας
The skyphos-krater is a very large, deep bowl with two horizontal strap handles with returns, and its rim is flanged or incurving to receive a domed lid. The bowl may be supported by an echinus foot, or joined to a conical stand. The skyphos-krater is an uncommon shape with a long history, being made from the Late Geometric period to the first quarter of the 6th c. BCE.
Skyphos Krater
Ο σκυφοειδής κρατήρας είναι μια μεγάλη βαθιά λεκάνη με δύο οριζόντιες ταινιωτές λαβές και το χείλος του προεξέχει ή έχει κλίση για να δεχθεί ένα θολωτό κάλυμμα. Το αγγείο μπορεί να στηρίζεται σε μια καμπύλη βάση ἠ να στηρίζεται σε ένα κωνικό υποστατό. Ο σκυφοειδής κρατήρας δεν είναι κοινό σχήμα, αλλά διαθέτει μια μακριά ιστορία, καθώς κατασκευάζεται από την Ύστερη Γεωμετρική περίοδο έως το πρώτο τέταρτο του 6ου αι. π.Χ.
Der Skyphoskrater ist eine sehr große, tiefe Schale mit zwei horizontalen Bandhenkeln und der Rand ist eingebogen, um den gewölbten Deckel zu halten. Die Schale bestit manchmal einen Echinusfuß, oder ist mit einem konischen Ständer verbunden. Der Skyphoskrater ist eine ungewöhnlich Form mit einer lange Geschichte: er wurde von der spätgeometrischen Zeit bis in das erste Viertel des 6. Jhs.v.Chr. hergestellt.
Skyphoskrater
The Dikaios Painter is an Athenian red-figure painter and part of the Pioneer Group active in the late 6th c. BCE. A few Athenian black-figure vases have also been attributed to this painter. The name derives from the inscription “Dikaios kalos” (“Dikaios is beautiful”) on an amphora decorated with youths and warriors (Paris, Louvre G45; BAPD 200167). Shapes are the hydria, amphora, and krater. Other scenes include the Struggle for the Delphic Tripod, erotic scenes, and dance. Findspots are Etruria (Vulci, Orvieto, Tarquinia, Bologna), the Athenian Acropolis, Xanthos (Turkey), and Agrigento.
Dikaios Painter
The Charmides Painter is an Athenian red-figure painter active ca. 480-460 BCE. The name derives from the inscription “Charmides kalos'' or “kalos Charmides” (“Charmides is beautiful”) on several vases. Shapes include the neck amphora (Nolan amphora) and lekythos. Subjects are Eros, warriors, the Judgement of Paris, Eos and Tithonos, Nike, and satyrs. Findspots are sites in southern Italy and Sicily and the Athenian Agora.
Charmides Painter
The Thalia Painter is an Athenian red-figure cup painter active ca. 520-500 BCE that painted a bilingual cup (black-figure interior, red-figure exterior). The name derives from the appellation “Thalia” inscribed on a cup from Vulci (Berlin, Antikensammlung 3251; Florence, Archaeological Museum, 1B49; BAPD 200964) showing an erotic scene. Other subjects include Dionysos and followers, athletes, warriors, and revelers (“komasts”). Findspots are Chiusi and the Athenian Acropolis.
Thalia Painter
πλάκα
siehe Pinax
Plaque
Tafel
βλ. πίνακας
See pinax.
The ring askos is a circular shape with a central cylindrical hole and a high belly with a marked shoulder. Most examples of the ring askos have been identified as Corinthian or Boeotian and it is thought to be the inspiration for the Attic askos, which will have a ring foot and a stouter body.
Ο δακτυλιόσχημος ασκός έχει κυκλικό σχήμα με μια κεντρική κυλινδρική οπή, μια ψηλή κοιλιά και έναν τονισμένο ώμο. Τα περισσότερα παραδείγματα του δακτυλιόσχημου ασκού έχουν ταυτιστεί ως κορινθιακά ή βοιωτικά και θεωρήθηκαν ως η έμπνευση για τον αττικό ασκό, που θα έχει μια δακτυλιόσχημη βάση και ένα πιο συμπαγές σώμα.
Ringaskos
Der Ringaskos ist eine runde Form mit einem zentralen zylindrischen Loch und einem hohen Bauch mit markanter Schulter. Die meisten Beispiele eines Ringaskos wurden entweder als korinthisch oder böotisch identifiziert und es ist vermutlich der Ursprung für den attischen Askos.
Ring Askos
δακτυλιόσχημος ασκός
Silber
arc'hant
ezüst
Zèlver
ngaenz
срібло
ਚਾਂਦੀ
эзысь
ajan
argentu
нуқра
perak
perak
zîv
كۈمۈش
Silver
వెండి
argentum
silver
itatĩ
དངུལ།
fàdákà
silvur
ৰূপ
כסף
Sølv
prata
prata
άργυρος
prata
은
plata
plata
fidda
көмөш
agenti
रजतम्
चाँदी
चाँदी
zilar
銀
銀
arĝento
күмүш
gümüş
gümüş
серабро
ເງິນ (ໂລຫະ)
เงิน
sudrabs
stříbro
naxaas
Silver is a chemical element with the symbol Ag (from the Latin argentum, derived from the Proto-Indo-European h₂erǵ: "shiny" or "white") and atomic number 47. A soft, white, lustrous transition metal, it exhibits the highest electrical conductivity, thermal conductivity, and reflectivity of any metal.
sulver
سپين زر
pérak
pérak
kömeş
argent
argent
мөнгө
сребро
رۄپھ
сребро
argento
ચાંદી
сребро
argento
ვერცხლი
arjento
فضة
сьрєбро
sølv
sølv
sølv
ብር
airgead
airgead
Qullqi q'illay
archent
kumush
Æвзист
күміс
hopea
چاندي
zilver
largentin
hõbe
Béésh Łigaii
Prata
ငွေ
argid
silwer
வெள்ளி
ରୁପା
кĕмĕл
রূপা
pilak
kawata
Qollqe
striebro
चांदी
արծաթ
sidabras
arian
Sëlwer
srebro
srebro
srebro
ಬೆಳ್ಳಿ
srebro
srebro
серебро
זילבער
bạc
argint
نقره
isiliva
argjendi
silfur
വെള്ളി
چاندی
Pintor d'Àmasis
Amasis-Maler
Вазописець Амасіса
阿马西斯画家
Pintor de Amasis
Malarz Amasisa
Amasis Painter
Amasis (keramiker)
Amasis Slikar
Amasis Slikar
Amasis Painter
Amasis Painter
Майстар Амасіса
Мастер Амасиса
Amasismaleren
אמאסיס
The Amasis Painter is an Athenian black-figure painter active ca. 560-515 BCE. The name derives from the potter ("epoiesen") who signs as Amasis. Scholars debate if the painter and potter are one in the same. The painter sometimes combines the full black-figure technique with outline and at times employs a minituristic style. Shapes include different amphora types, lekythos, oinochoe, and alabastron. Subjects are Dionysos and his followers, other gods, draped figures, warriors, and revelers ("komasts"). Main findspots are Vulci and other sites in Etruria, Athens (Acropolis, Agora, Kerameikos), and Naukratis.
アマシスの画家
Amasis
Amasis
Pittore di Amasis
Amasis (potier)
clépsidra
clepsidra
clepsidra
클렙시드라
Klepsydra
Klepsydra
klepsidra
klepsidra
Sprinkler
κλεψύδρα
clepsydra
clepsydra
clepsydra
klepsydra
クレプシドラ
klepsydra
klepsydra
klepsydra
Wasseruhr
Η κλεψύδρα χρησιμοποιείτο στα αθηναϊκά δικαστήρια για να περιορίσει τον χρόνο αγόρευσης των διαδίκων. Τα αγγεία γεμίζονταν με νερό μέχρι ενός σημείου και το νερό έρεε από μια οπή κοντά στον πυθμένα του αγγείου, επισημαίνοντας το χρονικό όριο. Καθώς τελείωνε ο διαθέσιμος χρόνος, η ροή του νερού θα μειωνόταν αισθήτα, αφού μειωνόταν η πίεση, και θα γινόταν αντιληπτό όχι μόνο στον ομιλητή αλλά και στο ακροατήριο.
clessidra ad acqua
клепсидра
клепсидра
клепсидра
klepsidro
klepsidro
The klepsydra, or water clock, was used to enforce time limits on speeches in Athenian law courts. The pots were filled to a specific level, and as the water drained from a hole near the bottom, marked off the time limit. Approaching the end of the limit, the stream would have diminished perceptibly as the pressure lessened and would have been apparent not only to the orator but to its listeners.
clepsydre
Clepsidra
Die Klepsydra oder Wasseruhr wurde verwendet, um Redezeiten in Athen bei Gericht zu limitieren. Ein Topf wurde bis zu einer bestimmten Marke mit Wasser gefüllt. Aus einem Loch, das sich nahe am Boden befand. Sobald das Wasser abgefloßen war, war die Redezeit zu Ende.
Peintre de Sappho
Вазапісец Сапфо
Sappho-Maler
Sappho-Maler
Sappho Painter
Sappho Painter
Sappho Painter
Sappho Painter
Sappho Painter
Sappho Painter
sappho-maleren
The Sappho Painter is an Athenian black-figure painter active in the late 6th and early 5th c. BCE who uses white-ground with black-figure. The name derives from a hydria (Warsaw, National Museum 142333; BAPD 510) in Six’s technique depicting Sappho (inscribed) playing the lyre. Other shapes are the lekythos, column krater, loutrophoros, epinetron, alabastron, mastos, and plaque. Scenes include chariots, Herakles, Athena, and funerary themes. Findspots are Athens (Agora, Kerameikos, Acropolis), Eleusis, Corinth, Vari, Phaleron, and sites in Italy.
Pelukis Sapfo
Sapfo-maalari
Pintor de Safo
Bedeutet 'Korb' für Wolle, usw. Die Gefäßform bezeichnet ein relativ kleines henkelloses, konisches Gefäß.
cálato
cálato
Калаф
Калаф
Kalathos
Kalathos
Kalathos
calathos
Meaning 'basket' for wool, etc, the shape in clay usually refers to a quite small handleless conical vessel.
Το σχήμα του αγγείου προέρχεται από το ψάθινο πρότυπο και προσδιορίζει ένα σχετικά μικρού μεγέθους, άωτο κωνικό αγγείο.
卡拉索斯
κάλαθος
Brygos Painter
Brygos Painter
Brygos Painter
Brygos Painter
布吕戈斯
Malarz Brygosa
peintre de Brygos
Pittore di Brygos
צייר בריגוס
Brygos-Maler
The Brygos Painter is an Athenian red-figure painter active ca. 490-470 BCE who painted in white-ground. The name derives from the potter ("epoiesen") who signs as Brygos and collaborated with the Brygos Painter and other painters. Shapes are the cup (kylix), skyphos, lekythos, kyathos, kantharos in the shape of female heads, rhyton in the shape of animal heads, and kalathos. Subjects include revelers (“komasts”), the symposion, Dionysos and followers, warriors, athletes, Herakles, Zeus and Ganymede, and the Trojan War. Some findspots are Etruria (Vulci, Orvieto, Chiusi, Tarquinia, Cerveteri), sites in southern Italy and Sicily, Athens (Acropolis, Agora), sites in Attica (Brauron, Eleusis, Menidi), Thebes, Marseilles, and Olbia.
Brygos-maalari
Бриг
ブリュゴスの画家
Вазапісец Брыга
Brigos
Brygosmaleren
Brygos
Βρύγος
Brygos
Brygos
Вазописець Брига
Dokimasia-Maler
Pintor de la Dokimasia
The Dokimasia Painter is an Athenian red-figure painter active ca. 480-460 BCE. The name derives from a cup found at Orvieto (Berlin, Antikensammlung 2296; BAPD 204483) showing youths with horses in possible reference to their citizen status (“dokimasia”). Shapes are mainly the cup, but also the krater, stamnos, and skyphos. Scenes include revelers (“komasts”), athletes, warriors, Theseus, hunting, and Dionysos and followers. Some findspots are Adria, Etruria (Vulci, Orvieto, Cerveteri, Tarquinia, Chiusi), Capua, the Athenian Acropolis, and Delos.
Dokimasia Painter
Dokimasia Painter
Dokimasia Painter
Dokimasia Painter
Dokimasia Painter
Dokimasia Painter
Dokimasia Painter
Dokimasia Painter
Pointed Aryballos
spitzer Aryballos
απιόσχημος αρύβαλλος
Ο απιόσχημος αρύβαλλος έπεται του ωοειδούς της Μέσης Πρωτοκορινθιακής περιόδου. Έχει πιο επίμηκες σχήμα και ψηλότερο κέντρο βάρους από τον πρόδρομό του και εμφανίζεται για πρώτη φορά στην Ύστερη Πρωτοκορινθιακή φάση, προτού αντικατασταθεί από ένα νέο σχήμα, τον σφαιρικό αρύβαλλο.
The pointed aryballos follows the Middle Protocorinthian ovoid aryballos. In form it is taller and more top-heavy than its precursor, and it first appears in Late Protocorinthian before being replaced by a new, rounded aryballos.
Der spitze Aryballos folgt dem mittel-protokorinthischen kugeligen Aryballos. Die Form is länglicher mit einem höheren Schwerpunkt als sein Vorgänger und taucht erstmals in der spät-protokorinthischen Phase auf bevor er von einer neuen Form, dem runden Aryballos, verdrängt wird.
Igolide
Auksas
goldin
Óola
གསེར།
ସୁନା
Zlato
Zlato
Zlato
Zlato
Wolo
Òr
Зар
سونا
Lò
Алт
ወርቅ
Volamena
Ari
Emas
ئالتۇن
guld
kulta
guld
Emas
Emas
Manik kaviqsuaq
Dhahabu
goud
gull
goud
goud
gull
aurum
arany
Gold
Zêr
злато
Aur
Gold
Gold
Gold
Aur
злато
ಚಿನ್ನ
злато
ਸੋਨਾ
Gull
Сызгъæрин
zlato
kuld
zlato
سور زر
Gull
Gull
सोने
ທອງຄຳ
золото
золото
ทองคำ
Airh
Goud
ոսկի
גאלד
सोना
ouro
ouro
金
金
vàng
or
or
ذهب
aour
wúrà
aur
aur
സ്വർണം
Qızıl
Gold is a chemical element with the symbol Au (from Latin: aurum) and atomic number 79, making it one of the higher atomic number elements that occur naturally. In a pure form, it is a bright, slightly reddish yellow, dense, soft, malleable, and ductile metal. It appears to be the earliest metal to be manipulated by humans.
सुन
Ór
সোনা
Ꙁлато
সোণ
سۄن
kōura
Kuarepotiju
Gim
ရွှေ
ᒎᓗ
Алтын
Алтын
Алтын
Алтын
zelts
Oro
Ôr
सुवर्णम्
Oro
deheb
Kuulti
χρυσός
Ылтăн
Altın
Wólo
golli
Quri
Quri
זהב
औरियम
emas
தங்கம்
Dahab
ოქრო
طلا
Oru
oro
સોનું
oro
oro
oro
złoto
золата
Ginto
Auro
బంగారం
Зарни
urre
មាស
금
Oltin
سون
Igolide
The Berlin Painter (active c. 490s-c. 460s B.C.) is the conventional name given to an Attic Greek vase-painter who is widely regarded as a rival to the Kleophrades Painter, among the most talented vase painters of the early 5th century B.C.
Berlin Painter
Estil arcaic
arkaisk tid
Perioada arhaică în Grecia
กรีซยุคอาร์เคอิก
Época Arcaica
اليونان العتيقة
Ο όρος "αρχαϊκός" προσδιορίζει αρχαία ελληνικά αγγεία και άλλα τέχνεργα που δημιουργήθηκαν περίπου μεταξύ του 600-480 π.Χ. Έτσι, τοποθετείται μεταξύ της τεχνοτροπίας της Ανατολίζουσας (περ. 700-600 π.Χ) και της Κλασικής περιόδου (περ. 480-323 π.Χ.). Η Αρχαϊκή περίοδος διαιρείται ορισμένες φορές σε Πρώιμη και Ύστερη (ή Ὠριμη) φάση ανάλογα με την περιοχή και οι απαρχές της επεκτείνονται έως και το 700 π.Χ. επί τη βάσει ορισμένων αρχαιολογικών παραγόντων. Ο όρος χρησιμοποείται για αγγεία που φέρουν διἀκοσμο και είχαν παραχθεί στην Αθήνα, στην Κορινθο, στη Λακωνία, στη Βοιωτία και άλλες περιοχές του αρχαιοελληνικού κόσμου. Η κύρια τεχνική διακόσμησης στην Αθήνα είναι η μελανόμορφη (που επινοήθηκε στην Κορινθο περίπου το 700 π.Χ.), την οποία ακολουθεί η ερυθρόμορφη (που επινοήθηκε στην Αθήνα περίπου το 530-520 π.Χ.), Στους μείζονες Αθηναίους αγγειογράφους αυτής της περιόδου περιλαμβάνονται ο Λυδός, ο ζωγράφος του Άμαση, ο Εξηκίας, ο ζωγράφος του Βρύγου και ο ζωγράφος του Βερολίνου.
前古典期
Archaisch
Архајски период
Αρχαϊκός, -ή, -ό
Kreikan arkaainen kausi
Grecia arcaica
Archaik
יוון הארכאית
Archaisch bezeichnet griechische Vasen und andere Objekte , die im Zeitraum von ca. 600-480 v. Chr. produziert wurden. Es fällt daher zwischen die orientalisierende (ca. 700-600 v. Chr.) und die klassische (ca. 480-323 v. Chr.) stilistische Periode. Die archaische Period wird je nach Region manchmal in früh- und spätarchaisch unterteilt. Der zeitliche Rahmen wird aufgrund archäologischer Faktoren teilweise bis ca. 700 v.Chr. datiert. Der Begriff ist für die dekorierten Vasen aus Athen, Korinth, Lakonien, Böotien und anderen Regionen des antiken Griechenland. Die häufigste Technik der Vasenmalerei in Athen ist schwarz-figurig (erfunden in Korinth im späten 7. Jh. v. Chr.), gefolgt von rot-figurig (erfunden in Athen ca. 530-520 v. Chr.). Zu den wichtigsten Vertretern der attischen Vasenmalerei aus der Zeit zählen Lydos, der Amasis-Maler, Exekias, Euphronios, der Brygos-Maler und der Berlin-Maler.
Época arcaica
Архаічная Грэцыя
Archaic
Graecia archaica
Epocha archaic
arhaiskais laikmets
Yunani Arkais
Hy Lạp Cổ xưa
Argaïese Griekeland
그리스 고졸기
Arkaisk tid
არქაიკა
Archaické obdobie
Snemmgrískur tími
古風時期
Arkaika Epoko
Eski Yunan Sanatı
Arkaisk tidsperiode
Архаикалық кезеңдегі грек мәдениеті
Архаическая Греция
Período Arcaico
archaikus Görögország
Archaic denotes Greek vases and other arts produced from ca. 600-480 BCE. It thus falls between the Orientalizing (ca. 700-600 BCE) and Classical (ca. 480-323 BCE) stylistic periods. The Archaic is sometimes divided into Early and Late (or “Ripe”) phases according to region, and its date range is sometimes pushed back to ca. 700 BCE based on certain archaeological factors. The term applies to the decorated vases of Athens, Corinth, Laconia, Boeotia, and other regions of ancient Greece. The main vase-painting technique in Athens is black-figure (invented in Corinth late 7th c. BCE), followed by red-figure (invented in Athens ca. 530-520 BCE). Major Athenian vase-painters from the time include Lydos, Amasis Painter, Exekias, Euphronios, Brygos Painter, and Berlin Painter.
Հին Հունաստան
Aro arkaiko
Архаична Гърция
یونان کهن
Époque archaïque
Arhajski period u Grčkoj
Arhaična Grčija
okres archaiczny
Архаїчна Греція
Archaïsche periode
Archajinis laikotarpis
архајски период
Arxaika
An amphora that displays two flat strap handles. It can be found mostly in black-figure and was named after the signature: Nikosthenes "epoiesen."
Nikosthenic Amphora
Nikosthenische Amphora
Bandschale
Little Master Band Cup
Μια εκδοχή των μικρογραφικών κυλίκων, οι ταινιωτές κύλικες καλύπτονται με μελανό γάνωμα με εξαίρεση τη ζώνη των λαβών, όπου απαντά μια εικονιστική ζωφόρος, σε αντίθεση με τις χειλεωτές κύλικες, που είναι σχεδόν εξολοκλήρου εδαφόχρωμες, εκτός από τη μελανή γραμμή που χωρίζει το χείλος από το σώμα
ταινιωτή μικρογραφική κύλικα
A variation of the Little Master cup, this shape is painted black save for a handle zone that contains a decorated frieze, unlike lip-cups which are largely plain save for the line that divides the lip and the body.
Eine Variante der Kleinmeisterschalen, die mit Ausnahme der Henkelzone schwarz bemalt sind. Die Henkelzone enhält einen dekorierten Fries.
An Athenian white ground vase painter active around 460 B.C.
Painter of Athens 1826
Painter of Athens 1826
Painter of Athens 1826
Painter of Athens 1826
Painter of Athens 1826
Painter of Athens 1826
Painter of Athens 1826
Painter of Athens 1826
Painter of Athens 1826
Pintor de Atenas 1826
Lebes
Lebes
Lebes
Lebes
Lebes
Lebes
Lebes
Ο λέβης είναι ένα αγγείο ανάμειξης οίνου και νερού, με σφαιρικό σώμα που τοποθετείται σε ένα υποστατό (κυλυνδρική ψηλή βάση). Δεν διαθέτει λαβές ή πόδι και συχνά αναφέρεται λανθασμένα ως "δίνος".
lebes
λέβης
lebés
Der Lebes bezeichnet ein Mischgefäß mit kugelförmigem Gefäßkörper auf einem Ständer. Er weist keinen Henkel oder Fuß auf und wird oft fälschlicherweise als 'Dinos' bezeichnet.
lébès
The lebes is a mixing bowl with a spherical body that sits on a stand. It does not have handles or a foot and is often incorrectly called a 'dinos.'
Лебес
Лебес
Лебес
The Dutuit Painter is an Athenian red-figure painter active ca. 500-480 BCE. The name denotes the former owner of an oinochoe from Nola (Paris, Petit Palais 315; BAPD 203153) showing Artemis with a fawn. Shapes are the amphora, oinochoe, lekythos, and hydria. Scenes include Dionysos and followers, winged goddesses, Herakles, and Hephaistos and Thetis (Arms of Achilles). Findspots are Vulci, Cerveteri, Nola, Sicily, and Olbia.
Dutuit Painter
కంచము
ᐳᑕᖅ
སྡེར་མ།
Chuwa
പിഞ്ഞാണം
ताट
талерка
Asied
بشقاب
plat
Saxan
Ndiro
Таваг
Plate
Plate
Plado
Sahani
Aset
тәлинкә
رکابی
P'uku
Pláta
צלחת
접시
จาน
ပန်းကန်
tanier
Tabak
碟
Tanjur
Prato
talerz
Tas
Πιάτο
Telleur
assiette
The plate is not a common shape in clay since it was more likely to have been made of wood. Figured plates (more commonly black-figure) seem to have been made for religious dedications.
Lautanen
Ña'ẽmbe
bord
чинија
taldrik
Der Teller ist keine übliche Gefäßform, die in der klassischen Zeit aus Ton hergestellt wurd, da die meisten wahrscheinlich aus Holz gefertigt wurden. Figürlich verzierte Teller (häufiger schwarzfigurig) dürften für religiöse Zwecke gemacht worden sein.
Šķīvis
тарелка
Το πινάκιο δεν ήταν ένα κοινό σχήμα της κεραμικής, και φαίνεται να κατασκευαζόταν συνήθως από ξύλο. Πινάκια με εικονιστική διακόσμηση (συνηθέστερα στον μελανόμορφο ρυθμό) φαίνεται πως χρησιμοποιούνταν ως αναθήματα.
プレート
Plater
Assîte
piatto
prato
ափսե
प्लेट
Teller
Teller
Piring
Piring
Asyèt
plato
தட்டு
telero
talíř
থালা
صحن
Agba
Чиния
плоча
Farfurie
Tallrik
Tanjir
Diskur
Mảng
Lėkštė
Pinggan
tallerken
tallerken
Lagan
Табақ
Турилкке
Тарілка
Pittore di Phrynos
The Phrynos Painter is an Athenian black-figure painter of Little Master cups active ca. 560-540 BCE. The name derives from vases signed as potter ("epoiesen") by Phrynos, and it is uncertain if the painter and potter are the same person. Subjects include the Birth of Athena, Herakles, Bellerophon, Pegasos, and warriors. Findspots are Italy, Egypt, and the Athenian Agora.
Phrynos-Maler
Frynos-maalari
Pintor de Frinos
Phrynos Painter
Phrynos Painter
Phrynos Painter
Phrynos Painter
Phrynos Painter
Phrynos Painter
Phrynos Painter
Sofilos
Sofilos
Sofilo
Sophilos is an Athenian black-figure painter active ca. 580-570 BCE, who signs vases as both painter (“egrapsen”) and potter (“epoiesen”). The name derives from a signed dinos (London, British Museum 1971.1101.1; BAPD 350099) showing the Marriage of Peleus and Thetis. Shapes include the dinos (or lebes), column krater, lekanis, and amphora. Other subjects include the Kalydonian Boar Hunt, Funeral Games of Patroklos, Helen and Menelaus, Herakles, and centaurs. Findspots include Athens (Acropolis, Agora, Kerameikos), Aegina, Naukratis, Smyrna, Sardis, and Sicily.
Sophilos
Sophilos
Sophilos
Sophilos
Sophilos
Sophilos
Sophilos
Sophilos
Sophilos
Sófilos
Скіфас
Skyfos
Skyfos
Skyfos
Скифос
Скифос
The skyphos is a deep cup with two horizontal handles at the rim (sometimes one horizontal and one vertical).
Ο σκύφος είναι ένα βαθύ κύπελλο με δύο οριζόντιες λαβές στο χείλος (ενίοτε με μια οριζόντια και μία κάθετη).
Skyphos
Skyphos
Skyphos
Skyphos
skyphos
skyphos
skyphos
skyphos
Σκύφος
Skifos
skyfos
skyfos
skyfos
szküphosz
Skifos
スキュポス
Skifos
Скіфос
скифос
Der Skyphos ist eine tiefe Schale mit zwei horizontalen Henkeln am Rand (manchmal einer horizontal und einer vertikal).
Skyfos
Griffin-bird Painter
The Griffin-Bird Painter is an Athenian black-figure painter ca. 575-555 BC who decorated the Siana cup. The name derives from the griffin-birds appearing on several examples. Subjects include animals, youths, and revelers ("komasts"). Findspots include Taranto, Berezan, Corinth, the Athenian Acropolis, Miletus, and Naukratis.
Griffin-Bird Painter
Griffin-Bird Painter
Greifenvogel-Maler
Greifenvogel-Maler
Greifenvogel-Maler
Griffin-Bird Painter
Griffin-Bird Painter
Griffin-Bird Painter
Griffin-Bird Painter
Andokides-skilder
アンドキデスの画家
Andokides Painter
Andokides Painter
The Andokides Painter (sometimes referred to as the Lysippides Painter [Red-figure]) is an Athenian black-figure painter active during the second half of the 6th c. BCE. The name derives from vases signed by Andokides as potter ("epoiesen"). Though known for using the black-figure technique, the painter is also considered the first to regularly work in the red-figure technique after its invention ca. 530-520 BCE (see Andokides Painter [Red-figure]). As a black-figure vase-painter, the artist is best known for bilingual vases (decorated with the same scene on both sides, one in red-figure and the other in black-figure). It remains unclear whether the bilingual vases were painted by a single artist or by two. Shapes are mainly the amphora and cups, and scenes are mythological (Ajax and Achilles, Herakles, Dionysos). Findspots are Vulci, Orvieto, other sites in Italy, and the Athenian Acropolis.
Вазописець Андокіда
Andokides-maalari
Andokides Painter (black-figure)
Pittore di Andocide
Andokidész
Peintre d'Andokidès
Անդոկիդես
Malarz Andokidesa
Andokides-Maler
Андокид
Андокид
Андокід
Pintor de Andokides
Andócides
安多基德斯
Andokides-schilder
Andokides-maleren
Ανδοκίδης
The sprinkler varies in size and shape but is generally a round vessel with one or two handles and a flat, perforated bottom. A small hole at the top was used to fill it with liquid, and when the vessel was shaken the liquid would sprinkle from the holes in the base. The context in which the sprinkler would have been used is not entirely clear; at least one was found in the Kerameikos. It may have been used for ritual purification, for lifting and straining wine from a larger vessel, or for aerating wine as it was sprinkled into a drinking cup. Its shape has been likened to both the mastos and rhyton and is sometimes (incorrectly) called “klepsydra.”
Sprinkler
ραντιστήριο
Das Sprenggefäß ist in unterschiedlichen Größen und Formen produziert worden, ist aber normalerweise ein rundes Gefäß mit ein oder zwei Henkeln und einem flachen, gelochten Boden. Ein kleines Loch an der Oberseite wurde verwendet, um es mit Flüssigkeit zu befüllen. Beim Schütteln des Gefäßes ist die Flüssigkeit aus den Löchern im Boden ausgetreten. Der Kontext in dem das Sprenggefäß verwendet wurde ist nicht eindeutig und es wurde mindestens eines im Kerameikos entdeckt. Es wurde u.U. für die rituelle Reinigung, für das Heben und Sieben von Wein aus einem größeren Gefäß, oder zum Belüften von Wein, als es in größere Gefäße gefüllt wurde. Die Form wird manchmal mit dem Mastos oder Rhyton verglichen und manchmal sogar (inkorrekt) als "Klepsydra" bezeichnet.
Υπάρχουν διάφορες εκδοχές του ραντιστηρίου, που διαφέρουν σε μέγεθος και σχήμα, αλλά γενικά πρόκειται για ένα σφαιρικό αγγείο με μία ή δύο λαβές και έναν επίπεδο διάτρητο πυθμένα. Μια μικρή οπή στο πάνω μέρος χρησίμευε για την πλήρωση του αγγείου με υγρό και όταν κάποιος έσειε το αγγείο θα ξεπηδούσε το υγρό από τις οπές του πυθμένα. Τα συμφραζόμενα της χρήσης του ραντιστήριου δεν είναι απολύτως σαφή, τουλάχιστον για αυτό που βρέθηκε στον Κεραμεικό. Μπορεί να χρησίμευε για τελετουργικό καθαρμό, για την άντληση και το σούρωμα του οίνου από ένα μεγαλύτερο αγγείο ή για τον αερισμό του οίνου, καθώς εγχεόταν σε ένα αγγείο πόσης. Το σχήμα του είχε παρομοιαστεί μερικές φορές με τον μαστό και το ρυτό και ορισμένες φορές έχει (λανθασμένα) αποκληθεί κλεψύδρα.
Sprenggefäß
Meidias-Maler
Pintor de Meidias
Pittore di Midia
The Meidias Painter was an Athenian red-figure vase painter in Ancient Greece, active in the last quarter of the 5th century B.C..
Meidias Painter
Мидий (вазописец)
Meidias-schilder
Relief is a decorative technique applied in both Athenian black-figure (see Black-figure) and red-figure (see Red-figure) vase-painting in which clay is added to the surface of the vase. Relief can be used to show details of hair in the form of black glaze dots, or for jewelry, objects, and animal or human figures. For larger figures, the relief decoration is produced by pressing soft clay into a mold, similar to plastic vases (see Plastic), and then affixed to the still-moist surface using a slip. Examples of relief decoration also include applique heads on handle junctions and full figural scenes. Sometimes the relief may be accentuated with added colors such as white and gold (see Added Color).
Relief
Fintias
Fintias
Фінтій
Финтий
Фінтый
ピンティアス
Phintias is an Athenian red-figure painter active ca. 525-510 BCE, who signed as both painter (“egrapsen”) and potter (“epoiesen”). Along with Euthymides, Euphronios, and other vase-painters, Phintias is considered a member of the Pioneer Group. Shapes connected to the painter include both cups and large vessels, like the hydria, amphora (Type A), and krater. Smaller shapes connected to the potter are the cup and the cockle-shell aryballos. Scenes include the symposion, fountain-house, and athletes. Some findspots are Etruria (Vulci, Populonia, Orvieto, Tarquinia), the Athenian Acropolis, and Thasos.
Fincias
Phintias
Phintias
Phintias
Phintias
Phintias
Phintias
Phintias
Phintias
Phintias
Φιντίας
Group E
Group E is a large group of Athenian black-figure painters active ca. 560-540 BCE. The name derives from a close association to Exekias, who signs a Group E vase as potter ("epoiesen"). Group E painted the pelike, different amphora types, the lekythos, and kraters. Subjects include the Birth of Athena, Herakles, Amazons, Theseus and the Minotaur, as well as athletes, the symposion, and funerary scenes. Findspots are Athens (Acropolis, Agora, Kerameikos), Chalkidike, Vulci, Spina, North Africa, and Russia.
Tleson (savenvalaja)
Tleson (active around 555-535 BCE) was an Athenian potter and perhaps also a vase painter in the black-figure style. He was the son of the famous potter Nearchos and brother of Ergoteles. His workshop apparently produced mostly Little-master cups.
Tlesón
Tleson
Tleson
Tleson
Tleson
Tleson
Tleson
Tleson
Tleson
Tlesó
Pintor KX
Pittore KX
KX Painter
KX Painter
KX Painter
KX Painter
KX Painter
KX Painter
KX-Maler
Kx Painter
KX-maalari
The KX Painter (Komast X) is an Athenian black-figure painter affiliated with the Komast Group and dated to the 570’s BCE. Shapes are the lekanis, kantharos, and skyphos, but exclude the Komast cup. Subjects include male revelers ("komasts"), animals, and hybrid creatures. Major findspots are Samos (Heraion), Athens (Agora, Kerameikos, Acropolis), and Naukratis.
Athen
Aten
Athènes
Athens dominates the Attica region and is one of the world's oldest cities, with its recorded history spanning around
3,400 years.
雅典
Atenas
Atenas
Ateny
Athene
アテネ
Atene
Афины
Athens
The Copenhagen Painter is an Athenian red-figure painter connected to the Syriskos Group, active ca. 470’s BCE and earlier. The name derives from an amphora (Type B) from Vulci (Copenhagen, National Museum 125 [320]; BAPD 202920) showing an African youth with a basket. The Copenhagen Painter’s style is closely related to that of the Syriskos Painter and the two painters are sometimes hard to distinguish. Shapes are the stamnos, pelike, hydria, and krater. Subjects include the Tyrannicides, the Struggle for the Delphic Tripod, Herakles, Theseus and the Minotaur, Medea and Jason, and the symposion. Some findspots are Vulci, Nola, Athens (Acropolis, Agora), and Eleusis.
Copenhagen Painter
A late-sixth century B.C. Athenian black figure vase painter, probably part of the workshop known as the Medea Group.
Bareiss Painter
Pittore di Haimon
The Haimon Painter is an Athenian black-figure painter active ca. 490-460 BCE. The name derives from several scenes showing the Sphinx and her victim (Haimon, son of Creon and Eurydice). Many vases apply white-ground or silhouette techniques. The main shape is the lekythos, including the “chimney lekythos,” as well as the skyphos, mastoid cup, oinochoe, hydria, and pyxis. Scenes include chariots, Dionysos and followers, Athena, and Herakles. Findspots are widespread: Athens (Kerameikos, Agora, Acropolis), sites across Greece, Italy and Sicily, Ampurias (Spain), Miletus, Al Mina (north Syria), Cyrene, and the Black Sea.
Haimon Painter
Haimon Painter
Haimon Painter
Haimon Painter
Haimon Painter
Haimon Painter
Haimon Painter
Haimon-Maler
Peintre de Haimon
Klitomenes is an Athenian black-figure potter of Little Master cups active in the mid-6th c. BCE. The signature of potter (“epoiesen”) appears on a skyphos found at Sardis (Princeton, University Art Museum 29.180; BAPD 310585), showing a swan in the tondo.
Klitomenes
Chiusi-maalari
Pintor de Chiusi
The Chiusi Painter is an Athenian black-figure painter active in the last quarter of the 6th c. BCE who is associated with the Leagros Group. The name derives from an amphora found at Chiusi (Chiusi, National Archaeological Museum 1812; BAPD 302092) showing Ajax and Achilles. Shapes are mainly large vessels, including the amphora, hydria, and column krater. Scenes feature Herakles and Dionysos with followers. Findspots are Etruria, southern Italy, and Athens.
Chiusi Painter
Chiusi Painter
Chiusi Painter
Chiusi Painter
Chiusi Painter
Chiusi Painter
Chiusi Painter
Chiusi Painter
Chiusi-Maler
The Panther Painter is an Athenian black-figure painter active ca. 620-600 BCE. A painter mainly of the lekanis with animal friezes, Vari (Attica) is the primary findspot.
Panther Painter
Panther Painter
Panther Painter
Panther Painter
Panther Painter
Panther Painter
Panther Painter
Panther Painter
Pintor de la pantera
Panther-Maler
Piraeus Painter
Piraeus Painter
Piraeus Painter
Piraeus Painter
Piraeus Painter
The Piraeus Painter is an Athenian black-figure painter active ca. 620-600 BCE, who painted the amphora. The name derives from a neck amphora found in Piraeus (Athens, National Museum 353; BAPD 300012) showing chariots. Findspots include Athens and Piraeus.
Pintor del Pireo
Piräus-Maler
Piraeus Painter
Peintre du Pirée
Piraeus Painter
Amforiskos
αμφορίσκος
Амфарыск
Die kleine Variante der Amphore, entwickelte sich vor allem aus der spitzen Variante der Halsamphore oder der Transportamphore. Wurde für parfümiertes Öl verwendet. Manche weisen einen gestempelten Dekor auf.
amforisc
amforisc
Amphoriskos
Amphoriskos
amphoriskos
Αυτή η εκδοχή ενός αμφορέα μικρού μεγέθους βασίζεται στoν οξυπύθμενο αμφορέα. Χρησιμοποιήθηκε για τη μεταφορά αρωματικών ελαίων και μερικά παραδείγματα φέρουν εμπίεστη διακόσμηση.
anforisco
The small version of the amphora, the amphoriskos is based on the pointed variant of the neck-amphora or transport amphora. Used for perfumed oil, some carry stamped designs.
Амфориск
Амфориск
Амфориск
Loutrophoroi
The Briseis Painter is an Athenian red-figure painter active ca. 480-470 BCE. The name derives from a cup found at Vulci (London, British Museum E76; BAPD 204400) showing Achilles and Briseis. The main shape is the cup, but other shapes are the neck amphora, Panathenaic amphora, column krater, lekythos, alabastron, pyxis, and plate. Subjects include warriors, athletes, Herakles, Dionysos and followers, revelers (“komasts”), and religion. Some findspots are Adria, Etruria (Vulci, Tarquinia, Cerveteri), sites in southern Italy and Sicily, Athens, and Naukratis.
Briseis-Maler
Briseis Painter
Briseis Painter
Briseis Painter
Briseis Painter
Briseis Painter
Briseis Painter
Briseis Painter
Briseis Painter
Pictorul lui Briseis
Peintre de Briséis
Pittore di Briseide
Андокід
Andokides-skilder
Pittore di Andocide
Andokides-Maler
Անդոկիդես
Андокид
Андокид
Malarz Andokidesa
Pintor de Andokides
Ανδοκίδης
アンドキデスの画家
Andokides-maleren
The Andokides Painter (sometimes referred to as the Lysippides Painter) is an Athenian red-figure painter active during the second half of the 6th c. BCE. The name derives from vases signed by Andokides as potter ("epoiesen"). Though known for using the black-figure technique, the painter is also considered the first to work regularly in the red-figure technique after its invention ca. 530-520 BCE (see Andokides Painter [Black-figure]; for the potter, see Andokides [Black-figure]; see Lysippides Painter [Black-figure]). As a red-figure vase-painter, the artist is best known for bilingual vases (decorated with the same scene on both sides: one in red-figure and the other in black-figure). It remains unclear whether the bilingual vases were painted by a single artist or by two. Shapes are mainly the amphora and cups, and scenes are mythological (Ajax and Achilles, Herakles, Dionysos). Findspots include Vulci, Orvieto, other sites in Italy, Athens (Acropolis, Agora), and Perachora.
Вазописець Андокіда
Andokides Painter (red-figure)
Andokides Painter
Andokides Painter
Andokides-maalari
Andócides
Andokidész
Peintre d'Andokidès
安多基德斯
Andokides-schilder
Kyathoi
The Gales Painter is an Athenian red-figure painter active ca. 520-500 BCE. The name derives from the signature as potter (“epoiesen”) on several vessels. Shapes are the lekythos and cup. Scenes include the symposion, revelers (“komasts”), a maenad, and a religious procession. Findspots are Gela and Vulci.
Gales Painter
Lécanide
λεκανίς
Lekanis
Lekanis
Lekanis
Lekanis
Lekanis
The lekanis is a shallow, lidded bowl with a ring foot and two horizontal handles. It was used for trinkets and was often given as a wedding gift.
Die Lekane ist eine niedrige Schale mit Deckel, Standring und zwei horizontalen Henkeln. Sie wurde zur Aufbewahrung von Schmuck eingesetzt und war als Hochzeitsgeschenk beliebt.
lekanis
Η λεκανίς είναι ένα ρηχό, ανοιχτό αγγείο με κάλυμμα, δακτυλιόσχημη βάση και δύο οριζόντιες ταινιωτές λαβές. Χρησιμοποιείτο και ως κοσμηματοθήκη και συχνά προσφερόταν ως γαμήλιο δώρο.
Oltos is an Athenian red-figure painter active ca. 525-500 BCE that painted bilingual cups (black-figure interior, red-figure exterior). The name is inscribed on vases as both potter (“epoiesen”) and painter (“egrapsen”). The painter is thought to have collaborated with several potters, including Euxitheos and Kachrylion. Shapes are mainly cups, but also the Nikosthenic amphora, stamnos, and psykter. Subjects include gods, Herakles, the Trojan War, Theseus, Dionysos and followers, and warriors riding dolphins. Some findspots are Etruria (Vulci, Cerveteri, Orvieto, Chiusi), Athens (Acropolis, Agora), and Naukratis.
Oltos
Oltos
Oltos
Oltos
Oltos
Oltos
Oltos
Oltos
Oltos
Oltos
Oltos
Ольтос
Ольтос
Olto
奧特斯
オルトス
Ольтас
A Class is a role that applies specifically within the context of Archaic or Classical Greek pottery.
A class denotes vases of the same shape with enough similarities or details in common to suggest they belong together, such as the Segment Class or the Class of the Top-Band Stemless. A single class can include vases by different painters.
Class
άποδη κύλικα
Η άποδη κύλικα έχει το σχήμα της κύλικας αλλά με μια δακτυλιόσχημη βάση, χωρίς στέλεχος.
Die Schale ohne Standfuß hat die Form einer Kylix aber mit einem Ringfuß und keinem Stiehl.
The stemless cup has a shape like a kylix but with a ring foot, not a stem.
Stemless Cup
Fußlose Schale
The Chelis Painter is an Athenian red-figure cup painter active ca. 515-500 BCE. The name derives from the potter (“epoiesen”) who signs as Chelis. Subjects are Dionysos and followers, and the known findspots are in Etruria.
Chelis Painter
Ситула
Ситула
シトゥラ
‘Situla’ comes from the Latin word meaning 'bucket.' It is a deep bowl for wine and was mainly made in South Italy. The swung handles suggest a derivation from metal.
acetre
Sitra
ситула
Situla
Situla
სიტულა
Situla
Situla
Situla
situle
Antoxin
Η ονομασία situla, που αποδίδεται στα ελληνικά ως κάδος, προσδιορίζει ένα βαθύ κυλινδρικό αγγείο για οίνο, που κατασκευαζόταν κυρίως στη Νότια Ιταλία. Η γεφυρόσχημη λαβή προδίδει επιρροή από μεταλλικά πρότυπα.
situla
situla
situla
Situla' kommt aus dem Lateinischen und bedeutet 'Eimer'. Es handelt sich um eine tiefe Schüssel für Wein, hauptsächlich aus Süditalien.
The Tyszkiewicz Painter is an Athenian red-figure painter active ca. 490-470 BCE. The name derives from a calyx krater from Vulci formerly in the Tyszkiewicz Collection (Boston, Museum of Fine Arts 97.368; BAPD 202631) showing Achilles and Memnon on one side and Diomedes and Aeneas on the other. Shapes are kraters in different forms, the amphora in different forms, the pelike, stamnos, and hydria. Subjects include the Trojan War, Dionysos and followers, the symposion, revelers (“komasts”), Amazons, Theseus, and the Gigantomachy. Some findspots are Etruria (Cerveteri, Vulci, Tarquinia), Spina, Falerii, sites in Sicily, Athens (Acropolis, Agora), Histria (Romania), and Kerch.
Tyszkiewicz Painter
Tyszkiewicz Painter
Tyszkiewicz Painter
Tyszkiewicz Painter
Tyszkiewicz Painter
Tyszkiewicz Painter
Tyszkiewicz Painter
Tyszkiewicz Painter
Tyszkiewicz Painter
Tyszkiewicz Painter
πίθος
Pitos
Пифос
Пифос
Піфас
Pitos
Pitos
Піфос
Pithoi were large, heavy-duty storage jars (Ali Baba jars) used for grain and various other materials. They were also used for interments and were sometimes decorated with reliefs designs. Smaller versions go by the name of the pitharion (pl. pitharia).
Pithoi waren lange, massive Vorratsgefäße für Getreide, usw. Sie wurden auch für Bestattungen verwendet und sind manchmal mit Reliefdekor verziert.
pithosz
pithos
pithos
pithos
Oι πίθοι είναι μεγάλου μεγέθους και χωρητικότητας αγγεία για τη φύλαξη σιτηρών και άλλων προϊόντων. Επίσης χρησιμοποιούνταν για ταφές και μερικές φορές φέρουν ανάγλυφο διάκοσμο. Μκρότερες εκδοχές καλούνταν πιθάριον (πληθ. πιθάρια).
Pithos
Pithos
Pithos
Питос
ピトス
Pithos
Pithos
Pithos
Pithos
Pithos
Pithos
Pithos
Питос
Питос
αμφορέας με λαβές στον ώμο
Diese Form ist eine von vier Haupttypen in der protogeometrischen Zeit. Der Name leitet sich von der Platzierung der Henkel ab, die auf der Schulter des Gefäßes angebracht sind. Die Schulterhenkelamphore dürfte in Athen am Anfang der protogeometrischen Zeit entwickelt worden sein, wurde aber erst zum Ende dieser Epoche beliebt, als sie manchmal die Bauchamphore für weibliche Bestattungen ersetzte.
Originiating in the Protogeometric period, the shape is one of the four types in use at the time. The name is derived from the location of its handles, which are placed on the shoulder of the vessel. The shoulder-handled amphora seems to have been developed in Athens at the beginning of the Protogeometric period but only became popular at the end, when it sometimes replaced the belly-handled amphora in female burials.
Αυτός ο τύπος αμφορέα είναι ένας από τους τέσσερις κύριους τύπους αμφορέα της Πρωτογεωμετρικής περιόδου. Η ονομασία του προέρχεται από τη θέση των λαβών στον ώμο του αγγείου. Ο αμφορέας με λαβές στον ώμο φαίνεται να εμφανίστηκε στην Αττική την αρχή της Πρωτογεωμετρικής περιόδου, αλλά έγινε δημοφιλής μόνο περί το τέλος της, όταν θα αρχίσει να αντικαθιστά μερικές φορές τον αμφορεά με λαβές στην κοιλιά ως τεφροδόχος σε γυναικείες ταφές.
Schulterhenkelamphore
Shoulder-handled Amphora
Makron is an Athenian red-figure painter active ca. 495-475 BCE. The name derives from a skyphos from Suessula with the signature of Makron as painter (“egrapsen”) and Hieron as potter (“epoiesen”) (Boston, Museum of Fine Arts 13.186; BAPD 204681) showing Paris and Helen on one side and Menelaus and Helen on the other. The main shape is the cup, but also the aryballos, askos, stamnos, oinochoe, plate, and pyxis. Subjects include musicians, revelers (“komasts”), courting, the symposion, Dionysos and followers, a satyr-play, athletes, warriors, centaurs, Herakles, Demeter and Triptolemos, and the Trojan War. Some findspots are Athens (Acropolis, Agora), Etruria (Vulci, Orvieto, Cerveteri, Chiusi, Tarquinia), Adria, sites in southern Italy, and Ampurias (Spain).
Makron
Makron
Makron
Makron
Makron
Макран
Makron
Makron
Makron
Makron
Makron
Macrone
Makron
Makron
Макрон
Макрон
Macron
Black- and red-figure Athenian painters and potters.
application/vnd.google-apps.spreadsheet
Gela-maalari
Peintre de Géla
The Gela Painter is an Athenian black-figure painter active during the late 6th and early 5th c. BCE, who sometimes applies black-figure to white-ground. The name derives from vases discovered at Gela in southern Sicily. Shapes are the lekythos, olpe, and oinochoe. Scenes are Dionysian, Herakles, the symposion, warriors, and athletes. Many vases have been discovered in the western Greek colonies.
Gela-Maler
Pittore di Gela
Gela Painter
Gela Painter
Gela Painter
Gela Painter
Gela Painter
Gela Painter
Gela Painter
Вазапіс па белым фоне
The white-ground technique refers to the application of a white clay slip on the surface of a vessel before adding figure decoration. It is first found on some Geometric (see Geometric) and Orientalizing (see Orientalizing) vessels made in Athens and Attica. Around 530 BCE, the technique appears on Athenian black-figure vases (see Black-figure), like those from the workshops of Nikosthenes (see Nikosthenes), the Andokides Painter (see Andokides Painter [black-figure]), and Psiax (see Psiax), but the inventor is uncertain. By the late 6th c. BCE, painters use the technique to decorate the black-figure lekythos and other shapes. After ca. 480 BCE, the white-ground technique is used primarily for funerary subjects on the lekythos, and the figures are painted in outline, semi-outline, and later polychrome. White-ground may have been inspired by stone vessels and has been connected to wall and panel painting.
White Ground
Valkopohjakeramiikka
Tècnica de fons blanc
Técnica de fondo blanco
Tecnica a fondo bianco
白地技法
ceramika białogruntowana
Вазопись по белому фону
Weißgrundige Vasenmalerei
witgrondig
Вазопис на білому тлі
technique à fond blanc
kom
The term bowl is used to designate a plain, open shape without handles.
Bòla
Bát ăn
bovlo
Schüssel
чинија
Миска
Миска
Bolo
Купа (съд)
کاسه
мискә
Skål
Begriff zur Beschreibung einer einfachen, offenen Form ohne Henkel.
碗
കിണ്ണം
Posuda
கிண்ணம்
קערה
O όρος περιγράφει ένα απλό, ανοικτό αγγείο χωρίς λαβές.
Bowl
사발
Кесе
Anqara
dysgl
cuenco
Jatt
ciotola
ชาม
bol
bol
miska
miska
Cunca
Коса
miska
skål
Dubuo
Міска
Kulho
Strachină
Çanak
вангла
سلطانية
tigela
Mangkok
λεκάνη
Bòl
Bòl
Mangkuk
Kauss
Mangkuk
ボウル
The Painter of Munich 2413 is an Athenian red-figure painter active ca. 460 BCE. The name derives from a stamnos found at Vulci (Munich, Staatliche Antikensammlungen 2413; BAPD 205571) showing the Birth of Erichthonios. An oinochoe from the Athenian Agora (P11810; BAPD 205573) shows actors dressing.
Painter of Munich 2413
Outline denotes using black lines of clay slip to express the edges of a figure or form, leaving interior areas unpainted or untreated. It is commonly used for details of anatomy on figures, such as eyes, faces, and exposed parts of the body. In Athens, it first appears in the Geometric period (see Geometric) combined with silhouette, then in the Orientalizing period (see Orientalizing), and eventually later as part of the black-figure, red-figure, and white-ground techniques.
Outline
Μια εκδοχή των μικρογραφικών κυλίκων όπου το χείλος ξεχωρίζει πιο έντονα από το σώμα απ' ότι στις ταινιωτές κύλικες·η πιο σαφής διαφορά εντοπίζεται στον τρόπο της διακόσμησης.
Randschale
χειλεωτή μικρογραφική κύλικα
Little Master Lip Cup
Eine Variante der Kleinmeisterschalen bei der die Lippe eindeutiger abgesetzt ist als bei der Bandschale. Der Dekor der Randschalle ist einfach und die Lippe ist durch einen Streifendekor vom restlichen Gefäßkörper abgesetzt.
A variation of the Little Master cup where the lip is more obviously offset than on a band-cup; the most obvious distinction is in the scheme of decoration.
Die Lekane mit Ausguß folgt der traditionellen Lekanenform, besitzt aber einen Ausguß etwas oberhalb vom Rand.
Η λεκανίς με προχοή ακολουθεί το σχήμα της τυπικής λεκανίδας, αλλά έχει μια γεφυρόσχομη προχοή που υψώνεται ελαφρά πάνω από το χείλος.
λεκανίς με προχοή
Lekane mit Ausguß
The spouted lekanis follows the traditional lekanis shape but has a bridged spout attached at and rising slightly above the rim.
Lekanis with Spout
The Timokrates Painter decorated vases in the white-ground technique in Athens from about 470 to 460 B.C.
Timokrates Painter