From Early Cycladic Naxos, through the Early Iron Age Mediterranean and Archaic Aegean to Roman Euboea, the key theme running through the different approaches of every contributor is the understanding of ancient societies, highlighting the dynamics in studying aspects of the archaeology of the wider Mediterranean region. Each section focuses on more than one concern in the study of early societies, presenting and discussing fresh interpretations and new ideas based on old and new material alike. These are organized in five parts, embracing pottery studies and topography, interconnections in the Aegean and the Mediterranean, archaeological approaches to cult and rituals and epigraphy. Over forty former doctoral students – many of them now leading academics in their own right, colleagues and friends have contributed papers on topics that relate to the diverse fields of interests Nota Kourou has pursued. Fascinating and informative, The Sarpedon Krater is a multifaceted introduction to the enduring influence of Greek art on the world. The present collective volume is offered in honour of Nota Kourou, in celebration of her distinguished academic contribution to the archaeology of the Early Iron Age Aegean and the Mediterranean. Spivey also pursues the figural motif of the slain Sarpedon portrayed on the vase and traces how this motif became a standard way of representing the dead and dying in Western art, especially during the Renaissance. Instead, I have considered the two images, regardless of their interrelation, as integral aspects of the pot’s visual impact, and of potters’ and painters’ efforts to brand their product in such a way as to make reference both to the workshop (and its business model) and to other earlier and contemporary Athenian figured wares.
Although the kylix bears figural decoration-a satyr and the eye motif, which may both point to the realm of the wine god Dionysos-here I have not treated these either as a component of a pictorial narrative or as a semiotic unit that served the pot’s symbolism. I examine the surfaces of a fragmentary kylix at the University of Reading in order to highlight how the Leafless Group was distinct from the Haimon Group, another large-scale producer of black-figured pottery. Following a strategy of tight product definition, this workshop’s artisans communicated effectively the visual and functional qualities of their ceramics. 510– 480 BCE), a large workshop of hastily decorated black-figured open shapes. Keywords: Hermes e Sarpedon.In this paper, I discuss the advertising model of the Leafless Group (ca. MAKE A MEME View Large Image View Original:
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