By Clemente Marconi, Columbia University. Center for the Ancient Mediterranean
This quantity bargains with Greek painted vases, exploring them from a variety of methodological issues of view and relocating past the normal specialise in connoisseurship and magnificence. the amount, which represents the complaints of a global convention sponsered by means of the heart for the traditional Mediterranean at Columbia collage, is an attempt to take advantage of the massive richness of those vases through the use of them to review common cultural background.
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Additional info for Greek vases, images, contexts and controversies: proceedings of the conference sponsored by the Center for the Ancient Mediterranean at Columbia University, 23-24 March 2002
24–25. On the diﬃculty of distinguishing the Kalydonian boar hunt from a non-mythological boar hunt, see Barringer 2001, 4. 36 Rhodes A1934: Barringer 2001, 173; Schnapp 1997, no. 265; Laurenzi 1936, 148–50, ﬁgs. 134–37, pl. 6. 32 33 skythian hunters on attic vases 21 cap on his head, and has at least one boot with a curling top. The beardless archer at the left wears the same kind of boots but wears a cap ﬁtted close to the head. Although no traces of white paint remain on any ﬁgures, long tresses fall down the beardless archer’s back so we might speculate that this kneeling archer with Skythian boots is Atalanta.
Only a handful of Attic vases from ca. C. depict the Kalydonian boar hunt, and none seem to depict Skythians (some vessels are fragmentary). Atalanta appears without Skythians or Skythian dress in six other clearly identiﬁable Attic images of the Kalydonian boar hunt prior to ca. 550, but on none of the vase painting depictions of the myth ca. 550–400. 37 We 37 Two vessels with relief appliqués are also noteworthy. A female, perhaps 22 judith m. barringer know of four depictions from the fourth century on which Atalanta appears: a Kerch pelike of ca.
34 clemente marconi last interpretation is based on inscriptions that accompany the two warriors on a few Athenian vases representing this scene, including the François Vase (Fig. 11). On the fragments of a series of shield bands (ca. ) from Olympia with the same iconography, however, the two protagonists are labeled Ajax and Aristodamos, the latter unknown to our literary sources, but undoubtedly a hero (maybe a local, Peloponnesian hero, according to Kunze). This has made more than one scholar wonder whether our iconography should be interpreted as Ajax carrying the body of Achilles in cases when their names are not indicated by inscriptions, as in the earliest, Geometric and Orientalizing representations and on most of the Archaic and Late Archaic Athenian vases, which as in the case of our amphora, leave the protagonists unnamed.