Apulian Vases

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Apulian vases are a category of ancient Greek pottery produced in the region of Apulia (modern-day Puglia, Italy) during the 4th century BCE. Characterized by their large size and intricate painted decorations, these vases often depict mythological scenes and figures, reflecting the cultural and artistic influences of the time.

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Key research themes

1. How do Apulian vases depict and integrate mythological narratives to communicate funerary beliefs and social identities?

This research theme explores how iconography on Apulian painted vases, particularly funerary ceramics, conveys mythological narratives that reflect local funerary beliefs, cult practices, and social identities, especially in the context of funerary rituals for elites and women. The theme underscores the significance of myth as a metaphor for death, escape, identity formation, and social status within both Greek and Italic cultural milieus in Magna Graecia.

The Myth of Iphigenia in Fourth-century Funerary Vases of Southern Italy

by Gretel Rodriguez

2023, RES Anthropology and Aesthetics

Key finding: Rodríguez analyzes six fourth-century Apulian vases decorated with the myth of Iphigenia, arguing that the Euripidean version of the myth metaphorically communicates averting death, making it suitable for funerary use. She... Read more

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Apulian funerary practices between 5th and 4th century BC, in D. Saunders (ed.), Underworld: Imagining the Afterlife in Ancient Greek Vase-Painting, J. Paul Getty Museum, Los Angeles 2021, pp. 71-90.

by Andrea Celestino Montanaro

2022

Key finding: Saunders provides evidence from Peucetian and Daunian burials showing how elite funerary assemblages, including monumental Apulian painted vases, expressed wealth, social roles, and adoption of Greek cultural models. The... Read more

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Orphica non grata? Underworld Palace Scenes on Apulian Red-Figure Pottery Revisited

by Karolina Sekita

2021, R. Morais, D. Leāo, D. Rodríguez Pérez (eds.), Greek Art in Motion. Studies in honour of Sir John Boardman on the occasion of his 90th birthday (Archaeopress, Oxford), 465-472

Key finding: This study challenges prior assumptions that Apulian underworld scenes reflect Orphic beliefs, proposing instead that these vases present a more generalized Greek mythical conception of the underworld, likely transmitted... Read more

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Review: Inszenierung von Identitäten. Unteritalische Vasenmalerei zwischen Griechen und Indigenen.

by Ricarda Meisl

2023, Rhea Classical Review

Key finding: The volume reviewed by Herring and others foregrounds local Italic agency in producing and consuming South Italian vases, critiquing traditional Greek-centric interpretations. Case studies illustrate how indigenous elites... Read more

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Banqueting games Kottabos and the female presence in Magna Graecia

by Alexandra Attia

2025, Clio. Women, Gender, History, 56

Key finding: Attia’s iconographic analysis of South Italian vases reveals nuanced female participation in the male-dominated symposium game kottabos, challenging textual prohibitions. The varied roles of women as players, spectators, or... Read more

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2. What are the artistic and iconographic strategies used in Apulian vases to depict mythological battles and their political or cultural implications?

This theme investigates the representation of epic mythological battles, such as the Gigantomachy, on Apulian vases, examining how compositional complexity, figure arrangement, and iconographic innovations communicate cultural values, reinforce political ideology, or reflect Hellenistic artistic influences. It encompasses studies of specific vases, their reconstruction, and their iconographic contexts within South Italian vase painting.

Gigantomachies recovered. Two Apulian vases in the Museum für Kunst und Gewerbe Hamburg

by Frank Hildebrandt

2017, Françoise-Hélène Massa-Pairault – Claude Pouzadoux (Hrsg.), Géants et Gigantomachies entre Orient et Occident. Actes du Colloque Centre Jean Bérard (CNRS / EFR), Naples, 14-15 novembre 2013 (Neapel 2017), S. 85–108.

Key finding: This paper reconstructs two monumental Apulian volute kraters depicting the gigantomachy with unprecedented compositional density—over 30 deities and giants arranged in multiple fighting groups. The study demonstrates that... Read more

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The Gigantomachy – Representations of the epic Battle of Giants versus Olympian Deities on Greek Vases

by Frank Hildebrandt

2023, Rui Morais – Rui M. Sobral Centeno – Daniela Ferrari (Hrsg.), Myths, Gods & Heroes. Greek Vases in Portugal II (Porto 2022) S. 153–160

Key finding: The study situates the gigantomachy as a foundational myth reflecting cosmic and political order and analyzes depictions integrating Dionysian and satyr iconography in ritual contexts. It discusses how visual representations... Read more

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Manliness, violation, and laughter: rereading the space and context of the Eurymedon vase

by Lloyd Llewellyn-Jones

2023, Journal of Greek Archaeology

Key finding: The article reevaluates the unique Eurymedon oinochoe, known for its provocative depiction of a Greek dominating a Persian figure, contextualizing it within Athenian jingoism and comedic theater. It highlights how gestures,... Read more

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3. How do Apulian vase depictions of musical instruments and social games reflect cultural values and gender dynamics?

This theme analyzes the iconography of musical instruments, especially the Apulian rectangular cithara, and banquet games such as kottabos, as represented on Apulian red-figure pottery. It focuses on interpreting how these visual elements narrate social occasions, gender roles, and symbolic meanings in the cultural sphere of Magna Graecia, reflecting local musical traditions, erotic symbolism, and shifting social practices involving both male and female participants.

La cithare rectangulaire dans la céramique apulienne : aspects morphologiques, symboliques et sociaux

by Fábio Vergara Cerqueira

2021, Musique-Images-Instruments : Revue française d’organologie et d’iconographie musicale / CNRS, Institut de Recherche en Musicologie (IReMus), no 18, Paris, CNRS ÉDITIONS, 2021, 328 - ISSN 1264-7020

Key finding: Based on a corpus of approximately 60 Apulian vases, this study explores the depictions of the rectangular cithara, emphasizing its morphological evolution along with symbolic associations related to funerary rites, love, and... Read more

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The Apulian cithara, a musical instrument of the love sphere: social and symbolic dimensions according to space representations

by Fábio Vergara Cerqueira

2019, La question de l'espace au IVe siècle avant J.-C. dans les mondes grec et etrusco-italique: continuités, ruptures, reprises. Edited by Sophie Montel and Airton Pollini. Presses Universitaires de Franche-Comté

Key finding: The article investigates the spatial contexts in vase paintings where the Apulian rectangular cithara appears, interpreting its role in representations of love and male gender identity within the erotic social milieu. It... Read more

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Banqueting games Kottabos and the female presence in Magna Graecia

by Alexandra Attia

2025, Clio. Women, Gender, History, 56

Key finding: Through the study of South Italian red-figure pottery, this research reconsiders the traditionally male-exclusive game of kottabos, demonstrating the polyvalent representations of women as active players, accomplices, and... Read more

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All papers in Apulian Vases

Corpus Vasorum Antiquorum, Deutschland, Band 76, Dresden, Staatliche Kunstsammlungen, Skulpturensammlung, Band 1, Rolf Hurschmann (Munich 2003): BMCR Review 2005

by Michael Turner FSA FLS

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A Love Triangle in South Italian Vase-painting, Meditarch 28/29 (2015-16)

by Gina Salapata

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Southeastern Italy in the 1st millennium BCE: between connectivity and isolation

by Bice Peruzzi and

Call for Papers. AIA Annual Meeting 2022, San Fancisco, 5-8 Jan 2022

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A. D. Trendall and the Nicholson Museum in Corpus Vasorum Antiquorum. Red Figure & Over-Painted Pottery of South Italy. The Nicholson Museum. The University of Sydney (Sydney 2014)

by Michael Turner FSA FLS

2014, Red Figure & Over-Painted Pottery of South Italy. Corpus Vasorum Antiquorum. The Nicholson Museum. The University of Sydney

Alexander Cambitoglou, Dale Trendall and Martin Robinson, University of Mississippi, 1954 In late 1950 Trendall returned to Europe on the first of his annual trips that were to continue until the early 1990s, an annual migration north that saw him dubbed in Italy, la rondine d’inverno — the winter swallow.’* Between 1950 and 1957, a further fourteen Lucanian, Campanian and Sicilian pots were acquired by him for the museum. These included the Campanian neck amphora (NM 51.17, pls. 49-52) with Iphigenia handing the letter to Pylades at Tauris, purchased in Paris in 1951 and the Lucanian skyphos (NM 53.30, pls. 3-6) with Aura, the personification of the sea breeze, purchased in London in 1953 with a donation from Sir Charles McDonald, Chancellor of the University of Sydney.

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Production and Functions of Apulian Red-Figure Pottery in Taras: New Contexts and Problems of Interpretation

by Didier Fontannaz

2014, T.H. Carpenter, K.M. Lynch and E.G.D. Robinson (eds), The Italic People of Ancient Apulia. New Evidence from Pottery, Workshops, Markets, and Customs, Cambridge University Press

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La decorazione accessoria dei crateri a volute apuli a figure rosse - I fregi orizzontali

by Fabia Curti

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The Gigantomachy in Attic and Apulian Vase-Painting. A New Look at Similarities, Differences and Origins

by Frank Hildebrandt

John H. Oakley (Hrsg.), Athenian Potters and Painters III (Oxford 2014) S. 73–80.

Fig. 2 Hamburg, Museum fiir Kunst und Gewerbe 2003.130, Side A/B.

Fig. 1 Hamburg, Museum fiir Kunst und Gewerbe 2003.130, Side A.

Fig. 3 Hamburg, Museum fiir Kunst und Gewerbe 2003.136 Side B. It is an exceptional vase, created and painted by the Darius Painter around 340 BC. On it is a Gigantomachy that goes around the entire body. Thirty-four deities and giants fight each other. Including the animals and other creatures that are shown, there are sixty-seven figures in total. Side A (Fig. 1) show Zeus with Nike in a quadriga and B (Fig. 3; Color Pl. 10) Hera with Iris in another quadriga. The majority of the Olympians fight from bigai drawn by various creatures and animals that participate actively in the combat. Others, such as Ares, Herakles, and Hephaistos fight on foot; one of the Dioscuri has dismounted from his horse. Compared with the other Apulian images, this picture gives much more detail. One example (Fig. 4; Color Pl. 11) is the calmly standing Hestia who prepares to fling the altar she holds above, while to the left below strides a wild giant who raises a stone over his head. But this is not just a simple stone, it is an island with plants and buildings; this emphasizes the blasphemy of the giants. This theme is taken up again

Fig. 4 Hamburg, Museum fiir Kunst und Gewerbe 2003.130, Side B/A.

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Images of Life and Myth. Exhibition Catalogue on Situla Art in Slovenia, Ljubljana 2005.

by Peter Turk

2005

and-last but not least-Barbara Smith Demo for her excellent translation. In addition to material from the host institution, the Narodni muzej Slovenije, artifacts for the exhibition were also contributed by the Dolenjski muzej in Novo... more

Figure 6. The distribution of southeastern Alpine cultural groups in the early Iron Age.

Figure 8. The reconstruction of a Hallstatt warrior from Lower Carniola (after N. Trampuz Orel and I. Rehar).

Figure 9. Novo Mesto, Kandija. A bronze tripod, imported from Etruria. Second half of the 7 century BC, Narodni muzej Sloyenije, Ljubljana.

Figure 10. Stiéna. A pottery krater, imported from southern Italy. Second half of the 7" century BC, Narodni muzej Slovenije, Ljubljana

Figure 16. Magdalenska Gora, La8tik. Grave goods from grave 4/1 (cat. nos. 21-23),

Figure 20. A bronze statuette of a warrior with a bowl-shaped helmet. 7* century BC, Narodni muzej Slovenije, Ljubljana.

Tee ae a) eee ee ee Ot a ee ie eee, oo teers we SNe a bak ele eT ee eke te popular i in this period. Along with examples exhibitinga fine technical and stylistic quality, such as the belt buckles from Brezje and Vace (Fig. 22 and 24), more simply formed animal motifs also appeared, made simply with hammered points or tiny “quavering” incisions (Fig. 23). It seems that the belt buckles and earrings from Lower Carniola only partly express the full narrative of the animal motifs, such as can be detected on the bronze bowl from Bologna, for example, where the sequence of plant-eating animals and beasts of prey indicates the endless circle between life and death (Fie. 26). Perhaps

Ihe third frieze also shows a procession to he right of plant-eating animals. The situla ulso exhibits certain exceptional elements. Water birds, probably ducks, in the upper eft part of the situla begin the narrative, und also end it in the last, fourth frieze. An mage of the sun appears in the central part of the situla, between the two boxers with dumbbells. The figural situla is thus some <ind of a twin to the other situla from grave ‘a’ with its depictions of ducks and suns in he traditional Bronze Age imagery of the confrontation of the principles of water ind fire, thus indirectly the principles of ife, death, and their mutual intertwining. Ihe depictions of females are even more inusual: they are wearing a skirt cut high in he front, otherwise unknown in Situla Art. [he first woman is in the upper frieze with 1 group of men by water with ducks, and he other two are dancing in front of two

Figure 49. Pozarnice pri Druzinski vasi. Remains of the monumental prehistoric road between Vinji vrh near Smarjeta and Novo Mesto.

Figure 51. Dolenjske Toplice. Part of the situla from grave 2/23 with a depiction of a wagon (cat. no. 47).

Figure 57. Magdalenska Gora, Preloge. A rectangular bel buckle with a motif of a duel with dumbbells from grave 2/46 (cat. no. 50; from Tecco Hyala et al. 2004, Pril. 12: A

respected, and hence the animal processions on the lower friezes of situlae functionally supplemented the narrative of the upper ones, in which elements such as depictions of birds-of-prey, wild beasts, and even the direction of the processions were significant. In the later period at the transition from the 5" to the 4" centuries BC, this was no longer the case. Everything indicates that Situla Art fell into a certain mannerism, a kind of decorativeness, where the desire for luxurious ornamentation was more important than the symbolic content itself. Perhaps this reflects a nostalgic remembrance of older days, of the famous past, which only the rare figural representations could even come close to, but no longer achieve.

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"La documentazione archeologica di Toritto: l'area urbana e il territorio. Alcune note", in 'Studi Bitontini', 87, 2009, pp. 29-60 (ISBN 978-88-7228-584-8)

by Alessandro Crispino

Le più antiche notizie relative a ritrovamenti archeologici nella città e nell'agro di Toritto 1 (figg. 1-3) risalgono agli anni Sessanta del XIX secolo e risultano costituiti esclusivamente da rinvenimenti fortuiti: durante lavori... more

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Patterns of Use in Early Metapontine Red-figure Pottery: Distribution, Shapes and Iconography

by Stine Schierup

2014, S. Schierup & V. Sabetai 2014 (eds.), The Regional Production of Red-figure Pottery: Greece, Magna Graecia and Etruria, Aarhus, 191-216

Amphora attributed to the painter Syriskos, Athens 500-470 BC, Collection of Classical and Near Eastern Antiquities, The National Museum of Denmark, i.n. Chr. VII 320.

Fig. 1. Sites where vessels from the workshops of the Pisticci, Cyclops and Amykos Painters have been identified (Map: Thomas Ryming & Nora Petersen).

Fig. 4. Montescaglioso, tomb from Via XX Septembre (after: NSc 42/43, 334, fig. 36).

scenes/departures? (4, 33, 35, 36-37); love, courtship and marriage (3, 6, 12-14, 17, 19, 21, 25, 27-28, 40); as well as possible representations of scenes relating to eschatological values and the life-death transition (24, 29, 32). Mythological (26, 34) and Dionysiac (23, 41) themes appear less frequently. Nuptial and erotic connotations are a favourite theme on the group of lebetes gamikoi known from the workshop of the Pisticci Painter, and are consistent with the common association of the lebetes gamikoi with marriage (12, 17, 25). One instance worthy of mention is a very early example of a lebes gamikos from the workshop of the Pisticci Painter, found in Tomb 354 in the Pantanello necropolis, the tomb of a young woman of between 20

rebirth are themes that have been suggested to reflect a widespread Dionysiac-Pythagorean cult in Magna Graecia from the fifth century onwards.** That Metaponto might have played an important role in this connection is indicated by the ancient sources that relate how Pythagora: settled here in the last quarter of the sixth century and established a Pythagorean school that was closely linked to the eschatological beliefs of Orphism.°? The importance of the Dionysiac cult in the area already by the fifth century can also be emphasised by the votive gifts found in the small rectangular building erected in the Pantanello sanctuary around the middle of the fifth century. As Carter interprets it, this was probably ‘an oikos devoted to the worship of Dionysos in his aspect of fertility and underworld god.’ Carter has furthermore argued that at least from the fourth century Pantanello was the centre of worship for Dionysos Eriphios, who was particularly worshipped by the Orphics due to his association with the aspect of rebirth.*! and 25 (25, Fig. 6a-d). On one side of the vessel we see a flying Eros, in the company of a hare leaping in the same direction in pursuit of a woman who can be seen running to the right on the other side of the vessel. In this case the pursuit scene should probably be understood as an erotic pursuit emphasising the subjugation of the woman. The hare is a well-known ‘love-gift’ and can often be found in the company of Eros, where it should be considered a symbol of sexual desire and fertility. Matrimonial and erotic associations are also indicated where women and youths can be seen in the presence of Eros (27, Fig. 7). The representation of palaestra scenes — both with nude youths, at times carrying athletic requisites such as strigils identifying them as athletes (5, 8, 15) (Fig. 8), and with warriors (usually nude) with shield and spear (4, 35, 37) — should probably be seen as an indication of the physical maturity of the young male citizen, emphasising that he will now be able to participate in the life of the polis as a citizen, warrior, husband and father.>” The possible focus on the life-death transition and Conversely, if we consider the assumed importance of

Fig. 8. Hydria attributed to the Amykos Painter. Metaponto, Pantanello necropolis, tomb 87 (Photo: author).

Fig. 7. Pelike attributed to the Amykos Painter. Metaponto, Saldone necropolis, tomb 29 (Photo: author).

Fig. 10. Hydria attributed to the Pisticci Painter. Metaponto, Pantanello necropolis, tomb 212 (Photo: author).

Fig. 9. Pelike attributed to the Pisticci Painter. Metaponto, Pantanello necropolis, tomb 209 (Photo: author).

acropolis area in 1990 (72, Fig. 11).°’ The tomb was sited outside the wall of a building in an area where burials have not usually been found. The grave goods consist of a bronze situla which functioned as an urn, a chous (a shape usually associated with the annual Anthesteria festival in Athens, celebrated in the honour of Dionysos), a glass oinochoe, two terracotta figures (a panther and a doll), an askos, a lebes gamikos, two cups, and finally the bell-krater attributed to the Pisticci Painter. The krater is decorated with a typical pursuit scene from the workshop of the Metapontine painters, showing Eos in pursuit of Kephalos. The find is interesting partly because of its location on the city plateau where no other burials were located after the sixth century, and partly because of the use of a cremation tomb in an area commonly characterised by inhumation. Furthermore, several of the grave goods — the chous, the panther and the pursuit scene of the krater - can be related These features have been connected additionally to another tomb from the Contrada Sant’Antonio necropolis (tomb 65) in Ruvo del Monte.® As in Serra di Vaglio, we have here a tomb which is distinctive for its construction, location and grave gifts. First of all, the tomb was located side by side with another tomb, presumably that of a woman (Tomb 64). A close relationship between these

Fig. 12. Bell-krater attributed to the Pisticci Painter. From Pisticci (Photo: after Lo Porto 1973, tav. XIIl,1).

Fig. 13. Cavallino, Regina Margherita, Tomb 2 (Photo: after Mannino 2005, fig. 6).

Fig. 14a-b. Hydria attributed to the Amykos Painter. Gravina Tomb 2/1994 (Photo: after Ciancio 2005, figs. 2-3). 1:5

Provenance Vessel shape/Painter/Museum collection: selected publication

Vessel shape/Painter/Museum collection: selected publication

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Soleto ritrovata. Ricerche archeologiche e linguaggi digitali per la fruizione, MT. Giannotta et Alii (eds), Lecce 2015, pp. 200, ISBN 978-88-98289-50-9

by Maria Teresa Giannotta

Il volume costituisce il risultato dell’attività multidisciplinare volta alla conoscenza e valorizzazione del patrimonio archeologico di un centro, pre-romano, della Messapia regione antica corrispondente all’attuale Salento. Esso delinea... more

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La Ceramica Listata

by Fabia Curti

Dans cet article, qui découle d’une thèse de doctorat, on propose une nouvelle classification de la céramique dite listata, produite à Canosa (Apulie) à partir de la moitié du IVème siècle av. J.-C., subdivisée en deux phases de... more

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"Ceramica a figure rosse, sovraddipinta e miniaturistica". Il progetto della Scuola di Specializzazione in Archeologia di Matera sul santuario di Timmari, Lamia S. Francesco.

by Josipa Mandić

a synthesis of typological study of the Red- figured, overpainted and miniaturistic pottery from the sacred area of Timmari (Matera- Basilicata, South Italy)

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Corpus Vasorum Antiquorum. Italia, 84. Collezione Jatta Fasc. V. Ruvo di Puglia. CVA Museo di Ruvo di Puglia (Medio Apulo II).

by L'ERMA di BRETSCHNEIDER, Publisher and

Carmela Roscino (Conversano, 1968), è professore associato di Archeologia Classica all' Università degli Studi di Bari Aldo Moro, dove insegna Archeologia della Magna Grecia e conduce ricerche sulla ceramica attica e italiota a figure... more

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Auction 106. Antiquities (London, 22 April 2022), Bertolami Fine Art

by Andrea Pancotti

The following methods of participation are available: , , upon registration on our website www.bertolamifineart.com, or in person by telephone online on our partner portals (see list below), by a to be received by written absentee bid... more

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Call for Papers EAA 2022 - As Far as Vases Go: Studies on Ancient Greek Pottery Trade and Its Contexts

by Alejandro Garés-Molero and

2022, European Association of Archaeologists Annual Conference - Budapest 2022 (31 August - 3 September)

EAA Session #417: Call for Papers. We would like to invite you to take part in our session for the EAA annual conference. Our main goal is to reunite a table of international researchers who wish to share their latest investigations on... more

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Corpus Vasorum Antiquorum. Italia, 83. Fasc. IV. Ruvo di Puglia. Museo di Ruvo di Puglia -Tardo Apulo II.

by L'ERMA di BRETSCHNEIDER, Publisher and

Series: Corpus Vasorum Antiquorum Italia, 83
ISBN: 978-88-913-1608-0
Year: 2017
Binding: Hardcover
Pages: 104, 200 ill. B/N, 66 tav. f.t
Size: 23 x 32 cm

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Produzione e circolazione della ceramica a figure rosse apula in Peucezia: l’esempio dei vasi a prevalente modellazione plastica

by Giuseppina Gadaleta

2018, F. Giacobello ed.), Savoir-faire antichi e moderni. Pittori e officine ceramiche nell’apulia di V eIV secolo a.C.( Atti della giornata di studi, Vicenza, Gallerie d’Italia-Palazzo Leoni Montanari, 28 marzo 2015), Milano

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L. Rebaudo, Teatro e innovazione nelle iconografie vascolari. Qualche riflessione sul pittore di Konnakis, in: Scene dal mito. Iconologia del dramma antico, a cura di G. Bordignon, Rimini, Guaraldi, 2015, pp.

by Ludovico Rebaudo

2015, Scene dal mito. Iconologia del dramma antico, a cura di G. Bordignon, Rimini, Guaraldi

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L. Rebaudo, The Underworld Painter and the Corinthian adventures of Medea. An interpretation of the crater in Munich, in Scene dal mito. Iconologia del dramma antico, a cura di G. Bordignon, Rimini, Guaraldi, 2015, pp. 263-273

by Ludovico Rebaudo

2015, Iconologia del dramma antico, a cura di G. Bordignon, Rimini, Guaraldi

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Il furto dei cavalli di Reso nella ceramica apula

by Federica Giacobello

Tra le storie di eroi e dei dell'epopea omerica scelte dai pittori di miti della ceramica a figure rosse apula, tre esemplari raffigurano la vicenda raccontata nel X libro dell'Iliade e nella tragedia pseudo-euripidea Reso 1 . Si tratta... more

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Corpus Vasorum Antiquorum Italia, 84, Ruvo di Puglia, Museo Nazionale Jatta V, Ceramica apula a figure rosse, Apulo Medio (II), Roma 2018; ISBN 978-88-913-1598-4

by Carmela Roscino

ruvo di puglia -Museo nazionale jatta v CeraMiCa apula a Figure rosse apulo Medio (ii)

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Dionysos in the underworld. An interpretation of the Toledo krater

by Stian Torjussen

In an addendum to an article on the then newly published Pelinna gold leaves, Fritz Graf draws attention to a newly published Apulian volute krater attributed to the Darius painter, now in the Toledo Museum of Art (Ohio, USA), whose... more

Fig. 1, the Toledo krater (after Edmonds, 2004) about Dionysos such as Pentheus, Agave (leaning lightly against a fountain) and Aktaion.”

Fig. 2, Orpheus in the Underworld (after LIMC sv. Hades)

Fig. 3, Orpheus in the Underworld (after LIMC sv. Hades)

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Is there a context behind the context? A group of Apulian red-figure vases in the Museum für Kunst und Gewerbe Hamburg

by Frank Hildebrandt

2017, Diana Rodríguez Pérez (Hrsg.), Greek Art in Context. Archaeological and Art Historical Perspectives (London 2017) S. 168–182.

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L. AMBROSINI, “Su un elmo fittile falisco a figure rosse da Cerveteri e sulla deposizione di elmi fittili nei corredi tombali di età ellenistica”, in Mélanges de l’École Française de Rome - Antiquité 118.1 2006, pp. 251-266.

by Laura Ambrosini

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2019_A. Bottini, R. Graells, A. Scarci, L'ultimo cavalliere: una nuova datazione della seconda deposizione della tomba 669 di Lavello, BAOnline IX, 2018/2-3, 39-69

by Raimon Graells i Fabregat and

L'ultimo cavalliere: una nuova datazione della seconda
deposizione della tomba 669 di Lavello. Bollettino di Archeologia Online. Roma (Italy): Direzione Generale Archeologia Belle Arti e Paesaggio, ISSN 2039-0076

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Dionysus in the Underworld.pdf

by Timothy J McNiven and

1996, Museum Helveticum

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L’entre-deux-mondes. Orphée et Eurydice sur une hydrie proto-italiote du sanctuaire de la source à Saturo

by Didier Fontannaz

2008, Antike Kunst

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Nympha Phile. Su un lebes gamikos apulo da Ceglie del Campo al Museo Archeologico Nazionale di Taranto

by Carmela Roscino

2022, Sicilia Antiqua, XIX, 2022, In memoria di Mario Torelli, II

The contribution offers an iconological reading of an Apulian lebes gamikos from the great funerary complex found in 1898 to via Giuseppe Martino at Ceglie del Campo (BA) decorated with two images of a young woman (nude and dressed) with... more

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A Vase Shape as a Marker of Identity: A Case Study from 4th Century B.C. Apulia

by Thomas Carpenter

INSZENIERUNG VON IDENTITÄTEN

Fig. 1 London, British Museum F 174: Apulian red-figure column krater attributed to the Sisyphus Painter, c 400 B.C.

While none of the five early Apulian painters from Robinson’s Group 2 paints a column krater, five of the eight painters in Group 1 do paint them, some many. For example, the Tarporley Painter and the Dijon Paint- er together, both from Group 1, paint a third of the 89 Early Apulian column kraters in Trendall’s lists.** Peuce- tia seems to have been the principal market for Early Apulian vases from Group 1, and it is not unreasonable It is generally agreed that the earliest South Italian red- figure workshops were established in Lucania during the third quarter of the 5" century, in all likelihood by Attic potters or by locals who had been trained in Athens, and the earliest Apulian workshops were established soon thereafter.’ Evidence from kilns at Metaponto shows that there were Lucanian red-figure workshops there before

Fig. 3 New York, Metropolitan Museum of Art 7.120.241 Apulian red-figure column krater attributed to the Tarporley Painter, c 380 B.C. On a few column kraters the warriors are depicted as ‘Greeks’, which is to say they are naked with short hair. Two vases by the same painter dated to the early 4 cen- tury illustrate well the difference (Figs. 3. 4).34 The sub-

Fig. 4. Geneva, Musée d’Art et d’Histoire 15042: Apulian red-figure column krater attributed to the Tarporley Painter, c 380 B.C. SUBJECT: To make sense of these different approaches we need to turn to the subject itself, the departure of a warrior or warriors, which is the most common subject on Apulian column kraters. It first appears on Attic red- ‘century B.C. and then contin- ues to appear on Attic pots throughout that century.3 The scene on an Attic stamnos in London illustrates this well (Fig. 5).37 A young warrior holds out a phiale to make a libation as a woman prepares to pour into it from an oinochoe. A key difference is that Attic warriors in these scenes are always clothed unless they are explicitly figure vases early in the 5 identified by inscriptions as heroes; only then can they be nude.3* Both types of the Apulian scenes reflect the Attic model, and I suggest that both were aimed at similar Italic markets. The difference is that the person who ob- tained the Geneva vase chose to emphasize the heroic implications of nudity, perhaps holding a more cosmo- politan outlook, while the one who chose the New York

Fig. 5 London, British Museum E 448: Attic red-figure stamnos attributed to the Achilles Painter, c 450 B.C.

Fig. 7 St. Petersburg, Hermitage Museum 585: Apulian red-figure volute krater attributed to a follower of the Tarporley Painter, c370 B.C.

Fig. 6 Once Milan Market: Apulian red-figure column krater attributed to the Maplewood Painter, c 370 B.C.

Fig. 8 Vicenza, Banca Intesa inv. 180 (C 325): Apulian red-figure column krater attributed to the Trieste Owl Group, c 330 B.C. As outsiders we can only guess at the deeper levels of meaning, but once Dionysiac imagery is included, I sus- pect that a divergent meaning connected with an afterlife may have overshadowed the earlier group meaning with its focus on identity.

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“Dei e artigiani”, Afrodite e la sposa nel Pittore Dechter, in C. Masseria, E. Marroni (edd.), Dialogando, Studi in onore di Mario Torelli, Pisa 2017, 373-382.

by Carmela Roscino

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2018 - M. PAOLETTI, La pelike del Pittore de Santis

by Maurizio Paoletti

2018, in Tanino de Santis. Una vita per la Magna Grecia, (Catalogo della mostra: Reggio Calabria, [20 luglio-ottobre 2018]), (MArRC, Cataloghi 10), a cura di C. Malacrino, M. Paoletti, D. Costanzo, Reggio Calabria, MArRC - Kore, pp. 75-84

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Daunier, Peuketier, Messapier. Einheimische Keramik aus Apulien im Akademischen Kunstmuseum Bonn (Bonn 2021).

by Patrick Zeidler

2021

Link zum Habelt-Verlag:... more

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Tre vasi Apuli con l'uccisione di Reso. Iconografia di un mito.

by Maria Oddo

Come veniva realizzata un'immagine inconsueta? E perché veniva realizzata?

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2014 - Produzioni apule sovradipinte e a figure rosse. Schede nn. 1-7, 9-11, 13-14, 18-22, 43, 46, 52

by Antonio F. Ferrandes

2014, in L. Godart (ed.), La memoria ritrovata. Tesori recuperati dall'Arma dei Carabinieri (Cat. Mostra - Roma. Palazzo del Quirinale, 23 gennaio - 16 marzo 2014), Roma, pp. 22-35, 38-43, 46-49, 56-65, 114-115, 120-121, 134-135.

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Ceramiche greche e magnogreche dai contesti funerari di Numana.

by Vincenzo Baldoni

2019, Forma e Immagine. Convegno Internazionale Castelfranco Veneto (TV) 4-6 dicembre 2019.

Aggiornamento e prospettive di studio delle importazioni greche e magnogreche nelle necropoli di Numana alla luce delle recenti ricerche.

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Ornamentale Grenzfälle. Zur Semantik pflanzlichen Dekors in der unteritalischen Vasenmalerei

by Joern V . Lang

2016, C. Lang-Auinger – E. Trinkl (Hrsg.), ΦΥΤΑ ΚΑΙ ΖΩΙΑ Pflanzen und Tiere auf griechischen Vasen, CVA Österreich Beih. 2 (Wien 2016) 189–199

Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie, detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de... more

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F. Giacobello viaggio dell'eroe.pdf

by Federica Giacobello

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The Motif of the Adligatus and Tree: A Study in the Sources of Pre

by Harriett A Weis

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and... more

either a lost monumental painting or a particularly successful workshop cartoon. The first possibility seems the more likely, however, since the monu- ments are too varied in date, medium and geograph- ical origin’® to be explained as the product of a Ill. 1. Location unknown (Rome, Art Market, 1906). Praenestine mirror (no. 7). Amykos

Lucanian Amykos kalpis (ill. 2) and, later, on three vases.*°® ‘The closest comparisons for the semi-nude muse with the kithara and the kneeling and bound Marsyas are also from Italy. Half draped women with the kithara or lyre are virtually unknown in Attic art where semi-nudity was usually reserved for male musicians, but they do appear occasionally in the West, for example in a group of Tarentine terracottas and on a Faliscan vase. The “kneeling adligatus” appears to my knowledge first on the Lucanian Amykos kalpis (ill. 2) and, later, on three of Marsyas, Andromeda and Peirithoos appear fre- quently in Attic art but the protagonist is in every case shown without the tree: Marsyas is seated with his hands bound behind his back; Andromeda is tied to two posts; and Peirithoos is stuck to a “magic” chair or rock which, according to the ancient au- thors, held him fast.*? Since the Beldam vase is too peculiar to be considered a precise prototype for the western adligati and the Naples vase may in fact be South Italian, it seems best to abandon the possibil-

The two charts are intended to illustrate the distribution of the ad/igatus monuments in the minor arts and the rela- tionship of the different thematic groups to each other. The representations of Amykos (Chart A) have been separated from those of the other adligati (Chart B) in order to emphasize the differences in their respective patterns of distrib- ution. Arrows have been added to indicate the influences between the geographical regions which I postulate in my conclusions (supra pp. 29-31): a dark line indicates the influence (direct or indirect via pattern books, minor objects, etc.) of the Amykos painting; a dotted line indicates influences wherein the character of the model as well as the mode of transmission are uncertain. B. Marsyas, Andromeda, Peirithoos, and other anonymous adligati (Anon.)

Ill. 3. Naples, Mus. Naz. H. 2991. Attic (or Apulian?) relief lekythos (no. 14). Marsyas 14. Naples, Mus. Naz. H. 2991. Attic (or Apulian?) relief lekythos from Armento. (ill. 3 and pl. 3, fig. 15). Cf. supra pp. 25-26 and ns. 31-38.

Fic. 3. Villa Giulia 2487 k. Detail of Amykos and Polydeukes from the “Ficoroni Cista” (no. 3), ca. 336-300 B.C. (DAI Rom fot. neg. 69. 2476)

Fic. 1. Oxford, Ashmolean Museum 1953.37. Etruscan scarab (no. 1), late sth-early 4th c. B.C. Amykos and Polydeukes. (Courtesy Ashmolean Museum)

Fic. 4. Bonn, Akad. Kunstmuseum inv. 147. Fragmentary R.f Apulian krater (no. 21), ca. 360-350 B.C. Unidentified adligatus. (Courtesy Bonn Akad. Kunstmuseum)

Fic. 2. Boston MFA 07.862. Etruscan R.f. stamnos (no. 2). 1st half 4th c. B.C. Amykos and Polydeukes. (Courtesy Museum of Fine Arts, Boston)

Fic. 5. Ferrara, Mus. Arch. Naz. inv. 2865. Fragment of an Attic R-f. vase from Spina, 3rd quarter 5th c. B.C. Polydeukes. (Mus. Arch. Naz. Archivio fot. neg. 3111)

Fic. 7. Praeneste, Mus. Arch. inv. 1493. The “Barberini or Barsanti Cista” (no. 5). Amykos. (DAI Rom fot. neg. 69. 1125)

Fic. 8. Paestum, Mus. Naz. Paestan R.f. flask (no. 17), ca. 330-320 B.C. Marsyas Fic. 6. Ferrara, Mus. Arch. Naz. inv. 2863. Fragment of an Attic R.f. vase from Spina, 3rd quarter sth c. B.C. Amykos. (Mus. Arch. Naz. Archivio fot. neg. 4969)

FIG. 10. Warsaw, Muz. Narodowe 142259. Apulian(?) R.f. bottle (Variant, no. 16). Marsyas. (Courtesy Muz. Narodowe)

FIG. 13. Aleria, Musée Jéréme Carcopino inv 318. Etruscan R.f. krater (no. 20), ca. 300 B.C. Peirithoos. (Photo Tomasi, Musée 1’Aleria)

Fic. 11. Brussels, Mus. roy. d’art et @hist. R 227. Apulian R-f. krater (no. 15), 3rd quarter 4th c. B.C. Marsyas. (Photo ACL, Bruxelles)

Fic. 12. Basel, Antikenmuseum inv. BS 464. Apulian R-f. krater (no. 19), detail. Peirithoos. (Courtesy Basel Antikenmuseum)

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I materiali rinvenuti nel 1926 e nel 1928 a Vaste, in "Museo Archeologico di Vaste" (G. Mastronuzzi e V. Melissano, a cura di) Maglie 2015

by Maria Teresa Giannotta

Nel recente allestimento del museo messapico di Vaste (LE) sono stati esposti due importanti gruppi di materiali archeologici comprendenti vasi in ceramica italiota a figure rosse, di Gnathia, a vernice nera, a fasce, messapica decorata e... more

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Philoctète à Lemnos dans la céramique attique et italiote: une mise au point

by Didier Fontannaz

2000, Antike Kunst

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Blink on the Hades Border. The Representation of Funerary Spaces in Fourth-Century BC. Apulian Vase-Painting: The Example of the Monterisi Hypogeum’s Vases

by Florence Le Bars-Tosi

S. Montel, A. Pollini (éds.), La question de l'espace au IVe siècle av. J.-C. dans les mondes grec et étrusco-italique : continuités, ruptures, reprises, Presses universitaires de Franche-Comté, 2018

The naïskos scenes do not appear frequently outside the Apulian vase-painting, where they abound. Most of the time, they ornate the backside of monumental figured vases, which complex iconography makes us forget their bound and their true... more

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Form und Bemalung. Arbeitsweisen unteritalischer Vasenmaler am Beispiel der Gefäße des Museums für Kunst und Gewerbe Hamburg

by Rolf Hurschmann and

Bulletin de Correspondance Hellénique, 133.1, 2009 (2011), 287–344.

Le comité de lecture de l'École française d'Athènes est composé de trois membres de droit et de sept membres désignés par le conseil scientifique sur proposition du directeur. Sa composition actuelle est la suivante (conseil scientifique... more

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Hélène et Cassandre dans la dernière nuit d'Ilion

by Federica Giacobello

Un'anfora apula recentemente acquistata dal Musèe Calvet d'Avignon propone un'interessante scena dipinta dal Pittore di Baltimora che unisce due celebri episodi mitici di cui sono protagoniste Elena e Cassandra.

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Iconographical Representations of Musical Instruments in Apulian Vase-Painting as Ethnical Signs: Intercultural Greek-Indigenous Relations in Magna Graecia (5th and 4th Centuries B.C.)

by Fábio Vergara Cerqueira

2014, Greek and Roman Musical Studies

The paper deals with the representation of musical instruments on Apulian pottery. I shall sketch a general account of the red-figured pottery produced in Apulia and its development between the late fifth and the early third centuries,... more

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Zwischen Tradition und Innovation. Indigene apulische Keramik als Indikator für Akkulturationsprozesse zwischen Griechen und Einheimischen

by Patrick Zeidler

2019

4. Studentisches Archäologie-Symposium Bamberg (SABA 19), 25.–27. April 2019

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Alles nur Maskerade? Masken auf Komoedienvasen und Muenzen der griechisch-roemischen Welt

by Sven Guenther and

2018, Geldgeschichtliche Nachrichten

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Voir les mythes. Poésie hellénistique et arts figurés, Paris, Picard, 2017.

by Evelyne Brunet-Prioux and

2017

À partir d’un corpus de poèmes et d’images mythologiques, cet ouvrage explore les liens qui unissent l’invention littéraire et les arts visuels à une époque de foisonnement et de renouvellement des formes dans les deux domaines. La... more

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4th International Landscape Archaeology Conference 22nd-25th August 2016- Rubi antiqua: a social instrument for historical and archaeological re- discovery

by Daniela Ventrelli

Rubi antiqua is a research project, hosted by ANHIMA, a CNRS research team, and it was awarded the Emergence fellowship of the City of Paris. It started in January 2014 and is planned to finish in January 2018. Its aim consists in... more

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Carmela Roscino, No Man's Land, Amazzonomachie nella prima ceramografia apula tra mito e simbolo, in C. Masseria, D. Loscalzo (edd.), Miti di guerra Riti di pace, La guerra e la pace: un confronto interdisciplinare (Atti Convegno Torgiano-Perugia 2009), Edipuglia, Bari 2011, 203-214

by Carmela Roscino

Per la specifica situazione della Peucezia, territorio su cui ci si sofferma in particolare in questa sede, si vedano contrari a questo orientamento interpretativo sono , 165-166, e Zevi 2004 Per questa interpretazione in relazione ai... more

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Apulian Vases

Key research themes

1. How do Apulian vases depict and integrate mythological narratives to communicate funerary beliefs and social identities?

2. What are the artistic and iconographic strategies used in Apulian vases to depict mythological battles and their political or cultural implications?

3. How do Apulian vase depictions of musical instruments and social games reflect cultural values and gender dynamics?

Related Topics

All papers in Apulian Vases