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Typology of Greek vase shapes. A Nolan amphora, a type with a longer and narrower neck than usual, from Nola. Attic komast cup, a variety of kylix, Louvre. Diagram of the parts of a typical Athenian vase, in this case a volute krater. The pottery of ancient Greece has a long history and the form of Greek vase shapes has had a continuous ...
British Museum, London. Registration. GR 1945.9-27.1 (Gems 4036) The Portland Vase is a Roman cameo glass vase, which is dated between AD 1 and AD 25, though low BC dates have some scholarly support. [1] It is the best known piece of Roman cameo glass and has served as an inspiration to many glass and porcelain makers from about the beginning ...
Pottery, due to its relative durability, comprises a large part of the archaeological record of ancient Greece, and since there is so much of it (over 100,000 painted vases are recorded in the Corpus vasorum antiquorum), [1] it has exerted a disproportionately large influence on our understanding of Greek society.
A vase (/ veɪs / or / vɑːz /) is an open container. It can be made from a number of materials, such as ceramics, glass, non- rusting metals, such as aluminium, brass, bronze, or stainless steel. Even wood has been used to make vases, either by using tree species that naturally resist rot, such as teak, or by applying a protective coating to ...
The François Vase, (or François Krater), is a large Attic volute krater decorated in the black-figure style. It stands at 66 centimetres (26 in) in height and was inspired by earlier bronze vases. It was used for wine. A milestone in the development of ancient Greek pottery due to the drawing style used as well as the combination of related ...
White-ground vases were produced, for example, in Ionia, Laconia and on the Cycladic islands, but only in Athens did it develop into a veritable separate style beside black-figure and red-figure vase painting. For that reason, the term "white-ground pottery" or "white-ground vase painting" is usually used in reference to the Attic material only.
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