Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.
Scholarship on Greek symposium vessels is extensive, not least of which on the drinking cup called the kylix. From studying scenes painted on Greek vases, we are well aware of its function as a symposium vessel, and decades of research on its form and painted decoration have provided a chronological framework and an understanding of local and regional trends as well as the painting styles of individual artists. Further information may be gained specifically on the functionality of the kylix through experimental archaeology. For this project, the two investigators seek to understand such practicalities as the most suitable kylix size for drinking and investigate the mechanics of playing the drinking game kottabos. Using modern copies we will demonstrate how functional kylikes of varying sizes were and specifically address whether larger kylikes were too large to be truly used as drinking vessels or whether they were intended primarily to be display pieces. Secondly, taking into consideration the many representations of symposiasts engaged in playing kottabos, attempts will be made to understand the skills necessary to play kottabos using a modern kylix produced using a 3-d printer (and therefore not prone to breakage). While kylikes have been traditionally viewed by many scholars primarily as works of art with concerted attention directed towards analyzing their decoration, it is worthwhile to consider the kylix’s utilitarian function. Our study analyzes the kylix in light of its original symposium context in an effort to elucidate its principal role as a drinking vessel.
Classical World
Prostitutes, Plonk, and Play: Female Banqueters on a Red-figure Psykter from the Hermitage2012 •
American Journal of Archaeology
Primitive Life and the Construction of the Sympotic Past in Athenian Vase Painting2009 •
American Journal of Archaeology
Athenian Eye Cups in Context2015 •
"Since the late 1970s, scholars have explored Athenian eye cups within the presumed context of the symposion, privileging a hypothetical Athenian viewer and themes of masking and play. Such emphases, however, neglect chronology and distribution, which reveal the complexity of the pottery market in the late sixth and fifth centuries B.C.E. Although many eye cups have been found in Athens — namely on the Acropolis and mainly from late in the series — the majority come from funerary, sanctuary, and domestic contexts to the west and east. Indeed, the earliest, largest, and highest-quality (to modern eyes) examples were exported to Etruria, where the symposion as the Athenians knew it did not exist. Workshops were clearly aware of their audiences at home and abroad and shifted production and distribution of vases to suit. The Etruscan consumers of eye cups made conscious choices regarding their purchase and usage. Tomb assemblages from Vulci and elsewhere reveal their multivalent significance: emblematic of banqueting in life and death, apotropaic entities, likely with ritual uses. Rather than being signs of hellenization in a foreign culture, Athenian eye cups — like all Greek vases — were brought into Etruria then integrated, manipulated, and even transformed to suit local needs and beliefs. "
2017 •
In this paper, I discuss the advertising model of the Leafless Group (ca. 510– 480 BCE), a large workshop of hastily decorated black-figured open shapes. Following a strategy of tight product definition, this workshop’s artisans communicated effectively the visual and functional qualities of their ceramics. 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. 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. 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.
J. Oakley, ed., Athenian Potters and Painters III
The View from Behind the Kline: Symposial Space and Beyond2014 •
This article interprets two eyecups created in Athens at the end of the Late Archaic Period. Both would have been purchased by Athenian aristocrats and used at what were essentially exclusive drinking parties. Eyecups are a specific type of drinking cup used by aristocrats at these social gatherings. The cups are therefore an important source of information about how the Athenian elite expressed their self-identity during the period in which the cups were created and used. I will argue that eyecups indicate that aristocrats could only be equal among themselves if they stripped away what made them civilised and embraced ‘the Other’.
2008 •
This study documents the problematic headdress iconography of Attic Red-figure vase-painting ca. 550-450 BCE. The findings demonstrate that more prostitutes than wives, or any other female figures, are illustrated with the mitra (turban), sakkos (sack) and kekryphalos (hair-net). These headdresses were prostitutes‘ common apparel as well as their frequent attributes and social markers. The study also shows that prostitutes were involved in manufacturing of textiles, producing the headdresses on the small sprang hand frames chosen for their practicality, convenience and low cost. In this enquiry, two hundred and thirty (230) fully catalogued and thoroughly analyzed images include twenty (20) such scenes, in addition to two hundred and ten (210) depicting prostitutes wearing the headdresses. This iconography is the primary evidence on which the study‘s conclusions are based.
Navigare necesse est. Estudios en homenaje a José María Luzón Nogué
Los kýlikes del " Pithos Painter " de Mengíbar y Reading y el comercio atlántico en la Edad del Hierro2015 •
2017 •
Ancient Civilizations from Scythia to Siberia, 12
‘Scythian’ Archers on Archaic Attic Vases: Problems of Interpretation, ACSS, 12, 2006, 197-2712006 •
1997 •
en A. Bernabé, M. Herrero, A. I. Jiménez and R. Martín (eds.) Redefining Dionysus, De Gruyter, Mythos Eikon Poiesis series, 2013, 502-523
“The symposiast Dionysos: a god like ourselves”From Cardboard to Keyboard
From the Po to Essex: board games and the symposium2016 •
Representation, Narrative, and Function
"The Wretchedness of Old Kings," in A. Avramidou and D. Demitriou, eds., Approaching the Ancient Artifact: Representation, Narrative, and Function, A Festschrift in Honor of H. Alan Shapiro (Berlin 2014) 141-1522014 •
Memoirs of the American Academy in Rome
Athens, Etruria, Rome, Baltimore: Reconstructing the Biography of an Ancient Greek Vase2016 •
American Journal of Archaeology 114
Beyond the Acropolis: New Installations of Greek Antiquities in Athenian Museums2010 •
Approaching the Ancient Artefact: Representation, Narrative and Function. A Festschrift in Honor of H. Alan Shapiro. See http://www.degruyter.com/viewbooktoc/product/204403
"To Dream the Impossible Dream"2014 •
A Companion to Women in the Ancient World
Approaches to Reading Attic Vases2012 •
2018 •
Athenian Potters and Painters, Volume II (eds. J. Oakley and O. Palagia)
Inside/Outside: Revisiting a Chous in The Metropolitan Museum of Art2009 •
Music Archaeology in Contexts. Archaeological Semantics, Historical Implications, Socio-Cultural Connotations., eds. by E. Hickmann, A.A. Both, R. Eichmann. Studien zur Musikarchäologie V, Orient-Archäologie Band 20, Verlag Marie Leidorf GmbH-Rahden/Westf.
Women Players in Ancient Greece2006 •
Nikephoros: Journal for Sports and Culture in Antiquity
Sport Objects and Homosexuality in Ancient Greek Vase-Painting: the New Reading of Tampa Museum Vase 86.702007 •
American journal of philology
Who" Invented" Comedy? The Ancient Candidates for the Origins of Comedy and the Visual Evidence2006 •
Shapes and Uses of Greek Vases (7th -4th centuries B.C.), Brussels, Etude d'Archéologie 3
Vases for Heroes and Gods : Early Red-figure Parade Cups and Large-scaled Phialai2009 •