Ancient Greek Art and Archaeology

Abstract: This article explores the battle scene on a small bronze plaque recovered during the excavation of the Great Altar of Pergamon, initially published in 1913 and subsequently lost. It argues that the most likely identification of the scene is the Battle of Magnesia, fought in 190 BC. The scene features Attalid cavalry riding to the rescue of distressed Roman legionaries, both fighting in opposition to Antiochus the Great’s heavy phalanx and Gallic cavalry. The heroics of the Attalid cavalry are central to the scene, and likely reflect a courtly narrative that gave Eumenes II and his small contingent outsized credit for the joint victory.

This paper proposes a new interpretation of the famous fourth century A.D. mosaic of the “Seven Sages” and the “Anger of Achilles”. Discovered in Merida in 1982, this mosaic was previously analyzed and interpreted by J.M. Aharez Martinez and M.-H. Quet. The occurrence of these two iconographic themes in one mosaic tends the author to compare the description of the “Anger of Achilles” in the first book of the Iliad with the maxims of the Seven Sages of Greece. The study of both written and iconographic sources shows that he image of the “Anger of Achilles” evokes allusively the moral precepts of the Seven Sages. The mosaic constitutes therefore an example of the practical use of “artificiosa memoria “.

In November 2014, the expedition of the University of High Anthropological School conducted archaeological investigations on the territory of Palanca village (Republic of Moldova) and its surroundings. The North-Eastern part of the village situated on a high river terrace turned out to be the most promising one, which is where the prospecting pits were made. Among the most interesting finds from the trench 1 were the fragments of black glazed pottery and a stamped handle of Rhodian amphora. A large fragment allowed to reconstruct the complete profile and diameter of black glazed plate with projecting rim characteristic of the Hellenistic period (from 250—225 BC to Early 2nd century BC). Two-line stamp on the amphora’s handle found on structure 1 belongs to Rhodian manufacturer Mikythos II, followed by the name of the month. The stamp, and therefore structure 1, appear to be attributed to the 230s BC. In trench 2 a fragment of black glazed kantharos of West Slope style was discovered (250—225 BC). Statistics shows that the percentage of hand-made ware was not more than 15%, while the wheel-made pottery was more than 85%. This ratio allows us to confirm the hypothesis that Palanca was the first Greek settlement found on the territory of the Republic of Moldova. This could be proved by the number of table-ware pottery (2%) and amphora fragments.

in the paper the finds of terracotta figurines from the excavations of the hellenistic settlement of Maslyny in north-western taurica (excavations by V. o. latysheva) are analyzed. the terracotta collection contains striking specimens of ancient coroplastic. the figurines illustrate the religious life of the population, including the worship of cults of a family nature. all terracottas were found on the territory of the living and utility homesteads of the settlement. Most of the figurines are located in a room at the south tower, which, according to the interior and related material, had several functions. other statuettes were also found in the non-ordinary rooms and this text also indicates their cultic purpose. sanctuaries in rooms at the tower were known before at Chersonesos chora. such practice of private sanctuaries corresponds to the choice of the most prominent and extraordinary places for arranging public sanctuaries of polis. terracottas of eros thanatos, doves, and female figurines are connected with the cult of aphrodite. one of three erotes is decorated with red ribbons crossed on his chest. such adornment is peculiar for aphrodite images and not known on terracottas of this type. Protomes hanged on the wall and doves hanged to the ceiling, as well as female bust serving for a thymiaterion illustrate the variety of religious practices conducted by the habitants. a tympanon held by nike reminds of mystery cults.
opperman, M. 2007. Thraker, Griechen und Römmer an der Schwarzen Meeres. Mainz am rhein. Paslaru, i., Colesniuk, s. M., ionescu, M. 2014a. stratigraphic observations in the surroundings of the kallatis City. Callatida.Mangalia, p. 83-124. Paslaru, i., Colesniuk, s. M., ionescu, M. 2014b. research in the hellenistic district area in surroundings of the kallatis City. Callatida. Mangalia, p. 125-146.
robinson, d. M. 1952. Terracottas, Lamps, and Coins found in 1934 and 1938 (excavations at olynthus. Part XiV). Baltimore. smith, h. r. W. 1976. Funerary Symbolism in Apulian VasePainting (ed. by J. k. anderson). Berkeley-los angeles. thür, h. 2009. die spätantike Bauphase der kuretestraße. Efeso paleocristiana e Bizantina. Frühchristliches und Byzantinisches Ephesos. Wien, s. 104-120. Надійшла 10.09.2019
ISSN 0235-3490 (Print), ISSN 2616-499X (Online). Археологія, 2019, № 338
the remains of ivy wreath on a tanagra type figurine and a tympanum in the hands of nika remind of dionysus cult. the figurines are dated, according to the general chronology of the site, not earlier than the third quarter of 4th—3rd c. BC. some statuettes were made in tauric Chersonesos, where similar cults are traced during the hellenistic period. terracottas from Maslyny settlement find the closest analogies at the sites of the north-western Black sea region, including olbia and Callatis. this fact allows tracing the relation between tauric Chersonesos and that region.

In the article, the relation between three terracottas depicting the Mother of the gods on the throne is determined. Fragments of two of them were made in one of the West Pontic centres in a single mould which was apparently imported from the north-western part of Asia Minor, the third one was made in Olbia based on the example of these figurines. The former ones are dated by the end of the 4th century BC and the beginning of the 3rd c. BC, while the latter is dated approximately by the middle of the 3rd c. BC. Cast made by the imported terracotta was altered according to the local tastes and religious believes. While the lion cub on original depiction is located under the foot, it appears on the lap of the goddess on the Olbian example. It is ascertained that all the statuettes contained the depictions of sphinxes on the throne decoration. This motive in terracotta depictions of the Mother of the gods is known in Asia Minor and the west coast of the Black Sea. Analogous ornament was widely used on statuettes from Myrina. Parallels in design of other details and peculiarities of lion depiction also find their parallels in the north-western part of Asia Minor. Sphinxes sitting on both sides of the Mother of the gods are known on the statuette made in the mould from Pergamon. Imported statuettes derive from the local ones with the apotropeic symbols: a lion with showed tongue and a sphinx. This motif approaches them to chthonic ideas in cult of the Mother of the gods. Statuettes from Asia Minor were found at the neighbouring houses in the area near agora belonging to the wealthy citizens one of whom was an important person in the polis’ religious life. Apparently, some of them or their adherents were acquainted with coroplastics or a coroplast because his figurine became an example for making the local products.

У статті встановлюється зв'язок між трьома теракотами, що зображають Матір богів на троні. Фрагменти двох із них виготовлено у Західному Причорномор’ї в одній формі, привезеній з північно-західної частини Малої Азії, третій – в Ольвії на зразок цих фігурок. Перші датуються кінцем IV – початком ІІІ ст. до н.е., останній – приблизно серединою ІІІ ст. до н.е. Зліпок, зроблений за привізною теракотою, було перероблено у відповідності до місцевих смаків та уявлень. У той час як на первинному зображенні левеня розташоване під ногою, на ольвійському екземплярі – на колінах богині. Встановлено, що на всіх статуетках у декорі підлокіть трону розташовувалося зображення сфінксів. Цей мотив у теракотовому зображенні Матері богів був відомий у Малій Азії та на Західному Причорномор’ї. Аналогічний орнамент широко використовувався на статуетках з Міріни. Також у північно-західній частині Малої Азії знаходить свої паралелі оформлення інших деталей і особливості зображення левеняти. Привізні статуетки відрізняються від місцевих наявністю апотропеїчних символів: лева з вишкіреною мордою та сфінкса. Це наближає їх до хтонічних уявлень у культі Матері богів. Імпортні статуетки знайдено у сусідніх будинках району ольвійської агори, що належали заможнім громадянам, один із яких був важливою особою в релігійному житті поліса. Очевидно, хтось із них чи їхніх нащадків був знайомий з коропластикою чи коропластом, оскільки його фігурка стала зразком для виготовлення місцевої продукції.
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This article briefly presents some of the author’s research on art in archaeology. Drawing on previously published works, the text reviews the general problems of art research in archaeology before focusing on investigations of prehistoric and ancient figurines, anthropomorphisation in ancient Greece, and figural motifs in Attic Geometric pottery.

This volume offers a collection of essays dealing with the material and immaterial (metaphorical) reuse of Greek art in Roman times from various perspectives. Originating from the fruitful exchange and collaboration among the research teams hosted at the Laboratorio di Storia Archaeologia Epigrafia e Tradizione dell’Antico and further encouraged by the lively atmosphere of the seminar of Classical Archaeology at the Scuola Normale Superiore, this book project was spurred by the productive discussion and positive feedback received during the relevant dissemination activities in national and international venues. The first part of this book developed from the international conference Athena Nike della Fondazione Sorgente Group: un originale greco a Roma, held at the Scuola Normale Superiore in April 2014. The second part resulted from the session “Nobilia opera? Re-staging Greek Artworks in Roman Contexts: New Approaches and Perspectives” presented at the 25th Theoretical Roman Archaeology Conference, held in Leicester in March 2015. The common thread of the volume is the reuse of Greek artworks in Roman times from an object-oriented and cultural-historical perspective, taking into account the “history” or “biography” of the artworks as a whole. The metaphor of “restaging” highlights the interest in the transformation of artworks and their contexts over time and space.
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(with G. Adornato – I.B. Romano – G. Cirucci) Restaging Greek Artworks in Roman Times. With an Afterword by C.H. Hallett (Archeologia e Arte antica), LED - Edizioni Universitarie di Lettere Economia Diritto, Milano, 2018. ISBN 978-88-7916-832-8.