Ph.D. by Βασιλική Τσαντήλα V. Tsantila
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M.Sc. by Βασιλική Τσαντήλα V. Tsantila
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Papers by Βασιλική Τσαντήλα V. Tsantila
We present locally produced pottery with ‘‘west slope’’ decoration from the excavation of
ship-sh... more We present locally produced pottery with ‘‘west slope’’ decoration from the excavation of
ship-sheds at Oiniades (Akarnania), which is classified into two categories, the one of local
production and another one of imported pottery. The ceramic finds in question are quite
difficult to date, due to the lack of a sealed stratigraphic matrix. According to its typological
parallels, it is possible for it to be dated towards the end of the 4th century or at the beginning
of the 3rd century BC, up until the first quarter of the 1st century BC.
Apropos the decoration: to a great extent it “follows” the agenda of the rest workshops
of the Hellenistic world (cherised and timeless motifs, well-known throughout the Hellenic
nation, designed with no distinct originality whatsoever). Nonetheless, it can be characterized
by a special pattern, given that the linear incised motifs together with the ionic moulding
(incised ovola alternating with painted three- or five-leaved patterns, are prevailing. There
is absolutely no form of living things (with the only exception of a dolphin being depicted).
The decoration, occurs primarily on four vase-shapes (plates, conical bowls, pyxides and
cylindrical ointment jars), mainly small sized vessels, in each case acknowledged throughout
the Hellenistic world.
The craftsmen go with simple and stylised themes (linear incised motifs which are the
most prevalent as well, the ionic moulding, rose-flowers and stars, that is small motifs which
take up the base of the plates, bottles or the lids of cylindrical pyxides). They design them
with no artistic aspirations. What appears to be most distinctive though, is their persistence
in respect to the engraving technique (exclusive provincial style) and the use of clay in a
semiliquid state. Most of the times it’s the neck and arms of the vessels that are decorated.
Rarely do they decorate the rest of the body. Few are those examples where one can actually
discern an attitude of originality and special expression, while a colourful article (use of
white and red colour) is seen only in some particular vessels which are probably imported.
Without a doubt, the way these motifs are designed seems comparable to respective
production from Thyrreio (we attempt to delineate the particular physiognomy of pottery
manufactured locally in Akarnania), Lefkada, Etolia, Achaia (Aigio and Patras) and Epirus.
Although further study is required, it is clearly inferior in quality to products of neighbouring
towns (Patras, and mainly Ambracia and Aigion).
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Rescue excavations during the last decades within the town of Naupaktos have brought to
light an ... more Rescue excavations during the last decades within the town of Naupaktos have brought to
light an abundance of graves of the Hellenistic period and have clearly defined the boundaries
of the town’s three cemeteries (west, northeast and southeast). The hereby presented
Hellenistic pottery comes from three tomb complexes, covering practically the entire Hellenistic
age (circa the end of the 4th century BC until the 2nd/1st century BC). The tombs in
question were excavated on the junction of Anytes and Herakleous streets in “Varnarachi”,
during 1973 and 1980, and they fall within the northeast cemetery of the ancient town.
These graves (of which no one is undisturbed as an entity) were cists built of big limestone
blocks or slabs and they contained in total ninety-one clay vases (lamps, kantharoi, conical
phialae, unguentaria, amphorisks, pyxides, askoi of the guttus type, feeding bottles, plates,
echinus bowls, trade amphoras, oinochoai, lopades, etc.). Most of these vases were locally
manufactured and they are discussed here due to their amazing variety in shapes, datable
by means of typological parallels. They were found to be typical and well-known shapes of
the Hellenistic koine pottery, both inter-regionally and diachronically. Some of them formed
inventions (e.g. kantharoi widespread in the western Mainland and the Peloponnese) or
imitations (e.g. lamps) manufactured in local workshops, which rendered them peculiar to a
certain extent. This production is quite similar to that of the broader area of Aetoloakarnania
(especially to that of the rest of Aetolia, as can be induced from the discernible homogeneity),
the rest of West Mainland and the NW Peloponnese (Achaea, Elis), as well as of regions
further apart, such as Corinth and – much less – Attica.
Wheel-made lamps represent a relatively small variety of types. The earliest ones feature
similarities in form mainly to the respective Attic and Corinthian types (without copying
them completely), whereas the latest ones are similar to the Elean ones and especially
to those from Patras. “West slope” decoration is applied relatively scarcely in the town’s
workshops, while it can generally be described as provincial and inferior to that produced
in neighbouring ateliers. Ornaments are rendered by incision or thin clay, and only rarely by
combination of these two techniques, whereas the use of white paint is extremely restricted.
With reference to repertoire, the vases discussed here feature only ivy and olive wreaths, as
well as checkerboard pattern alternating with concentric squares and rectangles.
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Talks by Βασιλική Τσαντήλα V. Tsantila
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Posters by Βασιλική Τσαντήλα V. Tsantila
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Educational Programs by Βασιλική Τσαντήλα V. Tsantila
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Ph.D. by Βασιλική Τσαντήλα V. Tsantila
M.Sc. by Βασιλική Τσαντήλα V. Tsantila
Papers by Βασιλική Τσαντήλα V. Tsantila
ship-sheds at Oiniades (Akarnania), which is classified into two categories, the one of local
production and another one of imported pottery. The ceramic finds in question are quite
difficult to date, due to the lack of a sealed stratigraphic matrix. According to its typological
parallels, it is possible for it to be dated towards the end of the 4th century or at the beginning
of the 3rd century BC, up until the first quarter of the 1st century BC.
Apropos the decoration: to a great extent it “follows” the agenda of the rest workshops
of the Hellenistic world (cherised and timeless motifs, well-known throughout the Hellenic
nation, designed with no distinct originality whatsoever). Nonetheless, it can be characterized
by a special pattern, given that the linear incised motifs together with the ionic moulding
(incised ovola alternating with painted three- or five-leaved patterns, are prevailing. There
is absolutely no form of living things (with the only exception of a dolphin being depicted).
The decoration, occurs primarily on four vase-shapes (plates, conical bowls, pyxides and
cylindrical ointment jars), mainly small sized vessels, in each case acknowledged throughout
the Hellenistic world.
The craftsmen go with simple and stylised themes (linear incised motifs which are the
most prevalent as well, the ionic moulding, rose-flowers and stars, that is small motifs which
take up the base of the plates, bottles or the lids of cylindrical pyxides). They design them
with no artistic aspirations. What appears to be most distinctive though, is their persistence
in respect to the engraving technique (exclusive provincial style) and the use of clay in a
semiliquid state. Most of the times it’s the neck and arms of the vessels that are decorated.
Rarely do they decorate the rest of the body. Few are those examples where one can actually
discern an attitude of originality and special expression, while a colourful article (use of
white and red colour) is seen only in some particular vessels which are probably imported.
Without a doubt, the way these motifs are designed seems comparable to respective
production from Thyrreio (we attempt to delineate the particular physiognomy of pottery
manufactured locally in Akarnania), Lefkada, Etolia, Achaia (Aigio and Patras) and Epirus.
Although further study is required, it is clearly inferior in quality to products of neighbouring
towns (Patras, and mainly Ambracia and Aigion).
light an abundance of graves of the Hellenistic period and have clearly defined the boundaries
of the town’s three cemeteries (west, northeast and southeast). The hereby presented
Hellenistic pottery comes from three tomb complexes, covering practically the entire Hellenistic
age (circa the end of the 4th century BC until the 2nd/1st century BC). The tombs in
question were excavated on the junction of Anytes and Herakleous streets in “Varnarachi”,
during 1973 and 1980, and they fall within the northeast cemetery of the ancient town.
These graves (of which no one is undisturbed as an entity) were cists built of big limestone
blocks or slabs and they contained in total ninety-one clay vases (lamps, kantharoi, conical
phialae, unguentaria, amphorisks, pyxides, askoi of the guttus type, feeding bottles, plates,
echinus bowls, trade amphoras, oinochoai, lopades, etc.). Most of these vases were locally
manufactured and they are discussed here due to their amazing variety in shapes, datable
by means of typological parallels. They were found to be typical and well-known shapes of
the Hellenistic koine pottery, both inter-regionally and diachronically. Some of them formed
inventions (e.g. kantharoi widespread in the western Mainland and the Peloponnese) or
imitations (e.g. lamps) manufactured in local workshops, which rendered them peculiar to a
certain extent. This production is quite similar to that of the broader area of Aetoloakarnania
(especially to that of the rest of Aetolia, as can be induced from the discernible homogeneity),
the rest of West Mainland and the NW Peloponnese (Achaea, Elis), as well as of regions
further apart, such as Corinth and – much less – Attica.
Wheel-made lamps represent a relatively small variety of types. The earliest ones feature
similarities in form mainly to the respective Attic and Corinthian types (without copying
them completely), whereas the latest ones are similar to the Elean ones and especially
to those from Patras. “West slope” decoration is applied relatively scarcely in the town’s
workshops, while it can generally be described as provincial and inferior to that produced
in neighbouring ateliers. Ornaments are rendered by incision or thin clay, and only rarely by
combination of these two techniques, whereas the use of white paint is extremely restricted.
With reference to repertoire, the vases discussed here feature only ivy and olive wreaths, as
well as checkerboard pattern alternating with concentric squares and rectangles.
Talks by Βασιλική Τσαντήλα V. Tsantila
Posters by Βασιλική Τσαντήλα V. Tsantila
Educational Programs by Βασιλική Τσαντήλα V. Tsantila
ship-sheds at Oiniades (Akarnania), which is classified into two categories, the one of local
production and another one of imported pottery. The ceramic finds in question are quite
difficult to date, due to the lack of a sealed stratigraphic matrix. According to its typological
parallels, it is possible for it to be dated towards the end of the 4th century or at the beginning
of the 3rd century BC, up until the first quarter of the 1st century BC.
Apropos the decoration: to a great extent it “follows” the agenda of the rest workshops
of the Hellenistic world (cherised and timeless motifs, well-known throughout the Hellenic
nation, designed with no distinct originality whatsoever). Nonetheless, it can be characterized
by a special pattern, given that the linear incised motifs together with the ionic moulding
(incised ovola alternating with painted three- or five-leaved patterns, are prevailing. There
is absolutely no form of living things (with the only exception of a dolphin being depicted).
The decoration, occurs primarily on four vase-shapes (plates, conical bowls, pyxides and
cylindrical ointment jars), mainly small sized vessels, in each case acknowledged throughout
the Hellenistic world.
The craftsmen go with simple and stylised themes (linear incised motifs which are the
most prevalent as well, the ionic moulding, rose-flowers and stars, that is small motifs which
take up the base of the plates, bottles or the lids of cylindrical pyxides). They design them
with no artistic aspirations. What appears to be most distinctive though, is their persistence
in respect to the engraving technique (exclusive provincial style) and the use of clay in a
semiliquid state. Most of the times it’s the neck and arms of the vessels that are decorated.
Rarely do they decorate the rest of the body. Few are those examples where one can actually
discern an attitude of originality and special expression, while a colourful article (use of
white and red colour) is seen only in some particular vessels which are probably imported.
Without a doubt, the way these motifs are designed seems comparable to respective
production from Thyrreio (we attempt to delineate the particular physiognomy of pottery
manufactured locally in Akarnania), Lefkada, Etolia, Achaia (Aigio and Patras) and Epirus.
Although further study is required, it is clearly inferior in quality to products of neighbouring
towns (Patras, and mainly Ambracia and Aigion).
light an abundance of graves of the Hellenistic period and have clearly defined the boundaries
of the town’s three cemeteries (west, northeast and southeast). The hereby presented
Hellenistic pottery comes from three tomb complexes, covering practically the entire Hellenistic
age (circa the end of the 4th century BC until the 2nd/1st century BC). The tombs in
question were excavated on the junction of Anytes and Herakleous streets in “Varnarachi”,
during 1973 and 1980, and they fall within the northeast cemetery of the ancient town.
These graves (of which no one is undisturbed as an entity) were cists built of big limestone
blocks or slabs and they contained in total ninety-one clay vases (lamps, kantharoi, conical
phialae, unguentaria, amphorisks, pyxides, askoi of the guttus type, feeding bottles, plates,
echinus bowls, trade amphoras, oinochoai, lopades, etc.). Most of these vases were locally
manufactured and they are discussed here due to their amazing variety in shapes, datable
by means of typological parallels. They were found to be typical and well-known shapes of
the Hellenistic koine pottery, both inter-regionally and diachronically. Some of them formed
inventions (e.g. kantharoi widespread in the western Mainland and the Peloponnese) or
imitations (e.g. lamps) manufactured in local workshops, which rendered them peculiar to a
certain extent. This production is quite similar to that of the broader area of Aetoloakarnania
(especially to that of the rest of Aetolia, as can be induced from the discernible homogeneity),
the rest of West Mainland and the NW Peloponnese (Achaea, Elis), as well as of regions
further apart, such as Corinth and – much less – Attica.
Wheel-made lamps represent a relatively small variety of types. The earliest ones feature
similarities in form mainly to the respective Attic and Corinthian types (without copying
them completely), whereas the latest ones are similar to the Elean ones and especially
to those from Patras. “West slope” decoration is applied relatively scarcely in the town’s
workshops, while it can generally be described as provincial and inferior to that produced
in neighbouring ateliers. Ornaments are rendered by incision or thin clay, and only rarely by
combination of these two techniques, whereas the use of white paint is extremely restricted.
With reference to repertoire, the vases discussed here feature only ivy and olive wreaths, as
well as checkerboard pattern alternating with concentric squares and rectangles.