Ancient Greek Pottery
Because of its relative durability, pottery comprises a large part of the archaeological record of Ancient Greece, and since there is so much of it (some 100,000 vases are recorded in the Corpus vasorum antiquorum), it has exerted a disproportionately large influence on our understanding of Greek society. Little survives, for example, of ancient Greek painting except for what is found on the earthenware in everyday use, so we must trace the development of Greek art through its vestiges on a derivative art form. Nevertheless the shards of pots discarded or buried in the first millennium BC are still the best guide we have to the customary life and mind of the ancient Greeks.
... Volsinii, Etruria, writing in Latin Nonnus, Egypt, writing in Greek Quintus Smyrnaeus, writing in Greek Tryphiodorus, Egypt, writing in Greek Palladas, Alexandria, Egypt, writing in Greek ...
... See also Typology of Greek vase shapes Not all ancient Greek vases were purely utilitarian large Geometric amphorae were used as grave markers, kraters in Apulia served as tomb offerings and Panathenaic ... Most other surviving pottery, however, had a practical purpose which determined its shape ... The names we use for Greek vase shapes are often a matter of convention rather than historical fact, a few do illustrate their own use or are labeled with their original names, others are the result of ...
... Dionysius Thrax (Ancient Greek Διονύσιος ὁ Θρᾷξ) (170 BC – 90 BC) was a Hellenistic grammarian and a pupil of Aristarchus of Samothrace ... The first extant grammar of Greek, "Art of Grammar" (Tékhnē grammatiké, Greek τέχνη γραμματική) is attributed to him but many ... itself primarily with a morphological description of Greek, lacking any treatment of syntax ...
... Greek may also refer to Greeks (finance), the Greeks epresenting the sensitivities of derivatives (the most common of these sensitivities are often denoted by Greek letters) Fraternities and sororities, often called ...
... In earlier Greek art, satyrs appear as old and ugly, but in later art, especially in works of the Attic school, this savage characteristic is softened into a more youthful and graceful ... or humanization of the Satyr appears throughout late Greek art ... Greek spirits known as Calicantsars have a noticeable resemblance to the ancient satyrs they have goats' ears and the feet of donkeys or goats or horses, are covered with hair, and love women and the dance ...
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“There is on the earth no institution which Friendship has established; it is not taught by any religion; no scripture contains its maxims. It has no temple, nor even a solitary column. There goes a rumor that the earth is inhabited, but the shipwrecked mariner has not seen a footprint on the shore. The hunter has found only fragments of pottery and the monuments of inhabitants.”
—Henry David Thoreau (18171862)
“Only the sound remains,
the distant thump of the good elephants,
the voice of the ancient lions
and how the bells
trembled for the flying man.”
—Anne Sexton (19281974)
“The decline of a culture
Mourned by scholars who dream of the ghosts of Greek boys.”
—Stephen Spender (19091995)