Why Greek Art Matters Pictorial Narrative in Ancient Greek Art, by Mark Stansbury-O'Donnell, 1999. (Cambridge Studies in Classical Art and Iconography.) Cambridge: Cambridge University Press; ISBN 0-521-64000-8 hardback, £45.00, US$75.00, xviii+237 pp.

2000 ◽  
Vol 10 (1) ◽  
pp. 187-205
Author(s):  
Anthony Snodgrass
Keyword(s):  
Ancient Greek ◽  
Cambridge University ◽  
Greek Art

Robert Manuel Cook 1909–2000

2003 ◽  
Author(s):  
John Boardman
Keyword(s):  
Ancient Greek ◽  
Cambridge University ◽  
Classical Archaeology ◽  
Greek Archaeology ◽  
General Readership ◽  
Greek Art ◽  
Painted Pottery

Robert Cook was Laurence Reader then Professor in Classical Archaeology at Cambridge University. His Greek Painted Pottery, first published in 1960, was a standard student text and his Greek Art (1972) was aimed at a general readership. Cook wrote widely on Ancient Greek archaeology and was elected Fellow of the British Academy in 1974. Obituary by John Boardman FBA.

scholarly journals THE COMB FROM THE HAYMANOVA MOHYLA AND THE SCYTHIAN MYTH OF A HERO FIGHTING A DRAGON

2019 ◽  
Vol 31 (2) ◽  
pp. 483-492
Author(s):  
Yu. B. Polidovych
Keyword(s):  
General Context ◽  
Good Luck ◽  
Female Side ◽  
Ancient Greek ◽  
Large Plate ◽  
Male Side ◽  
Greek Art ◽  
Battle Scene

The article is devoted to the analysis of images on the bone comb from the Haymanova Mohyla mound (IV century BC). The images on it quite fully represent the myth of a Hero fighting a dragon, which is not known from narrative sources. The first large plate (the «male» side of the comb) depicts a battle scene with a consistently developing plot: the defeat of one hero — the triumph of the dragon — revenge and the victory of the second hero. It can be assumed that the characters in this scene are Targitaos and Kolaxais, known from the story of Herodotus. These Scythian heroes relate to Iranian Yima (Jamshid) and Θraētaona (Fereydun). The goddess is reproduced on the second large plate (the «female» side of the comb). Her iconographic image was borrowed from the ancient Greek Art, but it was perceived by the Scythians, probably as the goddess Api (Άπί), equivalent to the Iranian goddess Aredvi Sura Anahita. The general context of the images suggests that the Scythians were familiar with the Iranian prayers to this goddess with a request to bestow good luck in the fight against hostile creatures. The comb was certainly an important ritual and status attribute.

Material Evidence

2018 ◽  
Author(s):  
Sarah P. Morris
Keyword(s):  
Ancient Greek ◽  
Archaeological Evidence ◽  
Greek Art ◽  
Material Evidence ◽  
Material Record

Unlike in the study of Roman slavery (Joshel and Peterson 2014), the analysis of archaeological evidence for Greek slavery is far more challenging (I. Morris 2011), if we hope to be able to identify slaves, their labour, and their living spaces, in the ancient material record. Rather than trying to identify figures in Greek art as unfree in status, locating their place of work and living quarters in excavated structures, or distinguishing slave burials in ancient Greek necropoleis, this essay proposes that we should look rather for the wider effects of their labour on changes in health, wealth, settlement and landscapes.

Sign in / Sign up

Export Citation Format

Share Document