Summaries of the Scientific Symposium: PAINTBRUSHES. Wall-painting and vase-painting of the 2nd millennium BC in dialogue

Edited by Andreas Vlachopoulos

City: Athens

Year: 2013

Publisher: Society for the Promotion of Theran Studies

Description: Paperback, 191 p., numerous colour and b/w figures, 24x17 cm

Akrotiri, Thera, 24-26 May 2013

Abstract

XΡΩΣΤΗΡΕΣ (CHROSTERES)-PAINTBRUSHES was a scientific symposium addressed to archaeologists, conservators of antiquities and artists specialized in the study of Aegean iconography, who wereinvited to participate in open discussions on the dialectical relationship that developed between the arts of vase-painting and wall-painting in the Aegean during the second millennium BC.

Pictorial pottery (including clay larnakes) and mural painting (along with portable works in painted plaster), for all the thematic affinity their representations display in various periods, are not usually examined together by modern research. As a consequence, the common stylistic traits and the synchronisms of these arts are underplayed, and the different technical, artistic and social parameters of the periods of their zenith are not stressed sufficiently.

ΧΡΩΣΤΗΡΕΣ-PAINTBRUSHES was a workshop to which researchers who study wall-painting and vase-painting (Minoan, Cycladic, Helladic/Mycenaean), particularly pictorial, were invited. Problems relating to earlier forms and developmental stages of iconography, particularly in the Cycladic islands, were also examined under the same umbrella.

The meeting was organized in collaboration with the University of Ioannina and the Study Centre for Prehistoric Thera, of the Archaeological Society at Athens. It took place in the amphitheatre of the Akrotiri Excavation, giving participants the opportunity of seeing at first hand important works of Aegean art, whose recent discovery has given new content to (and in many respects the reason for) the subject of this meeting.

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Contents

Christos Doumas, ‘The Human Figure at the Mercy of the Paintbrush’ [14-21]

Christina Televantou, ‘The Roots of Pictorial Art in the Cyclades: from Strophilas to Akrotiri’ [22-25]

Robert Ritner, ‘Egyptian Examples of the ‘Koine’ Art Style of the 2nd Millennium BC’ [26-31]

Nanno Marinatos, ‘Spirals and Rosettes: Egyptian, Minoan, Theran’ [32-35]

Joost Crouwel, ‘Mycenaean Pictorial Pottery in Dialogue with Contemporary Wall-painting’ [36-39]

Philip P. Betancourt, ‘Evidence from Pottery for the Early Stages of Monumental Cretan Wall-paintings’ [40-45]

Pietro Militello, ‘Wall-painting and Vase-painting: the case of MM III Phaistos’ [46-51]

Iris Tzachili, ‘Vases with Plastic Decoration from the Peak Sanctuary at Vrysinas’ [52-53]

Dimitra Kriga, ‘Added Pottery Decoration and Relief Wall-paintings in Crete and Thera in the 2nd Millennium BC’ [54-59]

Fritz Blakolmer ‘Sculptured with the Paint-brush? On the Interrelation of Relief Art and Painting in Minoan Crete’ [60-65]

Angelia Papagiannopoulou, ‘The Beginnings of an Island Narration. Pictorial Pottery and Wall-paintings of the 2nd millennium BC’ [66-69]

Zozi Papadopoulou, ‘Middle Cycladic Pictorial Pottery from Antiparos’ [70-73]

Irene Nikolakopoulou, ‘The Painter’s Brush and How to Use It: Elementary and Advanced Lessons from Akrotiri Iconography’ [74-77]

Μarisa Marthari, “‘The Attraction of the Pictorial’ Re-considered. Pottery and Wall-paintings in LC I Thera in the Light of the Latest Research’ [78-81]

Robert Koehl, ‘From Pot Patterns to Pictures: Thoughts on the Evolution of Aegean Wall-Painting’ [82-85]

Elizabeth Shank, ‘The Griffin Motif – An Evolutionary Tale’ [86-89]

Evangelos Kyriakidis, ‘From Commission to Rendering. Chrosteres and Iconographical Cycles in LBA I Iconography of the Aegean’ [90-93]

Lefteris Platon, ‘Iconography Workshops at Minoan Zakros: Marrying Political-religious Symbolism with Expressive Freedom’ [94-99]

Christos Boulotis, ‘From the Golden Hour of Aegean Narrativity. Convergences and Divergences in the World of Wall-paintings and Signet Rings’ [100-103]

Τoula Marketou, ‘The Art of Painting at Ialysos on Rhodes from the Early 2nd Millennium BC to the Eruption of the Thera Volcano’ [104-109]

Lyvia Morgan, ‘Inspiration and Innovation: The creation of Wall-Paintings in the Absence of a Pictorial Pottery Tradition at Ayia Irini, Kea’ [110-115]

Fragoula Georma, ‘The Representation of the Human Figure on Theran Wall-paintings: Conventions and Stylistic Observations’ [116-119]

Irini Papageorgiou, ‘Τhe Iconographic Subject of the Hunt in the 2nd Millennium BC Aegean. Sounds and echoes in the art of Wall-painting and of Vase-painting’ [120-123]

Εleni Hatzaki, ‘Pots, Textiles, Frescoes, and People: The Social Meaning of Decorated Pottery and the Case of Late Bronze Age Knossos, Crete’ [124-127]

Emily Egan, ‘From Permanent to Portable: The Ceramic Perpetuation of Painted Landscapes at Knossos in the Final Palatial Period’ [128-133]

Νikos Merousis, ‘Larnax-painters and Vase-painters in Post-Palatial Crete. Parallel paths’ [134-137]

Clairy Palyvou, ‘The Convex and the Concave: rendering 3-dimensional realities on folding surfaces’ [138-139]

Panayotis Angelidis, Manolis Hamaoui, Litsa Kalambouki & Sophia Sotiropoulou, ‘The Preliminary Designs of the Theran Wall-paintings’ [140-143]

Maria Kriga, ‘Τropos. The Paintbrush Then and Now. Touching the Traces of the Theran Wall-paintings’ [144-145]

Νikos Sepetzoglou, ‘The Role and the Significance of Colour in the Large Wall-painting Compositions of Spirals from Xeste 3 at Akrotiri’ [146-151]

Effie Tsitsa, ‘From Minoan Artists to Swiss Restorers through the Prism of Conservation’ [152-155]

Vasilis Aravantinos, Panayotis Angelidis, Ιoannis Fappas, Maria Louka & Nikos Sepetzoglou, ‘The Iconographic Tradition of Mycenaean Boeotia in its Minor and Major Manifestations’ [156-159]

Urlich Thaler & Melissa Vetters, ‘All the king’s horses’ [160-163]

Ιphigenia Tournavitou, ‘Unconditional Acceptance and Selective Rejection. Interactive thematic cycles in Mycenaean painting. A Tale of the Unexpected’ [164-167]

Eva Rystedt, ‘The Early Mycenaean Chariot Kraters and the Ceramic Turn of a Presumptive Fresco Motif’ [168-171]

Angelos Papadopoulos, ‘The Iconography of LH IIIA-B Pictorial Kraters and Wall-paintings: A view from the Aegean and the Eastern Mediterranean’ [172-175]

Vaso Pliatsika, ‘The Aim Justifies the Means: Reflections of Wall-painting in the Pictorial Vase-painting of Mycenae’ [176-181]

Fanouria Dakoronia, ‘Κynos. Images from nowhere’ [182-185]

Andreas Vlachopoulos, ‘From ‘Koine’ to ‘Void’? The Art of Paintbrushes in Postpalatial Mycenaean Greece’ [186-191]