Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2009. / Full text also available online. Scroll down for electronic link.

Thesis (doctoral)--Johannes-Gutenberg-Universität zu Mainz, 1981. / Includes bibliographical references and indexes.

Thesis (Ph. D.)--New York University, 1988. / Includes index. Includes bibliographical references (leaves 393-408).

Thesis (M.A.)--University of Missouri-Columbia, 2005. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (December 20, 2006) Includes bibliographical references.

Texte remanié de : Dissertation : ? : ? : 1997. / Comprend : Text ; Plates. Bibliogr. p. 258-266 (vol. 1). Index.

Because of their abundance and because of the insight into the ancient world offered by the depictions on their decorated surfaces, Attic painted ceramics are an extremely valuable source of material evidence. Knowing the identities and personalities of the artists who painted them not only helps us understand the paintings, but also helps in the process of dating them and, in the case of sherds, reconstructing them. However, few of the artists signed their wares, and the identities of the artists have to be revealed through a close analysis of the style in a process called attribution. The vast majority of the attributions of archaic Attic vases are due to John Beazley whose monumental works set the stage for the dominance of attribution studies in the scholarship of Greek ceramics for most of the 20th century. However, the number of new scholars trained in this arcane art is dwindling as new avenues of archaeological research have gained ascendency. A computer-aided technique for attribution may preserve the benefits of the art while allowing new scholars to explore previously ignored areas of research. To this end, the present study provides a theoretical framework for computer-aided attribution, and using the corpus of the Princeton Painter - a painter active in the 6th century BCE - demonstrates the principal that, by employing pattern recognition techniques, computers may be trained to serve as an aid in the attribution process. Three different techniques are presented that are capable of distinguishing between paintings of the Princeton Painter and some of his contemporaries with reasonable accuracy. The first uses shape descriptors to distinguish between the methods employed by respective artists to render minor anatomical details. The second shows that the relative positions of cranial features of the male figures on black-figure paintings is an indicator of style and may also be used as part of the attribution process. Finally a novel technique is presented that can distinguish between pots constructed by different potters based on their shape profiles. This technique may offer valuable clues for attribution when artists are known to work mostly with a single potter. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2009.

The principles of ancient Greek architecture have persevered through millennia, their impact ebbing and flowing perhaps, but still considered a fundamental layer on which Western architectural traditions have been built. Keeping in mind the pragmatic, aesthetic, and ideological influence Greek architecture has continued to have, my dissertation turns to contemporaneous sources to gauge the Greeks’ reception of their own sacred architecture. Scholars of Greek religion tend to agree that the temple was not a necessary component of ritual – boundary stones delineating sacred space and an altar on which communication with the divine was sought through sacrifice and non-sanguinary offerings were enough for religious rites. Why, then, were considerable effort and funds put towards the construction of temples, often monumental and virtually ubiquitous across the Greek landscape? Paradoxically, why is Greek literature, an art form that valued ekphrastic accounts of artworks (Homer’s description of the shield of Achilles [Iliad 18.478-608] is an oft-cited example) mostly silent on sacred architecture save for few laconic and formulaic appellations and rather dry descriptions (Greek traveler Pausanias, for instance, focused on sanctuary histories and votive offerings but was rather disinterested in architecture)? There appears to be a disparity between etic and emic perceptions of Greek sacred architecture, but, in fact, ancient evidence proves otherwise and demonstrates that artists were mindful of the potency of sacred structures. My dissertation pieces together their visual testimonies, particularly in vase painting which is arguably the most prolific and far-reaching medium of Greek art. Through an exhaustive perusal of museum collections, archives, and pottery-focused publications, the present study assembles a collection of nearly three-hundred vase paintings with depictions of sacred architecture and covering a time period of around three centuries from the Archaic period (seventh-century BCE) to the end of the Late Classical period (late fourth century BCE). The majority of the objects originate in Athens and its environs (Attika) and Magna Graecia. Based on this chronological and geographical scope, the study examines the images in four chapters: Attic black-figure vase paintings, Attic red-figure vase paintings with non-mythological subjects, Attic red-figure vase paintings with depictions of myth, and South Italian vase paintings. Within these chapters, the typology of architectural elements (e.g., freestanding columns, temple facades) and subject matter (e.g., myths, quotidian activities) constitute the primary criteria with which the images have been categorized. This extensive collection of vase paintings provides manifold insights into not only the reception of sacred architecture but also architectural elements as effective pictorial motifs. A great number of the depictions can be connected to “real” prototypes and, in some cases, distinct religious practices. While previous studies have taken a similar approach only to fixate on the discrepancies between prototypes and what architectural depictions can tell us about ancient building practices, the present study argues that vase painters rarely, if at all, intended to reproduce existing structures. Thus, the evidence should be used to study the ways in which artists reflected and refracted how buildings shaped and were shaped by the needs of their users. Creating an autonomous visual language built on abbreviation, elision, and synthesis, artists, in fact, rendered structures fit for the pictorial world. Their aim was not exactitude but rather verisimilitude – temples, shrines, portals, sanctuaries that were guided by but never unequivocally subservient to reality. The semiotic analysis of architecture, meanwhile, considers the aesthetics of vase painting and the objecthood of the vase. Beyond their face value (i.e., signifying sacred structures), elements like columns and simplified temples configure the surface of the vase into distinct zones, thus denoting spatio-temporal transitions, and hierarchize figures within the depicted events. Moreover, there are numerous instances where the pictorial frame is transformed into a built environment itself with the use of architecture – a practice that urges the viewer to contemplate the tension between the flatness of the ‘canvas’ and the habitable spaces defined by the juxtaposition of figures and structures.

Black Figure Floral Ware is an understudied style of pottery which was produced in Boiotia and the nearby regions of Euboia and Phokis during the fifth and fourth centuries B.C.E. Floral Style vases are painted with compositions formed predominantly of palmettes and lotuses rendered in black gloss without the incised details which are typically associated with Black Figure pottery. The corpus of Boiotian Floral Ware is divided into two sub-styles: the Northern Style and the Southern Style. The Northern Style is thought to have been produced in the area North and West of the Kopais while the Southern Style was chiefly produced in the Thespiai-Thebes and the Tanagra regions. To date our understanding of the development of the Southern Style has been based on systematically excavated floral evidence from Rhitsona (Ancient Mykalessos) and the Thespian Polyandrion and random vases from the Skhimatari Museum. Previous research incorrectly identified Tanagra as the primary source of Southern Floral Ware with little regard for Thebes as an important producer. Newly discovered ceramic evidence from four Theban cemeteries now indicates that Thebes was in fact a major producer of Floral Ware. The excavations have brought to light new floral groups and have provided evidence which indicates that vases previously identified as Tanagran or Euboian are more likely to be Theban. / This dissertation chronicles the morphological and iconographical development of the Southern Floral Style according to the systematically excavated floral vases from Rhitsona and the Thespian Polyandrion. Rim and base profiles from the Thespian Polyandrion, Thebes and Haliartos are classified and floral motifs from datable contexts are assigned to types. The evidence indicates that it is the overall shape of the vase and the decorative details within the compositions, rather than a specific rim or base type or compositional layout that identifies regional differences, if any. Newly excavated vases from Haliartos are presented not only to provide a contrast for the Southern Style Floral Ware, particularly in terms of their shape, but also in order to establish a bridge between this dissertation and any future studies of the Northern Style Floral Ware.

MPhil University College London, 2004. / Includes bibliographical references (p. [211]-240) and indexes.

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