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[2] [8] On the neck are two elephant heads forming two handles. Originally, the vases had porcelain rings suspended from the handles. [4] There are a few small differences in decorations between the two vases, for example, the mouth of the dragon is closed in one but open in the other. [2]
The hydriai have a height of 40 to 45 cm. Attached to the body are off-set widely swaying necks; the body itself features broad shoulders. Low ring-bases shaped like upturned chalices are attached at the bottom. The technical quality of the vases is rather low. Many are warped or show signs of bad firing.
The word was also used to describe ceramic vases designed in the shape of the calathus basket, which is the usual application in archaeology, since vases have survived while baskets have not. [4] [5] The calathus usually had a narrow base and a flared top. The decoration on some of the ceramic calathi is taken to imitate the woven texture of a ...
The Pontic Group (or Pontic vases) is a sub-style of Etruscan black-figure vase painting. Diomedes and Polyxena, Pontic amphora by the Silenus Painter, circa 540/30 BC. Paris:Louvre. Stylistically, Pontic vases are very closely related to Ionic vase painting. It is assumed, that the vases were produced in Etruria by craftsmen who had emigrated ...
The Kerch style / ˈ k ɜːr tʃ /, also referred to as Kerch vases, is an archaeological term describing vases from the final phase of Attic red-figure pottery production. Their exact chronology remains problematic, but they are generally assumed to have been produced roughly between 375 and 330/20 BC.
The horizontal handles were pulled from balls of clay which were then attached below the shoulder on the hydria. [7] The handles were cylindrical and upturned. The vertical handle was also pulled from a ball of clay but it was centre-ridged and oval shaped. [7] It was attached at the lip and shoulder of the hydria. [7]
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