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The fragments of these large funerary vases show mainly processions of chariots or warriors or of the funerary scenes: πρόθεσις (prothesis; exposure and lamentation of dead) or ἐκφορά (ekphora; transport of the coffin to the cemetery). The bodies are represented in a geometrical way except for the calves, which are rather ...
The dead man was the host, and this feast was a sign of gratitude towards those who took part in burying him. The family would then be tasked with visiting the grave at set intervals up to a year to continue libations and rituals. Mainly the women in the family were expected to visit the grave. After the first year, annual visits would be expected.
Every-day vases were often not painted, but wealthy Greeks could afford luxuriously painted ones. Funerary vases on male graves might have themes of military prowess, or athletics. However, allusions to death in Greek tragedies was a popular motif. Famous centers of vase styles include Corinth, Lakonia, Ionia, South Italy, and Athens. [1]
Excavation of Reihengräber close to Sasbach am Rhein, dating to the 6th/7th century CE. The Reihengräber culture (translated from German as Row grave culture) is an archaeological culture that refers to the burial practice of regularly arranged, identically oriented inhumation graves between the mid-fifth and early-eighth century in central and western Europe. [1]
Also, in a 2001 study on an Iron Age cemetery in Pontecagnano Faiano, Italy, a correlation was found between the quality of grave goods and Forensic indicators on the skeletons, showing that skeletons in wealthy tombs tended to show substantially less evidence of biological stress during adulthood, with fewer broken bones or signs of hard labor ...
The characters are noble and beautiful, but absorbed without affection for the object at which they direct their gaze (presumably a piece of jewelry). However, Buitron-Oliver [ 7 ] notes that the highly idealized figures on the Parthenon frieze gave way to more realistic drapery around 400 BCE, as seen in the Hegeso relief.
It was found in the second grave of the Mycenaean cemetery at Prosymna, near Argos. [ 1 ] It is a three-handled amphora , which belongs to the category of the so-called Palace amphorae, which arrived in the Greek mainland in the Late Helladic II and was heavily influenced by Minoan palace amphorae. [ 2 ]
The Dipylon Master was an ancient Greek vase painter who was active from around 760–750 BC. He worked in Athens, where he and his workshop produced large funerary vessels for those interred in the Dipylon Gate cemetery, whence his name comes. His work belongs to the very late stage of the Geometric Style.
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