The Importance Of Soil And Evaluation Of Taxonomic Evidence

Introduction Using an object centred approach this narrative will attempt to go beyond the subject’s simple classification of a ‘red-figured Stamnos (The British Museum, n.d)’. Analysis of function, status and meaning of this Stamnos provide evidence of how it has changed over time. This is further achieved by examining the production, consumption and afterlife of ‘Attic pottery (Hughes et al., 2014, p.60)’. Production To begin, an intrinsic measure of soil and evaluation of taxonomic evidence identifies this Stamnos as between 450BC-440BC of Athenian provenance. Raw material excavated from a clay bed then transported to the ‘Kerameikos (Wiley Online Library, 2012)’ became divided into component quantities. For decoration a portion†¦show more content†¦Attic vases gained their distinctive red and black colours from this method of firing, presenting a genre known as ‘red figure painting (Hughes et al., 2014, p.92)’. Consequently, in black figure painting the colours are reversed. Often, the addition of White paint distinguished females, who were otherwise underrepresented in often misogynistic evidence from ancient Greek literature. Consumption Meanwhile, assiduous ‘ethnography (Harrison et al., 2014, p.14)’ provides evidence of the consumption habits of Ancient Greeks. High end pottery, designed to promote the owners status, included the addition of precious metals. Society’s elite paradigm of leisure included boisterous ‘drinking games (Hughes et al., 2014, p.92)’. This Stamnos functioned as a vessel for mixing wine enjoyed by heavy drinking Greeks who seldom enjoyed their wine ‘neat’. The average Ancient Greek pursuing a life of temperance regarded Attic pottery as affordable, functional, ‘multipurpose containers for everyday domestic use (Hughes et al., 2014, p.92)’. Proclivities towards Attic pottery, ‘particularly through marriage and funeral ceremonies (Hughes et al., 2014, p.92)’ maintained the Ancient Greek’s piety. Mythical narratives within Attic pottery appealed greatly not only to modern collectors but to Romans and Etruscans befor e them. An example of this appears on this Stamnos, in the form of the iconography upon the warrior’s shield.