The iconography of Attic Late Geometric II pottery
The thesis is an attempt to view the iconography of Attic vase-painting of the Late Geometric II period, in relation to the previous Late Geometric I period as well as the ensuing Early Protoattic and to establish and interpret the origin and meaning of the various iconographic themes. The main body of the work begins with a detailed look at those iconographic representations which are found in both Late Geometric I and Late Geometric II. The purely decorative animal representations such as goats, deer and horses are studied first, while the more complex narrative scenes such as prothesis and chariot representations follow. Chapter II deals only with the Late Geometric II innovations, for example riders, man and lions, as well as animals, grazing horses, bulls, dogs and fantastic animals such as centaurs, sphinxes and winged goats. In chapter III, three different workshops are studied, each one distinguished for its predilection for specific iconographic themes, such as hunting, cult scenes and the various schemes of man with horses and horses with tripods. In all three chapters the iconography of other areas of the Greek world especially Euboea, Boeotia, Argos and Crete is drawn for comparison and the possible
Rombos, Theodora
Archaeology
The iconography of Attic Late Geometric II pottery. The thesis is an attempt to view the iconography of Attic vase-painting of the Late Geometric II period, in relation to the previous Late Geometric I period as well as the ensuing Early Protoattic and to establish and interpret the origin and meaning of the various iconographic themes. The main body of the work begins with a detailed look at those iconographic representations which are found in both Late Geometric I and Late Geometric II. The purely decorative animal representations such as goats, deer and horses are studied first, while the more complex narrative scenes such as prothesis and chariot representations follow. Chapter II deals only with the Late Geometric II innovations, for example riders, man and lions, as well as animals, grazing horses, bulls, dogs and fantastic animals such as centaurs, sphinxes and winged goats. In chapter III, three different workshops are studied, each one distinguished for its predilection for specific iconographic themes, such as hunting, cult scenes and the various schemes of man with horses and horses with tripods. In all three chapters the iconography of other areas of the Greek world especially Euboea, Boeotia, Argos and Crete is drawn for comparison and the possible
iconography attic late geometric pottery attempt view iconography attic vase painting late geometric period relation previous late geometric period well ensue early establish interpret origin mean various iconographic theme main_body work begin detailed_look iconographic representation find late geometric late geometric purely decorative animal representation goat deer horse study first complex narrative scene chariot representation follow deal late geometric innovation example rider man well animal horse bull dog animal wing goat iii three_different workshop study one_distinguish predilection specific iconographic theme hunting cult scene various scheme man horse horse iconography area greek_world especially euboea crete drawn comparison possible