Submycenaean pottery is a style of ancient Greek pottery. It is transitional between the preceding Mycenaean pottery and the subsequent styles of Greek vase painting, especially the Protogeometric style. The vases date to between 1030 and 1000 BC.
Submycenaean pottery is not very well researched, as only few sites from the period have been discovered so far. The style was first recognised in 1939 by Wilhelm Kraiker and Karl Kübler, based on finds from the Kerameikos and Pompeion cemeteries in Athens and on Salamis. The existence of the style remained disputed among archaeologists until later discoveries in Mycenae clearly showed the existence of separate Late Mycenaean and Submycenaean strata.[ citation needed ]
Submycenaean pottery occurs primarily in contexts such as inhumations and stone-built cist graves. Find locations are widely distributed, suggesting a settlement pattern of hamlets and villages. Apart from the sites mentioned above, Submycenaean pottery is known from locations such as Corinth, Asine, Kalapodi, Lefkandi and Tiryns.
The quality of the vases varies widely. Only few shapes were produced, especially stirrup jars with a pierced shoulder, belly amphorae and neck amphorae, lekythoi as well as jars, some with trefoil-shaped mouths. By the end of the Submycenaean period, the stirrup jar was replaced by the lekythos. Submycenaean decoration is rather simple, the hand-painted motifs are limited to horizontal or vertical wavy lines, single or double hatched and overlapping triangles, as well as single or multiple concentric semicircles. The shoulders of lekythoi, amphorae and stirrup jars bore ornamental decoration. Amphorae, amphoriskoi and jugs were usually painted with one or several thick wavy lines. In general, the style was much shorter and less carefully made than the previous types of pottery, leading one art historian to describe it as "rather unloveable". 
Ancient Greek pottery, due to its relative durability, comprises a large part of the archaeological record of ancient Greece, and since there is so much of it, it has exerted a disproportionately large influence on our understanding of Greek society. The shards of pots discarded or buried in the 1st millennium BC are still the best guide available to understand the customary life and mind of the ancient Greeks. There were several vessels produced locally for everyday and kitchen use, yet finer pottery from regions such as Attica was imported by other civilizations throughout the Mediterranean, such as the Etruscans in Italy. There were a multitude of specific regional varieties, such as the South Italian ancient Greek pottery.
Red-figure vase painting is one of the most important styles of figural Greek vase painting.
Aegean art is art that was created in the lands surrounding, and the islands within, the Aegean Sea during the Bronze Age, that is, until the 11th century BC, before Ancient Greek art. Because is it mostly found in the territory of modern Greece, it is sometimes called Greek Bronze Age art, though it includes not just the art of the Mycenaean Greeks, but also that of the non-Greek Cycladic and Minoan cultures, which converged over time.
A lekythos is a type of ancient Greek vessel used for storing oil, especially olive oil. It has a narrow body and one handle attached to the neck of the vessel, and is thus a narrow type of jug, with no pouring lip; the oinochoe is more like a modern jug. In the "shoulder" and "cylindrical" types which became the most common, especially the latter, the sides of the body are usually vertical by the shoulder, and there is then a sharp change of direction as the neck curves in; the base and lip are normally prominent and flared. However, there are a number of varieties, and the word seems to have been used even more widely in ancient times than by modern archeologists. They are normally in pottery, but there are also carved stone examples.
Minoan pottery has been used as a tool for dating the mute Minoan civilization. Its restless sequence of quirky maturing artistic styles reveals something of Minoan patrons' pleasure in novelty while they assist archaeologists in assigning relative dates to the strata of their sites. Pots that contained oils and ointments, exported from 18th century BC Crete, have been found at sites through the Aegean islands and mainland Greece, on Cyprus, along coastal Syria and in Egypt, showing the wide trading contacts of the Minoans.
White-ground technique is a style of white ancient Greek pottery and the painting in which figures appear on a white background. It developed in the region of Attica, dated to about 500 BC. It was especially associated with vases made for ritual and funerary use, if only because the painted surface was more fragile than in the other main techniques of black-figure and red-figure vase painting. Nevertheless, a wide range of subjects are depicted.
Geometric art is a phase of Greek art, characterized largely by geometric motifs in vase painting, that flourished towards the end of the Greek Dark Ages, c. 900–700 BC. Its center was in Athens, and from there the style spread among the trading cities of the Aegean. The Greek Dark Ages lasted from c. 1100 to 750 BC and include two periods, the Protogeometric period and the Geometric period, in reference to the characteristic pottery style. The vases had various uses or purposes within Greek society, including, but not limited to, funerary vases and symposium vases.
The pottery of ancient Greece has a long history and the form of Greek vase shapes has had a continuous evolution from Minoan pottery down to the Hellenistic period. As Gisela Richter puts it, the forms of these vases find their "happiest expression" in the 5th and 6th centuries BC, yet it has been possible to date vases thanks to the variation in a form’s shape over time, a fact particularly useful when dating unpainted or plain black-gloss ware.
Pottery and ceramics have been produced in the Levant since prehistoric times.
Minyan ware is a broad archaeological term describing varieties of a particular style of Aegean burnished pottery associated with the Middle Helladic period. The term was coined in the 19th century by German archaeologist Heinrich Schliemann after discovering the pottery in Orchomenos, Greece. Excavations conducted during the 1960s confirmed that Minyan ware evolved from the burnished pottery developed by the Tiryns culture of the Early Helladic III period.
Apulian vase painting was a regional style of South Italian vase painting from ancient Apulia. It comprises geometric pottery and red-figure pottery.
Mycenaean pottery is the pottery tradition associated with the Mycenaean period in Ancient Greece. It encompassed a variety of styles and forms including the stirrup jar. The term "Mycenaean" comes from the site Mycenae, and was first applied by Heinrich Schliemann.
A stirrup jar is a type of pot associated with the culture of Mycenaean Greece. They have small squat bodies, a pouring spout, and a second nonfunctioning spout over which the handles connect like a stirrup. During the Late Bronze Age, they were used in the export of oils, and are found in large numbers at sites around the Eastern Mediterranean and beyond. The term "stirrup-jar" is a translation of German "Bügelkanne", the name assigned to them by Heinrich Schliemann who found the first instances during his excavations at Troy.
Minoan art is the art produced by the Bronze Age Aegean Minoan civilization from about 3000 to 1100 BC, though the most extensive and finest survivals come from approximately 2300 to 1400 BC. It forms part of the wider grouping of Aegean art, and in later periods came for a time to have a dominant influence over Cycladic art. Since wood and textiles have decomposed, the best-preserved surviving examples of Minoan art are its pottery, palace architecture, small sculptures in various materials, jewellery, metal vessels, and intricately-carved seals.
The Leagros Group was a group of Attic black-figure vase painters active during the last two decades of the 6th century BC. The name given to the group by modern scholars is a conventional one, derived from a series of name vases.
Euboean vase painting was a regional style of ancient Greek vase painting, prevalent on the island of Euboea.
East Greek vase painting was a regional style of ancient Greek vase painting, produced by the eastern Greeks. In spite of the region's wealth, the pottery was rather unremarkable in comparison to other areas. The clay is red-brown to pink and often contains mica inclusions. Many regional sub-styles of East Greek pottery existed.
The Archaeological Museum of Chora is a museum in Chora, Messenia, in southern Greece, whose collections focus on the Mycenaean civilization, particularly from the excavations at the Palace of Nestor and other regions of Messenia. The museum was founded in 1969 by the Greek Archaeological Service under the auspices of the Ephorate of Antiquities of Olympia. At the time, the latter included in its jurisdiction the larger part of Messenia.
The theme of death within ancient Greek art has continued from the Early Bronze Age all the way through to the Hellenistic period. The Greeks used architecture, pottery, and funerary objects as different mediums through which to portray death. These depictions include mythical deaths, deaths of historical figures, and commemorations of those who died in war. This page includes various examples of the different types of mediums in which death is presented in Greek art.
The Dipylon Amphora is a large Ancient Greek painted vase, made around 750 BC, and is now held by the National Archaeological Museum, Athens. Discovered at the Dipylon cemetery, this stylistic vessel belonging to the Geometric period is credited to an unknown artist: the Dipylon Master. The amphora is covered entirely in ornamental and geometric patterns, as well as human figures and animal-filled motifs. It is also structurally precise, being that it is as tall as it is wide. These decorations use up every inch of space, and are painted on using the black-figure technique to create the silhouetted shapes. Inspiration for the Greek vase derived not only from its intended purpose as a funerary vessel, but also from artistic remnants of Mycenaean civilization prior to its collapse around 1100 BC. The Dipylon Amphora signifies the passing of an aristocratic woman, who is illustrated along with the procession of her funeral consisting of mourning family and friends situated along the belly of the vase. The woman's nobility and status is further emphasized by the plethora of detail and characterized animals, all which remain in bands circling the neck and belly of the amphora.
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