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Wolfram Hoepfner (born 16 March 1937, in Breslau) is a German classicist, archaeologist, architectural historian, and Professor of Ancient Architectural History, at the Free University of Berlin. [1]
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He studied at the Free University of Berlin, and at Technische Universität Berlin, in Classical Archaeology and architecture. In 1965, he received his doctorate on the subject of Heraclea Pontica. He received his Dr.-Ing. 's degree, with the thesis, Eine baugeschichtliche Untersuchung. He then became assistant to Heinrich Ernst. He participated in excavations in Alzey, under the direction of Wilhelm Unverzagt, in the Kerameikos in Athens ( Dieter Oly and Gottfried Gruben ), in Persia ( Heinz Luschey ), Bithynia and in Commagene (Friedrich Karl Dörner). In 1965 to 1966, he was a year travel scholarship of the German Archaeological Institute (DAI). For the DAI in 1966, he was also active in the department in Athens. From 1973, he was head of the newly established Office of Architecture at the headquarters of the German Archaeological Institute in Berlin and the second director of the DAI office. In 1975, he earned habilitation at the TU Berlin, and was appointed a professor there in 1980. In 1988, he was appointed Professor of Ancient Architectural History, at the Free University Berlin. He retired in the winter semester of 2001 to 2002.
He led excavations for ordinary members of the DAI to Greece and Asia Minor. He headed the excavations in Kassope, with Ernst-Ludwig Schwandner, Sotiris Dakaris and K. Gravani . With Schwandner, he also heads the research project "Living in the classical polis." Hoepfner is considered an expert on the architecture of the Late Classic, particularly academic buildings, for the late Hellenistic architecture and the topography of ancient Rhodes.
Greek temples were structures built to house deity statues within Greek sanctuaries in ancient Greek religion. The temple interiors did not serve as meeting places, since the sacrifices and rituals dedicated to the respective ouranic deity took place outside them, within the wider precinct of the sanctuary, which might be large. Temples were frequently used to store votive offerings. They are the most important and most widespread surviving building type in Greek architecture. In the Hellenistic kingdoms of Southwest Asia and of North Africa, buildings erected to fulfill the functions of a temple often continued to follow the local traditions. Even where a Greek influence is visible, such structures are not normally considered as Greek temples. This applies, for example, to the Graeco-Parthian and Bactrian temples, or to the Ptolemaic examples, which follow Egyptian tradition. Most Greek temples were oriented astronomically.
iDAI.objects arachne is the central object-database of the German Archaeological Institute (DAI) and the Cologne Digital Archaeology Laboratory (CoDArchLab) at the University of Cologne.
Eduard Julius Theodor Julius Friedländer was a German numismatist.
Ernst-Ludwig Schwandner was a German architectural historian and classical archaeologist.
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Edmund Buchner was a German ancient historian and former President of the German Archaeological Institute.
The Jena Painter was an ancient Greek vase painter, active in Athens around 400 BC. He mainly painted kylikes in the red-figure technique. His stylistic and chronological place was first determined by the British Classical archaeologist, John D. Beazley. Beazley chose the conventional name "Jena Painter" because a large proportion of the artist's surviving works were in the possession of Jena University. The majority of his 91 known vessels were discovered in the Kerameikos, the potters' quarter of ancient Athens, in 1892. Many of his vessels were exported, for example to Etruria and North Africa. The Jena Painter appears to have had two assistants whose work is described as style B and style C. The Jena Painter would paint the internal images of bowls, and the style B assistant their outsides. The work of the style C assistant is known only from, bowl skyphoi and footless bowls. In contrast to his assistants' rather casual drawings, the Jena Painter is distinguished by his fine and careful drawing style and the vividness of his compositions. The Q Painter and the Diomedes Painter worked in the same workshop as the Jena Painter.
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