Style and Society in Dark Age Greece: The Changing Face of a by Professor James Whitley
By Professor James Whitley
During this leading edge examine, James Whitley examines the connection among the advance of pot type and social alterations at the hours of darkness Age of Greece (1100-700 BC). He makes a speciality of Athens the place the Protogeometric and Geometric kinds first seemed. He considers pot form and painted ornament essentially with regards to the opposite proper positive factors - steel artefacts, grave structure, funerary rites, and the age and intercourse of the deceased - and in addition takes under consideration assorted contexts during which those shapes and look. a working laptop or computer research of grave assemblages helps his view that pot type is an essential component of the collective representations of Early Athenian society. it's a lens wherein we will specialize in the altering social situations of darkish Age Greece. Dr Whitley's method of the learn of favor demanding situations the various assumptions that have underpinned extra conventional reports of Early Greek paintings.
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Additional resources for Style and Society in Dark Age Greece: The Changing Face of a Pre-literate Society 1100-700 BC
Given that both a tendency to exaggerate one's wealth and the practice of funeral games (which are perhaps depicted on this same vase) are both part of the repertory of the heroic world as we know it from Homer, then, again, some allusion to the heroic cannot be excluded. We should also remember that an interest in a heroic past was evident in many other spheres of life in the late eighth century. This interest manifests itself archaeologically as much in the mainland ofGreece in the founding of shrines (heroa) to heroes known from epic (Cook 1953), in a renewal ofofferings in Mycenaean tombs (Coldstream 1976) and in the imitation of heroic burial customs (Berard 1970), as it does in Ionia in the composition of the poems themselves.
These cannot be called cities in the Near Eastern sense. Only Eretria (Krause 1982) and perhaps Knossos (Hood and Smyth, 1981, 16) were truly urban in character, and these were very much exceptions. It is true that there existed walled nucleated settlements (Old Smyrna, Zagora on Andros), but these were neither large, nor particularly long lived, nor did they become foci of major city states. As for craft specialisation, this had already developed to a high degree in pottery production, textiles, gold-working and metallurgy in general by the ninth century.
It is time to examine the theoretical questions involved in a consideration of the Stilwandel in Greek art in the eighth and seventh centuries BC. Nature, narrative and convention in Geometric art One of the major problems that have exercised the minds of art historians interested in Greek art has been the problem of naturalism: the emergence of something that is recognisably ancestral to Western 'illusionism'. In the ninth century BC most Greek art (that is to say, most pottery and metalworking) is aniconic: non-figurative and nonrepresentational, 'geometric' in more than a typological sense.