Ceramic Artwork in Ancient Greece - Essay Example

?Ceramic Artwork in Ancient Greece Mosaics back nearly 4,000 years with the use of terracotta cones in the ground for decorative purposes. By 800 B.C. civilizations were implementing mosaics in pavement. Even as the history of mosaics dates back thousands of years, the ancient Greeks are recognized as the first who raised the form to an art. In these regards, they were oftentimes combined with ceramics in the creation of compelling and functional art forms (‘The History’). Indeed, the nature of ceramics also constitutes a significant element in terms of art in Greek antiquity. Indeed, while ceramics constituted a significant functional category within Greek art, as their durability was conducive to ancient life, they also came to be recognized for their art and design. This essay considers the nature of ceramic artworks in ancient Greece and provides insight into how they affect our world today. While ancient Greek ceramic artwork is perhaps most prominently associated with the periods Greek culture experienced the greatest intellectual and political prominence on the world stage, in reality it dates back to as early as 1050 B.C. This stylistic period is referred to as the protogeometrical period, as the ceramic artworks lack the clearly defined geometrical patterns that later artworks would take on (Jones 1985). Even as these ceramics appear crude in comparison to later designs and appear in the Greek ‘dark ages’, there is nevertheless a sort of raw charm to their design structure. Rather than developed pictures and narrative depictions, the designs during this period represent wavy line patterns, and various shapes. While today they are recognized as perhaps the earliest of the major form of Greek ceramic art work the linear and shape design patterns have a timeless quality that gives them perhaps the most contemporary design relevance. By the 9th century B.C Greek ceramic artwork moved into the geometric period. Just as the protogeometrical period had been defined as it lacked developed geometrical craftsmanship, the geometrical period experienced more structurally advanced ceramic form (Jones 1985). The era also witnesses an explosion of Greek art in other forms, with ceramics only representing one particular aspect of Greek expression. This era also witnessed a more uniquely Greek form of ceramic expression. While in large part the protogeometric period expressed Minoan influences, the geometrical period was uniquely Greek in form (Stefan 1977). In terms of tangible designs, this era witnessed more developed and stylistic triangular shapes and models, with less emphasis on linearity that the protogeomtric period advanced. During the middle geometrical period human figures behan to appear on the ceramics. This represents a significant moment in Greek culture as it constitutes the beginning of a mythology that is still recognized by contemporary scholars. Ultimately, This is relevant for a contemporary audience as it demonstrates a path of cultural articulation that can perhaps be located within modern day Western mythological expressions (one thinks of politicians being featured on currency as a major example). This predominant form of ceramic artistic expression continued until the 7th century when the Orientalizing period took hold in Greek forms of expression. As one might surmise, this period was considerable influenced by Asian forms of expression. Still, predominant Greek mythological forms were expressed. This period is perhaps unique as it hybridizes Greek art, including Eastern forms of palmettos and lily’s, along with traditional Greek warrior figures. In addition to being a more advanced and seemingly narrative driven artistic style, the period also demonstrated an increased recognition of the work of individual artists; this is not because of a sort of glorification of the artist, but rather due to scholars being able to identify the creations of individual artists because of the more developed ceramic forms. In terms of the contemporary world, one notes that as this ceramic artwork developed it moved away from linear and shape forms of expression, towards specific human and mythological depictions, to finally narrative actions of these figures. While it is premature to indicate this is an overriding pattern of all forms of developing artwork, it is notable to consider in regards to such contemporary forms as new media or ‘internet art’. Perhaps what can be understood as the height of Greek art and ceramics occurs between the 6th and 4th century B.C. While assuming a variety of stylistic designations – black-figure pottery, red-figure pottery – this period contains some of the most iconic works of Greek ceramic art. The iconic black figure ceramic art is perhaps the most iconic of Greek ceramic art. This form of expression was derived from Corinthinian methods and later spread to other major Greek cities (Beazley 1956). This method allowed for detailed portraiture of both human and animal figures, constituting extremely powerful forms of ceramic expression. Among the prominent artists during this period include Exekias and Amasis Painter (Beazley 1956). By 500 B.C. red-figure ceramic art began to emerge. Red-figure ceramic art was an Athenian invention. This form of expression was similar to black-figure, except its expressive possibilities were more pronounced, allowing for greater levels of perspective and detail to emerge. This art increasingly adorned Greek vases and included as its subject matter mythological concerns, as well as more prosaic day-to-day recreations of Greek daily life. In terms of artistic expression, these centuries of Greek ceramic art are also relevant as they significant artistic patterns emerge. Whereas only broad stylistic trends had existed, the artistic forms that emerged in ceramic art during this period more closely resembles 19th and 20th century schools of painting. The final technique that emerged during this period was the white-ground technique. This technique was differentiated from the previous two figure techniques as it allowed the artists to implement actual paints upon the ceramic surface rather than implementing firing techniques (Robinson 1992). While the earlier figures allowed for a greater degree of specialization, white figure art is notable as it permitted greater coloration among the ceramic artifacts. In large part this art remains relevant to a contemporary audience both for its well-skilled and elaborate artistry, as well as the clues it provides to prevailing Greek mythology, history, and daily life. From this period on Greek ceramic art would experience significant decline, as Greek culture gradually was overtaken by the Roman prominence. While the Hellenistic period would produce a variety of ceramic art forms, they were in-large part derivative of these earlier forms of expression. In conclusion, this essay has considered the nature of ancient Greek ceramics. It has demonstrated that as early a 1000 B.C. Greek culture demonstrate considerable artistry in terms of ceramic craftsmanship. The essay went on the considerable the evolution of ancient Greek ceramic art through a variety of styles and periods throughout the height of Greek cultural influence. These periods included the protogeometrical, the geometrical, orientalist, and then the black, red, and white figure periods. While broadly classified by the level of complexity and form there ceramic art took, they these periods also represent artistic changes in modes of expression. While the pervading theme of Greek mythology and daily life adorns all post-protogeometrical ceramic art, different periods witnessed increased emphasis on outside influences (orientalist), or increased emphasis on detailed craftsmanship (red-figure). Ultimately, the essay argues that this ceramic art forms maintain contemporary relevance both for their exquisite design and artistry, as well as for the considerable insight they provide into the historical nature of Greek culture, and the evolving nature of an art form. References Beazley, John. (1956) Attic Black-Figure Vase Painters, Oxford: Oxford University Press, ‘The History of Mosaic Art’ The Joy of Shards. http://www.thejoyofshards.co.uk/history/index.shtml Jones, Richard E. (1985) Greek and Cypriot Pottery: A Review of Scientific Studies. Athens. Robinson, Martin. (1992) The Art of Vase-Painting in Classical Athens, Cambridge, Stefan, Eric. (1977) Greek Art and Architecture. Oxford: Oxford University Press. Read More