The Early Pottery of Greece

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The Early Pottery of Greece

The Importance of Athens.

Athens was relatively unimportant in the Mycenaean period, but after the collapse of the Mycenaean world, it dominated the Geometric Period that followed. Sites from the century following 1200 b.c.e. show destruction by fire all over Greece and, for that matter, the Aegean world, but Athens survived. Athenian traditions told that Athens was attacked by the Dorians—a group of Greek people speaking the Dorian dialect—and in the struggle, the last king of Athens, Codrus, sacrificed his life to save the city. Athens and her territory, Attica, remained unconquered and offered a refuge for other dispossessed Greeks. The evidence of Athenian pottery during this period is particularly important, for not only is it the only evidence for the visual arts during the "Dark Ages" that followed Mycenae's collapse, but it contributes a major body of evidence about the period's history. In the Kerameikos cemetery—that is, the cemetery in the Potters' Quarter in Athens—there is an unbroken series of burials from the end of the Mycenaean age into the classical period, and the pottery found in these burials allows scholars to document pottery decoration from sub-Mycenaean to Geometric.

Movement from Sub-Mycenaean to Geometric.

The sub-Mycenaean pottery from the immediate aftermath of the catastrophe ending the Bronze-Age civilization is similar to the Granary Style found at Mycenae. It bears signs of culture shock, as the potters adjusted to the collapse of the civilization they once knew. Simple Mycenaean patterns remembered from the past are repeated as if by rote. By about 1050 b.c.e., however, a new spirit emerged with a generation that never knew the Mycenaean world at first hand. The first stages of a new style of pottery appear which is labelled "Protogeometric" or "Early Geometric." Vases were made once again on the fast wheel and fired at higher temperatures. The feature that gave the style its name, "Protogeometric," is the type of decoration that the potters used on their ware: lines, circles, and, as time went on, intricate geometric patterns. Protogeometric artists employed a black background with light-ground stripes around the neck or the belly of the vase, or alternatively, a light background with geometric designs such as concentric circles, wavy lines, or checker-board patterns. The vase painters used compasses to draw concentric half-circles. The technique of producing the fine black gloss from the Bronze Age was not forgotten; it is used to cover more of the surface of the vase.

Geometric Pottery.

About 850 b.c.e., the pottery artists moved into the so-called Middle Geometric Period with new and more complex geometric designs. Vases have bands of zigzags, triangle-patterns and meander designs that cover the whole surface of the vase. The patterns used by the Middle Geometric artist seem to owe their inspiration to basket weaving. During this period, the most dramatic change occurred with the introduction of figures, first of animals and then suddenly around 770 b.c.e., human figures. The spirit of these new vases is still geometric as the figures are still marshaled in orderly rows. But there is an effort to depict a scene. In one large vase made in Athens about 750 b.c.e., a central band across the belly of the vase shows a woman's corpse laid out on a bier, and on either side, rows of women with their hands clasped over their heads in a ritual gesture of mourning. The rest of the vase is completely filled with geometric patterns marshaled in concentric circles. This vase, which stands about one and a half meters (five feet) high, was a grave marker, placed on top of a woman's grave and partially buried. Another vase made in Athens about the same time shows a war galley with rows of oarsmen. A man is about to embark, and as he does, he turns and clasps a woman standing behind him by the wrist. The man is portrayed with a very slender waist and heavily-muscled thighs, and he grasps the woman's wrist as if he is trying to drag her with him into the ship. Clearly the vase is telling a story, perhaps from Greek mythology, as one of the first examples of narrative art.

Corinthian Pottery.

Vases ornamented with geometric figures were popular among Athenian potters, but this was not the case everywhere in Greece. In Corinth, the potters preferred linear designs coupled with fine craftsmanship, using the local buff-colored clay that is still found there. A new style of vase painting appeared in the early seventh century b.c.e., at the same time as Corinth became a major exporter of pottery to Sicily and Italy: the Corinthian potters began to decorate their vases with figures and motifs that show Eastern influence. The images were more frequently done in outline rather than in silhouette as had been the case in Geometric, but the artists also started to experiment with a new technique they borrowed from metalworking; they made images in solid black paint and drew in details by graving the surface of the paint with a sharp stylus so that the buff clay beneath it became visible. By about 720 b.c.e., this technique developed into the Corinthian black-figure style, with images in solid black, and details engraved with incised lines. Parts of the figures were sometimes highlighted with purplish-red paint. The subjects that the vase paintings depicted were geared to the taste of the market. Battle scenes reflected a time of civil strife in many of the Greek city-states as the old aristocracies which had once dominated the government faced a changed political situation that they would no longer control. There were also many oriental motifs, such as friezes of animals such as wild boars, wild goats, dogs, lions, and griffins, marshaled in rows, that reflected the growing commerce with the Near East. The inspiration was Asian, particularly from Mesopotamia. The Corinthian potters aimed to please their markets, and Corinthian pottery in this period reached Syria, Asia Minor, and Egypt, where the Greeks had a trading center at Naucratis on the Nile Delta. In Sicily and southern Italy, Corinth was the major player in the pottery export market until the middle of the sixth century b.c.e., when products from Athens suddenly became popular. Yet the Corinthian potters did not retreat from the market in Italy and Sicily without a struggle. There is a remarkable krater, or mixing-bowl for wine—the Greeks drank their wine mixed with water—found at Cerveteri in Italy north of Rome, which was the old Etruscan city of Caere. It shows how the Corinthian potters tried to adapt their art to counter the new taste for Athenian pottery in the Etruscan market. A tinge of red ochre had been added to the buff Corinthian clay to make it look more like Athenian clay. There is a familiar frieze of animals, lions, and antelopes in black and dark purple. But on the belly of the vase, the artist attempted a polychrome effect: a married couple is shown setting out on a chariot, with attendants and well-wishers standing around. Men are done in black-figure and a white wash is used for the flesh of women—that is by now conventional—but the horses are also white, and the cloaks of both the men and the women are purple. This is an example of innovative vase painting, but it did not secure the Etruscan market for Corinth.