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Ancient Greek Pottery
Why is Greek pottery significant?
Who made them?
What stories did they tell about Ancient Greek life?
What were these vessels used for?
How were they made?
What do we use pottery for today?
Ath
en
ian P
otte
ry
Greek pottery became
a valuable tool to study
Greek history as Greek
paintings and structures
did not survive as well
as ancient Greek
pottery. The paintings
on Greek pottery have
provided the majority of
what we know about
ancient Greek life and
art.
Significance
Potters &
Painters
Black Figure
White-ground
Red figure
Pottery
Techniques
Bla
ck F
igu
re
Re
d F
igu
re
Wh
iteG
rou
nd
Vid
eo
Lin
k
Making Greek Vases
Design
Ge
om
etric
Pe
riod
(850-7
00 B
C) Orientalizing phase
Meander “Greek Key”
Orientalizing Phase (700-600
BC)
Arc
haic
Perio
d(6
50
-480 B
C)
Cla
ssic
Pe
riod
(70
0-6
00
BC
)
Scenes
& Stories
The
Francois
Vase
Vases were mostly functional, made to be
used, not just admired. They were used in
every aspect of daily life: for storage,
carrying, mixing, serving, drinking and as
cosmetic and perfume containers.
The shape and size of the pot offered a
common sense guide to its use, with the
larger pots used to carry and store more
common liquids needed in large quantities,
and smaller vessels to hold rarer or more
costly substances used in smaller
quantities. Narrow necked pots held liquids
to be poured in a slow stream, and wide
neck for mixing and more rapid pouring.
Also the décor on the pot often provided
clues to it’s use. For example make up
containers often had scenes or women
holding mirrors.
Amphora
Krater
Oinochoe
Hydria
Kylix
Stamnos
Kantharos
Loutrophoros
Lekythos
Alabastron
Greek Columns
Doric
IONIC
Corinthian
Project
Draw figures and designs. Color in black marker. Accent with red.
Add
column
ODE ON A GRECIAN URN
By John Keats
Thou still unravished bride of quietness, Thou foster
child of silence and slow time, Sylvan historian, who canst
thus express A flowery tale more sweetly than our
rhyme: What leaf-fringed legend haunts about thy shape
Of deities or mortals, or of both, In Tempe or the
dales of Arcady? What men or gods are these? What
maidens loath? What mad pursuit? What struggle to
escape? What pipes and timbrels? What wild ecstasy?
Heard melodies are sweet, but those unheard Are
sweeter; therefore, ye soft pipes, play on; Not to the sensual
ear, but, more endeared, Pipe to the spirit ditties of no
tone. Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss, Though
winning near the goal---yet, do not grieve; She cannot
fade, though thou hast not thy bliss Forever wilt thou
love, and she be fair!
Ah, happy, happy boughs! that cannot shed Your leaves,
nor ever bid the Spring adieu; And, happy melodist,
unwearied, Forever piping songs forever new;
A burning forehead, and a parching tongue.
Who are these coming to the sacrifice? To what green
altar, O mysterious priest, Lead'st thou that heifer lowing at
the skies, And all her silken flanks with garlands
dressed? What little town by river or sea shore, Or
mountain-built with peaceful citadel, Is emptied of
this folk, this pious morn? And, little town, thy streets for
evermore Will silent be; and not a soul to tell
Why thou art desolate, can e'er return.
O Attic shape! Fair attitude! with brede Of marble men
and maidens overwrought, With forest branches and the
trodden weed; Thou, silent form, dost tease us out of
thought As doth eternity. Cold Pastoral! When old age
shall this generation waste, Thou shall remain, in
midst of other woe Than ours, a friend to man, to whom
thou say’’st, "Beauty is truth, truth beauty"---that is all
Ye know on earth, and all ye need to know.
