The Evocation of Cult in Attic Black-Figure Vase-Painting

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dc.contributor.advisor Mackay, A en
dc.contributor.advisor Gray, V en
dc.contributor.author Bissett, Miriam en
dc.date.accessioned 2013-09-25T23:33:41Z en
dc.date.issued 2013 en
dc.identifier.uri http://hdl.handle.net/2292/20771 en
dc.description.abstract This thesis explores how festivals and ritual activity are evoked in black-figure vase-painting. Three gods, Apollo, Dionysos, and Poseidon, were analysed with the aim of ascertaining to what extent and in what ways the cults of the archaic period may have influenced the vase-painters and their construction of the deities. The vases were obtained mostly from the BAPD and the LIMC, grouped in scene-types and evaluated to establish the trends arising in the representation of divinities. The change in the depiction of Apollo from an archer to a kithara player, c.540 BC, prompted a study of the scenes in which the god is represented as a kithara player framed by Leto and Artemis. This particular scene-type arguably encapsulates the most memorable aspects of the Delia festival, and thus can be interpreted as evoking that festival. Scenes which include the god of wine, Dionysos, number in the thousands and the activities surrounding the drinking of wine, often a part of festivals, are frequently represented. Thus the analysis of Dionysian vases encompasses scenes which include the god, satyrs, maenads, komasts, mortal worshippers, or any combination of these. The common factor among these diverse followers of the god is performance, which is often humorous, and so the chapter on Dionysos brings together the evidence from the vases to highlight the elements of humour and performative worship of the god. Poseidon functions as a comparative deity, since despite his position as brother to Zeus in the mythological hierarchy, his festivals are all but non-existent in the city of Athens as far as can be determined from the remaining evidence. This is reflected in his rarity in vase-painting when compared with the gods for whom lavish and spectacular festivals are held. Nevertheless, Poseidon’s position in Athens can be ascertained in part from the vases: he is considered a protector of Attica alongside Athena and his role as safeguarding those at sea is a crucial one. Most importantly, it seems the visual nature of the festivities (processions, performance, and competition) played the most influential role in the vase-painters’ construction of the deities. en
dc.publisher ResearchSpace@Auckland en
dc.relation.ispartof PhD Thesis - University of Auckland en
dc.rights Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. en
dc.rights.uri https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm en
dc.rights.uri http://creativecommons.org/licenses/by-nc-nd/3.0/nz/ en
dc.title The Evocation of Cult in Attic Black-Figure Vase-Painting en
dc.type Thesis en
thesis.degree.grantor The University of Auckland en
thesis.degree.level Doctoral en
thesis.degree.name PhD en
dc.rights.holder Copyright: The Author en
pubs.author-url http://hdl.handle.net/2292/20771 en
dc.rights.accessrights http://purl.org/eprint/accessRights/OpenAccess en
pubs.elements-id 406818 en
pubs.record-created-at-source-date 2013-09-26 en


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