VITA ANTIQUA                                                                          ISSN 2522-9419 (Online), 2519-4542 (Print)
Center for Paleoethnological Research
VITA ANTIQUA 16, 2025, Tangible Heritage of Ancient Times : approaches, contexts, interpretations

Iryna Chechulina¹
The Interaction of Metal and Ceramic Ware in Ancient Greek Culture: Technology, Style and Market Aspects
¹Institute of Archaeology of the National Academy of Sciences of Ukraine; Taras Shevchenko National University of Kyiv
¹ORCID: 0000-0003-3783-6277

DOI: 

ABSTRACT

The interaction between ancient Greek metal vessels and Greek ceramic ware is an important aspect of the study of ancient arts and crafts. The metal vases made of bronze, silver and gold produced by ancient Greek craftsmen were not only distinguished by their high craftsmanship, but also had a significant impact on the development of ceramic tableware. The phenomenon of potters imitating Torevtic wares is known not only in Greece, but also in a broader intercultural context, particularly in the Islamic world and China.

Metal vases often served as models for ceramic wares. Potters sought to reproduce the shapes, proportions, and decorative elements of metal vessels in their clay analogues. This was manifested in the use of similar contours and structural elements, for example, in the design of handles, bases and necks of the vessels.

The stylistic elements of metal vases, such as ornaments and motifs, are reflected in the paintings of ceramic ware. The delicate geometric patterns and floral motifs that adorned metal wares were adapted to the technique of ceramic painting. The potters tried to convey the aesthetic value and complexity of metal products through their wares, thus developing new styles and techniques of painting.

The development of technologies and methods for the production of metal vases stimulated technical progress in the manufacture of ceramic ware. The adoption of surface treatment techniques, such as polishing, imitation engraving or the use of fluting, allowed potters to create ware that imitated the shine of metal products.

The socio-economic factor played an important role in this process. Metal vessels were a luxury item available only to the elite, while ceramic analogues allowed a wider audience to join the visual culture of elite objects. Thanks to active trade, Greek ceramics imitating metal spread far beyond Greece, reaching the Northern Black Sea region, Italy, and the Middle East.

Although the main influence was from metal to ceramics, there are cases of the reverse process. Popular ceramic shapes were sometimes reproduced in metal, indicating the interdependence of different craft traditions.

Thus, the interplay between metal vases and ceramic tableware in Ancient Greece is an example of the integration of different craft traditions, which contributed to the development of material culture and art. This process reflects the diversity of the ancient Greek society, where different crafts and artistic trends interacted and mutually enriched, creating unique works that still impress with their perfection and artistic value.

Keywords: ancient Greek metal vessels, ceramic tableware, Greek ceramics, ancient craft, material culture, production technologies.

Lenguage: Ukrainian

ПДФ

Cite us:

Chechulina, I.O. 2025. ancient Greek metal vessels, ceramic tableware, Greek ceramics, ancient craft, material culture, production technologies. VITA ANTIQUA, 16. Tangible Heritage of Ancient Times : approaches, contexts, interpretations.

References:

Andrewes, A., 1991. Greek society. London: Penguin Books.

Boardman, J., 1979. The Athenian pottery trade. The Classical period. Expedition 21, 4, 33-39.

Boardman, J., 1988. Trade in greek decoration pottery. Oxford Journal of Archaeology 7.1, 27-33.

Chechulina, I., 2024. From Athens to Olbia Pontica: the Artistry of Black-Glazed ware. Kyiv: IA NANU.

Coşkun, G., 2011. Achaemenid bowls from Seyitömer Höyük. Olba, 19, 57-79.

Davis, D.L., 2009. Commercial Navigation in the Greek and Roman world. Ph.D. thesis. Faculty of the Graduate School of The University of Texas at Austin.

Furtwängler, A., 1885. Beschreibung der Vasensammlung im Antiquarium. Berlin: Antikensamlung.

Gill, D., 1991. Pots and trade: spacefillers or objects d'art? The Journal of Hellenistic studies, 111, 29-47.

Gill, D., Vickers, M., 1990. Reflected Glory: pottery and precious metal in classical Greece. Jahrbuch des deutschen Archäologisches Instituts, 105, 1-30.

Hayes, J., 1984. Greek and Italian Black-Gloss Wares and Related Wares in the Royal Ontario Museum. Toronto: Royal Ontario Museum.

Kaba, H., 2022. Comparing the Metal Vessel Acquisition Patterns and Trends of the Thracian and Cypriot Elite during the Classical Period. In: Delev, P. (ed.). Ancient Thrace: Myth and Reality. Proceedings of the Thirteenth International Congress of Thracology, 1, 191-206.

Kotitsa, Z., 2012. Metal-coated pottery in Macedonia in Late Classical and Hellenistic period. In: Drougou, S, Touratsoglou, I. (Hrsg.), Topics on Hellenistic pottery in ancient Macedonia, 108-125.

Krauskopf, I., 1984. Terrakotta-imitationen der bronzekannen der form Beazley VI in Athen, Westgriechenland und Etrurien. In: Brijder, H.A. (ed.). Ancient Greek and Related Pottery. Proceedings of the International Vase Symposium. Amsterdam: Allard Pierson Museum, p. 83-87.

MacDonald, B.R., 1981. The Emigration of Potters from Athens in the Late Fifth Century B. C. and Its Effect on the Attic Pottery Industry. American Journal of Archaeology, 85. 2, 159-168.

Moller, A., 2008. Classical Greece: Distribution. In: Scheidel, W. (ed.). The Cambridge economic history of the Greco-Roman world. Cambridge: Cambridge University Press.

Morel, J.-P., 1994. Céramique campanienne: Les formes. Rome: Ecole France.

Mozolevskyi, B.M., 1979. Tovsta Mohyla. Kyiv: Naukova dumka. (in Ukrainian).

Polyn, S.V., 1992. Ot Skyfyy k Sarmatyy. Kyiv: NANU. (in Russian).

Shefton, B., 1998. Metal and Clay: Prototype and Re-creation. Zoffany's "Tribuna" and Lessons from the Malacena Fabric of Hellenistic Volterra (Calyx-krater, Stamnos, Situla and the Achaemenid Rhython). Revue des Etudes Anciennes, 100-3-4, 619-662.

Sideris, A., 2015. Theseus in Thrace: The Silver Lining on the Clouds of the Athenian-Thracian Relations in the 5th Century BC. Sofia: Thrace Foundation.

Sideris, A., 2024. The Vratsa Situla and the Spread of the Palmette Motif. The Apogee of the Triballian Dynasty: The Triballoi and their Neighbours in the Classical and Early Hellenistic Times. Studia Archaeologica Universitatis Serdicensis, Supplementum VII, 49-69.

Skory, S., Khokhorovsky, Y. 2018. Bolshoi Ryzhanovsky Mound. Kyiv: Oleg Filyuk Publisher (in Russian).

Sparkes, B., 1977. Quintain and the Talcott class. Antike Kunst 20.1, 8-25.

Tereshchenko, O.I. 2013a. Antychne torhivelne sudno «Zmiinyi-Patrokl» (sklad produktsii). Archeologia, 3, 69-85.

Tereshchenko, O.I. 2013b. Pidvodno-arkheolohichne doslidzhennia antychnoho torhivelnoho sudna poblyzu o. Zmiinyi u Chornomu mori (polovyi sezon 2011 r.). Archeologia, 2, 64-77.

Themelis, P., Touratsoglou, G., 1997. Οι Ταφοι του Δερβενιου (Oi Tafoi toy Derbenioy). Athens.

Vickers, M., 1985. Artful crafts: the influence of metalwork on Athenian painted pottery. The Journal of Hellenic Studies, 105, 108-128.

Vickers, M., 2002. Potty prices. Ad Familiares 23, 9-10.

Vickers, M., 2010. Silver, horses and pots. In: Metzler, D. (ed.). Massadifiori. Essays presented to Herbert Hoffmann on his 80th birthday, 351-67.

Zimmermann, N. 1998. Beziehungen zwischen Ton- und Metallgefäßen spätklassischer und frühhellenistischer Zeit. Internationale Archäologie, 20. Leidorf: Rahden/Westf.