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@Early Wild Goat Style
Outline technique, used for heads for silhouette
figures, introduced by the painters of the early Orientalizing
period are developed and applied for the whole parts of the
figures. This introduction of the outlines as the main techinique
gave the birth of the wild goat style.
The most common shape is oinochoe with a stout
body and a simple round mouth. The handle is created from
generally three clay ropes. At each side of the junction of
the handle and lip has a rotelle, or a small disc, which indicates
the shape was copied from bronze vessels.
As indicated by the name, wild goat style, commonest
figure is a wild goat, but other figures, such as lions, hounds,
hares, Griffins and Sphinxes also often depicted. Favoured
patterns are a cable patten consisting of two lines and dots
(fig.1) and checker pattern (fig.2). The pattern consisting
of four diamonds (fig.3) is the commonest pattern for the
back ground, which still retains more space than later examples.
These vases were probably made at South Ionia
and maybe by a workshop or several workshops with close relationship
each other. Since clay analysis of the middle wild goat style
II pottery shows it was made at Miletos, these earlier vessels
were probably also made at same place.
Middle Wild Goat Style I
Around c.640 they developed the style into so
called middle wild goat style, which is sub-divided into I
and II. Although in the middle wild goat style I they still
used normal oinochoai, they gradually introduced oinochoai
with longer bodies and trefoil lips. They also introduced
Kraters and fruit dishes, or footed plates.
The commonest pattern in this period is a twisted
line (fig.4) and they also introduced a tongue pattern (fig.5).
Later painters introduced a lotus flower and bud pattern (fig.6)
which became the commonest decoration for the frieze on lower
body. The meander pattern (fig.7) on neck was replaced by
a cable pattern (fig.8).
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fig.4
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fig.5
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fig.6
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fig.7
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fig.8
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They introduced various filling ornaments which covered much
space of the back ground (fig.9-11). Some patterns, such as
half rosettes (fig.12) and triangular patterns (fig.13), are
attached to the upper and lower border of the friezes.
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fig.9
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fig.10
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fig.11
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fig.12
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fig.13
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For the arrangement of the composition, figures
on the shoulder generally are arranged symmetrically and face
to the centre except for the figure on each end who faces
different direction. A frieze on the body generally has hunting
scene and the figures move from left to right, though it sometimes
includes a figure or two running to opposit direction or looking
back. This hunting scene is often replaced by goats or deers
slowly moving in the later period.
Although it is almost contemporary with the
transitional style of the Corinthian pottery, the techniques
they used, outline and black figure technique, are completely
different. Some schlars believe that Corinthian style was
influenced by Eastern figures on metal vessels, while the
wild goat style was by figures on textile, though it is sometimes
disputed [1]. Its relationship with painted
pottery from the Asia Minor also should be studied [2].
Some filling ornaments on wild goat style pottery must be
the influence from Athenian pottery through Cycladic pottery
[3].
More vessels are found from many places including
Al Mina, Krete, Italy and Sicily. These vessels were probably
made at Miletos.
Middle Wild Goat Style II
The middle wild goat style was developed into
the second phase around 625, though the difference from the
previous phase is not always clear. Generally the depiction
was simplified and especially simple meander patterns (fig.14)
replaced traditional cable patterns on the necks. Bodies of
animals were elongated to reduce the numbers of the animals
within friezes from 6-7 figures to 4 figures.
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fig.14
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Filling ornaments also became simpler, such as a triangle
pattern lost a drop (fig.15). Concentric circles became commoner
and meander and square patterns are often depicted on necks
(fig.17). Lotus buds and flowers also became wider to reduce
the numbers.
Many shapes were introduced in this period. Fruit dishes
introduced in the previous phase became commoner [4].
The inside is divided into several zones. The centre has a
large palmette or lotus which was encircled by several lines.
A frieze with patterns such as meanders (fig.18) surrounds
the circle. The second frieze encircling this frieze is the
main picture and subdivided into several metopes flanked by
a ray pattern (fig.19). This combination recalls metopes and
trigryphs on Doric temples. The metopes generally have the
heads of wild goats and sphinxes, water birds and large rosettes.
They also painted on bowls, dinoi and amphorae, though these
shapes were less common.
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fig.18
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fig.19
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These vessles were even found from Israel, as
well as from Naukratis and Tocra, North Africa. These examples
are important for dating the establishment of these colonies
[5]. After the end of this second phase,
at about 590, this style was followed by North Ionian workshops
as the late wild goat style, while South Ionian workshops
introduced the vases with new style, the Fikellura pottery.
[1] |
For the
origin of wild goat style, see, K.Brown,
"The question of Near Eastern textile decoration
of the Early first millennium BC as a source for Greek
Vase Painting of the Orientalizing style" (1989). |
[2] |
Similar
representation of animals and patterns can be found on
veses from Gordion, tomb III. For these founds, see, Krte,G.
& Krte,A. "Gordion, Ergebnisse der Ausgrabung
im Jahre 1900" (1904). |
[3] |
For the
relationship of patterns between Attic, Cycladic and East
Greek pottery, see, Kardara, C. P., "On mainland
and Rhodian workshops shortly before 600 B.C.", AJA
59, pp.49-54. |
[4] |
Similarily
arranged dishes are also found from Gordion. |
[5] |
For the
vases from Tocra, see, Boardman,
J. and Hayes, J., Excavations at Tocra 1-2, (1966,
1973). |
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