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Attic workshops moved to Orientalizing style later than Corinth,
probably because Geometric style had been too strong and trade
with Near East had not been so frequent[1].
In the first half of the seventh century, however, Attic vase
painters abandoned simple silhouette figures and introduced
Orientalizing schemes. It is noticeable that they also painted
on large vases, on which Corinthain painters rarely decorated
(Fig.1,Fig.2).

Fig.1

Fig.2
Early Protoattic vases such as a krater in Munich show the
development from Geometric to Orientalizing style. The shape,
subject matter (chariot) and zig-zag pattern show close relationship
with Geometric style, while other patterns and animals on
the lower frieze are obviously of Orientalizing style. Mythological
scenes are also introduced into their repertory.
A monumental amophora from Eleusis, dated to c.670, is the
masterpiece of Protoattic pottery. Figures on the neck, Odysseus
blinding Polyphemos, are painted with outline technique and
some details are represented by engraved lines. On the body
is Gorgons persueing Perseus who killed their sister, Medusa,
and protected by Athena. Features of Gorgons differ from later
common representation.
[1] |
For Protoattic
pottery, see, Kubler, K., Altattische
malerei, (1950), Hampe, R., Ein fruhattisches Grabfund,
(1960), Morris, S. P., The black and white style: Athens
and Aigina in the Orientalizing Period, (1984), Karouzou,
S., Angeia tou Anagyrountos 1, (1963), Brann, E.,
Late Geometric and Protoattic pottery: Athenian Agora
VIII. |
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