The Netherlands Institute at Athens, in collaboration with the Royal Museums of Art and History Brussels, The National Archaeological Museum Athens, The Archaeological Research Unit of the University of Cyprus, The École française d’Athènes and The University College Roosevelt (NL) are very pleased to announce a lecture by
Dr Despina Ignatiadou, National Archaeological Museum Athens
“The cross-overs between three pyrotechnologies: Pre-Roman pottery, metalware, and glassware”
to be held on September 20, at 18.00, at the Netherlands Institute at Athens
Discussant: Dr. Eleni Konstantinidi-Syvridi, National Archaeological Museum Athens
The lecture is part of the Lecture series and Discussion Forum TEXNH: Making, creating, and agency networks in the Ancient Mediterranean world.
Due to limited seat number please R.S.V.P. at [email protected] of 2109210760
The event will also be streamed live. For registration please visit:
You are welcome to forward the invitation to whoever might be interested.
The productions of pottery, metals, glass, and faience, all share technological parameters. As they are all based οn pyrotechnology it could not be otherwise than be connected and influencing each other. The typological and chronological connections among the products of those productions also follow the technological advances, i.e. the possibilities the latter create.
The technology of pottery, which appeared first, created the conditions for the evolution of
all the others, initially on the technical level and later on the artistic one too. It has been suggested that the glass technology is a lateral branch of the pottery technology, while a connection between glassworking and metalworking has been suggested too.
In the workshops, the evolution of furnaces has been of key importance for the firing of
products, of any material. Shared equipment often involved workshop furnishings, utensils, tools, and, particularly, molds.
Taking into account prototypes, typology and dating, we cannot overlook the fact that all
three productions function in a common artistic milieu; it would therefore be impossible not to notice proximity of shapes and decoration, especially in the case of vessels and utensils. However, the three artisanal productions should not be judged equally, regarding their artistic value and the influence they exercised and received.
As a tool for viewing these influences we should use the theory of skeuomorphism, according to which the materials without intrinsic value are used to imitate expensive materials. The archaeological findings confirm the theory and place every production at a different level of value, dissemination, and the creation of prototypes.