#greek pottery

Jar with a Mistress of the Wild Animals

http://carlos.digitalscholarship.emory.edu/items/show/8548

cma-greek-roman-art:

Fragment of a Kylix, 400s BC,Cleveland Museum of Art: Greek and Roman Art

Size: Overall: 14.5 cm (5 11/16 in.)
Medium: earthenware

https://clevelandart.org/art/1924.537

hedgewitchgarden:

Hecate, Athenian black-figure kylix C6th B.C.,
Museum der Universität Tübingen

kutxx:

2.

Rider Painter

Name vase of the Rider Painter. Horseman accompanied by a winged figure. (Laconian vase painting) (Black-figure pottery)

550-520 B.C., terracotta, British Museum, London

via-appia:

Terracotta lekanis (dish). Eos top - Eros, woman, and swan bottom.

Attributed to the Stuttgart Group, Greek, late 4th century B.C.

I started playing DnD with my friends. I’m a noob, but I’m a noob that can draw, so of course I made character cards for our entire party. Because friendship.

For the cards, I took inspiration from different cultures for how I would stylize each one  

for more info/dev commentary on Umran (because he’s my character) keep reading if you want I guess.

For Umran, my character, I wanted to do an asian inspired take on a Paladin. Not a monk, because I wanted him to still be armoured. So I took the idea of a religious warrior, and tried to make the base religion different from catholicism, and add a focus on spirituality. Which is why I made him a Kalashtar (Secret Identity background so I guess in game no one really knows he’s a Kalashtar or that Umran is technically not even his real name). Although his origins are a secret, it’s fairly obvious that he’s foreign so he doesn’t hide that he’s foreign and his design leans into that. In fact he takes advantage of how other’s perceive him a the “exotic foreigner” and hides his true identity in plain sight. Umran was really about putting different spins on a Paladin. Different base religion, more DPS leaning, not lawful, a rogue-ish-like personality, etc.

Athenian red-figure calyx krater attributed to Euphronios, end of sixth century BCE

Lakonian Black-figure kylix, attributed to the Boreads Painter, ca. 570–565 BCE, currently in Malibu, Getty 85.AE.121.

Bellerophon slaying the Chimaera with Pegasus.

I’ve noticed how rarely Lakonian vase painting is mentioned when discussing Greek pottery, though I find it to be some of the most visually striking and distinctive pottery from Greece! Unlike the Athenians who limit their interior kylix decorations to a smaller tondo within the cup, the Lakonians use up almost all of the interior space of a kylix. This results in these huge images that would come within inches from someones face while they drank from their cups. This is an aspect of Greek pottery that I find to be commonly overlooked–that these objects were meant to be used and and interacted with, not just admired from a distance. 

Achilles Slaying the Amazon Queen, Penthesilea, Attica, Greece (6th century BCE)

Terracotta Askos, 350 BC, Unknown

[This item is on display at the Metropolitan Museum of Art]

Terracotta vase in the form of an astragal, 460 BC, Unknown

[This item is on display at the Metropolitan Museum of Art]

ancientpeoples:

Terracotta aryballos (oil flask) in the form of three cockleshells (6.2 cm/2 ½ in high)

Inscribed on the lip, “the boy is fair.”  Such small bottles held the olive oil used by athletes to cleanse themselves after exercise.

Attic Greek, Archaic period, late 6th century B.C.

Source:The Metropolitan Museum of Art

Terracotta Aryballos in the form of Three Cockleshells - Archaic Greek/Attic Greek

ca. 500 - 600 BCE/BC