{"title":"石碑女神工作室:雅典集市U 13:1井的兵马俑","authors":"R. Nicholls","doi":"10.2307/148499","DOIUrl":null,"url":null,"abstract":"T HE SETTING OF WELL U 13:1 in a complex of shops or workshops ofthe late 5th and 4th centuries B.C. to the east of the Athenian Agora, deep under the later stoa of the Library of Pantainos that lined the way to the Roman Agora, has been provided by T. Leslie ShearJr.' The terracottas from its upper fill constitute a major find, and the author is greatly indebted to Leslie Shear for this opportunity to try to explain their significance. They range stylistically from the Early Classical period to a quite advanced phase of the Rich Style, chronologically probably from ca. 470-460 B.C. down to a little before the filling of the well shaft itself, placed in ca. 380 B.C. or, at latest, no lower than the 3 70's on conventional ceramic chronology by Alison Adams Dickey, the last person to make a detailed study of its pottery.2 Somewhat fragmentary, these terracottas comprise elements from one archetype (the original model from which molds were taken) and a minimum of forty molds of various kinds,3 as well as parts of at least twenty-one finished figurines4 and six vases in the form of statuettes. They are all from Layer 1 of the upper fill of the well, with the following four exceptions: 1, 8, and part of 28b from Layer 2; 4 from Layer 5. These exceptions, however, tend to confirm the impression given by the pottery that these strata in the upper fill may be of similar source and date. Certainly the other fragments of 28 are from Layer 1, including one making a direct join with that from Layer 2. Also, more tentatively, one may hesitate to separate the Layer 5 mold, 4, from the apparently related contemporary mold from Layer 1, 5. This find, the largest by far of Attic terracotta molds of this date, indicates that some of the material for these layers of the fill was probably from the vicinity of a major terracotta factory. As a result, it sheds significant new light on the way in which these figures were made, some of it quite unexpected, such as the form taken by the Rich Style archetype 3. It is also a very important body of terracottas in its own right, in particular helping to chart","PeriodicalId":46513,"journal":{"name":"HESPERIA","volume":null,"pages":null},"PeriodicalIF":0.8000,"publicationDate":"1995-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/148499","citationCount":"3","resultStr":"{\"title\":\"The Stele-Goddess Workshop: Terracottas from Well U 13:1 in the Athenian Agora\",\"authors\":\"R. Nicholls\",\"doi\":\"10.2307/148499\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"T HE SETTING OF WELL U 13:1 in a complex of shops or workshops ofthe late 5th and 4th centuries B.C. to the east of the Athenian Agora, deep under the later stoa of the Library of Pantainos that lined the way to the Roman Agora, has been provided by T. Leslie ShearJr.' The terracottas from its upper fill constitute a major find, and the author is greatly indebted to Leslie Shear for this opportunity to try to explain their significance. They range stylistically from the Early Classical period to a quite advanced phase of the Rich Style, chronologically probably from ca. 470-460 B.C. down to a little before the filling of the well shaft itself, placed in ca. 380 B.C. or, at latest, no lower than the 3 70's on conventional ceramic chronology by Alison Adams Dickey, the last person to make a detailed study of its pottery.2 Somewhat fragmentary, these terracottas comprise elements from one archetype (the original model from which molds were taken) and a minimum of forty molds of various kinds,3 as well as parts of at least twenty-one finished figurines4 and six vases in the form of statuettes. They are all from Layer 1 of the upper fill of the well, with the following four exceptions: 1, 8, and part of 28b from Layer 2; 4 from Layer 5. These exceptions, however, tend to confirm the impression given by the pottery that these strata in the upper fill may be of similar source and date. Certainly the other fragments of 28 are from Layer 1, including one making a direct join with that from Layer 2. Also, more tentatively, one may hesitate to separate the Layer 5 mold, 4, from the apparently related contemporary mold from Layer 1, 5. This find, the largest by far of Attic terracotta molds of this date, indicates that some of the material for these layers of the fill was probably from the vicinity of a major terracotta factory. As a result, it sheds significant new light on the way in which these figures were made, some of it quite unexpected, such as the form taken by the Rich Style archetype 3. It is also a very important body of terracottas in its own right, in particular helping to chart\",\"PeriodicalId\":46513,\"journal\":{\"name\":\"HESPERIA\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.8000,\"publicationDate\":\"1995-10-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.2307/148499\",\"citationCount\":\"3\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"HESPERIA\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.2307/148499\",\"RegionNum\":1,\"RegionCategory\":\"历史学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ARCHAEOLOGY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"HESPERIA","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2307/148499","RegionNum":1,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ARCHAEOLOGY","Score":null,"Total":0}
引用次数: 3
摘要
井U 13:1的背景由T. Leslie ShearJr.提供。井U 13:1位于公元前5世纪末和4世纪的商店或车间的综合体中,位于雅典集市以东,位于通往罗马集市的潘泰诺斯图书馆(Library OF Pantainos)后来的地下深处。上面填埋的陶土是一个重要的发现,作者非常感谢莱斯利·希尔给我这个机会来解释它们的意义。它们的风格范围从早期古典时期到丰富风格的一个相当高级的阶段,时间上可能从公元前470-460年一直到井井本身填充之前的一点时间,大约在公元前380年,或者最迟不低于Alison Adams Dickey的传统陶瓷年表,他是最后一个对其陶器进行详细研究的人这些陶土有些残缺不全,包括一个原型(取模的原始模型)和至少40个不同类型的模型的元素,以及至少21个成品雕像和6个小雕像花瓶的部分。它们都来自井上部填充物的第1层,以下4个例外:第2层的1、8和28b部分;第5层的4。然而,这些例外情况往往证实了陶器给人的印象,即上部填埋物中的这些地层可能具有相似的来源和年代。当然,28的其他片段来自第1层,包括与第2层直接连接的片段。此外,更试探性地,人们可能会犹豫将第5层模具4与第1层,5层明显相关的当代模具分开。这一发现是迄今为止最大的阿提卡陶土模具,表明这些填充物层的一些材料可能来自一个主要的陶土工厂附近。因此,它为这些人物的制作方式提供了重要的新亮点,其中一些是意想不到的,例如Rich Style原型所采用的形式。它本身也是一个非常重要的兵马俑体,特别是有助于绘制图表
The Stele-Goddess Workshop: Terracottas from Well U 13:1 in the Athenian Agora
T HE SETTING OF WELL U 13:1 in a complex of shops or workshops ofthe late 5th and 4th centuries B.C. to the east of the Athenian Agora, deep under the later stoa of the Library of Pantainos that lined the way to the Roman Agora, has been provided by T. Leslie ShearJr.' The terracottas from its upper fill constitute a major find, and the author is greatly indebted to Leslie Shear for this opportunity to try to explain their significance. They range stylistically from the Early Classical period to a quite advanced phase of the Rich Style, chronologically probably from ca. 470-460 B.C. down to a little before the filling of the well shaft itself, placed in ca. 380 B.C. or, at latest, no lower than the 3 70's on conventional ceramic chronology by Alison Adams Dickey, the last person to make a detailed study of its pottery.2 Somewhat fragmentary, these terracottas comprise elements from one archetype (the original model from which molds were taken) and a minimum of forty molds of various kinds,3 as well as parts of at least twenty-one finished figurines4 and six vases in the form of statuettes. They are all from Layer 1 of the upper fill of the well, with the following four exceptions: 1, 8, and part of 28b from Layer 2; 4 from Layer 5. These exceptions, however, tend to confirm the impression given by the pottery that these strata in the upper fill may be of similar source and date. Certainly the other fragments of 28 are from Layer 1, including one making a direct join with that from Layer 2. Also, more tentatively, one may hesitate to separate the Layer 5 mold, 4, from the apparently related contemporary mold from Layer 1, 5. This find, the largest by far of Attic terracotta molds of this date, indicates that some of the material for these layers of the fill was probably from the vicinity of a major terracotta factory. As a result, it sheds significant new light on the way in which these figures were made, some of it quite unexpected, such as the form taken by the Rich Style archetype 3. It is also a very important body of terracottas in its own right, in particular helping to chart