Greek Vase Quotes

The people I love the best jump into work head first without dallying in the shallows and swim off with sure strokes almost out of sight. They seem to become natives of that element, the black sleek heads of seals bouncing like half submerged balls. I love people who harness themselves, an ox to a heavy cart, who pull like water buffalo, with massive patience, who strain in the mud and the muck to move things forward, who do what has to be done, again and again. I want to be with people who submerge in the task, who go into the fields to harvest and work in a row and pass the bags along, who stand in the line and haul in their places, who are not parlor generals and field deserters but move in a common rhythm when the food must come in or the fire be put out. The work of the world is common as mud. Botched, it smears the hands, crumbles to dust. But the thing worth doing well done has a shape that satisfies, clean and evident. Greek amphoras for wine or oil, Hopi vases that held corn, are put in museums but you know they were made to be used. The pitcher cries for water to carry and a person for work that is real.

Look in it,' he said, smiling slightly, as you do when you have given someone a present which you know will please him and he is unwrapping it before your eyes. I opened it. In the folder I found four 8×10 glossy photos, obviously professionally done; they looked like the kind of stills that the publicity departments of movie studios put out. The photos showed a Greek vase, on it a painting of a male figure who we recognized as Hermes. Twined around the vase the double helix confronted us, done in red glaze against a black background. The DNA molecule. There could be no mistake. 'Twenty-three or -four hundred years ago,' Fat said. 'Not the picture but the krater, the pottery.' 'A pot,' I said. 'I saw it in a museum in Athens. It's authentic. Thats not a matter of my own opinion; I'm not qualified to judge such matters; it's authenticity has been established by the museum authorities. I talked with one of them. He hadn't realized what the design shows; he was very interested when I discussed it with him. This form of vase, the krater, was the shape later used as the baptismal font. That was one of the Greek words that came into my head in March 1974, the word “krater”. I heard it connected with another Greek word: “poros”. The words “poros krater” essentially mean “limestone font”. ' There could be no doubt; the design, predating Christianity, was Crick and Watson's double helix model at which they had arrived after so many wrong guesses, so much trial-and-error work. Here it was, faithfully reproduced. 'Well?' I said. 'The so-called intertwined snakes of the caduceus. Originally the caduceus, which is still the symbol of medicine was the staff of- not Hermes-but-' Fat paused, his eyes bright. 'Of Asklepios. It has a very specific meaning, besides that of wisdom, which the snakes allude to; it shows that the bearer is a sacred person and not to be molested...which is why Hermes the messenger of the gods, carried it.' None of us said anything for a time. Kevin started to utter something sarcastic, something in his dry, witty way, but he did not; he only sat without speaking. Examining the 8×10 glossies, Ginger said, 'How lovely!' 'The greatest physician in all human history,' Fat said to her. 'Asklepios, the founder of Greek medicine. The Roman Emperor Julian-known to us as Julian the Apostate because he renounced Christianity-conside​red Asklepios as God or a god; Julian worshipped him. If that worship had continued, the entire history of the Western world would have basically changed

Where is the line between art and pornography? But there’s always been a huge overlap between the two; you can see scenes of copulation on Greek vases and Indian temples. What’s more, many works of art have seemed pornographic without nakedness. Many of us are tempted to talk as if art = good, pornography = bad. Yet that’s wrong too. Much art is poor, while the novels of the Marquis de Sade are pornography taken to a brilliant, horrifying and extraordinary peak. - Alastair Macaulay, NY Times article, Nakedness in Dance, August 16, 2012

For instance, the first preserved example of Greek alphabetic writing, scratched onto an Athenian wine jug of about 740 B.C., is a line of poetry announcing a dancing contest: ‘Whoever of all dancers performs most nimbly will win this vase as a prize.

The underpinning belief is that women are and always have been on the margins of these stories. That the myths have always focused on men and that women have only ever been minor figures. This involves ignoring the fact that there is no ‘real’ or ‘true’ version of any myth, because they arise from multiple authors across multiple locations over a long period. The version of a story we find in the Iliad or the Odyssey is not somehow more valid than a version we find in a fifth-century BCE play or on the side of a vase merely because it is older.

Yet, on the whole, I think the Greeks were very wise in this matter of physical training. Young girls frequently appeared in public, not with the boys, but in groups apart. There was scarcely a festival, a sacrifice, or a procession without its bands of maidens, the daughters of the chief citizens. Crowned with flowers, chanting hymns, forming the chorus of the dance, bearing baskets, vases, offerings, they presented a charming spectacle to the depraved senses of the Greeks, a spectacle well fitted to efface the evil effects of their unseemly gymnastics. When the Greek women married, they disappeared from public life; within the four walls of their home they devoted themselves to the care of their household and family. This is the mode of life prescribed for women alike by nature and reason. These women gave birth to the healthiest, strongest, and best proportioned men who ever lived, and except in certain islands of ill repute, no women in the whole world, not even the Roman matrons, were ever at once so wise and so charming, so beautiful and so virtuous, as the women of ancient Greece.

Load the sailboat with bottles of white wine, olive oil, fishing rods, and yeasty, dark-crusted bread. Work your way carefully out of the narrow channels of the Cabras port on the western shore of Sardinia. Set sail for the open seas. Navigate carefully around the archipelago of small boats fishing for sea bass, bream, squid. Steer clear of the lines of mussel nets swooping in long black arcs off the coastline. When you spot the crumbling stone tower, turn the boat north and nuzzle it gently into the electric blue-green waters along ancient Tharros. Drop anchor. Strip down to your bathing suit. Load into the transport boat and head for shore. After a swim, make for the highest point on the peninsula, the one with the view of land and sea and history that will make your knees buckle. Stay focused. You're not here to admire the sun-baked ruins of one of Sardinia's oldest civilizations, a five-thousand-year-old settlement that wears the footprints of its inhabitants- Phoenicians, Greeks, Romans- like the layers of a cake. You're here to pick herbs growing wildly among the ancient tombs and temples, under shards of broken vases once holding humans' earliest attempts at inebriation. Taste this! Like peppermint, but spicy. And this! A version of wild lemon thyme, perfect with seafood. Pluck a handful of finocchio marino,sea fennel, a bright burst of anise with an undertow of salt. Withfinocchioin fist, reboard the transport vessel and navigate toward the closest buoy. Grab the bright orange plastic, roll it over, and scrape off the thicket of mussels growing beneath. Repeat with the other buoys until you have enough mussels to fill a pot. In the belly of the boat, bring the dish together: Scrub the mussels. Bring a pot of seawater to a raucous boil and drop in the spaghetti- cento grammi a testa. While the pasta cooks, blanch a few handfuls of the wild fennel to take away some of the sting. Remove the mussels from their shells and combine with sliced garlic, a glass of seawater, and a deluge of peppery local olive oil in a pan. Take the pasta constantly, checking for doneness. (Don't you dare overcook it!) When only the faintest resistance remains in the middle, drain and add to the pan of mussels. Move the pasta fast and frequently with a pair of tongs, emulsifying the water and mussel juice with the oil. Keep stirring and drizzling in oil until a glistening sheen forms on the surface of the pasta. This is called la mantecatura, the key to all great seafood pastas, so take the time to do it right.

It was then that I made the discovery that his talk created reverberations, that the echo took a long time to reach one's ears. I began to compare it with French talk in which I had been enveloped for so long. The latter seemed more like the play of light on an alabaster vase, something reflective, nimble, dancing, liquid, evanescent, whereas the other, the Katsimbalistic language, was opaque, cloudy, pregnant with resonances which could only be understood long afterwards, when the reverberations announced the collision with thoughts, people, objects located in distant parts of the earth. The Frenchman puts walls about his talk, as he does about his garden: he puts limits about everything in order to feel at home. At bottom he lacks confidence in his fellow-man; he is skeptical because he doesn't believe in the innate goodness of human beings. He has become a realist because it is safe and practical. The Greek, on the other hand, is an adventurer: he is reckless and adaptable, he makes friends easily. The walls which you see in Greece, when they are not of Turkish or Venetian origin, go back to the Cyclopean age. Of my own experience I would say that there is no more direct, approachable, easy man to deal with than the Greek. He becomes a friend immediately: he goes out to you. With the Frenchman friendship is a long and laborious process: it may take a lifetime to make a friend of him. He is best in acquaintanceship where there is little to risk and where there are no aftermaths. The very word ami contains almost nothing of the flavor of friend, as we feel it in English. C'est mon ami cannot be translated by "this is my friend." There is no counterpart to this English phrase in the French language. It is a gap which has never been filled, like the word "home." These things affect conversation. One can converse all right, but it is difficult to have a heart to heart talk.

Load the sailboat with bottles of white wine, olive oil, fishing rods, and yeasty, dark-crusted bread. Work your way carefully out of the narrow channels of the Cabras port on the western shore of Sardinia. Set sail for the open seas. Navigate carefully around the archipelago of small boats fishing for sea bass, bream, squid. Steer clear of the lines of mussel nets swooping in long black arcs off the coastline. When you spot the crumbling stone tower, turn the boat north and nuzzle it gently into the electric blue-green waters along ancient Tharros. Drop anchor. Strip down to your bathing suit. Load into the transport boat and head for shore. After a swim, make for the highest point on the peninsula, the one with the view of land and sea and history that will make your knees buckle. Stay focused. You're not here to admire the sun-baked ruins of one of Sardinia's oldest civilizations, a five-thousand-year-old settlement that wears the footprints of its inhabitants- Phoenicians, Greeks, Romans- like the layers of a cake. You're here to pick herbs growing wildly among the ancient tombs and temples, under shards of broken vases once holding humans' earliest attempts at inebriation. Taste this! Like peppermint, but spicy. And this! A version of wild lemon thyme, perfect with seafood. Pluck a handful of finocchio marino,sea fennel, a bright burst of anise with an undertow of salt. With finocchio in fist, reboard the transport vessel and navigate toward the closest buoy. Grab the bright orange plastic, roll it over, and scrape off the thicket of mussels growing beneath. Repeat with the other buoys until you have enough mussels to fill a pot. In the belly of the boat, bring the dish together: Scrub the mussels. Bring a pot of seawater to a raucous boil and drop in the spaghetti- cento grammi a testa. While the pasta cooks, blanch a few handfuls of the wild fennel to take away some of the sting. Remove the mussels from their shells and combine with sliced garlic, a glass of seawater, and a deluge of peppery local olive oil in a pan. Take the pasta constantly, checking for doneness. (Don't you dare overcook it!) When only the faintest resistance remains in the middle, drain and add to the pan of mussels. Move the pasta fast and frequently with a pair of tongs, emulsifying the water and mussel juice with the oil. Keep stirring and drizzling in oil until a glistening sheen forms on the surface of the pasta. This is called la mantecatura, the key to all great seafood pastas, so take the time to do it right.

Out of hundreds of animal sacrifices depicted on ancient Greek vases, only a handful show the killing of an animal. Instead, most depict the sacrificial procession (before the animal was killed) or the meal that followed.23 Roman images of sacrifice also rarely depict killing.24 On the triumphal Roman column of Trajan, scenes of sacrifice are contrasted with the violence of war: they “function visually as a peaceful pause in the midst of the bloodiness of war; and within scenes of sacrifice, as is typical of depictions of the Roman period, there is little violence, no blood.”25 Greek and Roman art represented sacrifice in ways that emphasized other steps in the ritual, not the killing of the animal.

Ah, the clues. There’s only one clue. Only one,” said Hortensia. Prudencia gathered her hair at the nape of her neck and drew her chair closer. “And that is . . . ?” she asked. “Harmony, of course. The Ancient Greeks’ άρμουια, the Romans’ harmonia. Herminia would explain it better, she knows so much about this sort of thing . . . Well, how to express it? I think the classical definition refers to balance in the proportions of parts of a whole. As in the sculpture of a beautiful face or body, in the manner in which you arrange flowers in a vase, combining them in ten different ways until you achieve something that satisfies your soul. As a highly qualified woman, you no doubt know that harmony comes from the Greek άρμόζω, which means ‘to fit together,’ ‘to connect.’ That’s the definitive clue, dear, the one that’ll help you solve your detective story.” Miss Prim considered this as she took a bite of apple tart.

She saw herself alone, alive and doomed, strong and helpless, passing in a line of women, her mother before her, the child Lucy, behind, women walking on a temple frieze, Greek women in fluttering robes rounding a vase's girth for ever.

...the familiar and much-told myth of Hercules. Early versions of the story are found on decorated Greek vases, from around the sixth century BC. A recent version can be found in the Iron Man films.

These women were hiding in plain sight, in the pages of Ovid and Euripides. They were painted on vases which are held in museums all over the world. They were in fragments of lost poems, and broken statues. But they were there.

For artwork, I simply turned to nineteenth-century books and magazines, of which I built a large collection. I knew that (under the copyright laws of the time) works created prior to 1906 were no longer subject to copyright, so we were free to use the artwork. To create the cartoons, I would leaf through old sources until I found a cartoon that I thought would match the text. Much later, I learned from Robert Graves’s The White Goddess that what I was practicing was iconotropy, the deliberate misreading of images. Graves thought that a lot of myths had come from people misreading or twisting the meaning of the pictures on Greek vases. I spent the next nineteen years iconotropically creating those cartoons. They were at once a chore and a relief from the pressures of running the business. Best of all, they caught on with the public, and played a major role of establishing Trader Joe’s as a “different” kind of retailer, one that didn’t take itself too seriously.

The people I love the best jump into work head first without dallying in the shallows and swim off with sure strokes almost out of sight. They seem to become natives of that element, the black sleek heads of seals bouncing like half-submerged balls. I love people who harness themselves, an ox to a heavy cart, who pull like water buffalo, with massive patience, who strain in the mud and the muck to move things forward, who do what has to be done, again and again. I want to be with people who submerge in the task, who go into the fields to harvest and work in a row and pass the bags along, who are not parlor generals and field deserters but move in a common rhythm when the food must come in or the fire be put out. The work of the world is common as mud. Botched, it smears the hands, crumbles to dust. But the thing worth doing well done has a shape that satisfies, clean and evident. Greek amphoras for wine or oil, Hopi vases that held corn, are put in museums but you know they were made to be used. The pitcher cries for water to carry and a person for work that is real.

Earth, air, fire, and water," he began. "The ancient Greek philosopher Empedocles says that these four elements are the roots of everything." Here was the garden he inherited from Leah. Celia, who mostly tended it, called it her sculpture in four dimensions, the fourth being time. Perhaps all sculpture changed over time, with decay and dissolution setting in, rust and chipping and breakage. But marble or bronze evolved so slowly, and their changes were unintended, while the garden was always in visible flux, each morning a new unfolding. Celia always said that the flower beds were a progression of looping actions: each plant opening, blooming, fading, setting seed, drooping, falling; and each seed rooting, sprouting, budding, blooming. And the seasons, the moons and days, the pendulum of darkness and light, the beat of the cardinal's song. Was the earth, then, our real timepiece? Stop, Pindar. Pay attention. "But Empedocles also said that our spirits have successive lives, born sometimes as the fair-tressed laurel trees, sometimes as lions who live in the golden grass...." A shifting of the light through the trees made Pindar notice the Queen Anne's lace in its brass vase. Constellations of tiny white stars swirled in a galactic umbrella the size of his hand- who was above? Who below? Beside their lacy flaring explosives symmetry, the black-eyed Susans gazed at him with their fierce yellow. Wide-open, with none of the hidden turns and caverns of the lilies whose trumpets would be deep enough to incubate in, or at least hide one's thoughts in, though their scent would be too strong for the dinner table.

IT has been said that pottery is not a medium that can express any very significant concept; that the technical processes which necessarily follow the artist’s work blur his line and color, destroying fine differences and taking away from the immediacy of his touch; that it is at its best when it is anonymous form and color; that in “personal” ceramics gaiety, decorativeness, and fantasy can survive but not much else; and that quite apart from the limitations of size and surface the ceramic equivalent of a “Guernica” is unthinkable. And in this particular case it has also been said that in the course of years the dispersion of Picasso’s energy over some thousands of minor objects encouraged his facility and, by sapping his concentration, did lasting damage to his creative power. This seems to me to overstate the case: but although I love many of the Picasso vases, figurines, and dishes I have seen I think few people would place his ceramics on the same level as his drawing, painting, or sculpture. It may be that he did not intend to express more than in fact he did express: or it may be that Picasso was no more able to perform the impossible than another man—that neither he nor anyone else could do away with the inherent nature of baked clay. Yet even if one were to admit that pottery cannot rise much above gaiety, fantasy, and decoration (and there are Sung bottles by the thousand as evidence to the contrary, to say nothing of the Greek vases), what a range is there! Picasso certainly thought it wide enough, and he worked on and on, learning and innovating among the wheels, the various kilns, and the damp mounds of clay in the Ramiés’ Madoura pottery, taking little time off for anything except some studies of young Claude, a certain number of lithographs and illustrations, particularly for Reverdy’s Le Chant des Morts, and for Góngora. He had always valued Góngora and this selection

The Nude Male was published by Weidenfeld & Nicolson and was largely full of pictures of Greek vases, which hadn’t been considered rude since Queen Victoria died.

The most prominent chanterelle in Europe and central and eastern North America is the golden chanterelle, Cantharellus cibarius. Cantharellus is a name derived from the Greek kantharos, meaning goblet or drinking cup, and refers to the funnel or vase shape of the fruiting body of members of this family.3 The specific epithet cibarius is Latin for edible.

In the last book of the Iliad (24.602ff.), Achilles urges Priam to eat: even Niobe, he says, after all her children had been slaughtered by the gods, took food eventually. Both Priam and Achilles have been bereaved of their dearest, and yet they gather themselves, and eat, and sleep, and go on living. (...) ...there are two early Lucanian vases with mourners by a grave stele with the same inscription "spoken" by the tomb: "On my back I grow mallow and thick-rooted asphodel: / in my bosom I hold Oedipus, son of Laios." Even Oedipus, the great king of Thebes, archetype of tragedy, experienced a catastrophic fall and descended into the deepest pit of horrors; yet ordinary plants grow on his tomb. We are not so different.

Amazons are the second most popular mythological figures (after Heracles) found on vase paintings. 2 More than a thousand Amazons appear on vases, in fact, 3 and more than sixty Amazon names are painted onto those vases.