Personal tools

Information zum Seitenaufbau und Sprungmarken fuer Screenreader-Benutzer: Ganz oben links auf jeder Seite befindet sich das Logo der JLU, verlinkt mit der Startseite. Neben dem Logo kann sich rechts daneben das Bannerbild anschließen. Rechts daneben kann sich ein weiteres Bild/Schriftzug befinden. Es folgt die Suche. Unterhalb dieser oberen Leiste schliesst sich die Hauptnavigation an. Unterhalb der Hauptnavigation befindet sich der Inhaltsbereich. Die Feinnavigation findet sich - sofern vorhanden - in der linken Spalte. In der rechten Spalte finden Sie ueblicherweise Kontaktdaten. Als Abschluss der Seite findet sich die Brotkrumennavigation und im Fussbereich Links zu Barrierefreiheit, Impressum, Hilfe und das Login fuer Redakteure. Barrierefreiheit JLU - Logo, Link zur Startseite der JLU-Gießen Direkt zur Navigation vertikale linke Navigationsleiste vor Sie sind hier Direkt zum Inhalt vor rechter Kolumne mit zusaetzlichen Informationen vor Suche vor Fußbereich mit Impressum

Document Actions

Individual research

VisitorBox

Visitorbox.jpg

 

VisitorBox aims to help small and medium-sized cultural institutions without their own digital development team to develop exhibitions with digital components. A core deck of cards has been designed in this project to which custom decks may be added. The cards and the rules for using these cards are designed in such a way that they can enable users to implement digitally supported exhibitions even without specific curatorial or digital prior knowledge. After its completion at the end of 2018, the VisitorBox online platform will also offer access to a digital network of successful exhibition projects, the conception and realisation of which can be reconstructed based on the respective relevant card selection and adapted for one’s own project.

Principal Investigator: Ben Bedwell (University of Nottingham); Co-Investigators: Katharina Lorenz (JLU Giessen), Steve Benford (University of Nottingham)

Funded by: Arts & Humanities Research Council (AH/R004641/1) (2017-2018).

Project partner: The National Videogame Arcade (Nottingham); Uni of Illinois at Urbana Champaign; Nottingham City Council; D.H. Lawrence Birthplace Museum (Eastwood); The National Trust; Nottingham Contemporary

 

Website: https://visitorbox.org/

 

Contact: Prof. Dr Katharina Lorenz

Individual and Group: The Construction of Identity in the Imperial Group Portrait

The project is dedicated to the collection, analysis, and evaluation of the use of group portraiture as a tool of political discourse in the Roman Empire. Currently, three work bundles are planned: a monograph depicting the princes in the early imperial era; a diachronic study of group portraits in the political discourse of different societies; and an exhibition on the functioning and perception of group portraits

 

Contact: Prof. Dr Katharina Lorenz

 

 

 

Digital Tools for New Audiences

DigitalToolsforNewAudiences

 

Through a bundle of workshops (Discover – Make – Evaluate) and personalised consulting, this project supports small and medium-sized companies in the cultural field in the development and implementation of digital strategies, especially in the exhibition and visitor interaction segments.

 

Website: https://bit.ly/2qNqdFt

 

Funded by the European Union (European Regional Development Fund) (2016-2019).

Lead: Erin Snyder (University of Nottingham); External consultant: Katharina Lorenz (until 3/2018 director of this work bundle).

 

Contact: Prof. Dr Katharina Lorenz

The Mediality of Figurative Scenes on the Funerary Monuments of Gallia Belgica

The Archaic Pottery Finds from the Sanctuary in Kalapodi

The project aims to evaluate the Archaic pottery finds of the excavation campaigns 2004-2013 (excavation management Prof. Dr WD Niemeier) and from 2014 (excavation management Prof. Dr Katja Sporn) of the German Archaeological Institute, Department Athens, from the sanctuary of Kalapodi (Phocis) under form-typological and statistical aspects.

For the Kalapodi project of the DAI see:

https://www.dainst.org/projekt/-/project-display/25884

 

In addition to ceramic imports, especially from the large production centres of the Archaic period, Corinth and Athens, which are documented in the sanctuary, as well as occasional local imitations of imported vases, the material consists to a large percentage of simple, monochrome painted local vases.

 

 

In the context of the evaluation of the material, on the one hand, the relationship between imported ceramics and local pottery is to be determined, to gain information about the regional and supraregional importance of the sanctuary in archaic times. Another aspect is the question of the range of shapes and types of vessels used in the sanctuary context and the associated ritual practice. In addition, in a further step, in comparison with other sites and neighbouring regions, new insights into the development of local ceramic production will be gained.

 

 

Contact: Dr Michaela Stark

 

 

Panathenaic Price Amphorae

The vessels for the price oil of the victorious athletes at the grand Panathenaic Games held every four years in honour of the city goddess Athena, are one of the most unusual genres of Greek vase painting.

 

ppa_1 ppa_2

Athen, Nationalmuseum Inv. 2004, Aus Eretria, 1969
Datierung: Archontenbeischrift "Charikleides", 363/2 v.Chr. Pourtalés-Maler
A: Athena nach links, Niken auf den Säulen
B: Ringkampf, Nike, Schiedsrichter, zuschauender Athlet

They were produced without detectable interruption from the 6th century BC until Roman times, they are bound to a distinctive vessel shape, a certain painting technique, and a fixed repertoire of pictorial themes.

Principal and primary function are known and have survived in large numbers. Together with M. Bentz and other specialists in this field, N. Eschbach is expanding a comprehensive image database with approximately 4,000 vessels and fragments to date. An essential part consists of the approx — eight hundred fragment groups of the Kerameikos in Athens, which N. Eschbach is preparing for publication.

Literature:
M. Bentz - N. Eschbach (eds.), Panathenaika.
Symposion zu den Panathenäischen Preisamphoren, Rauischholzhausen 11/25-11/29 1998 (2001)

 

Subproject 1: The Fragments of Panathenaic Price Amphorae from Kerameikos, Athens

 

Almost every excavation on the site of the main necropolis of the city of Athens also brings to light fragments and fragmentary groups of Panathenaic price amphorae. Over 2,000 individual fragments, combined to approx. eight hundred catalogue numbers are currently prepared for publication. The stock of vase fragments of the 4th century BC and the Hellenistic to Roman times is very extensive.

Neaichmos

Athen, Kerameikos, Magazin Inv. PA 656
B-Seite: Waffenlauf nach rechts. Körperpartien dreier Athleten.
Archontat des Neaichmos (320/19 v. Chr.)

 

Literature:

Recently published: N. Eschbach, Panathenaic prize amphorae from the Kerameikos: some new aspects and results, in O. Palagia - A. Choremi (Publ.), The Panathenaic Games. Papers of the International Conference, 11-12/5/2004 (2007).

 

Subproject 2: The find Athens, Odos Lembesi-Porinou, Grave III (1969)

 

In addition to the inventory on the Kerameikos in Athens, three other large and important groups of findings of Panathenaic price amphorae remain unpublished. Thanks to the permit of the 3rd Department for Prehistoric and Classical Antiquities, Athens, two groups of findings can now be processed and published. The find on the property Odos Lembesi-Porinou contains numerous fragments of possibly ten vases of the second half of the 4th century, including an almost complete amphora. The project is funded by the Gerda-Henkel-Foundation.

 

Lykiskos

Athen, Magazin der 3. Ephorie, Inv. A 6367
A-Seite: Athena nach rechts, Teil des Schildes (Innenansicht)
Säulenfiguren auf der rechten Säule: Aphrodite und Plutos (?)
Archontat des Lykiskos (344/3 v. Chr.)

 

Literature:
 O. Alexandri, ADelt 25 B, 1970, 71 table 62.
 M. Bentz, Panathenäische Preisamphoren. Eine athenische Vasengattung und ihre Funktion vom 6.-4. Jh. v. Chr. (Panathenaic Price Amphorae. An Athenian genre of vases and their function from the 6th through the 4th century BC.) (see index location)


Subproject 3: The find Athens, Odos Achilleos-Plataion (1966)

 

Contradictory information is available on this find in an early Hellenistic waste pit on the property: The find supposedly includes up to eight amphorae, all made in the same year, from the Archontate of Polemon 312/11 BC. An initial survey of both groups of finds (Subproject 2 and 3) was carried out in Nov. 2007. Afterwards, an almost complete amphora and partially large groups of fragments of 12 vases have been recovered. The hitherto completely unknown pictorial design of these vessels is surprising in many ways – and of extraordinary quality!

The project is funded by the Gerda Henkel Foundation

Polemon

Athen, Magazin der 3. Ephorie, Inv. A 3801
B-Seite: Kampfrichter, Kopf und Schulter eines Ringers nach rechts.
Archontat des Polemon (312/11 v. Chr.)

 

Literature:
O. Alexandri, ADelt 22 B, 1967, 58 table 73 a (B).
M. Bentz, Panathenäische Preisamphoren. Eine athenische Vasengattung und ihre Funktion vom 6.-4. Jh. v. Chr. (Panathenaic Price Amphorae. An Athenian genre of vases and their function from the 6th through the 4th century BC.) (see index location)

 

Contact:
apl. Prof. Dr. N. Eschbach

 

GerdaHenkel.jpg

Corpus Vasorum Antiquorum volumes 3 and 4, Göttingen

Created by prometheus – last updated: 9/18/2018 15:10 – History

So far, in addition to old inventories and some older publications, two volumes of the international Corpus Vasorum Antiquorum, “CVA” for short, provide information on the original inventory of ancient ceramics in the collection of the Archaeological Institute of the Georg-August-Universität Göttingen. July 2006, the processing of the black-figure vessels and fragments was completed, the volume is in preparation for printing. It comprises 234 vessels, larger fragment groups and individual fragment, only a small part of which was previously accessible to research.

Extensive restoration work, carried out by restorer Jorun Ruppel, accompanied the work and brought to light a few surprises (see Fig. 1).

 e257a-24

Abb. 1   Zustand vor der Restaurierung (Photo N. Eschbach)

Numerous partly adapting fragments from the front of a belly amphora were connected in a thick plaster coat together with an unrelated B side (see CVA Göttingen [3] table 1, 3 (inv. K 200) and table 3, 3 (inv. K 201). After the separation and cleaning, numerous additional fragments were added, and a second fragment group was added to the B-side of the vessel (see CVA table 2). For the completed A-side, see Fig. 2.

 

e-257neu

Abb. 2:    Die  restaurierte  A-Seite

                Inv. K 200, Bauchamphora, Fragmente

                Aus 76 teils anpassenden Fragmenten zusammengesetzt (A/B)

                Aus Orvieto, erworben um 1900 von K. Dilthey bei R. Mancini

                A: Kriegerausfahrt im Viergespann in Seitenansicht nach rechts

                Mastos - Maler, um 530-520 v. Chr.

                CVA Göttingen (3) Taf. 1, 1-3; 2, 1-6; Beilage 1, 1
                Photo: Stephan Eckardt

A neck amphora of the standard shape (inv. K 211) was disassembled completely, freed from brittle additions and sections that were layered with plaster, and pieced together again (see CVA Göttingen [3], table 10,2). Apart from other associated fragments, long “missing” inventory labels were found on the backs of several fragments identifying origin and provenance: The shards of the Amphora were acquired in 1900 together with a larger contingent by K. Dilthey at R. Mancini in Orvieto (see Fig. 3).
         E240-23 RNeu

Abb. 3:    Die Scherben nach der Reinigung, vor der Montage

 

                Inv. K 211, Halsamphora der Standardform, Fragmente

                Aus 71 teils anpassenden Fragmenten zusammengesetzt (A/B)

                Aus Orvieto, erworben um 1900 von K. Dilthey bei R. Mancini

                A: Kriegerabschied

                B: Wendendes Viergespann überfährt einen stürzenden Hopliten

                Maler von Cambridge 51, um 520 v. Chr.

                CVA Göttingen (3) Taf. 10, 2; 12, 1-2; 15, 3-4; Beilage 2, 1
                Photo: Stephan Eckardt

During the careful restoration, numerous fragments and fragment groups showed fractured surfaces with traces of older gluings (with shellac) and sometimes match marks on the inside of the shards, for which there were no corresponding fragments in the collection of vases. In some cases, the corresponding parts were found in other collections; see Fig. 4 for a good example.

 

GR376OK

 Abb. 4:    Inv. K 376, Augenschale (Typ A), Fragmente (ober Hälfte), und:

                Rom, Museo Nazionale di Villa Giulia, Inv. 79523 (untere Hälfte)

                Aus fünf (und sieben) Fragmenten zusammengesetzt

                Göttingen: Kunsthandel Rom, P. Hartwig (1897)

                Rom, Villa Giulia: Sammlung Castellani

                A / B: Zwischen Augen führt ein bärtiger Mann einen Widder

                um 520-510 v. Chr.

                CVA Göttingen (3) Taf. 72, 1; Beilage 15, 2; 23, 1
               
Photo: N. Eschbach

Go to CVA volume 4

Literature on the collection:

 

M. Bentz - F. Rumscheid, CVA Germany volume 58, Göttingen vol. 1, Unteritalische Keramik (Pottery from Southern Italy) (1989).

M. Bentz - Chr. Dehl-von Kaenel, CVA Germany vol. 73, Göttingen vol. 2, Korinthische und Etruskische Keramik (Corinthian and Etruscan pottery) (2001).

Contact:

apl. Prof. Dr. N. Eschbach

 

The fourth volume of the CVA on the Göttingen collection includes the Attic red-figured ceramics; work started in June 2006. J. Beazley visited the collection in 1936 and paid particular attention to the vessels and fragments; 51 objects are recorded in his standard work on red-figure vase painting, (ARV2 = Attic Red-Figure Vase-Painters, 2nd edition [1963]), the database of the Beazley Archive in Oxford notes 55 entries.

Two examples from the collection of the fragments:

h46ok

Abb. 1: Schale, Fragment; altes Inv. H 46;

Euaion - Maler (ARV2

793, 69); um 460-450 v. Chr.

H 89OK

Abb. 2: Kolonettenkrater, Fragment; altes Inv. H 89;
Eucharides - Maler (Robertson; ARV2 228, 22); um 480 v. Chr.


Literature:

See the information on the CVA Göttingen (3) on this homepage

Acculturation of Pamphylia

The project is closely connected to the excavations in Perge. The basis is the discovered pottery from the Acropolis excavation. Its analysis shows that Perge was in the tension field between East and West in the 2nd and early 1st millennium BC: The cultural affiliation with the southwestern Anatolian culture was replaced by a distinct Mycenaean dominance. The early Iron Age was entirely under the influence of Cyprus. From the 7th century BC, the contact with the Greek cities of Ionia and the motherland begin, while inner-Anatolian contacts only played a minor role.

 

 

Matthias Recke

 

Perge

Die importierte Keramik aus Zypern wird durch lokale Werkstätten in Perge imitiert.

Margarete Bieber (1879-1978)

The autobiography of the archaeologist Margarete Bieber represents an important testimony to the life of the important scientist. The commented edition is prepared by professor Dr Larissa Bonfante (New York University) and Dr Matthias Recke. The related publication of the letters is supported by the Gender Equality Officer of the JLU.

 

Matthias Recke

 

MargareteBieber

Margarete Bieber 1942 in New York

The collection of casts

During the Second World War, the Institute’s extensive collection of gypsum casts was largely destroyed. Only a few heads and smaller casts are left. But they show that the Giessen collection of casts differed from the collections at the Prussian universities. The aim of the project is, on the one hand, to document and identify the existing casts and on the other hand, to reconstruct the lost stock as far as possible. The acquisition history not only casts a spotlight on the history of the Giessen Institute and its associated scientists but is also important in the history of the science of Classical Archaeology.

 

Matthias Recke

 

Altertum

 Abgüsse nach Terrakotten aus der Sammlung des schwedischen Bildhauers Bengt Erland Fogelberg (1786-1854)