SOMA 2009Proceedings of the XIII Symposium on

Mediterranean Archaeology, Selcuk University of Konya, Turkey

23-24 April 2009

Edited by

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SOMA 2009rSelcuk University of Konya, Turkey, 23-24Aprii2009

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Some Kerch-Type Pelikai from Mylasa Abuzer Kızıl

Department of Archaeology, Faculty of Science and Letters, Muğla, Turkey

Among the finds obtained from the tomb excavations (4th century B.C.) at Mylasa - one o f the significant ancient cities of the Karia region and the first governmental centre of the Karia Satrapy during Persian times - was an important group of pelikai known as ‘Kerch Type’. The decoration on these vessels in the 4th century B.C. often featured a female head, horse and gryphon protomes, representing an Amazon/gryphon confrontation; Eros and Satyrs were also included among the subjects depicted on one side of the red-figure pelikai, illuminating the relationships between Mylasa and Attica, and on the other side there were generally standing figures and ritual scenes, including altars. The pelikai that we are considering here may be dated to the second half o f the 4th century B.C.

Geographical position of Kerch (Pantikapaion) and a brief historical view of the city

A busy port on the shores of the northern Black Sea, Kerch_ is located on the ancient city of Pantikapaion: a colony o f Miletos. Like other Hellenic cities established on the shores of the Bosporus, Kerch was established after the

-dispersal oftheiocal ScythiansfronnlTe'temtories: It was thcruapitalTity'aiTd^n important settlement of the Bosporus Empire. The city was constructed near the channel known as the Cimmerian Bosporus, where Lake Maiotis and the Black Sea join. The city was governed over a long period

_15y"various kings, such as Leuko, Satyrs and"Parisades.

Kerch ceramics and other ceramic developments

There was one final boom in vase painting during the revival o f Attica around 370, in the 2nd quarter o f the 4th century B.C., and Attic ceramics were widely exported. However, the markets of north and south Italy being closed, new market areas were opened. Among these ceramics there are a number of very famous and beautiful pieces,1 with many examples turning up in Kerch, the busy port on the northern shore of the Black Sea, and in the tombs near ancient Pantikapaion. This style that developed in the 4th century B.C. in Keramaikos has become known therefore as the ‘Kerch Style’,2 and all indications are that production was mainly based on export trade.

According to the ancient sources and modern studies, the art of painting changed after the first quarter o f the 4th century B.C.3 Vase painting, with a few exceptions, failed to match the advances in other forms of the art of painting, where lines were carefully drawn and geometrical proportions were represented on the human body. Kerch-

1 Haspels 1946. 216.: Williams 1985. 112. 1 Haspels 1946.216.

Style ceramics feature strong ornamental views and plastic significance as well.

Subject and composition on pelikai and other Kerch- type vases

In this century the understanding of polychrome decoration featured the use of white, yellow, blue and green. Scenes were based on daily life as well as mythological incidents. Kerch-style figures are livelier than those of such artists as the Meidias Painter. Each o f the figures stands individually and gives the impression of sculpture and a disconnection between the figures. The glances of the figures are turned towards the front or into the distance. Female figures are widely used. The harmony between vase and scene is more considered compared to previous styles and pottery forms. The figures fill the entire surface of the vase without leaving any space and although the figures are positioned at different heights on the vase^ perspective is still visible. Like sculptures, the figures create' atmosphere by their actions and their three-dimensional rendering.

-Form development in pelikai^—~ - = r = - ^ ~ r .

One o f the most common forms of the _4th century B.C. pelikai, a type of amphora, are widely known in the literature. There was a significant form change between

-ear!y-and-late examples.-In-the-early-examplesrthe-body-is more rounded, the neck is short, the lugs on the shoulders are smaller and the mouth narrower and flatter.4

Pelikai from the first quarter o f the 4th centuty B.C. are characterized by their dropping bodies, wide mouths with outer intended edges, longer necks and lugs descending to the shoulder from the bottom of the mouth. From the middle of this period, the width of the mouth had begun to almost equal the body width.

Schefold has separated pelikai into five main groups by considering the specific characteristics from the 4th centuiy B.C.5

Pelikai from Mylasa6

The ancient city of Mylasa has a great importance for W'estem Anatolian archaeology (Fig. 1). The Hekatomnoses, satraps under the Persians in the 4th century B.C.. were from the city, which had its golden age in this period, and its importance was not decreased when Maussolos moved the seat o f government to Halikarnassos.

4 Bothmer 1962, 9, Fig. 9-10.5 Schefold 1934. 141-142." Mylasan pelikai were previously discussed in a general study on local tombs, sec Kjz iI 2009. 397-463. Also pelikui no 5 and 8 were discussed in Çakıcı 1995. 321, 322. Res. 2-3, 6.

SOMA 2009

The nine pelikai discussed in this study are all tomb finds. Kerch-type vase forms are different in other regions and no other vase form, with the exception of pelikai in Mylasa tombs, has yet been found.7

The clay, without mica, is pinkish in colour. Some of the examples exhibit disproportions with the lugs and poor workmanship, such as bad kiln drying. The surfaces of most of the pelikai are either covered with lime, or exfoliation, and flaking to the glaze can be seen. As w'ith other Kerch vases found over a wide area, the Mylasa pelikai do not show much in the way of colour variation. This situation seems common for the entire Anatolia region, with the exception of few examples.8 Pelikai are mostly found in sarcophagi of various forms as well as simple and small tombs, with sides supported by stone slates. Only once to date has a Kerch-type pelike been found in a burial chamber of Hellenistic period.9

Within the assemblage here discussed, some of the pelikai can be grouped, i.e. a single female head and a single female head with horse-head form a group having the same theme. Other pelikai do not form groupings. In terms of composition, on the front surfaces of two pelikai there are crowded scenes.

.Pelikai-groupingS"— — -------------------------------- ----

GrougJL. No. 1-2. This group is represented by two pelikai. __Qn _the_.‘A- sides of these pelikai there is a female head

clear whether the woman in vase no 4 (Museum inventory no: 1451. H. 21cm, MD. 13cm. BD. 12cm) (Fig. 8-9) has a veil or not. The curled hair is interesting and probably the front part of the hair was parted. The faces of both women are painted, white. Although there is not much detail in the horse protomes, there is a bridle on the horse in example no 3. The figures on side B of vase no 3, are more significant than the others. The sex of the figures cannot be identified clearly and the arms of the figures connecting under the coat are in contact with each other. It is also obvious that one of the legs is extended straight forward by bending the knee. Although there is a similar scene on side B of vase no 4, the figures and lines are not clearly identical.

Group 3. This group consists of four pelikai. The B sides of the pelikai have similar ritual scenes, with altars between the figures, who are wearing hymations.

Pelike no 5. (Museum inventory no: 1981. H. 20.3cm, MD. 11.5cm, BD. 8.3cm) (Fig. 10-11) A gryphon protome looks left a left turning women with her head in profile. The gryphon is standing, frightened by the spear before it. The woman has a long nose and her mouth slightly open; her lower lip is thick and slightly turned down. Her hat drops towards the nape of her neck and its edges

_are_decorated with broken lines. It is difficult to explain^

turnedjx) the right inprofile, and the ‘B ’ sides feature two

the discontinuance of the two thick lines drawn from the middle of her brow to behind her ears. A curl of hair drops down from the temple. A necklace, consisting of single

“ line, on herneck'is'also seen o“rTthe_gfyplfon7 On side B ;■areligious ritual scene is depicted." There is a rectangle altar in between two figures standing, dressed in coats. The figure on the left holds a round object that is separated into four parts by crossed lines, and each part of the object is

. human figures standing, wearing hymations (flared coats), in conversation. On both sides of the vases the figures are limited by the elliptical border both on the upper part and lower parts. The figures made schematically are nor located exactly in the centre of the body but are located to the left. In Pelike no 1 (Museum inventory no: 2615, H. 21cm, MD. 13cm, BD. 9.5cm) the details in the figures are more recognizable (Fig. 2-3). In pelike no 2 (Museum inventory no: 3079. H. 20cm, MD. 12cm.) the details have disappeared due to surface calcification along with die bad workmanship (Fig. 4-5).

Group 2. (No. 3-4). This group is also represented by two pelikai. On the A side there is a female head looking to the right and horse protome. On the B sides there are two figures standing in discussion wearing flared coats. The scenes, limited by the elliptical frame, are spread over almost the entire surface of the body, contrary to Group1. The mouth edges are also decorated by the elliptical border. The female heads are covered by thin veils. The front of the veil of the woman in pelike no 3 (Museum inventory no: 2905. H. 18.5cm, MD.11.1 cm, BD. 6.6cm) (Fig.6-7) is decorated with short lines. It is not definitely

7 Although there were no Kerch-type vases in Milas with the exception of pelike, a Kerch type crater was found in the ancient Belentepesi rural settlement during excavations in 2007 from a tomb not yet published; it is an important find with respect to the relations o f the region with Attica. " A fine example of pelikai from Anatolia (which are scarce) can be seen in the Antalya museum, see, Akarca 1950, 31-36. Res. 1-3.5 Akarca 1952.367-398.

~decorated~by a point. The other figure gives offerings. On both sides the scenes are limited by the elliptical band in the upper and lower part. The edge of the mouth is also decorated w-ith an elliptical band in die same manner.

Pelike no 6. (Museum inventory no: 2634. H. 17.5cm, MD. 11cm, BD. 7.5cm.) (Fig. 12-13) On side A of this pelike there is gryphon and Amazon confronting each other. The gryphon on the left of the scene is attacking the Amazon, who appears to be stepping back to avoid contact. Despite the angry face of the Gryphon the Amazon remains calm faced. The Amazon wears a sleeveless cloth descending to the knees and held up with a belt under the chest. The thin cloth she w'ears under her main garment is decorated with black points. She holds a shield on her left arm and in her right hand is the weapon she is about to thrust into the beast. The weight of the body is on the left leg for this defensive stance and her left foot is planted firmly on the ground, with the front of the right foot slightly raised. The Amazon’s posture is reminiscent of certain reliefs in the Mausoleion. The shield and the body of the Gryphon, except the wings, are painted in white. The line that twists down on die shield, the upper part of which is cut away for the spear to be used, is snake-like. There are round objects between the legs of the Amazon and under the siomach of the Gryphon. These are similar to those the left figures are

2

A b ü zer K iz il : K e r c h T y pe P elik a i from M y la sa

holding on side B of pelilce no 5. There is a round object that is most probably an altar in between the two figures opposed to each other on side B. The action of the figure on the left cannot be determined as it is covered with lime scale. Slightly inclined to the front, the figure on the right extends its left hand to the round object (altar) in front of it. Although its right hand extends to the front at shoulder level, unfortunately what it holds can not be made out. There is a form of ritual scene here. The lower elliptical band, on which the figures are standing, surrounds the entire body. The upper band continues to the lugs. The edge of the mouth is decorated with an elliptical band. The lower parts of the lugs are decorated with a wide palmette pattern (Fig. 14).

Pelike no 7. (Museum inventory no: 2901 H. 19cm, MD. 15cm, BD. 9.8cm) (Fig. 15-16) This is a well-preserved example with fine workmanship among the Mylasa pelikai. Side A has a scene with three figures. In the middle, a woman sits on a chair and turns to the right; she has a long skirt covering her feet and wears a garment that extends over the skirt. The arms and face of the woman are pained white. She holds a round object in her left hand and extends the right hand straight forward, pointing to something with her index finger. The legs of die chair on which_she sits do not come into contact with the ground.Opposite to the seated woman there is a naked and winged figure who bends forward, about to put its right shoe on.A flat-soled shoe, similar to a slipper, is suspended in the_ air. There se"erris to be a conversation betweefTthe figures^"and the seated woman is possibly giving Instructions to the winged figure. On the left, a standing, half-naked satyr watches what is happening. He puts his left hand to his head and his right hand on his belly. He is bending his rightleg at the knee and pushing the leg backward. His body weight is thus on the left foot.

On side B of the vase there is again a religious ritual. In between the two figures wearing wide coats there is an altar with its lower part being w'ider and more profiled. The altar is located on a stone base. While the figure on the right is about to place offerings the figure on the left is playing a round tambourine. The figures here are extremely schematic. The lines we see on the clothes of the other similar figures are not included here. These lines were either erased over time or were never drawn. The lower elliptical band on which the figures are standing surrounds the entire body. Amongst the elliptical bands limiting the figures on the upper part, those on side A are longer than those on side B.

The lower parts of both lugs are decorated with opposing palmette patterns (Fig. 17).

Pelike no 8. (Museum inventory no: 2926. H. 23cm, MD. 12.5cm, BD. 9.2cm) (Fig. 18-19) The scene on side A consists of three figures. The winged figure in the middle is in mid-air and holds a mirror to the woman on the right. The naked body of the figure, of which the sexual organs are depicted, is painted in white. The upper parts of its wings are striped and decorated with horizontal points.

The female figure, to whom the mirror is held, wears a wide garment descending to her feet. The figure leans back on the right foot as if frightened. While it tries to hold die right hand of the naked figure, the left hand is bent at the elbow. The woman in a long garment on the left of the scene watches the scene in a seemingly relaxed manner. The figure in the middle is presumably Eros and the woman figure Aphrodite; the figure on the left is possibly a servant.

Side B shows a ritual scene that is often on other pelikai. There is a round object, possibly an altar, at knee level of both figures, who both have long and wide coats. The figure on the left holds a round object similar to a tambourine, of which the details are not recognizable; the figure on the right extends its right hand to the round altar below. Both figures extend their feet straight forward by slightly bending the knee.

The elliptical band forming the lower limits of the figures surrounds the entire body; the band forming the upper limit is short. The mouth edge of the pelike is decorated with an elliptical band.

Pelike no 9. (Museum inventory no: None. H. Preserved H. 14cm, MD. 13cm (measurements are approximate)

—(Fig: 2Q"2T)~Only the~head and ireckrparts~ofThese~vases - are preserved. On die conserved parL of side A of the vase

-diere is a-winged figure holding a thyrsus, and behind diis 3 figure s-th e-fro n t part- of a feline, -giving, an impression

_-that-therermay^hav-e-been-a-Sgi.ir-e-onJt-On4lie-head-of4he- : feline there is a hanging object in the form of garland. On side B two figures face each odier in hymations.

Analogy____________________________________________

Milas pelikai that have been obtained to date as tomb finds may be evaluated with respect to dieir subject, quality, and other red-figure Kerch-type vases dating to the 4th century B.C. It is clear, in this connection, that the Milas pelikai was a popular and preferred vase type at the time. There is also a similarity with the pelikai found in the tombs of Stratonikeria, an important city in the Hellenistic Period, located about 35km east of Mylasa.10 A similar example to our pelike no 6, in which diere is a challenge between Gryphon and Amazon, is now' in the Fediiye Museum, and there may be a possibility diat this low-quality pelike. that has not yet been published, may came from Milas. The most specific difference between a pelike11 that comes from a tomb in Macedonia (out of Anatolia) and our vase is die difference in the shields that the Amazons are holding. There is a surprising similarity between the Gryphon/ Amazon confrontation as displayed on die pelilce12 in the Madrid Archaeological Museum and our pelike. In a scene

in For the Stratonikeia pelikai, which are similar, see the paper presented in 13th Mediterranean Archaeology Symposium (SOMA 2009) in Konya Selçuk University by Asuman Baldıran. Apelike that was published from Stratonikeia was dated to IVth century B.C. See Boysal 1987, 62, Res. 8; Baldıran ! 991. 48. Res. 4.11 Videski 2009, (http://www.mav.mk/article.php?lang=en&article=15).13 Schefold 1934. Taf. 23, Nr. 516.

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SOMA 2009

on a pelike in the Leningrad Hermitage Museum there is an Amazon behind the Gryphon, and this is an important difference.13

The female head and horse protome pelikai form an important group for this period and they are in the majority amongst the pelikai that have been found so far in Mylasa. Another pelike that we may include in diis group was found among the Hellenistic tombs and previously published by Akarca.14 Amongst the pelikai that were found in the tombs of Startonieka, a similar female head and horse protome is a veiy parallel;15 a pelike from die Canakkale Museum has the same iconographic decoration. On side A of the pelike found in Olyndios there is Amazon, and on side B there is a confrontation between Amazon and Giyphon.1G On side A of the other pelike there is a similar Amazon and Gryphon challenge.17 Two pelikai18 from New Haven and some others found in Kerch tombs also have Amazon and horse depictions.19 On a pelike that was published by Schefold, extraordinarily, a horse protome was depicted with a man's head20 and having curly hair and beard; the edge of the covering of the man's head is decorated with a wave pattern.

Another group among Kerch-type vases consists of pelikai _ decorated with gryphon protome and female head, and

only a single example represents this group among the Mylasa pelikai. In our example, while the female head is behind the gryphon, in the examples from Stuttgart21

- and“Leningrad22 both1 figures'are'Standing~opposTTe "each' “ Dtlierrliranuther example from Leningrad", a gryphon " is positioned behind the female head.23 On a pelike found in a tumulus tomb in Ainea, in Macedonia, die female head is positioned between two gryphons.24 On another vase found in Camlik~(M7las), and since published, a gryphon and horse stand opposite each other.25

With the exception of our example, so far diere are no known pelikai diat present a single head on one side as described,

Among the vases on which one side depicts a single standing figure,26 an example found in Milas, and now published, has a close similarity to our vessel with respect to both subject and form. On these pelikai the body is more rounded and die neck shorter. Compared to other examples, this form gives a shorter, squatter impression for these pelikai.

13 Schefold 1934, Taf. 5. Nr. 381.14 Akarca 1952. 377-379, PI. LXXXII1, N o.l.15 See note 12.in Robinson 1933. no. 267, PI. 120.17 Robinson 1933, no. 268, PI. 121.,R Baur 1922.136, (Fig. 37, p. 109); no. 137 (Fig. 37, p.109).15 Thompson 1934, 427, note 5.20 Schefold 1934, Abb. 85, Slg. Calvert 5.148.21 Schefold 1934, Taf. 25, nr. 469.22 Schefold 1934, Taf. 25, nr. 461.23Schefold 1934, Taf. 25, nr. 490.^Touratsoglou 1995. Fig. 134.25 Akarca 1952. PI. XCV.20 Akarca 1952. PI. LXXXIV.

In pelike no 7, with iLs crowded scene, die sitting figure is presumably Aphrodite (or Ariadne?) and the opposite figure might be Eros, putting on his shoe. There is the sense of preparation for a ceremony. This is differentiated from other Mylasa pelikai by its palmette pattern under the lugs.

In pelike no 8, the naked white figure in the middle of the scene in which there is more than one figure is probably Eros and the woman that Eros holds a mirror for could be Aphrodite. Here, the size of the Eros figure and ils involvement as one of the main figures aLLract attention. In other coetaneous Kerch vases, the Eros drawn in different positions is not involved as the main figure.27 On a pelike in the Çanakkale Museum, Eros holds an object that is similar to a branch in his right hand up to die head of a woman opposite him. The standing position of the Eros on die Çanakkale pelike is similar to the figure in our version.

We see a closely similar scene to that on pelike no 7 on a hydria in Salonika. On this vase, the female figure in a sitting position in die centre, with no stool or similar item beneath her, is interpreted as Ariadne. Other similar points are the way the Eros bends in front of Ariadne and die Satyr behind (this hydra is dated to 370/60).28

_Oñ sfdeTMjf pélíké’ño 9THere is a ráre"scene that includes a winged figure holding a thyrsos in its hand and a spotted predator; this scene may be partly incomplete. However, iii

-most-scenes, for-example on the pelike fr-envStratomlteiaT tlıere- i5-a- t-hyfSQ&-in-the-lıaııd-of-Heraeles-fighting-witir Nessos.29 The predator, a feline of some nature, perhaps a cheetah, has a veiy wide-eyed expression. Its eyes are bulging and a side of the mouth is slighdy open. There is a

-ritoal-scenera5Tvith'mosrpelikairon sTd<rE£

Iconography

Composing a significant group of die last phase of Attica red-figure vase drawing, Kerch-type vases are important as impressive examples of change and innovation experienced in this century. Along with polychrome characteristics, the other main feature is the concentration on specific ways in which the subjects are treated. Confrontation subjects, such as Amazon/Gryphon, Amazon/Arimasp, seen on crater and oinochoe vases are uncommon on our Mylasa pelikai. Painted with different subjects on the A sides, the B sides of the pelikai are decorated with figures including single or double-headed, hymation-clothed and performing offerings in general.

While Schefold diinks that female heads seen on these vases may be represent a goddess, perhaps Aphrodite,3U Baur interprets such female and horse-head scenes as an Amazon walking next to her horse.31 Thompson interpreted

27 For example see, Schefold 1934, Taf. 4, Nr. 515; Taf. 5, Nr. 403; Taf. 33, Nr. 346.28 Schefold 1934,155, Abb.82.25 Boysal 1987, Res 8, Baldıran 1991. Res. 4 311 Schefold 1934,147 et al.31 Baur 1922 91-92. However, it should be noted that the horse figure is also involved on Mylasa coins and the horse has a special meaning for

4

A bu zer K iz il : K er c h T y pe P e l ik a i fr o m M ylasa

tiio fight between Gryphon and Amazon on side A as the war between Giyphons and Barbarians,32 and the figures on the side B as Epheboses.33 Pfuhi thinks that such scenes are the simplified descriptions of the challenge between Amazons and Gryphons.34 The identifying factor in this subject is interpreted as the coverings on the heads of the female figures, but it is not certain.

Painters

Among the Milas pelikes we are discussing, those including horse protome, Gryphon protome, female head, and Gryphon/Amazon confrontation scene on side A, and pelikes including single or double-hymation on both sides (nos 1-5) may belong to the G or F.B. Group Painters from the 4th century B.C., according to the classification made by Beazley with respect to scene, style and composidonal characteristics.35 Among the pieces credited to the Gryphon Painter there are some important examples, such as those from Bodrum,30 Anatolia, and other pelike examples from Myrina37 and Mylasa.38

Chronology

By comparing Mylasa vessels found in tombs with either contextual findings, or Kerch vases from other centres^-itJs-^ossible-to-reach-a-certam-historicafper-iod.— Pelike no 6 was found with a kylix in its moudi. This kylix can be dated_tq_die middl_e of 4di century B.C. by comparison tgrother.examples.found in Labraunda,39_the_ sacred sife^ofMylasa; ~and~ifT the Athens Agora,40 which

manufactured together and imported from die same workshop.

The pelikai depicting the Giyphon and Amazon confrontation found in the tombs in Isar Marvinci (Macedonia) were dated to the middle of die 4th century B.C.4fi Figures47 on the scenes on a Kerch-style hydria dated to 370/60 B.C. from Salonika and figures on pelike no 6 are close in aspect. Fragments from a pelike found in the Corinth forum, and showing a winged Eros riding a horse4fi on side A. and side B depicting figures white striped heads and hymation clodiing, are dated to 370 B.C. approximately.49

There is a great similarity widi respect to form and decoradon between the Mylasa pelikai and two pelikai found in the south room of Crypt B in die Athens Agora.50 These vases are dated to about 325 B.C., along with their parallels from Olyndios,51 Chatby,52 and southern Russia.5354

Another important criterion for dating the pelikai is the significant narrowing of Lhe necks o f the pelikai during the fourth quarter of this century.

With the help of these stylistic features and contextual -findings-w e are-able-to date-examples-nos-1T 5t 6r-8-and-

9 of the Mylasa pelikai to die middle of the 4th century B.C., and examples nos 3, 4 and 7 to the last quarter of the same centuiy. _

The Gryphon/Amazon confrontation depictions on the red-figure vase paindngs of the Late Classical Age, which was dominated by the arts of sculpture and painting, may be compared to several frieze reliefs with respect to

are also dated to die middle of 4th centuiy B.C. A glass phiale having Akamenid characteristics found in the same sarcophagus with die pelike no 2 is an important find for

Jhe_sjilrapyLp£iiQd_QfMylasa^ancLa_datmg_criterion.4lRicli,cloth applicadons on a type of badge found mostly in sarcophagi- or sarcophagus-type tombs of Mylasa, along with die pelikai, attract attention as indicators of die status levels of the satrapy period.42 Found along with the golden cloth decoradons in a sarcophagus tomb in Milas, a plain oinochoe may be dated to die middle 4th century B.C. with respect to its form.43

There is a close similarity between our pelikai and die pelikai found in tombs44 excavated in Milas previously, and from neighbouring Stratonikeia tombs,45 that are dated to the 4th centuiy B.C. These vases were probably

Mylasa; see. Akarca 1959, 63-64 Lev. 4. 27-32; 5, 33-35; 15. 1-5; 16, 1-8).

32 Thompson 1934, 333.33 Thompson 1934, 427.31 Pfuhl 1923. 11.713.35 Beazley 1963, 1462-1471; 1484-1494.3B BeazJey 1963, 1464/62.37 Beazley 1963, 1467/107.3K Beazley 1963, 1463/19.33 Hellstrom 1971, 12-14, Nos. 24-61.40 Sparkes-Talcott 1970, 275, Fig. 6:558.41 Yağcı 1996. 312-327. PI. II, IV, V.42 Kızıl İ9 9 7 ,57-59. Drawing 3-5. Fig., 3-5; Kızıl 2009, Res 18, 20, 32, Çakıcı 1995, 322, Res. 4 ,7 .43 Kızıl 2009, Res. 18,20,3244 Akarca 1952, 377-379, 386-387 No. 1-3 Lev. 83. 1; 84, 3.45 Baldıran 1991,47-48, Res. 4.

style.55 In almost all the tombs where pelikai in Mylasa were found, an important feature was die inclusion of a mastos (Fig. 22-23). Red-glazed plain pelikai. which are die followers of the red-figure pelikai of the Hellenisdc Period, were found widi a mastos in the same way. In an excavated tomb, an in situ mastos was found in the mouth of the pelike (Fig. 24).

Bibliography and Abbreviations

Akarca, A. 1950. ‘Antalya Müzesinde Varsak’tan Gelme Bir Kerch vazosu’, Belleten XIV, 53,

1950. 31-36.Akarca, A. 1952. ‘Mylasa’da Hellenisdk Bir M ezar’, Bel­

leten 16, 1952, 367-398.Akarca, A. 1959. Les monnaies grecgues de Mylasa, Paris.

4n Videski 2009, (http://www.mnv.mk/article.php?lang=en&article=15). 47 Schefold 1934,155, Abb.82.4!i Mounted Eros figures on red-figııre Attic vases are seen after 400 B.C. See, Beazley 1963, 89, no. 174.4D McPhee 1987, 279, Pi. 47, Fig.l.50 Thompson 1934, 332-334 Fig. 13a, 13b. 14a, 14b.51 Robinson 1933. No. 267 PI. 120; No. 268 PI. 121.SJ Breccia 1912, No. 91-92.53 Thompson 1934, 427 note 5.54 Thompson 1934, 332, 427429.“ Boysal 1967, 80-82. Res. 95-99.

5

Baldıran, A. 1991. ‘Nelcropol Buluntularına Göre Stratonkeia’nm Tarihsel Süreci', S.Ü. Fen - Edebiyat Fakültesi, Edebiyat Dergisi 6, 45-55.

Baur, P. 1922. Stoddart Collection.Beazley, J. D. 1963. Attic Red-Figure Vase-Painters, Ox­

ford.Beazley, J. D. 1963. İn L. D. Caskey and J. D. Beazley,

Attic Vase-paintings in the Muséum o f Fine Arts, Bos­ton III, Boston.

Bothmer, von, D. 1962. The Metropolitan Muséum o f Art Bulletin, New Sériés, Vol. 21, No.l.

Boysal, Y. 1967. Grek Klasik Devir Heykeltıraşlığı, An­kara.

Boysal, Y. 1987. ‘Stratonikeia Nekropolonün tarihsel Sü­reci’, Remzi Oğuz Arık Armağanı, Ankara, 62, Res. 8.

Breccia, E. 1912. Catalogue générale des antiquités égyp­tiennes museé d ’Alexandrie; La Necropoli di Sciatbi, Cairo.

Çakıcı, M. 1995. ‘Milas İlçesi Şevketiye Mahallesi 199 Ada 187 Parselde

Yapılan Kurtarma Kazısı’. 5. MKKS, (Didim 1994), 321 - 332.

Haspels, E. 1946. Eski Yunan Boyalı Keramiği.Hellstrom, P. 1971. Labraunda, Potteıy o f Classical and

Later Date, Terracotta Lamps and Glass, Lund.----------------- -Kızri-,^A-:-1997r lMiIas--Sanayi- Si tesi-1. -Cad.—15- Parselde -

Çıkan Mezarı Kurtarma : Kazısı’, VII. MKKS (8-10 Nisan 1996

__r __ _ __ Kuşadası-Aydın), Ankara. 57-66. ______ .. _ _ -Kızıl. A. 2009. ‘1990-2005 Yılları arasında Milas ’ta Kur-

tarma Kazılan Yapılan Mezarlar ve Buluntuları Üzeri­ne Genel Bir Değerlendirme’. Die Karer un Anderen, Internationales Kolloquium an der Freien Un i vers i tat.

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Berlin 13-15 Oktober 2005 (Hcrausgeben von Frank Rumscheid), 397-463.

McPhee. I 1987. ‘Attic Red Figure from the Forum in An­cient Corinth', Hesperia, Vol. 56, No. 3.

Pfhul, E. 1923, Ma/erei und Zeichnung der Griechen II, Munich, 713.

Robinson, D. B. 1933. Olynthus V, 1933.Schefold, K. 1934. Untersuchungen zu den Kertscher

Vasen.Sparkes-Talcott, B. A. 1970. The Athenian Agora XII,

Black and Plain Potteıy o f the 6th, 5th and 4th Centu­ries B. C , Princeton, 275, fig. 6:558.

Thompson, H. 1934. ‘Two Centuries of Hellenistic Pot­tery’, Hesperia III.

Touratsoglou, I. 1995. Macedonia, Histoiy, Monuments, Museums, Athens.

Videski, Z. 2009. ‘Red-figure Painted Ceramics: Isar Mar- vinci (excavations 2009)’, Macedonian Archaeologi­cal News, Number 3, Volume I, October.

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Müzesi 'ndenYayınlanmamış İki Örnek’, Anadolu Medeniyetleri Müzesi

1995 Yıllığı, Ankara, 315-318 Lev. 2. 4-5.

Abbreviations

B.D-î ^.Base Diameter.: ^ _H.: _ -H d ^ h t, __ ___ .

-Res.:. -Resim --- - 3 "-- — - —----------- — ----------------- ---------M.D¿: Mouth Diameter. ”MKKS: Müze Kurtarma KazıiarıSempozyumu

6

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2. Pelike no. 1, Side A 3. Pelike no. 1, Side B

7

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3079

4.Pelike no. 2, side A

6. Pelike no. 3, side A

1451

8. Pelike no. 4, side A

5. Pelike no. 2, side B

7. Pelike no. 3, side B

14519. Pelike no. 4, side B

8

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10. Pelike no. 5, side A

2634

12. Pelike no. 6, side A

11. Pelike no. 5, side B

2634

13. Pelike no. 6, side B

29012634

14. Pelike no. 6, palmet 15. Pelike no. 7, side A

9

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18. Pelilce no. 8, side A

20. Pelike no. 9, side A 21. Pelike no. 9, side B

2901

16. Pelike no. 7, side B

19. Pelike no. 8, side B

2901

17. Pelike no. 7, palmet

2926

10

A b u z e r K i z i l : K e r c h T y p e P e l i k a i f r o m M y l a s a

22. Inside of a tomb from Mylasa

23. Pelike no. 1 with mastos

24. Pelike with mastos (AHellenistik grave from Mylasa) in situ

11