LEADER 04165nam 2200709 450 001 9910787760903321 005 20200903223051.0 010 $a3-11-031421-5 024 7 $a10.1515/9783110314212 035 $a(CKB)2670000000494726 035 $a(EBL)1130280 035 $a(OCoLC)862938364 035 $a(SSID)ssj0001041082 035 $a(PQKBManifestationID)11702410 035 $a(PQKBTitleCode)TC0001041082 035 $a(PQKBWorkID)11010064 035 $a(PQKB)11280767 035 $a(MiAaPQ)EBC1130280 035 $a(DE-B1597)208859 035 $a(OCoLC)895708373 035 $a(OCoLC)979753763 035 $a(DE-B1597)9783110314212 035 $a(Au-PeEL)EBL1130280 035 $a(CaPaEBR)ebr10811281 035 $a(CaONFJC)MIL806343 035 $z(PPN)202085805 035 $a(PPN)18294154X 035 $a(EXLCZ)992670000000494726 100 $a20130731h20132013 uy| 0 101 0 $aita 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 13$aIl mondo del vaso Chigi $epittura, guerra e societa? a Corinto alla meta? del VII secolo a.C. /$fMatteo D'Acunto 210 1$aBerlin :$cDe Gruyter,$d[2013] 210 4$d©2013 215 $a1 online resource (316 p.) 225 1 $aImage & context,$x1868-4777 ;$vvolume 12 300 $aDescription based upon print version of record. 311 $a3-11-031422-3 311 $a3-11-031409-6 320 $aIncludes bibliographical references and indexes. 327 $t Frontmatter -- $tRingraziamenti -- $tIndice -- $tIda Baldassarre, Premessa -- $tTavole -- $tIntroduzione -- $t1. Il contesto di rinvenimento. Il tumulo di Monte Aguzzo a Veio, la tomba di una famiglia principesca etrusca -- $t2. Il Pittore Chigi. Le sue opere e la sua personalità a cavallo tra ceramografia e grande pittura -- $t3. Il programma iconografico dell'olpe Chigi -- $t4. Le iscrizioni in alfabeto non corinzio e la questione delle origini del pittore -- $t5. L'olpe Chigi e il contesto storico di Corinto alla metà del VII secolo -- $t6. Da Corinto all'Etruria -- $t7. Conclusioni -- $t8. Summary -- $t9. Note e bibliografia -- $t10. Appendice. Opere attribuite al Pittore Chigi e alla sua "cerchia" -- $t11. Indici -- $t12. Indice delle fonti iconografiche 330 $aThis book analyses the stylistic, iconographic and historical aspects of the Chigi vase, the famous Protocorinthian olpe dating back as early as ca. 650 BC. The vase is the masterpiece of the Chigi Painter, a skilful vase-painter who was acquainted as well with the big size Corinthian painting. The different themes, which run along the three main friezes, link each other in order to build up a true iconographic program: its key point is the distinction between the lower frieze for the ephebes' paideia and the two main friezes which show the Corinthian elites through their activities - either real or symbolic ones - and distinguishing attributes. Paris' judgment is meant as part of this iconographic program as it shows, through a mythical paradigm, a necessary step of the life, i.e. the wedding, as well as the risks that it involves. The socio-political interpretation of the iconographic program opens the historical question of which system could be implied, as the vase was painted in a critical moment of Corinthian history, i.e. in the period when Kypselos became tyrant and exiled the Bakchiads. Finally, on the background of Demaratus' tradition, the analysis investigates a possible scenario for the arrival of the Chigi olpe in the hands of an Etruscan prince of Veii, in whose tumulus it was found in 1882. 410 0$aImage & context ;$vv. 12. 606 $aArt and society$zGreece$zCorinth 607 $aCorinth (Greece)$xCivilization 610 $aCorinth. 610 $aOlpe Chigi. 610 $aiconography. 610 $avase painting. 615 0$aArt and society 676 $a738.3/8209387 700 $aD'Acunto$b Matteo$0711887 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910787760903321 996 $aIl mondo del vaso Chigi$93699065 997 $aUNINA