Making and decorating Athenian black- and red-figure vases was a highly sophisticated process that combined craftsmanship, artistic skill, and the cultural expression of ancient Greece. These vases, which are among the most famous artifacts from the ancient world, were made primarily between the 7th and 4th centuries BCE. They played a significant role in both everyday life and religious practices, and today, they provide crucial insight into the culture, mythology, and daily life of the ancient Greeks.

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Materials and Preparation

The production of Athenian black- and red-figure vases began with the selection and preparation of clay. The region of Attica, where Athens is located, was known for its high-quality clay, which had a rich iron content that turned a reddish color when fired. This Attic clay was first dug from the ground and then thoroughly prepared by removing impurities such as stones and organic matter.

The preparation involved mixing the clay with water in a process called levigation. The clay would settle, and impurities could be removed as the water was drained. The resulting purified clay was malleable and ideal for pottery making. The prepared clay was stored until ready for use, keeping it moist and workable.

Shaping the Vase

Once the clay was ready, the potter would form the vase on a potter’s wheel, a device that allowed the clay to spin as the artisan shaped it. Potters used their hands and simple tools to mold the clay into a variety of vase shapes. Each shape served a specific function. For example:

• Amphora: A tall vase with two handles used for storing wine or oil.
• Kylix: A shallow drinking cup with a broad body and two horizontal handles.
• Krater: A large bowl used for mixing wine and water at symposia (drinking parties).
• Hydria: A vase with three handles used for carrying water.

Some of the more complex vases, such as large amphorae or kraters, were made in multiple sections, with the body, neck, and handles created separately and then joined together. Once the vase had been shaped and its parts assembled, it was left to dry to a leather-hard state. At this stage, the vase was stiff enough to hold its shape but still soft enough to be refined and decorated.

Decorating the Vase: Black-Figure Technique

The black-figure technique was developed in Corinth in the 7th century BCE and later refined by Athenian potters. It involves painting the figures and decorative motifs in a slip (a mixture of water and fine clay particles) that would turn black during the firing process. The black-figure method dominated Athenian pottery until the rise of the red-figure technique around 530 BCE.

Steps in the Black-Figure Technique:

Sketching the Design: The vase would first be covered with a thin layer of slip, and the artist would lightly sketch the designs onto the surface using a pointed tool. These sketches guided the artist in painting the figures and scenes.

Applying the Slip: The painter would apply the slip to the vase to outline and fill in the figures, animals, and decorative patterns. The slip used for black-figure vases was made from the same clay as the vase but was more refined. When applied to the surface, it looked similar to the natural clay color but would turn a deep black during firing.

Etching Details: Once the figures were painted in slip, the artist would use a sharp tool to incise details into the surface, such as the lines of clothing, facial features, or muscles. This technique allowed for intricate detail and contrast between the black figures and the red clay background.

Additional Colors: Occasionally, artists added white or purple slip to highlight details like garments or accessories. These colors were also applied before firing and would take on their final hues after the kiln process.

Red-Figure Technique

The red-figure technique, which replaced black-figure decoration as the dominant style around 530 BCE, reversed the process of black-figure painting. Instead of painting the figures in black slip, the background was painted black, leaving the figures in the natural red color of the clay. This method allowed for more flexibility and detail in the depiction of human figures and other elements.

Steps in the Red-Figure Technique:

Outlining the Figures: The artist would begin by sketching the figures directly onto the surface of the vase. Instead of filling in the figures with slip, as in the black-figure method, the artist would outline them with a fine brush, using the black slip only for the background. This left the figures in the natural red color of the clay.

Detailing with a Brush: Red-figure artists used fine brushes to add details within the outlined figures, creating more subtle and expressive representations of anatomy, clothing, and movement. Unlike the etched lines in the black-figure technique, these brushstrokes could vary in thickness and create shading effects.

Application of Additional Colors: As with black-figure vases, white and purple slips were sometimes used to highlight details in red-figure pottery.

Advantages of Red-Figure: The red-figure technique allowed for greater fluidity and naturalism in the portrayal of figures. The use of brushes gave artists more control over fine details, and they could experiment with more dynamic poses and varied subject matter. This technique was particularly well-suited to the depiction of human figures and became popular for scenes of mythological heroes, gods, and everyday life.

Firing Process

The firing process was essential to achieving the distinctive black and red colors of Athenian vases. Potters used a three-phase firing technique to manipulate the properties of the clay and slip.

Steps of the Firing Process:

Oxidizing Phase: In the first phase, the kiln was heated to around 800°C (1,470°F) with an ample supply of oxygen. During this phase, both the clay of the vase and the slip turned a reddish color due to the iron content in the clay.

Reducing Phase: In the second phase, the potter would reduce the oxygen supply in the kiln by closing the vents and introducing green wood or other organic materials that released carbon into the kiln atmosphere. This caused the slip to turn black, while the body of the vase, still porous, retained its red color.

Re-Oxidizing Phase: In the final phase, oxygen was reintroduced into the kiln by reopening the vents, causing the unslipped portions of the vase to turn back to red while the slip remained black. This complex firing process required precise control of temperature and oxygen levels to achieve the desired contrast between black and red.

Iconography and Themes

The imagery on Athenian black- and red-figure vases offers a window into ancient Greek culture. The themes depicted were wide-ranging and often reflected the values, beliefs, and daily life of the Greeks.

Common Themes:

Mythological Scenes: Many vases featured depictions of gods, goddesses, and heroes from Greek mythology. Scenes from the lives of Heracles, Achilles, Theseus, and other mythological figures were popular. These vases not only served as functional objects but also as a means of storytelling and reinforcing cultural myths.

Athletic Competitions: Athletic events, such as chariot races, wrestling, and running, were common subjects, reflecting the Greek emphasis on physical fitness and competition. These scenes often adorned vases used as prizes in athletic contests.

Everyday Life: Vases also depicted scenes of everyday activities, such as men at symposia (drinking parties), women weaving, and warriors preparing for battle. These images provide valuable insights into the social roles, clothing, and customs of the time.

Religious and Ritual Scenes: Many vases showed scenes of religious rituals, sacrifices, and processions, reflecting the importance of religion in Greek civic life.

War and Combat: Battles between warriors, both mortal and mythological, were frequently depicted. These scenes often reflected the Greek ideals of heroism and honor in warfare.

Artists and Workshops

Some vase painters and potters achieved considerable fame in their time and are still celebrated today for their skill. While many vases were produced anonymously, some artists signed their work. Notable painters like Exekias, the Andokides Painter, and the Berlin Painter are known for their contributions to both black- and red-figure pottery.

The Role of Workshops

Potters and painters often worked in workshops where several artisans would collaborate on the production of vases. A master potter might shape the vase, while an expert painter would handle the decoration. In large workshops, apprentices and less skilled workers assisted with the more routine tasks of production, while the most experienced artists focused on high-quality pieces.

Conclusion

The creation and decoration of Athenian black- and red-figure vases was a highly skilled process that involved a deep understanding of materials, firing techniques, and artistic expression.

The black-figure technique, with its sharp contrasts and incised details, gave way to the more flexible and detailed red-figure style, which allowed artists to depict figures with greater naturalism.

These vases not only served functional purposes but also acted as important cultural artifacts, showcasing scenes of mythology, daily life, and religious rituals.

Questions and Answers

What was the first step in making an ancient Greek vase?

The first step in making an ancient Greek vase was sourcing and preparing the clay. This involved digging clay from the ground and purifying it by removing grit, stones, or plant material.

How was the clay purified for use in vase-making?

The clay was mixed with water, and the heavier impurities sank to the bottom. This process could be repeated until the clay reached the desired consistency.

After purification, the clay was left to dry to the right texture for shaping.

How did potters shape the clay into a vase?

The potter kneaded a lump of clay and placed it on a potter’s wheel. As the wheel spun, the potter used their hands to pull and mold the clay into the desired vase shape.

What was the potter’s wheel like in ancient Greece?

The potter’s wheel was circular, likely made of wood, clay, or stone, and around two feet in diameter. It sat on a fixed pivot and was turned by hand, often with the help of an apprentice.

How were large vases made differently from smaller ones?

Larger vases were made in separate sections, such as the body, foot, and handles. These parts were shaped individually and assembled later.

What was done after the vase parts were shaped?

After shaping, the parts were left to dry for about twelve hours, and then they were assembled and “glued” together using a clay slip.

How did the decoration process of the vase begin?

The potter would often make a preliminary sketch on the vase’s surface, possibly using a charcoal stick.

What was a black slip, and how was it used?

Black slip was a finely purified clay used for painting figures on black-figure vases or as a background on red-figure vases.

How were details added to black-figure vases?

In black-figure vases, the figures were painted in silhouette, and details were incised into the black slip using a sharp tool to reveal the red clay underneath.

How were red-figure vases decorated differently from black-figure vases?

In red-figure vases, the background was painted in black slip, leaving the figures in the natural red color of the clay. Details within the figures were painted using different thicknesses of the black slip.

What additional colors were used on both black-figure and red-figure vases?

Purplish-red and white colors were sometimes added. The red color came from iron oxide, while the white was made from a kaolin-rich clay.

What tools were used to apply these decorative details?

Brushes of varying thicknesses were used to apply the slips for painting and detailing the designs on the vases.

What were the key stages in making an Athenian vase?

The key stages included preparing and purifying the clay, shaping the vase on a potter’s wheel, assembling the pieces, sketching designs, and decorating the vase using black slip, red slip, and other pigments to create detailed artwork.

 

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