This distinguished alabastron from the late Archaic period is notable for its use of the white-ground technique, whereby the potter applied an additional layer of his best clay mixed with water, producing a compound known as a “slip,” to the surface area of the vessel. Unlike the undiluted Attic clay, which fires to a distinctive orange-red, the diluted mixture fires to varying degrees of whiteness. Our piece shows both the rich golden yellow hue of the slip on the undecorated sections of the body, as well as the original red clay in the mild flecking around the lip. During the Classical period, the white-ground technique was perfected, as potters became more adept at removing impurities from the clay. Later examples of white-ground technique succeed in producing a truly white background, ideal for colorful painting. The technique was intended to reproduce the whiteness of marble, or in some cases of calcite alabaster, from which this class of pottery takes its name.

The alabastron shape, with its broad lip, short neck, and elongated ovular body, originated in Egypt, but had become a characteristic form within Greek pottery by the 8th century B.C. They were used in Greece for storing viscous liquid, such as olive oil or perfumes. The alabastron is frequently seen in connection with the athletic activities of the Greek gymnasium, where men rubbed their bodies with olive oil as part of their hygienic practice. Functional alabastra were sealed with a stopper, and typically included small pegs extending from either side of the body, around which users would wrap leather thongs. These thongs enabled Greeks to carry the alabastron with them to the gymnasium and hang them up when not in use. It is possible that the decoration of our piece reflects in some way these accoutrements of the athlete.

In addition to the unusual decoration on the body, the shoulder of the alabastron is decorated with a frieze of meanders, a motif that dates to the early Geometric period. Lines demarcating the panel, applied on the white ground in a brown wash paint, introduce a third color and serve to enliven the frieze. The workmanship, though imperfect, shows overall an energetic interest in patterns and color contrast.

This piece is published in Phoenix Ancient Art 2005, n. 1 (p. 19, n. 13) Click here to purchase catalog

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