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Aryballos in the form of three cockle shells, 6th century BC (Metropolitan Museum of Art)

An aryballos (Greek: ἀρύβαλλος; plural aryballoi) was a small spherical or globular flask with a narrow neck used in Ancient Greece.[1][2] It was used to contain perfume or oil, and is often depicted in vase paintings being used by athletes during bathing. In these depictions, the vessel is at times attached by a strap to the athlete's wrist or hung by a strap from a peg on the wall. Versions of the aryballos have been found throughout Greece but some of the more preserved versions have been found within the city of Athens.[3]

There are two different versions of aryballoi, the Corinthian version and a version created by Attic potters. The Corinthian version of the aryballos has a rounded base and has one handle which reaches from the shoulder of the base to the lip. The version that was made by Attic potters usually is suited with two handles and has a "bell-shaped mouth". The Attic potter's aryballoi were produced sometime around the end of the 6th century while the Corinthian version of the aryballoi was produced up until the 5th century BC.[4]

Corinthian aryballos were often painted with a large array of vibrant colors including reds, purples, and greens. The aryballos were often decorated with ornaments such as rosettes which gave them such a unique design. Animals ranging from octopuses to large birds can be seen painted on the sides of aryballos.[5] Other aryballoi were shaped into the form of animals (such as owls or hedgehogs) or other symbolic items such as a foot[6] or a hand. The owl-shaped aryballos may have been in relation to the goddess Athena who's main animal symbol was an owl.[7]

While most preserved aryballoi are made of clay, it is hypothesized that some aryballoi were made of leather. Over the thousands of years since they were made, these aryballoi would have decayed away, yet in some versions of art, these vessels are represented as made from leather. This is credited to an image that can be found at the bottom (tondo) of a cup that depicts two adult males and a younger male which the two adults are watching. In the background of this artwork is an aryballos that is hanging which appears to be made of leather. While this is the only depiction of an aryballoi being made of leather, it does give an explanation to why so few have been discovered. This image dates back to c. 500 BC.[8]

Some scholars believe that aryballoi were only used by males, however, there is evidence that aryballoi were used by women as well. Of the 14 pieces of art that depict the use of aryballoi, only one contains a women using the aryballos. This is on an amphora and was painted by an Andokides painter that dates back to 520 BC. This image depicts a group of women swimming while one uses an aryballos to pour oil into the palm of her hand. Some scholars believe that these women are Amazons who are doing, what would be at the time, a more masculine activity but the use of aryballoi in gender roles is still up for debate.[8]

The shape of the aryballos originally came from the oinochoe of the Geometric period of the 9th century BC, a globe-shaped wine jar. By the Proto-Corinthian period of the following century, it had attained its definitive shape, going from spherical to ovoid to conical, and finally back to spherical. This definitive form has a wide, flat mouth, and a single small handle. Some later variations have bell-shaped mouths, a second handle, and/or a flat base. Potters also created inventive shapes for aryballoi.

The Austrian commission of the Corpus Vasorum Antiquorum is investigating the material properties of these vessels using computed tomography and optical 3D acquisition techniques.[9] Currently, many aryballos are housed within the Metropolitan Museum of Art[10] and within the Acropolis Museum.[11] Within these museums, many aryballoi are put on display for the public to see. The examples of aryballoi in these museums are aged somewhere between 500-600 BC.

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Aryballos

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An aryballos (plural: aryballoi) is a small, round or ovoid flask originating in ancient Greece, characterized by a narrow neck, a broad flat mouth to prevent spillage, and a short handle, primarily used to hold perfumed oils or ointments. The shape originated in the Geometric period, evolving into its characteristic form by the Archaic period. These vessels were particularly prominent in Corinthian pottery production during the Archaic period (ca. 700–480 BCE), where they were crafted in large quantities using the black-figure technique, involving terracotta clay fired to a yellowish or beige tone and decorated with incised silhouettes of animals, mythical scenes, or floral motifs. Corinth, a major trade port, exported thousands of aryballoi across the Mediterranean, facilitating the distribution of scented olive oil essential for daily grooming and athletics. Aryballoi served practical functions in athletic and funerary contexts; male athletes applied the oil to their skin before exercise and used it with strigils (scrapers) for post-activity cleansing, while depictions on vases and stelai show them hanging from wrists or placed in tombs as . Though most examples date to the late 7th through early 6th centuries BCE, such as those from ca. 625–600 BCE, variations included meticulously painted miniatures, mould-made forms resembling warrior heads, animals, female figures, or even unconventional shapes like shells and genitals in Athenian production. The term "aryballos" is a modern designation, possibly corresponding to the ancient Greek "" for similar oil containers, and while dominated their creation, East Greek and workshops adapted the form with regional stylistic differences, contributing to their widespread archaeological survival today.

Definition and Etymology

Terminology

The term aryballos (: ἀρύβαλλος) denotes a specific type of ancient Greek vessel designed for containing and dispensing liquids, particularly oils or perfumes. Its traces to the verb aruein (ἀρύειν, "to draw" or "to ladle") combined with a akin to ballantion (βαλάντιον, "purse" or "bag"), evoking the image of a "draw-purse"—a small, drawstring-like from which contents could be easily extracted or poured. This linguistic origin underscores the vessel's practical function in facilitating the controlled release of liquids, as interpreted in classical sources. In ancient lexicographical traditions, the term's meaning is elaborated by Pollux in his Onomasticon (Book X, 152), drawing on comedic references from Antiphanes to describe it as a purse-like object for holding perfumed substances. The word appears in literary contexts as early as the 5th century BCE, notably in ' Knights (line 1094), where an aryballos serves as a metaphorical vessel from which pours onto the head of Demos, emphasizing its role as a grooming or accessory in everyday and symbolic scenarios. Distinctions from related terms highlight the aryballos's specialized nomenclature: unlike the taller, slender (λήκυθος), which was suited for larger volumes of oil over extended periods, or the elongated alabastron (ἀλάβαστρον) often used for perfumes with a more cylindrical profile, the aryballos specifically signified compact flasks for portable, immediate application of scented oils. These terminological boundaries, rooted in functional and morphological nuances, were maintained across pottery traditions without overlap in primary usage.

Physical Characteristics

The aryballos features a compact spherical or globular body, typically with a of 2 to 10 centimeters, connected to a short, narrow that ensures precise dispensing of contents. This form, often ovoid in outline, supports a small mouth with a broad, flat lip to minimize spillage during use. A single arched handle rises vertically from the shoulder to the rim, allowing the vessel to be suspended from a cord or strap for portability. The base exhibits variation to suit different functions: a rounded bottom for handheld or suspended carrying, or a flat base—sometimes with a ring foot—for stable placement on surfaces. Many examples include a separate or one tethered by a to secure the contents, reflecting the vessel's role in containing small quantities of valuable oils or perfumes. With a typical capacity of 0.05 to 0.2 liters, the aryballos was designed for personal use, offering greater portability than earlier larger flasks such as the oinochoe. Representative specimens, like an example measuring 8.3 cm in height and 8.9 cm in diameter, illustrate this scale suited to oils for athletic or daily grooming.

Historical Development

Origins in Geometric Period

The aryballos first emerged during the Early Geometric period, around the late 9th to early , as a specialized small vessel evolving from Protogeometric forms, particularly compact oinochoai with globular bodies used for liquids like oil or wine. This transition is evident in , where handmade prototypes with flat bottoms and simple banded decorations gave way to wheel-made versions featuring cylindrical necks and round mouths, marking the shape's adaptation for personal use such as containing perfumes or unguents. Early specimens, often miniature in scale (heights around 0.06–0.08 m), reflect the broader revival of production in post-Bronze Age , with the aryballos serving as a practical container in domestic and funerary contexts. Key archaeological finds from Corinth's Panayia Field and North Cemetery illustrate this origin, including five Early Geometric examples from graves dated ca. 900/875–850/825 BC, such as a glazed aryballos (No. 63) with a shoulder zone decorated in cross-hatched triangles and neck stripes. These vessels typically had biconical or spherical bodies, concave necks, outturned rims, and vertical strap handles, often with solidly glazed or burnished surfaces for durability. Handmade variants, like those sealed with at the mouth, underscore the period's experimentation with form, prioritizing functionality over elaboration. In , aryballoi appear slightly later, in Late Geometric contexts around 725–700 BC, as seen in Athenian Agora graves such as XVII and XXV, where hand-made spherical examples (heights 0.04–0.08 m) were placed near skeletons, likely holding oils for ritual anointing. Made of micaceous buff clay and polished, these feature subtle decorations like incised lines with dots, rouletted shoulder bands, or simple glaze motifs, aligning with local subgeometric traditions. Unlike Corinthian counterparts, early aryballoi show ties to broader grave assemblages including amphorae, emphasizing their role in without the hatched geometric patterns prevalent in the . Overall, these 9th–8th century BC origins link the aryballos to Geometric pottery's emphasis on and restraint, with simple incised or painted motifs—such as meanders, triangles, and bands—adorning reserved zones to denote status in burials at sites like Corinth's and Attica's . This foundational phase set the stage for the vessel's proliferation, though refinements in shape and narrative decoration occurred later.

Evolution in Archaic Period

During the Archaic period, from the late 8th to the , the aryballos evolved from its Geometric precursors into a more standardized and refined vessel, marked by the adoption of a definitive spherical form in the Proto-Corinthian phase. Building on earlier Geometric prototypes characterized by simpler, elongated shapes, the Proto-Corinthian aryballoi of the late 8th century BC, around 720–690 BC, shifted toward compact spherical bodies with a narrow neck and a single prominent handle extending from the to the , facilitating to straps or cords for . This development coincided with orientalizing influences from cultures, introducing motifs such as mythical creatures, floral patterns, and animal friezes that adorned the vessels in silhouette technique with added colors and incisions, reflecting broader artistic exchanges through trade routes. By the middle Proto-Corinthian phase, spanning approximately 690–650 BC, the aryballos form further refined into ovoid and then pear-shaped (pyriform) variants, emphasizing natural proportions, overlapping figures, and precise miniature detailing in black-figure decoration, which peaked in technical sophistication during this era. These changes enhanced the vessel's aesthetic appeal while maintaining its core function as a portable , with sizes typically reduced to 5–10 cm in height to improve ease of carrying during travel or daily use. In the late 7th to early , aryballoi reached widespread adoption across the Greek world, particularly from Corinthian workshops, as evidenced by their and in large quantities to regions like in and sites in , where they served as trade goods containing scented oils. The prominence of the aryballos began to wane by the late , with production declining sharply into the as the emerged as a preferred alternative for similar oil-holding purposes, offering a taller, more versatile shape suited to evolving preferences in vessel design and use. This transition marked the end of the aryballos's dominance in Archaic pottery, though sporadic examples persisted in regional contexts until its effective extinction around the mid-.

Types and Variations

Corinthian Aryballoi

Corinthian aryballoi, as the predominant early form of this oil flask, feature a globular body with a rounded or slightly flattened base, a narrow , a flaring disc mouth, and a single strap handle extending from the shoulder to the rim, making them compact and portable for personal use. These vessels were typically small, ranging from 4 to 11 cm in height, crafted from fine yellowish or beige clay that allowed for lightweight construction ideal for and export. Production spanned from the late 8th century BC through the 5th century BC, with a peak in the late 7th to early (ca. 650–550 BC), when Corinthian potters innovated techniques that facilitated widespread distribution across the Mediterranean. The decoration of Corinthian aryballoi utilized the black-figure technique, developed in Corinth around 700 BC, in which silhouettes of figures were painted in black slip, details incised with fine lines, and vibrant polychrome accents added in white, red, and purplish-red paints to create a lively, tapestry-like appearance. Friezes encircling the body commonly depicted animals and mythical creatures in dynamic processions, including sphinxes, tigers, griffins, sirens, ducks, and panthers, often arranged heraldically with filler motifs like rosettes and floral elements to fill the composition. These Orientalizing motifs reflected eastern influences, emphasizing exotic and naturalistic animal forms over earlier geometric patterns. In addition to animal friezes, later Corinthian aryballoi incorporated narrative iconography from , such as scenes of battling the Lernean Hydra accompanied by figures like and Iolaos, marked by inscriptions in the Doric alphabet and executed with intricate incision for expressive detail. This shift toward mythological storytelling represented a key innovation in the Archaic evolution of Greek pottery, as detailed in broader historical developments. Examples like the Getty's aryballos from the first quarter of the highlight the technical finesse and cultural significance of these vessels in early .

Attic and Other Regional Styles

Attic aryballoi appeared in the late , adopting a distinct form with a hemispherical or bell-shaped mouth and two horizontal handles featuring small projections for attachment, marking a departure from the single-handled Corinthian prototypes. These vessels, produced in Athenian workshops, measured up to 10 cm in height, larger than typical exports, and were suited for local personal use rather than widespread trade. By the end of the , production waned as red-figure techniques dominated pottery, with aryballoi often showcasing finely detailed figures on the shoulder or body. Decoration on Attic examples frequently employed the red-figure technique, where figures remained in the natural clay color against a black-glazed background, allowing for intricate details like features or attire; a notable instance is a head-shaped aryballos depicting a male figure from around 510–500 BC. Influenced by Corinthian models but adapted for Athenian , these aryballoi emphasized mobility, often shown with hangers in contemporary paintings to facilitate carrying. Animal-shaped variants, such as owls symbolizing , further highlighted regional innovation, though less common than spherical forms. Beyond , East Greek workshops produced aryballoi with distinctive motifs like birds and lions, often in plastic (molded) forms that emphasized dynamic animal poses, such as crouching lions, blending local Ionian styles with broader Greek traditions. examples from the , centered in areas like , featured hedgehog shapes with detailed spines and a small plinth base, using glazed for a vibrant, durable finish suited to perfumed oils. These non-Corinthian variants showcased regional diversity through material experimentation and thematic focus on . In , aryballoi were simpler, often executed in black-glaze technique with minimal decoration, prioritizing functionality over elaborate imagery; excavations at Rhitsona yielded numerous examples from the late 6th to early , including globular forms with streaky black slips on buff clay. These vessels, smaller and less ornate than counterparts, reflected Boeotian preferences for utilitarian in daily routines, with production centered in local kilns adapting Corinthian influences to coarser fabrics.

Production Techniques

Materials and Firing

Aryballoi were primarily crafted from fine, secondary clays sourced locally in regions like and , with Corinthian examples utilizing a light yellow-firing clay characterized by lower content compared to the red-orange Attic varieties. This fine clay provided the necessary plasticity for shaping the small, spherical forms while ensuring a smooth surface suitable for intricate decorations. Occasionally, potters mixed the clay with a slip—a refined suspension of the same or similar clay in —to enhance surface uniformity and prepare for glazing effects, though the base body remained predominantly pure fine ware. The firing for aryballoi followed a standard three-stage sequence in updraft kilns fueled by wood, beginning with an oxidizing phase to set the clay's , followed by a reducing phase to develop the black gloss on applied slips through reactions, and concluding with re-oxidation to contrast the fired body color. Temperatures typically ranged from 925 to 1075°C, sufficient to vitrify the clay surface while maintaining in the body for oil retention. This was particularly effective for Corinthian black-figure aryballoi, where the at peak heat transformed the slip into a durable, glossy black. Variations in clay quality influenced both aesthetic outcomes and longevity; Corinthian clays, with their finer grain and reduced iron impurities, yielded vibrant, even colors and better resistance to cracking during firing, contributing to the widespread preservation of these vessels in archaeological contexts. The inherent porosity of the fired clay, especially in lower-fired examples, allowed for gradual oil absorption and release, enhancing the aryballos's practical function as a perfume or athletic oil container without rapid evaporation.

Decoration Methods

The primary decoration method for aryballoi was the black-figure technique, in which potters applied a black slip—composed of fine clay particles suspended in water—to the leather-hard vessel surface to create silhouetted figures and motifs against the natural red-orange clay background. Details within these black forms, such as facial features, musculature, or patterns on clothing, were incised using a sharp tool like a or graver before firing, revealing the underlying clay color and adding contrast without additional pigments. This technique, originating in , allowed for precise, linear articulation suited to the small scale of aryballoi, typically limiting decoration to simple bands or friezes to avoid overcrowding the compact form. To enhance visual interest, painters added secondary colors over the black slip or reserved areas, including a purple-red hue derived from iron-rich clay slip for highlights like garments or accessories, and white kaolin-based slip for elements such as female flesh tones or special details. In Corinthian production, effects were achieved by layering these added slips and sometimes overfiring sections to produce subtle iridescent sheens in the black gloss, creating a shimmering quality on the surface. For select pieces, a white-ground variant was employed, where a thick white slip served as a base layer to support vibrant added colors like reds and blues, though this was less common on everyday aryballoi due to its fragility. Aryballoi bodies were primarily wheel-thrown for uniformity, with decoration applied freehand using brushes for broad slip coverage and tools for incising, ensuring scenes remained balanced and uncluttered given the vessel's size—often under 10 cm in height. This approach prioritized technical precision over elaborate motifs, as the small format demanded restrained application to maintain aesthetic clarity post-firing.

Uses and Cultural Role

In Personal Hygiene and Athletics

The aryballos served as a primary vessel for holding scented olive oil or perfumes in ancient Greek personal hygiene practices, allowing users to anoint their bodies and hair for cleansing and grooming after physical activity or daily routines. In athletic contexts, particularly within the gymnasium or palaestra, men applied oil from the aryballos to their skin before exercise to protect it and enhance physical appearance, followed by scraping it off along with dirt and sweat using a strigil after exertion. This combination of aryballos and strigil formed essential equipment for athletes, emphasizing the cultural emphasis on bodily care and fitness in male education and social life. Artistic evidence illustrates the aryballos's role in , such as on a black-figure attributed to the Andokides Painter around 520 BCE, which depicts women and one applying oil from an aryballos to her body. Archaeological finds further support its association with athletic burials, including grave showing youths as athletes with an aryballos suspended from the wrist, as seen on a Pentelic from depicting a young boy holding the vessel. These representations and artifacts highlight the vessel's integration into both ritual and practical grooming, often found in tombs of individuals linked to physical training. Socially, the aryballos facilitated gendered practices: men carried it to gymnasia for exercise-related oiling, while women used it in settings for personal and . Its compact, spherical and narrow neck enabled portability, often suspended by a from the for convenience during travel or communal gatherings like symposia, where scented oils contributed to grooming and social refinement. This versatility underscored the vessel's everyday utility in maintaining cleanliness and aesthetic ideals across diverse contexts in society.

Symbolism in Art and Mythology

In , aryballoi frequently appear as attributes of deities and heroes, underscoring themes of mobility, heroism, and divine favor. For instance, on an black-figure aryballos signed by the potter Nearchos (ca. 570 BCE), is depicted alongside on the handle, evoking the god's role as a protector of travelers and messenger, with the oil flask symbolizing provisions for journeys across land and sea. Similarly, numerous Corinthian and aryballoi illustrate scenes from ' labors, such as his battle with the , where the vessel's form and imagery reinforce the hero's enduring association with physical prowess and ritual anointing in heroic narratives. Mythological ties further elevate the aryballos beyond its utilitarian role, linking it to divine essences and sacred rituals. Olive oil, the primary contents of these vessels, was metaphorically connected to ambrosia and nectar in Homeric poetry, representing the sustenance of the gods and immortality, as elaion (olive oil) complemented the divine diet in epic descriptions of Olympian feasts. In Dionysian contexts, aryballoi appear in vase paintings alongside satyrs and maenads, symbolizing luxury and sensory indulgence in ecstatic rites, where perfumed oils enhanced the transformative ecstasy of the cult. Culturally, the aryballos embodied metaphors of fertility and elite status in Greek society. As a product of the olive tree—Athena's gift to in myth—the oil within signified life's vital essence, fertility, and prosperity, often invoked in agricultural and civic rituals to ensure abundance. Elaborate decorations on high-status examples, such as owl-shaped aryballoi referencing Athena's wisdom, marked them as prestige items for the aristocracy, their intricate iconography conveying intellectual and social superiority in sympotic or athletic settings.

Archaeological Finds and Collections

Major Sites and Discoveries

The Potters' Quarter in served as a primary production center for aryballoi, with excavations uncovering workshops and kilns that produced these vessels from the late 8th through the 6th century BC. In , the cemetery has yielded numerous aryballoi from burials dated to the 7th century BC, often associated with in adult and child interments. These finds illustrate the vessel's role in funerary practices within contexts. Exports of Corinthian aryballoi extended widely, with significant concentrations discovered in Etruscan tombs at Vulci in central Italy, including intact examples from Tomb B dated 620–580 BC. Such imports highlight the integration of Greek pottery into Etruscan burial rituals during the Orientalizing period. Archaeological interest in aryballoi intensified in the 19th century through tomb excavations in Etruria, where sites like Vulci revealed hundreds of Greek imports amid looted and systematic digs by collectors and early archaeologists. Later 20th-century work by institutions such as the American School of Classical Studies at Athens expanded documentation at production and sanctuary sites, including Corinth's Potters' Quarter starting in the 1920s. On the Athenian Acropolis, clusters of aryballoi in votive deposits, such as those from the Sanctuary of the Nymphe excavated in 1957, indicate dedicatory uses in ritual contexts from the 6th century BC onward. Distribution patterns of aryballoi reflect extensive Mediterranean trade networks, with Corinthian examples and fragments recovered from sites spanning , , and the , peaking during the 7th and 6th centuries BC amid rising Greek colonization and commerce. Numerous fragments have been identified from South Italian sanctuaries like Monte Papalucio, underscoring the vessel's portability and .

Notable Examples in Museums

One prominent example is the terracotta aryballos in the form of three cockleshells, an black-figure vessel dating to the late BCE, currently housed in the . This piece exemplifies the creative plastic forms of the period, with the shells forming the body and an inscription on the lip reading "the boy is fair." Another significant specimen is the protocorinthian owl-shaped aryballos, circa 640 BCE, in the Museum's collection (inv. CA 1737). Crafted with an opening in the tail for pouring and a suspension hole in the base, it features incised details and decoration, symbolizing the as Athena's sacred bird and evoking the goddess's wisdom. The holds an extensive array of Corinthian aryballoi, including proto-corinthian examples like the Macmillan aryballos (circa 640 BCE), decorated with miniature scenes of warriors, hunts, and races, highlighting export-oriented production from . These vessels demonstrate the globular form and linear style typical of the region's workshops. In the , Attic red-figure aryballoi are well-represented, such as the one by the Clinic Painter (circa 480–470 BCE, inv. CA 1989), depicting a physician treating a , which illustrates the shift to finer, unglazed figural techniques in later Athenian pottery. Modern analysis of aryballoi has advanced through non-invasive techniques, including CT scans to examine interior residues and manufacturing details, as applied to Corinthian black-figure examples in studies of vase painting documentation. The Austrian Corpus Vasorum Antiquorum project at the employs high-resolution to generate rollouts of pottery surfaces, enabling detailed visualization of decorations on aryballoi without physical handling. Conservation of these artifacts faces challenges due to the porous nature of the terracotta clay, which absorbs moisture and salts, leading to and structural weakening over time, necessitating controlled and stabilization treatments. Digital access to aryballoi collections is facilitated by the Perseus Project, which catalogs over 1,900 ancient vases, including examples with images and provenance data for scholarly research.

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