Sheramy D Bundrick
Biographic Data
| ID | 1428977 |
|---|---|
| NAME | Sheramy D Bundrick |
| GIVEN NAMES | Sheramy D |
| FAMILY NAME | Bundrick |
| SIGNATURE | BUNDRICK S D |
| AFFILIATIONS | University of South Florida St. Petersburg |
| ORCID | 0009-0005-1773-4865 |
| VERIFIED | Yes |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 43 |
| WORKS AS AUTHOR | 11 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 3 |
Pompē, Peplos, Poikilia
An Athenian black-figure amphora from the Etruscan site of Orvieto juxtaposes a scene of Zeus, Athena, and Herakles battling Giants with three kitharōidoi in procession. Attributed to the Painter of Berlin 1686, the amphora shares much with the painter’s name vase, also featuring musicians but in a sacrificial procession to Athena. The Gigantomachy composition, meanwhile, echoes a group of vases by different painters dedicated on the Athenian Akr…
Music as Mnēma on Athenian White-Ground Lekythoi
Through their distinctive iconography and dedicated function as funerary vessels, Athenian white-ground lekythoi of the fifth century BCE serve as significant testimonials about attitudes toward and treatment of the dead. Although the images on lekythoi were not intended as documentary, they nonetheless grant insight into mortuary customs practiced by families and how Athenians conceptualized the deceased and his or her memory. Musical references…
Athens, Etruria, and the Many Lives of Greek Figured Pottery
A lucrative trade in Athenian pottery flourished from the early sixth until the late fifth century B.C.E., finding an eager market in Etruria. Most studies of these painted vases focus on the artistry and worldview of the Greeks who made them, but Sheramy D. Bundrick shifts attention to their Etruscan customers, ancient trade networks, and archaeological contexts. Thousands of Greek painted vases have emerged from excavations of tombs, sanctuarie…
Homer in Performance
Gods, Objects, and Ritual Practice
Conversations about materiality have helped forge a common meeting ground for scholars seeking to integrate images, sites, texts, and implements in their approach to religion in the ancient Mediterranean. The fourteen chapters in this volume explore the productivity of these approaches, with case studies from Israel, Athens, Rome, Sicily, and North Africa . The results foreground the capacity of material approaches to cast lighton the cultural cr…
Altars, Astragaloi, Achilles
Athenian Eye Cups in Context
Since the late 1970s, scholars have explored Athenian eye cups within the presumed context of the symposion, privileging a hypothetical Athenian viewer and themes of masking and play. Such emphases, however, neglect chronology and distribution, which reveal the complexity of the pottery trade during the late sixth and the fifth centuries B.C.E. Although many eye cups have been found in Athens-namely on the Acropolis and mainly from late in the se…
Selling Sacrifice on Classical Athenian Vases
Examination of the chronological development of sacrificial representations on 5th-century Athenian vases reveals a movement from procession to altar-based scenes, heightened emphasis on the preparation and consumption of meat, and increased focus on the reciprocity between mortals and gods. Sacrificial practice itself likely did not change during the Classical period. Vase painters' interest in different stages and themes, however, may suggest s…
Housewives, Hetairai, and the Ambiguity of Genre in Attic Vase Painting
A hydria by the Harrow Painter provides an opportunity to revisit the concept of genre and the depiction of women in classical Athenian vase painting. Scholars cannot agree on the social status of the female figure: hetaira or housewife? In this paper, I show that the criteria used to refute a “housewife” identification can be dismantled and that an oikos-centered interpretation is plausible. This does not, however, exclude the possibility of mul…
The Fabric of the City
Scenes of textile production on Athenian vases are often interpreted as confirming the oppression of women, who many argue were confined to "women's quarters" and exploited as free labor. However, reexamination of the iconography--together with a reconsideration of gender roles and the archaeology of Greek houses dating to the 5th and 4th centuries B. C.--suggests that these images idealize female contributions to the household in a positive way.…
Sculture di metallo da Nisa
The Fabric of the City
Scenes of textile production on Athenian vases are often interpreted as confirming the oppression of women, who many argue were confined to "women's quarters" and exploited as free labor. However, reexamination of the iconography--together with a reconsideration of gender roles and the archaeology of Greek houses dating to the 5th and 4th centuries B. C.--suggests that these images idealize female contributions to the household in a positive way.…
Athenian Eye Cups in Context
Since the late 1970s, scholars have explored Athenian eye cups within the presumed context of the symposion, privileging a hypothetical Athenian viewer and themes of masking and play. Such emphases, however, neglect chronology and distribution, which reveal the complexity of the pottery trade during the late sixth and the fifth centuries B.C.E. Although many eye cups have been found in Athens-namely on the Acropolis and mainly from late in the se…
Housewives, Hetairai, and the Ambiguity of Genre in Attic Vase Painting
A hydria by the Harrow Painter provides an opportunity to revisit the concept of genre and the depiction of women in classical Athenian vase painting. Scholars cannot agree on the social status of the female figure: hetaira or housewife? In this paper, I show that the criteria used to refute a “housewife” identification can be dismantled and that an oikos-centered interpretation is plausible. This does not, however, exclude the possibility of mul…
Selling Sacrifice on Classical Athenian Vases
Examination of the chronological development of sacrificial representations on 5th-century Athenian vases reveals a movement from procession to altar-based scenes, heightened emphasis on the preparation and consumption of meat, and increased focus on the reciprocity between mortals and gods. Sacrificial practice itself likely did not change during the Classical period. Vase painters' interest in different stages and themes, however, may suggest s…
Sculture di metallo da Nisa
The Fabric of the City
Scenes of textile production on Athenian vases are often interpreted as confirming the oppression of women, who many argue were confined to "women's quarters" and exploited as free labor. However, reexamination of the iconography--together with a reconsideration of gender roles and the archaeology of Greek houses dating to the 5th and 4th centuries B. C.--suggests that these images idealize female contributions to the household in a positive way.…
Housewives, Hetairai, and the Ambiguity of Genre in Attic Vase Painting
A hydria by the Harrow Painter provides an opportunity to revisit the concept of genre and the depiction of women in classical Athenian vase painting. Scholars cannot agree on the social status of the female figure: hetaira or housewife? In this paper, I show that the criteria used to refute a “housewife” identification can be dismantled and that an oikos-centered interpretation is plausible. This does not, however, exclude the possibility of mul…
Selling Sacrifice on Classical Athenian Vases
Examination of the chronological development of sacrificial representations on 5th-century Athenian vases reveals a movement from procession to altar-based scenes, heightened emphasis on the preparation and consumption of meat, and increased focus on the reciprocity between mortals and gods. Sacrificial practice itself likely did not change during the Classical period. Vase painters' interest in different stages and themes, however, may suggest s…
Athenian Eye Cups in Context
Since the late 1970s, scholars have explored Athenian eye cups within the presumed context of the symposion, privileging a hypothetical Athenian viewer and themes of masking and play. Such emphases, however, neglect chronology and distribution, which reveal the complexity of the pottery trade during the late sixth and the fifth centuries B.C.E. Although many eye cups have been found in Athens-namely on the Acropolis and mainly from late in the se…
Gods, Objects, and Ritual Practice
Conversations about materiality have helped forge a common meeting ground for scholars seeking to integrate images, sites, texts, and implements in their approach to religion in the ancient Mediterranean. The fourteen chapters in this volume explore the productivity of these approaches, with case studies from Israel, Athens, Rome, Sicily, and North Africa . The results foreground the capacity of material approaches to cast lighton the cultural cr…
Altars, Astragaloi, Achilles
Homer in Performance
Athens, Etruria, and the Many Lives of Greek Figured Pottery
A lucrative trade in Athenian pottery flourished from the early sixth until the late fifth century B.C.E., finding an eager market in Etruria. Most studies of these painted vases focus on the artistry and worldview of the Greeks who made them, but Sheramy D. Bundrick shifts attention to their Etruscan customers, ancient trade networks, and archaeological contexts. Thousands of Greek painted vases have emerged from excavations of tombs, sanctuarie…
Music as Mnēma on Athenian White-Ground Lekythoi
Through their distinctive iconography and dedicated function as funerary vessels, Athenian white-ground lekythoi of the fifth century BCE serve as significant testimonials about attitudes toward and treatment of the dead. Although the images on lekythoi were not intended as documentary, they nonetheless grant insight into mortuary customs practiced by families and how Athenians conceptualized the deceased and his or her memory. Musical references…
Pompē, Peplos, Poikilia
An Athenian black-figure amphora from the Etruscan site of Orvieto juxtaposes a scene of Zeus, Athena, and Herakles battling Giants with three kitharōidoi in procession. Attributed to the Painter of Berlin 1686, the amphora shares much with the painter’s name vase, also featuring musicians but in a sacrificial procession to Athena. The Gigantomachy composition, meanwhile, echoes a group of vases by different painters dedicated on the Athenian Akr…
Art (10 works) · Classical Antiquity Studies (10 works) · Ancient Mediterranean Archaeology and History (7 works) · Visual arts (7 works) · Archaeology (6 works) · History (6 works) · Literature (5 works) · Ancient history (4 works) · Art history (4 works) · History (4 works)