The Rude Style (Late Cypriot II C - III pottery) and its affinities

Abstract

The Cypriot Rude Style is derived from Myceanaen Pictorial Pottery with which it shares similar shapes. Its pictorial decoration, however, differs appreciably from the Mycenaean originals and it is clear that the two groups were painted by different artists. Studies have been undertaken to group together the work of some of these artists, and attempts made to discover their chronological sequence, Unfortunately, the vast majority of Rude Style pottery comes from tombs which are, moreover, inadequately published. Consequently the reconstruction of their chronological sequence could only be attempted on the basis of their estimated stylistic development. The recent publication of a series of stratified vases from Enkomi now furnishes an external chronological criterion. This, and the availability of new material from the French excavations at the same site, and also from Kouklia, provide the basis for a re-assessment of the Rude Style's development, and for its affinities with other pictorial pottery from Cyprus. In this paper, Chapter I begins with an introductory survey of previous literature on the Rude Style, and then briefly discusses its relationship with the pictorial decoration, shape and fabric of Mycenaean pictorial pottery. In Chapter II, and attempt is made to group together related Rude Style compositions. Chapter III begins with a comparative study of Rude Style and Mycenaean pictorial bell krater shapes, and then goes on to subdivide the Rude Style shapes in accordance with their peculiarities. Chapter IV describes a project undertaken in conjunction with the Oxford Laboratory for Archaeology and History of Art. Here, the fabric of eighty eight Rude Style and Pictorial Class vases were sampled spectroraphically. The objects were: first, compare the two wares, and second, determine whether Rude Style fabric might show complexities which would permit its subdivision into groups of similar composition. Finally, Chapter V undertakes to correlate the evidence from the preceeding studies of style, shape and fabric. Vases wherein peculiarities of style, shape or fabric are concurrent were then compared with the chronological framework, arising from new excavations, A tentative proposal for the Rude Style's development is then suggested, and historical conclusions are drawn.