Pinax in the context of "Terracotta"

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⭐ Core Definition: Pinax

In the modern study of the culture of ancient Greece and Magna Graecia, a pinax (Greek: πίναξ; pl.: pinakes, πίνακες, meaning 'board') is a votive tablet of painted wood, or terracotta, marble or bronze relief that served as a votive object deposited in a sanctuary or as a memorial affixed within a burial chamber.Such pinakes feature in the classical collections of most comprehensive museums.

In the Third and Fourth Style of ancient Roman mural painting, a pinax was a painted framed picture usually in the main zone of the wall surface.

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Pinax in the context of Ancient Greek funeral and burial practices

Ancient Greek funerary practices are attested widely in literature, the archaeological record, and in ancient Greek art. Finds associated with burials are an important source for ancient Greek culture, though Greek funerals are not as well documented as those of the ancient Romans.

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Pinax in the context of Pinakes

The Pinakes (Ancient Greek: Πίνακες 'tables', plural of πίναξ pinax) is a lost bibliographic work composed by Callimachus (310/305–240 BCE) that is popularly considered to be the first library catalog in the West; its contents were based upon the holdings of the Library of Alexandria during Callimachus's tenure there during the third century BCE.

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Pinax in the context of Gaspard Bauhin

Gaspard Bauhin or Caspar Bauhin (Latin: Casparus Bauhinus; 17 January 1560 – 5 December 1624), was a Swiss botanist whose Pinax theatri botanici (1623) described thousands of plants and classified them in a manner that draws comparisons to the later binomial nomenclature of Linnaeus. He was a disciple of the famous Italian physician Girolamo Mercuriale and he also worked on human anatomical nomenclature.

Bauhin described the ileocecal valve in 1588—hence the name Bauhin's Valve or Valve of Bauhin—in the preface of his first writing, De corporis humani partibus externis tractatus, hactenus non editus. Linnaeus honored the Bauhin brothers Gaspard and Jean in the genus name Bauhinia.

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Pinax in the context of Pinacotheca

A pinacotheca (Latin borrowing from Ancient Greek: πινακοθήκη, romanizedpinakothēkē = πίναξ, pinax, '(painted) board, tablet' + θήκη, thēkē, 'box, chest') was a picture gallery in either ancient Greece or ancient Rome. The name is specifically used for the building containing pictures which formed the left wing of the Propylaea on the Acropolis at Athens, Greece. Though Pausanias speaks of the pictures "which time had not effaced", which seems to point to fresco painting, the fact that there is no trace of preparation for stucco on the walls implies that the paintings were easel pictures. The Romans adopted the term for the room in a private house containing pictures, statues, and other works of art.

In the modern world the word is often used as a name for a public art gallery concentrating on paintings, mostly in Italy (as "Pinacoteca"), such as the Pinacoteca Vaticana of the Vatican Museums (which is usually meant when the plain word is used), the Pinacoteca di Brera in Milan (more often "the Brera" informally), the Pinacoteca Giovanni e Marella Agnelli built on the roof of the former Lingotto Fiat factory in Turin, Italy, with others in Bologna and Siena. In Brazil, there is the Pinacoteca do Estado de São Paulo. In Paris, the Pinacothèque de Paris. In Munich the three main galleries are called the Alte Pinakothek (old masters), Neue Pinakothek (19th century) and Pinakothek der Moderne. The Pinacotheca, Melbourne, was a gallery for avant-garde art from 1967 to 2002. At Hallbergmoos, near Munich Airport, there was the Pinakothek Hallbergmoos (20th and 21st century) between 2010 and 2014.

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Pinax in the context of Tabula Iliaca

The Tabulae Iliacae ("Iliadic tables", "Iliac tables" or "Iliac tablets"; singular Tabula Iliaca) are a collection of 22 stone plaques (pinakes), mostly of marble, with reliefs depicting scenes from Greek epic poetry, especially of the Iliad and the Trojan War. They are all of early Imperial Roman date, and seem to have come from two Roman workshops, one of which seems to have been designed to satisfy a clientele of more modest aspirations.

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