The religious and cultural context of its time, along with the advancement of technical capabilities. Ancient Greek vases also, in particular, provided suitable surfaces for both direct and indirect representations and narratives of mythological themes. The primary objective of this study is to examine representations of theatrical stage aesthetics as reflected in vase illustrations and to evaluate their pictorial languages through an analytical approach. In this context, special emphasis is placed on the Phlyax theatre and its distinctive characteristics as depicted on vases, raising discussions regarding whether these images represent direct stage performances or include the interpretive narratives of the artists. The research aims to contribute to ongoing debates about the nature of Phlyax vase paintings, specifically addressing whether they are literal depictions of theatre scenes or creative interpretations by painters. Additionally, the study explores the interplay and transition between tragedy and comedy, utilizing primary sources such as Rhinton’s epitaph, and considers how stage aesthetics have been visually translated into vase imagery.

The analysis draws significantly upon Trendall’s foundational classifications of Phlyax vases. It argues that an examination of the direct iconographic connections between Phlyax vases and theatre should also incorporate recognition of the artists’ creative processes. To decode the visual language of these vases, special attention is given to symbolic elements, the impact of material and color, emphasis on gestures and movement, as well as attempts at creating depth perception. Furthermore, alongside iconographic analysis, this study also employs iconological examination focusing on the technical limitations and outcomes of pictorial composition. Ultimately, this research, employing visual analysis methods, provides a qualitative investigation in the field of art history.

Ancient vase, ancient theatre, ancient Greek, phlyax, vase painting.