Dissertation committee:
Μαρία (Μάρλεν) Μούλιου, Επίκουρη Καθηγήτρια Μουσειολογίας, Ε.Κ.Π.Α.
Ευρυδίκη Κεφαλίδου, Αναπληρώτρια Καθηγήτρια Κλασικής Αρχαιολογίας, Ε.Κ.Π.Α.
Δημήτρης Πλάντζος, Καθηγητής Κλασικής Αρχαιολογίας, Ε.Κ.Π.Α.
Ιάνθη Ασημακοπούλου, Επίκουρη Καθηγήτρια Ιστορίας της Τέχνης, Ε.Κ.Π.Α.
Παναγιώτα Πάντζου, Επίκουρη Καθηγήτρια Πολιτισμικής Κληρονομιάς: Διαχείριση και Προβολή, Πανεπιστήμιο Πατρών
Χρήστος Ζαφειρόπουλος, Αναπληρωτής Καθηγητής Αρχαίας Ελληνικής Γραμματείας και Σύγχρονες
οπτικοποιήσεις της αρχαιότητας, Πανεπιστήμιο Πατρών
Αλεξάνδρα Μπούνια, Καθηγήτρια Μουσειολογίας, Πανεπιστήμιο Αιγαίου
Summary:
The thesis defines three objectives: the comparative study of representative examples of vase painting exhibitions in archaeological museums, the investigation of the factors which shape the visitors’ experience, and the comparative study of the visitors’ perception of ancient Greek vase painting. The purpose of the study is to establish whether the art of vase painting through the museum practice functions as a carrier of knowledge and transmission of information about the ancient world. Cases of permanent exhibitions in museums in Greece and abroad were selected as well as an example of a temporary exhibition where the vases play a leading role in presenting the subject matter. Based on the objectives, there were two research questions. First, what are the main characteristics of representative examples of pottery displays in archaeological museums? Second, what are the factors that shape the visitor experience and to what extent are they successful? In order to answer these questions, a literature review was conducted, in order to examine the interpretation of vase painting, as well as the museum practices to understand the particularities of these archaeological remains. On a theoretical level, it was considered appropriate to examine theories from the fields of neuroscience, the physiology of vision, and visual perception. For the examination of the case studies, the model of F. Monti and S. Keene as described in “Museums and Silent Objects: Designing Effective Exhibitions” was chosen because it facilitates the comparison of different approaches to a subject matter. The model was adapted to the objectives and the present research as well as the characteristics of archaeological museums. Specifically, the case studies were examined through the lens of architecture, space syntax, aesthetics and usability, museology, the use of new technologies, and the educations role of a museum exhibition. For the analysis, both the opinions of museum curators and the experience of visitors was studied. Semi-structured interviews with curators of the selected museums were carried out, based on questionnaires designed for this research, as well as visitor survey of the National Archaeological Museum, the Cycladic Art Museum, and an online survey of the visitors of the temporary exhibition “Troy: myth and reality”. The study reaches certain conclusions based on which proposals are formulated for the improvement of exhibitions of ancient Greek pottery with an aim to harmonize the interpretation with current museological trends and enriching the visitor experience inside and outside of the museum.
