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In the typology of ancient Greek pottery, the (plural , known in ancient times as a ) is a mixing bowl or cauldron. means , but in modern typology is used for the same shape as a , that is, a bowl with a spherical body, often accompanied by a wheel-turned stand. It has no handles and no feet. Literary references to such vessels are known from the Iliad, and examples have been found from between the seventh and fifth centuries BCE. Ancient artists who painted include the Dinos Painter, the Gorgon Painter, the Berlin Painter, Exekias and Sophilos.
were often made with wheel-turned stands, and could be made either in metal or in terracotta: it is likely that the metal examples were designed for cooking, while the ceramic ones were more likely to be used (similarly to [[krater]]s) for mixing wine at [[symposia|Symposium]]. are known from the seventh to the fifth centuries BCE: the oldest known Athenian black-figure example is the name vase of the [[Gorgon Painter]], from around 580 BCE. Literary references to them are found in the ''[[Iliad]]'' and the works of [[Aeschylus]] and [[Aristophanes]].
The Dinos Painter, active in Athens during the second half of the fifth century BCE, takes his name from the type of vase characteristic of his work. A painted and signed by Sophilos, made around 580–570 BCE, depicts the wedding of Peleus and Thetis and includes the earliest known depiction of the Muses. Sophilos may have dedicated another of his , now in fragments, to the gods on the Acropolis of Athens. His are the earliest known works of ancient Greek pottery to include encircling friezes of humanoid figures.
Exekias also made and signed a black-figure , now in the British Museum; another is known to have been the work of the Berlin Painter. The was the main product, slightly ahead of plates, of a school of potters active in Aeolis, which flourished in the first quarter of the sixth century BCE. These artists included the London Painter, and exported their works to Naucratis in Egypt and to Greek colonies on the Black Sea.
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