black figure vases. proscribed vases 1 francois vase; volute krater. 2 lydos; column krater. 3...

Black Figure vases

Proscribed vases

• 1 Francois Vase; Volute Krater.

• 2 Lydos; Column Krater.

• 3 Exekias; Belly Amphora.

• 4 Exekias; Kylix. Exam 2004

• 5 Amasis; Lekythos weaving wool.

• 6 Amasis; Lekythos. Wedding

"black figure"

• Definition: The term "black figure" refers to a style of Greek pottery in which only the figures represented on the clay are painted. The background remains red (clay-colored). The painted figures are black -- whence the name. Using engraving tools, details are inscribed through the black paint, revealing the underlyng red

1 Francois Vase; Volute Krater

Vase: Volute KraterPotter: ErgotimosPainter: KleitiasDate: 570 B.C.Height: 66 cm Diameter of

mouth 57cms Circumference: 181cm at widest

girthHuman and animal characters

270Inscriptions of names: 121

General BackgroundPg 17 - 18 Campbell & Harrison

• It is known as the Francois vase because…

• Like many black figure vases from the 6th century it was …

• It can be seen as a development from earlier styles in two ways a) b)

• Shape and handles influenced by which contemporary 6th century industry?

Shape and its use at Symposium

• The symposium, conventionally interpreted as a drinking party, was a well-established feature of Greek, particularly Athenian, society.

• For over a century, representations on vases document that wine, women, and song were central ingredients.

• Importance of the symposium was primarily as an institution that permitted citizens to gather, transact business, and, as Plato's dialogue makes clear, to engage in serious discussions.

• An essential piece of equipment for the symposium was the krater in which the wine was diluted with water and from which it was served.

Symposium

Subject matter; Body Seven bands of decoration 7cm high

Side ANeck• 1 Calydonian Boar • 2 Chariot raceShoulder• 3 Wedding of Peleus & Thetis• Decorative motifs: Shoulder ,

tonguesBelly• 4 Achillles pursues Troilus• 5 Griffins• 6 Decorative motifs: Lower belly;

rays Foot • 7 Battle of Pygmies and Cranes• Decorative motifs: foot; tongues

Side A

Side A

Subject matter; Body Seven bands of decoration 7cm high

Side BNeck• 1 Dance of liberation • 2 Battle of Lapiths & centaursShoulder• 3 Wedding of Peleus & Thetis• Decorative motifs: Shoulder ,

tonguesBelly• 4 Return of Hephaistos• 5 Lion vs Stag & Lion vs Bull• 6 Decorative motifs: Lower belly;

rays Foot • 7 Battle of Pygmies and Cranes• Decorative motifs: foot; tongues

Side B

Inner HandleLeft and right viewed from side A

Artemis as mistress of wild animals (Potnia Theron)

Left

• Artemis as winged goddes holding lions in each hand below Ajax stumbles has he carries Achilles’s body and a spear then a gorgon

left right

Potnia theron

left

Potnia theron right handle

• Artemis as winged goddes holding panther and stag below this as shown on next slide Ajax stumbles has he carries Achilles’s body then there is a gorgon

Ajax stumbles as he carries Achilles’s body

Right Handle gorgon

Left Gorgon

Kalydonian boar hunt

Kalydonian boar hunt

Kalydonian boar hunt

Style

• Narrative is lively, cheerful and polite yet tragic and restrained.

• Inspired by Corinthian miniaturist styleOrientalising features (pg 12 & 13 Campbell / Harrison)

• Mythological animals from East; sphinxes and griffins

• Exotic plant motifs; lotus and palmette• Rigid stylised humans schematic attention

to musculature.

Making this pot add details to this brief outline from C&H PG 5 -6

1. Clay prepared2. Pot thrown on potters wheel then turned3. Individual pieces dry then glued together with

slip.4. Pot burnished and a coat of slip applied then

burnished.5. Decoration planned on paper, then transferred

to pot before firing. 6. Figures painted in silhouette then details

incised.7. Pot fired some colour added after firing.

The figures

• Black silhouette incision for detail• Colour added; white for female flesh & purple for clothing• Eyes painted on, now missing.• Rigid stylised humans schematic attention to

musculature.• Sure elegant variety of poses convincing yet archaic

conventions of anatomy.• Some male faces coloured purple.

Dancer

Satyrs

• This scene is divided between joy at Hephaistos return and conflicting emotions from Hera and Aphrodite

Satyrs ½ goat men with erect phalluses drawn with horselike bodies unlike most other sixth century Satyrs. Satyrs accompany Dionysus.

Dionysus and Hephaistos

Compare this representation of Dionysus from side B band 4 Return of Hephaistos

with the next from Side A band 3 Wedding of Peleus & Thetis

These are some of the

earliest paintings showing

Dionysus.

Zeus and Hera’s Chariot

Ergotimos Signature

Kleitas Signature

Composition

• Clear and well knit.

• Mass figures in shallow focus of the pictorial field. (eight people deep in wedding procession)

Inscriptions

• Polyxena’s Hydria

• Priam’s Stool

• The fountain.

• Ergotimos m’epoisen; Ergotimos made me

• Kleitias m’egraphsen; Kleitias painted me

• (by Chariot of Zeus and Hera / on neck)

Myths depicted on vase

• Most come from the Iliad; uniting theme the stories of Peleus and his son Achilles.

• Kalydonian boar hunt; Peleus, Achilles and many other heroes participated in it.

• Marriage of Peleus and Thetis, incidences which occurred at it lead to judgement of Paris, abduction of Helen by Paris and the Trojan war.

• Achilles Pursuit of Trolius. Read C&H pg 23-24 and Classical Mythology, M. Findlay then summarise the main points.

Make notes using Classical Mythology

• Death of Achilles: bottom of 2nd column P92

• Wedding of Peleus and Thetis P85 “ Judgement of Paris”

• Calydonian boar hunt pg 70

Myths depicted on vase

• The Geranos; Theseus’ victory dance on return from Crete after killing the Minotaur. Theseus was an early king of Athens.

• Battle of lapiths and centaurs; Theseus fought on behalf of his friend the Lapith king Peirthous

• Return of Hephaistos to Olympus. Reconciliation of Hera with Hephaistos, after Dionysus got him drunk and Zeus offered him Aphrodite as his wife. Satyrs ½ goat men with erect phalluses drawn like horses unlike most other sixth century Satyrs. Scene divided between joy and conflicting emotions. This scene is one of the earliest showing Dionysus.

• Cranes and Pygmies during Trojan war. Iliad Bk3.4-8

Earliest depiction of the return of Hepiastos

• Figures are all named • Most complete representation of the

myth • At the far right • Scene indicates a revel • Maenad with cymbals and dancing • Icthophallic satyr playing pipes • Icthophallic satyr carrying wine skin

Hephaistos

• In front of band • Rides icthophallic

mule • Bearded • Long robes • Shows twisted feet • Indicates lameness • Reason why Hera

threw him out

Dionysos

– next

• Partially preserved

• Leads the mule with Hephaistos

• Bearded

Aphrodite

• In front of Dionysos, looking towards Dionysos

• Direction of scene changes • Her role uncertain • Literary references on her role in the story • Suggested she was offered as a reward for

return of Hephaistos • Dionysos turned down the reward • Given to Hephaistos as his wife • They are married in the Odyssey, assembly

of the gods.

Aphrodite

Zeus & Hera

Zeus –Seated on a

throne –Holds staff–Hera

»Behind him

»Seated on throne

Ares & Athena – Ares

» Seated on a block » Head bowed » Spear pointed down » Indicates failure in his task to bring back

Hephaistos– Athena

» Looks at Ares » Points to him with one hand » Other hand points towards procession » As if to say this barbarian succeeded where

you failed

Ares & Athena