1 / 21

Lydos

Lydos. White text: p.25-26 Black text: p.11-15. Current location: The Metropolitan Museum of Art, New York. Shape: Column krater Function: mixing bowl for wine and water. Painter: Lydos (attributed) Potter: unknown Technique: black figure Date: c.560-550 B.C. Dimensions.

olisa
Download Presentation

Lydos

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Lydos White text: p.25-26 Black text: p.11-15

  2. Current location: The Metropolitan Museum of Art, New York Shape:Column krater Function:mixing bowl for wine and water. Painter:Lydos (attributed) Potter:unknown Technique:black figure Date:c.560-550 B.C

  3. Dimensions Height: 56.5cm Capable of holding nineteen gallons of liquid

  4. Inscriptions • This vase is not signed • However, it has been attributed to Lydos • The potter is unknown

  5. Decoration: Overview • Grand style • One large elegantly painted frieze which runs all the way around • one of the first vases on which wine, women, and song are presented, albeit in a mythological guise • twenty-seven satyrs and maenads are shown in a frieze that continues around the vase. • Incised lines and added white and red glaze enliven the black Figures arranged in formal composition: in pure profile or in full frontal view with no attempt at foreshortening. The contours of each figure stand out clearly against the background, and the composition becomes a decorative design.

  6. Subject of the decoration • Depicts return of Hephaistos to Olympus • Accompanied by Dionysus, satyrs and maenads(female followers of Dionysos) • Composition is balanced – Dionysos and Hephaistos are placed on opposite sides • Hephaistos, the lame god, is riding a mule and carrying a wine flask • Dionysos stands scerenely clasping a vine, a piece of ivy and a wine horn (all items attributed to godship) • Gods stand aloof from festivities – focus is drunken behaviour of satyrs and maenads Maenad Satyr Hephaistos

  7. The Myth: The Return of Hephaistos to Olympus The scene shows Hephaistos riding a donkey, being led back to Mount Olympus by Dionysos. They are accompanied by satyrs and maenads.

  8. Dionysos is the God of ecstasy, honoured as the bringer of wine and the fruits of the fields. There are several stories about his birth, but all confirmed to his followers, that he was the giver of the vine. Satyrs often follow Dionysos, because they like his drinking and dancing. Maenads are the female followers of Dionysos.

  9. Side A – the action

  10. The procession is led by a satyr playing the aulus (double pipes) Satyrs have long limbs, donkey’s ears and tails. Lydos gives them human faces and feet Dionysos stands, holding a vine, a piece of ivy and a wine horn. He wears a wreath, and seems detached from the action. He is inspiring it! Maenads are the female followers.

  11. Side B – the action

  12. More satyrs and maenads, following the procession around the vase Snake-handling was an important part of following Dionysos Here is the lame god Hephaistos, sitting on his mule. He doesn’t appear to be joining in the festivities. Maybe he’s too drunk?

  13. Composition A decorative band of lotus and palmettes on the brim The scene is framed above by this band of red and black tongues Large figures fill the frieze – they are around 25cm tall Below there is a red band, which frames the scene on the bottom edge

  14. Dionysos and Hephaistos are exactly opposite each other, separated by the revelers on either side

  15. All the figures are moving in the same direction – as if they’re going somewhere! The figures are regularly spaced; almost rhythmically spaced?

  16. Painting technique • All the figures are painted in silhouette • Lydos has then incised to show detail – like the designs on drapery, tails and faces Particularly good incised hems on dresses of maenads

  17. He has used stippling to give the impression that the satyrs have hairy bodies • He has used lots of red and purple to detail clothing, as well as white for the skin of the maenads (mostly disappeared) • Drapery is mostly solid, without folds, but there are incised lines to simulate folds

  18. Innovations POSE • The scene two dimensionsal but Lydos varies the pose • three figures with either full frontal or partly frontal features Several figures are looking behind them, and the centre figure is looking directly at the viewer. The pose is not a natural-looking twist at the waist, though.

  19. DEPTH • Lydos has tried to show depth by overlapping several figures – does it work? ANIMATION • The figures look lively and free – there are a variety of poses, gestures and expressions

  20. The Overall Mood • Lydos creates a sense of revelry and aliveness. • Arms raised • Legs raised – dancing • Bent knees – movement, dancing • Fits in with viewers knowledge of the myth and the creatures

  21. There is also a comic element to the vase Here a satyr is syphoning wine from the wineskin of the satyr in front of him Here a satyr pulls the tail of the satyr in front

More Related