古希腊瓶画

circa 530 B.C.

Greek, Attic; Amphora, Type A; Vases; On the body, obverse, Herakles and Apollo vying for possession of the Delphic tripod, which was central to the oracle of Apollo; reverse, Dionysos, the god of wine, between satyr and maenad; On the lip, obverse and reverse, Herakles and the Nemean Lion

commons.wikimedia.org/wiki/File:Terracotta_amphora_(jar)_MET_DP119153.jpg

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紅彩陶器在黑底色的陶器上繪畫紅色的輪廓，是古希臘最重要的製陶風格。在公元前530年左右在雅典發展，直到公元前3世紀晚期，都一直在使用。紅彩陶器取代了在它之前盛行的黑彩陶器。

紅彩陶器的主要生產地是阿提卡和意大利南部。紅彩陶器也傳至希臘其他地區。伊特魯里亞是希臘以外的重要的生產中心
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Dionysos' most distinctive attribute was the thyrsos, a pine-cone tipped staff. His other attributes included a drinking-cup (kantharos), fruiting grapevines and a panther. The god was usually clothed in a long robe (chiton) and cloak (himation) and crowned with a wreath of ivy-leaves.

www.theoi.com/Olympios/Dionysos.html

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这个瓶画属于红绘式red figure against black background. 

Polygnotus
GREEK ARTIST

Polygnotus, (born c. 500 BCE, Thasos, Thrace—died c. 440 BCE, Athens), painter famed for his large monumental wall paintings in a severely Classical style, none of which is extant. He lived in Athens and eventually acquired citizenship.

The Greek traveler Pausanias left an account of two paintings in the hall of the Cnidian at Delphi: the Iliupersis (“Sack of Troy”) and the Nekyia (“Ulysses Visiting Hades”). Idealized figures approximately life-size were freely distributed within the composition. In Greek painting of the first half of the 5th century BCE this method represents an innovation, though precedents existed elsewhere, notably in Assyrian art. It constitutes a break with the ancient Greek principle of arranging figures on a single base line. Polygnotus replaced the horizontal base lines by irregular mounting or descending terrain lines. Comparable representations can be found in contemporary vase paintings, perhaps under his influence. There was no unifying perspective in the modern sense; the individual figure remained the focus of interest even when several figures were grouped together. Stateliness was paired with subtlety of detail: delicate headdresses of women, transparent garments, mouths with parted lips uncovering the teeth. Polygnotus employed sharp foreshortening and four basic colours: black, white, red, and ochre. The “ethos,” which later critics, including Aristotle (Poetics, ch. 6), valued so highly in his work, indicates a concept of character as an innate disposition, governing the actions and manifest in a person’s outward bearing.

www.britannica.com/biography/Polygnotus

Greek Vase-Painting, an introduction
by Dr. Renee M. Gondek.

Pottery is virtually indestructible. Though it may break into smaller pieces (called sherds), these would have to be manually ground into dust in order to be removed from the archaeological record. As such, there is an abundance of material for study, and this is exceptionally useful for modern scholars. In addition to being an excellent tool for dating, pottery enables researchers to locate ancient sites, reconstruct the nature of a site, and point to evidence of trade between groups of people. Moreover, individual pots and their painted decoration can be studied in detail to answer questions about religion, daily life, and society.




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www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/greek-pottery/a/greek-vase-painting-an-introduction

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古希腊绘画主要存于陶器。

Dancing maenad. Detail from an Ancient Greek Paestum red-figure skyphos, made by Python, ca. 330-320 BC. British Museum, London

In ceramic art, the frolicking of Maenads and Dionysus is often a theme depicted on kraters, used to mix water and wine. These scenes show the maenads in their frenzy running in the forests, often tearing to pieces any animal they happen to come across.

German philologist Walter Friedrich Otto writes:

The Bacchae of Euripides gives us the most vital picture of the wonderful circumstance in which, as Plato says in the Ion, the god-intoxicated celebrants draw milk and honey from the streams. They strike rocks with the thyrsus, and water gushes forth. They lower the thyrsus to the earth, and a spring of wine bubbles up. If they want milk, they scratch up the ground with their fingers and draw up the milky fluid. Honey trickles down from the thyrsus made of the wood of the ivy, they gird themselves with snakes and give suck to fawns and wolf cubs as if they were infants at the breast. Fire does not burn them. No weapon of iron can wound them, and the snakes harmlessly lick up the sweat from their heated cheeks. Fierce bulls fall to the ground, victims to numberless, tearing female hands, and sturdy trees are torn up by the roots with their combined efforts.[11]

酒神的狂女迈那得斯（古希腊语：Μαινάδες）希臘神話中酒神狄俄倪索斯的女追随者。在羅馬神話中，她被稱为巴克坎忒斯或梯伊阿得斯。

在荷马的史诗《伊利亚特》中已经有这个词出现，但其性质是否与后来的传统一致还不清楚。欧里庇得斯的悲剧《酒神的狂女》则提供了关于迈那得斯的性质的一些详细资料。

from en.wikipedia.org/wiki/Maenad


从时间/画风看，这幅瓶画当是 hellenistic style.

Attic Black-Figure: Exekias, amphora with Ajax and Achilles playing a game