By Cornelia Isler-Kerényi
Dionysos, together with his following of satyrs and ladies, used to be a massive subject in an incredible a part of the determine painted pottery in 500-300 B.C. Athens. As an unique testimonial in their time, the imagery on those vases show what this god intended to his worshippers. It turns into transparent that - opposite to what's frequently assumed - he was once not just applicable for wine, wine indulgence, ecstasy and theatre. fairly, he was once found in either the private and non-private sphere on many, either chuffed and unhappy, events. moreover, the vase painters have emphasised assorted facets of Dionysos for his or her shoppers in and out of Athens, counting on the political and cultural scenario.
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Extra resources for Dionysos in Classical Athens: An Understanding Through Images (Religions in the Graeco-Roman World)
2 See below Chapter 4. 3 Boardman 1981, 93. , 31–49. 31); ba 201683; Huber 1992, 63. 5); ba 310151; Isler-Kerényi 2004a, 51–56. 7 Lissarrague 1990, 203, pl. 23. ��63/9789004270121_005 41 All Kinds Of Satyrs a b c d Figure 17 Calyx krater, Kleophrades Painter, Harvard Art Museum, Arthur M. Sackler Museum, Gift of Frederick M. 236 (photographs Imaging Department © President and Fellows of Harvard College). a. side A: Dionysos. b. side view (right). c. side B: Hephaistos. d. side view (left). 8 One of the satyrs, carrying a heavy volute krater, looks out of the image and in doing so directly addresses the viewer (Figure 17).
Petersburg hydria makes it clear that nature is, apparently, his locale. 74 Five komasts, moving towards the right with great vivacity, are distributed over both sides of the vase. They seem to pursue a naked prancing boy. A barbitos player with a bald forehead is next, followed in his turn by another elderly man with a cup in his right and a stick in his left hand. The latter looks back towards the bearded, but more youthful komasts on the other side, the first one holding a large skyphos, the second playing the aulos.
They seem to pursue a naked prancing boy. A barbitos player with a bald forehead is next, followed in his turn by another elderly man with a cup in his right and a stick in his left hand. The latter looks back towards the bearded, but more youthful komasts on the other side, the first one holding a large skyphos, the second playing the aulos. Except for the boy, all wear boots and have a chlamys over their shoulders. We may, therefore, presume the boisterous procession takes place in the street (Figure 14).