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拍品专文
The obverse of this vase depicts the Homeric scene of Ajax and Hector battling over the body of the fallen youth Patroklos. Both warriors wear short, patterned chitons and are armed with spears in their upraised arms, greaves, corselets, sheathed swords, circular shields (one with discs and concentric circles as the shield device) and crested Corinthian helmets. To each side stands a draped woman and a nude youth. There is a band of palmette-lotus chain above the scene.
On the other side, Dionysos, holding a rhyton, stands next to a maenad, who wears a nebris over a long chiton. The two stand between two gesturing nude satyrs. There is a band of dotted lotus-bud chain above.
The Painter of the Nicosia Olpe takes his modern name from a fragmentary olpe in the Cyprus Museum. Between the dates of Beazley’s publication of Attic Black-figure Vase-Painters in 1956 and the follow-up Paralipomena, published in 1971, he realized that the two artists (the Painter of the Nicosia Olpe and the Painter of Louvre F 28) he had previously considered related were in fact the same painter (see D. von Bothmer, p. 138, Glories of the Past).
On the other side, Dionysos, holding a rhyton, stands next to a maenad, who wears a nebris over a long chiton. The two stand between two gesturing nude satyrs. There is a band of dotted lotus-bud chain above.
The Painter of the Nicosia Olpe takes his modern name from a fragmentary olpe in the Cyprus Museum. Between the dates of Beazley’s publication of Attic Black-figure Vase-Painters in 1956 and the follow-up Paralipomena, published in 1971, he realized that the two artists (the Painter of the Nicosia Olpe and the Painter of Louvre F 28) he had previously considered related were in fact the same painter (see D. von Bothmer, p. 138, Glories of the Past).