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拍品专文
The main scene of this krater depicts Herakles fighting with an Amazon, possibly the Queen Hippolyta. The hero is shown in the act of striking with his club, whilst holding the Amazon by the hair. In this particularly dynamic scene the Amazon is still holding to the horse's bridles, in a futile attempt of escaping. This is possibly a representation of the ninth labour of Herakles, in which, according to myth, the hero was given the task of stealing a magical belt from Hippolyta, Queen of the Amazons. At first the queen was very impressed by the hero's super-human powers and decides to willingly give him the girdle. The goddess Hera, however, appears as an Amazon and spreads the rumour that Herakles is planning to kidnap the queen. The Amazons, in an attempt to protect their queen, attack Herakles and in the fight that ensues he kills Hippolyta, fights back the Amazons and leaves with her belt, completing his task.
The back of the vase shows three draped youths in conversation, painted in a much livelier and detailed way than most other vases. In particular the youth at the centre of the composition is shown resting one foot on a short column and holding a floral offering, possibly funerary.
The unusual style of this vase raises questions regarding its place of manufacture. The attribution of a bell-krater very likely to be from the same hand has been discussed in detail by M. Robertson in his article 'A Red-figure Krater: South Italian or Etruscan?', in Oxford Journal of Archaeology, 1892, pp.179-185. The vase, now in the Lady Lever Art Gallery at Port Sunlight, shows the god Dionysos reclining on a donkey and a young satyr playing the pipes. At the back three youths are depicted, again with an unusual degree of care and detail. The ground-line, like in our example, consists of a band of waves and dots, also highly distinctive.
When Tillyard first published this vase with the rest of the Hope Collection at Deepdene he described this vase as early Paestan with strong Lucanian influences, cf. E. M. W. Tillyard, The Hope Vases, Cambridge, 1923, pp. 134-135, no. 262. Robertson, however, argues that the vase is more likely to be Etruscan, in particular close to other vases attributed by Beazley to the work of the Settecamini Painter, dating to the first half of the fourth century B.C., cf. J. D. Beazley, Etruscan Vase-painting, Oxford, 1947, pp. 6; 52-55; 64. This artist, whether a Greek or Etruscan, had likely trained in Southern Italy and then established a workshop in Etruria. In particular, according to Albizzati, this was likely to be in the city of Vulci, where two of the vases attributed to the Settecamini Painter were found, cf. C. Albizzati, 'Una fabbrica Vulcente di vasi a figure rosse', in Mélanges d'Archéologie et d'Histoire, vol. XXXVII, 1918-19, pp. 126-132.
The back of the vase shows three draped youths in conversation, painted in a much livelier and detailed way than most other vases. In particular the youth at the centre of the composition is shown resting one foot on a short column and holding a floral offering, possibly funerary.
The unusual style of this vase raises questions regarding its place of manufacture. The attribution of a bell-krater very likely to be from the same hand has been discussed in detail by M. Robertson in his article 'A Red-figure Krater: South Italian or Etruscan?', in Oxford Journal of Archaeology, 1892, pp.179-185. The vase, now in the Lady Lever Art Gallery at Port Sunlight, shows the god Dionysos reclining on a donkey and a young satyr playing the pipes. At the back three youths are depicted, again with an unusual degree of care and detail. The ground-line, like in our example, consists of a band of waves and dots, also highly distinctive.
When Tillyard first published this vase with the rest of the Hope Collection at Deepdene he described this vase as early Paestan with strong Lucanian influences, cf. E. M. W. Tillyard, The Hope Vases, Cambridge, 1923, pp. 134-135, no. 262. Robertson, however, argues that the vase is more likely to be Etruscan, in particular close to other vases attributed by Beazley to the work of the Settecamini Painter, dating to the first half of the fourth century B.C., cf. J. D. Beazley, Etruscan Vase-painting, Oxford, 1947, pp. 6; 52-55; 64. This artist, whether a Greek or Etruscan, had likely trained in Southern Italy and then established a workshop in Etruria. In particular, according to Albizzati, this was likely to be in the city of Vulci, where two of the vases attributed to the Settecamini Painter were found, cf. C. Albizzati, 'Una fabbrica Vulcente di vasi a figure rosse', in Mélanges d'Archéologie et d'Histoire, vol. XXXVII, 1918-19, pp. 126-132.