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拍品专文
On each side is a similar scene with a kitharode mounting a block-shaped bema for a musical contest, perhaps a depiction of the “mousikoi agones” or musical competition from the Panathenaic Festival in Athens. He wears a fillet in added red, and a long white chiton with a distinctive vertical crenelated edge over a black chiton. The kithara has some details in added white and red. To either side stands a draped bearded man leaning on a knotty stave, likely a judge, wearing long vine branches bound around his head. To the left is a seated figure also wearing a red fillet. On one side, the kitharode is a bearded man, while the youthful seated onlooker turns away; on the other, the kitharode is youthful, while the seated onlooker is bearded and engaged in the proceedings. It has been suggested that the juxtaposition of two similar scenes indicates that the bearded musician and his more youthful counterpart are both participants in the same competition. See S.H. Allen, op. cit., 1999, pp. 23-27 and J. Neils, ed., Goddess and Polis, The Panathenaic Festival in Ancient Athens.
The Acheloos Painter was a leading artist of the Leagros Group, who, according to J. Boardman (Athenian Black Figure Vases, p. 111) can be singled out for his robustly original myth scenes and the wit of his antithesis of love, sacred and profane.
The Acheloos Painter was a leading artist of the Leagros Group, who, according to J. Boardman (Athenian Black Figure Vases, p. 111) can be singled out for his robustly original myth scenes and the wit of his antithesis of love, sacred and profane.