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拍品專文
Both sides of this amphora depict two warriors in combat. One side shows each wearing a high-crested helmet, a short tunic and a cuirass (indicated by the added white) and holding a circular shield. The standing warrior wields a sword in his raised hand while his opponent falls to the ground, releasing his grip on two spears in the field before him. On the other side, a similarly-clad warrior thrusts a spear into the chest of his fallen opponent, who is nude but for a crested helmet and a chlamys draped around his shoulders. Blood, as indicated by the added red pigment, flows from his wounds.
The Painter of the Dancing Satyrs takes his name from an amphora in the Museum of Fine Arts, Boston with an eponymous scene. He was an imitator of late Attic black figure at a time when red figure production had already taken hold in Etruria. M.A. Rizzo (“La ceramica a figure nere,” in M. Martelli ed., La ceramica degli etruschi, p. 312) notes that the painter took a great interest in the problems of spatiality and the movement of the human body, aspects which also preoccupied the contemporaneous painters of red-figured vases.
The Painter of the Dancing Satyrs takes his name from an amphora in the Museum of Fine Arts, Boston with an eponymous scene. He was an imitator of late Attic black figure at a time when red figure production had already taken hold in Etruria. M.A. Rizzo (“La ceramica a figure nere,” in M. Martelli ed., La ceramica degli etruschi, p. 312) notes that the painter took a great interest in the problems of spatiality and the movement of the human body, aspects which also preoccupied the contemporaneous painters of red-figured vases.