.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
拍品專文
This important hydria depicts a key moment in Greek mythology: the struggle between the half-siblings Herakles and Apollo for the Delphic tripod. Furious that the priestess at the sanctuary of Apollo at Delphi would not provide Herakles with a prophesy, the hero attempted to steal the sacred tripod, which endowed the site with its oracular powers. Apollo then began to wrestle Herakles for control of the tripod until Zeus intervened to halt the fighting. The struggle was a favorite subject for Greek vase painters beginning in the mid 6th century. According to H.A. Coccagna (p. 222 in S. Albersmeier, ed., Heroes: Mortals and Myths in Ancient Greece), the theme can also be viewed as a metaphor for political disagreements.
The central panel shows Herakles, clad in his lionskin, moving to the right but looking back, with one hand on the tripod and the other raised with his club. To the right in support of the hero is Athena, wearing a high-crested helmet and wielding a circular shield, with a bull or cow at her feet. Apollo is shown wearing a belted chiton and with a quiver at his back, with both hands on the tripod. To the left in support of the god are Hermes, identifiable by his winged boots, petasos and kerykeion, and Artemis beside him. The scene is framed by ivy on the sides and palmettes below. The shoulders feature two racing quadrigae, which perhaps evoke the the Pythian Games held at Delphi, with a band of tongues above.
J.D. Beazley (p. 359 in Attic Black-Figure Vase-Painters) placed the Group of Vatican 424 within his larger Leagros Group and considered the work as related to the Edinburgh Painter, who himself takes rise within the Leagros Group.
The central panel shows Herakles, clad in his lionskin, moving to the right but looking back, with one hand on the tripod and the other raised with his club. To the right in support of the hero is Athena, wearing a high-crested helmet and wielding a circular shield, with a bull or cow at her feet. Apollo is shown wearing a belted chiton and with a quiver at his back, with both hands on the tripod. To the left in support of the god are Hermes, identifiable by his winged boots, petasos and kerykeion, and Artemis beside him. The scene is framed by ivy on the sides and palmettes below. The shoulders feature two racing quadrigae, which perhaps evoke the the Pythian Games held at Delphi, with a band of tongues above.
J.D. Beazley (p. 359 in Attic Black-Figure Vase-Painters) placed the Group of Vatican 424 within his larger Leagros Group and considered the work as related to the Edinburgh Painter, who himself takes rise within the Leagros Group.