Hephaistos had previously been exiled from the land of the gods since he had insulted is mother, queen of the gods, Hera. This krater (mixing bowl for wine and water) features a lively depiction of the return of the god of the forge Hephaistos to Olympos, the home of the gods. To request a higher resolution file of this image, please submit an online request. WatkinsĪsian and Mediterranean Harvard Art Museums encourage the use of images found on this website for personal, noncommercial use, including educational and scholarly purposes. State, Edition, Standard Reference Number Jacob Hirsch, New York, (by 1933), sold to Frederick M. View this object's location on our interactive mapĤ3.8 cm h x 48 cm diam (17 1/4 x 18 7/8 in.) Level 3, Room 3400, Ancient Mediterranean and Middle Eastern Art, Ancient Greece in Black and Orange There are floral motifs along the upper rim of the vessel.Īttributed to The Kleophrades Painter, GreekĬalyx Krater (mixing bowl for wine and water): Return of Hephaistos to OlymposĬreation Place: Ancient & Byzantine World, Europe, Athens (Attica) There is some damage to the vessel which leaves gaps in the image. Another figure in robes rides a horse and holds an object that looks like a hatchet over his shoulder.
Some are nude with tails, and they play musical instruments. It is painted black, and in red there is a scene of figures marching from left to right. Finally, an analysis of the literary sources entirely supports a non-theatrical origin for the parody, and instead reveals Assteas’ iconopoietic ability to use different comic devices.The vessel resembles a tall bowl with two handles on either side. Comparing the Assteas fragment with the corpus of the phlyax vases, this article demonstrates how the former does not in fact represent a theatrical scene, as well as investigating how the comic effect was achieved differently in the visual field. This exercise also helps to challenge the assumption that the image’s origin lies in the treatment of the rape as found in drama. Besides showing how Assteas’ example is rooted in the southern Italian tradition, all the visual elements that depart from the ‘canonical’ iconography of the rape are identified in order to better understand the geloion. Since the scene has never before been the subject of an iconographic analysis, first a detailed comparison with other southern Italian depictions of the episode is expounded. This depicts a parody of the rape of Kassandra. In this paper, the problematic relationship between theatre and vase-painting is investigated by focusing on Assteas’ calyx-krater in Buccino.
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