During our visit to the museum of fine arts in Richmond, Virginia on April 17th, I had the opportunity to observe an ancient pot on exhibition. This particular pot is an amphora with black figure decoration, characterized by its round shape and approximate height of 16 inches. Crafted from terracotta clay, it is believed to have been created around 510 BC. The amphora features a circular body with a neck designed for pouring purposes. The widest point of the neck forms the base of the amphora, gradually narrowing down towards the bottom. It stands upright thanks to a base that supports its structure. Additionally, two handles are intricately molded into the neck and attached to the mid-section of the pot. Finally, a lip encircles the top of the amphora.
The amphora is adorned with elaborate decorations, consisting of two scenes depicting Greek life, as well as various other embellishments. The upper lip of the amphora is completely painted in a solid color, encompassing its entire circumference. Just below that, there are decorations resembling leaves on a branch. These leaf decorations are divided into groups, each containing 7-9 leaves. Moving further down, the handles of the amphora are also painted solid black, while their undersides are plain terracotta. At the junction of the neck and body, there is a circular band with red and black vertical lines, approximately half an inch long. Some of these lines are interrupted by the painted portraits on the side. The main part of the amphora showcases two portraits. On one side, there is a depiction of two soldiers playing a game in front of Athena, while the other side portrays an old man bidding farewell to two soldiers. More details about these portraits will be provided later. In between the pictures, there are lines separating them. Below the portraits, there are three tribal designs encircling the base of the amphora. The first design consists of continuous upside-down capital L-shaped lines. The second design includes individual leaves with their stems, and the final tribal design seems to be long leaves emerging from the base of the pot. Lastly, the stand of the amphora is solid black like the lip and handles.
According to the Beazley artifact index at the University of Oxford, there are eight confirmed examples that are similar to the amphora I chose. Of those eight, two have Athena on them, but with different stances. (source: http://www.beazley.ox.ac.uk/pottery/). To describe the portraits on this amphora, there are two separate portraits with similar subjects but different depictions. One side shows two soldiers playing dice in front of Athena, while the other side depicts an old man with a pair of departing soldiers.
The inscription near the soldiers playing dice identifies them as Ajax and Achilles. Both soldiers are depicted sitting without helmets, but carrying spears. This suggests that they may be in a lull during a battle, awaiting its resumption. One of the soldiers appears to be animated, gesturing towards the other. Behind them in the artwork is Athena, who can be identified as a female due to the convention of painting women white in black figure painting. Additionally, Athena’s armor further signifies her identity. Upon closer examination, Athena appears rather static compared to Ajax and Achilles. This could indicate that the two men are playing in front of a statue of Athena instead of the goddess herself.
On the back, we can observe an elder man accompanied by two soldiers, one being an archer and the other a hoplite. The distinction between the soldiers lies in their varying sets of armor. The archer is adorned with leather armor and sports a unique helmet. As for the hoplite, he embodies the customary image of a Greek soldier. Positioned in front of the elder man, who dons a toga, it seems that the soldiers are seeking his blessing before departing for war.
The amphora appears to be intact without any signs of being repaired or missing pieces. It still has its handles and base. Despite a few chips on the upper lip and base, the overall appearance of the amphora is beautiful. The paint is mostly present, although it has faded in some areas, such as Athena’s white paint revealing the underlying black base. The table and game pieces have also faded. On the opposite side, the paint is complete except for minor fading on the archer. The inscription is difficult to see, possibly due to its age. Considering its age, it is astonishing how this amphora remains in such perfect condition.
Work cited
- http://www.beazley.ox.ac.uk/pottery/
