ÿWPC: ûÿ2BÿÿVSÿÿZ©ÿÿ#|xÿÿ–2xxx 0JXx Œ ‘@ɇÏX@ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿþÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿStandard PrinterSTANDARD.PRSÛx Œ @ɇÏ¿`X@ûÿ2ö5VF ZœöCourier 10 Pitchÿÿ–2xxx 0JXx Œ ‘@ɇÏX@ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿþÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿStandard PrinterSTANDARD.PRSÛx Œ @ɇÏ¿`X@ûÿ2ÿÿ(ÿÿR8#|xÐ °°° ÐÐ °°XÜ ÐÐ ÈÈ ÐÁà¤$ÁPANATHENAIC AMPHORAƒ Á` ` ÁÐÐThis Panathenaic Amphora, dated 340 B.C., was done by an unknown artist in Athens, Greece during the Late Class© ical Period. This terracotta container is an example of the Red©on©Black Ware which was given to the victorious athletes at the quadrennial Panathenaic Games. It's dimensions are 39 3/4 in.(ht.) X 9 1/4 in.(diameter of mouth) X 15 7/8 in. (diameter of body), and it's traditional shape was designed for a special purpose. The lidded amphora was filled with olive oil gathered from olive groves sacred to Athena, the patroness of the city of Athens. On one side of the vase, a striding figure of the Goddess Athena is shown raising her shield before her. On the opposite side, the artist shows four horses drawing a chariot which holds two male figures. The chariot scene depicts a competitor in one of the events at the Panathenaic Games. This piece is part of the current collection being displayed at the J. Paul Getty Museum. Á` ` ÁLine, color, space, and rhythm stand out as the most significant elements of form shown in this vase painting. On the side depicting Athena, the artist has used a combination of both diagonal and vertical lines. The diagonal lines created by her raised arms, her stride, and the folds of her gown suggest action and excitement. At the same time, the position of her head, torso, and front leg maintain a vertical line which conveys a sense of authorityÔØ'\+Ì)Ì)èèÔ and elegance. The chariot scene is dominated by diagonal lines. Every part of the horses' bodies, the driver's body and arms, and the angle at which the black figure is standing, create dynamic diagonal lines which express a sense of activity and a race to the finish. Á` ` ÁColor is used to manipulate the eye to specific parts of the vase. Brilliant red bands surround the vase's mouth, neck, body, and foot. The bright red comes foreward while the cool black seems to recede. This sharp contrast directs our attention to the most important elements of the piece, namely the scenes honoring the Olympic victor, and the patroness of the city. Á` ` ÁThe illusion of space is created on this two©dimen© sional object by overlapping the figures in the chariot scene. We see only one horse shown in full side view, and partial figures of the other three. Our eyes read this as space and we understand that it represents the four horses running side by side. Á` ` ÁThe final element to be discussed is the rhythm created by the composition of the "specific" elements of form. The artist has created a rather formulated and elegant depiction of competition in the chariot scene. Considering the artist's use of many diagonal lines, one would expect this piece to be described as dynamic. Instead, a controlled rhythm dominates both scenes. Although the horses are shown in the act of racing to the finish, there is a distinct sense of order and elegance about them. Their evenlyÔ (\+Ì)Ì)èèÔ spaced feet rest upon the register created by the red background. Both scenes appear more organized than chaotic, more consistent than random, and, in general, more controlled than dynamic. Á` ` ÁThe artist has successfully created an understanding of the importance of the Panathenaic Games to the Greek people. Their was obviously a great sense of pride and honor placed in those athletes who were able to prove themselves victorious in their particular event. The competitor shown in the chariot scene has an air of dignity and confidence about him. A white robe sets him apart from the other figures which decorate the vase. The elegant stance of the horses suggests an entertaining performance more than a primitive competition. The choice to use a vibrant and powerful color like red shows that the artist wanted to call attention to the piece, as well as evoke strong emotional reactions. The vases given to the victors each depicted two scenes; one from Mythology, and one of the event . It is surprising that during a time in Greece where intellectual pursuits were valued and the pursuit of physical perfection was frowned upon, the winners of these games were treated with such awe and respect. Á` ` ÁThe Panathenaic Games were the focal point of all of Greece. They were considered one of only two ways in which Greeks could feel a sense of unity. The games were meant to transcend political devisiveness, and remind them that they were all Greek. The Late Classical Period was a time when aÔ (\+Ì)Ì)èèÔ high value was placed on individual acheivements. The actual individual began to replace the"ideal" which had been chased for so long. Even the black figures shown on this vase painting reflect the changing times. The figures of both the humans and horses appear much more realistic. Gone are the exaggerated, thick, fleshy thighs which had been so common in the Black©on©Red Ware of earlier periods. The Greeks were still dealing with Athens' loss to Sparta in the Peloponnisian War, and the games were one way they could show continued support and pride for their country. Á` ` ÁThe other unifying force among Greeks was their religion, mythology. The patroness of their city was the Goddess Athena, a war©like virgin who relied on the boldness of wisdom to win her battles. She had successfully disputed with the Sea God, Poseidon, over who should rule Athens. Zeus judged Athena the winner because she had planted the olive tree. This story helps to explain why the Panathenaic Amphora contained olive oil. Á` ` ÁI was initially attracted to this piece because of the sharp contrast in colors, and the way it was able to remain simple yet very elegant. The sharp images were aesthetically appealing, and the very shape of the container seemed extremely symbolic. It appeared to me that the lid symbolized the flame of the Olympic torch that is lit at the beginning of the games. The piece represented pride in an individual accomplishment, but respect and honor was also given to the spiritual force behind the individual. I con©Ô (\+Ì)Ì)èèÔ sider that a practice that has been lost in the selfªabsorbed and spiritually dead society which exists today. The Panathenaic Amphora is a very crisp, simple, and beautiful symbol of the unity, pride, and achievements of the Greek people. ÐÐ