The Amasis Painter Ovoid lekythos – Wedding Procession White text: p.34-35 Black text: p.33-35
Jan 07, 2016
The Amasis Painter
Ovoid lekythos – Wedding
Procession
White text: p.34-35
Black text: p.33-35
• Shape: Ovoid lekythos
• Function: Used to hold oil, funeral offerings
• Painter: Amasis Painter
• Potter: Amasis• Technique: black
figure• Date: c.550 B.C
DimensionsDimensions
Height: 17cm
Lower Frieze – subject matterLower Frieze – subject matter
This vase shows a wedding procession, and the narrative runs right-left
See Black text p.34 for whole lower frieze
The procession is heading towards a house, where the door is wide open. The groom’s mother is inside. She carries a torch to welcome the happy couple.
A woman leads the procession, carrying two torches to light the way
The newlyweds (plus another man) ride on the first carriage. The bride holds what may be a ritual crown, and holds out her veil with her left hand
The second carriage carries four men (probably relatives of the bride, accompanying her to the new house)
Each carriage is escorted by two women and one man
Upper Frieze – subject matter
Two seated men play musical instruments – on this side a lyre, and on the other side a flute
As musicians play, nine young girls dance stiffly around the vase – probably part of the wedding festivities shown in the lower frieze
Painting Technique
Detail is incised through the black slip, especially on the mules and the men’s beards
Lots of white slip has been used:
women’s flesh, carriages, the Doric columns on the house
Drapery All figures wear clothes that are flat and foldless.
Detailing is shown on the cloth, but no attempt to show depth.
Women wear the peplos
The men wear the himation and the chiton, except the groom.
The groom does not have a chiton, and therefore his right shoulder is bare.
Style and Technique• Superior to other Lekythos in
artistry• Details more precise and realistic• Sense of motion and direction
– All figures in profile– Varied poses to create sense of
movement• Upper frieze sits more easily on
shoulder and has some relationship with main frieze
• Depth - one figure placed behind the other – women behind mule
• Amasis painter not as advanced in use of anatomy to convey mood and movement– Simple clear outlines, no internal
anatomy– Draper flat, folds indicated by
widely separated lines– No sugestion of figures being 3D