Dionysus, Greek god of Wine is commonly portrayed as one of two archetypes. Either, he is depicted as the quiet and epicurean God who quietly enjoys his wine on his Olympian  More »

Dionysus, Greek god of Wine is commonly portrayed as one of two archetypes. Either, he is depicted as the quiet and epicurean God who quietly enjoys his wine on his Olympian throne, or as a wild and carnal spirit that animates the most feral nature of man. It is this second and darker Dionysus that is depicted on this Kylix. The carnal Dionysus was worshiped by the Bacchants, an all-female cult of the most arcane sort in Ancient Hellas, and later in Rome. It was in the name of the wine God that the cult- members raised themselves into wine and drug- ridden hysteria, consumed the flesh of live animals, and participated in massive orgies.This depiction of Dionysus every bit merits the zeal and activity of his Bacchant worshipers. He leaps through the air, the leader of a procession, undoubtedly in his honor. The chalmys flippantly draped over his shoulders sways with the rush of his movement. He is bedecked in beaded bandoliers, and a wreath frames his head. In his right hand he holds a Tympanum, ready to be struck into a frenzied cacophony or hypnotic beat. His left hand holds a staff, much like the ones used by the processional leaders of festivals. He looks back over his shoulder, as if to lead on the festival train behind him. His left pectoral muscle is grossly exaggerated, giving a stylized and very strikingly feminine feature to the male body. The Kylix’s meandering border of grape leaves further accentuates the fantastic fluidity of the form.Who knows what role this piece played in the life of a wealthy aristocrat, or perhaps a devoted Bacchant? Given the elegance of its execution and the unusualness of its subject, it is very possible that this piece was an integral sacramental ornament of the Bacchant. Perhaps from its lip, the Bacchantes once supped their wine or sprinkled their spices. Regardless of its purpose, or the wonderful and arcane rites that the Kylix may’ve witnessed, it is undeniably a phenomenal work of art. The virility of its Dionysus is a testament to the artist’s ability and the boisterous revelry of the human spirit. - (DC.116)   « Less

The wide-mouthed bell krater was designed for mixing wine with water. This superb vessel may have been utilised at a symposium, or drinking party, an occasion for  More »

The wide-mouthed bell krater was designed for mixing wine with water. This superb vessel may have been utilised at a symposium, or drinking party, an occasion for philosophical discussion as well as drinking and music.The obverse depicts two warriors, both turned towards a draped male figure standing on the viewer’s left. This figure, wearing a sakkon, gesticulates at the nearest warrior, who leans back in a relaxed fashion with his legs crossed and his left arm resting on his shield. The second warrior holds his shield high on his shoulder and both wear short belted patterned tunics and helmets. The figures are flanked on both sides by a palmette complex. A laure design adorns the band beneath the rim, and a meander motif is repeated around the lower register.The reverse shows two young draped males turned towards a third male, perhaps a tutor, who motions with his hands. The form of the composition mirrors that of the obverse, A wreath and a rectangular object, possibly a pinax (votive plaque), are depicted in the field. Again, a palmette complex frames these wonderfully animated figures. A tongue motif surrounds the handles. - (AM.0018)   « Less

The obverse of this wide-mouthed bell krater depicts a naked satyr wearing a wreath and standing over a laver. The satyr’s left arm and right foot rest on the laver  More »

The obverse of this wide-mouthed bell krater depicts a naked satyr wearing a wreath and standing over a laver. The satyr’s left arm and right foot rest on the laver whilst a bird balances on his right hand. The figure is framed by a palmette design on both sides. A band of laurel and bead-and-reed motifs encircles the area beneath the rim whilst a wave motif adorns the lower band.The reverse depicts a winged Eros wearing a wreath upon his head and carrying a tambourine in his outstretched right hand. This hand runs at a parallel with the right leg. The left hand, which grasps a fillet, also forms a parallel with the right arm so that the figure is rendered in an ‘X’ shaped composition. - (AM.0032)   « Less

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they  More »

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they were figures of stone, metal, or clay--votives of a more enduring nature. The art of the sculpted clay votive reached its peak in the Hellenistic age, when the artistic influence of Classical Greece spread throughout the Mediterranean and Near East. In and around Alexandria--where the Olympian gods were mixed freely with those of ancient Egypt--the temples were filled to overflowing with lively depictions of deities, royalty, and ordinary folk. As gifts to the gods, these could not be destroyed, so periodically the votives were buried in pits to make room for new offerings. When we look upon their features today--sometimes agelessly beautiful, divine, regal or aloof, sometimes comic or infinitely wise--we come face to face with the human past. - (P.0962)   « Less

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they  More »

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they were figures of stone, metal, or clay--votives of a more enduring nature. The art of the sculpted clay votive reached its peak in the Hellenistic age, when the artistic influence of Classical Greece spread throughout the Mediterranean and Near East. In and around Alexandria--where the Olympian gods were mixed freely with those of ancient Egypt--the temples were filled to overflowing with lively depictions of deities, royalty, and ordinary folk. As gifts to the gods, these could not be destroyed, so periodically the votives were buried in pits to make room for new offerings. When we look upon their features today--sometimes agelessly beautiful, divine, regal or aloof, sometimes comic or infinitely wise--we come face to face with the human past. - (P.1196)   « Less

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they  More »

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they were figures of stone, metal, or clay--votives of a more enduring nature. The art of the sculpted clay votive reached its peak in the Hellenistic age, when the artistic influence of Classical Greece spread throughout the Mediterranean and Near East. In and around Alexandria--where the Olympian gods were mixed freely with those of ancient Egypt--the temples were filled to overflowing with lively depictions of deities, royalty, and ordinary folk. As gifts to the gods, these could not be destroyed, so periodically the votives were buried in pits to make room for new offerings. When we look upon their features today--sometimes agelessly beautiful, divine, regal or aloof, sometimes comic or infinitely wise--we come face to face with the human past. - (P.1274)   « Less

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they  More »

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they were figures of stone, metal, or clay--votives of a more enduring nature. The art of the sculpted clay votive reached its peak in the Hellenistic age, when the artistic influence of Classical Greece spread throughout the Mediterranean and Near East. In and around Alexandria--where the Olympian gods were mixed freely with those of ancient Egypt--the temples were filled to overflowing with lively depictions of deities, royalty, and ordinary folk. As gifts to the gods, these could not be destroyed, so periodically the votives were buried in pits to make room for new offerings. When we look upon their features today--sometimes agelessly beautiful, divine, regal or aloof, sometimes comic or infinitely wise--we come face to face with the human past. - (P.1318)   « Less

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they  More »

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they were figures of stone, metal or clay--votives of a more enduring nature. The art of the sculpted clay votive reached its peak in the Hellenistic age, when the artistic influence of Classical Greece spread throughout the Mediterranean and Near East. In and around Alexandria--where the Olympian gods were mixed freely with those of ancient Egypt--the temples were filled to overflowing with lively depictions of deities, royalty, actors and ordinary folk. As gifts to the gods, these could not be destroyed, so periodically the votives were buried in pits to make room for new offerings. When we look upon their features today--sometimes agelessly beautiful, divine, regal or aloof, sometimes comic or infinitely wise--we come face to face with the human past. - (P.1656)   « Less

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes, these were perishable gifts of food, or wine, or livestock. At other times,  More »

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes, these were perishable gifts of food, or wine, or livestock. At other times, they were figures of stone, metal or clay--votives of a more enduring nature. The art of the sculpted clay votive reached its peak in the Hellenistic age, when the artistic influence of Classical Greece spread throughout the Mediterranean and Near East. In and around Alexandria--where the Olympian gods were mixed freely with those of ancient Egypt--the temples were filled to overflowing with lively depictions of deities, royalty, actors and ordinary folk. As gifts to the gods, these could not be destroyed, so periodically the votives were buried in pits to make room for new offerings. When we look upon their features today--sometimes agelessly beautiful, divine, regal or aloof, sometimes comic or infinitely wise--we come face to face with the human past. - (P.2190)   « Less

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they  More »

Since the dawn of time, man has offered votives to win the benign favor of his gods. Sometimes these were perishable gifts of food, or wine, or livestock. At other times they were figures of stone, metal or clay--votives of a more enduring nature. The art of the sculpted clay votive reached its peak in the Hellenistic age, when the artistic influence of Classical Greece spread throughout the Mediterranean and Near East. In and around Alexandria--where the Olympian gods were mixed freely with those of ancient Egypt--the temples were filled to overflowing with lively depictions of deities, royalty, actors and ordinary folk. As gifts to the gods, these could not be destroyed, so periodically the votives were buried in pits to make room for new offerings. When we look upon their features today--sometimes agelessly beautiful, divine, regal or aloof, sometimes comic or infinitely wise--we come face to face with the human past. - (P.3385)   « Less