By Cornelia Isler-Kerényi
Dionysos, together with his following of satyrs and ladies, was once a massive topic in a massive a part of the determine painted pottery in 500-300 B.C. Athens. As an unique testimonial in their time, the imagery on those vases express what this god intended to his worshippers. It turns into transparent that - opposite to what's often assumed - he used to be not just acceptable for wine, wine indulgence, ecstasy and theatre. fairly, he was once found in either the private and non-private sphere on many, either chuffed and unhappy, events. additionally, the vase painters have emphasised assorted facets of Dionysos for his or her buyers inside and out of Athens, looking on the political and cultural state of affairs.
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Extra info for Dionysos in Classical Athens: An Understanding Through Images (Religions in the Graeco-Roman World)
3 Villanueva Puig 2009b, 175 and 209. ��63/9789004270121_004 Dionysos For Athens, Dionysos For All 17 Most late black-figure Dionysiac representations are found on lekythoi. 4 This is also important in view of the fact that these lekythoi were much less frequently exported than, for instance, cups, kraters, amphorae, and especially hydriai; they were, apparently, in principle meant for local customers. This indicates that, at least as far as the occasions associated with the use of lekythoi were concerned, Dionysos and his retinue held an important place in the mental world of the Athenians of the time.
23); ba 201051. 2); ba 200860. 27); ba 201055 (no image). 97 Hoffmann 2007, 165. Chapter 3 All Kinds of Satyrs The First Decades of the 5th Century The Painters of Large Vases The great significance of Dionysiac imagery becomes strikingly evident when we consider the work of the Kleophrades Painter and the Berlin Painter, two leading painters of large vases such as the amphora, the more distinguished krater types, and the stamnos. Both artists also painted Panathenaic prize amhorae, commissioned by the polis, which is an indication of the eminent position they held at the Kerameikos of Athens already in their own time.
52 The inside image shows a maenad, energetically resisting the aggressive advances of an ithyphallic satyr; a snake winds itself around her thyrsos. On the outside we find a thiasos, replete with music and eroticism, consisting of four satyrs and two maenads. One of the central satyrs wears a lion’s skin on his shoulders and extended left arm, and carries a thyrsos in his right hand. 53 The other side of the cup shows a highly remarkable procession. Dionysos goes in front, on the far right, carrying kantharos and vine branch, his head inclined as if in a state of intoxication.