Dionysos in Classical Athens Cornelia Isler-Kerényi - 978-90-04-27012-1 Downloaded from Brill.com04/05/2019 09:07:34AM via free access Religions in the Graeco-Roman World Series Editors David Frankfurter (Boston University) Johannes Hahn (Universität Münster) Frits G. Naerebout (University of Leiden) VOLUME 181 The titles published in this series are listed at brill.com/rgrw Cornelia Isler-Kerényi - 978-90-04-27012-1 Downloaded from Brill.com04/05/2019 09:07:34AM via free access Dionysos in Classical Athens An Understanding through Images By Cornelia Isler-Kerényi Translated by Anna Beerens LEIDEN | BOSTON Cornelia Isler-Kerényi - 978-90-04-27012-1 Downloaded from Brill.com04/05/2019 09:07:34AM via free access This is an open access title distributed under the terms of the CC-BY-NC License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. More information about the initiative can be found at www.knowledgeunlatched.org. Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 0927-7633 isbn 978-90-04-27011-4 (hardback) isbn 978-90-04-27012-1 (e-book) Copyright 2015 by Koninklijke Brill nv, Leiden, The Netherlands. Koninklijke Brill nv incorporates the imprints Brill, Brill Nijhoff, Global Oriental and Hotei Publishing. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. 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Cornelia Isler-Kerényi - 978-90-04-27012-1 Downloaded from Brill.com04/05/2019 09:07:34AM via free access Contents Foreword vii List of Figures x Abbreviations xix Introduction 1 Dionysos in 6th-Century Imagery 2 The Retinue of Dionysos: Who are the Satyrs, Who are the Women? 4 Dionysos in the 5th Century, and his Transformation after 450 bc 8 1 Dionysiac Subjects in Red-Figure Pottery 11 2 Dionysos for Athens, Dionysos for All Dionysiac Pottery around 500 BC 16 Late Black-Figure Vases 16 Early Red-Figure Vases 19 Red-Figure Cups of the Final Quarter of the 6th Century 36 3 All Kinds of Satyrs The First Decades of the 5th Century 40 The Painters of Large Vases 40 Painters of Cups 52 Tentative Conclusions 65 4 Dionysos, a God for the Athenians Developments after 480 bc 69 Hermonax and his Contemporaries 69 The Imagery of Red-Figure Pointed Amphorae 76 The Pelikai of the Painter of the Birth of Athena 83 5 Dionysiac Mythology in Flux Vase Imagery between 480 and 430 bc 87 Traditional Dionysiac Subjects 87 The Child Dionysos 100 Dionysos in Love 113 6 Unfamiliar and Unknown Dionysiac Rituals 122 Boys and Girls in the Realm of Dionysos 122 A Domestic Dionysiac Ritual 125 Cornelia Isler-Kerényi - 978-90-04-27012-1 Downloaded from Brill.com04/05/2019 09:07:34AM via free access vi contents Dionysos’ Chair 135 A Satyr Carrying a Chair 136 The Unoccupied Chair 142 Dionysos Has Arrived 146 Child Satyrs in Dionysos’ Retinue 153 A Ritually Honored Etruscan Dionysos 159 7 A New Dionysos at the Parthenon 162 Decoration Program and Message 162 Dionysos’ Gigantomachy 164 Dionysos in the East Pediment 166 Dionysos in the Parthenon Frieze 177 Reflections of the West Pediment in Vase Painting 180 8 The New Dionysos in Vase Painting 184 9 Images of Dionysos from 430 bc onwards 211 Dionysos on Stage 211 Kratinos’ Dionysalexandros 211 Aristophanes’ Frogs 212 Euripides’ Bakchai 213 Dionysos in 4th-Century Sculpture 217 A Look at Vase Painting 222 The Derveni Krater 229 10 Summing Up 234 Anonymous Prototypes 234 The Changing Image of Dionysos 236 Dionysos in Classical Athens 241 Works Cited 243 Index Museums 261 Vases Following Beazley 266 Vases Following Beazley Archive Database (BA) 270 Vases and Other Works Following LIMC 274 General 276 Cornelia Isler-Kerényi - 978-90-04-27012-1 Downloaded from Brill.com04/05/2019 09:07:34AM via free access Foreword This book is the, provisional, terminal point of the labor of several decades. As may be gathered from the bibliography, my first studies of single vases, groups of vases, or issues concerning the ceramics of the Classical period, were published as articles at the beginning of the 1970s. In addition, I have made a systematic investigation of representations of Dionysos and his retinue in Beazley’s lists. All of this provides the basis for the present survey of the Dionysiac iconography of the 5th and 4th centuries BC and its historical con- textualization, the aim of which is to open up the relevant original material for further reflection on the Dionysos phenomenon. Concerning the use of this book, let me just quote from the preface of its pre- decessor, Dionysos in Archaic Greece. An Understanding through Images, which appeared in the rgrw series in 2007: “As there are so many notes, I have tried to make them as concise as possible. For the locations of the pieces quoted, only the place-name is given when the museum is evident: Athens means the National Archaeological Museum and London the British Museum. Here, Copenhagen means the National Museum. Instead of Paris, only the Louvre or the Cabinet des Médailles in the National Library is mentioned. For Rome, the museums are named in abbreviated form, while the Vatican is separate. However, the names of museums appear in full in the list of figures. The same principle applies to the citations from Beazley’s lists of Attic vases. By means of the Addenda of 1989, which is the most recent, it is easy to refer back to earlier references, as indicated by the numbers in brackets. Paralipomena, abv and arv are mentioned only when the vases have not been repeated in later lists.” I set myself the objective of providing good reproductions of all vases that are relevant to my argument. Although I am convinced of the importance of seeing the relationship between the image and the form and function of the image carrier, I have in many instances fallen back upon old drawings, as they often more clearly reproduce the images than photographs. I have, unfortu- nately, not been entirely successful in obtaining a representative selection of images. As could be expected, some museums replied kindly and favor- ably to my request for permission to publish, and even sometimes supplied beautiful new photographs. Some charged me a certain sum, in accordance with their rules and regulations. Some did not react at all; in these cases I have assumed they had no objection to publication, provided the relevant infor- mation was added. In some cases, however, I not only had to negotiate con- siderable bureaucratic obstacles in order to obtain permission to reproduce an image that had already been published, but in addition had to pay a fee Cornelia Isler-Kerényi - 978-90-04-27012-1 Downloaded from Brill.com04/05/2019 09:07:34AM via free access viii foreword that is prohibitive for any ordinary scholar. These institutions apparently put their direct commercial interests above long-term scholarly results, in this way endangering iconographical research. To my extreme regret, I had to decide not to use these images, although it meant, in a certain sense, putting my reader at a disadvantage. The reader should, however, with the help of the ba num- ber consistently provided here, be able to consult the literature in the Oxford Beazley Archive: www.beazley.ox.ac.uk/Pottery database/Full database. I would like to extend my sincerest thanks to the following colleagues for publication permissions and photographs: Gabriella Costantino and Donatella Mangione (Museo Archeologico Regionale, Agrigento), George Kakavas (National Archaeological Museum, Athens), Laurent Gorgerat (Antikenmuseum Basel and Sammlung Ludwig), Ella van der Meijden (Skulpturhalle Basel), Cornelia Weber-Lehmann (Kunstsammlungen der Ruhr-Universität Bochum), Nele Schröder (Akademisches Kunstmuseum Bonn), Jean-David Cahn (Galerie Jean-David Cahn, Basel), Bodil Bundgaard Rasmussen (The National Museum of Denmark, Copenhagen), Mario Iozzo (Museo Archeologico Etrusco, Florence), Samantha Sizemore (Kimbell Art Museum, Fort Worth, Texas usa), Frank Hildebrandt (Museum für Kunst und Gewerbe, Hamburg), Isabella Donadio (Harvard Art Museums/Arthur M. Sackler Museum), Angelika Hildebrand (Badisches Landesmuseum, Karlsruhe), Jérôme Bullinger (Musée Cantonal d’archéologie et d’histoire, Lausanne), Peter Jan Bomhof (Rijksmuseum van Oudheden, Leiden), Javier Rodrigo del Blanco (Museo Arqueológico Nacional, Madrid), Astrid Fendt (Staatliche Antikensammlung und Glyptothek, Munich), Teresa Elena Cinquantaquattro and Valeria Sampaolo (Soprintendenza per i beni Archeologici di Napoli), Marti Anne Funke (University of Mississippi Museum and Historic House, David M. Robinson Memorial Collection, Oxford Mississippi usa), Francesca Spatafora (Museo Archeologico Regionale, Palermo), Ageliki Kottaridi (Archaeological Museum, Pella, 17th Ephorate of Prehistoric and Classical Antiquities, Edessa), Alfonsina Russo and Maria Laura Falsini (Soprintendenza per i beni archeologici dell’Etruria Meridionale,