The Boeotian Dancers Group
In: American Journal of Archaeology, Jg. 82 (1978-04-01), S. 173-191
Online
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Zugriff:
Two tripod kothons are added to the Boeotian black-figure vases assembled by Sir John D. Beazley under the name "Boeotian Dancers Group." Within the Group, four painters, including one discerned by Beazley, are distinguished and attributed their respective vases. The stylistic peculiarities of each are noted and contrasted with those of his companions. On the basis of internal and external evidence, the vases in the Group are dated to the second quarter of the sixth century B.C. In this process, the influence of Attic vase painters on Group members is acknowledged. Finally, an attempt is made to locate the production center of the Boeotian Dancers Group in or near Tanagra. Supportive evidence includes proveniences and subject matter (i.e. Triton and Dionysus) of the vases as well as the Group's association with a local terracotta industry. The Boeotian Dancers Group was assembled and named by Beazley,1 but several scholars have compared and associated many of the vases in the Group before him and since.2 The Group receives its name from the numerous komasts which monopolize scenes on most of the vases or, on some examples, are the sole decoration. The komos varies in its degree of jubilation from painter to painter, but many of the frolicking poses are repeated on several vases in the Group. On all of the vases, either with the komos or in other scenes, a strong sense of activity is prevalent throughout. Each creature is very much alive as illustrated through pose or expression. This unifying sense of subject and, more important, the striking similarities in style provide the necessary evidence for regarding the artists in the Group as close associates. To the Group can be added a tripod kothon with lion paw feet in Laon3 (figs. i-3). The heraldic lions on one side of the vase are identical in pose and similar in style to those on a side of another tripod kothon in the Group (fig. 12). Similarities extend to the standing lions on a leg of the Laon vase and those on a leg of another tripod kothon in the Group.4 The running gorgon on the Laon 1 J.D. Beazley, "Groups of Early Attic Black-Figure," Hesperia 13 (1944) 46-47 and ABV 29-31. I wish to express my gratitude to the following institutions and scholars for providing photographs or allowing them to be taken: figs. 1-3, Mus6e Archeologique, Laon (A.N. Rollas); figs. 4-5, Staatliche Museen, Berlin (K. Vierneisel); fig. 6, Staatliche Antikensammlungen, Munich (F.W. Hamdorf); figs. 7-10o, National Archaeological Museum, Athens (B. Philippaki); figs. 11 and 16-19, Thebes Museum (A.K. Andreiomenou); figs. 12-13, Museum of Fine Arts, Boston (C.F. Blackwell); figs. 14-15, Mus6e du Louvre, Paris (N. Duval); fig. 20, Badisches Landesmuseum, Karlsruhe (J. Thimme); fig. 21, Canellopoulos Museum, Athens (G. Dontas). It is a pleasure to extend my gratitude to the Samuel H. Kress Foundation and the Council of the Humanities at Southern Methodist University for research grants, in 1974-1975 and 1976 respectively, which helped make possible the study of these vases. 2 R.M. Burrows and P.N. Ure, "Excavations at Rhits6na in Boeotia," BSA 14 (1907-19o8) 260-61; E. Pfuhl, Malerei und Zeichnung der Griechen I (Munich 1923) 208; A. Greifenhagen, Eine attische schwarzfigurige Vasengattung und die Darstellung des Komos im VI. Jahrhundert (K6nigsberg 1929) 54; H. Payne, Necrocorinthia (Oxford 1931) 199; A.D. Ure and P.N. Ure, "Boeotian Vases in the Akademisches Kunstmuseum in Bonn," AA 1933, 14-15; B.F. Cook, "Aristaios," BMMA 21 (1962) 31-36; J.D. Beazley, Paralipomena 15. A covered cup, Athens, N.M. 12679, originally included in this Group by Beazley, Hesperia 13 (1944) 47, no. 12, was excluded from his lists in ABV and Paralipomena. Likewise, a cup in Hamburg, Mus. fiir K. u. G. 1963.21, assigned to the Group by H. Hoffmann ("Erwerbungen der Antikenabteilung 1961-1963," Jahrbuch der Hamburger Kunstsammlungen 8 [1963] 225-27 and "Erwerbungsbericht des Museums fuir Kunst und Gewerbe Hamburg 1963-1969," AA 1969, 344-45, figs. 28a-b), was excluded by Beazley from Paralipomena. Berne, Hist. Mus. 23706 (fragment) was included in the Group by Beazley, ABV 31, no. 14; but I have been unable to examine the piece since Dr. C. Osterwalder kindly informed me (in a letter of January 30, 1975) that the fragment is missing. Other vases stylistically much farther from the Group have been associated with it. K. Schauenburg, CVA Heidelberg 1, 43, related the kantharos fragments Leipzig, Univ. T 326, E. Bielefeld, Komodienszene auf einem griechischen Vasenbild? (Leipzig 1944) 1-14, figs. 1-3; and another kantharos, Munich, Staat. Antikenslg. 7740, was related by R. Lullies, "Neuerwerbungen der Antikensammlungen in Miinchen," AA 1938, 457 and 447-48, figs. 29-30. 3Laon, Mus. Arch. 37.o011. H. 16 cm. D. I8.5 cm. Parts restored. [A.N. Rollas], Guide catalogue du Musee de Laon (Laon n.d.) i1, there incorrectly attributed to the Attic C Painter. A. Waiblinger, CVA Louvre 17, p. 28, incorrectly attributed this vase (misnumbering it 37.1012) to the painter of Berlin F 1727 (ABTV 29). I am indebted to Mme. Rollas for very kind assistance and permission to publish photographs of this vase. Body top: tongue patterns. Sides: A, confronted lions. B, raised-winged swan. C, centaurs fighting Heracles (?). Legs with lion paw feet: A, gorgon. B, horseman. C, standing lions. 4 Athens, N.M. 12037 (N 872). ABV 29, no. 3; G. Nicole, Suppliment au catalogue des vases peints du Muske National d'Athe'nes (Paris 1911) p1. 5:2. This content downloaded from 157.55.39.123 on Mon, 18 Jul 2016 04:50:36 UTC All use subject to http://about.jstor.org/terms 174 KARL KILINSKI II [AJA 82
Titel: |
The Boeotian Dancers Group
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Autor/in / Beteiligte Person: | Kilinski, Karl |
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Zeitschrift: | American Journal of Archaeology, Jg. 82 (1978-04-01), S. 173-191 |
Veröffentlichung: | University of Chicago Press, 1978 |
Medientyp: | unknown |
ISSN: | 1939-828X (print) ; 0002-9114 (print) |
DOI: | 10.2307/504492 |
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