Antenor-Kore

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Antenor-Kore

The so-called Antenor-Kore is a late Archaic girl statue ( Kore ) made of Parian marble , dating from around 530/520 BC. Was created.

The statue was found in several fragments during excavations on the Athens Acropolis in the so-called Persian rubble . East of the Parthenon , the lower part and the left arm were excavated in 1882, and the upper part was discovered west of the Erechteion in 1886 . Parts of the lower legs are supplemented. The face, especially the nose, is damaged. The right forearm is also missing. The front feet on the plinth are also missing. The Kore was originally situated in the Athena sanctuary on the Acropolis and is now in the Acropolis Museum . The statue has a height of 201 cm without the plinth.

The findings of the excavations at that time also included fragments of a statue base made of Pentelic marble in the form of a pillar capital. Franz Studniczka considered the statue and base to belong together for the first time , which has largely prevailed. But doubts about this assignment were also voiced. The inscription on the base names the founder Nearchus, the sculptor Antenor and his father Eumares. It is:

Νέαρχος ἀνέθεκεν̣ [ℎο κεραμε] -
ὺς ἔργον ἀπαρχὲν τ̣ἀθ [εναίαι].
Ἀντένορ ἐπ [οίεσεν ℎ] -
ο Εὐμάρος τ [ὸ ἄγαλμα]

The received ending υς of the second line is generally supplemented to κεραμεύς ("potter") and the founder with the well-known potter Nearchus from the 2nd quarter of the 6th century BC. Or another potter of the name, possibly a son or grandson of the well-known Nearchus. On several occasions it has been questioned whether a simple craftsman could have donated such a votive statue, and different additions to the inscription have been suggested. On the other hand, it was in the 6th century BC. It is quite possible to achieve a modest wealth through manual activities, and other foundations by potters and vase painters from the Acropolis are known.

The Kore wears chest-length hair, some of which is no longer preserved. The forehead hair is shown with hump curls, while the hair on the head falls over the shoulder and straight across the back in fanning strands. The head and forehead hair are separated by a diadem. Like all archaic Koren, the sculpture is not only constructed strictly axially, but also looks frontally at the viewer. She is dressed in a chiton and himation . The latter is placed over the left arm and seems to be held together by fibulae on the upper side, and on the underside it has omega folds. With her left hand, the depicted gathers the chiton, creating characteristic folds. The empty eye sockets, which suggest inlays made of a different material, probably glass, are striking - a rather rare procedure for marble statues from this period.

literature

  • Antony E. Raubitschek : Dedications from the Athenian Akropolis. A catalog of the inscriptions of the sixth and fifth centuries BC Archaeological Institute of America, Cambridge, Mass. 1949, pp. 232-233, No. 197.
  • Gisela MA Richter : Korai. Archaic Greek Maides. A Study of the Development of the Kore Type in Greek Sculpture. Phaidon, London 1968, p. 69, no. 110, figs. 336-340.
  • Katerina Karakasi: Archaic Koren . Hirmer, Munich 2001, p. 125. 133 Plates 148-149. 254-256.
  • Sascha Kansteiner , Lauri Lehmann, Bernd Seidensticker , Klaus Stemmer (eds.): Text and sculpture. Famous sculptors and bronze founders of antiquity in words and pictures. De Gruyter, Berlin / New York 2009, ISBN 978-3-11-019610-8 , pp. 5-7 ( Google books ).
  • Martin Bentz , Wilfred Geominy , Jan Marius Müller (editor): TonArt. Virtuosity of ancient pottery technology. Imhoff, Petersberg 2010, ISBN 978-3-86568-610-7 , pp. 126-127 No. 92.

Web links

Commons : Antenor Kore  - collection of images, videos and audio files

Remarks

  1. ↑ Inventory number 681.
  2. ^ Franz Studniczka: Antenor the son of Eumares and the history of archaic painting. In: Yearbook of the Imperial German Archaeological Institute. Vol. 2, 1887, pp. 135-168, here: p. 141.
  3. ↑ Sascha Kansteiner, Lauri Lehmann, Bernd Seidensticker, Klaus Stemmer (eds.): Text and sculpture. Famous sculptors and bronze founders of antiquity in words and pictures. De Gruyter, Berlin / New York 2009, p. 6.
  4. ^ Ernest Arthur Gardner in: Journal of Hellenic Studies . Vol. 10, 1889, p. 278; Guy Dickins: Catalog of the Acropolis Museum. Volume 1: Archaic sculpture. Cambridge University Press, Cambridge 1912, pp. 228-232; Humfry Payne, Gerard Mackworth Young: Archaic marble sculpture from the Acropolis. Cresset Press, London 1950, p. 31.
  5. ^ Inscriptiones Graecae (IG) I³ 628 .
  6. ↑ On this Bettina Kreuzer : Nearchos (I). In: Rainer Vollkommer (Hrsg.): Künstlerlexikon der Antike . Volume 2: L-Z. Addendum A – K. Saur, Munich / Leipzig 2004, ISBN 3-598-11414-1 , pp. 113-114 (here also considered to be the founder of the Kore).
  7. ↑ Jeffrey M. Hurwit: The Art and Culture of Early Greece, 1100-480 BC Cornell University Press, Ithaca 1985, p. 250 considers the addition to κεραμεύς to be correct, but the identification with the well-known potter is possible but unlikely.
  8. ^ So John D. Beazley : Potter and Painter in Ancient Athens. (= Proceedings of the British Academy. Vol. 30.) Cumberledge, Oxford 1944, p. 21; Thomas BL Webster: Potter and Patron in Classical Athens. Methuen, London 1972. p. 10; Catherine M. Keesling: The Votive Statues of the Athenian Acropolis. Cambridge University Press, Cambridge 2003, p. 58.
  9. ^ Alan W. Johnston: Amasis and the Vase Trade. In: Papers on the Amasis Painter and His World. The J. Paul Getty Museum, Malibu 1987, 135: τοῦ δεῖνα ὑ] ύς (“son of one”); interpreted as a demoticon by Michael Vickers: Artful Crafts. The Influence of Metal Work on Athenian Painted Pottery. In: Journal of Hellenic Studies. Vol. 105, 1985, p. 125 No. 162: Ἐλευθερε] ύς ("from Eleutherai ") and David Gill, Michael Vickers: Pottery and Precious Metal in Classical Greece. In: Yearbook of the German Archaeological Institute . Vol. 105, 1990, pp. 7–8: Κεραμεύς or Μελιτεύς ("from Kerameis" or "from Melite "); but the indication of a demoticon in dedicatory inscriptions before the late 5th century BC would be necessary. Extremely unusual, cf. Catherine M. Keesling: Name Forms on Athenian Dedications of the Fifth and Fourth Centuries BC In: Ángel Martínez Fernández (Ed.): Estudios de Epigrafía Griega. Investigation series 1. Servicio de Publicaciones, Universidad de la Laguna, La Laguna 2009, pp. 349-356.
  10. ^ Ingeborg Scheibler: Greek artist motifs of the archaic period. In: Munich Yearbook of Fine Arts. Vol. 30, 1979, pp. 7-29.