Oinochoe des Mamarce
.jpg)
The Oinochoe des Mamarce is an Etruscan impasto vessel from around 640/20 BC. BC, which is particularly important because of its pottery signature.
The oinochoe of the potter Mamarce connects different cultures in several ways. First of all, the vessel is a work of the impasto technique, which was typical of the Villanova culture. Contrary to the usual practice, however, the clay in this vessel has already been finely slurried and the oinochoe was turned on a potter's wheel and no longer worked by hand. However, the surface was polished in a prehistoric way. This form is known in research as buccheroid impasto and prepares the later Bucchero ceramic. This means that the vessel is at the transition between the Villanova culture and that of the Etruscans.
The handle of the 20.5 centimeter high vessel, which has a maximum diameter of 11.6 centimeters, has not been preserved. The spout of the vessel is slightly widened, the neck is concave. With its already quite mature design language - cloverleaf mouth, frustoconical neck, pear-shaped body, low and disc-shaped foot and ribbon handle - a fairly high stage of development is assumed, which is why the vessel dates back to the second or third quarter of the 7th century BC. BC, mostly in the period between 640 and 620 BC. BC, is dated. The decoration with the red incised decoration suggests an assignment to the Falisker settlement area around Falerii , but the oinochoe may also come from the neighboring Veji .
Images were scratched into the body of the vessel. Red filling compound was filled into the cracks, some of which is still left. It depicts a warrior flanked on the right by a horse and on the left by a goat breastfeeding its fawn. This is probably a modification of the motif of despotes theron , the lord of the animals , known from the oriental region , here as despotes hippon , the lord of the horses . Above all, the depiction of a suckling goat is unusual, both goats have no fourth leg. Canonically, a second horse would be expected here. It is equally unusual that the goat has averted its gaze from the warrior. Two floating water birds are shown above the goats. While the motif of the Lord of the Animals is of an oriental nature , the representation of horses belonged to the Corinthian-Greek area, the replacement of the horse by the group of goats indicates a Euboan influence. The water birds are a relic of the Villanova culture. The engraver depicted the bearded warrior with a helmet, greaves and belt, the wide legs give the impression that he is dancing. Both the warrior and the palmette on the neck are arranged in a row with the spout in the center, which ensures a strong symmetry of the vessel. On the right side, above the horse to the warrior, there is an incised inscription, which is reproduced from right to left in Etruscan language with Etruscan letters : mi mamarce zinace , I made Mamarce . The models of the vessel, which combines oriental, Greek and Etruscan traditions, can be found in Syrian or Cypriot silver vessels.
Today the oinochoe is in the antique collection of the Martin von Wagner Museum in Würzburg with the inventory number H 5724 .
literature
- Irma Wehgartner : Corpus Vasorum Antiquorum Würzburg 3 , Beck, Munich 1983, ISBN 3-406-09751-0 , plates 3-4, 1.
- Irma Wehgartner: Mi Mamarce Zinace , In: Ulrich Sinn , Irma Wehgartner (editor): Encounter with antiquity. Evidence from four millennia of Mediterranean culture in the south wing of the Würzburg Residence , Ergon, Würzburg 2001, ISBN 3-935556-72-1 , pp. 8–9.
- Giovannangelo Camporeale : Mamarce. In: Rainer Vollkommer (Hrsg.): Künstlerlexikon der Antike . Over 3800 artists from three millennia. Nikol, Hamburg 2007, ISBN 978-3-937872-53-7 , p. 485.
