Paestan vase painting
The paestan vase painting was a regional style of unteritalisch - red-figure vase painting . It was the youngest of the five sub-Italian regional styles. Together with the Lucan and Sicilian vase painting , it formed a closer stylistic community.
Paestan vase painting emerged as the last sub-Italian style. Although Paestum belongs to Lucania, the style is more influenced by the Campanian than by the Lucanian works and is therefore considered to be independent. The Paestanic vase tradition was established around the year 360 BC. Founded by Sicilian immigrants. The clay used is brownish-orange and contains a lot of mica .
The first workshop was run by Asteas and Python . They are the only two vase painters in southern Italy who are known by name from inscriptions. Above all, bell craters, neck amphorae, hydriai, Lebetes Gamikoi , Lekaniden , Lekythen and pitchers were painted; pelicas, goblet craters and volute craters were used less frequently. Particularly characteristic are decorations such as palmettes on the side , a tendril known as the "Asteas flower" with a calyx and umbel , crenellated patterns on the robes and curly hair hanging down over the back. Figures that lean forward and lean on plants or stones are also typical. Auxiliary colors are often used, especially white, gold, black, purple, and various shades of red.
The subjects depicted are often located in the Dionysian range: Thiasos- and symposia scenes, satyrs and maenads , Papposilenen and Phlyakenszenen . Numerous other mythical motifs are also represented, above all Heracles, the Paris judgment , Orestes , Elektra , among the gods Aphrodite and Eroten , Apollo, Athena and Hermes. Nevertheless, mythological scenes are comparatively rare. In Paestan painting there are only seldom everyday pictures, but depictions of animals. Grave scenes are shown relatively rarely, naiskos depictions do not occur at all. Asteas and Python had a lasting influence on the city's vase painting. This can be seen in the work of their successors, such as the Aphrodite painter who probably immigrated from Apulia . He introduced an oinochoe with a high neck into the repertoire of forms, followed by the painter of the Boston Orestes . Around 330 BC A second workshop was built, which was initially based on the work of the first. But the quality and richness of motifs of the work quickly deteriorated. At the same time, the influence of the Campanian Caivano painter can also be seen . The result was linear garment contours and contourless female figures. Towards the end of the Paestan figuratively painted pottery, the craftsmen imitated Apulian vases. Around 300 BC The Paestanic vase painting came to a standstill.
Web links
literature
- Arthur D. Trendall : The red-figured vases of Paestum. British School, Rome 1987.
- Arthur D. Trendall: Red-figure vases from southern Italy and Sicily. A manual. (= Cultural history of the ancient world . Vol. 47). von Zabern, Mainz 1991, ISBN 3-8053-1111-7 , especially pp. 223-264.
- Rolf Hurschmann : Paestan vase painting. In: The New Pauly (DNP). Volume 9, Metzler, Stuttgart 2000, ISBN 3-476-01479-7 , column 142 f.
- Thomas Mannack : Greek vase painting. An introduction. Theiss, Stuttgart 2002, ISBN 3-8062-1743-2 , p. 166 f.