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1107, ATHENIAN, Hamburg, Museum für Kunst und Gewerbe, Germany, private, 1981.173

  • Vase Number: 1107
  • Fabric: ATHENIAN
  • Technique: RED-FIGURE
  • Shape Name: OINOCHOE
  • Date: -500 to -450
  • Inscriptions: EURYMEDON
    Inscription: EURYMEDON EIM[I] KYBADE HESTEKA
    Named: EURYMEDON, KYBADAS
  • Attributed To: Manner of TRIPTOLEMOS P by SCHAUENBURG
  • Decoration: Body: MAN IN CHLAMYS (NAMED ? EURYMEDON), AND ARCHER IN PERSIAN COSTUME (NAMED ?), INSCRIPTION, OR COMIC (WARRIOR AND SQUIRE, NAMED ?)
  • Last Recorded Collection: Hamburg, Museum für Kunst und Gewerbe: 1981.173
  • Previous Collections:
    • Germany, private
  • Publication Record: American Journal of Archaeology: 125 (2021) 215, FIG.7 (COLOUR OF A AND B)
    Boardman, J., The Greeks in Asia (London, 2015): PL.IX (COLOUR OF A AND B)
    Brinkmann, V. (ed.), Zurück zur Klassik, ein neuer Blick auf das alte Griechenland, eine Ausstellung der Liebieghaus Skulpturensammlung, Frankfurt am Main, 8. Februar bis 26. Mai 2013 (Munich, 2013): 92-93, FIGS.80-81 (COLOUR OF BD)
    Cohen, A., Art in the Era of Alexander the Great, Paradigms of Manhood and their Cultural Traditions (Cambridge, 2010): 169, FIG.77 (BD)
    Cohen, B. (ed.), Not the Classical Ideal, Athens and the Construction of the Other in Greek Art (Leiden, Boston and Köln, 2000): 88, FIGS.3.6-7 (PARTS)
    Davidson, J.N., Courtesans and Fishcakes, The Consuming Passions of Classical Athens (London, 1997): PL.11 AT 166 (PARTS)
    Deacy, S. and Pierce, K.F., Rape in Antiquity (Swansea, 1997): 136, FIG.10 (BD)
    Foxhall, L. and Salmon, J. (eds.), When men were men, Masculinity, power and identity in classical antiquity (London, 1998): 58-59, FIG.2.1 (BD)
    Francis, E.D., Vickers, M. (ed.), Image and Idea in Fifth-Century Greece (London, 1990): FIG.12
    Fraser, J., Luxury and power: Persia to Greece, British Museum (London, 2023): 112, FIG.111 (COLOUR OF BD)
    Frontisi-Ducroux, F., Du Masque au Visage, Aspects de l'identite en Grece ancienne (Paris, 1995): PL.83
    Giudice, F. and Panvini, R. (eds.), Il greco, il barbaro e la ceramica attica, Immaginario del diverso, processi di scambio e autorappresentazione degli indegni, Volume Quarto, Atti del Convegno Internazionale di Studi 14-19 maggio 2001 (Rome, 2007): 129, FIG.7 (DRAWING OF BD)
    Gruen, E.S. (ed.), Cultural Identity in the Ancient Mediterranean (Los Angeles, 2011): 469, FIG.3 (BD)
    Harari, M. et al. (eds.), Icone del mondo antico, un seminario di storia delle immagini, Pavia, Collegio Ghislieri, 25 novembre 2005 (Rome, 2009): PL.31.5-6 (BD)
    Hildebrandt, F., Antike Bilderwelten: Was griechische Vasen erzählen (Mainz, 2017): 110, FIG.107 (COLOUR OF BD)
    Jahrbuch der Hamburger Kunstsammlungen: NF 1 (1982), 110-111
    Jahrbuch des Deutschen Archäologischen Instituts: 109 (1994) 37, FIGS.34-35
    Journal of Hellenic Studies: 104 (1984), PL.8 C-D
    Journal of Hellenic Studies: 119 (1999) PL.8A-B (PARTS)
    Keuls, E., The Reign of the Phallus (New York, 1985): 292, FIG.261 (A,B)
    Kilmer, M.F., Greek Erotica on Attic Red-Figure Vases (London, 1993): PL. AT P.146, R1155
    Kunst der Antike, Schätze aus norddeutschem Privatbesitz, Hamburg, Museum für Kunst und Gewerbe (Mainz, 1977): 317-18, NO.271
    Lear, A., and Cantarella, E., Images of ancient Greek pederasty, Boys were their gods (London and New York, 2008): 112-113, FIG.3.5A-B (BD)
    Marco Simon, F. et al. (eds.), Vae Victis! Perdedores en el mundo antiguo (Barcelona, 2012): 51, FIG.3 (BD)
    Metis: 2013, 214, FIG.1 (A AND B)
    Miller, M.C., Athens and Persia in the Fifth Century BC, A study in cultural receptivity (Cambridge, 1997): PLS.1-2
    Mitteilungen des Deutschen Archäologischen Instituts, Athenische Abteilung: 90 (1975) PL.25.1-3
    Neer, R.T., Style and Politics in Athenian Vase-Painting, The Craft of Democracy, ca.530-460 B.C.E. (Cambridge, 2002): 166, FIGS.79-80 (BD)
    Pritchard, D. (ed.), War, Democracy and Culture in Classical Athens (Cambridge, 2010): 305-306, 337, FIGS.12.1-2, 12.18 (BD, DRAWING OF INSCRIPTION)
    Puritani, L., Die Oinochoe des Typus VII, Produktion und Rezeption im Spannungsfeld zwischen Attika und Etrurien (Frankfurt, 2009): PLS.I, 5-6 (PROFILE, BD)
    Reinsberg, C., Ehe, Hetärentum und Knabenliebe im antiken Griechenland (Munich, 1989): 177, FIGS.98A-B
    Rodriguez Perez, D. (ed.), Greek Art in Context. Art Historical and Archaeological Perspectives (Oxford and New York, 2017): 98, 108-109, FIGS.7.1A-B, 7.6A-B (A, B AND DRAWINGS OF A AND B)
    Smith, A.C., Polis and Personification in Classical Athenian Art (Leiden, 2011): FIGS.2.7-2.9 (BD AND PART)
    Vlassopoulos, K., Greeks and Barbarians (Cambridge, 2013): 64, FIG.5 (BD)
    Yatromanolakis, D. (ed.), Epigraphy of Art: Ancient Greek Vase-Inscriptions and Vase-Paintings (Oxford, 2016): 166-167, 169, 171-177, FIGS.1-15 (COLOUR)
  • AVI Web: https://www.avi.unibas.ch/DB/searchform.html?ID=4090
  • AVI Record Number: 3880
  • CAVI Collection: Hamburg, Museum für Kunst und Gewerbe 1981.173.
  • CAVI Lemma: RF oinochoe{1}. Manner of Triptolemos Painter (Schauenburg). Second quarter fifth.
  • CAVI Subject: To right of the handle: a naked man, bearded and with his chlamys behind him, his left arm outstretched, running to right while holding his erect penis in his left hand. To left of the handle: Oriental (Persian archer, Schauenburg) in sleeved and legged costume leaning forward, facing right but the head frontal and his hands raised to it, the gorytos hanging from his left arm.
  • CAVI Inscriptions: Starting to right of left figure's head and continuing to to the Persian's right foot: Εὐρυμέδον εἰμ[ί], κυβάδε̣ hέστεκα{2}.
  • CAVI Footnotes: {1} type VII, which is discussed at length by Schauenburg. {2} κυβαδε is discussed by Schauenburg on p. 103. S. Laser (see 103 n. 38a) suggested κυβαλες or κυβατες. - hεστεκα: Threatte (1996), 608.
  • CAVI Comments: Ex Germany, Private. - Francis translates: `I am Eurymedon. I stand bent over.' - Schauenburg thinks the Persian is named after the battle at the Eurymedon and the Greek intends to sodomize him; probably from a theatrical farce. [Note that the figures are on the sides of the oinochoe and cannot be seen at the same time.] Differently Pinney.
  • CAVI Number: 3880
  • AVI Bibliography: BADB 1107. — Schauenburg (1975), 102ff. (dr. of inscription p. 103), pl. 25,1-3. — Schauenburg (1977), 317/271 (ill.). — Hornbostel (1982), 110-111. — Golden (1984), 314f. n. 34. — Pinney (1984), 181ff., pl. 8,c-d. — Keuls (1985), 292, fig. 261. — H. Metzger (1986), 113. — Francis–Vickers (1990), 39, fig. 12.
  • CAVI / AVI Data from Henry Immerwahr's Corpus of Attic Vase Inscriptions (CAVI), updated by Rudoph Wachter's Attic Vase Inscriptions (AVI)

Link to this record using the address https://www.beazley.ox.ac.uk/record/C6CC59DF-8DD2-4BCE-8BA9-F2B8A35BB220

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