The Panathenaic AmphoraPainted Black Figure Vases from the Ancient Greek Panathenaic Games
Panathenaic amphorae filled with oil were presented to the victors in the Athenian Panathenaic Games. These painted vases were decorated using black figure technique.
The annual Panathenaic festival was celebrated in Athens in honour of Athena. The festival included a procession through the city to the Acropolis, and every four years the Panathenaic Games were held in which athletes could compete in various sports and races. Victors were awarded Panathenaic amphorae containing olive oil. The Painted VasesThese painted vases always displayed a depiction of the event for which the prize was won, with an image of Athena on the other side. The inscription reads, ‘one of the prizes from Athens.’ As Panathenaic vases were produced in large numbers every four years from the mid 6th century BC onwards, they are a useful source for the study of changes in vase painting over time. Black Figure VasesWhen the games were first introduced to the Panathenaic festival and the first prize amphorae being produced (in the mid 6th century BC), vases were painted using black figure technique. When red figure was introduced, black figure was maintained for the Panathenaic amphorae out of a sense of religious tradition and conservatism. Some of the well-known painters of red figure, such as the Kleophrades Painter and the Berlin Painter, can be seen working in black figure on the Panathenaic vases. AthenaThe image of Athena on the vases is perhaps a representation of a cult image used during the festival. She is armed with helmet, shield and spear, and shown striding forwards threateningly. The design on Athena’s shield might differ from pot to pot, perhaps identifying a particular painter’s batch. In the earliest examples Athena is flat footed, but by the late 6th century one heel is shown raised. Two columns were also added on either side of Athena, topped by two cocks symbolising competitive spirit. By the 4th century BC, inscriptions next to the column identify the archon for the year, and the cocks are replaced with statuary figures that mark each different year. Over time, the figure of Athena becomes taller and thinner, and at some point in the mid 4th century she turns to face the right. Athena’s dress can also be seen to change over time, corresponding with changes in women’s fashion. Pseudo Panathenaic VasesSome vases borrow the distinct shape and style of the Panathenaic amphorae, but do not appear to have been actual prizes from the games. These were perhaps sold as souvenirs to the people attending the festival. They are often recognisable for the omission of the inscription, ‘one of the prizes from Athens,’ or for their deviations from the traditional design; the columns might be missing or replaced with different figures, the scene on the back might not represent real events from the games; or the cocks might be replaced with owls, cauldrons, lions, or sphinxes. Numbers and Popularity of the Panathenaic Prize AmphoraeHundreds of these black figure vases were needed for each Panathenaic Games; the state commissions for these events could be very lucrative for the Athenian potters. The winner of the four-horse race alone claimed 140 amphorae. Knowing the exact number of pots that should have been produced for the games every four years and comparing this to the amount of Panathenaic vases that have actually been found, reveals just how low the survival rate of pottery really is, despite it being the classicist’s most plentiful ancient source. Though the oil inside was the true prize and more valuable than the container, for the victor and his family there was a sense of pride and prestige attached to the amphorae, which have been found buried in the tombs of athletes. There is evidence of the sale of second hand Panathenaic amphorae, as well as finds as far away as Etruscan tombs in Italy. The production of the Pseudo Panathenaic vases suggests that they could also be valued as souvenirs or even collectors items. SourcesSparkes, Brian. (1996) The Red and the Black: Studies in Greek Pottery. Oxon: Routledge. Woodford, Susan. (1986) An Introduction to Greek Art. London: Duckworth.
The copyright of the article The Panathenaic Amphora in Ancient History is owned by Victoria Hooper. Permission to republish The Panathenaic Amphora in print or online must be granted by the author in writing.
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