Publication: The Fury of Lyssa in painting and drama. Its depiction on an attic bell-krater in ancient Iberia
Authors
Espí Forcén, Carlos ; García Cano, José Miguel
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Facultad de Letras
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Publisher
Complutum
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DOI
https://doi.org/10.5209/cmpl.98811
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info:eu-repo/semantics/article
Description
Abstract
Un fragmento de una crátera de campana ática, probablemente encontrado en la Región de Murcia (España), representa el personaje de Lisa destruyendo un palacio tras descargar su rabia. Un profundo estudio de las fuentes literarias y de la iconografía de la Antigüedad nos permite vincular esta escena con la representación de la locura de Heracles, conforme a la obra Hēraklēs Mainomenos de Eurípides, o más probablemente con el castigo de Dioniso sobre Licurgo, tema escogido por Esquilo para su obra Edonoi, conocida sólo a través de algunos fragmentos. Algunos detalles pictóricos permiten atribuir la obra al pintor de Mídias o a su taller, activo en Atenas hacia el último cuarto del siglo V a.C. El comercio griego en el sureste de la península ibérica aumentó significativamente en este periodo, por lo que la crátera hubo de llegar a Iberia a través de Ampurias, de algún otro puerto de la costa y por una ruta comercial que siguiese el curso del río Tader (Segura). El siglo V a. C. coincide con el apogeo del teatro ático, por lo que la popularidad de Esquilo y Eurípides pudieron influir en la elección del tema de la crátera. El pintor de Mídias y su taller partieron de la tradición ática para representar a Lisa con dos perros en su cabeza, modelo iconográfico del que solo conservamos, hasta la fecha, un paralelo en una crátera ática del Museo de Bellas Artes de Boston. -----------
A fragment of an Attic bell-krater found in the Region of Murcia (Spain) features the character of Lyssa standing in front of a falling Doric column. A thorough study of ancient literary sources and iconography suggests that the scene depicted on the pottery fragment could be linked either to the madness of Herakles, as portrayed in Euripides’ Hēraklēs Mainomenos, or more likely to the punishment of Lycurgus by Dionysus, the subject of Aeschylus’ lost play Edonoi. In terms of style, some particular details allow to attribute the krater to the Meidias Painter or his workshop, active in the last quarter of the 5th century BC. Attic trade in the Iberian Peninsula increased significantly in this period, so the krater probably arrived in southeastern Iberia through Emporion, some harbor on the coast and a commercial route along the Tader river (now Segura). The 5th century BC was also the heyday of Athenian theatre, and the popularity of Athenian drama may have influenced the choice of the subject on this Attic krater. The Meidias Painter and his workshop likely relied on previously established Attic iconography to represent the character of Lyssa with two sprouting hounds on her head, a rare motif that has only one parallel on an Attic bell-krater of the Boston Museum of Fine Arts.
A fragment of an Attic bell-krater found in the Region of Murcia (Spain) features the character of Lyssa standing in front of a falling Doric column. A thorough study of ancient literary sources and iconography suggests that the scene depicted on the pottery fragment could be linked either to the madness of Herakles, as portrayed in Euripides’ Hēraklēs Mainomenos, or more likely to the punishment of Lycurgus by Dionysus, the subject of Aeschylus’ lost play Edonoi. In terms of style, some particular details allow to attribute the krater to the Meidias Painter or his workshop, active in the last quarter of the 5th century BC. Attic trade in the Iberian Peninsula increased significantly in this period, so the krater probably arrived in southeastern Iberia through Emporion, some harbor on the coast and a commercial route along the Tader river (now Segura). The 5th century BC was also the heyday of Athenian theatre, and the popularity of Athenian drama may have influenced the choice of the subject on this Attic krater. The Meidias Painter and his workshop likely relied on previously established Attic iconography to represent the character of Lyssa with two sprouting hounds on her head, a rare motif that has only one parallel on an Attic bell-krater of the Boston Museum of Fine Arts.
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Citation
Complutum 35(2), 2024: 305-318
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