By Cornelia Isler-Kerényi
Dionysos, together with his following of satyrs and ladies, was once an incredible subject matter in an immense a part of the determine painted pottery in 500-300 B.C. Athens. As an unique testimonial in their time, the imagery on those vases show what this god intended to his worshippers. It turns into transparent that - opposite to what's often assumed - he used to be not just acceptable for wine, wine indulgence, ecstasy and theatre. relatively, he used to be found in either the private and non-private sphere on many, either satisfied and unhappy, events. moreover, the vase painters have emphasised various points of Dionysos for his or her shoppers inside and out of Athens, reckoning on the political and cultural scenario.
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Additional info for Dionysos in Classical Athens: An Understanding Through Images (Religions in the Graeco-Roman World)
87 Here horses and mules evoke opposing but complementary worlds: the official one of the polis and the counter world of the symposium. Dionysos and his satyrs and maenads are less often found in the work of Oltos’ contemporary, the cup painter Epiktetos, and his circle. 88 The god may even be completely absent, as is the case with the work of the, even less distinguished, Epeleios Painter. 91 In the tondo of 84 The combination satyr-donkey frequently occurs, see Lissarrague 2013, 130. 5; ba 207517 (Oionokles Painter); Reading, Univ.
215, pl. 9, figs 26 a–b. 56 Not so Martine Denoyelle in Heilmeyer 1991, 221, who thinks the satyr is leaving. 57 Isler-Kerényi 2007, figs 68 and 69. 2); ba 200117. 59 Giuliani 1991, 16–18. 1); ba 200102. 61 See below Chapter 6. Dionysos For Athens, Dionysos For All 33 figure 12 Stamnos, Smikros, Brussels, Musées Royaux d’Art et d’Histoire A 717, side A (Pfuhl 1923, iii, 120, fig. 388). 63 Both sides of the vase contain the imposing figure of a satyr; one performs an ecstatic weapon dance, the other plays the double flute with great abandon.
She carries a thyrsos and a live fawn. Like Herakles, Ganymede was a mortal admitted to the Olympus, a change of status that belonged to the type of events controlled by Dionysos. 81 We see him here with a partner, Ariadne or Semele, as the fourth divine couple, next to Zeus and Hera, Poseidon and Amphitrite, and Aphrodite and Ares. 83 77 Mommsen 2002/03, 25 f. 15); ba 200281. 3 and 5 (“near Oltos”). 75); ba 200511. 80 Tarquinia rc 6848: see above note 55. 1); ba 200108. 82 Isler-Kerényi 2008a, 76 f.