unit_2_pt3_sg - nitTWO:EarlyGreekArt U STUDYGUIDE

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Unit TWO: Early Greek Art                                                                                            STUDY GUIDE     35 R Exekias.  Dionysos in a Sailboat , c. 540 BCE Dionysos (and the ecstasis)/ kylix/ sail blowing in the wind/  comparison with decoration of Geometric style amphoras 1. In the painted image of this  kylix  (drinking   cup)   by   Exekias,   “the  slender,   sharp-edged   forms   have   a  lacelike delicacy, yet also resilience  and   strength,   so   that   the   design  adapts itself to the circular surface  without   becoming   mere   ornament.  Dionysos   reclines   in   his   boat  (the  sail was once entirely white), which  moves   with   the   same   ease   as   the  dolphins,   whose   lithe   forms   are  balanced   by   the   heavy   clusters   of  grapes” (Janson 99).  2. “According to a Homeric hymn, the god of wine had once been abducted by  Etruscan pirates.   He thereupon caused vines to grow all over the ship and  frightened his captors until jumped overboard and were turned into dolphins.  We  see him on his return journey- an event to be gratefully recalled by every Greek  drinker- accompanied by seven dolphins and seven bunches of grapes for good  luck” (99). 3.   “The   way   the   composition   is   arranged,   and   its   reliance   on   symbolic  presentation rather than literal truth, give an excellent clue to the way in which we  ought to approach all black-figure compositions.  This one has its own grammar,  but is emphatically not illusionist art” (Lucie-Smith 63-64). S Dionysus and the Maenads 1. “The multi-faceted figure of  Dionysus , god of ecstasy, god of the  vine and god of grain, is found in various forms all over the Middle  East.  As a baby at Eleusis he symbolized rebirth; as an adult his cult  was based on the theme of an endless cycle of death and regeneration,  and his sacred rites were bloody, orgiastic and abandoned.  His origins  are possibly prehistoric, for he is a shamanic figure whose survival in  Ancient Greece bears witness to his archetypal power” (Mann and  Lyle 111). 2. “Indra Sinha, an expert on classical and medieval Indian literature, writes,  ‘The   connection   between   Indian   Siva   and   Greek   Dionysus,   indeed   their  complete identification, was long ago acknowledged by Greek and Indian  alike… in particular, they pointed to the similarity of the Bacchic processions  with drums and cymbals to the dances of the Sydrakoi’ (an ancient tribe  encountered by Alexander the Great in India).  Dionysus, carrying his phallic 
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This note was uploaded on 02/08/2011 for the course ART 101 taught by Professor Helm during the Spring '11 term at DeVry Austin.

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unit_2_pt3_sg - nitTWO:EarlyGreekArt U STUDYGUIDE

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