Magna Graecia, South Italy, Apulia, ca. 340 to 325 BCE. A gorgeous pottery vessel with a bulbous body that corsets to a cylindrical neck, a wide, flared rim, and a Herakles (Roman Hercules) knot handle that connects the rounded shoulder to the rim, all sitting upon a tiered, ring-form foot. The body of the ancient vessel boasts the impressive painting of a red-figure Hermaphroditus shown seated and facing left as they hold a large cista or casket with a tympanum - an ancient Greek hand drum - in one hand and a grape leaf in the other. A pair of sizable wings spread outwards from the back of Hermaphroditus, who is both nude - showing breasts and a phallus - and heavily adorned with laced sandals, a leg band, bangles, a necklace, earrings, and hair ornaments. The opposite side of the body, where the handle connects the round shoulder to the flared rim, is beautifully embellished with a large palmette. A lovely horizontal band of key motif additionally adorns the neck of the vessel. Size: 5.7" in diameter x 6.1" H (14.5 cm x 15.5 cm)
The child of Aphrodite and Hermes, Hermaphroditus was an Erote (winged god of love and sexual intercourse) who was born a remarkably handsome boy. His beauty attracted many admirers, most notably the naiad Salmacis who fell in love with Hermaphroditus and prayed to be united with him forever. In an answer to her prayer, a god merged their bodies into one and changed the boy into a hermaphrodite. In this example, Hermaphroditus is shown with both female breasts and male genitalia, as well as a sweeping pair of wings.
According to the British Museum, "The marriage-knot or knot of Hercules, a strong knot created by two intertwined ropes, originated as a healing charm in ancient Egypt, but is best known for its use in ancient Greece and Rome as a protective amulet, most notably as a wedding symbol. The symbolism of the knot survived well beyond its religious use, and was a common symbol in medieval and Renaissance love tokens." In addition, according to Roman historian Pliny, the Herakles knot had the ability to cure wounds.
Perhaps the most exciting innovation in Greek vase painting was the red-figure technique, invented in Athens around 525 BCE and beloved by other artists of Magna Graecia. The red-figure technique allowed for much greater flexibility as opposed to the black-figure technique, for now the artist could use a soft, pliable brush rather than a rigid metal graver to delineate interior details, play with the thickness of the lines, as well as build up or dilute glazes to create chromatic effects. The painter would create figures by outlining them in the natural red of the vase, and then enrich these figural forms with black lines to suggest volume, at times perspectival depth, and movement, bringing those silhouettes and their environs to life. Beyond this, fugitive pigments made it possible for the artist to create additional layers of interest and detail as we see in this example.
Provenance: private New York, New York, USA collection; ex-private T.G. collection, Williston, Florida, USA, #2855, acquired in 2000; ex-collection of a German gentleman
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#168073
Condition
Repaired from a few large pieces with restoration to rim and over break lines, as well as some repainting over break lines. A few expected light nicks and abrasions, commensurate with age. Otherwise, excellent with impressively preserved pigments and detail.