Greeks in Italy – XXIV: Zeus and Europa
Paestan calyx-krater signed by Asteas, or Assteas, depicting the myth of Zeus' love for Europa. The Phoenician princess, identified by the inscription ΕΥΡΩΠΗ, is seated on the back of the white bull representing the metamorphosed Zeus. They fly to left across the sea as suggested by the figures of Scylla, Triton and various fishes.
Hovering directly above Europa is Pothos [ΠΟΘΟΣ] a nude figure whose wings were originally in dilute glaze and added white which have now mostly disappeared. In lower position, the couple is framed symmetrically by Scylla [ΣΚΥΛΛΑ] on the left and Triton [ΤΡΙΤΩΝ] on the right. Scylla holds a trident in her right hand and raises her left hand in the “aposkopein” gesture, “looking from afar” gesture. Triton holds an oar and makes the same gesture with his right hand.
The upper part of the vase is organized in two triangular spaces featuring Zeus, Krete, and Hermes on the left, and Eros, Adonis, and Aphrodite on the right. All figures, except for Eros, are labeled.
Zeus [ΖΕΥΣ] holds a scepter topped by a palmette. Krete [ΚΡΗΤΗ], representing the island to which Europa is being carried, wears a kekryphalos covering much of her hair and a chiton. Hermes [ΗΕΡΜΗΣ] has an association with fertility and, at times, a connection with Aphrodite which especially suits him for a role as "go-between" for Zeus' amorous escapades. He holds a caduceus and wears a chlamys and a wreath.
A complementary triangular frame on the upper right contains three other figures. Furthest right is Aphrodite [ΑΦΡΟΔΙΤΗ] whose hand rests upon the shoulder of Adonis [ΑΔΟΝΙΣ] standing in front of her.
Furthest left is a small, winged half-figure without inscription. This is Eros, holding in his right hand an unidentifiable object.
Asteas casts the central maiden figure as a bride emphasizing the sexual and conjugal implications of Europa’s abduction, which will lead to her transition to wife status. Europa wears elaborate clothing and jewelry that present her as a nubile “parthenos” in bloom, at the beautiful yet fleeting moment when, a virgin still, she is ripe for sex and marriage. Her chiton, held at the waist by a studded girdle, is decorated with palmettes, stars, meanders, and a checkerboard pattern at the lower edges. The shawl decorated with fine black dots and blowing out in are behind her, adds further sophistication to her clothing, as do her earring, white pendant necklace, and bracelets. The bridal connotations of Europa’s adornment are further emphasized by the surrounding personnel. Pothos, sexual desire personified, brings further adornments and cosmetic recipients, including a small spray, a small circlet of white beads, now mostly gone, and a phiale in white and metal—like dilute glaze. Eros, Adonis, and Aphrodite watch the scene from the upper right corner. The layout of the scene may even be reminiscent of a marriage procession. Europa sits on the bull and is being carried toward the left, where Zeus stands as if ready to welcome her to her new home, personified by the nymph Krete.
Asteas, Greek vase painter active in Paestum in 350 – 320 BC, incised his signature in the lower part of the krater main body: ΑΣΣΤΕΑΣ ΕΓΡΑΦΕ
Source:
M. Jentoft-Nilsen, “ A Krater by Asteas” in “Greek Vases in the J. Paul Getty Museum”
Marianne Govers Hopman, “Scylla: Myth, Metaphor, Paradox”
Paestan red figured calyx-krater
Height 71,5 cm; diameter 60,5 cm
Attributed to Asteas by signature
350-340 BC
From Sant’Agata dei Goti, Benevento
Paestum, SA, Museo Archeologico Nazionale, Archaeological Museum
Greeks in Italy – XXIV: Zeus and Europa
Paestan calyx-krater signed by Asteas, or Assteas, depicting the myth of Zeus' love for Europa. The Phoenician princess, identified by the inscription ΕΥΡΩΠΗ, is seated on the back of the white bull representing the metamorphosed Zeus. They fly to left across the sea as suggested by the figures of Scylla, Triton and various fishes.
Hovering directly above Europa is Pothos [ΠΟΘΟΣ] a nude figure whose wings were originally in dilute glaze and added white which have now mostly disappeared. In lower position, the couple is framed symmetrically by Scylla [ΣΚΥΛΛΑ] on the left and Triton [ΤΡΙΤΩΝ] on the right. Scylla holds a trident in her right hand and raises her left hand in the “aposkopein” gesture, “looking from afar” gesture. Triton holds an oar and makes the same gesture with his right hand.
The upper part of the vase is organized in two triangular spaces featuring Zeus, Krete, and Hermes on the left, and Eros, Adonis, and Aphrodite on the right. All figures, except for Eros, are labeled.
Zeus [ΖΕΥΣ] holds a scepter topped by a palmette. Krete [ΚΡΗΤΗ], representing the island to which Europa is being carried, wears a kekryphalos covering much of her hair and a chiton. Hermes [ΗΕΡΜΗΣ] has an association with fertility and, at times, a connection with Aphrodite which especially suits him for a role as "go-between" for Zeus' amorous escapades. He holds a caduceus and wears a chlamys and a wreath.
A complementary triangular frame on the upper right contains three other figures. Furthest right is Aphrodite [ΑΦΡΟΔΙΤΗ] whose hand rests upon the shoulder of Adonis [ΑΔΟΝΙΣ] standing in front of her.
Furthest left is a small, winged half-figure without inscription. This is Eros, holding in his right hand an unidentifiable object.
Asteas casts the central maiden figure as a bride emphasizing the sexual and conjugal implications of Europa’s abduction, which will lead to her transition to wife status. Europa wears elaborate clothing and jewelry that present her as a nubile “parthenos” in bloom, at the beautiful yet fleeting moment when, a virgin still, she is ripe for sex and marriage. Her chiton, held at the waist by a studded girdle, is decorated with palmettes, stars, meanders, and a checkerboard pattern at the lower edges. The shawl decorated with fine black dots and blowing out in are behind her, adds further sophistication to her clothing, as do her earring, white pendant necklace, and bracelets. The bridal connotations of Europa’s adornment are further emphasized by the surrounding personnel. Pothos, sexual desire personified, brings further adornments and cosmetic recipients, including a small spray, a small circlet of white beads, now mostly gone, and a phiale in white and metal—like dilute glaze. Eros, Adonis, and Aphrodite watch the scene from the upper right corner. The layout of the scene may even be reminiscent of a marriage procession. Europa sits on the bull and is being carried toward the left, where Zeus stands as if ready to welcome her to her new home, personified by the nymph Krete.
Asteas, Greek vase painter active in Paestum in 350 – 320 BC, incised his signature in the lower part of the krater main body: ΑΣΣΤΕΑΣ ΕΓΡΑΦΕ
Source:
M. Jentoft-Nilsen, “ A Krater by Asteas” in “Greek Vases in the J. Paul Getty Museum”
Marianne Govers Hopman, “Scylla: Myth, Metaphor, Paradox”
Paestan red figured calyx-krater
Height 71,5 cm; diameter 60,5 cm
Attributed to Asteas by signature
350-340 BC
From Sant’Agata dei Goti, Benevento
Paestum, SA, Museo Archeologico Nazionale, Archaeological Museum