Minn Afrodite sa Eros

Mitoloġija fuq il-Vażuni Griegi fil-Kollezzjoni Nazzjonali Aphrodite to Eros from Mythology on the Greek Vases in the National Collection

Mis-27 ta’ Mejju sal-21 ta’ Settembru 2023

From 27 May to 21 September 2023

Il-Mużew Nazzjonali tal-Arkeoloġija National Museum of Archaeology

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Minn Afrodite sa Eros

Collection

il-Vażuni

Mitoloġija fuq

Griegi fil-Kollezzjoni Nazzjonali

Aphrodite to Eros from Mythology on the Greek Vases in the National

X’NAFU DWAR IL-VAŻUNI GRIEGI FIL-KOLLEZZJONI NAZZJONALI?

Il-Mużew Nazzjonali tal-Arkeoloġija għandu kollezzjoni ta’ fuħħar Grieg magħmul b’teknika magħrufa bħala black jew red-figure (b’figuri suwed jew ħomor). Meta Ġian Franġisk Abela, kollettur bikri tal-antikitajiet, ħalla b’legat il-kollezzjoni tiegħu lill-Ġiżwiti fl-1637, semma fost oġġetti oħra erba’ vażuni magħmula mit-tafal impinġija b’figuri suwed u ħomor. Iktar tard, ftit mill-vażuni fil-kollezzjoni tagħna ġew iddokumentati bi tpinġijiet mill-artist Jean Houël fil-ktieb ‘Voyage pittoresque des isles de Sicile, de Malte et de Lipari’, ippubblikat fl-1782. Taħt dawn l-illustrazzjonijiet, hemm miktub li dawn il-vażuni kienu esibiti fil-Palazz tal-Gran Mastru, flimkien ma’ oġġetti oħra li oriġinarjament kienu ta’ Ġ.F. Abela.

Anki Antonio Annetto Caruana ddokumenta dawn il-vażuni fir-rapport tal-1882, ‘Report on Phoenician and Roman Antiquities in the Group of the Islands of Malta’. Caruana jsemmi li dawn il-vażuni, li issa kienu esibiti fil-Mużew tal-Librerija Pubblika, kienu ġew iddokumentati minn Houël, u jgħid “hemm seba’ vażuni b’forma eleganti li huma ddekorati b’figuri tal-mitoloġija Griega”. Fil-pubblikazzjoni tiegħu tal-1899

‘Ancient pottery from the ancient pagan tombs and Christian cemeteries in the Islands of Malta’, Caruana jipproduċi tpinġijiet ta’ Giuseppe Calì, pittur magħruf lejn l-aħħar tas-seklu 19, u jgħid li ftit minnhom instabu taħt il-pedament ta’ dar viċin l-isptar ta’ Saura, barra l-Imdina. Hemm bżonn ta’ iktar riċerka biex wieħed ikun żgur mill-provenjenza ta’ dawn il-vażuni, għalkemm nafu li kien hemm numru ta’ donazzjonijiet privati lill-mużew tul iż-żminijiet.

Fuq: It-tpinġija ta’ Houël li turi l-vażuni Griegi esibiti fil-Palazz tal-Gran Mastru madwar l-1782

Above: Houël’s illustration of the Greek vases which around 1782 were exhibited at the Grand Master’s Palace

Lemin: Giuseppe Calì pinġa l-vażuni Griegi fir-rapport ta’ Antonio Annetto Caruana tal-1899

Right: Giuseppe Calì depicted the vases illustrated in Antonio Annetto Caruana’s 1899 report

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WHAT DO WE KNOW ABOUT THE GREEK VASES IN THE NATIONAL COLLECTION?

The National Museum of Archaeology houses a collection of black and red-figure wares. When Ġian Franġisk Abela, a pioneer in collecting antiquities, bequeathed his collection to the Jesuits in 1637, he mentioned, among other items, four clay vases painted in black and red. Later, Jean Houël documented some of these Greek vases in his illustrated book ‘Voyage pittoresque des isles de Sicile, de Malte et de Lipari’, published in 1782. As the caption of the image indicates, these vases seem to have been on display at the Grand Master’s Palace, together with other items which once belonged to Ġ.F. Abela.

Antonio Annetto Caruana also documented these vases in the 1882 ‘Report on Phoenician and Roman Antiquities in the Group of the Islands of Malta’. While referring to Houël’s earlier drawings, he states that in the Museum of the Public Library collection “there are seven polished Greek vases of elegant form on which are correctly drawn subjects of Greek mythology”. In his 1899 publication ‘Ancient pottery from the ancient pagan tombs andChristian cemeteries in the Islands of Malta’, Caruana also produced illustrations by the renowned painter of the late 19th century Giuseppe Calì, citing that some of them were found in a tomb under the foundations of a house near Saura Hospital outside Mdina. Further investigations will need to be carried out to ascertain the provenance of the Greek vases in the collection, although there are records of some donations by private individuals to the museum along the years.

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KIF KIENU JIĠU MMANIFATTURATI L-VAŻUNI GRIEGI?

FUĦĦAR B’FIGURI SUWED

Żewġ reġjuni importanti ġewwa l-Greċja li kienu jipproduċu fuħħar Grieg kienu Korintu u Attika. Il-fuħħar li kien jintuża ta’ kuljum ħafna drabi ma kienx jiġi ddekorat, imma l-fuħħar li kien jintuża għal okkażjonijiet importanti, jew waqt xi ritwal, kien ikun iddekorat u ifjen.

Il-fuħħar b’figuri suwed beda jiġi mmanifatturat madwar 700 sena QK. Il-proċess ta’ manifattura ta’ dawn l-oġġetti jinqasam f’diversi stadji. It-tafal kien l-ewwel jinħadem fuq ir-rota jew bl-idejn. Figuri u disinji dekorattivi kienu jiġu applikati b’taħlita ta’ tafal maħlul fl-ilma, f’velatura rqiqa li normalment kienet tkun sewda, għalkemm ġieli ntużaw kuluri oħra. Sabiex il-forom individwali jispikkaw, il-fuħħar kien juża għodda biex inaqqax id-disinn ġot-taħlita tat-tafal maħlul ħalli jiżvela t-tafal aħmar ta’ taħt. Ġieli kienu jżidu taħlita ta’ kulur abjad mat-tafal.

Waqt li l-oġġett kien ikun qed jinħema, it-taħlita sewda kienet tiswied aktar, waqt li t-tafal espost kien jieħu kulur aħmar fil-kannella. Dan il-proċess kien ukoll jagħmel il-fuħħar b’saħħtu u reżistenti għall-ilma. Id-disinji kienu jinkludu figuri ta’ annimali, ċrieki u dekorazzjonijiet ġeometriċi. Madwar

650 QK, it-tpinġijiet bdew juru xeni iktar varjati, li normalment kienu jirrappreżentaw xeni tal-mitoloġija Griega jew il-gwerra ta’ Trojja.

Dan il-vażun juri figuri antropomorfiċi li kienu l-ewwel eżempji ta’ tpinġija b’figuri suwed

This vase is showing anthropomorphic figures that were typically illustrated on the earliest examples of black-figure ware

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HOW WERE GREEK VASES MANUFACTURED? BLACK-FIGURE WARE

Corinth and Attica were two important regions in ancient Greece known for their pottery production and distinctive styles of pottery. Undecorated wares were produced to fulfil the everyday needs of households, but painted fine pottery was also made in specific shapes to be used for special or ritual occasions.

Black-figure ware originated around 700BC. The creation of such vessels involved several steps. The potter would first shape the vessel on a potter’s wheel or by hand. Figural and ornamental motifs were applied in a thin slip which was usually black, although other colours were occasionally used. To enhance individual forms, sometimes the potter would use a sharp tool to incise the design into the slip, revealing the red clay underneath, or by adding white mixtures of pigment and clay.

During firing, the black slip would turn a deep black colour, while the exposed red clay turned a reddish-brown. The firing process also made the vessel more durable and resistant to water. The designs depicted animals, bands and geometric ornaments. By around 650BC, the illustrations started to represent more varied scenes, usually showing a mythological scene or describing the Trojan War.

Xellug: Vażun b’figuri suwed li juri lil Akille joqtol lir-Regina gwerriera tal-Amazzoni

Penthesilea

Left: Black-figure ware showing Penthesilea, the Amazon warrior queen being killed by Achilles

Isfel: Mappa tal-Mediterran li turi ż-żewġ reġjuni importanti ġewwa l-Greċja li kienu jipproduċu fuħħar Grieg, Korintu (1) u Attika (2)

Below: Map showing Corinth (1) and Attica (2) regions within the Mediterranean

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KIF KIENU JIĠU MMANIFATTURATI L-VAŻUNI GRIEGI?

Fuħħar b’figuri ħomor jista’ jiġi meqjus bħala evoluzzjoni mill-fuħħar b’figuri suwed, għax kien jippermetti iktar dettal u dellijiet. It-teknika tal-fuħħar b’figuri ħomor żviluppat madwar 530 sena QK, fejn l-artist tal-vażuni seta’ jinkludi iktar dettalji fix-xeni, u jenfasizza l-ġisem u l-espressjonijiet iddettaljati tal-uċuħ.

B’mod oppost għat-teknika tal-fuħħar l-iswed, il-kontorn tad-disinji u l-figuri kienu jiġu mnaqqxa b’għodda jew impinġija b’faħam li kien jisparixxi waqt il-ħami. L-isfond kien jiġi mħalleb biex waqt li jkun qed jinħema jsir iswed, filwaqt li jħalli l-element dekorattiv bil-kulur tat-tafal.

Il-kulur ħamrani kien joħroġ wara li l-fuħħar kien jinħema f’temperaturi għolja f’ambjent nieqes mill-ossiġnu. Dan kien isir billi jagħlqu d-dħul tal-arja tal-forn jew iżidu materjal li jikkonsma l-ossiġnu, bħal ċana u weraq. Dan kien jikkawża l-ossidu tal-ħadid fit-tafal biex isir aħmar.

L-artisti li kienu jiddekoraw il-fuħħar tejjbu t-teknika tat-tpinġija tal-anatomija u l-ilbies b’mod li jidher il-moviment tal-figura, u b’hekk ħolqu effett realistiku. Kienu jiddekoraw il-fuħħar aħmar b’figuri mitiċi Griegi, kif ukoll b’attivitajiet ta’ kuljum, bħal żgħażagħ fil-ġinnasju.

FUĦĦAR B’FIGURI ĦOMOR

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Vażun b’figuri ħomor li juri xi żgħażagħ fil-ġinnasju Youths at the gym depicted on a red-figure vase

HOW WERE GREEK VASES MANUFACTURED? RED-FIGURE WARE

Red-figure ware can be seen as an evolution from the black figure ware, allowing for greater detail and shading in designs. The red-figure technique, which developed around 530 BC, allowed the vase painter to include more detail in the scenes, emphasising the body and detailed facial expressions.

In a reverse method to the black-figure ware, the outlines of the decorative motifs and figures on the red-figure vessels were also drawn with an incised tool and charcoal that would eventually disappear with the firing. The background was then filled in with a slip which turned black upon firing, leaving the decorative element in the clay colour.

The red colour was achieved by firing the pottery at high temperatures in an oxygen-poor environment. During the firing process, the kiln is deprived of oxygen by closing off the air intake or adding materials that consume oxygen, such as sawdust or leaves. This causes the iron oxide in the clay to turn red.

The red-figure artists improved the technique of depicting the anatomy and the drapery with the body movement, creating a realistic effect. They depicted mythological figures and everyday activities, such as youths at the gym.

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Xeni li juru attivitajiet ta’ kuljum b’figuri ħomor Red-figure vase depicting everyday activities

GĦALFEJN IL-MITOLOĠIJA GRIEGA KIENET IRRAPPREŻENTATA FUQ IL-FUĦĦAR?

Ir-reliġjon taċ-ċiviltà antika Griega kienet tiġi trażmessa oralment minn ġenerazzjoni għall-oħra, u rrakkuntata b’mitoloġija kkrejata fuq rappreżentazzjonijiet ta’ allat u eroj. Il-vażuni Griegi kienu wieħed mill-metodi li bih kienu jiġu raffigurati dawn l-istejjer, u huma sors ta’ informazzjoni dwar il-mitoloġija u l-ħajja ta’ kuljum fid-dinja Griega.

L-allat Griegi kienu suġġett popolari mal-artisti li kienu jiddekoraw dan il-fuħħar. Fost dawn l-allat insibu lil Zeus, Apollo, Atena u Afrodite, li kienu ta’ spiss jiġu mpinġija m’allat oħra inqas magħrufa bħal Hestia, Eros u Hecate. Temi oħra popolari kienu jinkludu xeni mill-ħajjiet t’eroj bħal Theseus, Perseus u Medusa. Tema oħra popolari kienet il-gwerra ta’ Trojja, avveniment sinifikanti fil-Greċja.

Ir-rappreżentazzjonijiet tal-mitoloġija Griega fuq il-fuħħar kienu mezz kruċjali ta’ trażmissjoni u preservazzjoni ta’ dawn l-istejjer u leġġendi. Dawn l-oġġetti jixħtu wkoll dawl fuq l-arti u l-kultura taċ-ċiviltà antika Griega.

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WHY WAS GREEK MYTHOLOGY REPRESENTED ON THE VASES?

The ancient Greeks transmitted their religion orally from one generation to another, narrating Greek mythology and creating the representation of gods and heroes. The Greek vases were one way of portraying these stories, and are a valuable source of information about the mythology and daily life of the ancient Greeks.

The gods and goddesses of Greek mythology were popular subjects for vase painters. Zeus, Apollo, Athena and Aphrodite were often depicted, along with lesser-known deities like Hestia, Eros, and Hecate. At the same time, other popular themes included scenes from the lives of heroes and heroines such as Theseus, Perseus and Medusa. Many vases also depict scenes from the Trojan War, a significant Greek event.

The depiction of Greek mythology on vases played an essential role in transmitting and preserving these stories and legends. They also provide a window into the artistic and cultural practices of the ancient Greeks.

Xellug: Vażun b’figuri ħomor li juri l-alla Eros jittanta lin-nisa

Left: Red-figure vase showing Eros pursuing women

Fuq: Vażun b’figuri ħomor li juri l-alla tar-rebħ Nike impinġija fin-nofs

Above: Red-figure vase showing Nike the goddess of victory, in the middle

Isfel: Vażun b’figuri ħomor li juri lil Afrodite u Eros

Below: Red-figure vase showing Aphrodite and Eros

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LIEMA MITI GRIEGI HUMA RRAPPREŻENTATI FUQ DAWN IL-VAŻUNI?

Afrodite; l-alla li tirrappreżenta l-imħabba, is-sbuħija u s-sesswalità, kienet tiġi mpinġija fuq il-fuħħar Grieg ħafna drabi. Fil-perjodu Klassiku (madwar il-5 u r-4 seklu QK), Afrodite saret suġġett iktar prominenti fuq il-fuħħar b’figuri ħomor, impinġija għarwiena jew nofsha għarwiena biex jiġu enfasizzati s-sesswalità u l-erotiċiżmu tagħha. Ir-rappreżentazzjonijiet tagħha kienu jinkludu wkoll it-twelid tagħha mill-baħar, bħal ma nistgħu naraw fuq il-bieqja forma ta’ qanpiena f’din il-kollezzjoni, kif ukoll akkumpanjata minn Eros, l-alla tal-imħabba.

Eros; huwa l-alla Grieg tal-imħabba u x-xenqa u ħafna drabi jigi impinġi bħala figura nfantili bil-ġwienaħ, iżomm qaws u vleġeġ jew jiġri wara n-nisa.

Ir-rappreżentazzjoni ta’ Eros fuq il-fuħħar turi l-importanza li l-Griegi kienu jagħtu lill-imħabba u x-xenqa, u l-influwenza li dan kien iħalli fuq ir-relazzjonijiet umani.

Hermes; huwa wieħed mill-aktar allat importanti fil-mitoloġija Griega, u jiġi rrappreżentat fuq forom differenti t’arti Griega, bħal skultura, ċeramika u pittura. Ħafna drabi, Hermes kien jiġi mpinġi f’xeni differenti għax jippersonifika maturità personali permezz ta’ vjaġġar, kummerċ jew serq, u huwa l-patrun tan-negozjanti, tal-lagħba u tal-ħallelin. Hu kien jitpitter fil-forma ta’ figura bid-daqna u bil-ġenitali eretti.

Nike; l-alla tar-rebħa, ukoll kienet suġġett popolari fuq il-fuħħar Grieg. Simbolu ta’ trijonf, kienu jpinġuha bil-gwienaħ u żżomm girlanda jew weraq tal-palm. Din l-alla bil-ġwienaħ kienet idolizzata mill-atleti għax kienu jemmnu li kienet tgħin lill-atleti qabel u waqt il-logħob.

Amazzoni; il-leġġenda dwar dawn in-nisa gwerriera u kaċċaturi kienet importanti għall-mitoloġija Griega għax ħafna mill-eroj Griegi ġġieldu kontra dawn in-nisa. Fl-Ilijade t’Omeru, Akille ġġieled kontrihom f’invażjoni mmexxija mir-reġina Penthesilea. F’leġġenda oħra, meqjusa importanti f’Ateni, l-eroj lokali Theseus qered spedizzjoni tal-Amazzoni li kienu sejrin lejn Attika biex jivvendikaw ruħhom minnu, għax kien ħataf reġina Amazzona.

Satiri u Menadi; fil-mitoloġija Griega, satiri u menadi huma assoċjati mal-qima ta’ Dionijsu, l-alla tal-inbid, tal-fertilità u tal-estasi. Is-satiri kienu jiġu mpinġija b’dehra mqarba, u ħafna drabi jidhru jixorbu, jiżfnu jew jipparteċipaw f’atti sesswali. Il-menadi kienu s-segwaċi nisa ta’ Dionijsu. Ħafna drabi kienu jiġu rappreżentati bħala qliel u frenetiċi u kienu jieħdu sehem f’ritwali bħas-satiri. Kienu jiġu wkoll impinġija jiżfnu jew idoqqu xi strument. Jidhru wkoll b’qasba twila b’miżwed ta’ prinjol fuqha.

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WHICH GREEK MYTHS ARE DEPICTED ON THESE VASES?

Aphrodite; the Greek goddess of love, beauty and sexuality, is a common subject on Greek pottery. In the Classical period (5th to 4th century BC), Aphrodite became a more prominent subject in Greek redfigure pottery, often depicted nude or partially nude, emphasising her sexuality and eroticism. These depictions also included her famous birth from the sea, as the bell krater in our collection depicts, or accompanied by Eros, the deity of love.

Eros; is the Greek god of love and desire, and is often depicted as a small winged figure carrying a bow and arrows, or pursuing women. The depiction of Eros on Greek pottery reflects the importance of love and desire in Greek society, and the influence he portrayed in shaping human affairs.

Hermes; is one of the most important gods in Greek mythology, and he appears in many forms of Greek art, including sculpture, pottery and painting. Greek vases often depict Hermes in various scenes, as he personified personal growth through travelling, trade or theft, and was the patron of merchants, gamblers and thieves. His image is portrayed in the form of a bearded figure with erected genitalia.

Nike; the Greek goddess of victory, is also a common subject in Greek pottery. Symbolising triumph, she is often depicted as a winged figure, holding a wreath or a palm leaf. Athletes idolised this winged goddess as it was believed she aided athletes before and during a performance.

Amazons; the legend of these strong female warriors and hunters was an important Greek myth, as many Greek heroes fought against these women. In the Iliad by Homer, Achilles fought against an Amazonian invasion under their queen Penthesilea. In another legend, perceived as important in Athens, the local hero Theseus destroyed an Amazonian expedition heading to Attica to avenge him for abducting an Amazon queen.

Satyrs and Maenads; in Greek mythology, satyrs and maenads are associated with the worshipping of Dionysus, the god of wine, fertility and ecstasy. Satyrs are often depicted mischievously drinking, dancing and in sexual activities. Maenads are the female followers of Dionysus. They are also depicted as wild and frenzied women who engage in ecstatic rituals like the satyrs, and are often portrayed dancing or playing an instrument. They are also shown holding a long thyrsus staff with a pinecone at the top.

Fuq: Vażun b’figuri ħomor li juri gwerriera Amazzona u żiemel Red-figure vase showing head of an Amazon warrior and horse

Isfel: Vażun b’figuri ħomor li juri lis-Satiri u lill-Menadi

Below: Red-figure vase showing Satyrs and Maenads

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GĦAL XIEX KIEN JINTUŻA L-FUĦĦAR GRIEG?

Ħafna drabi d-dekorazzjoni u l-istil fuq il-fuħħar kien jirrifletti l-użu tiegħu, b’disinji u motifi differenti wżati għall-funzjonijiet diversi. Pereżempju, tazzi tax-xorb sikwit juru xeni ta’ festi u ferħ, filwaqt li l-fuħħar funebri juri xeni ta’ dieqa u simboli ta’ mewt.

Ftit eżempji ta’ użu tal-fuħħar Grieg:

Għall-ħażna: Anfori kbar u reċipjenti b’żewġ mankijiet u għonq irqiq kienu jintużaw l-iktar għall-ħażna tal-inbid, żejt u likwidi oħra. Eżempju ieħor ta’ vażun li kien jintuża għall-ħażna tal-likwidi huwa l-pelike, ikkaratterizzat bin-naħa t’isfel tal-vażun aktar ittundjat.

Għax-xorb: Ħafna tipi ta’ tazzi tax-xorb kienu magħmula għal okkażjonijiet varji, bħal kylix, li kienet tazza baxxa b’żewġ mankijiet. L-iskyphos kienet tazza aktar fonda.

Il-krater, kelma li tfisser ‘taħlita’, kien reċipjent għal ammonti kbar ta’ likwidu, fejn l-inbid kien jiġi mħallat bl-ilma waqt xi festin. L-inbid kien jittella’ mill-krater għal ġot-tazzi tax-xorb.

Tqassim tal-ikel: Lekane kienu platti u skutelli magħmula biex iservu l-ikel waqt ikliet u festini.

Funebri: Xi fuħħar kien magħmul speċifikament għar-ritwali funebri. Dawn ir-reċipjenti, bħal-loutrophoroi u l-askos, kienu jintużaw waqt xi rit funebru biex jinġarr l-ilma.

Reliġjuż: Użu ieħor tal-fuħħar kien waqt xi funzjoni reliġjuża jew offerta. Il-fuħħar iż-żgħir bħall-lekythos kien jintuża għaż-żejt u l-fwieħa waqt xi ritwal.

Pelike

Hydria

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Bell-krater

WHAT WAS GREEK POTTERY USED FOR?

The decoration and style of the pottery often reflected its intended use, with different designs and motifs used for different functions. For example, drinking vessels often featured scenes of revelry and merriment, while funerary pottery tended to depict mournful scenes and symbols of death.

Common uses of Greek pottery:

Storage: Large amphorae and two-handled jars with narrow necks were commonly used for storing wine, oil, and other liquids. The pelike, identified by the sagging belly, was also used to store liquids.

Drinking: Various types of drinking vessels were made for different occasions, such as the kylix, which was a shallow cup with two handles, and the skyphos, a deep drinking cup.

The kraters, a word meaning ‘mix’, held large amounts of liquid as wine was mixed with water during festive gatherings. The wine was then ladled into cups from the krater.

Serving: Serving dishes, such as platters and bowls, known as the lekane, were made for presenting food during meals and banquets.

Funerary: Some Greek pottery was made specifically for funerary purposes. Vessels such as loutrophoroi and askos were used to carry water during funeral rites.

Religious: Pottery was also used in religious ceremonies and offerings. Small vessels called lekythos were often used to hold oils and perfumes that were utilised in religious rituals.

Askos Amphora Kylix

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Lekythos

MIN KIENU L-PITTURI TA’ DAWN IL-VAŻUNI GRIEGI?

Madwar id-dinja jinstabu eluf ta’ vażuni li kienu ddekorati minn dawn il-pitturi Griegi u li issa qegħdin f’kollezzjonijiet ta’ mużewijiet. Ftit minn dawn l-artisti ħallew il-firma tagħhom fuq dawn l-artifatti, bħal Exekias, Euphronios, Amasis, Andokides, u Douris, iżda ħafna drabi l-isem proprju tal-artist mhux magħruf. Riċerkaturi bħal Prof. Beazley, magħruf għall-klassifikazzjoni tal-vażuni Griegi skont l-istil artistiku tagħhom, semma’ gruppi ta’ vażuni skont il-pittura ta’ fuqhom, jew inkella skont f’liema mużew jinstabu.

Eżempji ta’ dawn jaqgħu taħt il-kategorija ta’ CHC (ChariotCourting) u Painter of Louvre G508. Il-grupp CHC huwa magħruf għat-tipoloġija tat-tazzi skyphoi, li juru xeni ta’ karru. Min-naħa l-oħra, il-kategorija ‘pittur tal-Louvre G508’, li hi magħmula l-iktar minn kraters, kienet instabet ġewwa l-Louvre.

Artist Artist CHC Group

Perjodu Period

L-ewwel kwart tas-seklu 5QK sa ċa 425QK

First quarter of the 5th century to ca 425BC

Tip Type Skyphos

Dettalji Details

Karru bl-Amazzoni u sfinġi Chariot wheeling around the Amazons and Sphinxes

Artist Artist Manner of Haimon Painter

Perjodu Period

It-tieni kwart tas-seklu 5QK sa ċa 425QK

Second quarter of the 5th century to ca 425BC

Tip Type Skyphos

Dettalji Details

Karru bejn palmi jew purċissjoni b’karru b’figuri bilqiegħda fuqu Chariot between palmettes/chariot procession with seated figures

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WHO WERE THE PAINTERS OF THE GREEK VASES?

There are thousands of Greek vases worldwide created by skilled artisans and which are now in museum collections. Some painters left their signatures on the vases, such as Exekias, Euphronios, Amasis, Andokides, and Douris. However, in most cases, the actual name of the painter is unknown. Researchers such as Prof. Beazley, known for his classification of Attic vases by artistic style, named groups of vases according to the actual depiction on the vase, or else after the museum they are now in.

Such examples are the CHC (Chariot-Courting) group and the Painter of Louvre G508. In the case of the CHC group, skyphoi cups are the typical vessels that show chariot scenes. On the other hand, the category ‘The Painter of the Louvre G508’, which is mainly made up of kraters, was found at the Louvre.

Artist Artist

Perjodu Period

Tip Type

Dettalji Details

Painter of the Louvre G 508

L-ewwel kwart tas-seklu 4QK sa ċa 325QK

First quarter of the 4th century to ca 325BC

Bell-krater

Afrodite tiela’ mill-baħar, satiri, Hermes - Tliett żgħażagħ bil-mantell

Aphrodite rising, satyrs and Hermes - Three mantled youths

Artist Artist Beazley Berlin 2599 Type B

Perjodu Period

Tip Type

Dettalji Details

Ċa 5 seklu QK Ca 5 century BC

Skyphos

Żewg mankijiet bil-maqlub ta’ xulxin, b’kokka mpinġija bejn żewġ friegħi taż-żebbuġ li jirrappreżentaw lil Atene

Two reverted handles, red painted owl in between two sprays of olive, representing Athena

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MIN KIENU L-PITTURI TA’ DAWN IL-VAŻUNI GRIEGI?

Artist Artist Amazon Painter

Perjodu Period Seklu 4QK 4th century BC

Tip Type Pelike

Dettalji Details

Ras t’Amazzona b’żiemel u żgħażagħ Head of Amazon and horse and youths

Artist Artist Group R

Perjodu Period Seklu 4QK 4th century BC

Tip Type Pelike

Dettalji Details

Amazzoni u grifuni - Żgħażagħ

Amazons and griffin - Youths

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WHO WERE THE PAINTERS OF THE GREEK VASES?

Artist Artist Amazon Painter

Perjodu Period Seklu 4QK 4th century BC

Tip Type Pelike

Dettalji Details Żagħżugħ u ras ta’ mara Youth and head of a woman

Perjodu Period

Tip Type

Dettalji Details

L-ewwel kwart tas-seklu 4QK sa ċa 325QK

First quarter of the 4th century BC to 325BC

Bell-krater

Menadi u Satiri - Nike u żgħażagħ

Maenads and Satyrs - Nike and youths

Artist Artist Telos Painter

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Minbarra l-valur estetiku ta’ dawn l-oġġetti, wieħed jista’ japprezza wkoll aspett ieħor, dak ta’ interventi tal-konservazzjoni/restawr li kienu saru fil-passat. Meta wieħed ikun qed jagħmel trattamenti ta’ konservazzjoni, huwa tajjeb li jkun konxju ta’ tekniki li kienu jintużaw fil-passat sabiex jittieħdu deċiżjonijiet korretti waqt it-trattament. Għalkemm illum il-ġurnata xi wħud minn dawn l-interventi huma meqjusa mhux daqstant etiċi, dawn huma parti integrali mill-istorja tal-oġġett, u sakemm ma tkun qed issir l-ebda ħsara lill-oġġett, dawn ma jiġux rettifikati.

Dawn huma ftit eżempji ta’ interventi passati li nistgħu naraw fuq il-vażuni Griegi:

Pairs of drilled holes indicating the use of metal rivets during repair

X’NAFU MINN RESTAWR LI SAR FIL-PASSAT?

Par toqob fejn kienu jdaħħlu msiemer irbattuti tal-ħadid biex iżommu l-biċċiet flimkien

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Kolla li biż-żmien sfaret Glue that has discoloured to a yellowish-brown hue

Apart from the aesthetic value of these artefacts, one can also appreciate another aspect, that of past conservation or restoration interventions. When carrying out conservation treatments, one needs to be aware of past techniques used to conserve or restore such artefacts, to make the correct decisions with regard to the treatment. Although by today’s standards some of these past interventions can be viewed as unethical, they form an integral part of the artefact’s history, and as long as no damage is being sustained by the vessel, they are not rectified.

The following are a few examples of past interventions which can be seen on the Greek vases:

Integrazzjonijiet bil-ġibs tal-biċċiet nieqsa li ġew ikkuluriti biex jaqblu mal-kulur u d-disinn tal-oġġett Missing original material replaced with plaster. The area is then refined with an abrasive, and coloured to match the colour scheme or design

WHAT DO WE KNOW ABOUT PAST RESTORATIONS?

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Kont taf li l-parti l-kbira tar-residenti ta’ Malta jistgħu jżuru l-mużewijiet u s-siti ta’ Heritage Malta mingħajr ħlas?

Il-passaport tal-istudenti ta’ Heritage Malta jagħti l-jedd lill-istudenti kollha tal-iskejjel primarji u sekondarji flimkien ma’ żewġ adulti li jkunu magħhom li jżuru mingħajr ħlas il-maġġor parti tal-mużewijiet u s-siti* kemm-il darba jridu. L-istudenti huma mħeġġa jżuru wieħed mill-mużewijiet jew mis-siti sabiex jiġbru l-passaport tal-istudenti. Il-card ta’ Heritage Malta mogħtija lilhom mill-iskola trid tiġi ppreżentata sabiex jinġabar dan il-passaport.

L-istudenti tal-Università ta’ Malta u tal-Junior College li għandhom kont tal-eSIMS jistgħu jżuru mingħajr ħlas il-biċċa l-kbira tal-mużewijiet u s-siti* meta jippreżentaw il-mowbajl app tal-eSIMS jew evidenza oħra li tikkonferma l-pussess ta’ dan il-kont tal-eSIMS.

L-istudenti tal-MCAST jistgħu jżuru mingħajr ħlas il-biċċa l-kbira tal-mużewijiet u s-siti* meta jippreżentaw il-kard tal-iskola.

Anzjani ta’ 60 sena jew aktar flimkien ma’ żewġt itfal jew żgħażagħ (sa 18-il sena) li jkunu magħhom jistgħu jżuru mingħajr ħlas il-maġġor parti tal-mużewijiet u s-siti* kemm-il darba jridu. Dan il-passaport jinġabar mill-uffiċċji tal-Kunsilli Lokali. Trid tiġi ppreżentata l-karta tal-identità waqt is-sottomissjoni tal-applikazzjoni għal dan il-passaport.

(*Valletta Sotterranja, l-Ipoġew ta’ Ħal Saflieni u s-siti li ma jinfetħux b’mod regolari għall-viżitaturi mhux inklużi)

Did you know that most residents in Malta can visit Heritage Malta museums and sites for free*?

The Heritage Malta Student Passport entitles all primary and secondary school students and any two accompanying adults unlimited access to nearly all Heritage museums and sites*. Students are encouraged to visit any museum and collect their student passport upon presentation of the Heritage Malta card they are given from school.

University of Malta students and Junior College students in possession of an eSIMS account can also enter free of charge into museums and sites* once they display their eSIMS mobile app or present alternative evidence of an e-sims account.

MCAST students enter free of charge* as well just by showing their school card.

Senior citizens aged 60 and over and any two accompanying youths (aged up to 18) can get free unlimited access to most Heritage Malta museums and sites*. All you have to do is drop in at your Local Council with your identity card to apply for our Senior Passport.

(*Excluding Underground Valletta and Ħal Saflieni Hypogeum and those museums and sites that open only by appointment)

Sib aktar tagħrif hawn / Find out more here:

heritagemalta.mt/community 22

IS-SERJE TAL-WIRJIET ESPRESSO ESPRESSO EXHIBITION SERIES

It-titlu ta’ din is-sensiela ta’ wirjiet huwa ispirat minn dik il-kikkra kafè wisq popolari, b’togħma pjuttost qawwija u tfuħ. Bħall-espresso, dawn il-wirjiet aktarx li huma fiċ-ċokon imma fl-istess ħin tant intensi u jiffukaw fuq aspetti kurjużi miġjuba mill-Kollezzjoni Nazzjonali.

This title is inspired by the popular small cup of coffee which is strong in flavour and aromatic. Same as the Espresso, these exhibitions, albeit small are just as intense and focused on a particularly curious aspect from the National Collection.

1. Siege Maps: Keeping Memory Safe