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The Judgment of Paris as Represented in Greek Vases BY YEONG MIN KIM October 20, 2009
Like most Greek myths, the Judgment of Paris is documented by numerous and varying literary accounts. According to Timothy Gantz, in Early Greek Myth: A Guide to Literary and Artistic Sources, Homer’s Iliad, Euripides’ Troades, and Isokrates’ Helen, are among the many classical sources that offer differing renditions of the tale of Paris, Hermes, and the three goddesses, Aphrodite, Athena, and Hera. Not surprisingly, the minor discords between the various literary representations are present in artistic representations as well- particularly so in the paintings of Greek vases, in which the Judgment of Paris was a popular theme. Earlier Greek vases in 600-550 B.C. often displayed the young Trojan prince exhibiting great reluctance to fulfill his designated role. The Attic Black-figure Amphora in Havana, Museo Nacional De Bellas Artes (Figure 1) and the Attic Black-figure Pyxis in Lille, Musee De Beaux Art (Figure 2) both depict Paris with his heels turned away from the linear procession of Hermes and the three goddesses, in motion to flee from the scene. Later depictions portray a more poised and obliging Paris, such as the Black-figure Amphora from Etruria, Vulci (Figure 3), which presents Paris calmly seated on a rock with a lyre. In 400-300 B.C., painters placed Paris within a more casual structure: In the Attic Red-figure Pelike in Athens, National Museum (Figure 4), the goddesses are crowded around Paris instead of approaching him in the usual linear procession. Like the earlier representations, Paris- garbed in Oriental costume and seated on a rock- is also conveyed in a relaxed and almost welcoming manner.
It is also interesting to note the change in the trappings of the shepherd-prince. The Attic Black-figure Amphora (Figure 1) and the Attic Black-figure Pyxis (Figure 2) from around 600550 B.C. show no clear hints to the identity of Paris as a shepherd. Rather, his garments are more befitting to his royal heritage. Later representations provide clearer evidence of the prince’s humble profession, such as the Attic Red-figure hydria in London, British Museum from around 500-450 B.C. (Figure 5). Here, Paris is shown sitting atop a rock with a lyre in his hands and a sheep grazing by his feet. In some instances, Paris is omitted from the depiction of the myth. Instead, Hermesidentified by the wings on his feet- and the goddesses- commonly identified by their respective attributes- alone decorate the scene. Such is the case with the early fifth-century Black-figure Oinochoe from Etruria Vulci (Figure 6): It seems that Hera, Athena, and Hermes are the sole characters playing a part in the Judgment of Paris. Particularly interesting, however, are the vases that have more than one scene on them. The 550-500 B.C. Black-figure Neck Amphora from Etruria, Vulci, now in the London, British Museum (Figure 7), in addition to displaying the myth of the Judgment of Paris, also depicts Achilles in a chariot, dragging the body of Hektor. By including this particular scene with the Judgement of Paris, the painter is making a reference to the outcome of Paris’s judgment, as his selection of Aphrodite and the subsequent abduction of Helen leads to Hektor’s death and later, the fall of Troy. Sometimes the relationship of the scene accompanying the Judgment of Paris is not so obvious. The Attic Black-figure hydria from about 550-500 B.C.E., now displayed in Auckland’s Auckland Institute and Museum (Figure 8) presents a scene of Dionysos with a drinking horn and dancing satyrs. In this case, one can possibly assume that by depicting Dionysos, who,
according to the Beasley Archive Dictionary, is associated with ecstatic behavior, the painter intended to symbolize the reckless and hormone-driven behavior that Paris will exhibit in his abduction of Helen. As illustrated above, artistic depictions of the Judgment of Paris clearly differ in stylistic, thematic, and structural aspects. This has proven to be quite similar to how the details of the classical literary works were modified throughout history by factors such as the passage of time and authorial preference.
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