Ovoid lekythos – Women Weaving The Amasis Painter Ovoid lekythos – Women Weaving White text: p.33-34 Black text: p.29-31

Amasis Amasis is thought have been of Egyptian background. Amasis is the Greek form of the Egyptian name “Ahmosis”. He signed 8 black-figure vases, but approximately 90 others are unsigned, but attributed to him. All Amasis’s vases were decorated by the same artist, who never signed his name. 2 other things suggest Egyptian origin: Intro of the alabastron shape vase from Egypt around this time Exekias painted a vase showing 2 negro figures, and called them Amasis and Amasos – suggests that he knew Amasis the potter and was depicting him on a vase

The Amasis Painter The Amasis Painter has a style which is unique. He was the first decorator to paint purely human decorations, showing everyday scenes. In these domestic scenes he does not paint heroic figures or the usual depictions of entertainment. He did paint Dionysos scenes as well, however.

The consistent co-operation between potter and painter on all these vases, along with the lack of a second signature has led scholars to assert that Amasis the potter and the Amasis Painter were one and the same. These lekythoi belong to the early part of Amasis’s career – see Dating.

Shape: Ovoid lekythos Function: Used to hold oil, funeral offerings Painter: Amasis Painter Potter: Amasis Technique: black figure Date: c.550 B.C

Dimensions Height: 17cm

Ovoid Lekythos shape Amasis made this shape often, but he also made amphorae. These two lekythoi are amongst his earliest surviving works. Many vases of this shape were used for carrying oil at funerals, but these vases, because of their subject matter, are thought to have been wedding gifts, and therefore primarily for household use.

Lower Frieze – subject matter The women are grouped in pairs, and rhythmically spaced

Amasis paints an everyday scene of women weaving In the centre of the scene, two women work the upright loom One woman (unseen), loads wool onto the scales, while her partner holds the scales to weigh the wool.

See p.30 Black for full frieze Two women fold the finished cloth One woman spins the wool Another unravels wool into the basket, ready for spinning See p.30 Black for full frieze

Upper Frieze – subject matter The gifts, and the circular object, which also appears with a bride in Amasis’ wedding scene lekythos, suggest that this is a wedding. They are approached by more youths, who seem to be bringing gifts An unusual band of mirrored diamonds separates the two friezes A seated woman is shown in between two youths. She holds a circular object.

Two friezes encircle the vase Composition Both of them are arranged symmetrically All of the women are shown in pairs, except one (under the handle at rear) who is directing the others Most of the figures fill the height of the frieze, except the weavers, who are shorter Two of the women are exceptionally tall – the two weighing wool and the one sitting down

Painting Technique Embroidered decoration on the peplos has been incised through the black slip White slip used for female flesh Poses are varied, but still limited to figures in profile

Dating Drapery is flat and foldless Figures are shown in profile, and there is little attempt to suggest movement The figures are blobby and lack detail