The tomb III at Haghios Athanasios stands out among the Macedonian tombs for the exceptional painted decoration of the temple-like façade. Excavated in the '90s by M. Tsimbidou-Avloniti it has been published by the scholar in full detail and the iconographic program of the monument has been the object of many publications. This article re-examines the different ways of reproducing the skin color (το ανδρείκελον) in the figures of the miniature frieze and in the megalographic figures beside the door. The realistic rendering of the megalographic figures of armed men in Macedonian attire, showing their sorrow for the lost of an etairos, is contrasting with the pale color of the participants to the symposion in the frieze above the door, a scene whose illusionistic overtone has been yet perceived by the critics. This symposion is articulated in three scenes and it can be interpeted as a necrodeipnon, but in the same time as a celebration of the Macedonian banquet style, centered on the royal court. The author suggests that the first figure on the right of the frieze, related to the group of armed men looking towards the banqueters feasting in the center of the frieze, can be read as the dead himself, for the particular rendering of his ανδρείκελον, showing the typical ochròtes or necròdes face color, according to the contemporary medical lexicon. The pathetic stance assumed by the same figure, the sole in the group which is not bearing arms, seems to confirm his role in the context of the scene.

La tomba III di Haghios Athanasios e il valore semantico dell'incarnato

d'onofrio anna maria
2017-01-01

Abstract

The tomb III at Haghios Athanasios stands out among the Macedonian tombs for the exceptional painted decoration of the temple-like façade. Excavated in the '90s by M. Tsimbidou-Avloniti it has been published by the scholar in full detail and the iconographic program of the monument has been the object of many publications. This article re-examines the different ways of reproducing the skin color (το ανδρείκελον) in the figures of the miniature frieze and in the megalographic figures beside the door. The realistic rendering of the megalographic figures of armed men in Macedonian attire, showing their sorrow for the lost of an etairos, is contrasting with the pale color of the participants to the symposion in the frieze above the door, a scene whose illusionistic overtone has been yet perceived by the critics. This symposion is articulated in three scenes and it can be interpeted as a necrodeipnon, but in the same time as a celebration of the Macedonian banquet style, centered on the royal court. The author suggests that the first figure on the right of the frieze, related to the group of armed men looking towards the banqueters feasting in the center of the frieze, can be read as the dead himself, for the particular rendering of his ανδρείκελον, showing the typical ochròtes or necròdes face color, according to the contemporary medical lexicon. The pathetic stance assumed by the same figure, the sole in the group which is not bearing arms, seems to confirm his role in the context of the scene.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11574/178523
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