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Amasis Painter
The Amasis Painter (active around 550-510 BC〔(''The Amasis Painter'', The Journal of Hellenic Studies Vo. 78 (1958), pp. 1-3 )〕 in Athens) was an ancient Greek vase painter who worked in the black figure technique. He owes his name to the signature of the potter Amasis ("Amasis made me"), who signed 12 works painted by the same hand;〔J. D. Beazley, ''The Development of Attic Black-Figure,'' updated by Dietrich von Bothmer and Mary Moore (Berkeley: University of California Press, 1986), 52.〕 this painter is known as the Amasis Painter today. At the time of the exhibition, "The Amasis Painter and His World" (1985), 132 vases had been attributed to this artist.〔Dietrich von Bothmer, ''The Amasis Painter and His World: Vase-Painting in Sixth-Century B.C. Athens'' (New York and London: Thames and Hudson, and Malibu: J. Paul Getty Museum, 1985), 11.〕
==Life and Career==
As with any of the artisans working during the sixth century B.C., very little is understood about the Amasis Painter's life or personality. Scholars do know that Amasis is a Greek version of an Egyptian name, more specifically of a contemporary Egyptian king, leading some to believe that the Amasis Painter—or at least the potter Amasis—may have been a foreigner, originally from Egypt. Other possibilities include that he was an Athenian with an Egyptian name, which is highly plausible, given close trade relations between Greece and Egypt, or that his signed name was a nickname given to him by his contemporaries due to some Egyptian characteristic, an example being the alabastron shape.〔Alan L. Boegehold, introduction to ''The Amasis Painter and His World,'' 27-32; von Bothmer, ''The Amasis Painter and His World,'' 234.〕 Exekias’s use of the label “Amasos” for an illustration of an Ethiopian has no clear explanation, but he is generally thought to have been poking fun at Amasis as a contemporary professional rival.〔Boegehold, 31.〕
Despite the possibility of his Egyptian origin, it is generally agreed by scholars that the Amasis Painter learned his trade in Athens, most likely with the Heidelberg Painter. This painter worked around 525-550 B.C., and is best known for his work on “Siana cups.”〔Beazley, ''The Development of Attic Black-Figure,'' 46.〕 The Amasis Painter borrows scenes from the Heidelberg Painter, such as a warrior dressing himself in greaves with multiple bystanders; however, the Amasis Painter adds his own touch in the treatment of his figures, imparting a greater sense of detail, and often adding a signature double-band border and palmette-lotus festoon to the ornamental decoration.〔Von Bothmer, ''The Amasis Painter and His World'', 51, 70-71; Beazley, ''The Development of Attic Black-Figure,'' 46-48, 52-57.〕 In other examples, the Amasis Painter’s use of fringed garments also emphasizes a possible close relationship between the two.〔Von Bothmer, ''The Amasis Painter and His World,'' 39. 〕
The career of the Amasis Painter was long, spanning nearly 50 years from ca. 560 to 515 B.C., and encompassed the transition from the early to mature phases in Attic black-figure vase painting.〔Joan R. Mertens, ''The Amasis Painter and His World,'' 168; R. M. Cook, ''Greek Painted Pottery,'' 3rd ed. (London: Routledge, 1997), 83.〕 The Amasis Painter was singular in his reaction to the rapid changes happening around him. His style, while generally conservative, evolved with certain developments in the medium.〔Von Bothmer, ''The Amasis Painter and His World,'' 42.〕 However, the Amasis Painter also rejected certain trends and managed to maintain a consistency that can be traced throughout, making it difficult to date works within his lifetime.〔Mertens, 168. 〕 His development over the course of his career, which is loosely classified into early, middle and late phases, demonstrates the artist’s journey from novice to master. As R. M. Cook explains, “His early work is conventional and tame, but as he matures he displays a more individual assurance.”〔Cook, 81.〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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