Panathenaic Amphorae Research Paper

Panathenaic Amphorae were simply not special. However they do reveal a stark contrast between the mundane and the mythic. The format of a Panathenaic format was simple: it was “a picture of the prize event on one side, and Athena in the smiting pose on the other” (Neer 183). These amphorae were used as prizes for the Panathenaic games during the 6th century BC. They were black figure styled art, and relatively average sized, often filled with olive oil. What had been observed in the times before Peisistratos was high pride associated with Olympic Games. Victors would mount their prizes on the Acropolis for all visitors to see and know their names. Now they were given simple and generic pots. It used to be that these games were representative
of the pride and individual spirit, shown through Xenophanes of Colophon’s poetry: “now supposing a man were to win the prize for the foot race at Olympia, there where the precinct of Zeus stands besides the river” (Xenophanes). His poetry evokes grand imagery of a man, inspired by Zeus, winning a contest. That man deserves recognition. But under Peisistratos, this was not the case. In fact, wealthy victors of these games would commission statues of gods to be built under their name, seeking social credit, even “kleos”. The purpose of an amphora in the household was to be a center piece at a dinner party.
The Panathenaic prizes did not deliver such. In the time period just before these games and boring amphorae was an explosion of creativity resulting from black figure innovation. Many “vase painters catered to (the customer’s) enthusiasm” in regards to buying and selling pottery. Lots of painters even put their name on the vase. But the difference between this pottery and the prize pottery was that the crafted one told a story. The prize amphora is like an old trophy, which becomes silly even in the near future. A vase retelling the story of the Illiad will evoke deep conversation at a dinner party, even if it is not being used for a practical purpose. So pottery in the Archaic period was not going out of style, but for the Athenians was a bit too generic. Seeking “kleos” and other values lead victors not only to commission statues, but other vases as well. Guys like Exikias and the Amasis painter were getting very popular, and these lackluster prizes helped them gain traction. The Greeks were passionate about their stories, and how their victories represented themselves. Unfortunately, the Panathenaic Amphorae were not enough to please neither the victors nor their
values.