碎片陶制柱状壶（用于混合葡萄酒和水的碗） - 美国大都会艺术博物馆展品查阅

品名（中）	碎片陶制柱状壶（用于混合葡萄酒和水的碗）
品名（英）	Fragmentary terracotta column-krater (bowl for mixing wine and water)
入馆年号	1997年，1997.388a–eee
策展部门	希腊和罗马艺术（Greek and Roman Art）
创作者	Lydos
创作年份	公元前 560 - 公元前 550
创作地区
分类	花瓶（Vases）
尺寸	高 (height of main composition): 11 7/16 英寸, 25.8 毫米 (29 × 257.5 厘米) 高 (height of frieze below): 3 3/4 英寸 (9.5 厘米)
介绍（中）	一边，Hephaistos骑在驴子上，伴随着satyrs和maenads 在一个把手下，satyrs装满了一个krater，satyr和maenads 另一边的把手下，satyr装满了蜗壳处的花瓶，maenad装满了葡萄酒皮下面，赫拉克勒斯赶着格里恩的牛大都会艺术博物馆非常幸运，能够将同一位顶级艺术家对同一主题、同一形状的两幅不朽描绘并置完整的专栏krater 31.11.11将两位主角Hephaistos和Dionysos作为对立双方的焦点。然而，众神完全融入了以深思熟虑的速度前进的萨提尔和玛纳德的行列；人们几乎可以听到他们沉重的脚步声。虽然每个人物都以他的姿势为特征，并经过精心的表达，但没有可识别的铭文。尽管有喝葡萄酒皮和喝牛角的用具，但每个人都很清醒支离破碎的克拉特1997.388a–eee提供了一个明显更生动的解释。无论多么不完整，把手下面的部分都清楚地表明，葡萄酒的分配是自由的，而Hephaistos的中心部分描述了一些后果。此外，还有许多铭文给出了人物的名字和驴子的身份。保存完好的表面不仅显示出精细的切口，还显示出红白颜色的自由应用围绕主场景下方的克拉特的牛区可能看起来只是早期传统的延续。然而，通过赫拉克勒斯的加入，这个主题已经转变为英雄的劳动之一。赫拉克勒斯前往三个身体的格里昂的遥远家园，为了获得他的牛群，杀死了他。
介绍（英）	One side, Hephaistos on a donkey accompanied by satyrs and maenads Under one handle, satyrs filling a krater, satyrs and maenads Under the opposite handle, satyr filling a vase at a volute-krater, maenad with wineskin Below, Herakles driving the cattle of Geryon The Metropolitan Museum of Art is exceptionally fortunate in being able to juxtapose two monumental depictions of the same subject, on the same shape, by the same superlative artist. The complete column-krater 31.11.11 presents the two protagonists, Hephaistos and Dionysos, as focal points on opposite sides. The gods are thoroughly integrated, however, into the line of satyrs and maenads who advance at a deliberate pace; one can almost hear their heavy steps. While every figure is characterized by his pose and painstakingly articulated, there are no identifying inscriptions. And although there is the paraphernalia of drinking—wineskins and drinking horns—everyone is sober. The fragmentary krater 1997.388a–eee offers a decidedly more vivacious interpretation. However incomplete, the sections below the handles make clear that wine is being liberally dispensed, and the central portion with Hephaistos depicts some of the consequences. Moreover, there are numerous inscriptions giving the names of the figures and identifying the donkey. The well-preserved surface shows not only the fine incision but also the liberal application of red and white color. The zone of cattle that circumambulate the krater below the main scene might appear to be simply the continuation of an earlier tradition. Through the addition of Herakles, however, the subject has been transformed into one of the hero's labors. Herakles journeyed to the distant home of the three-bodied Geryon and killed him in order to obtain his herd of cattle.