By John L. Watson
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Extra resources for 6...Nc6 in the Saemisch Variation, King's Indian Defense
The painter has added a landscape element of his own: a tree is bent over the hero's back, completing the composition. The ground line is emphasized by a length of decorative maeander pattern. As usual, Herakles wins without any effort. The unbroken vase, with its brilliant glaze, is an outstanding example of the organic unity of shape and decoration. 37 25. C. Height: 36 cm. Checklist no. 115. 24. C. Height: 40 cm. Checklist no. 112. His cheeks puffed full of air, a boy plays the flute for a reveler who is just old enough to grow a downy beard.
In black-figure vase painting, the use of white-ground created a greater con- trast between background and figures but did not change the basic concept of a dark figure on a light ground (see, for example, the kyathos, above No. 16). With white-ground at the time of red-figure, the situation is somewhat different. Although the figure may be drawn in the same manner on the white slip as it would have been on the red body of a vase, it is no longer offset by a dark background. Instead, it has become a light figure on a light ground, a situation which focuses all our attention on the draughtsmanship.
One youth on side B has a hare on his lap, and the central man on side A offers one to his young pupil. Since this animal is a traditional Greek love gift, its appearance here twice suggests that the scenes depict courting as well as instruction in the classroom setting. The cup is signed around the tondo figures: AORIS [E]ARA(D£EN ("Douris painted it"). This contemporary of the Brygos Painter and Makron often signed his name on his work. However, he used two different forms of delta in his signature at different times, thus providing a clue to the chronology of his vases.
6...Nc6 in the Saemisch Variation, King's Indian Defense by John L. Watson