Det virtuelle vinmuseum - antikken

Tilbage til indgangen, klassisk 1, klassisk 2 og Tyskland og Kina.

Her udstilles fornemme værker fra den antikke verden.
Hold pilen på genstanden, så vises ved de med * markerede genstande den forklarende tekst fra det pågældende museum.

A troupe of satyrs: This mushroom-shaped vessel would have been filled with wine and set to float in a large krater filled with ice-cold water. When the wine was cool enough it would have been removed and mixed with water before being drunk. Satyrs were the followers of the wine-god Dionysos, and thus an appropriate subject for a wine-cooler. The ones shown here are performing various acrobatic feats involving wine cups. One wears the costume and carries the wand of the messenger god Hermes, and it has been suggested that the troupe may evoke the chorus of a satyr play, with Hermes as the leader. Like his contemporary the Brygos Painter, Douris was a prolific cup painter of the early decades of the fifth century BC. Characteristic of his personal style are the curved ‘W' lines marking the satyrs' hips, and the small arc at the junction of the lines marking the lower boundary of the pectoral muscles. Götter und Heroen gehören zu den bevorzugten Bildthemen attischer Vasenmaler des 6. Jhs. v. Chr. Auf dem Bildfeld der schwarzfigurigen Amphora, einem Vorratsgefäß für Wein oder Öl, ist die Ankunft des Weingottes Dionysos in Athen wiedergegeben: Inmitten einer Gruppe von Männern erscheint würdevoll der Gott, bärtig, efeubekränzt, den Kantharos - sein rituelles Trinkgefäß - in der Rechten, eine Weinrebe in der Linken haltend; ihm gegenüber hat der Athener Ikarios, den der Gott die Kunst des Weinbaues lehrte, die Hand zum Gruß erhoben. - Der attische Keramiker erhielt seinen Namen aufgrund des "manieristischen" Malstils, bei dem eine naturnahe Darstellung der Figurenwelt dem ornamentalen Gesamteindruck geopfert wurde: Er ist unter der Bezeichnung "Affektierter Maler" bekannt.
*Vinkøler (psykter), signeret af Douris som maler, græsk omrking 500-490 BC
Fremstillet i Athen, fundet i  Cerveteri, Lazio, Italien
The British Museum
*Amfora, græsk amfora, ca. 540 BC
Kunsthistorisches Museum Wien
This mosaic is of earlier date than most surviving mosaics from Roman-Britain. It features Bacchus, riding on a tiger rather than the more usual spotted leopard, referring to the myth that the god visited India. Appropriately enough, the mosaic was discovered during building work on the premises of the East India Company. The design of the floor was recorded, and it was lifted in sections. During the nineteenth century, the owners allowed the fragments to be stored in the open air, and their condition deteriorated. Three sections, including the central roundel, were subsequently restored, and though the tesserae are in their correct positions according to the early engravings, the present smooth, polished surface represents Victorian conservation rather than the original Roman appearance. The surviving pieces were eventually transferred to The British Museum in 1880. Diameter: 114 cm This striking mask was originally one of a pair of supports for the handle of a ritual vessel. The handle ring, which originally projected from the top of the head, is now missing. Alexander the Great's conquest of Egypt resulted in some merging of Greek and Egyptian religions and this form of vessel was probably developed in Hellenistic Egypt. Dionysos, Greek god of wine, became assimilated with Osiris, the consort of the Egyptian god Isis. The vessel is a cross between a Dionysiac wine-mixing bowl and the ritual situla (bucket), used in the worship of Isis, for containing 'the milk of life'. The bronze casting is of very high quality. The metal inlays were differently coloured to give contrast: the grapes and ivy berries are inlaid with copper, as are the lips; an iron band encircles the forehead; the whites of the eyes are inlaid with silver, and silver horns rear from the temples. The mask was once in the collection of Dr Richard Mead (1673-1754), noted collector and physician to King George II (reigned 1727-1760). It was purchased in 1755 by Sir Paul Methuen (1672-1757) in whose family it remained until 1983. It was acquired by the British Museum in 1989.
*The Leadenhall Street Mosaic, Roman Britain, 1st or 2nd century AD, Bacchus på en tiger
The British Museum
*Bronzemaske af Dionysos
græsk-romersk, omkring 200 BC-AD 100

Fra en en rituel beholder (situla)
The British Museum

The central section of the east pediment of the Parthenon showed the Birth of Athena. The myth was not often depicted in classical times, although it had been popular in the Archaic period, especially on vases. This reclining figure almost certainly represents Dionysos, god of wine. He looked out from the pediment towards the corner and the chariot of Helios, god of the sun, rising at daybreak. Pediments are the triangular spaces formed by the pitch of the roof of a Greek temple, one at either end of the building. They were often filled with sculpture representing mythological subjects. The triangular frame of the pediment presented a challenge to the designers of the sculpture placed within. There was a danger that figures at the centre would appear as giants compared with those that occupied the corners. This discrepancy in scale was lessened by allowing figures towards the corners to sit, and right in the corners, to recline. This reclining male nude is well adapted to his position. Length: 130 cm, Elgin Collection
the Dokimasia Painter,

beholder til blanding af vin og vand (Calyx krater), græsk, omkring 460 B.C.,
Museum of Fine Arts, Boston

Dionysos figur fra Parthenon
Akropolis, Athen, ca. 438-432 BC
The British Museum
Symposionservice. Kar til op-
bevaring og til blanding af vin
og vand, øse og drikkeskåle.
Karret på den høje fod er fundet
i en etruskisk grav.
Selve karret er fra Athen, mens standeren er lavet i Etrurien.


Vinkande fra Rhodos
650-625 BC
Museum of Fine Arts, Boston
the Darius Painter Amphora 
Græsk/Syditalien, 340–330 B.C.
Museum of Fine Arts, Boston

Opdateret den 01. februar 2004.