Visual Analysis of a Museum Object: Lekythos

Introduction

One of the artifacts that attracted my interest in the museum is the Lekythos. The museum named the object Lekythos and notes that it is attributed to an Athenian painter. The Lekythos artifact is found in 151-Byzantine Galleries of the Art Institute of Chicago. The museum is also quick to give the English meaning of the word Lekythos, and interprets it as an oil jar. Additionally, the museum informs the public through a small note on the artifact that the oil jar dates between 490 and 480 B.C. It means that the Lekythos is one of the oldest artifacts in the museum, and the Athenian painter decorated the jar with a black figure technique that stands out on the orange background. There is a summarized background information about the origin of the artifact, which informs the visitors about an object's foundation. The combination of black and orange on the oil jar makes it visually attractive (Rupp, 1980). The shape of the jar is also unique in that the body is larger than the base and the opening. Since the Lekythos was used by the Greeks in Athens to store oil that would be used to anoint bodies of young and unmarried women, the small opening allowed the users to regulate the amount of fluid that flowed from the jar. On the other hand, the large body made it possible for the users to store large amounts of oil in the jar before refiling it. The cylindrical base also makes it easy for the oil jar to rest on its own without falling over.

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This artifact must have been found in Athens, and according to its estimated date of being painted between 490 and 480 B.C, it is an old object that has been preserved for a long period. The museum curators and archeologists determine the age and period of an artifact before dating it by comparing it with other items that existed in a particular time. In addition, radioactive isotopes which are present in artifacts are also used as a guide to determine the age of the elements. The oil jar's age was determined by measuring the carbon-14 content which then guided the curators at the museum to date it towards the period between 490 and 480 B.C. The black painting on the side of the oil jar illustrates a scene in a military drill that was used while training soldiers from Athens. There are two images of young recruits of the Athenian army. One of them is dressed while the other is naked. However, both have helmets, and bear shields and spears, which shows that they are ready to engage in war, irrespective of their dress code. The artifacts are made of a ceramic material, and decorations made using a special type of stick that curves the decorations on the sides (Rupp, 1980). Preservation of historical information through artifacts help educate generations about the practices and cultures of people that lived in the past.

This artifact is well preserved and from wear and tear, and the museum has gone to an extent of ensuring that the Lekythos oil jar is well preserved. The oil jar stands on a shelf that limits members of the general public from touching it, which could then increase the probability of having a crack or break at the edges. The public is not also allowed to touch the artifact as they could accidentally break the oil jar. There are no visible cracks or breaks, or any other forms of decay on its surfaces. The only visible form of weathering on the artifact's surface is the faded paint on the oil jar. Originally, I think the colors of the Lekythos were dark since the jar was mainly used in the funerary offerings (Rupp, 1980). Funerary activities were times that the society mourned the departure of one of their loved ones, and the dark colors used on the oil jars represented the somber mood that surrounding the events. For instance, the fact that young women had died without giving birth was a sad event that affected the society. However, designers and painters could use different colors, based on the tastes and preferences of families burying their dead.

The artifact is displayed alongside other pieces of art in the museum, which allows visitors to view the objects, one at a time. The fact that each artifact is a considerable distance from the others gives the visitors enough space and time to spend examining a particular object. The Lekythos is placed next to other artistic works that curators think were made in the same period as the oil jar. If I were the curator, I would improve the display of this object by placing it in a glass cage. This would limit the public from touching the jar or pushing it as it might fall down. I would also ensure that the oil jar is painted regularly to maintain its original colors. Constant wiping of the oil jar would also keep dust and other particles from sticking on the artifact. I also think that a deeper and extensive historical background would have been given in the image to reduce the mystery that surrounds the object.

The oil jar is long, and cylindrical. Narrow at the top with a neck-like design where the handle is, the body of the jar is wide, and the base a little bit smaller. The Lekythos came in different shapes and sizes (Henderson, 1972 p135). The Lekythos is designed to hold precious oils that are used for special occasions. Some of the figurative images on the sides of the Lekythos are of warriors that belonged to the Athenian military. The Athenians celebrated their warriors as they helped protect the city from external attacks, and incorporating their regalia on the oil jars was an appreciation of the role they played in the society. The images are painted on the sides of the oil jar, as opposed to being carved in the round. The decoration has a normal texture which shows the artifact is describing a story of the Athenians culture and way of life. The decorations on the oil jar differ, depending on the painter, since they represent the mythologies of the Athenians daily life. In conclusion, the Lekythos artifact represents the Athenian culture, with the painters taking a considerable amount of time to design and paint the oil jar, using both primary and secondary colors. The 151-Byzantine Galleries of the Art Institute of Chicago has managed to preserve an artifact that dates back at 490 B.C. Curators have ensured the artifact is carefully preserved by repainting the object regularly.

References

Henderson, J. (1972). The lekythos and Frogs 1200-1248. Harvard Studies in Classical Philology, 76, 133-143.

Rupp, D. (1980). Altars as funerary monuments on Attic white lekythoi. American Journal of Archaeology, 84(4), 524-527.