Their bodies are drawn with their arms stretched and hands above their heads, as if they’re pulling out their hair, implicating their sorrow. Lined on each side of the body are the mourners. The figures closest to the deceased are presumed to be immediate family members and friends. In the first and widest register, figures surround the elevated body soon to be cremated. The designs on the krater demonstrate what is known today as a funeral procession. The artist wanted its viewers to capture the sense of realism in their design. These vases were used to depict art in order to reveal a story. They were made of ceramic and painted with linear designs, separated by registers. Most kraters were typically large, some over forty inches. They were said to have been monumental grave markers. Text from: terracotta krater originated in Greece between 750-700 BCE, known as the Geometric period. The figures may refer to the military exploits of the deceased however, as hourglass shields and chariots played a more limited role at this time than in the earlier Bronze Age, the scene more likely evokes the glorious ancestry and traditions to which the dead man belonged. The zone below shows a procession of chariots and foot soldiers. For optimal clarity, the dead man is shown on his side and the checkered shroud that would normally cover the body has been raised and regularized into a long rectangle with two projections.
On this magnificent krater, the main scene, which occupies the widest portion of the vase, shows the deceased laid upon a bier surrounded by members of his household and, at either side, mourners. It was only in the Archaic period that stone sculptures were used as funerary monuments. (72.4 cm)ĭuring the Geometric period, monumental grave markers were introduced in the form of large vases, often decorated with funerary representations.
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