In 1982, fragments of two Panathenaic amphorae were discovered by the Caucasian archaeological expedition of the State Museum of Oriental Art (GMV) (headed by A. M. Leskov) in Ulyapsky mound No. 4 (Krasnodar Territory, Adygea, Ulyap village district) (Fig. 1-2). They are related to a rich complex of objects, which included rhytoes made of gold and silver, a silver phial, two bronze vessels and a gold hryvnia and plaques. All of these items were ritually damaged, but perhaps the amphorae suffered the most. They were broken and fragments were scattered over a large area. Both vessels had significant losses, including such important profile parts as crowns and legs, and very large fragments of paintings. Since vessels of this type are well known, it was possible to carry out an estimated reconstruction of the shapes of the amphorae found.

The body of the 7Kp-IV amphora is egg-shaped. On the lower part of the throat, a laurel branch is partially preserved, applied with white paint and golden varnish, the body on the sides of the handles and in the lower part is covered with black varnish; a ray ornament is applied at the bottom of the leg. The surface in the reserves is decorated with paintings in black-figure technique. Side a shows Athena walking to the left. In her left hand, she holds a shield with the Medusa Gorgon head emblem in the center, and a spear in her right. On both sides of it are placed two columns with roosters standing on them. Along the left-hand column was an inscription, of which only one letter remains - the initial Side in the article b: three naked runners with short beards. The images of the two extreme athletes running to the right are almost completely preserved, but only part of the torso and both legs are preserved from the image of the third one running to the left. Details are rendered in carvings, purple (the pattern of Athena's dress, the scallops and crowns of roosters, possibly Athena's hair) and white paint (Athena's body, the pattern of her dress, the shield emblem). The size of the amphora, including additions: 62x32 cm (Fig. 1b).

Amphora 6Kp-IV has come down to us with even greater losses. Its body also has an egg-shaped shape, but with more sloping shoulders. On the side of the handles and in the lower part of the body is covered with black lacquer; at the bottom, at the leg - a ray ornament. The surface in the reserves is decorated with paintings in black-figure technique. Side A: Athena, going to the left. She holds a shield in her left hand and a spear in her right. On both sides of it are placed two columns with roosters standing on them. Along the left column, an inscription is applied in black lacquer, which has been preserved in fragments: Side b: the winner's award scene, of which only a part has been preserved. On the right is a figure of a judge in the himalaya, leaning on a staff. The judge addresses the winner, from whose image only part of the hand with a laurel branch and the foot of the foot are preserved. On the left, you can see two legs of an athlete walking or running to the right. Details are rendered in carvings, purple (laurel branch in the winner's hand, Athena's helmet pattern, rooster's crest) and white paint (Athena's face, arm, and legs). Dimensions including additions: 68x39 cm (Fig. 2b).

By 570 BC, there were already four Panhellenic Games: the Olympic Games, the Nemean Games, the Isthmian Games, and the Pythian Games. In addition to them, many local games were held, the most remarkable of which were the Panathenaic ones. Their program was diverse. Competitions included, in addition to athletics and horse racing, music competitions, torchlight running, pyrrhic dances, a regatta and even a beauty contest. They started on the 21st day of the hecatombion (July) and lasted for 9 days. Most of the Panathenas, with the exception of some types of competitions, were not restricted to Athenian citizens.

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Fig. 1 a, b. Panathenaic amphora 7Kp-IV

All kinds of Olympic programs were played at the Panathenaea as early as the sixth century BC, and athletic competitions were introduced in 566. The participants were divided into three classes: men, boys and boys ¹ . The competitions included various types of running, pentathlon, wrestling, fistfight, and pankration. Prizes in athletic and equestrian competitions consisted of a certain amount of olive oil2 . There were two prizes for each type; the winner received five times as many amphorae as the second athlete. Prizes for men were proportionally higher than for boys, for boys-higher than for boys ³ . Olive oil as a prize was the most valuable product of Attica. It was extracted from sacred olives belonging to the state. The export of olive oil was a monopoly of the state, but this privilege was also granted to the winner of the competition. Thus, the victory at the Panathenaea was not only prestigious, but also brought significant material benefits.

The amphorae in which the oil was served were richly painted and represented real works of art. If we take into account that the winner received up to 140 amphorae (as, for example, in the chariot race), the question of whether all the containers were so richly painted should be left open. It is possible that only one such vase was awarded for each victory, as N. Gardner also says in his work on various Greek festivals ^.4 The running track of the Greeks (stadium) ⁵ was different from the modern track, closed in an oval. It was strictly rectangular, the starting and finishing ends of it were marked with parallel lines of stone slabs.,

¹ Inscription of the IV century BC-IG. 965, cf. 966-970.

^Pindar. 2 Nem. X. 33 sqq " 36; Yu. II. 965.

^Plato. 3 Leg. VIII. 833 cd.

^{Gardiner N.} 4 Greek Athletic Sports and Festivals. L., 1910. С. 76.

^Pans. 5 II. 205.

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Rice. 2 a, b. Panathenaic amphora 6Kp-IV

lined up, they had to run a certain distance to the finish line or, turning around this point, marked with a post or stone, run back to the starting place. In the first case, we have stages or straight running, in the second-diaulos and other types of running with a turn, as the Greeks called them. In addition to these universal types, there were also armed running and various ceremonial types, such as torchlight running.

It is interesting to note the difference in the running technique used by a sprinter and a long-distance runner. It is very well displayed on the Panathenaic amphorae. The sprinter has strong, broad arm movements, knees raised high, torso upright ⁶ . The arms of the long-distance runner are bent at the sides, the torso is slightly tilted forward, the chest is pushed forward, the head is raised; he moves with a long, fast step on the toes, but the heel is raised less than that of the sprinter. Bearing in mind the fact. that one of the runners is running in the opposite direction on the 7Kp-IV Ulyap amphora, we can say with confidence that our amphora was a reward for the winner in the men's long-distance race. Regarding the purpose of the 6Kp-IV amphora as a reward for the winner in the race, one can only guess from the image of the legs preserved in the left part of the reserve on the back of the amphora.

The dating of the vessels from Ulyap is not in doubt. In the mass production of prize amphorae with their established unshakable methods of production and painting, the natural result is the existence of templates. According to all the criteria used to determine the date of production of Panathenaic amphorae, our vessels find their place in their long row. The shapes of the vessels are slender, the outlines fluctuate. Side A: Pallas is emphatically slender, turned to the left, wearing a helmet with a very high back of the head. Judging by the preserved fragments, Athena's dresses have already been modernized, with sleeves. On

⁶ Philostratus compared a sprinter's arms to wings (Gym. 32).

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on one of them, the folds are arranged in groups and go down to the bottom, it is decorated with carved crosses and a border on the hip line (6Kp-IV); on the other vessel (7Kp-IV), the folds of the dress are traced approximately to the middle of the legs, while the lower part of the garment is straight, decorated with drawn cells with an ornament in the form of alternating carved crosses and purple spots, with a border on the hem. The inscription along the left column (6Kp-IV), which is common for this type of amphora, is written in the Attic alphabet. The images of roosters on the columns are significantly elongated upwards. So, the proportions of the vessels and Palladiums coincide and indicate that our amphorae belong to the fifth century BC. Many details coincide completely, indicating that they belong to the same master. It is necessary to note one unusual element of the 7Kp-IV amphora ornamentation, which distinguishes it from all the Panathenaic amphorae known to us , is a laurel branch applied with white paint at the transition from the throat to the shoulders. Usually in this place there is a tongue ornament made in the black-figure technique. We know of only one small fragment (originating from the Athenian agora and dated to about 440-430) with a similar throat ornamentation7 . B. Gref notes that this kind of decoration is typical only for the time of the red-figure style ⁸ . Panathenaic amphorae are known, with a laurel wreath depicted on the Palladium shield ⁹ , a widespread decoration of the shield around the middle of the fifth century BC. ¹⁰ In our amphora, the master chose to replace its place on the shield with his own emblem. Amphorae with laurel shields on wreaths are united by A. Piotrovsky in group No. 6 (or the group of the Tanaid amphora - 470-430 BC). The reverse image of them is made in the transition (from "strict" to "beautiful") or in a "beautiful" style ¹¹ . Later, Beasley specified the date of manufacture of this amphora-430-425 BC. e. and associated it with the Robinson group ¹² .

A detail that can be considered as a sign of the master, or, as some researchers believe (for example, A. Piotrovsky) ¹³, it is associated with the archon-eponym, was preserved only on the shield of the amphora 7Kp-IV. It is a Gorgoneion surrounded by an engraved line and purple spots. It is known that this emblem was used by two artists: the "Berlin" master and his disciple and follower, the Master of Achilles. For both plots located on the reverse, we find very close replicas, undoubtedly pointing to the hand of Master Achilles. The proximity of the 6Kp-IV Uljapian amphora and the one from the Museo Civico (Bologna), inv. N A II ¹⁴, which is completely preserved. On its reverse, two scenes are shown simultaneously: on the left - the boys ' long-distance race, on the right - the winner's conversation with the judge. The figures of athletes are much smaller in comparison with the figure of the judge, whose head, turned to the left, facing the winner, is depicted in a slight tilt, corresponding to the difference in height. The scene on our amphora seems to repeat the scene of "Bologna" - a conversation between the winner and the judge, only on the left was depicted one athlete and both athletes-participants in competitions among young men or men. This is indicated by the size of the preserved limbs of athletes and the position of the judge's head, looking to the left at the level of his height. It remains to add that the handwriting of the master, his unique manner of conveying the image, when several lines create the impression of the bulk of the body, absolutely coincide on both vases and in the images of the Gorgon and Pallas, and the judge, and many details (the folds of the judges 'cloaks, the judges' hands, etc.). All this suggests the simultaneity of production these vessels.

The same high-quality drawing, the same hand we see on another "Ulyapskaya" amphora (7Kp-IV) with long-distance runners. Their images are very close to the running boys from the considered "Bologna" amphora - the same graceful, slender figures, the turn of the body, elegant heads kept in proportions with a characteristic profile,

^{Graef B.} 7 Die Antiken Vasen von der Akropolis zu Athen. В., 1915. S. 117, N 993.

⁸ Ibid. S. 117.

⁹ See, for example: Brauchitsch G. von. Die Panathenaischen Preisamphoren. Lpz, 1910. P. 48 (Br. 36, 78, 79); Radlov N. E. Two Panathenaic amphorae found in Southern Russia in 1911 // IAK.1912. 45. pp. 83-88. Tab. VI; Graef. Op. cit. 992, 988, a, 6; Fiorelli. Vasi Cumani. Table 18; JHS. XXVII. 32.

^Radlov 10 . Uk. op. p. 87.

^{Piotrovsky A. I.} 11 Panathenaic amphora of the Elizabethan burial mound//IRAIMK. 1924. III. P. 101.

^{Beazley J.D.} 12 Attic Black-Figure Vase-Painters. Oxf., 1956. P. 410; idem. Panathenaica // AJA. 1943. 46. P. 453.

^Piotrovsky. 13 Uk. soch. p. 98.

¹⁴ CVA, Italia - Laurinsich L. Museo Civico di Bologna. Fasc. II. Milan - Roma. Tav. 3, 4.

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Just like the sprinters from another "Bologna" amphora (Museo Civico, inv. N Ar. 12 ¹⁵ ). The same hand painted and amphora from the collection of Robinson ¹⁶, attributed to them in 418 BC, with the image of young sprinters, and a fragment of an amphora from the Ceramics of RA 168 (before 430 BC) ¹⁷ with a runner. The ownership of amphorae from Ulyap to the Master of Achilles is indisputable. The coincidence of the reverse paintings on the Bologna and Uljap amphorae (Ar. II) and (6Kp-IV) makes it possible to assume the origin of both from the same series, one for the winner in the boys ' race, the other for the winner in the men's race. Probably, the second amphora from Ulyap was intended for the same games. Thus, for our amphorae, the date of the "Bologna" prize can be accepted - no earlier than 440 BC.

It remains to be seen how and why they ended up in the Meotian mound. Few Panathenaic amphorae have been found in the south of Russia. Some of them were found in Greek graves, others in Scythian and Maeotic ones. Meanwhile, it is known that only citizens of Hellenic origin had the right to participate in the competitions, in which they took a solemn oath. Panathenaic amphorae from Hellenic burials, which were sometimes even used as funerary urns, could have belonged to the winners of competitions, who later became colonists and brought with them to a new place of residence in the Northern Black Sea region objects of their pride and proof of glory. The same amphorae found in barbarian burials could have come to their owners either by trade or as a trophy of war. The interior of the" Ulyapsky " amphorae is covered with a layer of varnish of rather poor quality. This technique was used in the second half of the fifth century BC to protect clay vessels intended for storing oil from spoilage, since oil easily penetrates the porous structure of clay, resulting in cracking and delamination of the vessel walls. As for the Panathenaic amphorae, in cases where the vessel was made as a souvenir version, and not as a reward to the winner, its inner surface was not varnished. But then the amphora was not put on the inscription, and mostly they were smaller. The inner surface of the" Ulyapsky " amphorae is protected from spoilage, but there are no traces of oil storage left on it, which always remain even on the varnish. That is, our amphorae were made as prizes for the winner in the running at the Panathenaic competitions, apparently, the oil was not stored in them, they were not such. Obviously, due to the specifics and complexity of the technological process in the production of ceramic vessels, when some of the blanks laid in the furnace become unusable, and some then break down for various reasons, potters produced more Panathenaic amphorae than was ordered by the state, so to speak, in reserve. And this stock was then easily sold. And of course, they could get to the colony cities of the Northern Black Sea region, and from there, if there were trade relations, as goods to the territory occupied by barbarian tribes. This is probably the origin story of the prize amphorae from Ulyapsky kurgan No. 418 .

PANATHENAEAN AMPHORAS FROM THE STATE MUSEUM OF ORIENT

I.V. Ksenofontova

The paper describes and gives the analyzes of two Panathenaean amphoras from Ulyab-Borrow (Adygea) unearthed in 1982. The amphoras are dated back to the 2nd half of the 5th с. ВС (not earlier that 440 ВС). Obviously they came to be in the barbarian area as a result of trade exchange.

¹⁵ Ibid. Tav. 2.

¹⁶ CVA. USA - Robinson О.М. The Robinson Collection. Baltimore. Fasc. 1. Cambr., 1934. XXXI, 3.

^{Frel J.} 17 Panathenaic Prize Amphoras. Esperos. Athens, 1973. Fig. 13. P. 16.

¹⁸ Here our conclusions come into conflict with the opinion of some scientists, for example, with M. I. Maksimova, who believed that amphorae were sold as containers for excess high-quality oil (after all, it is known that it was made from the fruits of sacred olives), and amphorae served as a guarantee of high-grade goods (Maksimova M. I. Panathenaic amphora from the Zelensky kurgan / / KSIA of the USSR Academy of Sciences, 1961, N 83, pp. 19-20). If no oil was stored in the Ulyap amphorae, then they were sold empty. However, researchers generally agree that the Panathenaic amphorae may have been the object of purchase and sale; see, for example: Piotrovsky. Uk. op. p. 104-105; Maksimova. Uk. op. p. 20; Brashinsky I. B. Greek ceramic import on the Lower Don in the V-VIII centuries BC L., 1980. p. 53; Wooley CL. Al Mina Sueidia // JHS. 1938. P. 22.

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