Antigone Burying Polynices / "Antigone"

Item

Title
Antigone Burying Polynices / "Antigone"
Creator
Avni Khepar
Date Created
2024
Contributor
Sophocles
Description
This amphora visually narrates the story of Antigone, a heroine from Sophocles’ timeless tragedy. Crafted in the tradition of ancient Greek black-figure pottery, but using modern materials like household paints, the vase depicts Antigone burying her brother Polynices in defiance of King Creon’s decree. The design incorporates classical motifs such as the meander pattern, symbolizing eternity and justice, and gold accents, highlighting the sacredness of burial rites. The crafting process involved modern materials like household paints, reinterpreting ancient techniques while maintaining the spirit of storytelling. The amphora mirrors Antigone’s themes of defiance, familial loyalty, and the tension between human and divine laws. Like its ancient counterparts, this vase preserves and reimagines a timeless story for contemporary audiences, bridging the past and present.

AVNI KHEPAR ON WHAT THIS CRAFTED OBJECT TEACHES US:

The amphora vase has long been a vessel for practical use and artistic storytelling. Its creation reflects the intersection of form, function, and cultural legacy. In crafting an amphora inspired by Sophocles' Antigone, I aimed to reinterpret the ancient tradition of black-figure painting to convey the play's themes of defiance, burial rites, and legacy. My modern crafting process diverged significantly from ancient techniques, yet this very contrast highlighted the timeless relevance of Antigone's struggle. Through this project, I discovered how physical creation can deepen engagement with literary texts, translating abstract themes into tangible art that preserves and reinterprets cultural narratives.

The amphora has a storied history in ancient Greece, functioning as both a utilitarian object and an artistic medium. These two-handled vessels, often used for storing and transporting goods like wine and oil, also held a more profound cultural significance. Amphorae played a central role in funerary practices, serving as grave markers or containers for burial offerings. Their shape, with a vast body and narrow neck, allowed for practicality and decoration, making them ideal for storytelling through imagery (Cartwright).

The black-figure painting technique, developed in Corinth around 700 BCE and later perfected in Athens, revolutionized pottery by transforming it into a narrative art form. Potters and painters used a unique slip (that is, a mixture of clay and water) that turned black during firing to create silhouetted figures on the natural red clay surface. Details were etched into the black slip, revealing the red clay beneath and allowing for intricate depictions of mythological, historical, and everyday scenes (Cartwright). This technique was not only decorative; it functioned to educate, commemorate, and preserve stories for future generations. My amphora draws from this tradition, using black paint to depict a pivotal moment from Antigone: the burial of Polynices.

My crafting reflected a modern adaptation of ancient techniques, blending resourcefulness with creative intent. Unlike ancient artisans, who meticulously shaped their vessels on pottery wheels and employed multi-stage firing processes, I began with a pre-formed vase created during a pottery class with my sister. At the time, the vase had no specific purpose, but this project gave it new meaning as a narrative vessel for Antigone. The design of my amphora was carefully curated to reflect key themes of the play. The meander pattern, a continuous geometric motif, adorns the bottom section of the vase. This pattern symbolizes eternity and the cyclical nature of justice, echoing Antigone's defiance of Creon's temporal authority in favour of the gods' eternal laws. Her assertion that the "unwritten and infallible laws of the gods … are eternal" (Sophocles, lines 455–456) aligns with the timelessness suggested by the meander. The central image of Antigone burying Polynices captures the emotional and moral core of the play. Using black paint, I depicted her in a dynamic pose, pouring burial soil over her brother's body. Gold accents highlight the sacredness of the act, signifying Polynices' royal lineage and the divine significance of burial rites. White details emphasize Antigone's purity and moral clarity, contrasting with the dark, oppressive forces represented by Creon's decree.

The crafting began with taping the vase to create clean lines for the meander pattern. Painter's tape allowed me to achieve this precision, but I believe a nod to the meticulous artistry of ancient Greek pottery is warranted. Next, I painted the background with a terracotta-coloured matte base to mimic the natural clay tones of traditional amphorae. Once the base was dry, I sketched the central scene of Antigone burying Polynices, carefully balancing simplicity and narrative clarity. Black paint brought the scene to life, while gold and white accents added depth and meaning. Finally, I applied a clear glaze to the black paint to unify the design and provide a polished finish. Working with modern materials posed unique challenges. Achieving the smooth textures and precise details characteristic of black-figure pottery was difficult with household paints and brushes. My work's uneven lines and textures reflect these limitations but also evoke the human imperfections central to Antigone's themes. Painting with limited resources mirrored Antigone's resourcefulness in fulfilling her sacred duty, reinforcing the connection between craft and narrative. Each stroke of paint became an act of storytelling, transforming abstract ideas into physical art.

Sophocles' Antigone, composed around 441 BCE, remains one of the most enduring works of classical Greek drama and is widely known by English majors. The play explores universal themes of justice, resistance, and the sacredness of burial rites, centring on Antigone's defiance of Creon's decree forbidding the burial of her brother Polynices. For the Greeks, proper burial was not merely a personal obligation but a sacred duty, essential for ensuring a soul's passage to the afterlife. Antigone's actions assert Polynice's humanity and challenge Creon's attempt to erase him from collective memory.

The amphora's role as a funerary object parallels these themes. By depicting Antigone's burial of Polynices, my vase emphasizes her commitment to preserving his legacy and upholding the gods' eternal laws. The meander pattern reinforces the cyclical nature of justice and morality, while the black-figure technique connects the story to ancient Greece's cultural and artistic traditions. Crafting the amphora allowed me to engage with these themes tactilely, translating the play's abstract conflicts into a physical medium that celebrates memory and resistance.

Antigone was first performed during the City Dionysia, an ancient Athens festival celebrating art and religious devotion. The theatre was a communal experience, offering audiences a platform to explore moral and civic dilemmas (Goldhill). The play's tension between divine and human authority resonated deeply with its audience, as burial rites were sacred obligations that reflected both individual and collective values. Over the centuries, Antigone has transcended its cultural origins to inspire movements for justice and human rights. Its themes of resistance and sacrifice have remained relevant, highlighting the power of individual conviction in the face of authoritarian rule. As a narrative vessel, my amphora aligns with this legacy, serving as both a commemorative object and a medium for retelling Antigone's timeless story. The crafting process allowed me to situate the play within its historical and cultural framework while reinterpreting it for a modern audience.

Crafting this amphora deepened my understanding of the intersection between material creation and literary analysis. The imperfections in my work, from uneven lines to improvised materials, mirrored the human flaws and moral struggles central to Antigone. As Antigone's defiance highlights the tension between human and divine law, my crafting process underscored the fragility and persistence required to transform abstract ideas into physical art. This project also illuminated the enduring relevance of ancient art and storytelling. By adopting the black-figure tradition, I connected with a craft that has preserved cultural narratives for millennia. Creating the amphora became an act of preservation and reinterpretation, bridging the ancient and the contemporary. Through this project, I gained a deeper appreciation for how craft can illuminate the universal themes of literature, enriching both the creative and analytical aspects of interpretation.
References
Cartwright, Mark. "Black Figure Pottery." World History Encyclopedia, 2016, https://www.worldhistory.org/Amphora/.

Goldhill, Simon. The Great Dionysia and Civic Ideology. Cambridge University Press, 1987.

Sophocles. Antigone. Translated by Robert Bagg, Harper Perennial, 2012.
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Antigone Text
Avni Khepar's Audio Reflection on "Antigone Burying Polynices" Sound