Molded in clay and fired, this terracotta figure of
a ram is in the form of a vase, anciently termed
an askos which originally designated a goat skin,
and hence any leather bag-like container, in
which liquid was stored. Our example relies on
the profile view which reveals the majestic forms
of our ram. He is depicted seated on an integral
base with all four of his legs drawn up under his
body. His head, slightly lowered, is focused
straight ahead and the artist has paid particular
attention to every detail from the horns
encircling the ears to the eyes and snout. The
fleece of the ram is rendered as a series of
raised, rounded rectangles each incised with
linear ornament.
The liquid which this askos contained was
poured into the body of the ram through its
mouth which appears to one side of the vessel’s
curved handle. When held and tilted with that
handle, the liquid within would decant through
the opening in the ram’s mouth which served as
the spout.
Our ram holds a particular interest because it is
one of a handful of terracotta askoi which is
provided with an inscription, here in the form of
a personal Greek name, “Philamon.” It is difficult
to decide whether this name belongs to the artist
or to the owner of the vessel. There are also
traces of red pigment indicative of the original
color once exhibited by this object.
Such examples are attested during the late
Hellenistic to early Roman Imperial Period, as an
example of an askos in the shape of a lion,
excavated on the island of Cyprus, reveals. The
function of our askos is difficult to ascertain, but
one recalls that the Greek hero, Odysseus,
trapped within the cave of Polyphemos, the one-
eye giant, escaped by clinging to the belly of just
such a ram, after Polyphemos became
thoroughly intoxicated by the wine which
Odysseus forced upon him.
References:
Vassos Karageorghis, Ancient Art from Cyprus.
The Cesnola Collection in The Metropolitan
Museum of Art (New York 2000), catalogue
number 444, page 275.
Description and interpretation kindly provided by
Prof. Robert S. Bianchi.
