Mulheres_na_Antiguidade

MULHERES NA ANTIGUIDADE - NEA/UERJ
Figura 7 - Mulher com harpa no gineceu durante epaulía Nova Iorque, Metropolitan
Museum of Art, 16.73. Lébēs gamikós. Figuras vermelhas. Pintor do Banho (ARV 2 1126/6;
Add 2 332) Período: 430-20. Fonte: West, 1992, pr.22. Cerqueira, 2001, cat. 332.
Sheramy D. Bundrick, diante das evidências literárias e da
imperfeição do desenho desses instrumentos, em coerência com suas
interpretações simbolistas, afirma que essas cenas com harpa apresentam
uma idealização, não correspondendo a uma situação cotidiana real. 255
Esse argumento é improcedente, haja vista não haver relação alguma, em
255 BUNDRICK, 2000: 37-38: ―Despite the care lavished on the harp‘s
representation, however, there are anomalies. As has been pointed out
elsewhere, the arrengement of the strings on the Würzbug pyxis (CERQUEIRA,
2001, cat. 333) and the Athens lebes gamikos (CERQUEIRA, 2001, cat. 334)
appear contrary to reality. The strings run from the soundbox into both the
neck and the post of the frame, whereas in reality they would run from
soundbox to neck alone. The way the woman holds the harp sometimes seems
improbable; on MMA 16.73 (CERQUEIRA, 2001, cat. 332), the rather large
harp is preciously balanced on the player‘s knee as her right arm is draped over
the back of her chair. On the Athens lebes gamikos (CERQUEIRA, 2001, cat.
334), the standing position of the harpist also appears unlikely, because in reality
the unwiedly harp would be difficult to hold and play while standing. These
instances show that the representations of musical instruments on vases should
not be taken as necessarily realistic or illustrative of actual practice.‖
147