Falling Warrior- Temple of Aphaia

Athena stands in the center of the pediment. On either side of her a battle rages. With the exception of the archers, one of whom is clothed in Oriental fashion while the other wears a traditional short chiton under cuirass, the warriors are armed but nude. The scene appears to represent the later, famous Trojan War described in detail by Homer. This pediment focuses on the exploits of a second generation of Aeginetan heroes who fought there along with the other Greeks. The principal basis for the identification rests primarily on the Oriental archer, although the overall similarity to the East Pediment provides strong support. The prominence of Athena is unusual but, again as in the East Pediment, clearly an important element of the Aeginetan program. As part of his new reconstruction of the pediments in Munich, Dieter Ohly, whose work forms the basis of any study of this sculpture, has attempted to identify certain of the figures. His suggestions are given here. Athena appears here in somewhat different form than in the East Pediment. As there, she is present to witness or oversee the battle. In the West Pediment, however, she stands quietly aloof and uninvolved, as if on a different plane. She makes no gesture toward the warriors and signals no individual support. Since she is present on another level, she does not divide the pediment as she does in the east. In fact, the designer has apparently treated the field of the West Pediment quite differently. The two forces appear not to belong principally to the right or left sides of the gable, but to be equally distributed throughout. The two additional warriors, for a total of twelve, make possible a traditional compositional scheme of paired opponents fighting one on one, hence three pairs on each side of Athena. The West Pediment is the earlier of the gables and clearly exhibits the older, more conservative format. The two pairs of warriors closest to Athena are likely to represent the victorious heroes of the battle. On the Aeginetan side this should be Ajax. Figure W2, on the right of Athena, has no characteristics which permit an identification. To W9 (little remains of the figure) on the left of Athena, however, Ohly assigns a shield. It is one of two which preserve the painted device which originally must have decorated each shield. In this case the device depicts an eagle with a snake. As Ohly notes, Pindar describes the eagle as the sign sent to announce the birth of Ajax, and the origin of his name. Given the direct and contemporary connection of Pindar with Aegina and his evident knowledge of the pediments, the evidence is significant. The shield of his opponent W10 has also survived with paint intact. In this case the device is the forepart of a boar, but not enough is known to connect the image with a hero. If W9 and W10 represent Ajax and his Trojan opponent, W2 and W3 should represent a Trojan and Greek respectively, but specific identifications are not made. On either side of the Champion warrior pairs are the archers. W11, on the left, wears the long-sleeved, long-legged dress with leather cuirass and hat of an Easterner, as already noted. The style of dress and role as archer together suggest the figure represents Paris. His counterpart W4 on the right should be Teucer, brother of Ajax and renowned archer in the later Trojan campaign. His short chiton and cuirass, contrasted with W11, support his Greek lineage. The archers' opponents, both victims of arrows, lie in the corners. The dying warrior W14 in the left corner is thus Greek; the figure W7 with an arrow in his chest is Trojan. The archers and their victims frame, in each case, a last pair of Greek and Trojan opponents. More specific identifications are not offered. In both cases the warrior nearest the center is the victor, creating an even match on the battlefield. As on the East, the West Pediment (known as West Pediment 2) was preceded by a slightly earlier pedimental group (West Pediment 1). Unlike East Pediment 1, West Pediment 1 may not have reached completion, for no extra set of geison blocks or extra acroterion has been found. Furthermore, the style and so presumably the date of the two west pediment groups are much closer than are the groups in the east. It may be that West Pediment 1 was still under construction when a decision was made to replace the sculpture. Such fragments as do exist indicate a battle theme. It has been tentatively suggested that the subject of W.P.1 was an Amazonomachy, which would parallel the Late Archaic temple in the city of Aegina nearby. A new and fuller publication by Martha Ohly Dunn of both the earlier groups, together with West Pediment 2, is pending.雅典娜（Athena）立于三角楣饰（pediment）的中央，其两侧正激战正酣。两名弓箭手除外，其中一人身着东方风格装束，另一人则以传统短希顿（chiton）内衬胸甲（cuirass），其余战士均武装却赤身裸体。此场景似再现荷马（Homer）史诗中详述的著名特洛伊战争。该三角楣饰聚焦于第二代埃伊纳岛（Aegina）英雄的战功，他们与其他希腊联军一同参战。 此身份识别的主要依据，首先是那名东方装束的弓箭手，而其整体与东三角楣饰的高度相似性亦提供了有力支撑。雅典娜的突出地位较为罕见，但一如东三角楣饰，这显然是埃伊纳岛神庙装饰方案的核心要素之一。慕尼黑三角楣饰新复原研究的核心学者迪特尔·奥利（Dieter Ohly）曾尝试识别部分雕像的身份，其研究成果是该雕塑所有后续研究的基石，本文亦采纳其观点。 此处雅典娜的形象与东三角楣饰有所不同。与东楣饰一样，她在此处见证并监战，但西三角楣饰中的她却静立一旁，超然事外，仿佛置身于另一维度，未向战士做出任何姿态，亦未示意偏袒任何一方。正因她处于另一层级，并未如东楣饰般将三角楣空间一分为二。事实上，设计者对西三角楣饰的布局处理显然别具一格：两股交战势力并非主要分布于山墙的左右两侧，而是均匀散布于整个空间。加上额外的两名战士，总计十二人，由此形成了传统的一对一对战构图——雅典娜两侧各有三对对战者。 西三角楣饰是两座山墙中年代更早的一座，清晰展现出更为古朴保守的形制。紧邻雅典娜的两对战士，大概率代表此战的获胜英雄。在埃伊纳岛联军一方，此英雄应为埃阿斯（Ajax）。位于雅典娜右侧的W2雕像无任何特征可供识别；而位于雅典娜左侧、仅剩残迹的W9，奥利为其复原了一面盾牌——这是现存两块带有彩绘装饰的盾牌之一，其原初纹饰应装饰于所有盾牌之上。此纹饰为鹰捉蛇图案，正如奥利所指出，品达（Pindar）曾将鹰描述为宣告埃阿斯诞生及其得名的预兆。考虑到品达与埃伊纳岛的直接且同时代的关联，以及他对三角楣饰的熟知程度，此证据极具分量。其对手W10的盾牌亦保存完好，纹饰为野猪前半身，但因信息不足，无法将该图案与某位英雄对应。若W9与W10分别为埃阿斯与其特洛伊对手，则W2与W3应依次代表特洛伊与希腊战士，但目前尚无明确的身份判定。 在英雄对战组的两侧，即为弓箭手。如前所述，左侧的W11身着东方风格的长袖长裤装束，搭配皮革胸甲与帽子，其服饰与弓箭手身份均指向该雕像为帕里斯（Paris）。其右侧的对应者W4则应为透克洛斯（Teucer）——埃阿斯的兄弟，亦是后期特洛伊战役中知名的弓箭手。他身着短希顿与胸甲，与W11形成鲜明对比，印证了其希腊血统。两名弓箭手的对手均为箭下亡魂，躺卧于山墙两角：左侧角落的垂死战士W14为希腊人，胸部中箭的W7则为特洛伊人。弓箭手与其死者各自框定了最后一对希腊与特洛伊的对战者，暂未给出更具体的身份判定。此两组对战中，靠近中心的战士均为胜利者，使得战场局势呈现势均力敌之态。 与东三角楣饰一样，西三角楣饰（又称西三角楣饰2）的前身是年代稍早的一组三角楣饰（西三角楣饰1）。与东三角楣饰1不同，西三角楣饰1可能并未完工——至今未发现额外的额枋饰带（geison）块或檐角饰（acroterion）。此外，两组西三角楣饰的风格（因而推测年代）差距远小于东侧的两组。有可能在决定更换雕塑时，西三角楣饰1仍处于建造阶段。现存的少量残件表明其主题为战争场景。曾有推测认为，西三角楣饰1的主题为亚马逊之战（Amazonomachy），这与附近埃伊纳岛城内的古风晚期神庙形成呼应。玛莎·奥利·邓恩（Martha Ohly Dunn）关于两组早期三角楣饰及西三角楣饰2的全新完整版刊布工作，尚在筹备中。