Soldier- 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）伫立在三角楣饰（pediment）的中央。其两侧正展开一场激战。除两名弓箭手（archer）外，其余战士皆赤身披甲；其中一名弓箭手身着东方风格装束，另一名则以传统短希顿（chiton）搭配胸甲（cuirass）。此场景似乎再现了荷马详细记述的那场著名的特洛伊战争（Trojan War）。本三角楣饰聚焦于第二代埃伊纳岛英雄（Aeginetan heroes）的功绩——他们与其他希腊联军一同参战。此次身份辨识的主要依据，首先便是那位东方装束的弓箭手，而其与东侧三角楣饰的整体相似性，也为该辨识提供了有力支撑。雅典娜的突出地位非同寻常，但正如东侧三角楣饰一般，这显然是埃伊纳岛神庙雕刻方案的核心要素之一。慕尼黑的戴特尔·奥利（Dieter Ohly）曾对该三角楣饰进行全新复原，其研究成果是所有相关雕刻研究的基础，他曾尝试辨识部分雕像的身份，其相关推论已整理于此。 此座雅典娜的形象与东侧三角楣饰中的形象略有差异。与东侧相同，她在此处见证或监督整场战事。但在西侧三角楣饰中，她却安静地置身事外，仿佛身处另一维度，未向任何战士做出手势，也未向任何个体施以援手。正因她处于另一层级，并未如东侧那般将三角楣饰分割开来。事实上，设计者显然对西侧三角楣饰的布局采用了截然不同的处理方式：两股参战力量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。额外增设的两名战士使总人数达到12位，由此可形成经典的一对一对战构图——即雅典娜两侧各有三对对战者。西侧三角楣饰是两座山墙中年代更早的一座，清晰展现出更为古老保守的构图范式。 紧邻雅典娜的两对战士，大概率代表此战中的获胜英雄。在埃伊纳岛联军一侧，此英雄应为埃阿斯（Ajax）。位于雅典娜右侧的W2雕像，无任何特征可供辨识。而位于雅典娜左侧、仅存少量残迹的W9，奥利为其赋予了一面盾牌——这是现存两块带有彩绘纹饰的盾牌之一，这类纹饰原本应装饰于每面盾牌之上。此块盾牌的纹饰为鹰与蛇的组合。正如奥利所言，品达（Pindar）曾将鹰描述为预示埃阿斯诞生及其名号由来的征兆。考虑到品达与埃伊纳岛有着直接且同时代的关联，且他显然熟知该三角楣饰的内容，这一证据具有重要意义。其对手W10的盾牌也完整保留了彩绘纹饰，纹饰为野猪的前半身，但目前尚无足够信息将该形象与某位英雄对应起来。若W9与W10分别代表埃阿斯及其特洛伊对手，那么W2与W3则应分别对应特洛伊与希腊的战士，但目前尚无明确的身份判定。 在对战勇士两侧的是弓箭手。如前所述，左侧的W11身着东方风格的长袖长裤服饰，搭配皮革胸甲与帽子，其服饰风格与弓箭手身份结合，暗示该形象为帕里斯（Paris）。其右侧的对应者W4则应为透克洛斯（Teucer）——埃阿斯的兄弟，也是后续特洛伊战役中声名远扬的弓箭手。他身着短希顿与胸甲，与W11形成鲜明对比，佐证了其希腊血统。两名弓箭手的对手皆为箭下亡魂，倒卧在山墙的角落。左侧角落的阵亡战士W14为希腊人；而胸部中箭的W7则为特洛伊人。弓箭手与他们的猎物各自构成了一对希腊与特洛伊的对战者，此处未提供更具体的身份判定。在每一组对战中，靠近中央的战士均为胜利者，使得战场呈现出势均力敌的局面。 与东侧三角楣饰相同，西侧三角楣饰（又称西侧三角楣饰2）的前身是年代稍早的一组三角楣饰雕刻（西侧三角楣饰1）。与东侧三角楣饰1不同的是，西侧三角楣饰1或许并未完工——目前尚未发现额外的山墙楣饰块（geison blocks）或角饰（acroterion）。此外，两组西侧三角楣饰的风格（进而推测其年代）相较于东侧的两组雕刻，彼此更为接近。或许在做出更换雕刻的决定时，西侧三角楣饰1仍处于建造阶段。现存的残片表明其主题为战事场景。有学者曾推测W.P.1的主题为亚马逊之战（Amazonomachy），这与埃伊纳岛附近的古风晚期神庙主题相呼应。玛莎·奥利·邓恩（Martha Ohly Dunn）即将发表一篇关于两组早期雕刻与西侧三角楣饰2的全新且更全面的研究成果。