Dying 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）伫立在山墙（pediment）的中央，其两侧正上演着一场激战。除两名弓箭手外，其余战士均赤身披甲。其中一名弓箭手身着东方风格服饰，另一名则身着传统短希顿（short chiton）并外罩胸甲（cuirass）。 此场景所描绘的，正是荷马（Homer）详尽记述的那场著名的特洛伊战争（Trojan War）。这座山墙聚焦于第二代埃伊纳（Aegina）英雄的功绩——他们与其他希腊联军一同参战。 目前对该场景的辨识主要依据那名东方弓箭手，而其整体风格与东山墙（East Pediment）的高度相似性也为这一辨识提供了有力支撑。雅典娜的突出地位并不常见，但正如东山墙一般，这显然是埃伊纳神庙雕刻方案的核心要素之一。慕尼黑山墙的全新修复工作中，迪特尔·奥利（Dieter Ohly）的研究是所有相关雕刻研究的基础，他尝试对部分雕像进行了辨识，其相关推断也见于本文。 与东山墙相比，本处雅典娜的形象略有不同。与东山墙一样，她在此处见证并监督这场战事，但在西山墙（West Pediment）中，她却静立一旁、超然事外，仿佛置身于另一层面。她并未向战士们做出任何姿态，也未示意对某一方的支持。正因她处于另一层面，并未如东山墙的雅典娜那般将山墙空间一分为二。事实上，山墙的设计者显然对西山墙的布局采取了截然不同的处理方式：两股交战力量并未主要分布在山墙的左右两侧，而是均匀分布于整个空间。加上另外两名战士，总共有十二名参战者，这使得雕像可采用传统的一对一对战构图——即雅典娜两侧各有三对对战的英雄。西山墙是两座山墙中年代更早的一座，清晰展现出更为古老、保守的构图风格。 紧邻雅典娜的两对战士，大概率代表这场战役中的获胜英雄。在埃伊纳联军一方，这应是埃阿斯（Ajax）。位于雅典娜右侧的W2雕像，无任何可供辨识的特征。而位于雅典娜左侧、仅残留少量残片的W9，奥利为其复原了一面盾牌——这是现存两面带有彩绘装饰的盾牌之一，原本每面盾牌都应饰有这类图案。此面盾牌上的图案为鹰与蛇。正如奥利所指出的，品达（Pindar）曾记述鹰是宣告埃阿斯诞生及其名字由来的征兆。考虑到品达与埃伊纳有着直接且同时代的关联，且他显然熟知这座山墙的内容，这一证据极具分量。其对手W10的盾牌也完整保留了彩绘装饰，图案为野猪的前半身，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英雄，不过目前尚未给出具体的辨识结论。 在对战英雄两侧的是弓箭手。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，其装束与弓箭手身份共同指向该形象为帕里斯（Paris）。其右侧的对应者W4则应为透克洛斯（Teucer）——埃阿斯的兄弟，在后期特洛伊战役中以弓箭手闻名。他身着短希顿与胸甲，与W11的装束形成鲜明对比，这印证了其希腊出身。两名弓箭手的对手，即各自的箭下亡魂，躺卧在山墙的角落处：左侧角落的阵亡战士W14为希腊方人员，胸口中箭的W7则为特洛伊方战士。弓箭手与其阵亡对手分别构成了最后一对希腊与特洛伊的对战组合，目前尚未给出更具体的辨识结论。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态势。 与东山墙一样，西山墙（又称西山墙2号）的前身是年代稍早的一组山墙雕刻（西山墙1号）。与东山墙1号不同的是，西山墙1号可能并未完工——目前尚未发现额外的山墙楣石（geison）块或屋顶山尖饰（acroterion）残件。此外，两组西山墙雕刻的风格与年代都极为相近，而东山墙的两组雕刻则并非如此。有可能在决定替换这批雕刻时，西山墙1号仍处于建造过程中。现存的少量残件表明其主题为战斗场景。目前已有学者初步推测西山墙1号的主题为亚马孙之战（Amazonomachy），这与附近埃伊纳城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山墙2号的全新、更全面的研究报告。