Narrator: Though they hang by themselves today, originally they would have been featured as decoration on a dining couch, a popular form of furniture for the Greeks.
And, while it may seem strange to us, there was good reason to decorate this type of furniture with these bearded wine lovers. Jeff: The type of couch these objects decorated was used for reclining during the symposium, a type of raucous drinking party popular amongst ancient Greek men. This statue of Aphrodite, the Greek goddess of love, sexuality, and fertility, was inspired by a famed, earlier sculpture known today as the Aphrodite of Knidos.
Carved in the mid-fourth century BCE by the sculptor Praxiteles, the original statue, which served as a devotional image in a temple or shrine, was acclaimed for its innovative representation of the goddess in full nudity. In the Roman world, the statuary type was popularly displayed in civic, domestic, and funerary contexts, but it held particular resonance in the private garden. Katie: So this particular sculpture of Aphrodite is a type known as Aphrodite of Knidos.
The original version was created in the 4th century BC by the famed Greek sculptor Praxiteles, and what we are looking at here is a Roman version created in the 2nd century AD, so about years later. Narrator: The story goes that Praxiteles had made two statues of Aphrodite: one where she is clothed and modest and another, like the one you see here, fully nude. The city of Cos was the first buyer and chose the more modest statue, leaving the city of Knidos to buy the naked one.
Katie: And this actually brought great acclaim to Knidos. So many many people would come far and wide to see this famed nude statue of the goddess. Narrator: The statue was so popular that some visitors to the temple where the statue was kept got a little carried away.
Katie: Literary sources tell us that people were outright in love with her. That in one instance a man had himself locked in the shrine and left a stain on her showing his pause interest in the piece. Narrator: Though pieces of the statue are missing we do have a sense of what it would have looked like.
Katie: Her right hand, which is now missing, was actually covering her genitalia. Katie: The original statue, of course like many statues from the ancient Greek world, no longer survives today. But we know that it was so popular that it was widely reproduced into the Hellenistic world and into the Roman world. Narrator: In some versions of the reproductions, Romans would actually personify themselves, sort of like a proto-photoshop.
Katie: You know in the Roman world we find portraits where there will be a female portrait head, so of an actual Roman woman, on a body type of Aphrodite. Roman artists were masters at adapting Greek imagery for entirely new functions and contexts. This image of a wounded Greek warrior was created around — BCE in Athens, where it first appeared as part of a mythical battle scene of Greek soldiers and the legendary Amazon female warriors.
This scene decorated the shield of the monumental gold-and-ivory cult statue of the goddess Athena located in the Parthenon. Roughly five to six centuries later, the same figure was adapted from its original religious setting for use on this Roman architectural relief, which likely adorned a major public building or a lavish home. This Roman-era marble relief of a wounded warrior is modeled after a renowned Greek work made five to six centuries earlier in the 5th century B.
At that time, a similar image was featured as part of a monumental status of the Greek goddess Athena which stood at the Parthenon, the major temple overlooking Athens. Athena held a shield decorated with multiple images, including a relief of a fallen warrior. It was probably meant to honor the Athenian soldiers who gave their lives repelling Persian invaders in B. He sinks to the ground, his left hand clutching his shield while his right arm reaches toward the wound in his back.
His stoic expression and muscular form embody Greco-Roman ideals of bravery, virtue, and physical prowess. Carved in Athens, the relief was no doubt intended for the villa of a wealthy Roman collector, perhaps even the emperor, Hadrian, who reigned during the 2nd century A. Previous Roman emperors were clean-shaven, but Hadrian reigned —38 CE wore a beard, perhaps to signify his admiration of all things Greek.
More portraits of Hadrian than of any other emperor have been found in the lands once ruled by Rome. Curator Karen Manchester. And he was particularly fond of Greek culture. He happened to have great admiration for the Greeks and, in particular, their philosophy. Similarly, you can use our cast fiberglass columns where you need load-bearing columns and use our FRP column covers where you need to surround structural supports.
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