Zum Hermes Propylaios Des Alkamenes

Willers, Dietrich

doi:10.1515/9783112416747-006

Cited by 3 publications

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“…n.50. 64 Still fundamental for the analysis of copies is Willers (1967). On the copies of the Propylaios and the attribution of the original to Alkamenes more recently, Hallof et al (2007); Der Neue Overbeck II s.v.…”

Section: Iconographic Evidence: Securing Identificationsmentioning

confidence: 99%

“…8. 67 Willers' set of basic features (Willers (1967) 39: 'der allgemeine Eindruck, daß der Hermes des Alkamenes bärtig gewesen sei, zudem durch ein Lockentoupet über der Stirn und lange Schulterlocken gekennzeichnet') is sufficient for the argument of this contribution, since it allows one to trace the core concept of the sculpture.…”

Section: Iconographic Evidence: Securing Identificationsunclassified

“…Parts of this paper have been presented on several occasions, such as the research seminars at Bochum University and Hamburg University, the EASR conference 2019 in Tartu and the Kommission für Alte Geschichte und Epigraphik in Munich. I am grateful to the audiences for their interest and helpful 180 Willers (1975) 33. 181 Already Furtwängler (1878) 187 andWelter (1923) 200 suggested that cult activity might have been hindered for many years during the erection of the Propylaia.…”

Section: The 'Story' 173 Of the Wandering Charitesmentioning

confidence: 99%

“…The archaistic style of the Epipyrgidia is, according to Simon, a 'lingering sound' of its antecedents. See more recently Hölscher (2010) 111.101Karouzou (1972).102Willers (1975) 50-51 argues, due to the three-way connection, for the fundamental triplicity of Hekate and therefore of the Alkamenian statue. Yet the triple aspect is first emphasized by Charikleides (see below, n.131) several decades after the erection of the Alkamenian statue.…”

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Wandering maidens in the Acropolis Propylaia: some considerations on the spatial setting of the cults of the Charites, Artemis and Hermes, their administration and related cult images

Graml

2022

J. Hell. Stud.

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This paper aims to develop a holistic view on the cults of the Charites, Artemis and Hermes which can plausibly be located in the Acropolis Propylaia. Based on the combined analysis of the spatial and architectural setting, which changed in the course of the erection of the Mnesiklean Propylaia in 437–432 BC, along with the imagery and textual evidence for these cults, I propose that due to the altered spatial distribution and the rotated building axes, initially separate cults were fused together. Consequently, iconographical shifts occur in the modes of depiction of these three divinities. The Charites, who were attached in Archaic imagery to Hermes, in the Classical period become iconographically intertwined with Artemis. The iconographic shift is detectable especially in the new cult images1 for Hermes Propylaios and Artemis Epipyrgidia with the Charites, which had been created by the sculptor Alkamenes, presumably by order of the Athenian state. This article should not be seen as a contribution to the analysis of copies (Kopienkritik) for known statue types or an architectural study; instead, its focus lies in the concepts of visualization of divine images, which were developed for a highly specific spatial setting in the cultic landscape of the Athenian Acropolis.

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Section: Iconographic Evidence: Securing Identificationsmentioning

confidence: 99%

Section: Iconographic Evidence: Securing Identificationsunclassified

Section: The 'Story' 173 Of the Wandering Charitesmentioning

confidence: 99%

mentioning

confidence: 99%

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Wandering maidens in the Acropolis Propylaia: some considerations on the spatial setting of the cults of the Charites, Artemis and Hermes, their administration and related cult images

Graml

2022

J. Hell. Stud.

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A Type γ Courting Scene for Alan: The Spitzer Amphora at Bryn Mawr College

Sutton¹

Approaching the Ancient Artifact

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Side B (color fig. 39) shows a pederastic courting scene of Beazley's Type γ. 5 In the center a youthful eromenos and bearded erastes peform sexual intercourse in the dia merion mode (fig. 2) framed by pairs of naked men dancing in from either side. The adult erastes hunches over with bent knees and stares downward intently, holding the youth tightly between his thighs and embracing him with hands clenched on the boy's hips. He is slightly wilder than his dancing companions, with a large eye, an odd, almost satyric ear, and a slightly longer beard made a bit shaggy by short incisions, like the hair above his neck. The eromenos stands upright, looking ahead over his lover's shoulder, and reaches back awkwardly across his lover's upper right arm with clenched fist, his other, bent arm only partly shown. Like Apollo, he sports the long hair of youth and rises slightly above the older men. He wears a short cloak that must be open in front but hangs behind him to cover his buttocks and pass between his body and arms on either side, its ends hanging free on either side. It has red folds like those on the other side, and is decorated with a few white dot clusters; an incised fold shows that it covers his back and sides down to the knees. The naked dancers appear in profile, with partly incised red beards, red circles around their nipples, and a range of hairstyle. The two on left have short hair with red crests in front, with traces of a red hairband on the leftmost figure, and small flaccid genitals. The leftmost dancer stands or prances on one leg, raising the other behind, and appears to slap his companion on the buttocks, although a slight bit of reserve may indicate that his hand is closed and passes behind. His companion stands with slightly flexed knees, raising his hands up and down, recalling Type β courting; he may be a bit younger, less muscular than his companion, slightly paunchy, with sagging horizontal abdominals, vague musculature on his left arm, but well defined leg muscles. On right, the leading dancer moves in vigorously with flexed, widely spaced knees, his left hand lowered in front, the other raised and bent oddly behind, its hand emerging behind his shoulder, vaguely echoing the dancer on left; his long hair flows behind onto his shoulders, his red beard is fringed, and an incised pompadour rises over his forehead. The remaining dancer stands in place twisting his torso to a frontal view, raising his left arm behind and over his head, the other arm lower, crossing his waist. He lacks a defined mouth and also sports an elaborate pompadour with very short krobylos.

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Acropolis 702 votive relief reconsidered: Hermes, the Aglaurids and Keryx

Mitsios

2023

Revue Archéologique

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Le relief votif Acropole 702 a souvent été interprété comme une représentation des trois Grâces, ou d’Hermès avec les trois filles de Cécrops. La plupart des chercheurs identifiant les figures féminines avec les Grâces ne proposent aucune identification pour le jeune garçon, tandis que ceux les identifiant avec les Aglaurides y reconnaissent Érichthonios ou Érysichthon. Je propose d’identifier le jeune garçon de la scène avec Kéryx et d’identifier plus spécifiquement chacune des filles de Cécrops, la première comme Aglauros, la seconde Pandrosos et la troisième Hersè.

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Zum Hermes Propylaios Des Alkamenes

Cited by 3 publications

References 0 publications

Wandering maidens in the Acropolis Propylaia: some considerations on the spatial setting of the cults of the Charites, Artemis and Hermes, their administration and related cult images

Wandering maidens in the Acropolis Propylaia: some considerations on the spatial setting of the cults of the Charites, Artemis and Hermes, their administration and related cult images

A Type γ Courting Scene for Alan: The Spitzer Amphora at Bryn Mawr College

Acropolis 702 votive relief reconsidered: Hermes, the Aglaurids and Keryx

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