Standing Aristonoe
Title
Standing Aristonoe
Date
Hellenistic. ca. BCE 3rd Cent-2nd Cent
Artist or Workshop
Unknown
Materials
Marble
Height of the work
162 cm tall
Provenience
Little Temple at Rhamnus. Attica, Greece
Current Location
National Archaeological Museum. Athens, Greece
Description and Significance
Description:
The marble statue of the priestess Aristonoe is life-sized and draped in a himation. The look of the statue is very smooth. The statue has a full head of hair. Aristonoe has beautiful curly hair that is parted in the center and is drawn back. Aristonoe has eyes that seem to look far away as she is standing on her base. The face does remind one of Alexander the Great. There is no tilt but in the head but there is a turn. The statue has an elongated neck. The right hand is missing in its entirety. The hand is missing a few inches after the elbow. There is a hole in the center of the arm. The left hand is held out in a 90 degree angle. The left leg of the statue is bent. The twisting and turning himation on the statue not only covers the entire statue but also adds elements of elegance, style and beauty to the statue. The himation has a sheer quality. The abdomen is visible underneath the himation. There is an inscription on the base of the statue. The inscription states two names, Hierokles the son of the Priestess Aristonoe, who commissioned the statue.
Significance:
The statue of Aristonoe was found at the Little Temple in Rhamnus. The temple was dedicated to Nemesis and Themis. What makes this statue remarkable is that it exists in its entirety, for the most part. The head, torso, most of the limbs and inscription are all present. The inscription states that this is the priestess Aristonoe and that her son Hierokles had this statue created in her honor. Originally, the missing right hand was "pouring a libation." Scholars believe that the right hand was holding a phiale, from which a 'libation would be poured.' Women at this time did not have highly individualistic statues created of them. Instead statues of females were idealized. The only statues of females that were created were those of upper socio-economic status. These women were deemed important only according to their familial roles. This meant that the identity of these women was entirely made up of who they were related. That is whose child they were, whose spouse they were and whose parent they were. That is all.
The marble statue of the priestess Aristonoe is life-sized and draped in a himation. The look of the statue is very smooth. The statue has a full head of hair. Aristonoe has beautiful curly hair that is parted in the center and is drawn back. Aristonoe has eyes that seem to look far away as she is standing on her base. The face does remind one of Alexander the Great. There is no tilt but in the head but there is a turn. The statue has an elongated neck. The right hand is missing in its entirety. The hand is missing a few inches after the elbow. There is a hole in the center of the arm. The left hand is held out in a 90 degree angle. The left leg of the statue is bent. The twisting and turning himation on the statue not only covers the entire statue but also adds elements of elegance, style and beauty to the statue. The himation has a sheer quality. The abdomen is visible underneath the himation. There is an inscription on the base of the statue. The inscription states two names, Hierokles the son of the Priestess Aristonoe, who commissioned the statue.
Significance:
The statue of Aristonoe was found at the Little Temple in Rhamnus. The temple was dedicated to Nemesis and Themis. What makes this statue remarkable is that it exists in its entirety, for the most part. The head, torso, most of the limbs and inscription are all present. The inscription states that this is the priestess Aristonoe and that her son Hierokles had this statue created in her honor. Originally, the missing right hand was "pouring a libation." Scholars believe that the right hand was holding a phiale, from which a 'libation would be poured.' Women at this time did not have highly individualistic statues created of them. Instead statues of females were idealized. The only statues of females that were created were those of upper socio-economic status. These women were deemed important only according to their familial roles. This meant that the identity of these women was entirely made up of who they were related. That is whose child they were, whose spouse they were and whose parent they were. That is all.
References
"Archaeology in Greece. 1890-91." The Journal of Hellenic Studies 12 (1891): 385-397. Jstor. Web.
The Oxford Encyclopedia of Ancient Greece and Rome. Vol. 1. N.p.: Oxford U Press, 2010. 451. Books.google.com. Web.
"Summaries Of Periodicals." The American Journal Of Archaeology And Of The History Of The Fine Arts VII (1891): n. pag. Books.google.com. Web.
Ma, John. Statues and Cities: Honorific Portraits and Civic Identity in the Hellenistic World. Oxford: Oxford University Press, 2013. 166. Books.google.com. Web.
James, Sharon L., and Sheila Dillon, eds. A Companion To Women In The Ancient World. N.p.: John Wiley & Sons, Incorporated, 2012. Blackwell Companions to the Ancient World Ser.. 5100q, 5100r, 5100s. ProQuest Ebook Central. Web.
Dillon, Sheila. The Female Portrait Statue In The Greek World. New York: Cambridge U Press, 2010. 106-108. Books.google.com. Web.
Dillon, Sheila. "Female Portraiture in the Hellenistic World." A Companion To Women In The Ancient World. N.p.: John Wiley & Sons, Ltd, n.d. 272-273. Books.google.com. Web.
"The Priestess in the Sanctuary: Implements, Portraits, and Patronage." Portrait of a Priestess: Women and Ritual in Ancient Greece. Princeton: Princeton U Press, 2007. 146. Print.
The Oxford Encyclopedia of Ancient Greece and Rome. Vol. 1. N.p.: Oxford U Press, 2010. 451. Books.google.com. Web.
"Summaries Of Periodicals." The American Journal Of Archaeology And Of The History Of The Fine Arts VII (1891): n. pag. Books.google.com. Web.
Ma, John. Statues and Cities: Honorific Portraits and Civic Identity in the Hellenistic World. Oxford: Oxford University Press, 2013. 166. Books.google.com. Web.
James, Sharon L., and Sheila Dillon, eds. A Companion To Women In The Ancient World. N.p.: John Wiley & Sons, Incorporated, 2012. Blackwell Companions to the Ancient World Ser.. 5100q, 5100r, 5100s. ProQuest Ebook Central. Web.
Dillon, Sheila. The Female Portrait Statue In The Greek World. New York: Cambridge U Press, 2010. 106-108. Books.google.com. Web.
Dillon, Sheila. "Female Portraiture in the Hellenistic World." A Companion To Women In The Ancient World. N.p.: John Wiley & Sons, Ltd, n.d. 272-273. Books.google.com. Web.
"The Priestess in the Sanctuary: Implements, Portraits, and Patronage." Portrait of a Priestess: Women and Ritual in Ancient Greece. Princeton: Princeton U Press, 2007. 146. Print.
Contributor
Sai Teja Surapaneni
Files
Citation
Unknown, “Standing Aristonoe,” Digital Portrait "Basket" - ARTH488A "Ancient Mediterranean Portraiture", accessed November 18, 2024, http://classicalchopped.artinterp.org/omeka/items/show/28.
Item Relations
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