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Aphrodite à l’égide ou de la distraction des peintres

Abstract : An Attic painter once inscribed the name of Aphrodite next to a female figure with an aegis: does it mean that he was particularly absent-minded? The pattern of Aphrodite bearing the emblem of Athena can be considered as an iconographic hapax, which leads us to question the way the images of gods were constructed on Greek vases. Other scenes involve the same problematic issue. Aphrodite and Hermes are holding a spear on a scene with Aeneas flying from Troy with his family: did the painter make a mistake? The present paper aims to closely analyze such examples of «distraction» in order to better understand the so-called iconographical «inconsistencies». It presents the hypothesis that painters have construed variations on a theme perfectly intelligible to their contemporaries. As Greek gods are deeply polyvalent, why would it be different on an iconographic level? The iconographic «language» must be fully apt to display, in line with the context, the complex figure of a divine power, as well as to notify some cross-references with the figure of other gods through unusual attributes, which are some kind of «iconic epithets».
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Submitted on : Friday, April 5, 2019 - 12:03:01 PM
Last modification on : Tuesday, January 19, 2021 - 11:08:44 AM



Gabriella Pironti. Aphrodite à l’égide ou de la distraction des peintres. Mètis - Anthropologie des mondes grecs anciens, Daedalus/EHESS, 2010, N.S.8, pp.255-275. ⟨10.4000/books.editionsehess.2547⟩. ⟨halshs-02090962⟩



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