(Ad)dressing the Other: The Amazon in Greek Art

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Portland State University
PDXScholar
University Honors Theses
University Honors College
2013
(Ad)dressing the Other: The Amazon in Greek Art
Annaliese Elaine Patten
Portland State University
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Patten, Annaliese Elaine, "(Ad)dressing the Other: The Amazon in Greek Art" (2013). University Honors Theses. Paper 24.
10.15760/honors.27
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(Ad)dressing the Other: The Amazon in Greek Art
by
Annaliese Elaine Patten
An undergraduate honors thesis submitted in pattial fulfillment of the
requirements for the degree of
Bachelor of Arts
ill
University Honors
and
Art History
Thesis Adviser
George Armantrout, PhD
Portland State University
©2013
Abstract
The mythological Amazon represents the opposite of Greek ideals, contrasting the
Ancient Greek identity and their societal ideals.
In this thesis, I reconsider the role of the
Amazon in Greek art between 750 and 400 BeE with particular focus on costume as an indication
of a gendered and ethnic Other.
This construction of the Other is conveyed through poetic
description and visual motif in the minor arts. Responding to previous discourse, I will provide
an alternative exploration of Athenian propensity to relegate unwanted foreign traits into the
portrayal of tbe Amazon. The illustrated clothing is adapted to the scope of local knowledge on
foreign customs, limited initially to neighboring East Greeks, and encompassing Scythian archers
towards 550. The Amazon represents the Persian enemy metaphorically in public art under
Perikles following the Persian Wars. Depicting the feminine Amazon as an eastern enemy is a
realization of internal and external threats of infiltration challenging Greek cultural standards. By
450, the mythological Amazon's identity is that of the feminine barbarian constructed in response
to apprehensions of domestic and foreign peril of the Greek state.
Dedication:
This thesis is dedicated to my friends and family who have supported my educational endeavors,
especially my Gamrny, Diuny, and Nana, who passed before seeing its completion,
Acknow ledgements:
I would like to express my very great appreciation to Dr Armantrout for his valuable and
constructive suggestions during the planning and development of this research work. His
willingness to give his time so generously has been very much appreciated. I would like
to offer my special thanks to Dr. Anne McClanan for her comments on feedback for my
thesis presentation.
Assistance provided by Nora Quiros and Honors Director Ann Fallon, PhD in setting up
the fmal leap towards graduation is greatly appreciated.. I also want to acknowledge Dr.
Laurie Cosgriff and Dr. William York for their continued advice and support of my
education.
I am particularly grateful for the assistance given by my mother, Jill for reading and
editing my thesis in the dark of night and my father, Frank for instilling an interest in
Ancient Greece in my childhood. Thank you to my dear friend Ally and my loving
companion Sam for being present during all needed moments with a hot cup of tea.
II
Patten
(Ad)dressing the Other
(Ad)dressing the Other:
The Amazon in Greek Art
Annaliese Elaine Patten
The visualization of the Amazons in Greek art infonns both historians and art historians ·alike of
Greek cultural standards between 750 and 400 BCE. Through a representation of opposites, the
Amazons stood for an uncultured and uncivilized barbarian. The Athenians responsible for the
mythology creation utilized the Amazon mythology to fulfill the metaphysical role of the Other,
the opposite of Greek values. This myth, present in visual art as early as ca. 750 BCE, reveals
ancient ideals of gender and ethnicity. Often described as the "anti-male" and "barbarian" in
literature, the Amazon has been cast as a man-hating banshee. The character of the Amazon is
described in both literature and visual art. The manners and customs discussed in the literary
accounts often do not match those in the visual treatment of the Amazon. Descriptions by Greek
authors, such as Herodotus and Strabo can be countered with the substantial visual record in
decorated pottery and other arts. This discrepancy does not devalue the traditional literature on
the Amazons but rather places it in a position of comparison, revealing a complex notion of the
Other in Greek art. The Amazon legend functioned to signify the barbarous social customs that
were considered unacceptable to the male audience of the Greek polis.
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To fully encompass all crucial parts of the constructed Amazon myth, it is necessary to
consider both textual and visual evidence, combining both historical and art historical
methodology.
The literary account of the Amazons is one based in quasi-historical record.
These primary sources are limited as few have survived in full and most not at all. However, the
written description of the ancient understanding of the Amazons is necessary. Working with
what is available it is possible to reconstruct a preliminary understanding of the Amazon
disposition - one that is indicative of the relationship between the Amazons and the east.
Homer, Herodotus, and Hellanicus each contribute similar anecdotes to the narrative of the
Amazon that is easily compared to later Strabo and Plutarch's more detailed accounts of the
Amazons' behavioral patterns and provenance. Additionally, it is possible to see the underlying
philosophical foundation associating the Amazon with the east in the Hippocratic corpus
following the tradition of polarity.
Just as there are limitations of understanding within in literature on the Amazons, there
are limitations on what can be learned ofthe social understanding of the Amazons through art. It
is not possible to convey the Amazon's provenance through imagery, or at least not directly.
Visual cues suchas oriental costume hint towardeaslern origin and a visual association with the
eastern barbarian.
Throughout the ample collection of Amazons in Greek art, compiled in
Dietrich von Bothmer's Amazons in Greek Art, it is clear that the Amazon takes the form and
uniform opposite from that of the Greeks. 1 The illustrated clothing is restricted to the scope of
local know ledge on foreign customs, limiting initially to neighboring East Greeks and expanding
to Scythian archers towards 550. A consistent characteristic, and likely the most outstanding
feature of the Amazon in art, is the masculine garments and use of weapons.
I
Through the
Dietrich von Bothmer, Amazons in Greek Art (Oxford: Clarendon Press, 1957).
2
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chrono logy of Greek art from 750 to 400 BCE, the boundaries of gender and ethnicity are pushed
to encompass more and more of the eastern fashion . Amazons carne to represent the Persian
enemy through mythological metaphor as tensions rose and fell surrounding the Persian Wars.
By 450, the mythic Amazon ' s identity is that of the feminine barbarian constructed in response
to apprehension of domestic and foreign peril of the Greek state underPeriklean rule.
The Question
The question of why Greeks needed Amazons is one started as early as 1867 with 1. 1.
Bachofen's attempt to understand the myth as matriarchy.
Marxists, feminists, Freudians,
Jungians, and followers of the Goddess all supported this now testified historical notion of
matriarchy. Contesting early twentieth century scholarship followed the theoretical philosophies
of the humanities: the positivist, the po litical and the psychoanalytic. Walther Leonhard (1911)
produced a positivist understanding of the Amazons as a musing of historical conflict with
beardless Hittites, rife with racist undertones of unspecified "mongoloid" type. Roger Hinks
(1939) outlines a po liticizat ion of the Amazon myth as concealed memory through mythological
sUbjection of historical events. He argued that the representation of Amazonomachies was the
symbolic situation stand ing in for the historic past, a notion partially taken up today. These early
scholars did not refute Bachofen's insistence ofthe importance of the matriarchy of the Amazons
and rather incorporated his argument into their own.
Amazon psychology was dominated by Freudian psychoanalysis, providing useful insight
into the construction of Greek mythology at large.
Schultz Engle (1942) and Phillip Slater
(1968) provide psychoanalytic treatments of the Amazon myth, focusing on masturbatory
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horseback riding and Athenian sex antagonism respectively. Slater's contemporaries were in the
feminist and structuralist vein. Many ideas are simi lar between these schools of thought but the
overlap does not seem conscious. It was generally argued by both the psychoanalysis scholars
and the structuralists that Amazon society mirrored the structure of the Greek polis
metaphorically. Another common factor between them was the stress on female tyranny and
matriarchy in the development of Greek notions about barbarians, a notion that is taken up by
following scho lars addressing similar questions about the origins and identity of the Amazon
myth.
Classical archaeologist Dietrich von Bothmer (1957) compiled a comprehens ive
catalogue of every Amazon in Greek art found up to 1957. In his catalogue, von Bothmer
discussed the visual data in detail down to the very direction each Amazon was facing providing
limited visual analysis focusing primarily on the identification of the Amazon figure. It was in
this contemporary time period combining psychoanalytic and structuralist methodology that the
frescoes of Mikon were reconstructed from literary knowledge and that the bulk of art historical
research identified Amazons in decorated pottery.
While the classical archaeologists busied themselves with iconographic representation,
the structuralists turned to interpreting the Amazon. Having created many of the dualities known
in Greek history, such as Vemant (1988) and Vidal-Naquet's (1972) notion of marriage being for
women and war for men, structuralist conclusions have held strong in many of the current
theories today. From this dualist point of view, the Amazon society was the inverse of the Greek
polis which had been fashioned as a men's club. This argument has continued support and is still
widely accepted as the basis for understanding Greek mythology. The feminists seem to have
agreed with the construction of duals but argued additionally the Amazon matriarchy as the
4
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opposite of masculine tyranny (duBois 1982), an argument that is greatly simplified and
problematic for its assumptions and generalizations of Greek mythology and society. Following
this era in scholarship was a direct response countering over-generalization and over-simplified
notions of masculinity. Mary Lefkowitz (1986) argues that tbe formation of the Amazon mytb
predated tbe formation of Atbenian sex politics (an area of scholarsbip tbat tbis tbesis regrettably
cannot address in full). Realistically Greek men would have suffered just as much as women in
an Amazon invasion. The Amazon myth functions here as a warning to those desiring to wander
from expected social norm.
The late 80s and early 90s brought a rejection ofthe negative stereotype of the Amazons
which had been constructed from textual analysis. Reexamination of the ancient texts clarified
the establishment of literary motif and provided an alternative view to the Amazon myth. Tbe
Amazons represented tbe complex notion of the Other symbolically that the Scythians and
Persians beld in reality (Lorna Hardwick 1990). Tbe relationship between sex and violence is
both empowering and demonizing offeminine Amazon. David Castriota (1992) reverts to earlier
arguments of the 60s and 70s (Pollitt 1972) acknowledging cultural binary oppositions,
emphasizing the victory of order over chaos and the cohesion between woman and wild beast.
Castriota' s earlier work does not delve into the more complex problems witbin the Amazon myth
construction, a problem that he addresses more recently in his exploration of tbe femininity of
the Amazon (Castriota 201 I).
Countering this scholarship on the representation of the Amazon in Greek literature and
mythology are the reports of an excavation of a series of mounds argued to be the pbysical
remains of the said mythic Amazons (Davis-Kimball, Yablonsky, and Basbilov 1995; Guliaev
2003). Having found the skeletal remains of female warrior surrounded in burial with weapons,
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it has been argued that these women fu lfill the role of the Amazon. However, it is not possible to
prove these remains to be the mythological Amazons as the presence of females buried with
weapons and armor is not a singular event and is only one possible explanation and the least
likely.
The most recent work on the Amazon in myth and Greek art is the exploration of the
message of ethnicity (Stewart 1995), an expansion of the idea of Amazon as barbarian (Harrison
2002 and Castriota 201 1), and the symbolic relationship between Persia and Greece (Boardman
2000). Included within this discussion is scholarship addressing the ro le of women in Greece
(Dillon 2002 and Ferarri 2003) which has enlightened feminine expectations and roles in Ancient
Greek society. Additional notable elements to the discussion presented are athletic costume
(Serwint 1993) and Greek ideas of gender specific clothing in Ancient Greece (Miller 1999).
While. the description of Amazon costume was included in the discussion of the Amazon' s
otherness previously, it is only very recently the costume itself being recognized as important to
discuss on its own (Stellings-Hertzberg 2011). The following paper aims to follow this most
recent scholarship questioning the situation of the Amazon in Greek art through the lens of their
very attire.
Amazons in the Literary Tradition
Mention of the legendary Amazon warriors in ancient Greek texts provides a preliminary
understanding of the Greek social climate of this persistent and long lasting myth. While the
origin of the Amazons is disputed in the ancient texts, they all strongly suggest the Amazon's
threat to the Greek way of life by challenging social customs in addition to a threat of physical
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mvaslOn.
The very nature of Greek language and the Greek literary tradition identifies the
Amazons as different from Greek expectations of normalcy. Traditions of epic poetry in Greek
culture suggest that the first written accounts of the Amazon legend were not the origin of the
myth or the beginning of its prominence in Greek culture. The Amazon legend was primarily
communicated orally before being recorded as proven by an Amazon depicted on a midseventh-century votive shield of Argolic make [Plate I, 1].
The earliest description of the
!
I
Amazon is in the epic poem, the Iliad, dated to about 725 BCE. Traditionally attributed to
Homer, the Iliad is regarded as the literary foundation to Greek myth and culture; its epic poetry
outlines Greek traditions and social structures.
The complexity of Greek language and the
specificity of descriptive words can provide an understanding of basic expectations of the Greek
world and a preliminary understanding of character ofthe Amazon in mythology.
The name Amazon itself has an etymological tradition. The most common and most
widely accepted etymology, a- [non or no] mas/os [breast], makes the name mean 'breastless'. It
has been assumed by ancient Greek writers and the following scholars that this indicated the
physical removal of the breast by cauterization 2 Mentioned in many of the classic texts, most
notably Homer's Iliad and Herodotus' Histories, the Amazon is described in literature as having
the breast removed to facilitate movement in battle (discussed below). The Amazon is continued
to be described in this manner into the modern era. Countering this literary and scho lastic
tradition is the artistic depiction of the Amazon in Greek art, where the construction of the
Amazon was based in a separate system of symbolic meaning. The mysterious lack of breastless
Amazons in Greek art directly challenges the literary description and problematizes the accepted
2
Josine H. Blok, The Early Amazons: Modern and Ancient Perspectives on a Persistent Myth (Leiden:
E.J. Brill, J 995): 22.
7
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etymology for the name, Amazon. 3 The literary description and the visual depiction of the
Amazon do not agree on this very basic notion. (The artistic treatment of the Amazon will be
discussed in more detail in the following section.)
The name, meanmg breastless, is a literary convention that offers only a limited
understanding of the Amazon myth through history. Another understanding ofthe name implies
a "sexual unripeness ofthe nubile adolescent" with the lack of prominent or fully grown breasts
signifying womanhood 4
The breastlessness here is not that of removal but that which is due to
youth and inexperience. With this etymology, the Amazon is either reckless and self-harming or
youthful and wild. Both understandings oftbe attributed breastless etymology refer to one ofthe
most feminine of body parts. A descriptive name such as this clearly indicates a gender divide
and a lack of Greek tradition within the society of the Amazon through the disregard for natural
order either through rejection of the feminine body through auto-mastectomy or by their
inexperience in the world of women. The very nomenclature suggests an incomplete or broken
female form missing the essential parts of the female body.
Other alternative etymologies have been provided more recently. 5 The name has also
been read as bread-less, with the root maza for bread. This could easily suggest a hint of an
uncivilized community due to their inability to make bread, bread being the symbol of
civilization. Another less common attribute of the etymology of the name Amazon is -zoone,
with the prefix ama-; "with girdles." This meaning has been introduced most recently in the
scholarship on the mythological symbolism and the identification of the Amazon as feminine, led
3
Stewart, "Imag(in)ing the Other," 579.
4
BioI<, The Early Amazons, 23.
j
Ibid, Note 6 to Chapter One.
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primarily by feminist scholarship. This etymology is also preferred to those who study the myth
ofHerakles and his quest to bring back the girdle of the Amazon Hippolyte.
The multiple etymologies of the name Amazon provides historians and art historians
alike with a challenging exploration into the construction of mythological figures . The Amazon
name indicates characteristic difference in all four possible etymologies listed above.
The
Amazon can be understood as breastless (either physically or symbolically), bread less (lacking
civilization) or girdled. The name itself implies either gender or cultural otherness, ideas that are
also present in the literary descriptions of the Amazon.
The epithet employed in the Iliad to describe the Amazons is av,ulvElpat, defmed by
Richard John Cunliffe as 'a match for men' or 'man-like ' with the first part of the term, anti,
meaning either 'opposite to' or 'antagonistic to ,.6 This term is most closely related to the Greek
avnjV<Dp, defmed by Liddell and Scott as 'instead of a man' or 'other than a man ', while the
epithet itself is specifically of the Homeric dialect.' The Homeric use of avrulvElpat suggests a
distancing and identifying qualifier of the Amazons of gender. They neither fit the description of
the Greek male ro le nor do they fit the role of the typical Greek female. This position as nonmale is still threatening given Cunliffe's translation, ' a match for men ', indicating that the
Amazons were not only feminine , opposite of masculine by gender, but also worthy opponents in
battle who warred like men 8
6
Iliad, 3.17 1; Richard John Cunliffe, A Lexicon of the Homeric Dialect (Norman: University of
Oklahoma Press, 1977), S.v. avnavelpcLl. Andrew Stewart, "Imag(in)ing the Other: Amazons and
Ethnicity in Fifth-Century Athens," Poetics Today 16.4 (1995): 576.
7
LSJ, An Intermediate Greek-English Lexicon, 7'" edition,
S.Y.
avnjvffip.
, Iliad, 6.1 86.
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The name and epithets of the Amazon provides a starting point to understanding the
Amazon mythology but does not supply the extended discussion of the Other that is in the
literature. The Amazon is often reported with great interest in gender and social difference . As
William Blake Tyrrell aptly pointed out, "Amazons blur the categories that classify the domains
of male and female.'"
Herodotus ' Histories from the fifth century BeE provides more detail to
the seemingly barbarous Amazon legend. Having escaped Greek capture, the Amazons settled
Scythia among the Saurornataean tribe. In response to the chiding Scythian men, the Amazons
are recorded to have said the following:
We are riders; our business is with the bow and spear and we know nothing of
women's work; but in your country no woman had anything to do with such things
and your women stay at home in their wagons occupied with feminine tasks and
never go out to hunt or for any other purpose. 10
The Amazon does not fit either gender expectation.
Carolyn Dewald notes that Herodotus
"always attempts to report the habits that seem odd to Greek eyes" providing instant contrast to
the Greek way of life. 11 While Herodotus does not detail the costume or dress of the mythic
Amazons, his description of weaponry and his insistence on the Amazon's horseback riding
culture supports visual data of pottery decorated with Amazons. Not only are the bow and spear, .
fighting tools of men, visual tropes employed by artisan workshops but also symbols of
masculine culture in the hands of women. The Amazons "who attack men are destructive to
9
William Blake Tyrrell, Amazons, A Study in Athenian Mythmaking (Baltimore: The John Hopkins
University Press, 1984): 57.
10
Herodotus, Histories 4.110.
II
Carolyn Dewald, "Women and Culture in Herodotus' Histories," in Helene P. Foley (ed.), Reflections
~rWomen
in Antiquity (Gordon and Breach Science Publishers: New York, 1981): 10 1.
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themselves as well as to the rest of society; the myth's message is directed both to women and
men and warns that anyone who withdraws from or hates ordinary family life becomes
dangerous to society as a whole" and seen as acting with hubris. 12
Bow and spear operate as poetic indication ofthe Amazon's wild and untamed character.
These poetic symbols of masculinity spurn a further separation between the Greeks and their
constructed Other deeper than just the rejection of the ideas of Greek ai/ros, household structure.
th
Hellanicus, an Ionian historian from Lesbos writing in the late 5 century, reports the Amazons
as removing the right breast by cauterization. 13 To facilitate the use of the bow cauterization of
the left breast was seen as necessary for freedom of movement. 14 Strabo writes much later in the
beginning of the first century CE of the self-cauterizing of the Amazon's breasts in infancy for
the use of the bow in later battle. 15 Strabo takes his commentary on Amazon culture even further
insinuating animalism with his description of their animal skin clothing and aggressive demeanor
suggesting a connection between self-harm and the non-human. The act of auto-mastectomy acts
as a description of the Other, in this instance the non-human Other.
However, as will be
discussed below, there are no breastless Amazons in art, nor is the bow introduced into the
visualization until around 550 BCE, one hundred years after the first bow-less Amazon.
While the link between cauterization and archery is important symbolically, it is also
necessary to consider the physical nature of the story detailing of cauterization. Self-mutilation
was considered distasteful by the Greeks because it removed balance and symmetry of one's self
and was only done when necessary to restore balance to a harmed or otherwise asymmetric body.
12
Lorna Hardwick, "Ancient Amazons - Heroes, Outsiders or Women?" Greece & Rome 37.1 (1990): 34.
13
Hellanicus, fr. 16 as cited in Hardwick, "Ancient Amazons," 17.
I'
Hardwick, "Ancient Amazons," 18.
IS
Strabo, 2.5.3-4.
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Removing one' s breast voluntarily wou ld be to literally remove one's self from the feminine
body and thus the Greek patriarchy to preserve the femininity of the left breast for the survival of
the matriarchal Amazon line. 16 Additionally, Amazons controlled procreation whi le men were
described as having to attend children in their mother's absence. 17 Both matriarchy and the
reversal of child care would be against the Greek natural order. The basis of Greek medicine and
philosophy was the perpetuation of balance, a model which the Hippocratic corpus easily
extended to encompass geography and natural phil osophy. Removing a breast would disrupt tbe
natural symmetry of the body, going against nature in addition to the rejection of expected
motherhood. 18 With this view, the Amazon was consciously acting against the natural order of
things, seemingly choosing an unbalanced world. This choice would be seen as a rejection of
patriarchal foundations of society and natural order - a threat to the Greek worldview.
The discussion of the Amazon gender construction reveals a set of ideals that are
different from the expected Greek normalcy. The gender of the Amazon is assembled with a
strong feminine lead that is dissimilar from the Greek male-led society creating a distinct gender
Other.
The otherness of the Amazon 's culture is constructed in a similar manner.
Tbe
construction ofthe Amazon femininity is supported by tbe description of the Amazon ' s place of
origin as coming from the east. While many different locations will be discussed as the given
provenance for the Amazon tribe, the general terms eastern and oriental will be used
interchangeably to indicate any land that is east of Greece. Tbese terms are supported by current
academia and are understood in tbe field to indicate the region of the Near East and not East Asia
16
Blok, The Early Amrzons, Note 2 to Chapter One.
17
Tyrrell, Amazons, 54.
18
Hellanicus fro 16 and 17 as cited in Tyrrell, Amazons, 21. Hippocratic Corpus, Airs, Waters, Places.
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geographically. All of the descriptions of the Amazons ' provenance fall within this defmed
eastern region.
The given provenance of the Amazons helps scholars understand the legend 's role in
forming the Other in Greek cultural history. Greek writers mention of the Amazon as coming
from east of Greece, but only in a vague sense causing many scholars to wonder at any possible
specific location.'9 Herodotus placed the Amazons in Scythian territory while Hellanicus states
that the Amazons had "crossed the frozen Bosphorus" to reach Attica 20 Later, Pindar (Olympian
8, ca. 480 BeE), was more explicit placing the homeland of the Amazons on the farther Asian
side of Troy near the Black Sea and beyond Thrace and Scythia 21 Plutarch located the Amazons
near the Black Sea in his Life of Theseus 22 As the Amazon legend grew older, the position of
the Amazon homeland is located as farther and farther away from Athens and mainland Greece
to the east. The Amazon was placed in the category of the foreign Other through geographic and
cultural difference.
Although vague, the geographic placement of the Amazon is consistently in the east. The
cultural and behavioral description of the Amazon is also representative of what the Greeks
thought of as eastern or oriental regional culture. The description of Amazon provenance often
19
John Boardman, Persia and the West: An Archaeological Investigation of the Genesis of Achaemenid
Art (London:Thames & Hudson, 2000): 7.
20
Herodotus, Histories 4.11 0-8. Hellanicus fr. 17 as quoted in Hardwick, "Ancient Amazons," 17.
Hardwick identifies the frozen Bosphorus as the modern day Bering Strait.
21
22
Pindar, Olympian, 8.47.
Plutarch, Theseus, 26-28. This description is considered problematic due to the extremely biased
information he provides in his biographies.
13
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included a cultural rejection, such as the rejection of "women's work" in Herodotus' Histories. 23
Cultural association with non-Greek customs with the East is apparent. The Amazon adhered to
the non-Greek culture of the East and took on the identity of the eastern Other.
In Panathenaicus, Isocrates relates the Amazon ' s invasion of Atbens as leading the
Scythians. Hardwick reads this as an "association of the Amazons with the Scythians and by
analogy with the Persians implying a barbarian threat from the East".24 Writing after 380 BCE,
Isocrates had a different understanding of foreigners than those who had lived previous to the
Persian Wars, one that emphasized a generalized and eastern Other. The association between
Scythia and Persia is supported by Greek conventions of dualities and the strong tradition of
generalizing the foreign . The Scythians and Persians are seen as an eastern threat to Greece.
The characteristics of these two cultures are combined into a poetic description of the non-Greek.
Since the Amazons also fell into this category of the non-Greek, the association between the
Scythians, Persians, and Amazons is natural.
The east was seen as inferior and feminine, an idea supported by the Hippocratic corpus.
In Airs, Waters, Places, the east is seen as frail and those inhabiting the East as weak 25 This
view also surmised that women were naturally weaker than men, prone to uncontrollable
appetite, immoderation, and insatiable desire. 26 Since the Amazon had traditionally been p laced
to the East of Greece, they took on these assumptions of the natural order. The Amazons,
23
Histories, 4. 110.
24
Hardwick, "'Ancient Amazons," 19.
25
Hippocratic Corpus, Airs, Waters, Places, 33.
26
David Castriota, "Feminizing the Barbarian and Barbarizing tbe Feminine: Amazons, Trojans and
Persians in the Stoa Poikile," in Judith M. Barringer and JefJ:fey M. Hurwit (eds.) Periklean
Athens and its Legacy (Austin: University of Texas Press, 2005): 94.
14
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although often cited to have the strength of men in battle, were considered weak easterners,
synonymous with Persian imperialism. 27
The Amazons were directly associated with the
Scythian tribes to the near northeast past Thrace as well as the Persians to the further East, past
the Bosphorus. Foreigners to Greek customs and lands, the Amazons were a legend constructed
to represent the Other - an other that is feminine, inferior, weak, and alien.
A tradition of dualism promotes the historical understanding of gender discrepancy in
Greek culture.
Contrasting sets - Greek/barbarian, male/female, and human/animal - are
outlined as basic qualities of Greek characterization as noted by Page duBois. 28 DuBois argues
that these polarities can be summed up to a "circle of equals" with congruency between Greek,
male, and human, while leaving the opposites of such similar matches as equals themselves; the
opposite of the Greek/male/human being as the barbarian/female/animal. The same goes for the
basis of the dual same/other:
On the one hand, it indicates difference as distinction, inequality, or discernibil ity; on
the other, it expresses the interposition of delay, the interval of a spacing and
lemporalizing that puts off until ' later' what is presently denied, the possible that is
presently impossible .... In the one case "to differ" signified nonidentity; in the other
case it signifies the order of the same [sic] ."
Such distinctions are chosen by Greek writers to describe the non-Greek, the Amazons being the
non-Greek society in question. Their position as non-Greek would align them naturally with the
barbarian. Similarly, they are not characterized by masculine features but feminine . The last
27
Castriota, "Feminizing the Barbarian," 94.
28
Page duBois, Centaurs and Amazons: Women and the Pre-History of the Great Chain of Being (Ann
Arbor: The University of Michigan Press, 1982): 4.
29
Jacques Derrida, from "Difference," as quoted in duBois, Centaurs and Amazons, 5-6 .
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association outlined by duBois is that of the animal, boiling down the Amazons as the barbarous,
feminine, and animalistic Other 3o
However, Amazon qualities are often both masculine and feminine, both Greek and
barbarous, embodying Greek fears of the corruption of Greek tradition into the very creation of
the myth ofthe Amazon women warriors. This duality is present in the descriptions of Amazon
attitudes toward men and Greek custom.
An inherent problem with the idea of opposite is
limiting as there can be multiple others to a sole. The sets given by duBois limit the barbarian as
not respected while male barbarians were often quoted with respect. Rather than understanding
the Amazon as the opposite of singles, it is necessary to view the Amazon as a construction of
the other of many diverse characteristics.
The construction of the eastern identity for the Amazons has been noted by many
scho lars in the historical and art historical fie Ids. 31 Hardwick argues that Herodotus and other
contemporary Greek writers on the Amazon legend concentrate on two major themes of threat to
Greek tradition. The first are the "themes of geographical remoteness, "otherness", and imp lic it
or explicit rejection of Greek norms of female behavior and therefore of social structure" and
second the assumption of a "quasi-historical dimension and [that which] is specifically Athenocentric.,,32 Each writer retroactively discusses themes of culture and gender threats. Amazons
are considered the Other due to their geographic location outside of Greece and proximity to
Asian culture. However, it is also clear that the Amazon women were an intriguing curiosity due
to their stubborn refusal to adhere to Greek feminine custom. The Amazons are even further
30
duBois, Centaurs and Amazons, S.
31
Besides afore mentioned Blok, Tyrrell, and Hardwick, notable scholars as Andrew Stewart and John
Boardman have addressed the problem of identifying the other as the eastern foreigner.
32
Hardwick, "Ancient Amazons," 23.
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engendered with their refusal to adhere to local Scythian customs as noted by Herodotus. Even
the earliest text provides a retroactive image of the Amazons.
Amazons in Visual Art
The most significant discrepancy in the narrative of the Amazon myth is the difference
between the textual and visual representation of the legendary warrior women. The descriptions
of Amazon customs in Greek text are not supported by the visual rendering of comparable
characteristics. The image of the Amazons needs to be reconciled. As Lorna Hardwick aptly
points out, an "artist's formal communication may be the best guide to the social and cultural
experience which is assumed in the audience.,,33 The artistic representation of the Amazon is
key to comprehending the meaning and ancient understanding of the Amazon myth from its
earliest representations in Black Figure to the more schematic motifs of fourth-century sculpture.
Even with the Amazon portrayed as deviating from expectations of Greek society, they
still are depicted following artistic conventions. In Black Figure pottery, women are depicted
with white flesh. The Amazon is represented with feminine white skin conveying virtue as well
as sexual allure. Feminine skin in Black Figure is legible immediately if the white paint has not
worn off, but women are also discernible by clothing and hairstyle , characteristics that the
Amazon did not adhere to. This convention is not applicable to Red Figure where one has to rely
on stylistic information to understand the scene pictured.
33
Hardwick, "Ancient Amazons," 28.
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Another constant is the presence of both breasts in artistic illustration. The Amazons'
gender is pronounced as they were also depicted with both breasts fully intact, as they had been
in the earliest representation.
With this visual information, the breastless Amazon is a
convention and a literary theme based in the folk etymology of the nomenclature rather than the
artistic mythological construction. This part of the literature is easily disregarded by artisans
because of the poor visual aesthetic it would produce. Andrew Stewart argues that representing
th is aspect of the myth would have destroyed the Amazon's sexual allure and eroticism 3 4 Automastectomy does not appear in the extensive collection of Amazon decorated pottery.35
Following another convention, the Amazons were never portrayed fully nude - a
convention common for male figures and female prostitutes only, keeping the Amazon within the
realm of the covered female. Warring males in both Black and Red Figure are nude save for a
breastplate or insignia. Women were usually shown clothed. As discussed below, the Amazon
never fully enters the masculine since to be a warring man she would have to be completely
naked. The only nudity associated with the Amazon is the naked breast, possibly the first step
towards fujJ nudity and masculinity. However, we do not see the following steps as they seem to
be halted immediately by Greek principle. Athletic girls are also portrayed with bare breast,
wearing a one-shouldered short chiton suggesting an association with the youth and virility of
athletic girls.
The Amazon's attire is essential to understand the construction of the Amazon in Greek
myth. Clothing has the ability to represent both gender and culture, two of the most common
characteristics in fashion today. Clothing has long been a signifier for social, economic or
34
Stewart, "Imag(in)ing the Other," 579 .
35
von Bothmer's Amazons in Greek art. Not one Amazon is depicted with the breast removed.
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demographic place. The cultural construction ofthe Amazon in art is seen through the clothing
depicted on the Amazon. The costume changes with the growing construction of the Other in
Greek art with the association with the East. The clothing of the Amazon also conveys feminine
qualities with additional masculine attire, commenting on the gender po litics and expected sex
roles of Greek society. These cultural and gendered constructions are further associated with the
Amazon construction ofthe Other in their association with the feminized East. The construction
of the Amazon as an eastern Other starts as early as the middle of the seventh-century and
continued past the constraints of this exploration into the Roman era.
Early depictions of Amazons vary in costume and attributed weaponry combining aspects
of botb Greek and oriental typecast often in more solitary posed compositions 36 The earliest
recognizable Amazon in Greek art is on a fragment of a terracotta votive shield of Argolic shape
and make found in Tiryns [PI. I, 1]. While fragmented, it is still possible to make out the details
of the scene which is supported by the representative line drawing. 37 Of five warriors, three wear
short tunics and two wear what seems to be a pep los open at the side. The tunic wearing
warriors appear to have beards while the central pep los wearing figure is depicted with crude
breasts, identified as an Amazon. It is not clear if the upper body is meant to be bare or the
costume to drape open. 38 The identification of the feminine warrior figure as an Amazon has
been dated to the middle of the seventh century BCE 39 Additional early pottery shows Amazon
36
Hardwick, "Ancient Amazons," 28.
37
Courtesy of von Bothmer, Amazons in GreekArt, Plate I, lb.
38
von Bothrner, Amazons in Greek Art, 1.
39
This date was under speculation when von BOlhmer was writing the noles for his catalogue in 1957.
With additional evidentiary archive and current knowledge it is possible to narrow down his "turn
of the eighth to the early seventh century" down to the mid-seventh century by the similarity of
the Argive vessel depicting the Blinding of Polyphemus.
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warriors in this garb with a Corinthian style helmet, a combination that von Bothmer believed
was the key to identifYing early Amazons up to 600 BCE
40
Other identifications have been
posed, such as Geras or other female mythic figures like Athena 4l Many pieces have inscribed
identifications of specific Amazons of literature.
Von Bothmer suggested the representation of non-Athenian garb signified the Other to a
more localized early Greece. His observation is significant for an early understanding of the
Amazon as an indicator of non-Greek values. The votive shield is comparable to a vessel of a
similar style with the earliest depiction of the blinding of Polyphemus [PI. I, 2] also made in
Argos between 670 and 640 BCE. This places the earliest identified Amazon outside of Athens,
challenging von Bothmer's argument for a non-Athenian type as the feminine warriors were
portrayed in distinctively Athenian hop lite armor. This depiction ofthe Amazon in Athenian and
thus local wear maintains the Amazon ' s position as the Other as the costume and weapon
accompaniments are recurrently gendered as masculine. While the gender description of the
Amazon will be further discussed in detail below, it is important to note that this early
representation of the Amazon is conveyed heavily through the mismatch of gender clothing and
the feminine character.
The Amazon does not change in depiction to an easternized or
orientalized Other until the following century with the production of Attic Black Figure,, 2
40
von Bothmer, Amazons in the Greek Art, 5.
41
Ibid.
42
Black ·Figure from Attica increases around 600 BCE with the majority of artisans traveling from
Corinth and Argos, significantly increasing production in Attic clay. This is due to cu ltural
movement and a shift in politics luring artisans who could work with fewer restrictions within
Athens ' comparatively relaxed laws.
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The earliest Attic Black Figure Amazons do not appear until the second quarter of the
sixth century with the image of the Amazon suddenly growing in production in ovoid neckamphora. 43 These vases vary in the type and design of the armor, which weapons they are
wielding, imd the type of clothing the Amazon is depicted to wear from Attic tunic to Corinthian
caps, greaves and boots.
The Amazon is depicted in the clothing of foreign cultures most
familiar to the artisan, often extending only as far as East Greek island fashion. The convention
of the nude male warrior counters the consistently clothed Amazon . The Amazon's clothing
takes on the likeness of non-Athenian fashion beginning with the nearest eastern neighbors.
A group of Attic B lack Figure pottery, known as the Tyrrhenian group, dates to about
560 BCE and is composed of Corinthian inspired Attic Black Figure neck amphorae representing
the Amazon as a fem in ine Greek. Similar to the Argive votive shield, this scene portrays the
Amazon in terms understandable to local artisans and local viewers knowledgeable about
customs and fashions of their nearest neighbors.
In one amphora portraying Herakles and
Andromache found in Vulei, the Amazon wears a costume of Athenian type similar to that of a
hop lite [PI. II, 1]. A difference in gender identifies the Amazon as a non-Greek, both through the
convention of white flesh and the masculine attire. Consequently, the possibility of a cultural
background of the Amazons is not full y realized and they are placed in a generalized sphere of
the Other.
A common standby in literature that is also seen in the artistic representation is that of the
Equestrian Amazon [PI. II , 2].
Shown riding horseback, the Amazon performs an activity
reserved for the flat plains or rolling hills of non-Greek cultures. Since Greek geography tended
to be more rocky and mountainous, it was unsuitable for warfare from the saddle. The Amazon's
43
Hardwick, "Ancient Amazons," 28. von Bothmer, Amazons in Greek Art, 6.
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depicted familiarity with horseback riding places them as having a cultural experience and
geographic origin different from that of mainland Greece . The Amazon falls into the realm of
the Other through a cultural signifier but also through the masculine symbol of the horse. In
Greek culture, the horse was a sign of power and social wealth associated with land capable of
providing an area to graze. The horse and horseback riding culture signifies deterrence from the
standard of social division as well as a masculine role taken on by the Arrlazon who is defined as
feminine. The depiction ofthe Amazon on horses appears in prominence around the same time
as the easternized Tyrrhenian group and continuing past 400 BCE.
This period following 550 BCE marks a shift in the costume of the Amazons with an
increased tendency "to depict Amazons in eastern [sic1 dress
~
trousers and sleeves and
sometimes pointed caps, often armed as archers rather than hoplites.,,44 Increased knowledge of
the East in the second half of the sixth century prompted a costume change in the Amazon
women. Pants and sleeves, uncommon fashion in Greece, matches the descriptions of eastern
traders traveling within Greece in the late sixth century. An amphora from ca. 550 displays a
Scythian archer with a distinct thin pointed beard [PI. Ill, 1]. The actively squatting archer draws
his bow wearing a matching patterned sleeved shirt and trousers and a pointed cap with long
flaps that is prominent in the depiction of Amazons in this time: 5 This piece does not depict an
Amazon but rather a Scythian archer whose oriental customs and manners of dress would have
been well known in Athens by this time as seen in this Attic Black Figure plate depicting a
44
von Bothmer, Amazons in Greek Art, 6.
45
Warren G. Moon (ed.) Ancient Greek Art and Iconography (Madison: The University of Wisconsin
Press, 1983): 129.
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Scythian archer playing a trumpet [PI. III, 2]}6 The clothing of the Scythian is mirrored in the
depiction of the Amazon as a direct commentary on the Amazon's cultural difference.
Associations through loca lity and between Scyth ians and Amazons caused the Amazons
to take on an eastern style of dress.'7 As Athens becomes more familiar with eastern style
costume and customs around 550, stereotypical eastern characteristics are exploited to represent
the Other in art. The ependytes, the generic costume of an easterner combined Scythian and East
Greek styles into the generic image of the eastern Other."
This long sleeved with pants attire
under a sleeveless tunic is seen in many of the following examples changing in very small ways
to incorporate different aspects. An olpe from ca. 520 from the Mun ich collection [pI. III, 3]
shows an ind ividual Amazon dressed in tbe long sleeves and trousers. Her Scythian cap has two
points and her bow sits on the ground behind her right foot. She is recognizable as an Amazon,
ratber than a Scythian, due to the lack of a pointed beard'9 The application of a Scythian type
garment is prominent in this period between 550 and 400 BeE. 50
A typecast costume ofthe easterner is solidified in the first quarter of the fourth century.
A White Ground alabastron from Delphi dated to ca. 480 - 470 depicts Penthesilea, her name
inscribed, carrying bow, quiver, and axe. 51 She is dressed in the ependytes sleeves and pants
46
Scythians were often employed as a police force due to limitations of political hubris restricting one
citizen from retaining another citizen. The Scythians did not fall into this category and were able
to actively retain law breaking citizens.
47
Margaret C. Mil ler, Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity
(Cambridge: University Press, 1997): 171.
48
Miller, Athens and Persia, 49.
49
This vase has been repainted and some of the original detail has been lost.
50
Stewart, "Imag(in)ing the Other," 596.
51
Athens 15002.
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combination with an Attic helmet. This Amazon wears sandals, a new addition to a quickly
expanding wardrobe of the easterner. The quiver replaces the spear from early Amazon
representations, taken from the Scythian archer and given to the feminine barbarian. A similar
alabastron dated to between 470 to 460 BCE has the addition of a palm tree on its alternate side
[PI. IJI, 4].
Here, the Amazon is wearing a costume very similar to the description of the
ependytes but not patterned 52 This Amazon wears slipper-like shoes and no headgear.
Later depictions of Amazons continue to employ this clothing type. The Penthesi lea
Painter Nave Vase [PI. IV, I] depicts Penthesilea and an accompanying Amazon being overcome
by Achilles. The Amazon that is not identified lays on the ground line. She is depicted wearing
an ependytes under a loose tunic similar to a chiton.53 Penthesilea wears only the belted chiton.
Another later Red Figure from about between 450 and 400 BCE portrays an Amazon wearing the
mixture ofthe epehdytes and the loose chiton [PI. IV, 2]. She is shown leaning against a staph or
spear and is not engaged in physical confrontation.
The ependytes becomes an indicator for the Amazon in Greek art and is employed
consistently after 570 in decorated pottery from Athens as an ident ifier of the Amazon ' s eastern
origins. 54 The Amazons came to represent the Other through the application of culturally eastern
clothing.
52
However a gendered representation of Amazons is also prominent. In general, the
Identified as an anaxyrides by H. A. Shapiro, Art, Myth, and Culture: Greek Vases from Southern
Collections (New Orleans: New Orleans Museum of Art and Tulane University, 1981): 88.
53
The ependytes bas previously been identified as tattoo, another signifier of non-Greek and barbarous
ideals ITom the East. See Beth Cohen, ed. Not the Classical Ideal: Athens and the Construction of
the Other in Greek Art. (Lei den, The Netherlands: Brill, 2000).
54
Niki Stellings-Hertzberg, " An Atypical Pairing of an Amazon and a White Lekythos," Yale University
Art Gallery Bulletin, Recent Acquisitions (2011): 75.
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sixth-century BCE saw a sudden increase of images with women, the Amazons just being one of
many depictions of female form. These portrayals have been argued by Andrew Stewart to
signal the "curiosity, anxiety, desire, pride in possession, the need to control, and sheer brute
sexism" of Greek male patrons. 55 The Amazons are distinctly characterized as feminine with
their prominent breasts and white flesh, suggesting a counter to the male led Greek society.
As discussed earlier, the Amazon's were described as lacking feminine experience to
make them a grown woman - virgin and deficient in world experience. 56 Herodotus described
the Amazons as unwed girls, employing the term porthenoi, to denote a prepubescent girl. 57
Young girls represented the epitome of fema le beauty and unrestrained lust. The depiction of
parthenoi is not wholly feminine or masculine but something in between as erotic interest. White
skin, intact breasts, and clearly feminine body are present in the depiction of the Amazon. In
addition to these common artistic conventions, the Amazon is related to the athletic young girls
through the chiton in both relief and free standing sculpture.
A small bronze figurine of a female runner dated to ca. 560 BCE [PI. Y, I] matches
descriptions of the clothing of athletic girls - a short chiton pinned at the shoulder leaving the
right arm and breast exposed. 58 The pose, with legs widened, knees bent, and arms up, one
holding the hem of the skirt of her chiton, suggests she is running and is similar to that of the
male runners on Panathenaic amphora or the winged female runners and gorgon found in both
Black and Red Figure [pI. Y, 2]. This specific figurine is marked by the British Museum of
55
Stewart, "Imag(in)ing the Other," 578.
56
Stewart, "Imag(in)ing the Other," 578.
57
His/aries, 4.1 14.
58
Nancy Serwint, "The Female Athletic Costume at the Heraia and Prenuptial Initiation Rites," American
Journal ofArchaeology 97.3 (I 993): 406.
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London as Laconian make for its adherence to Laconian workshop features - slender bodies, thin
legs, thick thighs, small underdeveloped breasts and long faces - possibly made as a souvenir of
the Heraia. 59 This figurine has also been read as an erotic pursuit by Christiane SourvinouInwood placing the running figure in the front of an erotic pursuit with her head turned backward
to view her pursuer. 60
Following suit with Sourvino u-Inwood' s argument, the Amazon is
positioned as the pursued erotic object by wearing the athletic short chiton. The eroticism of the
Amazon's femininity is characterized by the athletic costume customarily reserved for the young
female of ideal beauty.
Larger sculpture also depicted the Amazon in a very similar belted chiton representing
athletic parthenoi and East Greek fashion. Rather than the oriental costume and armor, the
Amazon wears the short chiton with breast and shoulder bare in monumental relief [PI. VI, I]
and free standing sculpture [pI. VI, 2 and 3]. The motif of the athletic girl, more specifically her
loose clothing, relates the Amazon to the athleticism and eroticism of unwed girls. The youthful
and sexually free Amazon would have been a direct challenge to Greek social norms. Within
these two examples of the Wounded Amazon from the 4th century, the bare breast and scanty
dress is evocative and alluring. The fabric clings to the body sensually revealing the forms
underneath. Not only does the chiton reveal the clearly feminine features ofthe Amazon but also
connects the Amazon with the carefree and unrestrained youth of prepubescent athletic girls.
While the chiton can indicate the youthful femininity of athletic girls it could also represent
common fashion of East Greek and Mediterranean as functional attire. Since the weather ofthe
Mediterranean was hot nine months out of the year, the short tunic would be a necessity to
59
Serwint, "The Female Athletic Costume at the Heraia," 407.
60
Christiane Sourvinou-Inwood, "A Series of Erotic Pursuits: Images and Meanings," The Journal of
Hellenic Studies 107 (1987): 137.
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survive the humidity and hot temperatures of the regional climate. The hot eastern weather was
viewed as exotic and sexually alluring and would have placed the Amazon in a similar position
of sexualized character.
As Gloria Ferrari argues, the women represented in Ancient Greek visual arts fulfill their
roles of femininity that is tied directly to their physical beauty.6 1 The ways in which figures are
represented are often based in their action and not gender. Women were typically well groomed
"
and elegantly dressed when fulfilling their role as women, the best example being the common
fountain scene with women collecting water [PI. VII, I). The Amazons break the gender code,
being physically feminine but acting masculine. The early costume of armor and weaponry is
clearly not of the feminine realm. The chiton, although not necessarily a feminine or masculine
garment, suggests a sexuality different from that shown in the depiction of alternative female
scenes. The Amazon character thus falls into a vague third gender representation, neither fully
female nor male.
To represent their disrespect for established gender roles, Amazons are depicted in
clothing unlike that found in depictions of Greek women [PI. VII, 2].
The Amazons' two
possible dress codes, the chiton or the ependytes, are both indications of the Other. Neither male,
nor quite yet fully female, the Amazons are shown to wear the same clothing as athletic girls,
wild and untamed. Likewise, their representation in eastern Greek dress places them as outside
of mainland Greece both geographically and physically. Both youthful and eastern qualities
create a sense of eroticism that permeates the representation of the Amazon.
Even when
Amazons are depicted wearing Athenian armor in early Black Figure, they are not adhering to set
social customs, marking gender disparity. Amazons act and dress as men, never quite female or
61
Gloria Ferrari, "Myth and Genre on Athenian Vases," Classical Antiquity 22.1 (2003): 45.
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male. The Amazon physically represented a strong-willed and defiant youthful woman, capable
of defeating constructed gender standards and escaping cultural and social oppression.
This gendered construction of the Amazon in Greek art is countered by the sudden
increase in public monument where the Amazon was employed as metaphor for the defeat ofthe
Persians following 480 BeE 62 While the depiction of Amazons in pottery continued a similar
schema preceding the Persian Wars, public art under Periklean rule following 450 altered the
representation of the Amazon adding another layer of mythological construction. The Amazon
in public art is somewhat of an outlier, representing a specific Other, the Persian enemy, rather
than a generalized eastern Other. The use of the Amazon myth as metaphor for the Persian
Wars, along with other mythological battles, suggests an ancient Greek understanding of the
Amazon as an Other to the Greek state.
A preoccupation with depicting the Amazon as a historical enemy is realized in some of
the first instances of public monument in the Greek world. Portraying the Amazon presence as a
physical threat, the Amazon myth acts as a metaphor for the Persian enemy, symbolizing the
hubris of the uncivilized and greedy Xerxes. This association between Amazon and Persian
combines notions of the feminine east and the non-Greek barbarian aligning the Amazon with
the Other.
Expanding the discussion of simple gender representation, Amazons were the
representation of the feminine east. After the Persian Wars, Greek attitudes toward eastern
customs became hardened by their warring interactions with Persian armies. The realization of
the threatening eastern evi l-doer is embodied in the already present myth of the Amazon. 63 The
62
Hardwick, "Ancient Amazons," 29.
63
Xerxes has often been described by modern and ancient writers as having committed hubris. Stewart,
"lmag(in)ing the Other," 585.
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Amazon, with the already solid foundat ion of the Other, was employed as a metaphor for eastern
hubris.
The Stoa Poikile is one such public monument portraying an amazonomachy along with
other mythological scenes [PI. VlIl, 1]. The middle section, attributed to the painter Mikon,
rendered Theseus battling Amazons and Centaurs to retrieve Minos 's ring from the bottom of the
sea.
64
The Stoa Poikile once stood on view in the Athenian agora, its vision surviving so lely
from literary description and contemporary Attic vases based on Mikon ' s work 65 The Stoa
Poikile used women as the primary mythic analogue for the Persian defeat , employing chitonwearing Amazons as the enemy to defeat 6 6 Oriental depiction was exchanged for a more local
and metaphorical presentation. Large scale battles with mythological beings - Amazons, Giants
[PI. VIII, 2], and Centaurs - represented the battle over chaos and appeared on large Red Figure
symposium vases that are understood to be small copies of the larger monumental relief work by
Mikon. 67
The Parthenon also held an amazonomachy on the metopes of the west end.
Dated
between 446 and 440 BCE, the metope reliefs portray the mythological invasion of Athens by
the Amazons which is commonly understood to reference the Persian Wars.68 The metopes have
been severely damaged and are barely recognizable [PI. VIII, 3] but are known through literary
description. The amazonomachy was accompanied on the East and South sides of the building
by both a Gigantomachy and a Centauromachy respectively. These scenes reflect the Persian
64
Pausanias, 1.17.2-3.
65
Castriota, "Feminizing the Barbarian and Barbarizing the Feminine," 90.
66
Ibid.
67
Hardwick, "Ancient Amazons," 29.
68
Castriota, "Feminizing the Barbarian and Barbarizing the Feminine," 89.
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Wars in the battle between the civilized Greek and the eastern barbarian. The west metopes
portraying scenes of Amazons battling Athenians incorporates the Amazon myth into the
structure of Greek mythology as metaphor, solidifying the Amazon's place as an Other to
Greece.
The role of the Amazon myth in the representation of the Persian Wars has just recently
been explored. Scholars Stewart and Castriota have questioned the effect of applying the added
layer of the Amazons' gender to the mythological metaphors found in public art. However, their
exploration of this problem has yet to acknowledge the effect of the Amazon character in Greek
mythology. The Amazon is a construction of the Other, as represented in the minor arts, but
when applied to a larger medium as metaphor, the Amazon is both finalized as the eastern Other
but also internalized as a deeper part of Greek culture and mythology. After 450, the Amazon
became a symbol for the hubris of non-Greek, eastern barbarians in the highly ethically
into lerant Greek society.
Xenophobia ran a strong course amid the aftermath of the Persian Wars with Perikles'
Citizenship Law of 451. Enacted two years before established peace with Persia, this law barred
anyone "not born of native Athenians on both sides" citizenship within Athens, a clear attempt to
protect the relatively new Greek democracy from mass immigration and aristocratic tyranny69
This xenophobia is exposed within the myth of the Amazon. Year 449 marked peace with Persia
led by Perikles. By his decree many projects were created to commemorate the victory over
Persia, most notably the chryselephantine statue of Athena with the gold shield by Pheidias. On
this shield is the depiction of Athenians in battle with Amazon warriors [see PI. 111, 2]. The
placement and audience of the Stoa Poikile and other public monument correspond to a change
69
Aristotle, Athenian Politics 26.4 as quoted in Stewart, "Imag(in)ing the Other," 587-588.
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toward a Greco-centric mindset.
The metopes of the Parthenon were also decorated with
Centauromachy and Gigantomachy. Having just battled with the epitome of hubris, the Greeks
saw Persians as corrupt. The Amazon and the Persian embodied the Greek fears of an invading
·
. 70
bar barlan socIety.
The years from 450 to 400, Periklean Athens doubled the number of painted vases with
Amazon battle scenes. 7 \ These vessels took on a schema mimicking sculptural treatments in the
Piraeus and the Parthenon metopes.
The bow and quiver becomes the standard weapon
accompanying an Amazon in Red Figure. During this time, the silver axe of literary record
forms into a consistent motif of the Amazon warrior in decorated pottery and monumental art n
Portraying the Amazons as human rather than bestia I or grotesque monsters, the Amazons are
distinguished from the Greeks by their clothing and weaponry. 73 The Amazon reflected Greek
xenophobia in the representation of barbarian costume, the mythology of the Amazon visually
burned into western memory.
Conclusion
The Amazon warrior became a visual stand-in for the unwanted and threatening eastern
Other, feminine by geographic association with the east and masculine by action and dress.
Scythian dress and weaponry was applied to the feminine form. Descriptions from the literary
tradition convey the Amazon as non-masculine, non-Greek and barbarous. The full breasted
70
Stewart, "Imag(in)ing the Other," 585.
71
Ibid, 586.
72
London 99.7-21.5. See von Bothmer, Amazons in Greek Art, plate LXXVII.
73
Stewart, "lmag(in)ing the Other," 583.
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threatening and sensual figure merges with the fear of the barbarian into a symbol of the
collective Other in the Greek minor arts. The depiction of the Amazons did change through
time, from non-Athenian to non-Greek expanding knowledge of neighboring cultures.
The
conception of the Amazon is founded in Greek values and customs, opposing Athenian values
and customs.
Contrasting expected feminine virtue, artisans depicted the Amazon in non-Athenian
clothing.
The Amazon disinterest
III
feminine roles and their penchant for war implements
would have been unusual to the Greek eye, threatening social hierarchy.
The Athenian
construction of this mythological tribe was created to represent a counter for Greek behavioral
expectations. The Greek fear of being overturned is materialized in the myth of the Amazons
both internally by the feminine and externally by the barbarian. The Amazon myth functioned as
a reminder to Athenian citizens to behave within acceptable societal norms. The Greeks actively
distanced themselves from the Other in history and art, the formation of the Amazon myth
revealing Greek ethnic intolerance in the attempt to preserve the Greek self. The Amazon, as the
quintessential opposite of the Greek patron, functioned as an indicator of the formation of the
Greek identity.
32
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References
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35
Appendix
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PLATE I
i~'"~ .\,
~;-----
.
I. Penthesilea and Achilles of Argolic shape. Photo and Drawing.
Mid Seventh-Century, found in Tiryns
Nauplia 4509, photo and drawing courtesy of von Bothmer, PI. J, 1 a-b
2. Blinding of Polyphemus, detail
ca. 670 from Eleusis
Image courtesy of the Theoi Project
T
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PLATE"
1. Herakles and Andromache of The 'Tyrrhenian' Group, Detail
ca 565-550 BCE, found in Yuki
Boston 98.916
2. "Warrior Women", Amazons on Horses
ca. 5 10 BCE, Attributed to the Leagros Group
British Museum GR 1837,0609.47
Il
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Appendix
PLATE III
1. Ajax and Hektor (with Scythian Archer), Detail
ca. 550 BeE
Munich 1408
2. Scythian Archer playing a trumpet
ca. 520 BeE, attributed to the Psiax Painter
British Museum
\
3. Olpe with Amazon, repainted
ca 520 BeE
Munich 174
4. White Ground Alabastron with Amazon and Palm Tree
ca 470-460 BeE, attributed to the Syriskos Painter
Virginia Museum of Fine Arts, Richmond 78. 145
III
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PLATE IV
I. Penthesilea Painter name vase
ca. 470 BCE
Staatliche Antikensammlungeo 2688
2. Red Figure Amazon Detail
ca. 450-400 BCE
Ferrara, MuseD Nazionale di Spina 5029
IV
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PLATE V
1. Bronze figure of a running girl
Sixth-Century BCE, Laconian make
British Museum of London GR 1876,0510.1
2. Red Figure Neck Amphora with Gorgon, Detail
ca. 530 BCE
J. Paul Getty, Malibu 86.AE.77
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PLATE VI
I. Athenian and Amazon
From the shield ofPheidias's statue of Athena Parthenos
Piraeus, Image courtesy of von Bothmer, PI. LXXXVII, 4
2. Statue of a Wounded Amazon, restored
bronze original, 4th century BCE
New York 32. II. 4
3. Statue of a Wounded Amazon, unrestored
4th century BCE
Trier
VI
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PLATE VII
1. Fountain Scene, Detail
ca. 520 BCE
British Museum GR 1843,1103.49
2. Nolan Neck Amphora, depicting an Athenian and an Amazon
ca. 440 - 430 BCE, Attributed to the Dwarf Painter
Metropolitan Museum of Art 56.171.42
VII
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PLATE VlIl
End Wall
Rear Wall
End Wall
1. Oinoe
2. Amazonomachy
3. Troy Taken
4. Marathon
author unknown
(History)
Mikon
Polygnotos
Mikon and Panainos
(History)
(Myth)
I. The Stoa Poikile (Painted Stoa) in the Athenian agora:
Probable arrangement of the frescoes, ca 460 BCE
Table courtesy of Andrew Stewart, "Imag(in)ing the Other," Figure 3.
2. Gigantomachy, Detail
ca 400-390 BCE
Louvre SI677, Image courtesy of the Theoi Project
3. Drawing of the remaining Parthenon West Metopes
Original Construction of the Parthenon, started 447 BCE; metopes, ca. 446 - 440 BCE.
drawing origin unknown
VlII

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