Priestess Aristonoe
Title
Priestess Aristonoe
Date
3rd Century BCE, Hellenistic Period
Artist or Workshop
Unknown artist; Dedicated by Hierokles
Materials
Marble
Height of the work
162 cm tall
Provenience
Greece, Attica, Rhamnous, Sanctuary of Nemesis
Current Location
National Archaeological Museum of Athens, Greece
Sitter Biography
Aristonoe was a priestess of a temple in Rhamnus dedicated to Nemesis and Themis. Hierokles, the son of Aristonoe, dedicated the statue to his mother; his father was Hieropoios. Aristonoe was the daughter of Nikokrates of Rhombus.
Description and Significance
Description:
The portrait of Priestess Aristonoe is made entirely of marble. The marble has a yellow and brown tint and appears to have no traces of paint. She is in a contrapposto pose as the right leg is holding the weight of her body while the left leg is free and in motion. The statue of Aristonoe is missing her right forearm as well as the right hand. Furthermore, she is partially missing her left hand. Aristonoe’s toes stick out from underneath her clothing.
Aristonoe is wearing a chiton under her himation. The himation is wrapped around her body and draped over her left shoulder. But, overall, her body is completley covered by the chiton and himation. Given the positioning of the elbows, the arms of the statue would have both been pointed away from the body, as seen with the left arm. Her hair has been parted down the center and pulled back into a bun. The priestess’ ears are slightly under her hair.
There are also signs of age present on the statue. There are wrinkles and/or lines on Aristonoe’s neck. Additionally, she has lines by her nose and bags under her eyes. There is a chunk of marble missing from her nose and chin. It is also clear that the head of the statue was made separately, as it was probably sculpted before or after the body. The addition of the head can be seen on the neck where the two pieces meet.
The statue of Priestess Aristonoe stands on a block of marble that includes an inscription. The inscription states Hierokles, her son, dedicated the statue of his mother to Themis and Nemesis. It also states that she is the daughter of Nikokrates a Rhamnusian.
Significance:
The statue of Aristonoe was completed in Greece in the 3rd century and has clear Hellenistic elements that make the portrait significant. The statue of Aristonoe was a votive statue dedicated to the gods, or in this case to Nemesis and Themis. Aristonoe’s chiton and himation cover her entire body evoking a sense of modesty. Modesty can also be seen in the simple hairstyle adorns the statue.
In the 3rd century, women were portrayed as idealized and goddess-like. However, Aristonoe has some signs of age on her face; she has small folds of flesh on her neck and lines around her nose. The blemishes are small but noticeable; the signs of age could show her experience as a priestess and possibly as a mother. With that being said, Aristonoe still has an idealized and goddess-like physique. This can show how women, or in this case Aristonoe, were sexualized and were seen how society and, more importanlty, how men wanted to see them.
The fact that her head and the body were separate pieces also speaks volumes on individuality and portraiture. Her face, as discussed, has some small signs of age. The signs of age might be more individual to Aristonoe herself. Yet, her body is idealized and carefully modeled to perfection. This might go back to the idea that the body was a type; in this case, Aristonoe had a priestess type body with an individualized head.
The portrait of Priestess Aristonoe is made entirely of marble. The marble has a yellow and brown tint and appears to have no traces of paint. She is in a contrapposto pose as the right leg is holding the weight of her body while the left leg is free and in motion. The statue of Aristonoe is missing her right forearm as well as the right hand. Furthermore, she is partially missing her left hand. Aristonoe’s toes stick out from underneath her clothing.
Aristonoe is wearing a chiton under her himation. The himation is wrapped around her body and draped over her left shoulder. But, overall, her body is completley covered by the chiton and himation. Given the positioning of the elbows, the arms of the statue would have both been pointed away from the body, as seen with the left arm. Her hair has been parted down the center and pulled back into a bun. The priestess’ ears are slightly under her hair.
There are also signs of age present on the statue. There are wrinkles and/or lines on Aristonoe’s neck. Additionally, she has lines by her nose and bags under her eyes. There is a chunk of marble missing from her nose and chin. It is also clear that the head of the statue was made separately, as it was probably sculpted before or after the body. The addition of the head can be seen on the neck where the two pieces meet.
The statue of Priestess Aristonoe stands on a block of marble that includes an inscription. The inscription states Hierokles, her son, dedicated the statue of his mother to Themis and Nemesis. It also states that she is the daughter of Nikokrates a Rhamnusian.
Significance:
The statue of Aristonoe was completed in Greece in the 3rd century and has clear Hellenistic elements that make the portrait significant. The statue of Aristonoe was a votive statue dedicated to the gods, or in this case to Nemesis and Themis. Aristonoe’s chiton and himation cover her entire body evoking a sense of modesty. Modesty can also be seen in the simple hairstyle adorns the statue.
In the 3rd century, women were portrayed as idealized and goddess-like. However, Aristonoe has some signs of age on her face; she has small folds of flesh on her neck and lines around her nose. The blemishes are small but noticeable; the signs of age could show her experience as a priestess and possibly as a mother. With that being said, Aristonoe still has an idealized and goddess-like physique. This can show how women, or in this case Aristonoe, were sexualized and were seen how society and, more importanlty, how men wanted to see them.
The fact that her head and the body were separate pieces also speaks volumes on individuality and portraiture. Her face, as discussed, has some small signs of age. The signs of age might be more individual to Aristonoe herself. Yet, her body is idealized and carefully modeled to perfection. This might go back to the idea that the body was a type; in this case, Aristonoe had a priestess type body with an individualized head.
References
American Journal of Archeology and of the History of the Fine Arts. 1891, https://books.google.com/books?id=fwAoAQAAIAAJ&pg=PA344&dq=Priestess+Aristonoe&hl=en&sa=X&ved=0ahUKEwiTxs2f1urZAhWonOAKHdYiC9QQ6AEINDAC#v=onepage&q=Priestess%20Aristonoe&f=false.
Brons, Cecilie. Gods and Garments Textiles in Greek Sanctuaries in the 7th to the 1st Centuries BC. p 82.
Dillon, Sheila. The Female Portrait Statue in the Greek World. Cambridge University Press, 2010, p. 106-08.
The Oxford Handbook of Greek and Roman Art and Architecture. Oxford University Press, 2015, p. 294-95.
Brons, Cecilie. Gods and Garments Textiles in Greek Sanctuaries in the 7th to the 1st Centuries BC. p 82.
Dillon, Sheila. The Female Portrait Statue in the Greek World. Cambridge University Press, 2010, p. 106-08.
The Oxford Handbook of Greek and Roman Art and Architecture. Oxford University Press, 2015, p. 294-95.
Contributor
Ryan Milley
Citation
Unknown artist; Dedicated by Hierokles , “Priestess Aristonoe,” Digital Portrait "Basket" - ARTH488A - "Ancient Mediterranean Portraiture", accessed November 5, 2024, https://classicalchopped2.artinterp.org/omeka/items/show/26.
Item Relations
This item has no relations.