Naval Imagery in Athenian Art in the Fifth Century BCE.
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During the fifth century BCE, the heyday of the Athenian navy, it is rare to find motifs that directly evoke the navy, such as warships and naval battles, appearing in the decorative arts. For example, there are few extant depictions of triremes, which were the mainstay of the navy. Hence, it has been argued that in the fifth century BCE—the heyday of the Athenian navy—artistic representations of the navy were barely produced. Historians have maintained that lower-class citizens who supported the navy could rarely afford such artifacts and tended to subordinate themselves to the dominant elite culture symbolized by hoplite or equestrian imagery. Nonetheless, art historians are aware that artistic, albeit allegorical or symbolic, depictions of the navy existed during that period. In fact, from the second quarter of the fifth century BCE onward, a series of new motifs—allegedly allegorical representations of the navy—began to appear on vases. Some art historians have attributed such representations to elite’s avoidance of directly depicting the navy, which was associated with the lower classes. However, this argument could hardly be supported because analogous naval representations also appeared on public monuments during the same period, such as sculptures and murals that adorn temples and votive offerings commemorating naval victories, and allegorical naval iconography on vases sometimes seemed to reflect public naval representations expressing civic identity, whether elite or non-elite, within the community. The Athenians tended not to express real events directly in art or literature. Democracy, for example, was represented by the Tyrannicides and Theseus before the end of the fifth century BCE, when pure personification appeared for the first time. The metopes that adorned the Parthenon, which was built to celebrate military victory over the Persians, were not decorated with representations of battles with the Persians, but with images of mythical barbarians, such as Amazons and Centaurs. Allegorical naval iconography in vase paintings also ought to be interpreted in the context of Classical Athenian artistic traditions. The appearance of similar naval allegories in public art corroborates this view. The new naval imagery was probably created at the initiative of the state as a symbol of Athens’s identity as a rising maritime hegemony, and the imagery was accepted by both non-elite and elite citizens. The images of Boreas, Poseidon, and “the god with the aphlaston” in vase paintings testify that the elite espoused the national identity of Athens as a naval power.
Abstract
During the fifth century BCE, the heyday of the Athenian navy, it is rare to find motifs that directly evoke the navy, such as warships and naval battles, appearing in the decorative arts. For example, there are few extant depictions of triremes, which were the mainstay of the navy. Hence, it has been argued that in the fifth century BCE—the heyday of the Athenian navy—artistic representations of the navy were barely produced. Historians have maintained that lower-class citizens who supported the navy could rarely afford such artifacts and tended to subordinate themselves to the dominant elite culture symbolized by hoplite or equestrian imagery. Nonetheless, art historians are aware that artistic, albeit allegorical or symbolic, depictions of the navy existed during that period. In fact, from the second quarter of the fifth century BCE onward, a series of new motifs—allegedly allegorical representations of the navy—began to appear on vases. Some art historians have attributed such representations to elite’s avoidance of directly depicting the navy, which was associated with the lower classes. However, this argument could hardly be supported because analogous naval representations also appeared on public monuments during the same period, such as sculptures and murals that adorn temples and votive offerings commemorating naval victories, and allegorical naval iconography on vases sometimes seemed to reflect public naval representations expressing civic identity, whether elite or non-elite, within the community. The Athenians tended not to express real events directly in art or literature. Democracy, for example, was represented by the Tyrannicides and Theseus before the end of the fifth century BCE, when pure personification appeared for the first time. The metopes that adorned the Parthenon, which was built to celebrate military victory over the Persians, were not decorated with representations of battles with the Persians, but with images of mythical barbarians, such as Amazons and Centaurs. Allegorical naval iconography in vase paintings also ought to be interpreted in the context of Classical Athenian artistic traditions. The appearance of similar naval allegories in public art corroborates this view. The new naval imagery was probably created at the initiative of the state as a symbol of Athens’s identity as a rising maritime hegemony, and the imagery was accepted by both non-elite and elite citizens. The images of Boreas, Poseidon, and “the god with the aphlaston” in vase paintings testify that the elite espoused the national identity of Athens as a naval power.
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