Symbolism of Aphrodite in Western Culture: Opinion Essay

Aphrodite

Aphrodite, the Greek goddess is the epitome of sexual love, beauty, pleasure, and passion. These female qualities are as relevant today as they were in Ancient Greece, and we see her as a symbol of female beauty which is to be appreciated. Her symbolism figures in western culture; in literature, we use the word aphrodisiac as something which arouses or intensifies sexual des. There are clear links between the Greek goddess Aphrodite and the Roman equivalent Venus, both influence western art, for example through Andy Warhol’s Details of Renaissance Paintings (Sandro Botticelli, Birth of Venus 1482) 1984. The screen print gives the original image a mechanical effect giving a different and modern perspective. (Gains W.V 2000) Warhol was fascinated by fame and stardom and so styled the Birth of Venus in his own unique way for the masses to appreciate. The intention being to challenge and influence individual attitudes to modern pop culture.

A Warhol details of a renaissance here and note as Figure X

Aphrodite's birth presents an array of variants; one of these works is from the poet Hesiod and his work on Theogony. It demonstrates an understanding of the birth of the gods, the creation of their world, and the creation of humankind. (Bremmer & Erskine, 2010). This variation comes from line 188 of the Theogony, the castration of the god Uranus (the Greek word for sky) (Hesiod, 700 BC). Aphrodite was born from the severed male reproductive parts of Uranus which were disposed of in the sea by his son, Cronus. He carried out this act as his mother, Gaia was frustrated with her dead children being reinterred into her by Uranus. From these severed members a young maiden arises, froth forms, and out of this comes Aphrodite. The Greek word Aphros literally translates from the Greek word “foam”. This demonstrates a clear link to Aphrodite as she arose from the foam on the genitals of Uranus. reference needed. Dr P Nugent

Painting of Sandro Botticelli, Birth of Venus 1482

The visual representation of this scene is the emergence of Venus from the sea of foam. Botticelli named the young maiden Venus, however, we know Greek Culture preceded Roman Culture so it is not unreasonable to see the interchange of the names of Venus and Aphrodite. This interchange is supported in the works attributed to the Goddess Aphrodite. For example, Aphrodite of Knidos and the Venus de Milo sculptures were almost interchangeable as they were originally attributed to the master sculpture, Praxiteles.

The depiction, created by Sandro Botticelli, The Birth of Venus is one of the most famous pieces of art in the world due to its alluring form. It represents love coming to the world, however, we generally relate love and beauty to Aphrodite (Cyrino, 2010). The contrast of the background to Venus’s pale skin accentuates her pallor; a noteworthy feature as white skin was a symbol of the upper class and signified beauty. This painting shows the reverence with which this renaissance piece was painted this is in stark contrast to the treatment of women in Ancient Greece. The delineation of Aphrodite is better than the treatment that women would receive in Ancient Greece. In this representation, Venus wears her hair in the late fifteenth-century style which reflected Botticelli’s interest at the time. It demonstrates some progress in the rights of women from Ancient Greece. He implements nuances from this period, so introducing new themes based on classical myth. Venus’s milky form against the dark background also lends a marble-like appearance to her body, connecting her to the sculpture of Aphrodite, Aphrodite of Knidos being the original form. This point is further amplified by Winckelmann in 2019 who observed ‘The whiter the body is, the more beautiful it is as well’ (Winckelmann, 2019)

Aphrodite was also known to be independent, deceitful, manipulative as well as sensual and promiscuous. She had numerous affairs which were in stark contrast to the perceived role and function of a Goddess. With her divinity over love and lust, she made God's consort with mortal women this trickery did not go unpunished, Zeus who had ultimate power over love and desire cast a spell of desire on Aphrodite thus proving that Aphrodite did not exclusively have control of love and lust. This ultimately proved that her father had dominance over his daughter and was willing to implement this. Her behavior reinforced the question we have of; how could men believe in women if their own deity could not conform to the pre-established laws or societal rules. This encouraged forced seclusion and maltreatment of women as men would create a pseudo sphere within the domestic environment. (Meehan D. 2017) In some cultures, this continues to this day; where we see traditional domestic roles being completed by women.

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Hephaestus and Aphrodite

Zeus and Hera gave birth to Hephaestus. Hera rejected him, casting him to the earth, as she was ashamed to give birth to a cripple. Rescued and raised to be a master smith by Thetis and Eurynome, he used these talents to create an array of gifts which he sent to Olympus. One of which was the golden throne for his mother Hera (Smith, 2010). Hera, over-enthused by her splendid gift, sat upon the throne when invisible unbreakable chains bound her. She cried out to the other Olympian gods to free her but not one was capable of doing so (31). Emily can you find a primary research source and others :). This represents the issue of abandonment.

It became clear that the only one who could free her was the creator of such an intricate trap, Hephaestus (31) source?. Zeus petitioned the gods to free Hera demonstrating man’s power over women by offering up Aphrodite’s hand in marriage as a prize to anyone who was able to do so. Confident that her beloved Ares, God of War who she had been consorting with would prevail, Aphrodite accepted the terms. Ares was driven back by the Hephaestus, God of Fire, Smiths, Craftsmen, Metalwork, and Stonemasonry with a shower of flaming metal and failed the challenge (31). However, Dionysus put forward an interesting proposition to Hephaestus; that he may lay claim to Aphrodite by freeing his mother. 116 Hephaestus consented and ascended to heaven with Dionysus, released his mother, and then wedded the beautiful Aphrodite. 116 Aphrodite later committed adultery with Ares and was caught in the act by Hephaestus; this led to the banishment of Ares from Olympus. 117 It indicates Aphrodite was a possession, she was the most desirable goddess in all of Olympus. Her beauty defied all, and in doing so encouraged many to take the challenge to rescue Hera.

Pygmalion

In this myth, Pygmalion was a master sculptor of Cyprus. He followed and observed prostitutes stating that he would never fall in love with women but instead would use his talents to create a woman out of ivory (11). Pygmalion worked so long with the statue of Galatea, as time progressed it became more beautiful than any other statue or in fact any woman. With each chisel and hammer, he found the strokes that he was applying were those of affection and adorned her with gifts: he had shown his adamant distaste for females who wasted their lives in wretched shame, yet fell in love with his own creation (12). This symbolizes his contentment with loneliness which was only achieved through a warped sense of reality. This can be proven through the adornment of Galatea with inanimate objects, jewelry, flowers, and shells. When Aphrodite’s festival day came he left offerings at her altar – he did not admit his feelings for the Galatea but asked in Ovid’s poem “Give me the likeness of my Ivory Maid”. Upon his return from the altar, he kissed the statue and it turned into a woman. The goddess had granted his gift, this further consolidates her infinity for love. Aphrodite blew life into the statue and the relationship, clearly, there was more to Aphrodite than the deceitful nature we have seen. It establishes there is more to a woman than that depicted by Greek teachings; of male lust and how women are impeded by the sexualized nature that males place upon them.

Aphrodite of Knidos

The original Aphrodite of Knidos sculpture represents the first completed sculpture of a nude female form. It is a pivotal point from which we can rank all other statues; early 19th-century art historians suggested a sequence of developments where Aphrodite became progressively undressed. We see a young male perform acts of carnal pleasures towards this marble statue symbolizing the relationship between Greek society and women. Establishing men’s behavior towards women, where they are seen to take without consent. Women were viewed as manipulative and deceitful receiving oppressive treatment and enforced seclusion as a result. Meehan D. 2017

The ages have taken many sculptures as their victims through the advancement of time. Aphrodite in the nude is the most prominent, these sculptures represent Western Culture in the modern day. Showing the values which the West has always perceived to be important (Beard & Henderson, 2001, p. 113). Aphrodite embodies beauty, which is held in high esteem in both ancient and modern history. Aphrodite has been loved, however despite her popularity Zeus had the power. She symbolizes wealth and privilege within society along with eternal loveliness and the sublime aesthetics which is shown through the nude sculptures. Aphrodite of Knidos is often attributed as being the first female nude sculpture that is sexualized. Emily & duiness please find the source!!

This sculpture follows centuries of repressed female nudity, the modest pose of Aphrodite commands attention as it invokes feelings of desire and lust in man. Almost encouraging erotic or titillating notions about the female form, the most notable gesture is the right hand covering the female sexual anatomy out of modesty and fear. Her gaze is soft and to the left, as she remains serene in her modesty and declines to engage with the viewer. The entirety of the goddess is gorgeous, this overwhelms the viewer as she is the epitome of harmonious feminine features. The flawless attributes of the cream-white ivory maiden represent purity and also the man’s sexual desire toward the unblemished woman. This is in stark contrast to the sculptures of Atlas and Hercules where the focus is on the male physique, atonements, and accomplishments. Aphrodite instilled in men a need to voluntarily exhibit their protective nature towards women; to fight and protect them. However, it is also disparaging as it was clear men and women were not viewed as equals, and women were considered subordinate. This is dehumanizing and demoralizing and perpetuates future notions of gender inequality.2