Archive issues

Héracles – Triton – Les Panathenées

Author: Witold Dobrowolski  |   Pages: 193–207

 

Abstract

The iconographic changes that took place in the attic art around the year 560 BC and the growth of Heracles’ popularity, have been explained, during the past several decades, by Peisistratos’ politically-motivated desire to identify with Heracles, Athena’s favourite. This interpretation was first suggested by John Boardman, who reckoned that the scene of apotheosis of Heracles, very popular during the reign of Peisistratos and his sons, representing a change from the pedestrian to the chariot mode of journeying, is the result Peisistratos’ depiction of Heracles’ return to Athens from exile in the company of Phye, a handsome woman, dressed up as Athena. Boardman’s hypothesis has been recently challenged, especially for chronology reasons. Expressing most fully the ideals of aristocracy as a social class, the figure of demigod was extremely popular in attic art. The scenes of apotheosis, interpreted nowadays as variants of the solemn processions organized by gods to celebrate their victory in the Gigantomachy, owe their popularity, after 560 BC, to the fact that the myth of Athena’s victory over the giant Asterios was a foundation myth of the Panathenaic games, reformed by Peisistratos. In our opinion, the replacement, around 560 BC, of Nereus by Triton in the battle scenes between Heracles and the half-fish sea god can be explained by the influence of the Panathenaic games on art. In particular, in the battle iconography, Heracles’ is presented as an ideal sportsman and wrestler defeating the powerful Poseydon’s son in the wrestling battle. Nereus, who is watching the battle, resembles a referee who is witnessing Triton’s surrender in the wrestling match.

 

 

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