The Story Behind The Aphrodite of Knidos
Sixth form can be seen as a tedious and arduous stepping stone a student takes in their academic journey towards university. While taking my A Levels, one of the subjects I studied was Classical Civilisation. Despite the impending exams, I found myself thoroughly enjoying learning about ancient Greece. During those two years, I delved into a variety of topics, ranging from ancient Greek art and the works of Homer and Virgil to the Politics of the Late Republic. There was something satisfying in telling people you studied ‘Classical Civilisation’. As if it held a sophisticated edge to it from the standard History or Geography. I bragged that I was learning about a civilization that established the very standards of art and literature we use to this day. However, as the weeks before my first exam approached, my arrogance about the subject soon turned into anguish, when I realised that multiple dates I had to remember from 600 BC to 40 BC along with each significant event within those years, were easier said than done.
Still, I learned a lot from the subject, and it furthered my interest in history and archaeology. One of my favourite sculptures I remember studying in Greek Art (and which was one of the most visually satisfying) is the Aphrodite of Knidos. Created in 305 BCE by the sculptor Praxiteles, this large-scale contrapposto sculpture depicts Aphrodite bathing. Her body follows a satisfying ‘S’ curve, and she stands with her left leg relaxed. She holds a towel in her left hand, and her right hand covers her pubic area. Her slightly slouched posture reflects the ease and vulnerability of this moment. She is shown to be unaware that she is being watched, emphasising the invasiveness of this vulnerable moment; we the viewer are prying and have become the watchers. This portrayal humanises the Gods by depicting them engaging in an everyday activity, like bathing.
The drapery is especially impressive. I have always been in awe of the way sculptors, especially those working in the Hellenistic period, are able to replicate the flow and movement of fabric so convincingly. The folds of the drapery, moving from her hand to around the top of the hydra, suggest the relaxed, almost nonchalant serenity in the act of bathing, furthering the sense of natural movement.
Due to its popularity, the sculpture has been at the centre of several fictional theories and stories. It has been suggested that Praxiteles must have seen Aphrodite in real life because of the sculpture's striking accuracy and aesthetic realism. Antipater of Sidon writes an epigram about the sculpture about Aphrodite reacting to seeing herself in marble form: ‘As Venus looked upon the Venus of Knidos she said: “Alas! How came Praxiteles see me bare?”’, even Aphrodite herself is astounded and convinced he has seen her, emphasising Praxiteles’ precision and skill.
This idea of Praxiteles sculpting Aphrodite from having seen her in real life adds a layer of allure to the sculpture. Ovid’s Metamorphoses (a poem about transformations in Greek stories), tells the story of Actaeon accidentally seeing Artemis bathing on Mount Cithaeron. Having been caught by her he is turned into a stage and pursued and killed by hounds. This story is a reflection on the dangers of spying on an immortal, so the fact that he is able to capture her likeness so well without being caught highlights his exceptional skill and adds layers of story to the sculpture.
The sculpture is seen to be an symbol of sensuality and naturalism and therefore led to scandal. While nudity in sculpture was not uncommon at the time, it was mostly to show off the male anatomy, making the depiction of female nudity a relatively new and daring thing. So, the sculpture was originally commissioned and then later rejected by the people of Kos. It was eventually installed in the Anatolian city of Knidos (modern-day Turkiye).
This sculpture stands is an example of profound beauty, and therefore impacted the standards of the ideal female figure in ancient Greek society. Pliny the Elder describes the statue as being the finest statue in the world. The voluptuous curves around her stomach and thighs, her full breasts, and the serenity in her facial expression (especially this; calmness was valued most), all contribute to the sculpture's success; her figure was one to be celebrated and to be looked upon with awe.
Aphrodite, also known as Venus in Roman mythology, is the symbol of passion, prosperity, beauty and lust. There are various accounts of her creation and birth, but the one I learned about comes from Homer’s Iliad, which I will focus on in this context.
In this epic, Aphrodite is arguably perceived as a troublemaker. During the wedding of Peleus and Thetis, Eris, the god of discord, who was not invited, throws a golden apple down into the crowd with the words ‘fairest’ inscribed on it, the intention being that the most beautiful immortal there is to have it. Hera, Athena and Aphrodite each argue over it, so Zeus decides to give the decision to Paris (Prince of Troy), who is recognised for his fairness. Each goddess bribes him with different deals and he ultimately chooses Aphrodite, who has promises to give him the most beautiful mortal wife in the world - Helen of Troy, who is unfortunately married to King Menelaus of Sparta. She runs away with Paris, leaving Menelaus, which ultimately starts the Trojan War, etcetera etcetera.
While her literary representation might not be the most flattering, her sculpted representation is one to remember. This piece is truly a marvel to behold and serves as a fantastic reflection of Praxiteles’ skill as a sculptor. It captures the beauty of the natural female form and the serene grace of the goddess, making it an iconic example of successful Hellenistic art.
