The Goddess of Victory in Greek and Roman Art

Töpfer, Kai M.

doi:10.1007/978-3-319-11632-7_1

Cited by 4 publications

(1 citation statement)

References 2 publications

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“…16 Celebrated and supplicated for the Olympic Games, past and present, and in myriad other contexts across time and space, all related to victory, Nike enjoys great currency. As such, her likeness graces a splendid array of material objects from as far back as the fifth century BC and as recent as 2020 (see, e.g., Scott 2017;Dubois 2016;and Töpfer 2015). Nike herself constitutes a currency, we might even say.…”

Section: Victory To the Olympic Male Sumo Wrestlermentioning

confidence: 99%

Japan’s Sacred Sumo and the Exclusion of Women: The Olympic Male Sumo Wrestler (Part 1)

DeWitt¹

2021

Religions

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The 2020 Summer Olympic Games in Tokyo offer a fitting and timely point of departure to consider the religion-based exclusion of women and, by extension, to peer into the nation-culture-religion-gender nexus in Japan. The Japan Sumo Association, a quasi-governmental corporation, champions itself as the custodian of a divine affair cultivated by male deities and mortal men, and exclusive of women. The Sumo Association bans women and girls from entering or even touching the wrestling ring, lest they violate sumo tradition and taint their so-called sacred battlefield. Critics of sumo’s female taboo denounce the Association’s rule as anachronistic and sexist as well as illegal. The opposition focuses attention on the need for change, and justifiably so, but there exists an equally pressing need to think about why the ban prevails even with strong opposition. Olympic presentations of the male sumo wrestler open our eyes as to one such abetting force: persuasive and politically expedient visions of sumo wrestling as an ancient, sacred, and exclusively male endeavor.

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Section: Victory To the Olympic Male Sumo Wrestlermentioning

confidence: 99%

Japan’s Sacred Sumo and the Exclusion of Women: The Olympic Male Sumo Wrestler (Part 1)

DeWitt¹

2021

Religions

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Nike/Victoria representations in Late Antique Central Balkans

Gavrilovic-Vitas,

Andjelkovic-Grasar

2023

Starinar

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During the archaeological excavations in the north-eastern part of the thermae at Constantine the Great?s villa in Mediana, in the 2022 campaign, in a layer of debris two fragments of marble relief with a representation of Nike/Victoria standing on a globe were discovered. The fine grain white marble used for the icon, with its exquisite modelling, suggest that it was made from expensive marble by the hands of a skilful artisan in the period from the 3rd to the 4th century. The fact that the relief was discovered in the area of an imperial residential complex relates it to other known Central Balkan finds with Victoria representations, discovered in Galerius? imperial domain Felix Romuliana and Moesia Superior?s capital Viminacium. All these mythological objects can be dated into the period of the 3rd and the 4th century, attesting that the goddess? symbolism did not lose any of its popularity in the period of Late Antiquity - on the contrary, it announced the transformation of the goddess into an angel and, later on, as the one who blessed the emperors during their coronation. Thus, the question of Victoria?s different roles (goddess or personification) again arises, gaining a new meaning in the early Byzantine period.

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Roman Imperial Period Nike Statue from Prymnessos

SÖNMEZ

2023

OANNES

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Roma İmparatorluk Dönemi’ne ait olan Nike heykeli Prymnessos (Sülün) antik yerleşim alanında bulunmuş olup şuan Afyonkarahisar Müzesi’nde yer almaktadır. Prymnessos antik yerleşim alanı Afyonkarahisar Merkez ilçe Sülün köyünde Phrygler tarafından kurulmuş büyük kentlerdendir. Yunan Dönemi’nde özerk, Roma İmparatorluk Dönemi’nde yarı özerk konumuyla, imparator adına bronz kent sikkeleri bastırmıştır. Eser üzerinde herhangi bir kapsamlı çalışmanın yapılmamış olması bölgedeki inanç, kült ve adak yapısının anlaşılması ve doğru anlamda çözülmesi açısından eksiklik oluşturmaktadır. Heykel Prymnessos (Sülün) antik yerleşim yerinde yerel kutsal alanların varlığını göstermektedir. Bu doğrultuda müzede bulunmakta olan heykel ele alınmış ve tanıtılmaya çalışılmıştır. Nike heykelinin sadece gövde kısmı korunmuştur. Eserin karşılaştırma örneklerinin stilistik, tipolojik ve ikonografik bir değerlendirilmesi yapılmış olup, Geç Antoninler-Erken Severuslar Dönemi’ne tarihlendirilmesi uygun görülmektedir. Bu heykel nitelik açısından değerlendirildiğinde Dokimeon atölyesine ait olduğu görülmektedir. Roma İmparatorluk Dönemi’nde özellikle askeri gücün ve başarının büyük önemi nedeniyle, Nike imgeleri sıklıkla kullanılmıştır. Tanrıça’nın sahip olduğu bu imge görsel olarak da ön plana çıkmıştır. Roma İmparatorluk Dönemi’nde sıklıkla tanrıça bir kalkan üzerine başarılı askeri kampanyalar da gösterilmiştir. Nike heykelinin özellikle Roma İmparatorluk Dönemi’ndeki önemi üzerinden değerlendirildiğinde Prymnessos antik yerleşim alanında askeri bir başarı ya da zafer üzerine tanrıçanın böyle bir heykelinin yapıldığı ve bir alana yerleştirildiğini düşünmemiz gerekmektedir.

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The Goddess of Victory in Greek and Roman Art

Cited by 4 publications

References 2 publications

Japan’s Sacred Sumo and the Exclusion of Women: The Olympic Male Sumo Wrestler (Part 1)

Japan’s Sacred Sumo and the Exclusion of Women: The Olympic Male Sumo Wrestler (Part 1)

Nike/Victoria representations in Late Antique Central Balkans

Roman Imperial Period Nike Statue from Prymnessos

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