PaNATHENAIA-THE ICONOGRAPHY OF PROCESSION?
The Panathenaia (all - Athenian festival), was the most important festival celebrated in ancient Athens. Panathenaic Festival was founded in 566/565 BC by the tyrant Peisistratos and celebrated annually in honor of the city’s patron deity, Athena. During the years, Panathenaia was celebrated on a much greater scale by the addition of many competitive events and new religious celebrations with the name ‘’Great Panathenaia’’. The Parthenon frieze is the most brilliant representation of the Panathenaia. Due to the fact that the theme of the frieze is unique and because there is no literary testimony as to its exact subject, the frieze has been under a vigorous debate and has been interpreted in different ways as mythical, historical or idealized. Does the Parthenon frieze represent the Panathenaic
procession? Is the frieze an idealized rendering of a contemporary and recurring
event? These questions consist only one part of the debate among
scholars who tried to explain the Parthenon frieze.
The historical context
The Parthenon was built over the foundations of an older building that was destroyed by the Persians c.480-479 BC and it was a Periclean project. As far as the frieze is concerned it is generally agreed that the frieze was sculpted c. 442-438 BC. The basic subject was probably clear to the fifth-century Athenians but is extremely complicated for the modern generations. In order to understand the frieze, one must first focus on the Panathenaic Festival and especially on the procession that took place on the Athena's birthday, on the 28th Hekatombaion - roughly July.
Starting from the Kerameikos and following the Panathenaic way the procession crossed through the Agora and finishing at the Acropolis. All members of the society had their own place in the Panathenaic procession; men, women, young and old people were there to celebrate Athena’s birthday. The most important part of the festival was the presentation of the peplos, a large piece of material woven over a period of nine months by women and girls from the most distinguished families of Athens, the ergastinai and arrephoroi. The peplos was offered to the xoanon (wooden image) of Athena kept in the Erechtheion and a great sacrifice followed; more than one hundred cows and sheep were slaughtered at the Great Altar.
The Parthenon was built over the foundations of an older building that was destroyed by the Persians c.480-479 BC and it was a Periclean project. As far as the frieze is concerned it is generally agreed that the frieze was sculpted c. 442-438 BC. The basic subject was probably clear to the fifth-century Athenians but is extremely complicated for the modern generations. In order to understand the frieze, one must first focus on the Panathenaic Festival and especially on the procession that took place on the Athena's birthday, on the 28th Hekatombaion - roughly July.
Starting from the Kerameikos and following the Panathenaic way the procession crossed through the Agora and finishing at the Acropolis. All members of the society had their own place in the Panathenaic procession; men, women, young and old people were there to celebrate Athena’s birthday. The most important part of the festival was the presentation of the peplos, a large piece of material woven over a period of nine months by women and girls from the most distinguished families of Athens, the ergastinai and arrephoroi. The peplos was offered to the xoanon (wooden image) of Athena kept in the Erechtheion and a great sacrifice followed; more than one hundred cows and sheep were slaughtered at the Great Altar.
The iconography of the frieze
The scenes of the frieze run in two streams down the long sides of the Parthenon and are developed of over a surface 160 m. long, in a composition consisting of 378 human and divine figures and 250 animals, mainly horses. The Parhenon frieze can be divided into the following units: on the west side the preparations and formations; on the two long sides the procession itself; and on the east side the most important ceremony of the festival-the peplos scene.
The larger part of the frieze is devoted to the cavalcade of horsemen and chariots. All the west side is occupied by cavalcade while horsemen appear also in the north and south sides of the frieze. These horsemen are organized in ranked groups and are divided into ten groups according to their dress. The cavalry procession is followed by the chariots.This depiction is connected with the apobates contest that took place during the festival.
The sacrificial procession comes next, the sacrificial animals accompanied by people holding offerings for the goddess and musicians. Gods and goddesses are also present in the frieze but in contrast to the rest of the figures, the gods are seated. Finally, in the center of the east frieze is depicted the handing over of the peplos that is the main cult scene of the whole depiction. Here, two figures are depicted holding the peplos, the most dominant theory is that the child gives the peplos to the male figure.
The scenes of the frieze run in two streams down the long sides of the Parthenon and are developed of over a surface 160 m. long, in a composition consisting of 378 human and divine figures and 250 animals, mainly horses. The Parhenon frieze can be divided into the following units: on the west side the preparations and formations; on the two long sides the procession itself; and on the east side the most important ceremony of the festival-the peplos scene.
The larger part of the frieze is devoted to the cavalcade of horsemen and chariots. All the west side is occupied by cavalcade while horsemen appear also in the north and south sides of the frieze. These horsemen are organized in ranked groups and are divided into ten groups according to their dress. The cavalry procession is followed by the chariots.This depiction is connected with the apobates contest that took place during the festival.
The sacrificial procession comes next, the sacrificial animals accompanied by people holding offerings for the goddess and musicians. Gods and goddesses are also present in the frieze but in contrast to the rest of the figures, the gods are seated. Finally, in the center of the east frieze is depicted the handing over of the peplos that is the main cult scene of the whole depiction. Here, two figures are depicted holding the peplos, the most dominant theory is that the child gives the peplos to the male figure.
Idealized or not? One part of the debate
For a long time there was a general agreement that the Parthenon frieze represents an idealized Panathenaic procession of the 5th century that shows a general picture of the Athenian glory during the Periklean age. Although during the last years many scholars have challenged this idea.
Jenifer Neils in her book ‘’The Parthenon Frieze’’ stresses that most scholars neglect the visual language of the Parthenon frieze; an essential tool for a full understanding of the monument’s iconography. According to Neils it is the Panathenaic procession that is depicted in the frieze and the peplos is the answer to the whole interpretation. Although she admits that the chariots introduce the element of contest, she believes that the artist wanted to demonstrate their skills rather than to depict an actual race.
In her in-depth examination of the frieze, Neils explains that ‘’ the designer was attempting to show the real event, not some idealized construction’’. She claims that some figures of the frieze are so specific that the only thing someone can imagine is the real procession and she connects her argument with some depictions on Attic vases that represent the Panathenaic procession as well.
Tom Stevenson in "The Parthenon Frieze as an Idealized, Contemporary Panathenaic Festival" restates the traditional view of the idealized Panathenaic procession that was very popular in the eighteenth century, but he adds the very important modification that the frieze depicts the whole Panathenaic festival and not only the procession.
In the first page of the article, Stevenson claims: ‘’…the best interpretation of the frieze is that it represents an idealized contemporary Panathenaic festival - ‘festival’ rather than ‘procession’ for some figures evoke sporting competition more immediately than religious procession, and ‘idealized’ in the sense of a de-personalized, ennobling, often calm and youthful depiction.’’ His main argument is based on the general acceptance that the central part of the east frieze depicts the peplos-incident and that the chariots (apobatai) refer to the agonistic aspects of the festival. Thus, the frieze represents the Panathenaia as a whole since it combines sport and religion.
For a long time there was a general agreement that the Parthenon frieze represents an idealized Panathenaic procession of the 5th century that shows a general picture of the Athenian glory during the Periklean age. Although during the last years many scholars have challenged this idea.
Jenifer Neils in her book ‘’The Parthenon Frieze’’ stresses that most scholars neglect the visual language of the Parthenon frieze; an essential tool for a full understanding of the monument’s iconography. According to Neils it is the Panathenaic procession that is depicted in the frieze and the peplos is the answer to the whole interpretation. Although she admits that the chariots introduce the element of contest, she believes that the artist wanted to demonstrate their skills rather than to depict an actual race.
In her in-depth examination of the frieze, Neils explains that ‘’ the designer was attempting to show the real event, not some idealized construction’’. She claims that some figures of the frieze are so specific that the only thing someone can imagine is the real procession and she connects her argument with some depictions on Attic vases that represent the Panathenaic procession as well.
Tom Stevenson in "The Parthenon Frieze as an Idealized, Contemporary Panathenaic Festival" restates the traditional view of the idealized Panathenaic procession that was very popular in the eighteenth century, but he adds the very important modification that the frieze depicts the whole Panathenaic festival and not only the procession.
In the first page of the article, Stevenson claims: ‘’…the best interpretation of the frieze is that it represents an idealized contemporary Panathenaic festival - ‘festival’ rather than ‘procession’ for some figures evoke sporting competition more immediately than religious procession, and ‘idealized’ in the sense of a de-personalized, ennobling, often calm and youthful depiction.’’ His main argument is based on the general acceptance that the central part of the east frieze depicts the peplos-incident and that the chariots (apobatai) refer to the agonistic aspects of the festival. Thus, the frieze represents the Panathenaia as a whole since it combines sport and religion.
Conclusion
The Parthenon frieze has been the subject of intense study for over two hundred years. Lack or fragmentary written documentation about the monument motivated many scholars to express divergent and sometimes contradictory interpretations. Whatever view one chooses regarding the meaning of the frieze, the point is that the frieze is a unique monument in size and complexity in the entire Greek world.This important monument combines sporting competition with religious ceremony and transmits various messages to the viewer.The frieze is a product of the Periklean Acropolis, and its subject should be clear to the fifth-century Athenians so, it is very possible that the frieze explores the issues of these times with a combination of originality and idealism.
The Parthenon frieze has been the subject of intense study for over two hundred years. Lack or fragmentary written documentation about the monument motivated many scholars to express divergent and sometimes contradictory interpretations. Whatever view one chooses regarding the meaning of the frieze, the point is that the frieze is a unique monument in size and complexity in the entire Greek world.This important monument combines sporting competition with religious ceremony and transmits various messages to the viewer.The frieze is a product of the Periklean Acropolis, and its subject should be clear to the fifth-century Athenians so, it is very possible that the frieze explores the issues of these times with a combination of originality and idealism.
References
Jenkins J. D. (1994), The Parthenon Frieze
Neils. J. (2001),The Parthenon Frieze
Stevenson T. (2003), ''The Parthenon Frieze as an Idealized Contemporary
Panathenaic Procession'',Sport and Festival in the Ancient Greek World p. 233-280
Valavanis P. (2004), Games and Sanctuaries in Ancient Greece
Source of the banner image:http://el.wikipedia.org
Written by K.B.
Jenkins J. D. (1994), The Parthenon Frieze
Neils. J. (2001),The Parthenon Frieze
Stevenson T. (2003), ''The Parthenon Frieze as an Idealized Contemporary
Panathenaic Procession'',Sport and Festival in the Ancient Greek World p. 233-280
Valavanis P. (2004), Games and Sanctuaries in Ancient Greece
Source of the banner image:http://el.wikipedia.org
Written by K.B.