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The Grave Stele of Hegeso, most likely sculpted by Καλλίμαχος, is renowned as one of the finest Attic grave stelae surviving (mostly intact) today. Dated from ca. 410 - ca. 400 BCE, it is made entirely of Pentelic marble. It stands 1.56m high and .97m wide, in the form of a ''naiskos'', with pilasters and a pediment featuring palmette acroteria. The relief, currently on display at the National Archaeological Museum in Athens (NAMA 3624) was found in 1870 in the Kerameikos in Athens, which now houses a replica of it. In its current condition, it is almost complete, but has been restored around its edges. The plinth has mostly broken off and there is slight damage on the head of Hegeso. The main shows a mature Athenian woman (Hegeso) wearing a chiton and himation, seated on a chair with her feet resting on an elaborate footstool. In her left hand, she holds an open ''pyxis'', and in her right she holds a piece of (missing) jewelry that was originally painted, at which she is directing her gaze. Opposite her, on the left, stands a maidservant wearing a tunic and a headdress described as either a snood or ''sakkos''. The maidservant is presenting the ''pyxis'', on the knees of Hegeso. On the epistyle there is an epitaph, ΗΓΗΣΩ ΠΡΟΞΕΝΟ, stating that the deceased is Hegeso, daughter of Proxenios. In general, stelae can be seen as a retrospective funerary art, that typically articulate a society's ideals of social living through their depiction of a domestic sphere. Compared to other non-civic art of the ''oikos'' (home), such as non-funerary red-figure painted pottery, stelae were obviously more fixed/permanent monuments, displayed outdoors for public viewing, and are constructed by a family for a specific person, making them far more expensive and exclusive than pottery.〔 While their medium, context, and style associate stelae with the ''polis'' (city), their iconography is of the ''oikos''. This paradox, as well as the prominence of women on gravestones, has led many scholars to focus on an analysis of the virtues designated to different genders on the stelae. == Layout of cemetery / Historical Context == During the early fifth century BCE, Athenians adopted a simpler style of tomb markers and there was a sharp decline in the amount of difference in wealth between individuals or families, reflected by grave goods. Death had a unifying factor (with every social class represented equally in burial) up until the beginning of the Peloponnesian War in 431. Around this time, sculptors once again began creating grave monuments with considerable skill and quality. Periboloi, or family grave enclosures, were used more often in the fourth century to emphasize sentiments of democracy and family ideals/values. However, these ostentatious representations ended abruptly in 317, when Demetrios of Phaleron banned any more elaborate mausolea. A peribolos tomb has a high wall facing onto a road, which essentially retains the earth fill piled behind it. The front wall is far higher than the three rubble walls surrounding the rectangular burial area, which contain the graves and provide space for family gatherings at funerals or other celebrations for the dead. Since people on the street could only view the front wall, families often created a facade of careful and elaborate masonry work, also shown in the reliefs of the funerary markers that would face the street in a row above, just behind the front wall. From the interior of the plot, one could only see the roughly cut backs of the stelae. Closterman has analyzed the iconography from classical Athenian tombstones within the periboloi plots, and found that these stelae most often do not focus on representing dead individuals, but rather display "the ideal roles of the family in the context of the civic world." As one can see from the modern replica in the Kerameikos, the monument of Hegeso would have been viewed within a peribolos tomb, facing the Street of Tombs on the left of the stele for Koroibos of Melite, a deme in the west of Athens. Though his rosette stele only lists Koroibos, his sons, and grandson (up to possibly five generations) in the inscription, most label Hegeso as the wife of Koroibos. The ambiguity in the inscription and depiction could also have been purposeful, so that Hegeso could memorialize not just one woman, but instead represent the qualities of all the unnamed wives of male descendants from the Koroibos stele. Since Athenians measured the level of public responsibility a citizen felt for the polis by his private actions, a citizen would feel motivated to create stelae in periboloi (like that of Hegeso) in order to convey persistent care for family members by displaying them together in a row, connecting numerous generations. Furthermore, the size and quality of Hegeso's stele indicate that her family was more wealthy and important than most. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Grave Stele of Hegeso」の詳細全文を読む スポンサード リンク
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