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The Piraeus Artemis refers to two bronze statues of Artemis excavated in Piraeus in 1959, along with a large theatrical mask (possibly in honor of Dionysus) and three pieces of marble sculptures. Two other statues were found in the buried cache as well: a larger-than-lifesize bronze Late Archaic Apollo (Piraeus Apollo) and a similarly sized bronze fourth century-style Athena.〔Boardman, John. Greek Sculpture; The Late Classical Period And Sculpture in Colonies and Overseas. London: Thames and Hudson, 1995. pp. 71〕 Both statues are now exhibited in the Archaeological Museum of Piraeus. Piraeus possessed a primary seaport, Cantharus, and, due to the foreign influence of trade and the mercenary garrison on Munychia hill, the city was also entry point for new cults in Attica.〔Garland, Robert. The Piraeus: from the fifth to the first century B.C. London, Gerald Duckworth & Co. Ltd., 1987. pp. 104〕 It has been theorized that this cache was a shipment that may have been overtaken when the Roman general, Sulla, sacked Piraeus in 86 B.C.E. However, since the various statues date from a time span of approximately five centuries, it could not have been shipped on private commission. It is possible that these bronze cult statues all come from one sanctuary that had been dedicated over the centuries before the collection was removed in the first century B.C.E. The cache could have been transported to Piraeus from almost anywhere, though as there are two representations of Artemis and one of Apollo, it's thought that the cache may be from Delos, the divine twins' birthplace.〔Houser, Caroline. Greek Monumental Bronze Sculpture. New York: The Vendome Press, 1983. pp. 50-51〕 Both Artemis statues are thought to be Hellenistic due to the hairstyle and stance, and both show a full-bodied Artemis with a long skirt that covering her legs.〔Boardman, John. Greek Sculpture; The Late Classical Period And Sculpture in Colonies and Overseas. London: Thames and Hudson, 1995. pp. 71.〕 While the Artemis A figure is similar to the others in the collection and larger than life, the Artemis B statue is somewhat smaller than life-size. == Artemis, Goddess of the Hunt == Artemis, a virgin goddess who kept away from men and civilization, signifying the wild aspect that was always apparent in Ancient Greek culture, came to be worshipped as a huntress and a sanctifier of solitude.〔Paris, Ginette. Pagan Meditations: The Worlds of Aphrodite, Artemis, and Hestia. Dallas, Texas: Spring Publications Inc., 1986. pp. 110.〕 She was associated with young women and girls and biological maturation, and both Piraeus Artemis statues show the goddess as a curvaceous woman, not a wild young girl. The anger of the goddess was also feared and recounted in legends, and part of the worship consisted of appeasing the goddess.〔Cole, Susan Guettel. "Domesticating Artemis." Sue Blundell, Margaret Williamson. The Sacred and the Feminine in Ancient Greece. London and New York: Routledge, 1998. 27-43.〕 The statues convey this aspect; though in both depictions Artemis's stance is approachable, she carries her weapon, showing her ability to quickly withdraw favor. Often worshipped close to territorial frontiers and a little aways from settlements, female worshippers of Artemis were frequently in danger; a necessary aspect that came with worshipping the goddess.〔Jost, M. "The Distribution of Sanctuaries in Civic Space in Arkadia." Osborne, S. Alcock and R. Placing the Gods: Sanctuaries and Sacred Space in Ancient Greece. Oxford: Oxford, 1994. 217-230; Cole, Susan Guettel. Landscapes, Gender, and Ritual Space: The Ancient Greek Experience. London: University of California Press, 2004. pp.178-197.〕 Several theories attempt to explain the placement of Artemis's sanctuaries. M. Jost proposed that the temples on borders are associated with Artemis as a huntress and separating her from the temples in low, marshy areas honoring her as a fertility goddess.〔Jost, M. "The Distribution of Sanctuaries in Civic Space in Arkadia." Osborne, S. Alcock and R. Placing the Gods: Sanctuaries and Sacred Space in Ancient Greece. Oxford: Oxford, 1994. 217-230; Cole, Susan Guettel. Landscapes, Gender, and Ritual Space: The Ancient Greek Experience. London: University of California Press, 2004. pp.178-197.〕 However, Frontisi proposed that the location represents the goddess's realm as transitioning between nature and civilization.〔Frontisi-Ducroux, F. 1981. Artémis bucolique. RHR 198: 25-56; Cole, Susan Guettel. Landscapes, Gender, and Ritual Space: The Ancient Greek Experience. London: University of California Press, 2004. pp.178-197.〕 The goddess's reputation as not only a protector but a huntress becomes much clearer in fourth-century statuary.〔Boardman, John. Greek Sculpture; The Late Classical Period And Sculpture in Colonies and Overseas. London: Thames and Hudson, 1995. pp. 71〕 Though the two Piraeus Artemises are portrayed in long dresses, it is perfectly clear from her bow and quiver that she is a huntress, while other statues of Artemis depict her in a short or double-belted dress and indicate a more active Artemis. The goddess was both wild and a peaceful, a key aspect of civilization, and these statues reflect this idea by showing her as strong and womanly, approachable and dangerous, capable of protecting or punishing her worshippers. 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「Piraeus Artemis」の詳細全文を読む スポンサード リンク
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