Cambridge University Press 978-0-521-76904-4 - Art in the Era of Alexander the Great: Paradigms of Manhood and their Cultural Traditions Ada Cohen Index More information INDEX Abdalonymus, 120, 122–123, 320n6. Aeschylus Alexander Romance, 14, 312n185 See also Alexander Agamemnon, 116 Alexander Sarcophagus, figs. 52–56 Sarcophagus Oresteia,4 analogy and program on, abduction, 51–55, 162, 301 Persians, 170, 172 119–129 abductor dressed as warrior, 175 Seven against Thebes, 181 description of, 119–120 death and, 9–10 Aesop, 4 ideology of, 123, 140 of male by female, 323n42 Agamemnon, 44, 52, 113, 116, 150, parallels to, 126–127 as metaphor for marriage, 207, 181 style and composition of, 120–123 216–217, 223, 229–230, 233, Agamemnon (Aeschylus), 116 Alexander the Great 332nn163–164. See also Agatharchus, 247, 336n43 Amazon connection, 60–61, 167 individual abductions; rape Agios Athanasios, tomb, 5, 28, 244, education of, 131 absolutism, link with rape, 301 262 gaze and, 40 absorption and theatrically, 38–39 Agora of Athens, relief bowls with hunt at Bazaira, 76, 263–264, Abu Ghraib prison, 173 abduction of Persephone, 210, 281–282 Abukir medallions, 23 figs. 98, 99 as lion, 114, 116 Acanthus, animal attacks on coins hunting scene, 263–264, fig. 119 as rider in lion vignette in Tomb II, from, 96, 108, 318n135 Agrigento, red-figure calyx krater, Vergina, 262–264 Achaean, 113–114 Coghill Painter, 219–220 Scythians and, 92 Achaemenid cylinder seal, 84, fig. 29 Agrigento Painter, Attic red-figure sexual restraint of, 166–168, 182, Achaemenid motif, in Attic art, 105 dinos, 274, fig. 122 234–235 Achelous, 230–231 Ajax, 74, 183–184 theatricality and, 29 Achilles, 57, 114, 171, 178, 258 Alberti, Leon Battista, 26 on treatment of barbarians, 5 animal-like qualities of, 71 Aleppo Museum, terracotta mould wives of, 29 as lion, 7–8 from Mari, 309n65 Alexandria, 251, 263–264 and Penthesilea, 23 Alexander I, 31, 88–89, 235 tomb painting from Kom and Polyxena, 178–180 Alexander II (son of Amyntas III), 292 el-Shoqafa, 200. See also and Troilus, 180, 326n90 Alexander IV (posthumous son of Graeco-Roman Museum, Acropolis, Athens, 106–107 Alexander the Great), 265–266 Alexandria Acropolis Museum, Athens, Atarbos’ Alexander Mosaic, 3, 138, 142, Alexandrovo, painting from, base, 292–293 figs. 73, 74 295–297, fig. 133 Actaeon, 9, 160, 274 battle as rape, 162–170 Allard Pierson Museum, Amsterdam Adonis, 274, 286 battle/hunt connection on, fragment from red-figure Apulian Adorno, Theodor, 57 142–143 vase, 225–226, fig. 109 Advice to Bride and Groom (Plutarch), chiaroscuro on, 246 terracotta relief, 274, fig. 121 234 color on, 244 allegory, 180, 217, 286–287, 289 Aegae, 24, 29, 41, 187, 327n3 composition of, 162–163, 251 Alphonse V (king of Aragon, Naples, Aegina (nymph), 176 Darius on, 165–166 and Sicily), 271 Aegisthus, 116 dead tree on, 257–258 Altamura Painter, 183, fig. 80 Aelian, 33, 34 as dramatic image, 38–39 Alte Pinakothek, Munich, Rape of the Aeneid (Vergil), 21, 34, 35, 149, 155, feminization of enemy on, 170–171 Sabine Women (Deruet), 299 172 illusionism on, 251 Amazonomachy, 24, 57, 165, 301 383 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76904-4 - Art in the Era of Alexander the Great: Paradigms of Manhood and their Cultural Traditions Ada Cohen Index More information INDEX Amazons on identity of young rider in lion Apelles, 32, 80, 246, 300 and Alexander the Great, 60–61, vignette in Tomb II, 262 Aphidna, 46, 48 167 Anglo-Zulu War, 113, 143, 174 Aphrodite, 176–178, 200, 207–208, Antiope, 48–49, 51, 176, 181–182, animal attack motif 221–222, 225, 236. See also 184 apotropaic interpretation of, Venus Herodotus on, 60 111–113 Apollonius of Rhodes, 151, 252 historical basis of, 60–61, Archaic, 106–107 apotropaic interpretation, of animal 312n180 Bronze Age, 105–106, 109–110 attacks, 111–113 Thalestris (Amazon queen), 60. Classical, 111 applique,´ relief, 100–101 See also Pella, House of the on coins at Acanthus, 95–96, 108 Apollodorus, 45, 180, 218, 246 Abduction of Helen cultural valuation of animals and, Apulian red-figure amphora, Amazon Sarcophagus (Etruscan), 116–118 Iliupersis Painter, 338n80 58–60, figs. 15, 16 domestic context of, 95 Apulian red-figure column krater, Amphipolis, Tomb T VI, 197 Egyptian, 107–108 Sisyphus Group, 248–249, amphora Etruscan, 101–102 fig. 115 Apulian red-figure, Iliupersis funerary context of, 96–102 Apulian red-figure fragment, Circle of Painter, 338n80 and ideology, 115–118 the Painter of the Birth of Attic black-figure, Heracles and and immortality, 112 Dionysos, 225–226, fig. 109 golden hind, 33 man as predator and, 113–115 Apulian red-figure hydria, Group of Attic red-figure, Euthymides, and meaning, 111–113 B.M. F308, 224–225, fig. 108 53–54, fig. 13 as metaphor, 115 Apulian red-figure lekythos, Attic red-figure, Myson, 153, 175 Mycenaean, 105–106 Underworld Painter, 184 Attic-red-figure, Phiale Painter, Near Eastern, 107, 109–110 Apulian red-figure volute krater, 153, 175, fig. 70 origins of, 102–103 Iliupersis Painter, 224, black-figure Tyrrhenian, 161 popularity of, 115–116 fig. 107 red-figure Etruscan, 103–104 positive function of, 112 Arafat, Karim, 176 Amyntas I, 25–26, 88, 235, 316n99 protective function of, 115 Archaeological Museum, C¸anakkale Amyntas II, 170 Scythian, 102–103, 114, 118 C¸an sarcophagus, 123–127, figs. 57, Amyntas III, 70–71, 88, 90, 196, 243, on temples, 106–107 58 267, 292, 338n85, fig. 23 Thracian, 104 Hellenistic marble relief, Troy, 36, Amyntas IV, 132 on tombs in Corinth, 108 fig. 6. anachronism, 11 universalism of, 110 Archaeological Museum, Eretria, 176, Anacreon, 33, 34, 158, 178 animal logos,4 fig. 78 Anacreontea, 178 animals, views of, 4, 117–118 Archaeological Museum, Istanbul analogy, 4–5, 15 animal skins, 4, 74 Alexander Sarcophagus, 119–123, dance/art, 293–294 Animal Style (Scythian art), 102 figs. 52–56 in Herodotus, 22 Annales School, 80–82 Lycian Sarcophagus, 86, fig. 32 hunting animals/hunting friends, Antigonus, 235, 266 relief hydria with boar hunt, 274, 143 Antikenmuseum und Sammlung 276, pl. X rape/predation, 158–160 Ludwig, Basel, terracotta Archaeological Museum, Pella thinking/pictorial representation, relief, 100, fig. 41 Dionysus on panther mosaic, 64, 157 Antikensammlung, Staatliche 75, fig. 20 analogy and program, 22–24, 82–83, Museen, Berlin griffin mosaic, 93, 95, fig. 35 119, 127–129, 131–132, 145, Attic red-figure kylix, 31, fig. 4 lion hunt mosaic, 64–68, fig. 21 147. See also Alexander fragment of abduction frieze from Archaeological Museum, Piraeus, Sarcophagus; analogy Ilissus temple, 228 Neo-Attic marble relief, Ancaeus, 274 funerary stele of Metrodorus, 226–228, fig. 110 Anderson, J. K., 72 255–256, fig. 118 Archaeological Museum, Sofia Andreae, Bernard, 286 “Melian” relief, 274 Loukovit Treasure, 317n109 Andromache, 132, 171, 181 Antiope, 48–49, 51, 53, 60, 152, 175, Archaeological Museum, Thebes, andron, 24, 25, 29–30, 64, 75, 93, 95, 176, 181–182, 184, figs. 12, 133–136, fig. 62 146–147 78 Archaeological Museum, Thessalonik Andronikos, Manolis, 3, 127, Antipater, 92–93, 252, 268 Derveni Krater, 96–97, pl. V 189–190, 193, 194, 237, 243, Antipatros from Ashkelon, 69–70, kline from Potidaea, 93–94, 97–99, 247, 258, 340n131 fig. 22 figs. 39, 40 on identity of principal lion hunter Antiphilus, 92 Archelaus, 24–25, 170 in Tomb II, 261, 267, 271 Anyte, 50 Archilochus, 150, 178 on identity of woman in Tomb II, Apamea, Syria, 245–246 Cologne Epode, 34, 150, 231–232 266 Maison au Triclinos, 245 Ardener, Edwin, 149 384 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76904-4 - Art in the Era of Alexander the Great: Paradigms of Manhood and their Cultural Traditions Ada Cohen Index More information INDEX Argonautica (Apollonius of Rhodes), and Persephone, 207–208, 210, 225. stamnos, abduction of Helen by 252 See also Minerva Theseus, Polygnotos, 48, 51, Arimasps, 95 Athenaeus, 4, 47, 55 175, fig. 11 Aristobulus, 167 on boar hunt, 71 volute krater, labors of Heracles Aristophanes on dance, 291–292, 344n247 Workshop of the Kleophrades Lysistrata, 172–173, 232 on military prowess of women, 132 Painter, 34, fig. 5 Thesmophoriazusae, 169 on restraint of Alexander the Great, Attic vase painting, structural Aristotle 168 analysis of themes, 6 on animal forces in human Athens “attitudes,” 136, 291 behavior, 118 Stoa Poikile, painting of battle of Aurelius, Marcus, 4 on barbarians, 2 Marathon, 60. See also Aurora Painter, 160 on dance, 291 Acropolis Museum; Agora of on deer, 33, 309n74 Athens; National Bacchae (Euripides), 309n74 on difference between men and Archaeological Museum, Bacchylides, 34, 44, 190, 274 animals, 1 Athens Badian, Ernst, 266, 324, 342n170 on hierarchy, 1–2, 4–5, 116 atmospheric perspective, 247 Bakirtzis, Charalambos, 82 Historia Animalium, 116 Atropates, 60 barbarians, 2, 5, 305n21 on hunt/war metaphor, 144 Atthis (Hellanicus of Lesbos), 46 Barringer, Judith, 6 on hunting in context of Attic black-figure hydria, battle of Barthes, Roland, 10, 260, 289 recollecting, 118 Heracles and Geryon, Bartoli, Pietro Santi, engraving after on identification, 269 abduction of Helen by wall painting of abduction of on leopards, 74 Theseus, 165, figs. 75, 76 Persephone, 200, fig. 89 on lion as positive, 116 Attic black-figure lip cup, lion attacks Bartsiokas, Antonis, 196 on lions in Macedonia, 68 bull, 106, fig. 47 Basilica Aemilia, Rome, 299 on lust of horses, 49 Attic red figure Bataille, Georges, 13, 112 on metaphor, 71, 157 amphora, abduction of Corone by battle/hunt relationship, 133–134, Nicomachean Ethics, 212 Theseus, Euthymides, 53–54, 136–143 on place, 259 fig.