Statue the Marble Statue of Aphrodite, Goddess

Statue

The marble statue of Aphrodite, goddess of love, is an impressive example of Roman sculpture from the Imperial era. Although it is Roman, the Greek name of the goddess has been preserved because the artist was directly influenced by the Greek sculptural tradition. However, it is definitively Roman in its appearance based on stylistic similarities with other sculptures contemporary with it. For example, the ornate hair and headdress signify Roman imperial aesthetics. Parts of the sculpture have been damaged; Aphrodite's nose and arms are missing. This almost adds, rather than detracts from, her mysterious beauty. Aphrodite stands in a relaxed pose. She is not so much a goddess as she is a human exemplar of gentle, confident, composed strength. Her sexuality is matter-of-fact. If one word could be used to describe the statue of Aphrodite, it could indeed be the word feminist.

The statue is feminist in the sense that the goddess stands alone. She is not rendered in relation to any man. Ironically, Roman and Greek women did not enjoy the highest social status. Aphrodite is set forth as an ideal to strive toward. Her head is turned to her left, away from the viewer. However, this is a three-dimensional sculpture in the round. This means that the viewer is welcome to look at and contemplate Aphrodite from all angles, circumambulating around her body. Aphrodite is completely nude. Nothing covers her, not even a piece of drapery. She has been bathing, evidenced by the urn at her feet. Showing the goddess in a mundane position such as bathing invites the viewer to contemplate love as being available to all people. Love is not in the province of the gods alone.

Aphrodite appears as if she could already have borne children; her breasts are large and her hips wide. However, this is a feminist statue because the woman is not defined by her role as wife and mother. She does not appear with a man by her side, and she also does not appear with a child. She may or may not be married with children; the viewer does not know because it does not matter. Aphrodite is powerful in her own right. She refuses to be defined by her social roles. Her headdress suggests a regal element about her. Being rendered in marble at these dimensions also underscores the power of the woman.

The statue is also feminist in the sense that Aphrodite owns her own sexuality. She is nude and not ashamed of that fact. She belongs to no one; she is at the baths and perhaps ready to become intimate with anyone by her side. The fact that she turns to one side suggests that she might be depicted speaking to a friend or companion at the public baths. Perhaps this statue was part of a collection in which others flanked Aphrodite. Her relaxed stance shows that she is not inhibited at all. Aphrodite is comfortable with her sexuality. Roman culture was known for its public bathhouses, and its relatively promiscuous culture. Perhaps Aphrodite is being rendered as the female counter part of gods like Bacchus, god of the grape. Festivities and sex go hand in Roman society.