Gkikaki, Mairi (2014) Die weiblichen Frisuren auf den Münzen und in der Großplastik der Klassischen und Hellenistischen Zeit. Typen und Ikonologie. In: Die weiblichen Frisuren auf den Münzen und in der Großplastik der Klassischen und Hellenistischen Zeit. Typen und Ikonologie. Archaeologie Internationale (126). Rahden/Westf: Marie Leidorf Verlag . ISBN 9783896465405

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Abstract

Summary

This study deals with the hairstyles of women in Greek antiquity. Although they are not that different from modern hairstyles, they attract our attention as they are numerous and have definitely changed in the course of time. The striking types that existed can be traced in numerous artifacts and monuments.
For a better understanding of them, they are conveniently categorized in four main types, which accounts for the division of the study in four main chapters: the wreath-like coiffure, the pony-tail, the bow-knot and the melon-coiffure. Chronologically they range from the 5th century B. C. into late Hellenistic times. For the purposes of an accurate positioning in time each chapter was divided into three large sections: coins, reliefs and plastic in the round.
The coins offer the necessary terminus post quem which is confirmed by the large scale art. Interestingly, all the hair styles mentioned above are deeply rooted in the Classical and late Classical tradition. Latest among them is the melon-coiffure, whose beginnings should be placed a little after the middle of the 4th century. The earliest is the wreath-like coiffure that can be traced back to the Severe Style.
The overall examination of the archaeological evidence offers insights into possible meanings. The iconography, the function and the context of the figures are in the focus of investigation and form the tools for the understanding of the coiffures as social identification marcs. The nature of this study is thus art historical, archaeological and methodological.
Whereas it is for example true that the wreath-like hairstyle swept up from the forehead that bouncy frames the face was conveniently worn without distinction by young and old, by unmarried and married women, it should be noted that hairstyles have from a very early time played an ingenious role in order to differentiate young girls of marriageable status.
These luxurious and festival hair styles morphologically have the following features in common: the abundance of hair growth, the accentuation of the forehead, the plaits.
Eirene of Kephisodot demonstrates nicely the phenomenon of the invention of a new hairstyle for a youthful goddess that for the needs of cult practice was meant to be perceived as such.
The long braid at the nape of the neck was used for goddesses and mortal women alike. But the accent is placed on the status of the unmarried girl. Although the examples are numerous and range from early Classical to Late Hellenistic Times, prominently among them figure the Korai of the Erechtheion.
The pony tail appears since the late 4th century not only for youthful goddesses like Nymphs, Nike and Artemis, but also for small girls – still children – and women in marriageable age.
The bow knot and the melon coiffure should be thought of as the result of the continuously growing representation of women in the public sphere during the 4th century B. C. The late Classical period marks a turning point for the female Greek portraiture. Girls of marriageable age from renowned families are publicly recognized through votives and grave statues. Gestures, pose, costume, coiffure no less than inscriptions offer the young individuals an exclusive iconography.
The bow knot coiffure is adequately appreciated early enough for young goddesses. But it would become famous as the typical hairstyle of Aphrodite in Hellenistic times.
The melon-coiffure makes its appearance primarily as a portrait hair style in honorific or grave representation but also with representations of young goddesses. But the culmination is to be found in the Ptolemaic portraiture of the 3rd century B. C., when the melon coiffure will function as communicator of ideological and propagandistic messages.
The present study also offers new insights on the question of the ancient terminology. So the assumption that “Krobylos” is to be associated with the typically Aphrodite and Apollon hairstyle is seriously questioned. The first meaning of the name was a man’s hairstyle that at the time of Thucydides and Aristophanes was already considered old-fashioned. In late Classical and Hellenistic times it was generically used to designate the knot.
The distinctive melon-coiffure is here tentatively associated with the “διάκρισις” of the ancient texts.
The controversial and exciting body of evidence allows a text that deals with the many parameters of the ancient iconography, using the dominant frameworks of contextual analysis of archaeological thought. It is a history of taste for some aspects of the Greek antiquity and for the reader who is more familiar with the art of Roman times it offers an important body of evidence for the beginnings of morphological phenomena and tastes of the Roman Empire.

Item Type:	Book Item
Subjects:	C Auxiliary Sciences of History > CB History of civilization C Auxiliary Sciences of History > CC Archaeology C Auxiliary Sciences of History > CJ Numismatics N Fine Arts > N Visual arts (General) For photography, see TR
Divisions:	Faculty of Arts > Classics and Ancient History
Series Name:	Archaeologie Internationale
Publisher:	Marie Leidorf Verlag
Place of Publication:	Rahden/Westf
ISBN:	9783896465405
Book Title:	Die weiblichen Frisuren auf den Münzen und in der Großplastik der Klassischen und Hellenistischen Zeit. Typen und Ikonologie
Official Date:	2014
Dates:	Date Event 2014 Published
Number:	126
Status:	Peer Reviewed
Publication Status:	Published
Access rights to Published version:	Restricted or Subscription Access

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