#hellenistic art

Marble group of Aphrodite, Pan and Eros (ca. 100 BC) Discovered in 1904 within the Establishment of the Poseidoniasts of Beirut on the island of Delos, this Parian marble masterpiece stands as a prime example of Hellenistic "Rococo" sculpture. The composition depicts the goat-legged god Pan making amorous advances toward a naked Aphrodite, who playfully fends him off by brandishing her sandal.

New article online! One night, somewhere in the uplands of southwestern Iran, a king came looking for treasure. The target was a temple; ancient, wealthy, and deeply embedded in the life of the surrounding community. Inside, it was said, lay stores of silver and gold accumulated over generations. For a ruler under pressure, it must have seemed like a solution waiting to be claimed. But the king never left alive. This episode, associated with Antiochus III the Great (r. 223-187 BCE), is more than a dramatic anecdote, it captures, in a single moment, a tension that ran through the Seleucid Empire: the uneasy relationship between royal power and sacred wealth.

Medici Venus, Parian marble (early 1st century B.C.) The Medici Venus is a 1st-century BC marble sculpture of Aphrodite and a famous example of the "Venus Pudica" (modest Venus) pose. It depicts the goddess caught by surprise while bathing, a composition that later inspired Renaissance masters like Botticelli.

"While scholarly debate continues regarding the number of Diodotid rulers, literary sources inform us that the first dynasty of Bactria came to an end with the usurpation of Euthydemus I, probably around 220 BCE.2 Compared to most Bactrian kings, we possess considerably more information about Euthydemus, and it is clear that he was one of the most significant rulers of the Bactrian kingdom, likely enjoying a lengthy reign.

The main reason we have even a partial picture of Euthydemus’ reign is due to the eastern expedition (anabasis) of the Seleucid ruler Antiochus III (223-187 BCE), which brought him into direct conflict with the Bactrian king. Antiochus’ goal was to reclaim the eastern satrapies that had broken away from Seleucid control decades earlier, and Bactria—with its wealth and strategic position—was a prime objective."

-Harald Blot, The Making of a Kingdom, Bactrian Independence under the Diodotid dynasty and consolidation under the Euthydemid dynasty

Read the full article here: https://alongthesilkroad.com/2025/10/02/the-making-of-a-kingdom-bactrian-independence-under-the-diodotid-dynasty-and-consolidation-under-the-euthydemid-dynasty/

A GREEK GOLD PLAQUE WITH ENAMEL INLAYS

HELLENISTIC PERIOD, CIRCA 3RD-2ND CENTURY B.C.

Fragment of Scylla statue and her victim, likely one of Odysseus’ crew mates. 2nd century BCE —1st - 2nd century CE. Marble, foundation sculpture. Ashmolean Museum, University of Oxford. 

Some ancient art survives intact; some ancient art survives in pieces or fragments. Reflecting on my mental health, I sympathise with this Scylla sculpture.

She has an acanthus leaf skirt, a common attribute of Scylla depictions. The paws of her dogs have survived. Behind her, her two tails rise, likely in a style similar to this Roman gem. According to “The Odyssey and Ancient Art,” this group was likely part of a fountain sculpture. 

Further reading

Buitron-Oliver, Diana. The Odyssey and Ancient Art: An Epic in Word and Image. Annandale-on- Hudson, NY: Edith C. Blum Art Institute, Bard College, 1992. Figure 53.