Aphrodite Anadyomene's Special Symbolism

 My good friend Allan Gluck has been back to the Dumbarton Oaks Museum in Washington D.C. and sent us some more images from their ancient Roman collection. His images included this early 7th century necklace with a pendant depicting the Greek goddess of love Aphrodite Anadyomene crafted of gold with gemstones of lapis lazuli. Bard points out Aphrodite Anadyomene, meaning "rising from the sea" in ancient Greek, depicts a specific moment in the goddess of love and beauty's origin story.

Necklace with Pendant of Aphrodite Anadyomene, early 7th century CE photographed by Allan Gluck at the Dumbarton Oaks Museum in Washington D.C.

Necklace with Pendant of Aphrodite Anadyomene, early 7th century CE photographed by Allan Gluck at the Dumbarton Oaks Museum in Washington D.C.

Necklace with Pendant of Aphrodite Anadyomene, early 7th century CE photographed by Allan Gluck at the Dumbarton Oaks Museum in Washington D.C.

This sets her apart from other portrayals of Aphrodite in a few key ways:

1. Pose and gesture:

Emerging from the sea: Unlike many depictions of Aphrodite, which show her fully clothed or adorned, Anadyomene is emerging from the waves, often with water clinging to her skin and hair. This emphasizes her birth from the sea foam and her connection to the natural world.

Wringing her hair: A characteristic gesture of Anadyomene is wringing her wet hair, which symbolizes her emergence from the water and her newfound presence in the world. This dynamic pose adds a sense of movement and sensuality to the sculpture.

2. Symbolism:

While nudity is not uncommon in depictions of Aphrodite, Anadyomene's nudity in this context is particularly significant. It symbolizes her natural beauty and her emergence from the primal elements of the sea.

The Dumbarton Oaks' curator observes:

"Standing in a blue shell, Aphrodite Anadyomene wrings seawater from her hair. The pose was well known in antiquity, referring to the goddess’s birth from the sea, of which the deep blue color of the lapis lazuli is a visual metaphor. The harmony of references—pose, shell, deep blue color, and the sea pearls on the short chains—displays the jeweler’s ability to adapt a venerated mythological image to the luxury materials of elite taste during the early Byzantine period.

"The delight and fascination with exquisitely crafted jewelry were undiminished at the end of late antiquity, and the appreciation of Greco-Roman mythology, even the most lascivious of all its goddesses, continued well after the Byzantine Empire had become an officially Christian society. Aphrodite’s fame as the goddess of beauty and physical desire are expressed by her seminudity and enhanced through the precious gold, lapis lazuli, and pearls of the necklace. Yet it might have been a magical property of the image that accounted for the figure’s allure. Amulets and charms, whether costly or cheap, had been worn for centuries as effective means of personal protection or for controlling the actions or emotions of other people. This elegant necklace may have been such an amulet (apotropaion), either against pervasive malevolent spirits or as a charm to grant an erotic wish."

The piece was purchased from an antiquities dealer in Paris in 1928 so, unfortunately, there is no information about the find site.

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