History and Artistic Record
In Athens, as elsewhere, pederastic relationships had their beginnings among the aristocracy, but in time the practice was picked up by others sections of the population. With the advent of democracy, whose role models were the lovers and tyrant slayers Harmodius and Aristogiton, "access to gymnastic and sympotic culture widened, so the concomitant pederastic emotions and relationships may also have become more widely admired and imitated."
A great deal of modern knowledge about Athenian pederastic practices has been derived from ceramic paintings on vases depicting various forms and aspects of the relationship. These vases first appear about 560, a year after the pederastic tyrant Peisistratus seized power in Athens. Their production ceased around 470 BCE, after which they either went out of fashion or were replaced with vases of precious metal which have not survived. The iconography attests to the dominant status of pederasty in Athenian social life. On the strict red-figure vases, Eros only appears in scenes that show the interaction of men and adolescent boys. Kroll reports that ceramic depictions of individuals labeled as beautiful include only thirty of women and girls, καλή, but five hundred and twenty eight of boys, καλός.
While John Boardman in his studies postulated the age of the depicted youths to range from 12 to 14, they are now believed to range in age from 14 to 18.
Read more about this topic: Athenian Pederasty
Famous quotes containing the words history, artistic and/or record:
“All history attests that man has subjected woman to his will, used her as a means to promote his selfish gratification, to minister to his sensual pleasures, to be instrumental in promoting his comfort; but never has he desired to elevate her to that rank she was created to fill. He has done all he could to debase and enslave her mind; and now he looks triumphantly on the ruin he has wrought, and say, the being he has thus deeply injured is his inferior.”
—Sarah M. Grimke (17921873)
“Some are able and humane men and some are low-grade individuals with the morals of a goat, the artistic integrity of a slot machine, and the manners of a floorwalker with delusions of grandeur.”
—Raymond Chandler (18881959)
“All photographs are there to remind us of what we forget. In thisas in other waysthey are the opposite of paintings. Paintings record what the painter remembers. Because each one of us forgets different things, a photo more than a painting may change its meaning according to who is looking at it.”
—John Berger (b. 1926)