cnidia

cnidia

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In another example, all the three descriptions of statues of Aphrodite (lines 78-81, 99-101, 288-290) fit the model of a series of half-draped fourth century BC representations of the goddess, as the so-called Aphrodite (or Venus) d'Arles (33), a first-century BC marble sculpture now at the Louvre that is thought to be a copy of the Aphrodite of Thespiae of Praxiteles, a work from his early career in the 360s BC that could also resemble the model of the so-called Cnidia Baldevere, nowadays in the Vatican Museum (No.
The Praxitelean style may be detected in the head's resemblance to that of the Cnidian Aphrodite, a mature work of Praxiteles known through copies as the aforementioned Cnidia Beldevere, assumed to belong to the same type of sculpture by Corso 2007: 20.
In order to understand better what is particularly significant in the Erotes' strategy of 'looking through a frame,' it is necessary to first assess the more common literary depiction of a visually open or penetrable temple setting for the Cnidia.
If the goddess incarnates physicality, then the Cnidia bodies forth that divine metaphor in stone.
169), identified in the manuscript tradition as a comparison between the Cnidia and a statue of Pallas Athena, makes a distinction in the way one looks at the respective goddesses/statues:
I close my consideration of the open' view taken on the Cnidia with the other principal source on the statue and its setting, the account offered by Pliny in his Natural History.
Pliny begins his tale of the Cnidia by emphasizing her attractiveness as a visual site/sight; she incites people to sail to Cnidus not to offer reverence, but in order that they may see her for themselves (Venus quam ut viderent, multi navigaverunt Cnidum).
En efecto: la leyenda de la Cnidia despues la repetiria, con preciosa morosidad --y comentarios de interes para la Historia del Arte--, el Pseudo-Luciano en los Amores.
Plinio, justo despues del episodio de la Cnidia, contaba un relato parecido acerca de otra famosa imagen del escultor griego:
Por otro lado, y en terminos etiologicos, narraciones como las de los Erotes de Pario o Tespias, la Cnidia o la leyenda ovidiana de Pigmalion ejemplifican una parafilia sexual o sindrome tipificado como <<pigmalionismo>>, <<estatuofilia>>, <<monumentofilia>>, <<petrifilia>> o mas frecuentemente <<agalmatofilia>>, un termino derivado del griego que significa literalmente <<amor a las estatuas>> o <<a las imagenes>>, sobre todo a aquellas desnudas o en actitud sensual (23).
Los Padres de la Iglesia, al hacer referencia al mito de Pigmalion en sus escritos apologeticos, prefirieron no citar directamente a ovidio sino a Filostefanos (34), al que ligarian inmediatamente despues con las anecdotas en torno a la Venus Cnidia, un poco al estilo de Plinio o Valerio Maximo, pero cristianizado.
Si bien es posible establecer diferencias con la llamada escuela Cnidia (9), reunida en tomo a Eurifonte, lo propio de los hipocraticos esta siempre relacionado con la formacion al alero de la figura personal de Hipocrates y de las tradiciones de Cos, que si bien albergan diferencias en cuanto a tematicas propiamente medicas, conservan vivo un mismo espiritu en relacion con el oficio medico, su etica y su ensenanza.