Aphrodite Doria-Pamphili at The Louvre, Paris

This statue of Aphrodite is one of the finest copies of a classical sculpture dating from the last years of the 5th century BC. This type of statue owes its name to the most complete surviving example, now in the Doria Pamphili Palace in Rome. The question of the attribution of the original is still open. Some experts believe the statue to be a copy of the Aphrodite Urania by Phidias, while others identify it as a work by his contemporary Agorakritos of Paros. A copy of an original dating from the classical era In 1996 the Louvre purchased a remarkable marble statue that formerly stood in the grounds of Ombreval, the property of Stéphane Dervillé in Domont, Val d'Oise, near Paris. The work was produced using the acrolithic technique, the extremities-the head, nude right shoulder, arms, and feet-having been sculpted separately and added later, although the whole work is in marble. This effigy of Aphrodite is one of a series of copies of a Greek work dating from the classical era-more precisely, the last decades of the 5th century BC. The most complete example, now in the Doria-Pamphili Palace in Rome, has given its name to this style of statue in general. Works by the classical sculptor Polykleitos inspired the contrapposto position, which he invented in the mid-5th century BC. This position is defined by an asymmetrical pose, with the shoulders turned in the opposite direction to the hips, and with one leg slightly forward so that the weight of the body is on the other leg. Identifying the sculptor: Phidias or Agorakritos? The question of the sculptor's identity has given rise to much debate. The treatment of the drapery and the nude shoulder-a motif often used by sculptors to denote the sensuality of the goddess of love-would seem to link this Aphrodite to the semi-reclining Aphrodite on the eastern pediment of the Parthenon. The original on which this work is based is thus sometimes attributed to Phidias, who directed work on the architectural decor of the Parthenon between 447 and 432 BC. In this case, the original is identified as the Aphrodite Urania (the Heavenly Aphrodite) in Elis, described by Pausanias in the Periegesis (6.25.1), or the Aphrodite on the Agora in Athens (1.14.7). However, this attribution poses a number of difficulties. Some of the effects of the drapery go beyond the aesthetic canon of the Parthenon and are closer to works from the end of the 5th century BC. Likewise, none of the Doria-Pamphili-style copies includes the tortoise on which the Aphrodite Urania in Elis was resting a foot. The sculpture is therefore more likely to be the work of Agorakritos of Paros, a student of Phidias who also worked on the Parthenon. He probably completed this statue in about 420 BC. The stylistic similarities between this copy and what we know of Agorakritos' major work, the Nemesis of Rhamnus, would seem to confirm this hypothesis. A typically mannerist work The sculptor responsible for the Aphrodite now in the Louvre has produced a virtuoso rendering of the richness and diversity of the folds of the goddess's garment, carving the marble in a style typical of sculptors working in the late 5th century BC. The goddess is wearing a thin, short-sleeved tunic, known as a chiton, and a mantle of thicker fabric, a himation. The wind is playing with the cloth of her garments, molding it to the goddess's body in places and filling it out in others. The artist has succeeded in imitating the mannerist effects of the drapes, which seem to twist and writhe in places, while elsewhere they imitate the wet cloth effect, clinging revealingly to the nude body of the goddess, whose feminine attributes are apparent under the thin material. This object is part of Scan The World. Scan the World is a non-profit initiative introduced by MyMiniFactory, through which we are creating a digital archive of fully 3D printable sculptures, artworks and landmarks from across the globe for the public to access for free. Scan the World is an open source, community effort, if you have interesting items around you and would like to contribute, email [e-mail] to find out how you can help.这件阿佛洛狄忒（Aphrodite）雕像，是公元前5世纪末期古典雕塑作品的顶级复刻品之一。该类雕像的命名源自现存最完整的同类型复刻品，现收藏于罗马多里亚·潘菲利宫（Doria Pamphili Palace）。原作的归属问题至今尚无定论：部分学者认为该复刻品复刻的是菲迪亚斯（Phidias）创作的《乌拉尼亚阿佛洛狄忒》（Aphrodite Urania），另有学者则将其归为其同时代的帕罗斯岛雕刻家阿戈拉克里托斯（Agorakritos of Paros）的作品。 ## 古典原作的复刻品 1996年，卢浮宫（Louvre）收购了一件罕见的大理石雕像，该雕像原陈列于巴黎近郊瓦兹河谷省多蒙市斯特凡·德尔维耶（Stéphane Dervillé）的私人宅邸翁布勒瓦尔庄园内。该作品采用分体雕刻组装技法（acrolithic technique）制作：尽管整体材质均为大理石，但雕像的四肢、头部与裸露的右肩均为单独雕刻后再组装而成。 这件阿佛洛狄忒造像，属于一系列古典时期（确切来说为公元前5世纪末数十年）希腊原作的复刻品之一。现存最完整的同系列复刻品现收藏于罗马多里亚·潘菲利宫，该类雕像也因此以“多里亚·潘菲利风格阿佛洛狄忒”命名。 古典雕刻家波利克里托斯（Polykleitos）于公元前5世纪中期发明的对应姿态（contrapposto），即身体重心偏移的站姿，启发了该雕像的姿态设计。该姿态的特征为不对称构图：双肩与髋部朝向相反方向，一腿微微前伸，身体重心落于另一腿上。 ## 雕刻者身份考辨：菲迪亚斯还是阿戈拉克里托斯？ 关于该原作雕刻者身份的讨论已持续多年。雕刻家常通过衣褶与裸露肩部的处理来展现爱神的性感特质，这件阿佛洛狄忒雕像的衣褶处理与裸露肩部设计，与帕特农神庙（Parthenon）东山墙的半卧阿佛洛狄忒造像风格相近。因此，部分学者将该复刻品所依据的原作归为菲迪亚斯的作品——他曾于公元前447年至前432年间主持帕特农神庙的建筑装饰工程。按此说法，该原作应为埃利斯地区的《乌拉尼亚阿佛洛狄忒》（即“天上来的阿佛洛狄忒”），这一形象在鲍萨尼亚斯（Pausanias）的《希腊志》（Periegesis）6.25.1章节中有记载；亦或是雅典阿哥拉的《阿佛洛狄忒》造像，见该书1.14.7章节。 但这一归属观点存在诸多疑点：部分衣褶的表现手法超出了帕特农神庙的美学范式，更接近公元前5世纪末期的作品风格；同样，所有多里亚·潘菲利风格的复刻品均未带有埃利斯地区《乌拉尼亚阿佛洛狄忒》原作中阿佛洛狄忒踏足的乌龟造型。因此，该原作更有可能出自帕罗斯岛雕刻家阿戈拉克里托斯之手——他作为菲迪亚斯的弟子，也曾参与帕特农神庙的装饰工程，大约于公元前420年完成该原作。该复刻品与已知的阿戈拉克里托斯代表作《拉姆诺斯的涅墨西斯》（Nemesis of Rhamnus）在风格上高度相似，这进一步佐证了这一推论。 ## 典型的矫饰主义风格作品 现收藏于卢浮宫的这件阿佛洛狄忒复刻品，其创作者以精湛技艺展现了爱神衣褶的丰富层次与多样形态，雕刻风格契合公元前5世纪末期雕刻家的典型特征。爱神身着一件轻薄的短袖束腰外衣（希顿袍，chiton），外披一块厚重的斗篷（希玛申外袍，himation）。风拂动衣袍，部分布料紧贴爱神躯体，部分则蓬松隆起。创作者成功还原了矫饰主义的衣褶表现手法：部分衣褶扭曲缠绕，部分则呈现出湿衣效果，轻薄的布料紧贴爱神的裸体，清晰展现出其女性躯体的柔美线条。 本展品属于“全球扫描（Scan The World）”项目的一部分。“全球扫描”是MyMiniFactory推出的非营利性公益项目，旨在打造一个可免费公开访问的数字化档案库，收录全球各地可3D打印的雕塑、艺术品与地标建筑的数字化模型。该项目为开源社区共建项目，若您身边有适合的藏品并希望参与贡献，可发送邮件至[e-mail]了解参与方式。