In art Nike is typically portrayed as winged, wearing a long robe, and moving at great speed. Although certain identification is usually not possible in the Archaic period, figures identified as likely to be depictions of Nike appear from the early sixth century BC on vases and as freestanding sculptures or
acroteria which adorned the center or ends of a pediment of a building. Nike images also appear on small bronzes (from c. 550 BC), and coins (from 510/490 BC). Nike frequently appears in scenes depicting victorious deeds or participating in cult activities, such as victory sacrifices or the setting up of a
tropaion (trophy). Although rare in the Archaic period, in the Classical and later periods, Nike can also appear as a companion or as an attribute to victory-giving deities, such as Zeus, and especially Athena. There are so many impressive depictions of Nike that she "becomes an embodiment of Classical art".
Archaic period (kneeling-run) pose. Found at
Delos,
Athens National Archaeological Museum 21. 491 (c. 525-20 BC). In the Archaic period, Nike does not yet have a specific fixed iconography. Consequently, she cannot always be reliably distinguished from other winged female figures, particularly the messenger-goddess
Iris. Although some figures considered to be Nike are shown with a
caduceus (
kerykeion or herald's staff) or
victory wreath, the caduceus is the primary attribute of Iris, and other winged female figures other than Nike can also be shown with wreaths. Some early depictions of winged women have been identified as Nike based upon their juxtaposition with other images representing victory in athletic competition. Perhaps the earliest of these is found on the
tondo of a
Siana cup, by the
C Painter, dated to the 2nd quarter of the 6th century BC. Its exterior depicts the return of a victorious athlete, while its interior depicts a winged women in the traditional
knielauf (kneeling-run) pose heading right. In the Archaic period, this knielauf pose is the standard device for representing speed, and is characteristic of the figures identified as Nike. They rush off to the side, but do not look where they are going, instead they maintain direct address and engagement by turning their head to look at the viewer. Such depictions lacking definitive attributes remain characteristic throughout the Archaic period. Nike's most important attribute, the victory wreath, gradually emerges in the second half of the sixth century BC, but remains rare. Other attributes associated with victory, the branch and
tainia (head ribbon), also begin to appear in this period, while attributes associated with cultic acts, such as the
phiale (libation bowl),
oenochoe (wine jug), and
thymiaterion (standing incense burner) appear sporadically as early as the turn of the fifth century BC. Sculptural depictions of Nike in the Archaic period served primarily as
votive offerings or dedications, and
acroteria. Two of these, the Nike of Delos (c. 550 BC), attributed to
Archermus, and the
Nike of Callimachus (c. 480 BC), mark the beginning and the end of the period, and are considered representative. The Archermus Nike, a marble sculpture found at
Delos, is generally considered the earliest sculptural Nike identified by inscription. It depicts a winged figure moving in swift flight to the left in knielauf posture. The upper torso faces frontally toward the viewer, and the head is crowned with a
diadem. In the Callimachus Nike, a marble monument probably erected for the victory at
Marathon (490 BC), the upper body, rather than being frontally oriented as in the Archermus Nike, is slightly turned to the right in the direction of flight, with the head looking backward. A second probably related fragment depicts a lower body in a very loose knielauf posture. Also of significance are a collection of small bronzes that were found primarily on the Acropolis of Athens, and are associated with the cult of Athena-Nike (see above). Such bronzes typically were used as the crowns or supports for various implements. Although Nike was already in close cultic association with Zeus and Athena, depictions of Nike in the company of these gods during the Archaic period (unlike subsequent periods) are rare. Probable examples include several amphorae (dating from c. 550 BC) which depict a small winged women, at the birth of Athena, standing (or running) beneath Zeus's throne. More frequently Nike was depicted among men in what can be interpreted as athletic or martial contexts.
Classical period ; Boston
Museum of Fine Arts 1920.187 (c. 440 BC). of what Pheidias's statue of Zeus at Olympia may have looked like. In the Classical period, Nikes's iconography becomes fully developed. Following the
battle of Marathon, Nike becomes a particularly popular subject in vase painting, where she is frequently seen with her most common attributes the
phiale (libation bowl) and
oenochoe (jug), often pouring a libation over an altar. She is also seen in the context of both athletic and martial victory. Other attributes which, like the bowl or jug, occur only sporadically and rarely in the Archaic period such as the wreath, branch,
tainia,
thymiaterion, and
caduceus (see above) become common during the fifth century BC. Additional symbols of victory, such as weapons,
tripods, and musical instruments, or symbols of cult, such as baskets and torches, also become common. From the 4th century BC the palm frond becomes a common attribute. The knielauf pose, characteristic during the Archaic period, is abandoned in the Classical period in favor of more naturalistic expressions of movement and speed, and engagement with the viewer. While Archaic Nikes, serving as architectural acroteria, rush off to the left or right, arms and legs churning in pinwheel-like fashion, their Classical counterparts seem rather to move forward and downward, toward the viewer, to alight on the tops of buildings. Because Nike is a winged figure, Classical artists tried to evoke flight and make flying a defining characteristic. One of the first sculptures to achieve this illusion of flight is the
Nike of Paros (c. 470 BC), where the goddess, seemingly weightless and floating forward, barely touches the ground with just the tip of her left foot, her body tilting forward. Here the artist has dispensed with the Archaic emphasis on speed for the sake of the natural direct address of moving toward the viewer, rather than laterally. Another particularly vivid example of the evocation of flight is the
Nike of Paionios at Olympia (see above). It is a
Parian marble statue (c. 420 BC) by
Paionios of
Mende, dedicated to Zeus by the
Messenians and
Naupactians in celebration of a victory over the Spartans in 425 BC at the
Battle of Sphacteria. Wings held high above her head, Paionios's Nike seems to swoop down. The sculptor has reintroduced the evocation of speed by having Nike's cloak, which she held with one or both outstretched arms, billow behind her like a sail, with the thin cloth covering her front pressed tightly against her body. Popular subjects for Nike include depictions of her role as messenger of victory, erecting a
tropaion (trophy), or as sacrificial servant, leading a bull to sacrifice, and, in the fifth century BC for the first time, she can be depicted in multiples like
Eros. Examples of two Nikes leading a bull, or two Nikes erecting a tropaion, are among the many reliefs adorning the parapet of the
Temple of Athena Nike (c. 420 BC). Another popular subject, for vase painters (especially Italian) from the second half of the fifth through the forth centuries BC, is Nike driving a chariot. In the Classical period (unlike the Archaic) Nike is also often shown in the company of other gods, particularly Athena. Many vase paintings depict Nike standing next to Athena, as her assistant. She is depicted crowning Athena and driving Athena's chariot, and can appear in any mythical context involving Athena. While Nike is usually depicted as being the same size as the other deities in her company, she can also be shown in reduced form. A pair of small Nikes often stand on the columns flanking Athena on
Panathenaic prize amphorae. On a
tetradrachm from
Camarina (c. 430/20-405 BC), a diminutive Nike crowns the charioteer Athena with a wreath. A small Nike crowns the newborn Athena on a marble
puteal, or flies over her during Athena's contest with
Poseidon for the patronage of
Athens. A diminutive Nike was also sometimes shown standing in the hand of other deities. One such example was the
Statue of Zeus at Olympia (c. 435 BC) by the Greek sculptor
Phidias. Pausanias describes the statue as follows: Pheidias's cult statue of Athena from the Parthenon in Athens,
Athena Parthenos (mid-fifth century BC), also held a smaller Nike in her right hand and a spear in the other. According to Pausanias, this Nike was roughly four cubits tall (about seventy-two inches). In contrast to the "flying" Nikes described above, these Nike apparently stood firmly on their feet. Nike can appear in any context where victory is being alluded to, from the grand to the mundane. As part of the great mythological victory of the gods over the Giants, she can be shown driving Zeus's chariot. She is frequently depicted crowning victors, or otherwise glorifying the deeds of great heroes such as
Heracles,
Theseus,
Achilles, and
Diomedes. She appears in scenes involving war, warriors, and armed combat, however, she is equally at home in the context of
agonistic victory such as that of athletic, musical, literary, or theatrical competitions, as well as the simple victories of everyday life.
Hellenistic period Alexander the Great (r. 336–323 BC) made use of Nike as a symbol of state power and military strength. A standing Nike holding a wreath in her right hand was shown on the reverse of gold staters issued by Alexander. This same coin image, with slight modifications, was repeatedly used in
Magna Graecia and
Asia Minor until the beginning of the
Roman Imperial period. Alexander's successor
Diadochi, used this same image only briefly before introducing new motifs. For example, on coins (and gems), a diminutive Nike stands on the hand of an enthroned Zeus or Athena. ,
Berlin. Several examples, from as early as the third century BC, depict Nike striding forward on the prow of a ship, perhaps reflecting the increasing importance of naval battles during the wars between the Diadochi. Coins of the
Macedonian king
Demetrios Poliorketes (r. 301–285), depict such a striding Nike blowing into a military trumpet (
salpinx). The
Nike of Samothrace ("Winged victory"), a masterpiece of Hellenistic sculpture, also shows such a Nike on the prow of a warship. It was set up, in the
Sanctuary of the Great Gods on the island of
Samothrace, probably as a dedication after a naval victory. Nike is depicted on the second-century BC
Pergamon Altar alongside Athena in the
Gigantomachy, the war of the gods against the
Giants. On the right side of the East frieze, Athena grabs a winged Giant (usually identified as
Alcyoneus) by the hair. Below and to the right of Athena, the giant's mother
Gaia rises from the ground, touching Athena's robe in supplication. Above Gaia, a winged Nike flies in to crown the victorious Athena. ==Gallery==