Specificity of Numismatic Images of Herakles: Iconographic Aspect

Abstract

The purpose of the article is to identify the features of the numismatic iconography of Hercules of the 6th – 1st centuries BC in Ancient Greece and to trace the transformation of the visualisation of the hero’s image through the prism of changing religious and philosophical concepts. Research methodology. The method of integrity and cognitive, the method of art historical and structural-functional analysis, as well as the comparative-typological method were applied. Scientific novelty. The iconography of Hercules on coins of the 6th – 1st centuries BC was examined and the transformation of the image of Hercules during the archaic, classical and Hellenistic periods in Ancient Greece was revealed; The iconography of Hercules on coins from the city of Tyre in Phoenicia (southern Lebanon) of the Hellenistic period (from 126/125 BC) was analysed and affinities with the iconography of Hercules on coins from the time of Alexander the Great were revealed. Conclusions. The iconography of Hercules (two main types: a young beardless god and a mature bearded Hercules) is focused on depicting the hero's exploits, primarily the killing of the Nemean lion (before the 5th century BC) and his apotheosis, which is associated with the widespread spread of the hero's cult in Attica. Deep, complex cultural changes in Greece in the 5th century BC contributed to the formation and popularisation of a new concept of iconographic expression. The transformation occurs in the shift of emphasis from the feat itself to the moment of rest, as well as in the change of emotional aspect – Heracles is depicted at rest, tired and depressed, his heroic prowess remains implicit, thus what is actually depicted differs from the central meaning of the image. In the context of the evolution of Greek spirituality, starting from the 6th century, Heracles begins to personify universal concepts of humanity, as well as new ideals of sovereignty. The iconographic depiction of Heracles' exhaustion and his apotheosis testifies to the influence of new religious and philosophical concepts (Pythagoreanism, Orphism and mystical cults) on the myth. Instead of the extraordinary efforts and excesses characteristic of his previous iconographic representations, the classical period presents Heracles as a model of virtue and self-control, symbolising the victory of his merits (the twelve feats) over divine persecutions and misfortunes. The famous Hellenistic iconographic type of the Tyrian Hercules (youthful appearance and stylistic features) is inspired by an image dating back to the time of Alexander the Great's coinage and corresponds to the character of Hercules the god.