Dancing Eros (300-200 BCE)

The terracotta figurine of Eros, dating from 300–200 BCE, is an exquisite artifact from Myrina, a region in ancient Anatolia, now modern-day Turkey. This figurine portrays Eros, the Greek god of love, in a dynamic and celebratory dance, highlighting the artistry and cultural significance of the era.

Myrina was renowned for its abundant production of terracotta figurines during the Hellenistic period. Eros, depicted as a nude youth rather than the commonly seen chubby child, reflects the regional artistic preferences. This figurine, with its elongated limbs and floral crown, offers a glimpse into the rich mythological tapestry and religious practices of ancient Greece.

Figurines of Eros were often paired with those of his mythological wife, Psyche, symbolizing love and the human soul. Eros was a central figure in many Greek myths, notably his love story with Psyche, which has been immortalized in various art forms and literature.

In Greek mythology, Eros represents love and desire, often depicted as a mischievous youth capable of making gods and mortals fall in love with his arrows. This particular figurine, possibly a votive offering, highlights the devotional practices towards Eros and Aphrodite, his mother. Eros’ portrayal in Myrina as a youthful dancer contrasts with his later Roman depiction as Cupid, a cherubic child, illustrating the evolution of his iconography.

This terracotta figurine stands at 29 cm or 11 7/16 in. and was originally painted, with only traces of red pigment remaining on the face. The craftsmanship of the floral crown and the dynamic pose of Eros showcase the advanced sculpting techniques of the period. The figurine’s long curls and carefree posture emphasize the playful nature of the god.

The figurine of Eros was a gift from the John Huntington Art and Polytechnic Trust. It reflects the widespread cultural exchange and artistic influences in the Hellenistic world, eventually finding its way into modern collections and museums.

The figurine, while largely intact, shows signs of wear, particularly in the preservation of its limbs and the remnants of its original paint. Conservation efforts focus on stabilizing the existing structure and preventing further deterioration, while restoration work aims to preserve the remaining pigmentation and details of the figurine.