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In Greek mythology, an Amazonomachy (English language: "Amazon battle"; plural, Amazonomachiai () or Amazonomachies) is a mythological battle between the ancient Greeks and the Amazons, a nation of all-female warriors. The subject of Amazonomachies was popular in ancient Greek art and Roman art.
In Greek epic narratives, the Amazons were perceived to be non-Greek heroic figures who challenged the strength and masculinity of Greek heroes on the battlefield, such as Achilles, Bellerophon, Heracles (Hercules), Theseus, and the Athens.
For the Greeks, the Titanomachy and the battle against the giants remained symbols of the victory which their own world had won over a strange universe; along with the battles against the Amazons and they continue to signalize the Greek conquest of everything barbarous, of all monstrosity and grossness.DuBois, Page (1982). Centaurs and Amazons: Women and the Pre-History of the Great Chain of BeingIn Quintus Smyrnaeus's The Fall of Troy, Penthesilea, an Amazonian queen, who joined on the side of the Troy during the Trojan war, was quoted at Troy, saying:
Not in strength are we inferior to men; the same our eyes, our limbs the same; one common light we see, one air we breathe; nor different is the food we eat. What then denied to us hath heaven on man bestowed?Quintus Smyrnaeus. "The Fall of Troy." Translated by Way. A. S. Loeb Classical Library Volume 19. London: William Heinemann, 1913.
According to Josine Blok, Amazonomachy provides two different contexts for defining a Greek hero. Either the Amazons are one of the disasters from which the hero rids the country after his victory over a monster, or they are an expression of the underlying Attis motif in which the hero shuns human sexuality in marriage and procreation.Josine Blok (1994). The Early Amazons: Modern and Ancient Perspectives on a Persistent Myth
J.J. Bachofen understood Amazonian myths as remnants of a prehistoric matriarchy. In other words, as popularized in the 21st century, matriarchy was conceptualized by him through the phrase "Mother Right". (1992). 9780691017976, Princeton Univ. Press. ISBN 9780691017976 He theorized that the Amazons were not merely mythical creatures but were derived from the historical manifestation of a time when women held immense power in society. In his view, society initially revolved around female dominance, which was reflected in the Greeks' engagement with Amazonian motifs in art. However, he believed society transitioned to patriarchy at the dawn of civilization, seeing male domination as necessary for progress. (1992). 9780691017976, Princeton Univ. Press. ISBN 9780691017976
Bachofen’s thesis was highly influential, and it was incorporated into several schools of thought, including Freudians, Structuralists, and Feminists. At the end of the 19th century, American psychologists interested in Amazonomachy integrated Bachofen’s matriarchy ideals with Sigmund Freud’s psychoanalytic framework. Schultz Engle argues that Amazon warriors were often depicted riding horses as a response to the incompetence of Scythian males. She theorized that Scythian men were weakened due to orchitis, a condition causing inflammation of the testicles, which she attributed to spending long hours on horseback. Using Amazonomachy as a sexual and psychological allegory, she then posits that the Amazons, in contrast, derived masturbatory pleasure from riding horses.
Feminists like Page DuBois understood Amazonomachy and its myths as symbols of the feminist struggle against patriarchy. He posits that Amazonian matriarchy was conceptualized as a tool to counter masculine tyranny.
Structuralists also expanded on Bachofen’s argument about matriarchy, asserting that the Amazons represented the opposite of the Greek polis, in which male domination shaped society into a "men’s club". (1990). 9780942299199, Zone Books. ISBN 9780942299199 This binary approach argued that marriage was for women, while war was for men. Later, scholars would apply a binary framework to analyze Amazonomachy and its myths, conceptualizing oppositions such as "barbarians" vs. "civilization" and "masculinity" vs. "femininity".
Critics have challenged the interpretation of Amazonomachy as a symbolic critique of Athenian patriarchy and male anxieties. Mary Lefkowitz pointed out the existence of Amazonomachy in myths predating the strict sex segregation of Athens, so she rejects the notion that the Amazons should be interpreted as a response to gender norms. In addition, in any battles the Greeks may have had against the Amazons, both men and women would suffer during the conflicts, which contradicts the idea that Amazonomachy functioned solely as a tool against Athenian patriarchy. She also compared the Greeks' battle against the Amazons to their battle against the Centaurs to further highlight the logical flaws in feminist arguments. If, as feminists argue, Amazonomachy symbolizes the suppression of women, then by the same line of logic, Centauromachy should also symbolize the suppression of horses. However, horses were highly valued and respected in ancient Greece. She highlights that the feminist framework in understanding Amazonomachy interprets it outside its historical and cultural meaning, instead reframing it to suit their own agenda .
Historiography in response to such criticism has shifted the focus towards understanding Amazonomachy as a symbol of ‘otherness'. Andrew Stewart understood it as a complex notion of the other symbolically that the Persians held in reality. As evident, in the 5th century BC, the Achaemenid Empire began a series of invasions against Greece. Because of this, some scholars believe that in most Greek art of that time, Persians were shown allegorically through the figure of centaurs and Amazons.
Literature such as Lysias' Epitaphios and Isocrates' Panegyrikos further strengthen this parallel to the defeat of the Persians, as their versions of the Attic War similarly climax with the total annihilation of the invading forces.
Stewart asserts that the Amazons served as a metaphor for the Persians, allowing the Greeks to present themselves as superior to the "barbarians". His argument draws from the characteristics of the Amazons as parthenoi, who were unwed females with no sexual experience. Unlike the contemporary concept of virginity, the social construct in Ancient Greece referred to their state of femininity as unripe and unfinished. The body of a parthenoi was also more athletic, resembling that of a boy rather than a woman. They could not fully embody the feminine ideals of softness and permeability, yet they were not entirely masculine, lacking sharply defined features associated with hardness and muscles. Hence, the characteristics of parthenoi, wild, untamed, undomesticated, and unrestrained, challenged the norms of the Athenian confined society and traditional expectations of women. He posits that daughters like parthenoi threatened family stability and the authority of the father, which served as an extended metaphor for society as a whole. He rejects Bachofen’s thesis of matriarchy and instead proposes that Amazonomachy represents a broader threat to Athenian societal order, symbolizing "otherness" in the context of the Persian invasions.
After the Graeco-Persian War, there was a rise in Amazonomachies in Athenian art, including a doubling of Amazon scenes on vases around 450 BCE. The Parthenon (447–432 BCE), a monument celebrating Athens’ victory over Persia, also featured two depictions of Amazonomachy—one on the west metopes and the other on the shield of Pheidias’ statue of Athena within the temple. Stewart also argues that the rise in Amazonomachy in art was connected to Pericles, the leading Athenian statesman, and his Citizenship Law of 451 BCE. This law defined Athenian identity by restricting citizenship to individuals with two Athenian parents. It was likely a response to the influx of immigrants who settled in Athens after the Graeco-Persian War, making up as much as one-fifth of the population. Amazons were non-Greek women associated with Asia Minor, who fought like men, and were also enemies of the Greeks. Thus, the increase in Amazonomachy to further reinforce the concept of the "other" against the Greeks could reflect Perikles' and the broader Greek society's anxiety over citizenship.
According to Jeremy McInerney, Kleidemos' account of the Attic War was politically connoted in such a way that Theseus' defeat of the Persians not only represented the victory of Athens as a whole, but also reaffirmed certain values of Athenian democracy, likely during a period of political and historical tension in the 4th century BC.
Modern interpretations also view the amazonomachy as largely symbolic of the conflict between the ancient Greek patriarchal model of civilization against (the influence of) the foreign, gender-transgressive female. The various amazonomachiai in Greek myths were typically concluded with the triumph of some Athenian male hero (such as Hercules or Theseus) over famous Amazons, who were killed in combat or sexually subjugated by Greek men. According to these modern scholars, the male hero's quintessential defeat of the Amazons in mythology (as well as Amazon grave markers) reinforced and reminded the Greek populace of the supremacy of Athens' patriarchal model of civilization and society.
The motifs gradually shift from a mismatch of gendered clothing to portraying them as one of the eastern neighbors or the 'Other'. The non-Greek values associated with the Amazons are reflected in their attire. Most significantly, the clothing Amazons were depicted wearing, such as Attic tunics, chitons, or Corinthian caps, played a key role in representing their foreign identity. These elements were drawn from eastern cultures familiar to the Greeks at the time. Thus, the foreign aspects of Amazonian attire were culturally constructed and were limited primarily to the East Greek islands. Portraying the Amazons as parthenoi, the symbol of defying societal norms also reflects the ‘otherness’ as well. This is demonstrated by the depiction of Amazonomachy in Amphora (storage vessel): Herakles in Combat with the Amazon Andromache, White-ground alabastron: Amazon and Terracotta Nolan neck-amphora (jar).
Amazons were eventually seen on red-figure pottery as black-figure pottery gradually became less popular during the last quarter of the 6th Century. It was also around this time that Theseus also became a common feature in art depicting the Amazonomachy.
The reference to Eastern culture and the Amazons’ nonconformity to Greek values associates them with the concept of the ‘barbarian Other’—a term referring to anyone who was not Greek, including civilians from Asia Minor, Assyria, and Persia. (2025). 9789004116184, Brill. ISBN 9789004116184 As Athenians began to familiarize themselves with Eastern-style attire and customs by 550 BCE due to increasing contact, artists often employed Eastern characteristics to represent the ‘Other’ in art. By depicting the Amazons with attributes associated with the Scythians, a group from the Eurasian steppes, they are categorized as the "Other" as well by being categorized as foreign both geographically and physically.
After the Persian Wars, the Greeks attached greater significance to such battle scenes, referencing the Attic War as a mythological example of Athens’ successful defense against foreign invaders. In particular, this Attic amazonomachy was depicted on places such as the west metope on the Parthenon (around 440 BC), shield of Athena Parthenos (around 440 BC), and in the Stoa Poikile in Athens (460 BC).
In 2018, archaeologists discovered relief-decorated shoulder boards made from bronze that were part of a breastplate of a Greek warrior at a Celtic sacrificial place near the village of Slatina nad Bebravou in Slovakia. Deputy of director of Slovak Archaeological Institute said that it is the oldest original Greek art relic in the area of Slovakia. Researchers analyzed the pieces and determined they were once part of a relief that depicted the Amazonomachy.
Writers such as Plutarch, Cleidemus, and Pausanias cited the existence of Amazon graves throughout Athens to be historical evidence and landmarks of the Amazons’ campaign against the city. As stated in Plutarch’s Life of Theseus: “... the fact that the encamped virtually within the city is supported both by place names and by the graves of the fallen.”Rotroff Susan & Lamberton Robert. “The Tombs of Amazons,” Approaching the Ancient Artifact : Representation, Narrative, and Function, by Avramidou, Amalia & Demetriou, Denise, 2014, Berlin: De Gruyter, pp. 127-138.
Many of these writers' renditions of the battles between the Amazons and Greeks were based on the distribution and of graves attributed to the Amazons throughout Athens. Plutarch's account later goes on to cite Kleidemos in his description of how the Attic amazonomachy corresponded with the placement of some of the Athenian Amazon graves:
The left wing of the Amazons extended to what is now called the Amazoneion … and the Athenians fought against this, attacking the Amazons from the Mouseion hill, and the graves of the fallen are along the wide street that goes to the gate at the Heroon of Chalcodon, which they now call the Peiraic Gate.The grave of Theseus’ wife (either Antiope or Hippolyta) was identified by Pausanias (1.2.1) and Plutarch (Theseus 27.5) to be located near the Sanctuary of Gaia in Athens. Another Amazon Molpadia was said to have died and been buried there as well during the Amazons' campaign.
According to (the Boeotian) Plutarch, Amazons were not only buried in Athens but were also known to have fled and possibly engaged in further battles elsewhere, being buried in places such as Megara, Boeotia, Chalcis, and in Thessaly at Scotussa and Kynoskephalai.
Despite the lack of conclusive evidence pointing to the existence of the Amazons, some modern scholars and archaeologists have claimed that such steppe nomad horsewomen could have potentially existed as the Amazons’ historical counterparts. Though their actual connection to the mythical Amazons is controversial, there is evidence which supports the historical existence of such steppe warrior women, as modern excavations in the 20th century have discovered more than 1,000 tombs of tribes such as the Saka-Scythians across the Eurasian steppes, of which about 300 of these burials have been identified to be those of armed warrior women (as of 2016).
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