{"id":171632,"date":"2026-09-05T15:41:01","date_gmt":"2026-09-05T15:41:01","guid":{"rendered":"https:\/\/iwell-guard.com\/?page_id=171632"},"modified":"2026-09-05T16:03:01","modified_gmt":"2026-09-05T16:03:01","slug":"eros","status":"publish","type":"page","link":"https:\/\/iwell-guard.com\/ca\/eros\/","title":{"rendered":"Eros"},"content":{"rendered":"\t\t
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Eros, d\u00e9u grec del desig<\/h1>\n

Eros (en grec \u1f1c\u03c1\u03c9\u03c2) \u00e9s una de les figures m\u00e9s antigues i alhora m\u00e9s canviants del pante\u00f3 grec. Com a d\u00e9u grec de l’amor, se’l considera tamb\u00e9 una for\u00e7a c\u00f2smica primig\u00e8nia. A difer\u00e8ncia dels d\u00e9us ol\u00edmpics, que a la Il\u00edada i l’Odissea apareixen com a personatges fixos, Eros \u00e9s inicialment menys una figura individual que una for\u00e7a c\u00f2smica. Nom\u00e9s a l’\u00e8poca hel\u00b7len\u00edstica es consolida la imatge del noi alat amb arc que ha marcat la tradici\u00f3 posterior.<\/p>

Hes\u00edode i la Teogonia<\/h3>

La font liter\u00e0ria m\u00e9s antiga \u00e9s la Teogonia d’Hes\u00edode (cap al 700 a.C.). All\u00e0, Eros \u00e9s un dels primers \u00e9ssers que sorgeixen despr\u00e9s del Caos, juntament amb Gaia (la Terra) i el T\u00e0rtar (l’inframon). Hes\u00edode el descriu com el m\u00e9s bell entre els d\u00e9us immortals, que afluixa els membres i priva tant els d\u00e9us com els homes del seny i de la reflexi\u00f3 assenyada (Teog. 120, 122). Aquesta posici\u00f3 converteix Eros en una magnitud cosmog\u00f2nica: \u00e9s la for\u00e7a que fa possible la uni\u00f3 i que, per tant, inicia el desenvolupament posterior del m\u00f3n div\u00ed. Aquesta forma primerenca es distingeix fonamentalment de la figura personal del d\u00e9u de l’amor que apareixer\u00e0 m\u00e9s tard.<\/p>

Tradici\u00f3 \u00f2rfica i Fanes<\/h3>

En la tradici\u00f3 \u00f2rfica, Eros s’identifica amb Fanes, el d\u00e9u primigeni de la creaci\u00f3 nascut de l’ou c\u00f2smic. Els himnes \u00f2rfics (probablement dels segles II-III d.C.) canten Eros com el primer d\u00e9u no engendrat, creador de totes les coses. Aquesta lectura teog\u00f2nica es desenvolupa paral\u00b7lelament a les especulacions filos\u00f2fiques que interpreten Eros com a principi c\u00f2smic d’uni\u00f3. El concepte d’Emp\u00e8docles sobre l’amor (philia) i la disc\u00f2rdia (neikos) com a forces c\u00f2smiques fonamentals pertany a aquest discurs, aix\u00ed com la doctrina plat\u00f2nica de l’Eros.<\/p>

Plat\u00f3 i la filosofia de l’Eros<\/h3>

Al Simposi, Plat\u00f3 tra\u00e7a una teoria de l’Eros molt matisada. Diversos parlants hi exposen concepcions diferents: Fedre lloa Eros com el d\u00e9u m\u00e9s antic, Paus\u00e0nias distingeix entre un Eros celestial i un Eros popular, Arist\u00f2fanes narra el mite de l’home primigeni dividit que cerca la seva meitat perduda. El fam\u00f3s discurs de Diotima, transm\u00e8s per S\u00f2crates, descriu Eros com un Daimon<\/span>, \u00e9s a dir, un \u00e9sser mitjancer entre l’home i el d\u00e9u, i tra\u00e7a una escala de graus del desig que puja del cos, passant per l’\u00e0nima, fins a la idea de Bellesa. Aquesta concepci\u00f3 filos\u00f2fica de l’Eros ha marcat la tradici\u00f3 plat\u00f2nica (Plot\u00ed<\/span>, Marsilio Ficino, Pico della Mirandola) fins al Renaixement.<\/p>

Eros i Afrodita<\/h3>

La concepci\u00f3 popular vincula Eros amb Afrodita<\/a> com a fill i acompanyant seu. Aquesta relaci\u00f3 \u00e9s liter\u00e0riament tardana: en Hes\u00edode, Eros no t\u00e9 pares, i en Homer no apareix com a figura personal. Nom\u00e9s en la poesia hel\u00b7len\u00edstica (Apol\u00b7loni, Te\u00f2crit) apareix com el fill infantil de la deessa de l’amor que, amb fletxa i arc, colpeja d\u00e9us i homes. La imatge d’Eros a les Argon\u00e0utiques d’Apol\u00b7loni, disparant a Medea al cor, pertany a aquesta tradici\u00f3. La fusi\u00f3 de la figura arcaica de l’Eros cosmog\u00f2nic amb el noi arquer hel\u00b7len\u00edstic ha dominat la recepci\u00f3 posterior.<\/p>

Tradici\u00f3 iconogr\u00e0fica i simbolisme<\/h3>

La tradici\u00f3 iconogr\u00e0fica antiga mostra Eros amb atributs canviants. En les cer\u00e0miques de figures roges del segle V, \u00e9s un jove alat, sovint acompanyant Afrodita. Als relleus hel\u00b7len\u00edstics apareix com un noi amb arc i buirac, de vegades amb els ulls embenats, cosa que simbolitza la ceguesa de l’amor. A l’\u00e8poca imperial romana, Eros es fon amb Cupido i Amor; els relleus dels sarc\u00f2fags el mostren com a acompanyant dels difunts. Aquesta tradici\u00f3 iconogr\u00e0fica va influir, a trav\u00e9s del Renaixement, fins a la pintura barroca i la iconografia ang\u00e8lica cristiana, on els putti alats provenen de la tradici\u00f3 d’Eros.<\/p>

Ress\u00f2 modern i classificaci\u00f3 dins la hist\u00f2ria de les religions<\/h3>

En la ci\u00e8ncia de les religions actual, Eros es discuteix sobretot des de dos vessants. D’una banda, com a principi cosmog\u00f2nic en l’especulaci\u00f3 presocr\u00e0tica i \u00f2rfica, que es pot comparar tipol\u00f2gicament amb conceptes similars d’altres cultures (el iang-ien xin\u00e8s, el kama hinduista, la parella eg\u00edpcia Geb-Nut). D’altra banda, com a categoria \u00e8tico-filos\u00f2fica que, en la tradici\u00f3 plat\u00f2nico-agustiniana, va esdevenir la base d’una teologia de l’amor. C. S. Lewis, a The Four Loves<\/em> (1960), va descriure l’Eros com un dels quatre tipus d’amor juntament amb Storge, Philia i Agape, introduint aix\u00ed la diferenciaci\u00f3 antiga en la teologia moderna. Walter Burkert<\/span> (Griechische Religion, 1977) situa Eros dins l’espectre div\u00ed arcaic i subratlla la profunditat cosmog\u00f2nica de la posici\u00f3 hesi\u00f2dica.<\/p>

Temes relacionats:<\/strong> Afrodita<\/a> | Hermes<\/a> | Hades<\/a><\/p>\n

Eros en la tradici\u00f3 romana<\/h3>\n

En la mitologia romana, Eros es diu Cupido<\/em> (Desig) o Amor<\/em>, i s’acosta m\u00e9s a la seva mare Venus que en la forma m\u00e9s antiga. El relat d’Amor i Psique<\/em>, de les Metamorfosis<\/em> d’Apuleu (segle II d.C.), dona a Eros una profunditat narrativa que no tenia en la tradici\u00f3 grega: aqu\u00ed es converteix en un amant que s’enamora d’una dona mortal i, despr\u00e9s d’una llarga prova, l’eleva al rang div\u00ed. Aquesta narraci\u00f3 es llegeix a l’antiguitat tardana cristiana com una al\u00b7legoria de l’\u00e0nima que, gr\u00e0cies a l’amor div\u00ed, arriba a la seva plenitud.<\/p>\n

Eros en la psicologia moderna<\/h3>\n

Sigmund Freud recupera el concepte d’Eros a partir de 1920 a M\u00e9s enll\u00e0 del principi del plaer<\/em>: Eros esdev\u00e9 la pulsi\u00f3 de vida que actua en contra de la pulsi\u00f3 de mort (T\u00e0natos), l’impuls de cohesi\u00f3 contra la dissoluci\u00f3. Aquesta lectura psicoanal\u00edtica t\u00e9 arrels antigues (la disc\u00f2rdia entre amor i odi d’Emp\u00e8docles), per\u00f2 atorga al concepte d’Eros una dimensi\u00f3 biol\u00f2gica que no tenia en la mitologia antiga. C. G. Jung amplia el concepte fins a convertir-lo en s\u00edmbol mateix de la for\u00e7a relacional, i el situa com a funci\u00f3 psicol\u00f2gica al costat del Logos.<\/p>\n

Eros i el parentiu amb altres divinitats de l’amor<\/h3>\n

Eros pertany a una \u00e0mplia fam\u00edlia de divinitats de l’amor al llarg de tota la hist\u00f2ria de les religions. En el pante\u00f3 mesopot\u00e0mic, Innana\/Ixtar<\/em> ocupa un paper similar, encara que amb un component clarament m\u00e9s bel\u00b7lic\u00f3s. En l’\u00e0mbit egipci, Hathor<\/em> \u00e9s la divinitat central de l’amor i la sensualitat. Al nord germ\u00e0nic li correspon Freya<\/a> com a deessa de l’amor i la m\u00e0gia. En la tradici\u00f3 hinduista trobem Kamadeva<\/em>, el d\u00e9u de l’amor portador d’arc, notablement proper a l’Eros grec en tradici\u00f3 iconogr\u00e0fica i simbolisme, cosa que al segle XIX va donar lloc a la tesi d’una divinitat indoeuropea primig\u00e8nia del desig. Aquesta tesi \u00e9s avui dia controvertida dins la ci\u00e8ncia de les religions, per\u00f2 els paral\u00b7lelismes segueixen sent notables.<\/p>\n

Eros en l’espiritualitat contempor\u00e0nia<\/h3>\n

En els corrents espirituals neopagans, neoplat\u00f2nics i t\u00e0ntrics contemporanis, Eros s’ent\u00e9n sovint com una for\u00e7a d’atracci\u00f3 c\u00f2smica, el moviment pel qual all\u00f2 separat s’esfor\u00e7a a reunir-se. Aquesta lectura \u00e9s essencialment plat\u00f2nica, per\u00f2 fa de bon pont entre la tradici\u00f3 m\u00edtica i l’experi\u00e8ncia psicol\u00f2gica. En l’espiritualitat pr\u00e0ctica, Eros actua com a mediador entre l’experi\u00e8ncia sensual i l’espiritual, una funci\u00f3 que ja apuntava als discursos plat\u00f2nics del Simposi.<\/p>\n

Fonts<\/h3>\n
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  • Hes\u00edode: Theogonie<\/em>, ed. Albert von Schirnding, Tusculum 1991.<\/li>\n
  • Plat\u00f3: Symposion<\/em>, trad. al. Reinhard Brandt, Reclam 1996.<\/li>\n
  • Apuleu: Metamorphosen<\/em>, ed. Edward J. Kenney, Cambridge UP 1990.<\/li>\n
  • Sigmund Freud: Jenseits des Lustprinzips<\/em>, Viena 1920.<\/li>\n
  • Walter Burkert: Griechische Religion der archaischen und klassischen Epoche<\/em>, Kohlhammer 1977.<\/li>\n<\/ul>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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    Eros, el d\u00e9u grec<\/strong> del desig, apareix en la teogonia hesi\u00f2dica com a d\u00e9u primordial.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t

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    Eros com a d\u00e9u primordial i com a fill d'Afrodita<\/h2>\t\t\t\t<\/div>\n\t\t
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    La tradici\u00f3 grega coneix dues concepcions molt diferents d’Eros, que no es concilien f\u00e0cilment. La tradici\u00f3 m\u00e9s antiga, cosmog\u00f2nica, converteix Eros en una de les primeres pot\u00e8ncies absolutes. En la Teogonia<\/em> d’Hes\u00edode, del final del segle vuit o principi del segle set abans de Crist, Eros sorgeix just despr\u00e9s del Caos, Gea i el T\u00e0rtar. All\u00e0 no \u00e9s una figura tendra, sin\u00f3 una for\u00e7a origin\u00e0ria i impulsora que domina d\u00e9us i homes, i sense la qual no seria possible cap uni\u00f3 ni cap generaci\u00f3.<\/p>

    Tamb\u00e9 en la cosmogonia \u00f2rfica, Eros t\u00e9 un paper com a pot\u00e8ncia creadora, de vegades sota el nom de Fanes o vinculat a ell, com un \u00e9sser llumin\u00f3s que sorgeix d’un ou. Aquestes concepcions cosmog\u00f2niques d’Eros subratllen la seva funci\u00f3 com a principi d’uni\u00f3, que reuneix els elements separats del m\u00f3n.<\/p>

    La tradici\u00f3 m\u00e9s recent i popularment m\u00e9s coneguda fa d’Eros el fill d’Afrodita, sovint amb Ares com a pare. En aquesta forma, \u00e9s el company jove o infantil de la seva mare, que enc\u00e9n l’amor amb arc i fletxes. Aquesta versi\u00f3 s’imposa especialment en la poesia de l’\u00e8poca cl\u00e0ssica i hel\u00b7len\u00edstica.<\/p>

    La recerca no veu en aquesta duplicitat un simple malent\u00e8s, sin\u00f3 dues funcions diferents d’un mateix concepte. El mot grec eros<\/em> designa tant l’atracci\u00f3 c\u00f2smica com el desig er\u00f2tic individual. La mitologia ha desenvolupat aquesta amplitud de sentit en dues figures divines, sense arribar mai a unificar-les del tot.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Eros i Psique en Apuleu<\/h2>\t\t\t\t<\/div>\n\t\t
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    El relat m\u00e9s c\u00e8lebre i coherent sobre Eros no es troba en un text grec, sin\u00f3 en un text llat\u00ed: la novel\u00b7la Metamorfosis<\/em> d’Apuleu, del segle segon despr\u00e9s de Crist, tamb\u00e9 coneguda com L’ase d’or<\/em>. All\u00e0 s’insereix la hist\u00f2ria d’Amor i Psique com un relat intercalat m\u00e9s llarg.<\/p>

    Psique \u00e9s una princesa de tal bellesa que la gent la venera com si fos Afrodita. La deessa gelosa envia el seu fill Eros perqu\u00e8 empenyi Psique cap a un amor vergony\u00f3s, per\u00f2 Eros mateix se n’enamora. La porta a un palau amagat, per\u00f2 nom\u00e9s la visita en la fosca i li prohibeix veure-li el rostre. Instigada per les seves germanes envejoses, Psique l’il\u00b7lumina mentre dorm amb una ll\u00e0ntia, una gota d’oli calent el desperta i Eros fuig.<\/p>

    Psique ha de complir llavors una s\u00e8rie de tasques aparentment impossibles que li imposa Afrodita, entre elles separar un munt de gra i portar aigua d’una font inaccessible. Al final, fins i tot baixa a l’infram\u00f3n. Finalment Eros i Psique s’uneixen entre els d\u00e9us, i Psique esdev\u00e9 immortal.<\/p>

    La recerca ha interpretat aquest relat de moltes maneres. El mot grec psyche<\/em> significa \u00e0nima, motiu pel qual ja en l’antiguitat es va llegir la hist\u00f2ria al\u00b7leg\u00f2ricament com el cam\u00ed de l’\u00e0nima. Altres subratllen l’estructura de rondalla, amb les seves proves i ajudants. Independentment de la interpretaci\u00f3, el relat es va convertir en un dels temes m\u00e9s influents de l’art i la literatura europees, i va marcar profundament la imatge d’Eros en l’\u00e8poca moderna.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Eros en el pensament filos\u00f2fic de Plat\u00f3<\/h2>\t\t\t\t<\/div>\n\t\t
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    Eros no \u00e9s nom\u00e9s una figura de la mitologia i la poesia, sin\u00f3 tamb\u00e9 un concepte central de la filosofia grega. El tractament m\u00e9s important es troba en el di\u00e0leg Simposi<\/em> de Plat\u00f3, del segle quart abans de Crist, on diversos oradors, en un convit, fan elogis d’Eros.<\/p>

    El punt culminant \u00e9s el discurs de S\u00f2crates, que reprodueix l’ensenyament de l’endevina Diotima. All\u00e0 Eros no es presenta com un d\u00e9u en sentit ple, sin\u00f3 com un daimon<\/em>, un \u00e9sser mitjancer entre d\u00e9us i homes. Segons Diotima, Eros \u00e9s fill de Poros, la riquesa o l’enginy, i de Penia, la mancan\u00e7a. Per aix\u00f2 no \u00e9s ric ni pobre, ni bell ni lleig, sin\u00f3 que sempre est\u00e0 cercant, sempre aspirant.<\/p>

    D’aquesta determinaci\u00f3 Plat\u00f3 desenvolupa la seva c\u00e8lebre doctrina de l’ascensi\u00f3. Eros comen\u00e7a amb l’atracci\u00f3 per un cos bell, per\u00f2 ha d’alliberar-se progressivament: d’un cos a la bellesa de tots els cossos, d’all\u00e0 a la bellesa de les \u00e0nimes, de les lleis, dels coneixements, fins arribar a la contemplaci\u00f3 del bell en si mateix. Eros \u00e9s, aix\u00ed, la for\u00e7a que empeny l’home m\u00e9s enll\u00e0 del sensible cap al coneixement.<\/p>

    Aquesta interpretaci\u00f3 filos\u00f2fica va donar al mot una hist\u00f2ria d’influ\u00e8ncia que va molt m\u00e9s enll\u00e0 de la mitologia. El concepte d’amor plat\u00f2nic prov\u00e9 d’aquest ensenyament, encara que en el llenguatge actual sovint s’entengui de manera redu\u00efda. La recerca subratlla que Plat\u00f3 va reinterpretar deliberadament l’Eros mitol\u00f2gic per fer-lo fecund per al seu sistema filos\u00f2fic.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Iconografia i evoluci\u00f3 de la representaci\u00f3 d'Eros<\/h2>\t\t\t\t<\/div>\n\t\t
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    La representaci\u00f3 visual d’Eros ha canviat molt al llarg de la hist\u00f2ria de l’art grec i rom\u00e0. En l’\u00e8poca arcaica, Eros apareix sobretot com un jove bell, sovint alat, en la plenitud de la joventut. Aquesta representaci\u00f3 s’ajusta al seu significat cosmog\u00f2nic primerenc i al seu paper com a for\u00e7a poderosa i digna de ser presa seriosament.<\/p>

    En l’\u00e8poca cl\u00e0ssica, el tipus juvenil es mant\u00e9 est\u00e8s, per\u00f2 Eros apareix cada vegada m\u00e9s com a company d’Afrodita i tendeix a representar-se m\u00e9s jove. El c\u00e8lebre escultor Prax\u00edteles i la seva escola van contribuir a la difusi\u00f3 de figures gracioses d’Eros.<\/p>

    En l’\u00e8poca hel\u00b7len\u00edstica es produeix el canvi decisiu: Eros esdev\u00e9 un infant, un noiet rodanx\u00f3 amb arc, sovint representat jugant o dormint. D’aquesta tradici\u00f3 es desenvolupa en l’art rom\u00e0 l’Amor o Cupido, sovint en plural com tot un estol de nois alats de l’amor, els anomenats Erots o Amorets, que poblen pintures murals, sarc\u00f2fags i mosaics.<\/p>

    Aquesta forma tardana i infantil \u00e9s la que va marcar m\u00e9s fortament la imatge posterior a l’antiguitat. A trav\u00e9s de l’art rom\u00e0, el noiet alat de l’amor va arribar a l’art del Renaixement i del Barroc, on es va fer omnipresent com a putto. La recerca veu en aquest canvi, de la pot\u00e8ncia primordial original al putto infantil, un proc\u00e9s d’enterniment gradual que va acabar amb amagar quasi completament la seriositat original de la figura. Qui vulgui comprendre l’Eros primerenc i poder\u00f3s ha de retrocedir conscientment m\u00e9s enll\u00e0 d’aquesta imatge posterior.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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