In ancient Greek and Western culture, craftsmen had lower status than those in the humanities. Even in the modern age, mechanical arts were considered inferior and were excluded from prestigious universities in Europe due to their specialized character. Greek mythology, as exemplified by Hephaestus, the god of blacksmithing, portrays craftsmen as intellectually, morally, and aesthetically inferior.

Hephaestus, born to Hera without mating Zeus, faced rejection because of his disability. This symbolism suggests that craftsmanship, tied to the practical needs of life, is deemed impure for divine beings who should be free from such concerns. Despite being a member of the Olympian gods, Hephaestus is depicted as a second-class figure tasked with utilitarian activities.  

The myth also delves into Hephaestus’ appearance and character, portraying him as inferior, resentful, and longing for beauty. This negative perception extended to Roman mythology, where Hephaestus devises a machine decorated beautifully to restrain his mother Hera.  

Plato’s perspective on beauty aligns with this narrative, suggesting that beauty liberates us from the mechanics of life, yet Hephaestus’s golden chair embodies a mechanical restraint. This parallels the 19^th-century concept of applied art seducing consumers but ultimately falling prey to capitalism.  

Hephaestus later demands that Zeus permit him to marry Aphrodite for Hera’s release. However, Aphrodite, dissatisfied with Hephaestus, has an affair with Ares. When Hephaestus discovers their betrayal, he exposes them before the gods and restrains them with thin threads of steel.  

This narrative extends to Hephaestus’ belief that beauty must be molded externally by a mechanism if it cannot be formed spontaneously. Thus, Hephaestus trades organic matter for mechanical purposes and, in so doing, mixes the two. The myth also explores Hephaestus’ pursuit of Athena, the god of competition, born directly from the head of Zeus.   

Athena visits Hephaestus’ workshop to gear up. Then, Hephaestus is captivated by Athena’s beauty and starts pursuing her. While Athena upholds a pure demeanor untouched by entanglements, Hephaestus intertwines his professional dealings with romantic interests. Despite Athena’s desperate attempts to evade his advances, she is unable to escape and her lower limbs become tainted by the mechanical man’s body.  

Among the elite Olympian deities, not only do Aphrodite and Athena hold esteemed positions, but Artemis, the goddess of the moon and hunt, and Apollo, the god of literature and music, also stand as paragons of purity and freedom from worldly attachments. The Greeks’ disdain for labor, workshops, and craftsmen is evident in the stark contrast between Hephaestus’ humble stature and the elevated status of these divine beings. It reflects a distinct Western cultural aversion to the mixture of mechanics and freedom of the organic.  

The ancient myths and narratives spun by poets carry a heavy imprint of patriarchal dominance, echoing values deemed unacceptable in contemporary times. Practices such as obtaining women as gifts and assessing their worth based on marriage norms are stark examples. Similarly, the artisans were looked down upon during these periods.  

Modern design, which is rooted in Western culture, seeks to transcend historically demeaning perceptions of craftsmanship. There has been a conscious effort to redefine “making” as an honorable pursuit, distancing itself from the derogatory evaluations of the past. (KOGA Toru)

References

Apollodorus, The Library, Volume I, Loeb Classical Library, Harvard University Press, 1921, 1-3-5.  

Homer, The Odyssey, Books 1-12 , Edited by George E.  Dimock, et al., The Loeb Classical Library, Harvard University Press, 1995, Vol. 8 – 270.  

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