Victory Goddess Niki (Nike): It is the embodiment of victory, and Niki is the daughter of Titanpalas and Styx. Her Roman name is Victoria Victoria. Her image is of a pair of wings, a muscular figure, like wandering down from the sky, with flowing clothes. Victory followed closely wherever she went. She is also the subordinate deity of Zeus and Athena. In the Titanic War, he defected to Olympus and helped him win.

Niki (Greek: Νίκη， Victory; Latin transliteration: Nike is the goddess of victory in Greek mythology, corresponding to Victoria in Roman mythology. According to Hesiod's "Theology", she is the daughter of the Titans Pallas and Styx, as well as the sister of Kratos (strength), Bias (strength), and Zelos (sincerity), all of whom are companions of the main god Zeus. Despite her background in the Titan race, she still stood on the side of the Olympian god in the Titan War, bringing them victory.
In traditional descriptions, Nick often carries wings and possesses astonishing speed, but apart from that, he does not possess any other special strength. She not only symbolizes the victory of war, but also represents the success in many fields of Greek daily life, especially in the field of competitive sports. Therefore, she is considered a god who brings good luck and is often the object of artistic expression. In artistic works, she is often assimilated with other gods, such as ancient Greek sculptors who usually portrayed her as a petite winged figure, resting on the arm of another god, or protruding from the clothing of a companion god, or soaring high in the sky like a fairy. She is a goddess of victory in Greek mythology, and it is said that she assisted Zeus in defeating the Titans, bringing victory to people. In Western art, the image of being winged and carrying olive branches often appears. [1]
In her most famous portraits, such as the "Victoire de Samothrace" in the Louvre, she is shown as a naked or armored winged goddess. On Greek pottery, she is depicted standing, flying, or stepping, sometimes pouring offerings on an altar. Her accessories are usually wreaths, double eared jars, small bottles, and incense burners. In the Greek colonies of western Italy, she usually appears as a chariot rider, while in other places she appears holding weapons or trophies, or playing lyres (the ancient Greek harp, with five to seven strings) or flutes.
Nick is often worshipped along with Athena, as they were heavily connected after Greece defeated Persia in the Battle of Marathon in 490 BC. The giant statue of Athena enshrined in the Parthenon temple in Athens is believed to also depict Niche, and the Parthenon complex also includes a temple dedicated to Athenian Nick. Sometimes, Athena is depicted as carrying Nick's appendages. According to the records of Posanias, Athenian was portrayed as an image without wings, presumably hoping to prevent the goddess of victory from leaving the city. The temple still retains an image of this god: Nike Slancio, who unties his shoelaces. It was once located on the breast wall of the temple and is now housed in the Acropolis Museum in Athens.

At the "highlight" press conference of the 500 day countdown series for the Beijing 2008 Olympics, the medal designer will elaborate on the design concept and characteristics of the medals and certificates for this year, play a special film designed and produced for the medals, and Olympic champions will also demonstrate wearing medals, fully showcasing the characteristics of Beijing Olympic medals. It is reported that in February, after the International Olympic Committee approved the medal design plan for the Beijing 2008 Olympic Games, IOC President Rogge once stated that he believed the medal design was very innovative and excellent.
A Gold Medal Pattern Design Show Not Satisfied with the Back
Since the first modern Olympic Games in 1896, Olympic medals have undergone multiple changes. Since the 1928 Amsterdam Olympics, most of the medals on the obverse of the Summer Olympics have followed the pattern of the ancient Roman arena and the goddess of victory triumphantly sitting on a chariot wearing a laurel crown. There are no mandatory regulations on the reverse side of medals, and the organizing committee of the host city can design according to their own preferences.
Victory athletes with American faces
The 23rd Los Angeles Olympics
The medal pattern returns to the fixed pattern used since 1928, with the seated goddess of victory on the obverse, holding a palm leaf in the left hand, and holding the laurel crown in the right hand. The background is the Roman Coliseum. On the back, the victorious athlete is held high by the crowd and athletes on their shoulders to warmly celebrate, with the sports field in the background. Although the medal pattern continues to be used in previous editions, the human figure is more in line with the American face shape, and the athlete's muscle lines are also clearer.

Victory Goddess with a touch of Asian charm
The 24th Seoul Olympics
The obverse pattern continues the images of the Victory Goddess from previous editions, slightly different from the appearance depicted in the West, with a slight Asian charm; The back design shows a dove of peace, holding a laurel branch in its mouth, and the emblem of the Seoul Olympics above.
Victory Goddess Grows Over Shoulder Long Hair
The 25th Barcelona Olympics
The goddess of victory with short hair has become over shoulder long hair this year. In the past, the stones, vases, and carriages where the goddess sat were replaced with thick and leafy laurel branches, and the original Roman arena was transformed into geometric patterns with the Olympic rings added. The back pattern only has a simple Barcelona Olympic logo.
Centennial Olympics engraved around medals
The 26th Atlanta Olympics
The short haired goddess of victory sat back on the stone, with a palm leaf on her left hand and a laurel crown on her right hand. The carriage pattern on the stone at her feet and the vase on the right were all returned, and the Roman arena was also restored to its original state. The reverse design uses the emblem of the Atlanta Olympics, with laurel tree branches forming an arch below, and the medal is surrounded by the words "Centennial Olympics" in relief. The blank space is engraved with the sports pattern of the winner participating.
Controversial Colosseum in Ancient Rome

The 27th Sydney Olympics

The design of the "Colosseum of Ancient Rome" in the lower right corner of the front of the medal sparked a controversy. Some scholars have pointed out that "the Colosseum in ancient Rome was a very barbaric place where humans and animals killed each other, which has nothing to do with the spirit of the peaceful Olympic Games." The designer argued that "the Colosseum here is not a Roman Colosseum, it is just a circular arena." The reverse design does not have the emblem of the session, and the Olympic rings are the main theme, with the Sydney Opera House pattern added to the background.

Olympic Home Medal "Big Face Change"

The 28th Athens Olympics

The medal features a panoramic view of the Panathinacos Arena in Greece, one of the stadiums of the first Olympic Games in 1896. The goddess of victory stood up again, her voice and smile based on a sculpture from the temple of Zeus in 421 BC. The back of the medal consists of the emblem of the current Olympic Games, the never-ending torch, and the opening lines from the hymn written by the famous Greek lyricist Pindar for the 8th ancient Olympic Games.