Victory goddess Niki (Nike): The embodiment of victory, Niki is the daughter of Titan Paras and Styx. Her Roman name is Victoria Victoria. Her image is of a pair of wings and a strong and beautiful figure, like wandering down from the sky with flowing clothes. Victory followed wherever she went. She was also the subordinate god 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, and her counterpart in Roman mythology is Victoria. According to Hesiod's "Divine Manual," she is the daughter of the Titans Pallas and Styx, as well as the sister of Kratos (power), Bias (power), and Zeros (zeal), all of whom are companions of the Lord Zeus. Despite her origins as a Titan, she sided with the Olympian god in the Titan War, bringing them victory.
In traditional descriptions, Nick often carries wings and has amazing speed, but apart from that, he has no other special power. She is not only a symbol of victory in war, but also a symbol of success in many areas of Greek daily life, especially in competitive sports. Therefore, she is considered a god who brings good luck and is often the object of artistic works. In artistic works, she is often assimilated to other gods, such as ancient Greek sculptors who often portrayed her as a petite winged figure resting on the arm of another god, or protruding from the clothing of a companion god, or flying high in the sky like a fairy. She is the goddess of victory in Greek mythology. It is said that she helped Zeus defeat the Titans and brought victory to people. In Western art, the image of a person with wings and 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 sacrificial liquor onto an altar. Her accessories are usually wreaths, double eared jars, vases, and incense burners. In the Greek colonies of western Italy, she often appeared as riding in a chariot, while in other places she appeared as holding a weapon or trophy, or playing the lyre (the ancient Greek harp with five to seven strings) or flute.
Nick and Athena are often worshipped together because they were strongly linked after Greece defeated Persia in the Marathon Battle of 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, Athenic was portrayed as an image without wings, presumably in the hope of preventing 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 parapet of the temple and now resides in the Acropolis Museum in Athens.

At the "Highlights" press conference of the 500 day countdown series for the Beijing 2008 Olympic Games, medal designers will elaborate on the design concepts and characteristics of the medals and certificates of this year, broadcast feature films designed and produced for the medals, and Olympic champions will also conduct medal wearing demonstrations to fully showcase the characteristics of the medals of the Beijing Olympic Games. 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 that the medal design was very innovative and very good.
Gold Medal Pattern: A Design Show Not Satisfied with the Back
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Since the first modern Olympic Games in 1896, Olympic medals have undergone many changes. Since the 1928 Amsterdam Olympics, the obverse of medals in the Summer Olympics has mostly followed the pattern of the ancient Roman arena and the goddess of victory sitting triumphantly on a chariot wearing a laurel crown. There are no hard and fast rules on the reverse side of a medal, and the organizing committee of the host city can design it according to its own preferences.
The winning athlete has an American face
The 23rd Los Angeles Olympic Games
The medal pattern reverts 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 in the right hand, with the Roman arena in the background. On the back, the victorious athlete is held high by the crowd and athletes on their shoulders to celebrate warmly. The background is the sports ground. 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 athletes' muscle lines are also clearer.
The goddess of victory has a slight Asian charm
The 24th Seoul Olympic Games
The obverse pattern continues from previous images of the goddess of victory, slightly different from the features painted in the West, with a slight Asian touch; The design on the back is a dove of peace with a laurel branch in its mouth, and the symbol of the Seoul Olympic Games is on the top.
The goddess of victory has long hair that is over the shoulder
The 25th Barcelona Olympic Games
The goddess of victory with short hair turned into over shoulder long hair this year. The stones, vases, and carriages where the goddess used to sit were replaced by thick, leafy laurel branches, and the original Roman arena was transformed into a geometric design with the Olympic rings added. On the back, there is only a simple Barcelona Olympic logo.
Centennial Olympic Games engraved around medals
The 26th Atlanta Olympic Games
The short-haired goddess of victory sat back on the stone, with a palm leaf on her left hand, a laurel crown on her right hand, a carriage pattern on the stone at her feet, and a vase on the right. The Roman arena also returned to its original shape. The reverse design uses the logo of the Atlanta Olympics, with laurel branches forming an arch below, and the words "Centennial Olympics" are embossed around the medal. The blank space is engraved with the sports pattern of the winner.
The Colosseum in Ancient Rome was controversial
The 27th Sydney Olympic Games
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 beasts slaughtered each other, which has nothing to do with the spirit of the Olympic Games, which advocates peace." The designer argued that "The Colosseum here is not a Colosseum in Rome, it is just a Colosseum." The reverse design does not have the emblem of the session, with the Olympic rings as the main body, and the Sydney Opera House pattern is added to the background.
Olympic Home Medal "Big Face Change"
The 28th Athens Olympic Games
On the medal is a panoramic view of the Panathinakos 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 Olympic Games, the ever-burning torch, and the opening words from the hymn written by the famous lyric poet Pindar of ancient Greece for the 8th ancient Olympic Games.