Use of Movement and Characterisation in the Sculptures of the East and West Pediments of The Temple of Zeus at Olympia The architectural sculpture of the Temple of Zeus at Olympia dates from between 465 and 457BC. Putting the temple into historical context, this was a somewhat flourishing time in Greek history, drama, and philosophy. In 490BC, the Athenians won a great victory at Marathon against the Persians, and in 480BC the Persians sacked Athens but were eventually defeated in a naval victory for the Athenians at Salamis. Greek tragedy was thriving during the fifth century, with Aeschylus’ Oresteia being written roughly around the same time as the sculptures for the temple of Zeus were created, and fifth century philosophy was developing ideas regarding how one should act in society. This information proves to be relevant to our understanding of the development of Greek sculpture in this period, and encourages us to recognise how the sculptures on the Temple of Zeus at Olympia may reflect this prosperous time of Greek history. In this essay, I will specifically be discussing the use of movement and characterisation in the two pediments of the Temple of Zeus, and how they enhance the narrative of the two stories depicted. I will also explore how the sculpture on these pediments represent the ‘flourishing’ period of Classical Greece - a period when the Greeks were celebratory of their defeat of the Persians, and when new ideas were starting to emerge from sculptors adapting concepts from Greek drama and philosophical ideas. In his publication, E.N. Gardener argues against the lack of appreciation for the sculptures on the east and west pediments of the Temple of Zeus: ‘The r... ... middle of paper ... ...fazed by the fact that she is being carried off by a drunken half man half horse creature on her own wedding day (see fig 6). The fact that she is a female victim does not make her exempt from expressing the appropriate civilised ‘Greek’ countenance. In conclusion, the characterisation depicted on the west pediment enhances the narrative concerning the idea of civilisation vs barbarism, and the use of movement enhances the fast pace of the narrative. The philosophical concepts surrounding fifth century Greece reinforced the awareness of human emotional expression and how to conduct oneself with a manner of self-restraint, and the Lapiths on the west pediment certainly reflects this. In the east pediment, themes from Greek tragedy and the characterisation featured in figures such as the old seer heightens the tension, which in turn enhances the narrative.
The durability of clay has brought forth an immense abundance of Greek pottery, a craft mastered by Athenian artists. Archeologists have found hundreds of varieties in creation, shape, function, style, and artwork in Archaic vases. The museum has been blessed with one of these priceless artifacts; it is the duty of this establishment to accumulate as much data as possible surrounding the vase. In first identifying technique, dimensions, and condition, as well as describing shape, ornament, and figural scenery, one may then begin to analyze the vase. This serves the general purpose of understanding where the artifact stands in Greek culture and history. Through the examination and research of figural scenes, it is then possible to compare these to other scenes and styles of the same and other painters. Finally, one can then hypothesize where, why, and how this piece was used.
The Nike Adjusting Her Sandal was added to the Temple of Athena Nike in 410 BCE after the completion of the the entire Acropolis. The intricate carvings and elaborate nature of this piece illustrate a tremendous amount of skill on behalf of the unknown artist. In this sense, even though Pericles had died by the time the relief was carved, the sculpture was still a continuation his desire to show Athens’ power, strength, and wealth through elaborate construction and ornamentation. However, the Nike Adjusting Her Sandal’s historical significance goes beyond a desire to show skill. The relief was carved during the Athenian’s battle against Sparta in the Peloponnesian War. Athens had already suffered several defeats which placed the fate of their empire in jeopardy. Thusly, the low relief carvings on the parapet of The Temple of Athena Nike was a sort of political propaganda. The parapet’s various depictions of Nike symbolized victory, and thusly, served as a method of reminding the Athenians of their past victories along with the fact that the goddess of victory was on their side—lifting their spirits and encouraging them to fight on. The second aspect of the Nike Adjusting Her Sandal that makes the piece so significant in the world of art history, is the fact that it hints at the presence of a new artistic era. The Acropolis’ reconstruction was in the height of the Classical Period in Greece. During this time, the Greek believed that mathematics manifested itself in beauty. Thusly, all the art produced was obsessed with idealizing bodies through the canon of proportion. A perfect example of this is Polykleitos’ Doryphoros, which set the standard for Greek art in the era due to its perfection of the human form and serene appearance through a relaxed
We find that, in conclusion, that these pieces are very similar in many ways. They are both originally created in the same style and time period. They are Hellenistic and dramatic, although in their own, individualistic way. Each sculpture was created in different mediums and have different stories. These are both very individualistic pieces of Greco/Roman sculpture that has influenced many artists throughout time and will
Ridgway, Brunilde S. Hellenistic Sculpture II: The Styles of ca. 200-100 B.C. Madison, Wisc.: The University of Wisconsin Press, 2000.
Hellenistic art, let alone architecture, was a period of dramatic transformations that deterred greatly from the Greek Classical period. While the Classical Greek concepts were not entirely abandoned, the Hellenistic period expanded the formal horizons with dramatic posing, sweeping lines, and high contrast of light, shadow and emotion, something greatly different from the Classical artists ideas. The conventions and rules of the Classical period gave way to experimentation and a sense of freedom that allowed the artists of the Hellenistic period to explore their subjects from unique points of view that they had not previously done. The Altar to Zeus in Pergamon is the perfect representation of the Hellenistic period. Pergamon contained the Altar to Zeus in the same way that the Athenian Acropolis contained the Parthenon and is considered by the Greek art historian Gisela Richter to be “the most famous altar of Hellenistic times” (Handbook 32). The Altar of Pergamon is uniquely suited as an ideal example of 2nd century Greek culture that is tied to the ideals of the people, and shows off Hellenistic characteristics that define the time just as the Parthenon is a staple in the Classical period. [Stokstad]
To recall another relic of ancient Greece, Plato had strong opinions on artwork, even that which was created during his time. Plato believed tha...
In Euripides’ play The Bacchae, the ideals that were the foundation of Greek culture were called into question. Until early 400B.C.E. Athens was a society founded upon rational thinking, individuals acting for the good of the populace, and the “ideal” society. This is what scholars commonly refer to as the Hellenic age of Greek culture. As Athens is besieged by Sparta, however, the citizens find themselves questioning the ideals that they had previously lived their lives by. Euripides’ play The Bacchae shows the underlying shift in ideology of the Greek people from Hellenic (or classical), to Hellenistic; the god character Dionysus will be the example that points to the shifting Greek ideology.
...ity in Classical Athens. New York, NY: Alexander S. Onassis Public Benefit Foundation (USA) in Collaboration with the National Archaeological Museum, Athens, 2008. Print.
The use of art forms and sculpture as a means of conveying a message to its viewers has been rooted deep into culture throughout human history. Imagery has carved political views and depictions of society’s circumstances into permanent marks of antiquity. From the Ancient Roman architecture and sculpture to the 1900’s emergence of media in politics, we have continued to express our views, hardships, and culture in permanent ways, and use art as an intricate form of manipulation and persuasion. In the ancient times, the Romans used sculpture to portray individuals of power, such as Augustus, to mark a political ideology by making powerful figures look more pristine and perfect on a godly level. They would portray the unattainable perfection
The difference between an archaic statue such as Kroisos (fig. 5-11) and a classical statue such as Doryphoros (fig. 5-42) may not seem very great in a single glance. In fact, you may not notice any differences in that one glance. Yet, if you were to look at them closely, you can see that these two statues actually have very little in common.
The Greek believed the human body was the measure of all things, therefore the artists created sculptures in a very detailed fashion which made them very life-like although the size of
"Greek artists…explored people’s experienced, interactions with the natural world,and human relations to the gods. Everyday people were represented in Greek art…" (Emory)
In modern society, Greek pottery is considered an art which is regarded as much for its aesthetic splendor as its historical significance. However, the role of pottery in ancient Greek culture was far more functional as its primary use was for the transportation and storage of such liquids as water and wine (Encyclopedia Britannica). Due to the durability of the fired clay material, Greek pottery is the only remaining art form that allows us to explore the evolution of this ancient culture. Through that examination, three distinct stylistic periods have been unveiled: Geometric, Orientalizing and Archaic. This analysis will detail these distinct periods as well as three design techniques prevalently used: black figure, red figure and white ground
Possibly one of the greatest testaments to the Greeks passion for their gods is the Acropolis and Parthenon in Athens, Greece. “. . . temple after temple, each more gorgeous and more perfect than the one before, rose all over the Greek main land, to reach a final climax in the Athenian Parthenon . . .” (Hamlin 124). Here Hamlin explains the greatness of what was achieved in Athens at the Acropolis and how nothing beyond that point could compare.
Tzonis, Alexander, and Phoebi Giannisi. Classical Greek Architecture: The Construction of the Modern. Paris: Flammarion, 2004.