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Architectural characteristics of greek architecture
Architectural characteristics of greek architecture
History of greek architecture
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The Three Major Shifts in Ancient Greek History Sculptural Development The ancient Greek was one of the most well-known civilization throughout history. This civilization was known for their history, philosophy, religion, and specially sculpture. One of the dominant ones was their sculpture. By studying the ancient Greek sculpture, one can see that there were different shifts. Historians tell us that these different shifts took place during the Stone Age, the Bronze Age, the Dark Ages, the Archaic, the Classical, and the Hellenistic Age. The three major shifts in ancient Greek sculptural development that we need to analyze are the Archaic, the Classical, and the Hellenistic sculpture. The first major shift in the ancient Greek sculptural development is the archaic sculpture. During the archaic period, the Greeks started to carve in stone. The unique feature to the archaic sculpture is the way they carve those look alike human statues with an archaic smile. For example, the lady of Auxerre and the torso of Hera sculpture were both female and male that wear an archaic smile. The focus of the Greeks were to show …show more content…
you how the human form was the most important for artistic display around that time. According to a writer, “During this period the sculptor worked almost exclusively with "point" chisels, punches and stone abrasives to create the statues, and this technique did not allow for much flexibility in regards to the pose or surface qualities. As a result of this technique, all marble statues from the archaic period have an opaque appearance despite marble being a somewhat translucent material.” (Boardman). The key examples of the archaic sculpture were the korai and kouroi, these two sculptures were sculpted with positions that expressed motion and facial expressions that we call archaic smile. During this period these sculptures were used for public memorials, as offerings to temples, and as markers for graves. The second major shift in the ancient Greek sculptural development is the classical sculpture. During the classical period, we had a revolution in the Greek sculpture. In the classical sculpture, we saw many changes in the style, function of sculpture, and dramatic changes in the way the Greeks started to depict those sculpture in realistic human forms. The unique feature to the classical sculpture is the poses of these human like sculptures and has special expressions. According to a writer, “In the art of Greece during the Classical period the characteristic smile of the Archaic sculpture was replaced by a solemn facial expression. Even in sculptures which depict violent and passionate scenes the faces betray no expression of any kind.”(Boardman). The poses were more naturalistic and one example is of the charioteer of Delphi which is a transition to a more natural form of sculpture. The Greeks during the classical period was depicting the sculpture in a way that represent the Greeks gods. These sculptures were depicted in form of the Greeks God and were placed in many buildings in Athens such as the statue of Athena Parthenos and the Zeus statue at Olympia which were the most famous sculpture of the classical period. The final major shift in the ancient Greek sculptural development is the Hellenistic sculpture. In the Hellenistic period, the Hellenistic sculpture were influenced by the people culture. We experienced a shift towards increasing the naturalism in the sculpture. For example, men, women, children, animals and domestic scenes became acceptable as figures of sculpture. These statue were used by wealthy families as adornment for their homes and gardens. In addition, we also see a shift in expression of the sculptures. The Greeks express more energy and power in their sculpture. Their focus were to show people how the Hellenistic sculptures differ from the classical sculptures. For example, the classical sculptures express humility as for the Hellenistic sculptures that express power and energy. During this period, more sculptures were made to represent heroes and gods of Greece. They key examples of Hellenistic sculpture that shows energy and power were the statue of Aphrodite and the Dying Gaul. According to a writer, “While the interest in deities and heroic themes was still of importance, the emphasis of Hellenistic art shifted from religious and naturalistic themes towards more dramatic human expression, psychological and spiritual preoccupation, and theatrical settings. The sculpture of this period abandons the self-containment of the earlier styles and appears to embrace its physical surroundings with dramatic groupings and creative landscaping of its context.” (Boardman). This show the big shift from classical to the Hellenistic period. To conclude, the three major shifts in ancient Greek history of sculptural development were archaic, classical and Hellenistic sculpture.
The archaic sculptures were shaped in like human form with facial expressions that we called archaic smile. This sculptures were made for public memorials, as offerings to temples, and as markers for graves. The classical sculptures saw changes in the style, function of sculpture, and dramatic changes in the way the Greeks started to depict those sculpture in realistic human forms. The poses of these statues were more naturalistic. These sculptures show expression of humility. The Hellenistic sculptures were influenced by the people culture. The Greeks express more energy and power in their sculpture. We can see that in each period, there is a different shift. The way these sculptures changes in each period are
remarkable.
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.
Throughout the history of Ancient Greece thousands of great works of art were produced. Works were created in many different media, ranging from life-size statues to larger than life architectural structures. One type of art that can sometimes be overlooked, though, is pottery. There are many examples of great Greek pottery, but the two that will be used as a sample are Artemis Slaying Actaeon and Woman and Maid. By considering the backgrounds of these works, and comparing them directly we are able get a taste not only of the artistic styles of the time, but also a taste of ancient Greek culture.
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 Statue of a kouros and the Portrait statue of a boy both depict similar subjects, however are greatly different in how they accomplish this task. Through detail, or lack there of, the Greeks and Romans are able to display a certain value they have in its members. These two statues were made about 500 years apart and approach the sculpting process quit differently. The Greek statue seems to use geometric exaggerated lines to form the body while the Romans use a more realistic approach and sculpt the body with a more rounded finish. Statue of a kouros, from about 590 B.C and Portrait of a boy, from about the first century, do not share any great technical aspects and are basically nothing alike.
Aegean art is very simple and plain but very beautiful. Their sculpture has very little detail carved into the art but that maybe because originally their statue was painted in very bright colors. The female figures are plainer and more compact the arms and legs are folded in there no gap in between their arms and legs. While the male figures like the “male harp player from keros, c. 260—2300 B.C.E., Early Cycladic period, marble, 22.5 cm high”, are more detailed but not by much. They are more rounded they aren’t as straight and stiff looking, like the female sculpture, the male statues head is tilted back like is he is singing along to the music he plays with his harp, the leg and arm are open and apart unlike in the female sculpture who is compacted into a rectangle like shape. But they must have looked much different and more alive when they were painted than they do now. But even without the paint they still look beautiful.
The ancient Greek civilization has left a rich cultural footprint on modern Western civilization. Especially during the ancient Classical and Hellenistic eras of Greece, ancient Greeks have left behind a plethora of ideas and concepts that have played a crucial role in forming the foundations to Western civilization. Although the Classical era was a time of war and conflict, it was the Golden Age of Greece that was the home to many achievements in art, philosophy, architecture, politics, and literature such as the birth of democracy. The Hellenistic era was a period of social and economic prosperity that was defined by the spread of Greek culture across the entire eastern Mediterranean and Southwest Asia. During this era, countless of advancements
Ridgway, Brunilde S. Hellenistic Sculpture II: The Styles of ca. 200-100 B.C. Madison, Wisc.: The University of Wisconsin Press, 2000.
Also, the sculpture named Kroisos (Kouros from Anavysos). ca. 540-525 BCE. Compare with the Kouros, both of them are freestanding, painted sculpture. Kroisos has a greater body than Kouros, and I can image that the flesh, sinew and bones inside the stone. And as for Kroisos’s facial expression is more naturalistic than Kouros. His lips are drawn up that becomes an artificial smile, I mean the archaic smile, but not reflect in his
Two main devices used in Egyptian art from the fourth dynasty, that also help classify it, are a strive for naturalism and the use of sculpture in the round. In addition to the large burial monuments being built, portraiture became quite popular at this time in history. Paintings featuring humans used their own form of "sculpture in the round" by painting in ...
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 art progressed through four divisible periods from ninth century B.C. to the second century B.C. The primary subject matter for all of these periods was humans. (Sowerby, 150) Each period progressed further than the last with developing the human form and making it continually more realistic and natural. (Boardman, 275) The most basic human forms were depicted in the Geometric period where triangles and ovals were used to make a rough human form. The Archaic period came next with artists slowly moving away from set geometric figures and incorporating more human detail into their art. Great change in art came in the Classical period. Sowerby states this by saying: "The classical artist concentrates up...
The Romans have adopted many features from the Greek style of art and architecture during the third and second centuries B.C. During that time period the Romans discovered that they have taking a liking to Greek statues, which they placed in many different places. The Roman sculptors then decided to also start making statues alongside the Greeks. The statues that the Romans created were realistic looking with, sometime, unpleasant details of the body. The Greeks made statues with, what they thought of, ideal appearances in the statues figure. Sculpture was possibly considered the highest form of art by the Romans, but figure painting was very high considered as well. Very little of Roman painting has survived the tests of time.
The first definable period of Greek pottery, Geometric (c. 900-700 BCE), accounts for the majority of ancient vase painting still in existence today; and as such, affords us the broadest view into this art form. The period attributes its name to the geometric forms that artists used to detail their vessels. The primary decorative motifs that distinguish the period include parallel lines, concentric
The end of the Geometric period resulted in the beginning of the Orientalizing Period, dated between 700-600 BC. Within this time frame, Greek introduced a new innovation, the Peripteral Temple. For many years prior, a row of colonnade was used on the interior primarily to hold up the roof of the building. In contrast, columns are seen being used on the outside, creating a visual wall around the building exposing parts of the interior. With in the temple existed the megaron style, carried forward from Bronze Age homes. It was also in eastern influenced period, the first real stone temples, and terra cotta roof tiles came to exist to hold the weight on these new stone temples. The population grew drastically, introducing new techniques and styles, which blended to form designs with balance and symmetry. It was during this period, two major Greek designs were developed, the Ionic and Doric order. (Pedley, 2012: pg. 180) The Doric order, being the first and most simple, consisted of baseless columns placed closely together as the Greeks did not know how much weight the shortened columns could hold. Reason behind this was the lack of length in the columns were believed to hold less weight and therefore forced into being placed closer together. This closely set arrangement created a very bold statement in the Doric temple. The Capital, which sat on top of the concaved shaped shaft, was left plain but when grouped alongside others, suggested a bold harmony. In contrast, the Ionic order was less bulky and more delicate than the Doric order. The top of the capital is decorated with two scrolls, also known as volutes, which could have resembled a shell or animal horns. Above the capital, held room for a surrounding frieze depictin...
Even the few sculptor’s names known to us, usually by chance, from the imperial period are Greek names and seem to confirm the assumption that these artists’ work should be regarded simply as a late phase of Greek art” (Hanfmann, 12). The Greeks were the first western culture to figure out how to accurately depict the human form which they did through the use of geometric ratios. It is also widely accepted that it was even Greek artists who first made marble portraits for the Romans as the Romans originally had no skill with the stone. “It was certainly at first Greek artists who were entrusted by eminent Romans with the execution of portraits of themselves and of important personalities in the Roman state, just as it was Greeks who depicted Aemilius Paulus victory at Pydna and later were largely responsible for the portraits of the emperors” (Kahler 16). The Romans mainly used terracotta for their sculptures and it was only when Augustus reigned that the marble quarries at Carrara were opened and marble was used on a large scale. The Romans inherited the use of realistic proportions, the sense of movement (contrapposto), and the overall beauty of Greek sculptures. A great example of Roman sculpture that was clearly carved by a Greek artist who was familiar with the Hellenistic styles of Greece, is the Relief of the Wedding of Amphitrite and Neptune. It “shows a mythological