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Pericles death impact
What is the impact that pericles had on ancient greece while he was alive
The golden age of rome
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Both figures have their chest open and have their head directed to the right side. Augustus’ posture resembles that of the Classical Greek sculpture: Doryphoros, sculpted by Doryphoros in 5 B.C. It shows the two forms directing their body as well as their head to the right, forming an elegant S-shape called the contrapposto. The Age of Pericles also referred to as the Golden Age of Athens occurred at the same time as when Doryphoros was sculpted. It was a period where the city flourished and transformed under the authority of general and orator, Pericles. Their similarity in form indicates their corresponding achievements and mannerisms during their ruling, they are both powerful, influential and successful in their roles. The leaders share akin qualities and to have the same stature as the Greeks provided the Romans hope for civilisation, just like the Age of Pericles. The stance of Augustus of Prima Porta helped especially the people who did not see Augustus in real life trust him, along with his power lead Rome into the same prosperity. …show more content…
This also enables the public to have more reason support Augustus as their emperor. Augustus later proved this.
During his reign, he was able to bring harmony, duty, decency and wealth- pax, concordia, pietas, humanitas and copia to the war-conflicted Mediterranean. This period came to be called the Pax Romana, also referred to as the Golden Age of Rome. This brings truth to his constructed ideas shown in Augustus of Prima Porta. Looking at the Augustus of Prima Porta, it is undeniable that the piece was greatly idealised. Nevertheless, the victory of obtaining civilisation for Rome took away the prejudice that might have been acquired by some members of the public due to some hefty ideas applied in this sculpture. To build up his rising success coins were also released after his victory in Actium, showing him in military dressing and bare feet. As mentioned earlier, bare feet is a sign of divinity and the public being exposed to these ideas right after his victory reimposed his reputation as the leader of
Rome. Augustus of Prima Porta is a platform for Augustus to represent his desired characteristics through visual representations and is considered as a form of propaganda. If claimed directly through speech, Augustus might face the consequence of being remarked as arrogant, unwanting and undeserving of the power he holds over Rome. To steer clear of these possible outcomes and successfully deliver political messages as well as personally build his identity, he relied on visual representations. It was an indirect way to convey key messages, linking himself to gods and previous rulers without receiving negative comments from the public. Whilst he continually proclaimed his divine lineage, his eminence in Roman society is reinforced. During those times in Rome, the rights of an adopted child were entirely the same of a biological child and as a result of that Augustus could safely claim himself of the same divine ancestry as Julius Caesar- his adoptive father. Julius Caesar claimed throughout his career his strong and established relationship with the goddess Venus, as well as being a descent of Aeneas. To emphasise this, Cupid riding a dolphin is allocated on Augustus’ lower right side. The dolphins symbolised Venus because of the myth that she was born in the sea and Cupid being the son of Venus made obvious Augustus’ link to Julius Caesar and his divine ancestry. Having this addition highlighted Augustus’ intention of being interconnected with gods and having that divine lineage to support him essentially puts him on a pedestal. It also associates him with the power and godliness that gods and goddesses such as Venus had- further strengthening his propaganda on building this new image, ‘Augustus’.
Although Charlemagne and Julius Caesar lived very different lives; they had some similarities. Caesar was an important military leader who ruled as a Consul during the Roman Empire. Caesar wasn’t afraid to get what he wanted. He wanted control of Gaul and when Pompey told him to leave; he came back and defeated him. Charlemagne was also very focused on military conquests.
After the defeat of Carthage and the Gaul the Roman generals began to vie for power. Even after the murder of Cesar was retaliated the fighting would not end. It was only after Anthony and Cleopatra were defeated that a certain peace settled over the Roman provinces. The man responsible for this peace is Octavian, who is later known as Augustus (Roman Empire, 2002). To honor his many achievements a statue of him was made after his death. Using the contrapposto pose, the all-around relief, various symbolic shapes Polykleitos, the artist of this statue, creates an inspiring image of the great
Within a Greek city, in a complex of temples, lays a marble relief panel known as the Nike Adjusting Her Sandal. Famous for its elaborately carved details and high level of skill, this Classical Greek sculpture stands 3 feet 6 inches tall and has been a subject of discussion between art historians for decades. The panel originates from the city of Athens’ Acropolis in Ancient Greece circa 410 BCE. Prior to the sculpture’s carving, the Athenians faced hardship when the Persians destroyed their original temples in 480 BCE. However, this prompted the leader of Athens, Pericles, to rebuild the Acropolis under a new, classical, principal. Pericles was an exceptional orator, general, politician, and patron of the arts. His rule lasted from 495 BCE
From ages past, the actions of conquerors, kings and tyrants had brought the Roman Republic to a stance that opposed any idea of a singular leader, of a single man that held total power over the entirety of the state. Their rejection of the various ruthless Etruscan rulers that had previously dictated them brought the Republic to existence in 509 BC , and as a republic their prominence throughout the provinces of the world exponentially expanded. Throughout these years, the traditions of the Romans changed to varying degrees, most noticeably as a result of the cultural influence that its subject nations had upon the republic, as well as the ever-changing nature of Roman society in relation to then-current events. However, it was not until the rise of Augustus, the first of a long line of succeeding emperors, that many core aspects of the Republic were greatly changed. These were collectively known as the “Augustan Reforms”, and consisted of largely a variety of revisions to the social, religious, political, legal and administrative aspects of the republic’s infrastructure. Through Augustus, who revelled in the old traditional ways of the past, the immoral, unrestraint society that Rome was gradually falling to being was converted to a society where infidelities and corruption was harshly looked upon and judged. The Roman historian Suetonius states, “He corrected many ill practices, which, to the detriment of the public, had either survived the licentious habits of the late civil wars, or else originated in the long peace” . Through Augustus and his reforms, the Republic was transformed into an Empire, and through this transformation, Rome experienced one of its greatest and stabl...
The Res Gestae Divi Augustus (‘The Deeds of the Divine Augustus’), also known simply as the Res Gestae was a catalogue of the achievements Augustus had made during his life, specifically those that had an obvious positive impact on the Roman people. It was written in 13-14AD (E.S. Ramage, 1987) and presented to the Vestal Virgins alongside Augustus’ will upon his death in 14AD (M.C. Howatson, 1937). The biography, which was carved into bronze pillars outside of Augustus’ mausoleum (M.C. Howatson, 1937), is split into 35 sections; each recognizing a separate part of Augustus’ excellence. The fifteenth, which will be discussed in this commentary, describes the notable largesses donated to the Roman people by Augustus throughout his
The “Equestrian Statue of Marcus Aurelius” was created as propaganda statue for the ruler Marcus Aurelius. Marcus Aurelius was a powerful leader and was best known for military conquests and his intellectual knowledge (Stokstad 200). Marcus Aurelius ruled in Rome from 161 to 180 CE. He was appointed as the ruler by the previous administration though he was not part of the royal family.
The Votive Statue of Gudea depicts the ruler in his youth standing straight up with his arms holding a vessel of water in front of him. Two streams of water are flowing out of the vessel and down the statue while fish are depicted facing towards the vessel, promoting life and peace. Gudea wears a long garment that does not cover one of his shoulders and contains inscriptions written by Gudea himself. In the inscription he dedicates the statue to Geshtinanna, a goddess who interpreted dreams. Because the garment leaves on shoulder bare, viewers are able to see Gudea’s well-defined muscles. His eyes are wide open, symbolic of intense concentration, and he wears a wide brimmed hat. In the work, Gudea is seen as an amicable, strong, and righteous leader. The Augustus of Primaporta depicts the emperor standing with his arm raised and with all his weight shifted into one foot. This is slightly different than the Votive Statue of Gudea, both positions are symbolic of the way a rule from each time period would have addressed troops. Augustus along with his youthful features, is exactly how Augustus would have wanted to be remembered. This is also true to The Votive Statue of Gudea. There are many other symbolic details that relate to mythology and history incorporated into the statue of Augustus. The torso armor that Augustus wears
... n.d. - n.d. - n.d. Everything 2. Retrieved March 26, 2014, from http://everything2.com/title/Augustan+Reforms Augustus of Prima Porta. n.d. - n.d. - n.d. Wikipedia.
middle of paper ... ... The title Pater Patriae, was the last factor that contributed to the rise of Octavian. Works Cited Toni Hurley, Philippa Medcalf, Christine Murray, Jan Rolph HSC Course Third Edition Antiquity 2 Interpreting The Past, Published in 2008, pp.
While the contributions of Romulus are often associated to violence and bloodshed, King Romulus is still reverently recalled by many of the citizens in Rome for forming the foundation of their city. Likewise, the achievements of Numa Pompilius are fondly recollected because they instil many of Rome’s domestic traditions and spiritual monuments in its early history. Without the contributions from King Romulus and King Numa Pompilius, who each giving the people of Rome something vital to refine and redevelop after their deaths, made it possible for Rome to become one of the most powerful and influential city in all of Italy.
Doryphoros by Polykleitos was originally a Greek bronze made around 450-40B.C. The only way we can see it today is through the Roman marble copies (which is common of many Greek statues.) Some supports had to be added for the change in material, resulting in the addition of the form resembling a tree trunk, the support on the left foot, and the small bar bridging the gap between his right wrist and hip. Doryphoros was originally holding a spear in his left hand; appropriate, given that his name means, literally, “spear-bearer.” The sculpture is a well-known and early example of classical Greek contrapposto (the shifting of weight onto one leg and off-axis shoulders and arms.) One leg nearly appears to be lifting off the ground, giving the effect of movement. The perceived weight shift adds more dynamism to the piece, and contributes to the realism of the figure. The resulting slight “s-curve” of the figure is true to what we might see in life, and reflects an interest in proportion and anatomy, as seen with many Greek sculptures of the age. This is made particularly clear in the defined muscle groups of the figure and attention to details such as the structure of the knees, hands, and feet. Polykleitos sculpted many athletic male bodies in the nature of his personal aesthetic canon, which we can see exemplified here through the intense attention to the mathematics of the human body. The contours of the figure are visually interesting and although the figure does not hold much facial expression, his body language and presence speak volumes of his existence as the epitome of masculinity.
The primary function of monumental portraits in Ancient Rome was to honor political figures of power through repeating social and political themes. The Romans expressed these themes through a form of “realism”. Relics of this era were found depicting the elderly conservative nobility that lived through civil disruptions and war, elaborately individualized through detail of the face expression. Through the features of grimacing heaviness, wrinkles, and effects of old age, the Romans were able to express the reality of their political situation felt by the people whose faces were sculptured into stone. Furthermore, Nodelman discusses the use of sculpture portraits to depict the ideology behind Roman conservative aristocracy. Artists would portray the virtues of gravitas, dignities, and fides, through the use to physical expression and symbolic meaning, rather than through words. A statue of Augustus, for instance, displays the militaristic, powerful, godly perception of the conservative ideology through the use of symbolic detail. The decorative, rich, military outfit on Augustus, represents the power of the military and Augustus’s role as imperator in it. The freely held masculine arm and pointing gesture towards the horizon are Rome’s expanding dreams, clashing with the overall powerful and sturdy stance of the body. The bare feet bring about the impression
Here, we will be looking at a rendition of the high marble statue of Augustus Caesar known as “Augustus of Prima Porta.” Originating from 1st Century A.D., it is said that there is a possibility that the original sculpture could have been of greek descent. Upon a general overview of the sculpture, one can see that Augustus fulfils a millitarial role of some kind. From his very stance to the garments portrayed on him, Augustus is draped in a decorative cuirass and a tunic, accompanied by a figure of Cupid clutching on to his right calf. After taking the general themes of the work into account, one can then began to start unraveling the many symbolic elements embedded into the sculpture that allude to godly themes. Starting from the crown of his head, the very chiselment and structure of his face gives the work a youthful element to it, even though some say that Augustus was around 40 years old. A recurring theme within Greek and Roman culture is the matter of godliness and immortality amongst idolized figures themselves. This idea is usually depicted by displaying powerful human being in a younger light. This
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