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Thursday, February 28, 2013

The Lost Treasure of the Parthenon

The Chryselephantine Athena Parthenos


Marble replica

     While the Parthenon had been built to show the splendor of Athens and dedicate their victory over the Persians to Athena, the actual architecture of the structure was particularized around a certain item.  While lost in time and never seen by the modern eye, we know that a certain forty foot sculpture did exist and lied in the center of the temple for centuries, known through the records of various historians of the time.  Furthermore, we are given an idea of how the sculpture may have looked through the multiple copies constructed while the original was still in existence.  This magnificent Athena Parthenos, while lost, is still considered the pinnacle of ancient art.
      However, no replica could ever match the grandeur of the original.  A "chryselephantine"is not a specific piece, but a style.  Like many Greek styles of art, this form of sculpture was carried over from the Egypt.  The style is not measured by strokes, but of material.  A combination of Greek words χρυσος (pronounced "chrysos", meaning gold) and ηλεφαντινος (pronounced elephantinos, meaning ivory), the name describes the object.  While this is the most famous of all chryselephantine works, to the extent that if capitalized, this one of Athena is implied, the only necessary processies for creating such a sculpture would be to create the body of the image out of ivory and put it in a "drapery of gold" (britannica.com).  Unfortunately, there are no longer replicas of such a piece in its original materials, since the two are incredibly expensive and ivory now illegal to produce, being made of elephant tusks.  However, this sculpture was part of the "splurge of the century".  The Persian War had just ended, and the Delian League had fixed it's capital in Athens.  With this shift, Athens became the most influential city state in Greece.  With such victories, no material was considered to expensive or ostentatious when praising their patron goddess, especially since the entire League would be paying, over the lone government.  The sculpture, along with the base, depicting Pandora's birth, are believed to have been completed by the famous sculptor and architect Phidias in 438 BCE, 8 years before his death, during the High Classical Period of art.
        As most art of the ancient time, this colossal sculpture delivered a message.  The majority of the population would be illiterate, so physical representations were often necessary and expected.  The great size and heroic frame of the
goddess of Athens depicted supremacy over the other city states.  In her right hand sits a nike, a goddess of victory, in order to remind the citizens of the great and victorious war that their ancestors had undergone.  Meant to inspire citizens and please the gods who had granted them such a victory, no entity was spared and no symbol undepicted.
Replica denoting appearance
Her breastplate was said to have been adorned with snakes and the head of Medusa, given to her by Perseus through commonly known myth.  In this along with other additions, Phidias demonstrates astounding detail, telling stories without a single syllable.  The theme of victory through just warfare continues on the shield in her left hand.  The outside of this shield depicts the Amazonomachy, or the war where Athenians under the legendary hero Theseus defeated the Amazons.  Inside lies the Gigantomachy, when Zeus ultimately defeated the giants.  In fact, as the evolution of art continues, the giants were no longer seen as human, but terrible, snake-like beasts, increasing the sensation of the man-like gods triumphing over incredible forces.  A third victory is said to have been depicted on the sandals of Athena, which tell of the Centauromachy, against centaurs who had attempted to steal the bride Hippodamia on her wedding day.  Theseus, again an Athenian hero, preformed yet another famous battle against an the formidable and destructive centaurs.  Obviously, these battles mean to idealize the war with the Persians, stating that as powerful as they were, the Greeks were even more so.  The shield of Athena is covering a snake, which while relative to the myth of Ericthronius, also seems to be a promise to the Greeks that Athena would protect them from any danger to come.  Obviously propaganda, this piece is still magnificent.  A tragic loss, its beauty was clearly so great that others had to make replicas, which are atleast a looking glass into this amazing past.

Tuesday, February 19, 2013

Memory of a Revolution

Alexander Sarcophagus

  This magnificent sarcophagus was discovered in the ancient city of Sidon, now in modern day Lebanon.  Beyond the impeccable beauty of the piece, the exquisitely sculpted work tells of a change in the times and turmoil as Alexander the Great began his conquest.  Sidon had originally been a Phoenician port city and pseudo-capital, which had branched out birthed the creation of Carthage and Tyre.  However, during the time of this piece's construction, Alexander the Great had arrived, taken over this ancient city, and promoted a Hellenistic way of life.  While the city was called "persian" since it payed homage and tributes to the shah, Sidon was not directly owned by the shah and basically had its own independence despite offerings.  For this reason, when the Macedonians invaded simply asking for the same, the Sidonians welcomed them with open arms in the fourth century BCE.
     Since this sarcophagus is located in the royal necropolis of Sidon, the structure is believe to house the king of the time, Abdolonymos.  This object clearly shows the significance of the Macedonians in the eyes of the people of Sidon.  Sculpted on each side is the Battle of Issus, the famous battle during 333 BCE where Alexander defeated Darius III.  Clearly adored by the people, Alexander is shown dominating the Persians, adorned in the skin of the Nemean Lion.  Alexander had boasted that he descended from the line of Heracles, and the "defense" of this belief shows impeccable faith in this leader.  Despite the many wars that the two peoples faced against each other, their unity remains as shown through this piece.  Even at death, the king of this region wished to show hommage to such a great and powerful ruler.  Created from the combined Greek, Macedonian, and Phoenician styles, this piece shows the brotherhood which can come out of war.

http://www.booksie.com/non-fiction/article/yavirac/the-alexander-sarcophagus
http://online.wsj.com/article/SB10001424052970204621904574246094055079788.html
http://www.istanbularkeoloji.gov.tr/web/27-106-1-1/muze_-_en/collections/archaeological_museum_artifacts/alexander_sarcophagus

Friday, February 15, 2013

The Gift of Water

The Thermae Diocletiani

    Known in English as the Baths of Diocletian, this magnificent Early Imperial structure combined the great tradition of the old age and the advanced architecture of this new period.  Like most works of the time, this bathhouse was meant to immortalize the late Emperor Diocletian.  While Emperor Maxentius actually headed the operation that started in 298 CE, it would be left in the honor of the deceased ruler.  Meant to be larger than life, this single bathhouse was able to contain more than three thousand people at a time.  While based off of the Baths of Caracalla and Trajan, the tremendous size and terrific location made this the most memorable of the imperial gifts, finalized in 306 CE.  Built on the Viminal Hill, one of the original seven hills of Rome, water flowed through a series of aqueducts to the spacious rooms.  No expense was spared on this process, as the floors were entirely mosaic and frescoes lined almost every wall.  This structure lasted until the fourth century and the invasion of the Goths.  During their pillage, these people demolished the aqueduct, therefore making water much to scarce to be spared on recreation.  The physical structure underwent a great deal of damage and was eventually built over, so, other than the little saved by Michelangelo in later years, almost none of the original building remains. The portion of the baths that has been conserved has been converted into the Santa Maria deligi Angeli e dei Martiri in Rome.
    This, like the majority of bathhouses, was much more than a space filled with water.  Citizens gathered to this house which not only held baths but libraries, forums for public speaking, gymnasia, and swimming pools.  A social center only matched by the fountain for women, these baths proved to be the center for discussion, socializing, and serious debate.  Obviously hygienic and a positive influence on the welfare of the people, the baths also promoted a healthy city.  The center of this particular house consisted of the caldarium, tepidarium, and frigidarium.  Each in descending order of heat, the caldarium would hold scolding water and was usually used for therapeutic healing or relaxation.  The tepidarium was rather mild in comparison, and were the "warm" baths.  Finally, the frigidarium, by the name, contained frigid water and was also used for healing.  An incredible work, this system of bathhouses, while lost to the ages, will always be remembered as a centerpiece of Roman culture.

http://archeoroma.beniculturali.it/en/museums/national-roman-museum-baths-diocletian
http://www.aviewoncities.com/rome/bathsofdiocletian.htm
http://content.lib.utah.edu/cdm/ref/collection/coa/id/4327
http://penelope.uchicago.edu/Thayer/E/Gazetteer/Places/Europe/Italy/Lazio/Roma/Rome/_Texts/PLATOP*/Thermae_Diocletiani.html
http://www.webphoto.ro/italia/thermae-diocletiani-diocletians-bath-antiquity-museum-of-rome.html

Wednesday, February 13, 2013

The Funerary Vase of a Child

The Eleusis Amphora

   While this vase may appear to be another, simple black figure vase, this piece proves to be extraordinary both in style and in history.  This proves to be a transitional piece, "proto-Attic", as this period during the mid 7th century proved to be the end of the simple Geometric period.  Also known as the Orientalizing period, black figure pottery began to rise in popularity.  With this style came clear depictions of specific characters, never before so unambiguous.  For example, on the neck, highest frieze of this piece, we can clearly see Odysseus blinding the cycloptic son of Poseidon, Polyphemus.  Works like these begin the later common practice of telling common stories with famous characters. through pottery.  While not as visually stunning as a vase like the François, this Attic black figure is a milestone.
   Found in Eleusis, Greece, this amphora was used to hold the ashes of a small child.  Usually for storing wine or oil, this use of the amphora is rather interesting.  Furthermore, the message given by the vase if fascinating.  First we see Odysseus blinding the drunk giant and then convincing him to tell his father that "no one", the name Odysseus gives him self in this act, did this to him; a demonstration of incredible cunning.  Moving downwards, a lion is seen on the shoulder, or frieze under the neck, having sneaked up onto a boar and now preparing an assault.  Furthermore, in the widest portion of the vase, or the body, Perseus is shown fleeing from the Gorgon sisters after discovering how to approach Medusa undetected and kill her without being seen.  While none of these acts were done entirely by fair play, a theme clearly develops.  This cunning means of defeating a formidable enemy occurs often enough that assumptions could be made.  Most vases following this period would be painted to demonstrate a theme or appreciation to a specific god or demigod.  However, this fledgeling vase most likely reflected the theme of cunningness towards the child inside.  The amphora was most likely painted with these specific figures in order to permanently mark this child as a sly and clever boy.

http://www.archaeologychannel.org/video-guide/video-guide-menu/video-guide-summary/106-the-amphora-of-eleusis
http://www.artres.com/C.aspxVP3=ViewBox_VPage&VBID=2UN365YYC5KV&IT=ZoomImageTemplate01_VForm&IID=2F3C2S6W9DQW&PN=2&CT=Search&SF=0
http://www.beazley.ox.ac.uk/tools/pottery/painters/keypieces/protoattic/eleusis.htm
http://employees.oneonta.edu/farberas/ARTH/arth200/politics/greeks_other.html
http://www.metmuseum.org/toah/ht/?period=04&region=eusb
http://www.utexas.edu/courses/introtogreece/lect10/img7erlyprotattic.html

H. W. and Anthony F. Janson, History of Art: the Western Tradition Pearson/Prentice-Hall Upper Saddle River, NJ, 2004