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Changing Perceptions of Sculptural Polychromy in Europe: from Ancient Greece to the 21St Century

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Changing Perceptions of Sculptural Polychromy in Europe: from Ancient Greece to the 21St Century SARIYILDIZ DİLARA UÇAR CHANGING PERCEPTIONS OF SCULPTURAL POLYCHROMY IN EUROPE: FROM ANCIENT GREECE TO THE 21ST CENTURY A Master’s Thesis CHANGING PERCEPTIONSCHANGING OF SCULPTURAL POLYCHROMY by FROM ANCIENT GREECE TO THE 21 DİLARA UÇAR SARIYILDIZ ST CENTURY IN EUROPE:IN Univers Bilkent Department of Archaeology i ty 2021 İhsan DoğramacıJune Bilkent2021 University Ankara To my lovely husband Irmak, my cat Tilki & Meral , Edib & Gönenç Kökdemir CHANGING PERCEPTIONS OF SCULPTURAL POLYCHROMY IN EUROPE: FROM ANCIENT GREECE TO THE 21ST CENTURY Sciences of The Graduate School of Economics and Social İhsan Doğramacı Bilkent University by DİLARA UÇAR SARIYILDIZ In Partial Fulfilment of the Requirements for the Degree of MASTER OF ARTS IN ARCHAEOLOGY THE DEPARTMENT OF ARCHAEOLOGY UNIVERSITY İHSAN DOĞRAMACI BİLKENTARA ANK June 2021 I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Arts in Archaeology. Prof. Dr. Dominique Kassab Tezgör Supervisor I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Arts in Archaeology . Assac Praf De Juliao Beooett Examining Committee Member I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, asa thesis for the degree of Master of Arts inArchaeology. -,----~- - Prof ıf,. Ecaoçois Queyre) Examining Committee Member Approval of the Graduate School of Economics and Social Sciences Prof. Dr. Refet Gürkaynak Director L..t . -,o. Y", L ~ .ıJJ.. ABSTRACT CHANGING PERCEPTIONS OF SCULPTURAL POLYCHROMY IN EUROPE: FROM ANCIENT GREECE TO THE 21ST CENTURY Uçar Sarıyıldız, Dilara M.A., Department of Archaeology Supervisor: Prof. Dr.June Dominique 2021 Kassab Tezgör This thesis examines the perception of polychromy in Greek sculptures over different periods by using archaeological and art historical data. To examine the usage of polychromy in Antiquity, ancient sources and technological methods have been assessed. The aim of this research is to understand the perception of color in the Greek period and to pinpoint the time of when this perception changed looking at a timespan from the Renaissance to the present. This studied identified possible motivations for the use of color in Greek sculptures: visibility, realism, meaning, completion, and tradition. It also revealed possible reasons for the rejection of color in the Renaissance and subsequent periods were also understood: contempt towards the Middle Ages, admiration for Antiquity, and establishment of a new tradition. Keywords: Polychromy, Greek Sculptures, Color Studies, Perception of Color, Color Usage x ÖZET AVRUPA’DA HEYKEL POLİKROMİSİNİN DEĞİŞEN ALGILARI: ANTİK YUNAN’DAN 21. YÜZYILA Uçar Sarıyıldız, Dilara Yüksek Lisans, Arkeoloji Bölümü Tez Yöneticisi: Prof. Dr. Dominique 2021 Kassab Tezgör Haziran Bu tez, arkeolojik ve sanat tarihi verilerini kullanarak Yunan heykellerindeki çok renklilik algısını farklı dönemlere göre incelemektedir. Çok renkliliğin Antik Çağ'daki kullanımını incelemek için antik kaynaklar ve teknolojik yöntemler değerlendirilmiştir. Bu araştırmanın amacı, Yunan dönemindeki renk algısını anlamak ve bu algının ne zaman değiştiğini Rönesans'tan günümüze uzanan bir zaman dilimine bakarak tespit etmektir. Ayrıca bu tezde, Yunan heykellerinde renk kullanımı için olası motivasyonlar belirlenmiştir: görünürlük, gerçekçilik, anlam, tamamlama ve gelenek. : AynıOrta zamanda Rönesans'ta rengin reddedilmesinin olası nedenleri de bulundu Çağ'a yönelik küçümseme, Antikite hayranlığı ve yeni bir geleneğin kurulması. Anahtar Kelimeler: Polikromi, Yunan Heykelleri, Renk Çalışmaları, Renk Algısı, Renk Kullanımı ii ACKNOWLEDGEMENTS First of all, I would like to express my greatest gratitude to my advisor Dominique Kassab Tezgör, who brightened my way with her endless patience and constructive approach while dealing with the pandemic, which is a massive global crisis, and the difficulties of writing a thesis. I am also grateful to all of the instructors of the Bilkent University ArcheologyMarie- Department, Julian Bennett, Müge Durusu Tanrıöver, Charles Gates, Henriette Gates, İlgi Gerçek, Jacques Morin, and Thomas Zimmermann, for their support and knowledge for the years that I have been in this department (it means a lot!). I would also like to thank François Queyrel, who supported me in my literature review for a semester at the École Pratique des Hautes Études in Paris and helped complete this thesis. me I would like to thank my dearest friend Eda Doğa Aras, who always helped gather my thoughts with her different ideas and always supported me during the ten years we were a student together. I would like to thank my friends from the department, especially the team from Issues in Archaeological Theory class with Jacques Morin. Furthermore, I owe special thanks to Roslyn Sorensen for her advice and guidance in this thesis. In addition, Seren Mendeş, Defne Dedeoğlu, Mustafa Umut Dulun and Tuğçe Köseoğlu for their sincere friendships and stimulating conversations. am Finally, I owe the most and indebted to my lovely husband, Irmak Sarıyıldız, who has always supported me with his endless patience and care while working on my thesis, and my parents who always been there for me with great sacrifices during all my life. iii TABLE OF CONTENTS ......................................................................................................................................... x ABSTRACT .................................................................................................................................................... ii ÖZET ............................................................................................................. iii ACKNOWLEDGEMENTS ................................................................................................................... 1 TABLE OF CONTENTS........................................................................................................................ 4 TABLE OF FIGURES CHAPTER 1 INTRODUCTION ..................................................................................................... 8 1.1. ..................................................................................................................... 8 1.2. Background ......................................................................................... 8 1.3. Objectives of the................................ Research ................................................................................... 9 1.4. MethodologyOutline of the Thesis .................................................................................................... 9 CHAPTER 2 POLYCHROMY INDEFINITION, ANCIENT GREECE RESEARCH, ................................ AND PURPOSES................................ OF SCULPTURAL................... 13 Polychromy ................................................................................................... 13 2.1. The Word ................................................................. 14 2.2.2.2.1. The PolychromyAncient Sources Evidence ................................ and Sources.................................................................. 14 2.2.1.1. Artifacts ............................................................................................................... 14 2.2.1.2. Ancient Authors ................................................................................................ 15 2.2.1.3. Epigraphy ............................................................................................................ 17 2.2.1.4. Iconography ....................................................................................................... 18 ................................................................................ 19 2.3. Modern Techniques ................................ of Analysis ................................................................................ 19 2.3.1. Raking Light ........................................................................................................ 19 2.3.2.2.3.3. UltravioletSpectroscopy Light .............................................................................................................. 19 ............................................................................ 20 2.3.4. Visible Induced Luminescence ..................................................................... 20 2.3.5.2.3.6. Microscopy3D Reconstructions and Pigment ................................ Analysis .................................................................. 20 CHAPTER 3 ............................................................... 22 POLYCHROMY ................................ IN GREEK WORLD................................................................................ 22 3.1. Daedalic Period 1 .................................................................................................................. 24 3.2. Archaic Period ................................................................................................................ 26 3.3. Classical Period ............................................................................................................ 28 3.4.3.4.1. Hellenistic Polychromy Period ................................................................................................................. 28 3.4.2. Monochromy .............................................................................................................
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