DOCSLIB.ORG

Graeco - Roman Antiquity

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Graeco - Roman Antiquity PART I GRAECO - ROMAN ANTIQUITY - ~ - - ~- -~- - -- - ~ ~ -- - -- - - - Munich Museum, German the in Dierner Zeno by Painting aqueducts. on carried channels, supplyLatina Via waterthe is Romanroad OldThe 1. 2 . Hinged rudder at stern . Earliest illustration . Bronze , Winchester Cathedral , I 180 3ellfounders , / 505 . Miniature from the Cracow Bchaim Codex PART I INTRODU CUON WHENman appearedat the dawnof history,he alreadyhad at hisdisposal a considerable treasury of technical instruments. Excavation has revealed from the Palaeolithic or Old Stone Age the axe, the flint scraper,the spear, bow and arrow, gimlet,oil-lamp and all sorts of bone instruments.Among the cave drawingsof the later Palaeo- lithic period in southern France and in Spain we even find pictures of what might be called,as J. E. Lips has remarked, mans first machine. For here are portrayed big game such as bison, mammoth and rein- deer, together with traps for them. The animal on entering the trap releases a lever mechanism which causes a number of transversely piled, heavy tree trunks to fall on Fio. 1. Mammoth in Gravity Trap (?) him and bury him (Fig. 1). We still Cave drawing at Font-de-Gaume have to discover how it was possible (Late Palaeolithic) to fell and to pile the great trees needed for mammoth traps. At that period,from 12,000to 20,000years ago, manlived in a worldof magical identitybetween objects and their images,between matter and innate forces. Thus a representation of an animal imprisoned in a trap or transfixedby a spear was regardedas equivalentto actual possession of the animal. The actual snaring or slaying of the wild animal in open countrywas in somesort merelythe completionof the magicallyachieved seizure.We are dealingwith the hunting witchcraftand with the magical techniqueof a periodwhen symbol and objectwere still regardedas one, as were also this world and the next. Man himself was not yet differentiated from Nature. In the succeedingperiods, the Middleand the NewStone Age, belief in this identificationof objectwith imageor with its powers,of the visible withthe spiritworld, died out. An objectwas no longeridentified with its powers; rather it was regarded as possessedby demoniacpowers. Human self-consciousnessbegan to develop; Man became increasingly B 17 18 A HISTORY OF WESTERN TECHNOLOGY distinguished from Nature and thereby he confronted Nature with increasedpower. To be sure, technical achievementat that period had to be linked with a ritual which was itself rooted in the effort to placate_and to control the demoniac world within and surrounding the objects of our own world . The late Stone Age saw the step forward toward agriculture and also toward animal husbandry. In the Neolithic Age a peasantry pursuing those activities appeard. There appeared the sharpened stone axe, the flint sickle, the sharp-edgedchopper, saws, bone needles, bow string drills the spinning spindle, the loom, pottery, the hand grinding-mill , and finally the plough and the use of draught animals. Yet the employment of these instruments still remained rooted in ritual . Thus the plough that penetrated Mother Earth was at the same time a tool and a symbol of generation and fertility . About 2000 B.C. the Stone Age implements of stone yielded slowly, in Europe, to instruments cast in copper and in bronze. About 1000B.C. copper and bronze were increasingly replaced by iron which could be wrought in fire to the shape desired. History opens with the civilizations of the great Empires of Western Asia, Egypt, India and the Far East. The technology of Mesopotamia and of Egypt was to a considerableextent determined by the three great rivers, the Euphrates, the Tigris and the Nile . Irrigation , the building of dykes and canals, the control and utilization of flood waters, were major engineering undertakings on a scale that necessitated organization by the State. Thus in place of technical crafts on a more or less family scale in the prehistoric period, there arose after the unification of the various territories of Egypt, or as Hans Freyer strikingly express es it, when these had fought out their differences, a technique organized by the State, in close alliance with the priesthood. The great technical achievements of Egypt that included the building of the Pyramids and the preparation, conveyanceand erection of obelisks. Such immenseworks could be undertaken only by a government with absolute powers which also supervised the organization of religion. Vast armies of workmen were at the disposal of the State and their disposition and provisioning required long term plans (Plate 1). Their tools and primitive cranes were extremely simple. Of the other technical accomplishments of the ancient Orient during the period roughly 4000-12000B.C., a number of which influenced Graeco-Roman civilization , we mention only the wheel, bellows and tongs, all from the western Aslatic cultures; and from Egypt, mining and working of various metals, the sailing ship, papyrus, brewing of beer, tanning, glass-making, parchment, the steelyard, and the potter's wheel. THE SUBORDINATE POSITION OF TECHNOLOGY The great cultural achievement of ancient Greece was undoubtedly the development of a scientific sense. The Greek was in fact the first Man of GRAECO- ROMAN ANTIQUITY 19 Theory. His life was devoted to and in a higher senseformed by, scientific understanding. Technology generally ranked in the Greek world below pure science. Platonic realism, in particular , regarded as 'Reality' the distant and changelessrealm of Ideas rather than the objects of our mundane sphere, which were consideredas but shadowsand therefore of lesser rank. For this reason, experiment was of little import among the Greeks. All the more important was Geometry, dealing with conceptions appertaining to the world of Ideas. If Greece could match her development of mathematicized Statics with no corresponding scienceof Dynamics, that is to sayno theoryof Motion, the reasonmust, asDingler2 has shown, be sought in the conception of the changelessnessand immovability of the Idea, the Form . The ancient world , with a purely static conception of Form . could not realize that Motion must itself be conceived as an Idea , a Form . As already noted, the Greek world attained a real understanding of Staticsjust becausethe mathematical concept was regardedas the formative principle of the objects of our world . But the Greek was reluctant to take the stepfrom theoryto practicalapplications A freemandevoted himself to the State, to pure science, to art. Practical production was in general the businessof the foreigner and of slaves. The latter were very numerous in Greece, especially from the Hellenistic period. Witness of the estimation in which manual and technical work was held is borne by Plato himself (circ. 380 B.C.) as follows: If a man who is afflicted by great and incurable bodily diseasesis in no way benefited by having been saved from drowning , much less he who has great and incurable diseases, not of the body, but of the soul, which is the more valuable part of him ; neither is life worth having nor of any profit to the bad man, whether he be delivered from the sea , or the law -courts , or any other devourer ; . such a one had better not live , for he cannot live well . And this is the reasonwhy the pilot, although he is our saviour, is not usually conceited, any more than the engineer, who is not at all behind either the general, or the pilot , or anyone else, in his saving power, for he sometimessaves whole cities. Is there any comparison betweenhim and the pleader? And if he were to talk, Kallikles, in your grandiosestyle, he would bury you under a mountain of words, declaring and insisting that we ought all of us to be engine-makers, and that no other professionis worth thinking about; he would have plenty to say. Neverthelessyou despisehim and his art, and sneeringly call him an engine-maker , and you will not allow your daughter to marry his son, or marry your son to his daughter . And yet, on your principle, what justice or reason is there in your refusal? What right 20 A HISTORY OF WESTERN TECHNOLOGY have you to despise the engine-maker , and the others whom 1 was just now mentioning ? 1 know that you will say, 'I am better , and better born ' . But if the better is not what 1 say, and virtue consists only in a man saving himself and his, whatever may be his character , then your censure of the engine-maker , and of the physician , and of the other arts of salvation , is ridiculous . 0 my friend ! 1 want you to see that the noble and the good may possibly be something different from saving and being saved.[l ] Now of artisans , let the regulations be as follows : In the first place, let no citizen or servant of a citizen be occupied in handicraft arts ; for he who is to secure and preserve the public order of the State, has an art which requires much study and many kinds of knowledge , and does not admit of being made a secondary occupation ; and hardly any human being is capable of pursuing two professions or two arts rightly , or of practising one art himself , and superintending someone else who is practising another . Let every man in the state have one art , and get his living by that . Let the wardens of the city labour to maintain this law , and if any citizen incline to any other art rather than the study of virtue , let them punish him with disgrace and infamy , until they bring him back into his own right course ; and if any stranger profess two arts, let them chastise him with bonds and money penalties, and expulsion from the state, until they compel him to be one only and not many . [2] The following well-known passagefrom Plutarch concerning Archi - mides (who died 212 B.C.) is significant testimony to the extreme value ascribedto pure theory as against its practical application to which recourse would be had only from dire necessity and which was widely regarded as unworthy of an author's attention : Marcellus proceeded to attack the city by land and sea, Applus leading up the land forces, and he himself having a fleet of sixty quinqueremes filled with all sorts of arms and missiles.
Load more

Recommended publications
  • The Archimedes' Lever and Vesuvius Eruption A.D. 79
    Journal Of Anthropological And Archaeological Sciences DOI: 10.32474/JAAS.2020.01.000119 ISSN: 2690-5752 Research Article The Archimedes’ Lever and Vesuvius Eruption A.D. 79 Alexander N Safronov* AM Obukhov Institute of Atmospheric Physics, Russian Academy of Sciences, Russia *Corresponding author: Alexander N Safronov, AM Obukhov Institute of Atmospheric Physics, Russian Academy of Sciences, Pyzhevskii, Moscow, Russia Received: February 07, 2020 Published: February 24, 2020 Abstract The study based on detailed analysis of the Villa of the Mysteries frescoes, which were discovered early at the excavations in Pompeii. It was shown that the Villa of the Mysteries is a school of priestesses-seismologists. It is established that the frescoes depict the process of priestesses introducing in the Hera seismoacoustic cult (Zeus-Hera-Dionysus cult). It is shown that in the Hera cult the wand strike on the back of the graduate priest student symbolizes the fact of the introduction of the priestesses to the priesthood. The comparison between Pythagoras School in Crotone, Southern Italy (Temple of the Muse) and Cumaean Sibyl seismoacoustic at margin of Campi Flegrei, Gulf of Naples and school at Villa of the Mysteries, Pompeii was carried out. Some caustic remarks about interpretation of Homer and Lion Hunting were written. It is shown that Archimedes’ lever principal is theoretical basis of the Roman Empire volcanology and seismology. The Archimedes’ lever principal of planet alignment was demonstrated in several examples of the large up-to-date explosive eruptions with Volcanic Explosivity Index (VEI) greater than 4+ (6 examples). It was noted that the Pythagoras-Plato gravitational waves (vortexes) were known in Europe since Thales of Miletus and Pythagoras.
    [Show full text]
  • Articulation and the Origins of Proportion in Archaic and Classical Greece
    Articulation and the origins of proportion in archaic and classical Greece Lian Chang School of Architecture McGill University, Montreal, Canada August 2009 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Lian Chang 2009 Abstract This dissertation searches for the origins of western ideas of proportion in the archaic and classical Greek conceptual terrain of articulation. We think of articulation, in the first instance, as having to do with the joining of parts to fabricate an object, such as in the physical connection of pieces of wood, cloth, metal, or stone. However, the early Greek language that described these craft processes also, and inextricably, spoke in a number of ways about what it meant for a person, thing, or the world to be beautiful, healthy, and just. Taking Homer as its primary source, Part One therefore explores archaic ideas of bodily experience (Chapter One); of crafts (Chapter Two); and of the interrelations between the two (Chapter Three). These chapters lay emphasis on how the language and concepts of articulation constructed a worldview particular to early Greece. Part Two then examines early ideas of proportion, in social and political life as depicted by Homer (Chapter Four); in classical ideas about the medicalized human body and the civic body of the polis (Chapter Five); and in the cosmogonic theories of Empedocles and Plato (Chapter Six). In so doing, I aim to demonstrate how ideas of articulation allowed for and expanded into those of proportion, binding together the ordering of bodies, of the kosmos, and of crafts, including architecture.
    [Show full text]
  • Greek Sculpture and the Four Elements Art
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Sculpture and the Four Elements Art 7-1-2000 Greek Sculpture and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgs Part of the History of Art, Architecture, and Archaeology Commons Benson, J.L., "Greek Sculpture and the Four Elements [full text, not including figures]" (2000). Greek Sculpture and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgs/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Sculpture and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire About this book This is one part of the first comprehensive study of the development of Greek sculpture and painting with the aim of enriching the usual stylistic-sociological approaches through a serious, disciplined consideration of the basic Greek scientific orientation to the world. This world view, known as the Four Elements Theory, came to specific formulation at the same time as the perfected contrapposto of Polykleitos and a concern with the four root colors in painting (Polygnotos). All these factors are found to be intimately intertwined, for, at this stage of human culture, the spheres of science and art were not so drastically differentiated as in our era. The world of the four elements involved the concepts of polarity and complementarism at every level.
    [Show full text]
  • Chapter 5 Th a F a I G E Art of Ancient Greece (Iron Age)
    Chapter 5 The Art of A nci ent G reece (Iron Age) Famous Greeks: Playwriters: Aeschylus (“father of Greek tragedy”), Sophocles (Antigone, Oedipus), Euripides, Aristophanes (Comedies. Lysistrata) Philosophers: Heraclitus (“You can never step into the same river twice”) Plato,,, Socrates, Aristotles Mathematicians and scientists: Archimedes, Pythagoras, Aristotles, Euclid Authors and poets: Homer (Odyssey and Iliad), Sappho of Lesbos, Aesop Historians: Herodotus ("The Father of History,"). Thucydides The Greek World GtiPid(9Geometric Period (9-8th c. BCE) Early Geometric Krater. C. 800 BCE Krater A bowl for mixing wine and water Greek key or Meander An ornament consisting of interlocking geometric motifs. An ornamental pattern of contiguous straight lines joined usually at right angles. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery. Detail. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bron ze, a pprox. 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bronze, approx. 4 1/2” high. Greek Vase Painting Orientalizing Period (7th c. BCE) Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½ " British Mus . London Rosette: A round or oval ornament resembling a rose Comppyarison: Assyrian.. Lamassu, ca. 720–705 BCE. Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½" British Mus.
    [Show full text]
  • Greek Color Theory and the Four Elements [Full Text, Not Including Figures] J.L
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Color Theory and the Four Elements Art July 2000 Greek Color Theory and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgc Benson, J.L., "Greek Color Theory and the Four Elements [full text, not including figures]" (2000). Greek Color Theory and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgc/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Color Theory and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire ABOUT THIS BOOK Why does earlier Greek painting (Archaic/Classical) seem so clear and—deceptively— simple while the latest painting (Hellenistic/Graeco-Roman) is so much more complex but also familiar to us? Is there a single, coherent explanation that will cover this remarkable range? What can we recover from ancient documents and practices that can objectively be called “Greek color theory”? Present day historians of ancient art consistently conceive of color in terms of triads: red, yellow, blue or, less often, red, green, blue. This habitude derives ultimately from the color wheel invented by J.W. Goethe some two centuries ago. So familiar and useful is his system that it is only natural to judge the color orientation of the Greeks on its basis. To do so, however, assumes, consciously or not, that the color understanding of our age is the definitive paradigm for that subject.
    [Show full text]
  • Individuality Innovation in Greek Sculpture
    individuality innovationand in greek sculpture » ANDREW STEWART When we encounter some new invention individuality and innovation or discovery, it is natural to ask who invented, in Greek sculpture from Wdiscovered, created, or produced it.1 The ancient antiquity to the present. Greeks were no exception. Indeed, their urge Part II offers a few cautionary to connect every novelty with a famous name remarks about craftsmanship seems almost obsessive, even pathological. The and the limitations it imposed gods were first in line. Demeter gave us grain, on individual initiative in ancient Dionysos gave us wine, Athena gave us the Greece. And finally Part III presents olive, and so on; then, coming down a notch, some test cases from the fifth Prometheus gave us fire, Orpheus gave us century BC, in order to examine what music, and the Cyclopes taught us the crafts.2 individual achievement could amount By the seventh century BC, a formula was to in that golden century. coined: the prôtos heuretês—the ‘first discoverer’ of this or that new skill, artefact, literary genre, I. SCHOLARSHIP: or social practice.3 The keyword here is technê. ANCIENT AND MODERN Basically untranslatable, it is best understood through its two English derivations, technique Although the invention of the and technology. Technê is the understanding, Doric and Ionic orders, and ingenuity, and skill that one applies to a of the two main archaic problem in order to solve it, or to brute matter sculptural types, the in order to make something useful of it.4 standing naked youth The Greeks soon realised that technê was the (kouros) and standing driving force behind the advance of civilization, draped woman (korê), and applied the word to any skill, craft, art, or seem to predate not profession that contributed to this advance.
    [Show full text]
  • Technē and Method in Ancient Artillery Construction: the Belopoeica of Philo of Byzantium
    Mark J. Schiefsky Technē and Method in Ancient Artillery Construction: The Belopoeica of Philo of Byzantium Abstract: In his Belopoeica, Philo of Byzantium presents artillery construction (belopoiikē) as a kind of expertise or technē that possesses a standardized meth- od for attaining success. I describe this method, which consists of a set of pro- cedures and rules that are systematically organized on the basis of general prin- ciples, and discuss Philo’s claim that its discovery depended crucially on experience (peira). In the second part of the Belopoeica Philo presents several designs for artillery engines that allegedly improve on the standard method. I discuss these designs, which draw on both natural philosophy and theoretical mechanics, and conclude with a brief attempt to place Philo’s picture of artillery construction as a technē involving both experience and theory in the context of roughly contemporary views of technē in philosophy and medicine. Introduction From the fourth century b.c. to the end of Antiquity, the discipline of artillery construction (belopoiikē) was one of the most important and highly developed types of professional expertise (technē) in the ancient Greco-Roman world.¹ Start- ing from the traditional bow, Greek engineers devised a wide array of mechanical shooting devices, weapons which had a significant impact on the course of his- tory. The development of this technology was fostered by royal patronage and carried out by communities of practitioners working in major cultural and polit- ical centers such as Alexandria and Rhodes. These practitioners had a high sense As is well known, the Greek term technē has no single English equivalent.
    [Show full text]
  • Entire Graeco-Roman Period
    Classical art from Ruins to RISD Ancient objects modern issues Today • The enduring legacy of the Greco-Roman body • The making and appropriation of Classical Art and the human body from Winckelmann to Alt-right movements – Roman and Renaissance Classicisms – Neoclassicism and Winckelmann – Nazi Germany and Fascism – Alt-Right movements Identity Evropa,” a crypto-fascist, white supremacist organization Apollo Belvedere, Vatican Museums Rome What is ‘Classical’? The word used to describe something perceived as being of the highest quality or ideal beauty, classical usually refers to the culture and objects of Greece in the period from approximately 480 BC to 323 BC. But it can also mean the entire Graeco-Roman period. The term classical also refers to a style of sculptured figures of naturalistic proportions, clear articulations and quietude Classical Art is not about ancient Greece and Rome Classical? Napoleon as Mars the peacemaker By Canova Napoleon bonaparte 1769 – 1821 Classical? Napoleon as Mars the peacemaker Canova Napoleon bonaparte 1769 – 1821 Disentangling the past from the present Doryphoros, Polykleitos All western art in a sense, is neo-classical Classicisms • Roman Renaissance • The rebirth of antiquity Botticelli, The Birth of Venus, c. 1485. Uffizi, Florence Michelangelo David, 1501 -1504 Vitruvius • firmitatis, utilitatis, venustatis – stability, utility, beauty • Perfection reached in Greek art with the invention of the architectural orders: Doric, Ionic and Corinthian. It was about symmetry and proportion, • culminating
    [Show full text]
  • Ancient Greece Alexandros of IKTINOS 447–438 B.C
    Ancient Greece Epigonos (?), Dying Gaul, 230 B.C. Alexandros of Antioch‐on‐the‐Meander, Venus de Milo, 150‐120 B.C. IKTINOS and KALLIKRATES , Parthenon, 447–438 BCE The Greek World Artistic Periods • Geometric (900‐600 B.C.) • Archaic (600‐480 B.C) • Early & High Classical (480‐400 B.C.) • Late Classical (400 – 323 B.C.) • Hellenistic (323‐30 B.C.) No other culture has had as far‐reaching or lasting an influence on art and civilization as that of ancient Greece. Geometric Period • Dates: ca. 900–600 BC; named because of the prevalence of geometric designs and patterns in the works of art. • Conceptual (stylized) representation of human figures. • Krater – ancient wide-mouthed bowl for mixing wine and water • Amphora – ancient Greek two-handled jar used for general storage purposes, usually wine or oil Krater vs Amphora DIPYLON PAINTER, Geometric amphora with Geometric krater, from the Dipylon cemetery, mourning scene, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE Athens, Greece, ca. 750 BCE. Mantiklos Apollo, statuette of a youth dedicated by Mantiklos to Apollo, from Thebes, Greece, ca. 700–680 BCE Hero and centaur (Herakles and Nessos?), from Olympia,Greece, ca. 750–730 BCE Archaic Period • Dates: ca. 600 - 480 B.C. • Gradual change from Geometric style to the Archaic style. • It was influenced by the flowing forms and animals in Mesopotamian art. • There was a growing emphasis on the human figure. In a series of bands, reminiscent of geometric vases, native animals (boars) appear next to exotic lions and panthers as well as creatures inspired by eastern creatures like the sphinx and lamassu.
    [Show full text]
  • A Cross-Disciplinary Study of Ancient Greek Kairos, Circa 3000–146 Bce
    FROM NATURE TO THE IDEAL: A CROSS-DISCIPLINARY STUDY OF ANCIENT GREEK KAIROS, CIRCA 3000–146 BCE A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF PHILOSOPHY BY NICOLE RUTH CARDASSILARIS DISSERTATION ADVISOR: DR. PAUL W. RANIERI BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2019 To my intellectual DNA, and to my biological DNA, but especially to my son, Nicholas 2 CONTENTS PAGE Acknowledgements ………………………………………………………………… 4 List of Figures …………………………………………………………………….. 7 Chapter 1. Introduction …………………………………………………………….. 10 Chapter 2. Denotations and Connotations of Ancient Greek Kairos: A Review of Literature in Three Academic Disciplines ……………. 36 Chapter 3. Towards a Prehistory of Ancient Greek Kairos: What Constituted the Greeks’ Understanding of “a Moment in Time” between 3000-600 BCE? …………………………………………… 81 Chapter 4. The Expansion and Organization of Expression: Kairos in Transition, 800-400 BCE ………………………………… 124 Chapter 5. From Nature to Humankind: Framing the Conventional and Ideal Kairos, 400-146 BCE ……………………………………... 181 Chapter 6. Conclusion ……………………………………………………………….. 231 Bibliography …………………………………………………………………………. 245 3 ACKNOWLEDGEMENTS First I would like to thank the professors who sat on my dissertation committee. Thank you Professors Paul Ranieri (Rhetoric and Writing), Robert Habich (American Literature), Christine Shea (Classical Studies), and Richard King (Classical Studies). Robert Habich advised the approach and structure of my research, while providing expert feedback and expert advice for revisions. Christine Shea and Richard King advised on the sociocultural aspects of ancient Greece, Greek mythology, and various philological corrections and recommendations on translations of ancient Greek. I thank each one of you for your encouragement to complete this project. For my cross-disciplinary study of ancient Greek kairos, I feel fortunate for the cross- disciplinary make-up of my committee.
    [Show full text]
  • AP Art History Chapter 5: Greek Art Mrs. Cook
    AP Art History Chapter 5: Greek Art Mrs. Cook Define the following terms Key Heroes, Gods & Goddesses: Athena (Minerva), Zeus (Jupiter), Herakles (Hercules), Apollo, Aphrodite (Venus) Geometric and Orientalizing Periods ‐ Key Terms: krater, amphora, meander or key pattern, centaur, siren, black figure painting, slip, Daedalic Style Archaic Period‐ Key Terms: kore (p. korai), kouros (pl. kouroi), Archaic smile, peplos, chiton, himation, gorgon, apotropaic figure, encaustic, black‐ and red‐figure painting, bilingual painting, foreshortening, gigantomachy Greek Temple Terms: naos or cella, pronaos, opisthodomos, anta/antai, columns in antis, colonnade (types: prostyle, amphiprostyle, peristyle, peripteral, dipteral), cult statue, treasury Early and High Classical Periods: Key Terms: Severe Style, contrapposto, bronze hollow cast/lost wax process (investment, chaplets), Canon of Polykleitos, centauromacy, Amazonomachy, white ground painting, lekythos Late Classical Period Key Terms: hydria, apoxyomenos, strigil, pebble mosaic, tessera mosaic, Corinthian capitals, tholos Hellenistic Period: Key Terms: hypaethral, stoa, portico Exercises for Study: 1. Enter the approximate dates for these periods, and identify key characteristics of the art and architecture of each: Geometric and Orientalizing Art: Archaic Art: Early and High Classical Art: Late Classical Art: Hellenistic Art: 2. Compare and contrast the following pairs of artworks, using the points of comparison as a guide. 2A. Corinthian black‐figure amphora with animal friezes, from Rhodes, Greece, ca. 625‐600 BCE (Fig. 5‐5); Andokides Painter, Achilles and Ajax playing a dice game (Athenian bilingual amphora), from Orvieto, Italy, ca. 525‐520 BCE (Fig. 5‐21). • Materials • Stylistic features 2B. Kouros, from Attica, Greece, ca. 600 BCE (Fig. 5‐7); Kritios Boy, from the Acropolis, Athens, Greece, ca.
    [Show full text]
  • (~4 ½” High, Limestone) [Fertility Statue] MESOPOTAMIA Sumerian: Female Head from Uruk, (Goddess Inanna?) (C
    ART HISTORY The Human 1 Figure throughout The Ages Paleolithic: Venus of Willendorf; Willendorf, Austria (c. 28,000 – 25,000 BC) (~4 ½” high, limestone) [fertility statue] MESOPOTAMIA Sumerian: Female Head from Uruk, (goddess Inanna?) (c. 3,200 – 3,000 BC) [Marble, Sculpture] (stolen from Baghdad Museum – found in someone’s back yard) Akkadian: Head of an Akkadian Ruler, from Nineveh, (c. 2,250 – 2,200 BC) [Bronze, Sculpture] Babylonian: Stele of Hammurabi, (c. 1,780 BC), Present day Iran [Babylonian Civic Code Marker] (basalt) Hammurabi: (1,792 – 1,750 BC) Babylon’s strongest king: centralized power in Mesopotamia Sumerian: Statuettes of Abu, from the Temple at Tell Asmar (c. 2,700 BC) Imagery: Abstraction, Realism Detail: Worshippers, (gypsum inlay with shell and black limestone) [Iraq Museum] Symbolism: The Four Evangelists Matthew John attribute: attribute: winged human eagle symbolizes: symbolizes: humanity, reason sky, heavens, spirit Mark attribute: Luke winged lion attribute: winged ox symbolizes: royalty, courage, symbolizes9: resurrection sacrifice, strength Assyrian: Lamassu, (winged, human-headed bull -citadel of Sargon II) (c. 720 - 705 BC), Present day Iraq (limestone) Assyrian: Ashurbanipal Hunting Lions, (c. 645 - 640 BC), Present day Iraq [Relief sculpture from the North Palace of Ashurbanipal] (gypsum) EGYPT front back Ancient Egyptian (Early Dynasty): Palette of King Narmer, (c. 3,000 - 2920 BC), (~2’ 1” high) [Egyptian eye makeup palette] (slate) Explanation of Palette of King Narmer The earliest example of the Egyptian style, which is called "Frontalism", can be seen in the Palette of Narmer which is considered to be an early blueprint of the formula of figure representation that was to rule Egyptian art for 3,000 years.The Palette of Narmer was originally used as a tablet to prepare eye makeup for protecting the eyes against sun glare and irritation.
    [Show full text]