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Attii(A Saggio Sulla Scultura Attica Dell'ellenismo

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Attii(A Saggio Sulla Scultura Attica Dell'ellenismo ATTII(A SAGGIO SULLA SCULTURA ATTICA DELL'ELLENISMO INTROD UZIONE ATENE E LA SCUOLA ATTICA NEL QUADRO D E LL'E LLENISMO GENESI ESI GNI F I CATO DELLACORR ENTE CLASSICHEGGIANTE ~Q TlXì ÀmlXplXì xCI.ì t Ocr TS 'PCI.V O ~ xlXÌ &ol òqJ. o ~, 'E),Àaòoç spe~cr [L lX , xk ~ vlXì 'A ihxV IX~, òlX~[L6 vwv TI""roÀ(d :l-povo (PI NDo , t'r. 76; Sd wl. A ristopli. A cho, 674) 0 E LVASTO p anorama dell'ellenism o si disegnano ormai ne ttamente i caratteri Nessenziali dell'arte, multiforme e pluricentrica, la quale si intona colle varie correnti di p ensiero e di gus t o che n asc ono, si inter secano e si fon dono nella lwinè greca. Se ne son o studiat i i soggetti, i ritmi, i p anneggi, il nudo, le scuole, lo spirit o.Vediamo che i centri creatori e vivificatol'i di quest'arte sono di prefer enza quelli dov e pulsa un a nuova vita, rinnovati o giovanili or ganismi che si affermano n ell'orbita del mondo greco attraendo po eti, filosofi, artisti, commercianti. Sono infatti le oligarchiche Rodi e Coo ape rte ai traffici marittimi, o D elo, centro religioso e commerciale dell' E geo ; sono i crogioli di razze e civiltà dell 'Oriente e del­ l'Egitto quali l'Alessandria dei Tolomei, l'Antiochia dei Seleucidi, le v itali città di Efeso, di Priene, di Magnesia , di Tralles, la P ergamo degli Attalidi. In questi cent ri politici e letterari cogliamo le espressioni più significat ive del nuovo mondo, le quali caratterizzano l'arte dell'ell enismo, dando aspetti nuovi all'ossatura cla ssica cost it uit a dalla tradizione e dall' insegnamento dei grandi maestri, e che for­ mano i colori più vivi del grande quadro presenti agli occhi di ognuno che ripensi a quell'epoca. I) Questo saggio è indirizzato inv ece ad un altro asp etto dell 'arte dell'ellenismo, si allontana da questi cent ri e da queste corre nt i p er rivolger si piuttosto ad Atene, tra­ lascia le spiccant i innovazioni per indagare la vitalità, il valore , il carattere dell a scuola attic a, tutta sost anziat a di element i classici che n e cost it uiscono il sostrato fondamentale. Credo infatti che non si abbia anc ora una risposta esauriente alla logica domanda di quale sia st at o l'atteggiamento della grande maestra della classicità dinanzi alle 8 GIOVANNIB ECATTI nuove forme dell'arte diffondentisi da più sorgenti in tutta la koinè greca, quale l'attività della cu stode di tante tradizioni accanto a quella di nuov e scuole dettanti leggi da più parti, quali siano il significat o, l'estensione e il v alore da dare alla corrente nuova del classicismo, che si afferma particolarmente con l'ultima fioritura della scu ola attica, si impone sul su olo romano, ed è uno dei fattori che contribuiscono alla formazione dell'arte imperiale. P er intendere a fondo questo classicismo, questa espressione d'arte dell'ultimo ellenism o, dobbiamo av er presente specialmente la posizione di Atene, ch e anche in quest' epoca è un simb olo accentratore di tutta una civiltà n ella vita politica, religiosa, letteraria e d artistica . Posizione tutta particolare, come vedre m o, che giustifica questa attività e questo fenomeno artistico. Non si può astrarre infatti l'arte dall'ambiente in cui nasce, se si v uoI chia rirne le cause occasionali, gli schemi, i soggetti, l'intonazione, la materia in somma che sost an zierà la forma, onde la ricostruzione dei v ari aspetti politici, econ om ici, culturali, religiosi, artistici del tem p o sarà un aiuto a comprendere il car attere generale della produzione di questa scuola attica dell'ellenismo e quello delle singole op ere. Lungi, b en inteso, da un m aterialismo senza v alore che leghi l'arte a fattori econo­ mici e cont ingent i, e veda in essa solo l'interesse del mito o il riflesso della cultura del t empo, poichè la materia acquist a contenut o e forma d'arte solo se vivificata dal sent iment o e dalla fantasia dell 'artista, alla com pre n sione e alla v alutazione del cui concre t arsi si riducono quindi quelle della creazione stessa . Al linguaggio formale, attrav erso cui si esprime lo spirit o dell'artista, ci rivolgeremo quindi e cercheremo di aderire p er comprendere e v alut are lo st ile della scultura attica dell'ellenismo, tenendo presente ch e il cam min o dell'arte non è supina, lenta ev oluzione in una successione di tappe concatenate, ma soprattutto libero apporto del genio creatore che non ha legami di t empo. Prima di venire all'esame diretto dei monumenti che ci rappresentano questo classicismo, vedia m o quello che le fonti ci dicono a tale riguardo. Fondamentale è il noto passo di Plinio, N. H ., XXXIV, 19,3 (Olympiade CXXXI): .. ... cessavit deinde ars ac Olympiade CL VI revixit " Plinio quindi ci dà due date il 297 ed il 150 n ella st oria dell'arte greca che rappresenterebbero , la prima la sua fin e, la sec on da, ad un int ervallo di un sec olo e m ezzo, una rinascita. Il Loewy ha dimostrato una corrisp on de nza fra il passo di Plinio ed il fatto che Pausania non nomina alcun art ist a dopo quelli dei primi del III secolo fino a quelli della rinascita pliniana alla m età del II secolo a. C. 2) Appunt o con questa ripresa dell'arte greca dopo il 150 a. C. si intese segnare l'affermarsi del classicismo. Se ne sono indagate le cause, e già il Kalkmann 3) ha mostrato che Plinio non è ch e l'eco del concetto della su a fonte cioè Apollodoro. Questi nella " Cronaca" la cui prima ATTI KÀ - SAGGIO SULLA S CULTURA AT TICA DELL 'ELLENISMO 9 redazione fu compiut a nel 144 a. C. illustrando il cam mino dell'arte greca ne ponev a l'acmè sotto Fidia e Policleto, la decadenza dopo Alessandro e la fine nel 297, m entre considerava come una rinascita delle forme e degli ideali fissati dai gran di maestri, offuscati o dimenticati nell 'ellenismo, la corrente classicheggiante che si delineav a appunto al suo t empo. Ma non si comprende rebbe così la ragione intima di questa v alut azione del fenomeno artistico per op era dei contemporanei, e p er chè si potesse considerare finita dopo Lisippo la creazione artistica grec a, chiude ndo gli occhi dinanzi a tutta la produzione varia, policroma, densa di nuovi ideali e di nuovi problemi, offerta dall'ellenismo. Bisogna p ertanto rivolger lo sguardo, come ho detto in principio, all'ambiente politico, letterario, religioso ed artistico che precede ed accompagna questo classicismo. 4) Spezzata la collettivit à armonica e coope rante della 7t6À ~ ç , che avev a avuto il su o apogeo nel V secolo, di fronte all'affermarsi dell' individualismo e all'aprirs i di una più v ast a vita internazionale in cui ent rano nuovi fattori politici ed economici, Atene si avvia vers o una di gnitosa decadenza, e le vengono a mancare gli element i primi di 'vita che cost ituiscono la forza dei nuovi centri. Ment re l'attività com merciale del Pireo è diminuita dai nuovi porti, a cui fa n capo le carovane d'Oriente, quella politica , che era st at a l'ag one incessante dove n el clima d ella libertà si erano t emprate ed affinate tutte le forze intell ettuali della st irpe, languisce di fronte alla dominazione macedone con brevi alternativ e di entus iasm o democratico e con ricer che conciliant i di appoggi st ranieri, e do po l'eroica scint illa accesa dalla resistenza cont ro Silla, si spegne sotto il successiv o dominio liv ellatore di Roma. Tolleranti ed intelligenti sono i suoi dominatori come Demetrio del Falero o il Poliorcete; riceve omaggi da tutte la parti del mondo ellenistico: TolomeoII Filadelfo nel 275 costruisce nell'agorà il ginnasio-bibliotecà per gli efebi ateniesi, il Ptolemaion; Atene stessa elev a in onore del governatore macedone Diogene l'altro ginnasio il Diogeneion nel 229; Attalo di P ergamo nel 201 consacra il suo donario sull'Acropoli, r: orna la città con i giardini del Lakydeion; Eumene II ed Attalo II l'abbelliscono di due' portici, Ant ioco IV Epifane nel 175 riprende la cost ruzione dell ' Olympieion e dopo il ' sacche ggio sillano Ariobarza ne II Filopatore di Capp adocia ricostruisce l' Odeon di P ericle, 5) La città p eraltro non t rova in un rinno vamento o politico, quale per ese mpio la fondazione di un regime dinastico, o 'com merciale, quale l'apertura di altre vie di traffico, l'impulso ad una nuova v it a, ma tram onta politicamente ed economicamente senza scosse v ivificatrici in una fa cile, dorata, decadenza. Si spieg a quindi, in parte, come non si sviluppi un nuovo indirizzo art ist ico m an­ cando idealità nuov e. L'attività' artistica di Fidia sull'Acrop oli quale riviviamo dalle pagine di Plutarco e dai marmi conservati è, per opera di genio assimilatore e poteri­ ziatore, l'espressione più alta 'di quella politica e religiosa di tutta la 7t6À~ç, come in lO GIOVANNI BECATTI unione intima con il popolo era stata la letteratura classica profondamente popolare e tradizionale. Così n ell'ellenismo, p er richiamare qualche esempio, vediam o n ella scìa delle v it ­ torie e del desiderio di gran dezza degli Attalidi i t emi dell'arte p er gamena, o quale p aral ­ lelo dell 'ambiente letterario elegante ed eru dit o impersonato da Callim ac o in Rodi e Coo le languide Afrodit i e i panneggi ricchi e complicati dalle trasp arenze set acee e si com pre nde come con Teocrito, Bion e Mosco ad Alessandria ed altrov e si passa a prediliger e il rilievo p aesistico bucolico e i soggetti di genere.
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