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The Conversion of the Parthenon Into a Church: the Tübingen Theosophy
The Conversion of the Parthenon into a Church: The Tübingen Theosophy Cyril MANGO Δελτίον XAE 18 (1995), Περίοδος Δ'• Σελ. 201-203 ΑΘΗΝΑ 1995 Cyril Mango THE CONVERSION OF THE PARTHENON INTO A CHURCH: THE TÜBINGEN THEOSOPHY Iveaders of this journal do not have to be reminded of the sayings "of a certain Hystaspes, king of the Persians the uncertainty that surrounds the conversion of the or the Chaldaeans, a very pious man (as he claims) and for Parthenon into a Christian church. Surprisingly to our that reason deemed worthy of receiving a revelation of eyes, this symbolic event appears to have gone entirely divine mysteries concerning the Saviour's incarnation"5. unrecorded. The only piece of written evidence that has At the end of the work was placed a very brief chronicle been adduced concerns the removal of Athena's cult (perhaps simply a chronology) from Adam to the emperor statue, mentioned without a firm date in Marinus' Life of Zeno (474-91), in which the author advanced the view that Proclus (written in 485/6, the year following the the world would end in the year 6000 from Creation. philosopher's death)1. It is not clear, however, whether The original work was, therefore, composed between this removal marked the conversion of the building to 474 and, at the latest, 508, assuming the author was using Christian worship or merely its desacralization. The two, the Alexandrian computation from 5492 BC. The we have been told, need not have been simultaneous and expectation that the world would end in the reign of it is not inconceivable that the Parthenon remained Anastasius was, indeed, quite widespread at the time6. -
The Parthenon Frieze: Viewed As the Panathenaic Festival Preceding the Battle of Marathon
The Parthenon Frieze: Viewed as the Panathenaic Festival Preceding the Battle of Marathon By Brian A. Sprague Senior Seminar: HST 499 Professor Bau-Hwa Hsieh Western Oregon University Thursday, June 07, 2007 Readers Professor Benedict Lowe Professor Narasingha Sil Copyright © Brian A. Sprague 2007 The Parthenon frieze has been the subject of many debates and the interpretation of it leads to a number of problems: what was the subject of the frieze? What would the frieze have meant to the Athenian audience? The Parthenon scenes have been identified in many different ways: a representation of the Panathenaic festival, a mythical or historical event, or an assertion of Athenian ideology. This paper will examine the Parthenon Frieze in relation to the metopes, pediments, and statues in order to prove the validity of the suggestion that it depicts the Panathenaic festival just preceding the battle of Marathon in 490 BC. The main problems with this topic are that there are no primary sources that document what the Frieze was supposed to mean. The scenes are not specific to any one type of procession. The argument against a Panathenaic festival is that there are soldiers and chariots represented. Possibly that biggest problem with interpreting the Frieze is that part of it is missing and it could be that the piece that is missing ties everything together. The Parthenon may have been the only ancient Greek temple with an exterior sculpture that depicts any kind of religious ritual or service. Because the theme of the frieze is unique we can not turn towards other relief sculpture to help us understand it. -
Parthenon 1 Parthenon
Parthenon 1 Parthenon Parthenon Παρθενών (Greek) The Parthenon Location within Greece Athens central General information Type Greek Temple Architectural style Classical Location Athens, Greece Coordinates 37°58′12.9″N 23°43′20.89″E Current tenants Museum [1] [2] Construction started 447 BC [1] [2] Completed 432 BC Height 13.72 m (45.0 ft) Technical details Size 69.5 by 30.9 m (228 by 101 ft) Other dimensions Cella: 29.8 by 19.2 m (98 by 63 ft) Design and construction Owner Greek government Architect Iktinos, Kallikrates Other designers Phidias (sculptor) The Parthenon (Ancient Greek: Παρθενών) is a temple on the Athenian Acropolis, Greece, dedicated to the Greek goddess Athena, whom the people of Athens considered their patron. Its construction began in 447 BC and was completed in 438 BC, although decorations of the Parthenon continued until 432 BC. It is the most important surviving building of Classical Greece, generally considered to be the culmination of the development of the Doric order. Its decorative sculptures are considered some of the high points of Greek art. The Parthenon is regarded as an Parthenon 2 enduring symbol of Ancient Greece and of Athenian democracy and one of the world's greatest cultural monuments. The Greek Ministry of Culture is currently carrying out a program of selective restoration and reconstruction to ensure the stability of the partially ruined structure.[3] The Parthenon itself replaced an older temple of Athena, which historians call the Pre-Parthenon or Older Parthenon, that was destroyed in the Persian invasion of 480 BC. Like most Greek temples, the Parthenon was used as a treasury. -
Ancient Greek Painting and Mosaics in Macedonia
ANCIENT GREEK PAINTING AND MOSAICS IN MACEDONIA All the manuals of Greek Art state that ancient Greek paintinG has been destroyed almost completely. Philological testimony, on the other hand, how ever rich, does no more than confirm the great loss. Vase painting affirms how skilful were the artisans in their drawings although it cannot replace the lost large paintinG compositions. Later wall-paintings of Roman towns such as Pompeii or Herculaneum testifying undoubted Greek or Hellenistic influ ence, enable us to have a glimpse of what the art of paintinG had achieved in Greece. Nevertheless, such paintings are chronologically too far removed from their probable Greek models for any accurate assessment to be made about the degree of dependence or the difference in quality they may have had between them. Archaeological investigation, undaunted, persists in revealing methodi cally more and more monuments that throw light into previously dark areas of the ancient world. Macedonia has always been a glorious name in later Greek history, illumined by the amazing brilliance of Alexander the Great. Yet knowledge was scarce about life in Macedonian towns where had reigned the ancestors and the descendants of that unique king, and so was life in many other Greek towns situated on the shores of the northern Aegean Sea. It is not many years ago, since systematic investigation began in these areas and we are still at the initial stage; but results are already very important, es pecially as they give the hope that we shall soon be able to reveal unknown folds of the Greek world in a district which has always been prominent in the his torical process of Hellenism. -
Influence of Science on Ancient Greek Sculptures
www.idosr.org Ahmed ©IDOSR PUBLICATIONS International Digital Organization for Scientific Research ISSN: 2579-0765 IDOSR JOURNAL OF CURRENT ISSUES IN SOCIAL SCIENCES 6(1): 45-49, 2020. Influence of Science on Ancient Greek Sculptures Ahmed Wahid Yusuf Department of Museum Studies, Menoufia University, Egypt. ABSTRACT The Greeks made major contributions to math and science. We owe our basic ideas about geometry and the concept of mathematical proofs to ancient Greek mathematicians such as Pythagoras, Euclid, and Archimedes. Some of the first astronomical models were developed by Ancient Greeks trying to describe planetary movement, the Earth’s axis, and the heliocentric system a model that places the Sun at the center of the solar system. The sculpture of ancient Greece is the main surviving type of fine ancient Greek art as, with the exception of painted ancient Greek pottery, almost no ancient Greek painting survives. The research further shows the influence science has in the ancient Greek sculptures. Keywords: Greek, Sculpture, Astronomers, Pottery. INTRODUCTION The sculpture of ancient Greece is the of the key points of Ancient Greek main surviving type of fine ancient Greek philosophy was the role of reason and art as, with the exception of painted inquiry. It emphasized logic and ancient Greek pottery, almost no ancient championed the idea of impartial, rational Greek painting survives. Modern observation of the natural world. scholarship identifies three major stages The Greeks made major contributions to in monumental sculpture in bronze and math and science. We owe our basic ideas stone: the Archaic (from about 650 to 480 about geometry and the concept of BC), Classical (480-323) and Hellenistic mathematical proofs to ancient Greek [1]. -
Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011)
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 27 | 2014 Varia Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011) Angelos Chaniotis Electronic version URL: http://journals.openedition.org/kernos/2266 DOI: 10.4000/kernos.2266 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 November 2014 Number of pages: 321-378 ISBN: 978-2-87562-055-2 ISSN: 0776-3824 Electronic reference Angelos Chaniotis, « Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011) », Kernos [Online], 27 | 2014, Online since 01 October 2016, connection on 15 September 2020. URL : http:// journals.openedition.org/kernos/2266 This text was automatically generated on 15 September 2020. Kernos Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011) 1 Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011) Angelos Chaniotis 1 The 24th issue of the Epigraphic Bulletin for Greek Religion presents epigraphic publications of 2011 and additions to earlier issues (publications of 2006–2010). Publications that could not be considered here, for reasons of space, will be presented in EBGR 2012. They include two of the most important books of 2011: N. PAPAZARKADAS’ Sacred and Public Land in Ancient Athens, Oxford 2011 and H.S. VERSNEL’s Coping with the Gods: Wayward Readings in Greek Theology, Leiden 2011. 2 A series of new important corpora is included in this issue. Two new IG volumes present the inscriptions of Eastern Lokris (119) and the first part of the inscriptions of Kos (21); the latter corpus is of great significance for the study of Greek religion, as it contains a large number of cult regulations; among the new texts, we single out the ‘sacred law of the tribe of the Elpanoridai’ in Halasarna. -
The Parthenon, Part I: from Its Multiple Beginnings to 432 BCE"
1 THE FORTNIGHTLY CLUB Of REDLANDS, CALIFORNIA Founded 24 January 1895 Meeting Number 1856 March 13, 2014 "The Parthenon, Part I: From its Multiple Beginnings to 432 BCE" Bill McDonald Assembly Room, A. K. Smiley Public Library 2 [1] (Numbers in red catalog the slides) Fortnightly Talk #6 From Herekleides of Crete, in the 3rd century BCE: “The most beautiful things in the world are there [in Athens}… The sumptuous temple of Athena stands out, and is well worth a look. It is called the Parthenon and it is on the hill above the theatre. It makes a tremendous impression on visitors.” Reporter: Did you visit the Parthenon during your trip to Greece?” Shaq: “I can’t really remember the names of the clubs we went to.” Architects, aesthetes, grand tour-takers from England, France and Germany all came to Rome in the 3rd quarter of the 18th century, where they developed on uneven evidence a newly austere view of the classical world that in turn produced the Greek revival across northern Europe and in America. Johann Joachim Winckelmann (1717 – 1768) [2], a self-made scholar of ancient Greek language and texts, was their unofficial high priest. In 1755 Winckelmann arrived for the first time in Rome, where thanks not only to his brilliant publications but also to a recent and, shall we say, a timely conversion to Catholicism, he was admitted by papal authorities to the Vatican galleries and storerooms (his friend Goethe said that Winckelmann was really “a pagan”). His contemporaries in Rome saw Greek civilization as a primitive source for Roman art, and had never troubled to isolate Greek art from its successor; Winckelmann reversed that, making Greek art and 3 architecture, especially sculpture—and especially of the young male form that he especially admired—not only distinctive in its own right but the font of the greatest Western art. -
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. -
AT 2005 ART of ANCIENT GREECE (Previously at 2005 Art and Architecture of Ancient Greece)
DEREE COLLEGE SYLLABUS FOR: AT 2005 ART OF ANCIENT GREECE (previously AT 2005 Art and Architecture of Ancient Greece) – UK LEVEL 4 UK CREDITS: 15 US CREDITS: 3/0/3 (Updated Fall 2015) PREREQUISITES: NONE CATALOG The art of ancient Greece from the Geometric period through the DESCRIPTION: coming of Rome. Diverse types of artistic production, including religious and secular architecture, sculpture, pottery, grave artefacts. Greek Art in its historical and social context. RATIONALE: This course focuses on close visual observation of works of art and the investigation of their social, economic and political environment. Students acquire an understanding of the distinct features of Greek art and its relevance to other ancient cultures. The course is addressed to any student wishing to continue studies in Greek art, art history, visual arts or the ancient world. LEARNING OUTCOMES: Upon successful completion of this course, the student should be able to: 1. Demonstrate a broad knowledge base of Ancient Greek works of art; 2. Analyse visually works of art, using appropriate terminology; 3. Relate selected works of Ancient Greek art to relevant cultural context(s). METHOD OFTEACHING In congruence with the teaching and learning strategy of the AND LEARNING: college, the following tools are used: 1. Formal lectures accompanied by visuals: image power point presentations; image database Artstor; educational films. 2. Classroom discussion of material presented in formal lectures and assigned reading material. 3. Field trips and museum visits, as appropriate. 4. Individualized assistance during office hours for further discussion of course material and additional readings. 5. Use of a Blackboard site, where instructors post relevant course material, assignment instructions and additional resources. -
Beauty in Ancient Greek Art: an Introduction
BEAUTY IN ANCIENT GREEK ART: AN INTRODUCTION Translate each term/expression about body, sculpture, ancient greek clothing. forearm / upper arm: ………………………………. (large scale / life-size) sculpture: ………………………………. palm: ………………………………. sculpture carved in the round: ………………………………. hairstyle: ………………………………. statue (equestrian / votive): ………………………………. braid: ………………………………. half-length / full-length portrait/figure: ……………………… fingers: ………………………………. …………………………………………………………………………………….. wrist: ………………………………. relief (bas-relief / high-relief): ………………………………. bosom: ………………………………. stele): ………………………………. bosom / chest: ………………………………. neck: ………………………………. marble: ………………………………. lips: ………………………………. bronze: ………………………………. cheekbones: ………………………………. gold: ………………………………. eyelids: ………………………………. silver: ………………………………. eyelashes: ………………………………. wood: ………………………………. chin: ………………………………. plaster: ………………………………. back: ………………………………. clay: ………………………………. shoulders: ………………………………. stone (dressed stone): ………………………………. womb / abdomen: ………………………………. terracotta: ………………………………. navel: ………………………………. wax: ………………………………. leg: ………………………………. foot: ………………………………. to sculpt / carve: ………………………………. ankle: ………………………………. to woodcarve: ………………………………. navel: ………………………………. to rough-hew: ………………………………. knee: ………………………………. to polish/to smooth: ………………………………. sculptor: ………………………………. carver: ………………………………. sandals: ………………………………. peplos / peplum: ………………………………. cloak / hymation: ………………………………. tunic / chiton: ………………………………. patch: ………………………………. linen: ………………………………. wool: ………………………………. to be wrapped in: ………………………………. to -
The Case of the Parthenon Sculptures
University of North Florida UNF Digital Commons All Volumes (2001-2008) The sprO ey Journal of Ideas and Inquiry 2007 Looted Art: The aC se of the Parthenon Sculptures Alison Lindsey Moore University of North Florida Follow this and additional works at: http://digitalcommons.unf.edu/ojii_volumes Part of the Arts and Humanities Commons Suggested Citation Moore, Alison Lindsey, "Looted Art: The asC e of the Parthenon Sculptures" (2007). All Volumes (2001-2008). 34. http://digitalcommons.unf.edu/ojii_volumes/34 This Article is brought to you for free and open access by the The sprO ey Journal of Ideas and Inquiry at UNF Digital Commons. It has been accepted for inclusion in All Volumes (2001-2008) by an authorized administrator of UNF Digital Commons. For more information, please contact Digital Projects. © 2007 All Rights Reserved LOOTED ART: Art returning to Italy a number of smuggled artifacts, including the famous THE CASE OF THE PARTHENON calyx-krater by Euphronios. The J. Paul SCULPTURES Getty Museum in California also recently attracted attention as Marion True, the Alison Lindsey Moore museum’s former curator of antiquities, was accused of knowingly purchasing Faculty Sponsor: Dr. Candice Carter, looted artifacts. Rather than focusing on a Associate Professor of Curriculum and recent case, I concentrate on the Instruction (Elementary Education) controversy surrounding the so-called “Elgin Marbles.” This research project was intended Many artifacts which comprise private to contextualize both the historical and and museum collections today were possibly current controversial issues pertaining to stolen from their country of origin and illegally the Parthenon. The first section titled “The smuggled into the country in which they now Architectural and Decorative Elements of reside. -
The Parthenon: Yesterday, Today, and Tomorrow
The Parthenon: Yesterday, Today, and Tomorrow The Parthenon: Yesterday, Today, and Tomorrow Luke Howard Judkins Abstract One of the world’s most beautiful and iconic structures, the Parthenon, the temple of the Virgin goddess Athena, boldly displays the culmination of culture and civilization upon the Acropolis in Athens, Greece and in Centennial Park in Nashville, Tennessee. I have attempted to research the history, architecture, and sculpture of the magnificent marble edifice by analyzing the key themes and elements that compose the great work: culture, civilization, and rebirth. Using a musical sonata form to display my research, I wished to convey a digestible analysis of how the Parthenon and its connotations transcend time through rebirth in Nashville, Tennessee. Known as the “Athens of the South,” Nashville continues the culture displayed in Ancient Greece and symbolizes this through the city’s scale replication of the Parthenon within Centennial Park. In the first century A.D., Plutarch wrote Greek history so that the Greeks could recall the history that was gradually fading from their memories. As Plutarch did with his readers, I am attempting to re-educate Nashvillians, as well as the world, about the rich history and inheritance of the Athenian culture within ourselves. Middle Tennessee State University 71 Scientia et Humanitas: A Journal of Student Research Introduction n various ways, every world civilization has attempted to explore Iand improve the quality of life, promote communal well-being, and further the education and the creative abilities of its people. One of the most successful civilizations in these endeavors was that of the ancient Greeks.