Early Classical Female Statues (original) (raw)
Related papers
Looking for Persians in Attic vase painting
From Hippias to Kallias. Greek Art in Athens and Beyond 527-449 BC, eds. Olga Palagia and Elisavet P. Sioumpara, 120-132. Athens: Acropolis Museum, 2019
Weihgeschenk-Statussymbol-Historisches Zeugnis. Zur Bedeutung der Votivskulpturen des späten 6. Jhs. v. Chr. auf der Athener Akropolis ANDREAS SCHOLL Managing the Debris: Spoliation of Architecture and Dedications on the Athenian Acropolis After the Persian Destruction ELISAVET P. SIOUMPARA
O. Palagia – E. P. Sioumpara (Hrsg.), From Hippias to Kallias. Greek Art in Athens & Beyond, 527-449 BC, Proceedings of the International Conference, held at the Acropolis Museum, May 19–20, 2017 (Athen 2019) 234–248, 2019
“The Beautiful Monument: The Aristocracy of Images in Athenian Funerary Sculpture (c. 530–480 BCE)”
Marion Meyer – Gianfranco Adornato (eds.), Innovations and Inventions in Athens c. 530 to 470 BCE – Two Crucial Generations,WIENER FORSCHUNGEN ZUR ARCHÄOLOGIE, Bd. 18, Phoibos Verlag, Wien 2020, 167-186. , 2020
The discoveries that have occurred over the last sixty years, together with chronological considerations and the appropriate evaluation of the epigraphic corpus, testify overall to the duration of the system of monumental funerary dedications well beyond the advent of democracy by Kleisthenes (508/7 BCE) and probably up to the end of the Persian Wars. This ‘longue durée’ will require the revision of the interpretation that mechanically links Archaic funerary monuments and the ruling “aristocracy” during pre-democratic political regimes in turn paving the way for a more detailed analysis of patronage. The monument is built according to precise rules of a visual rhetoric, aimed at enhancing its beauty, to match and reflect the excellence of the recipients – largely male and including impressive monuments for non-Athenians (xenoi) – and to define their social position through the joint devices of word and image. The evidence is discussed in detail, and the Author accepts the proposal that the grave statue of Aristodikos, one of the latest examples of the kouros type, wore a helmet. The head of a youth, found in the Kerameikos and likewise once equipped with a helmet might attest to the next “step”: a grave statue in ponderation. The monuments recovered from Piraeus Gate are discussed in detail, as well as Jeffery’s so-called Samian plot; a new interpreation of the bases with athletic scenes is proposed, highlightening the possible connection with Sparta and the Athenian pro-Lacedemonian party (sphairomachia) as well as the connection with Eretria and eastern Attica for the allusion to the Amarysia or to the Attic version of the event (the chariot scenes with hoplites). Concluding, funerary monuments reflect the changes in Athenian society, which in turn are largely influenced by the international situation.
With a 'visual turn' taking place in the humanities, whereby material culture has attained a status equal to textual, it is increasingly important that works of art and artifacts be properly interpreted in their historic and archaeological contexts. The new approaches on the part of archaeologists who focus on contexts (political, social, religious) provide fresh ground for interpretation as more and more humanities disciplines engage with visual culture. The aim of the collection of individual studies assembled here is to demonstrate how Classical Athenian art remains a vital field not just for art historians and archaeologists, but for ancient historians, political and social scientists, anthropologists, and those in religious studies as well. Now as new material comes to light and fresh ideas on old topics are being formulated, it is timely to re-investigate the art generated in the age of Perikles and its aftermath, the Peloponnesian War. This new research is presented here in the hope that upcoming generations of students and scholars will gain a deeper understanding of this seminal period of Greek art and architecture. The five decades (449 to 403 B.C.) covered by this volume begin with the putative "Peace of Kallias", probably an invention of the 4 th century B.C., and end with the demise of Kritias, a pro-Spartan intellectual who ended his political career as one of the notorious Thirty Tyrants. This book comprises the papers presented at the international conference "From Kallias to Kritias. Classical Culture: Athens in the Second Half of the 5 th Century B.C.", hosted in Athens by the American School of Classical Studies at Athens on June 6-8, 2019. The conference followed chronologically in the footsteps of "From Hippias to Kallias: Greek Art in Athens and Beyond 527-449 B.C.", 1 hosted by the Acropolis Museum in May 2017. That conference explored the debates concerning the last manifestations of the Archaic and the emergence of the Early Classical style. This volume, like its predecessor, raises important new issues, triggered by ongoing research on old and new excavation material, by probes into museum storerooms, and by the reshuffling of traditional premises. Bibliographical abbreviations follow the guidelines of American Journal of Archaeology. Abbreviations of ancient authors can be found in the Oxford Classical Dictionary. The editors and authors are greatly indebted to Mirko Vonderstein of de Gruyter for agreeing to publish this volume. Hans Rupprecht Goette has kindly allowed the reproduction of several photos from his archives throughout the book. Our thanks are also due to Carol Lawton, Sheila Dillon and Sheramy Bundrick for their assistance. We are grateful for the generous sponsorship of both the American School of Classical Studies at Athens and the Athens-Greece Society of the Archaeological Institute of America. This publication has been supported by a grant from the Samuel H. Kress Foundation, administered by the Archaeological Institute of America.