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The Sculpture of Khafra was carved for his valley temple near the Great Sphinx in Giza. King Khafra is seated on his throne; the base is carved with the symbol of an intertwined lotus (representing Upper Egypt) and papyrus (representing Lower Egypt), meaning a united Egypt. At the base of his head the god Horus, depicted as a hawk/falcon protects him with his wings and indicates his divine status as the son of Re, while lions, symbols of regal authority form the throne’s legs. As king of the Two Lands of Egypt, Khafra wears a simple kilt of the Old Kingdom and a linen headdress (nemes) that covers his forehead and falls in pleated folds over his shoulders. He is also shown wearing a false beard symbolic of his royalty. Not a 'true' portrait of the king but an idealized version of him with characteristic inclusions of identity, the figure has great compactness and solidity, with few projecting or breakable parts; the legs are attached to the slab by stone webs, and the pose like those of statues in Mesopotamia, render the figure so that it is appreciated either in frontal or profile view. The hardest stone was used to make the statue to ensure permanence, in this case diorite which was imported 400 miles away in the south, in Nubia, that also produces a rare optical effect. When illuminated by sunlight entering from the temple wall openings, the stone glows a deep blue, the celestial color of Horus, and filling the space with a blue radiance. There was great difficulty in working with granite or diorite and using bronze tools was a necessity, which also made it very expensive to create; much of the finishing was done by abrasion.
Rendered in a more relaxed, life-like fashion, this sculpture of a Seated Scribe was found near the tomb of a government official named Kai, and so, may be a representation of Kai himself. This sculpture was created for a tomb at the necropolis in Saqqara as a body substitute or provision for the ka, or life force/soul of the deceased individual represented here just as the sculpture of king Khafra did. Carved from limestone, color still remains on the sculpture as it was customary for stone sculptures to be painted. The color additions create an amazingly life-like image although the Seated Scribe is not meant to be a portrait but rather depicts a conventional image of a scribe. He holds a papyrus scroll in his lap and, at one point, he most likely held a writing implement (now gone) in his left hand, as seen in the pose as if he is ready to write. This work is a lively representation of a man whose function was to serve the king in the spirit world as he had in life. The face is strikingly alive, while his paunchy physique lacks the idealized proportions found in representations of royalty and nobility. Since Egyptian society was mostly illiterate, a scribe was of a higher social status and therefore the image makes reference to his success; he could afford to eat well and rely on subordinates to do the physical labor. Usually, we find in the history of art that formality is relaxed and realism is increased when the subject is a person of lesser importance, especially in portraiture. Old Kingdom sculptors produced statues of royal figures as well as less prominent individuals in Egyptian society. As in relief sculpture and painting, so too, in free-standing sculpture in-the-round, a canon of proportions was used in rendering the ideal proportions of the human form. Artists relied on guidelines for designing the human image beginning in the Fifth Dynasty (ca. 2500 BCE) with a grid superimposed over the human image to achieve the ideal relationship of proportions to each of the body parts. With the ideal proportions established through a mathematical formula, artists could depict a human portrait at any scale. This system of proportion and idealized representation lasted for thousands of years. For this assignment, I ask that you compare these two sculptures, Sculpture of Khafra and Sculpture of Seated Scribe, representing the human figure in Old Kingdom Egypt, ca. 2500-2400 BCE. Make note of at least one similarity and one difference between these two works. Base your comparison on your observations and describe using terms and language we apply in class. Consider all elements represented in these works, in the article above, and the label for points of comparison.. Post your observations by 11:59 pm, Sunday, October 15, 2023. (20 pts)
Watch these short videos (about 7 minutes each) and think about their philosophical viewpoint and how that might be reflected in sculpture of the Classical Period of Ancient Greece. The School of Life: Philosophy - Plato https://youtu.be/VDiyQub6vpw The School of Life: Philosophy - Aristotle https://youtu.be/csIW4W_DYX4 1) How do these ancient Greek philosophers view humanity? Can their ideology be seen in the work of art by Polykleitos above? 2) Alternatively, what developments are taking place in representing the human male form from Egyptian models to the Classical Greek Period? Make an observation of what you notice is similar and/or different between these three works of sculpture above. 3) Beauty, to the Greeks, was based on proportion; the contemplation of harmonious proportions equalled the contemplation of 'arete' or the Greek word for 'virtue' (behavior showing great moral character). Is this evidenced in Polykleitos's sculpture? Respond to any one of these prompts by 11:59 pm, Thursday, April 6, 2023 (20 pts). Khan Academy, Mummification Process (Video, 2:43) https://youtu.be/-MQ5dL9cQX0 Most surviving works of Ancient Egyptian art come from tombs, which Egyptians built to assure an afterlife for the deceased. The cornerstone, then, of the Egyptians’ polytheistic religion was a belief in the afterlife. The process of mummification (preservation of the body for burial) helped them learn much about the human body, allowing them to diagnose many illnesses and perform surgery, while serving to preserve the physical body for eternity as well.
The video above shows the mummification process as it was applied to Herakleides, a young man who died in Egypt in the first century AD when Egypt was part of the Hellenistic Empire. Although later in date than what we'll be studying in our Egyptian art lecture, the video offers a good look at the longstanding process of mummification. The rituals and process of mummification did change somewhat over time but the video offers a good overview. If you're interested in learning more, I recommend Dr. Bob Brier's lecture, "Mummification: Resurrection of a Lost Art" (approx 45 mins.), found at https://www.youtube.com/watch?v=EroU1P_QICU For now, take a look at the 3 minute video, look at the slide presentation or Chapter 3 reading in Janson's on Egyptian Art. What did you find notable in this video? OR What work of Ancient Egyptian art we studied did you find fascinating and why? For today's post, I'd like you to take a moment to watch this short video (3:03, click on the image link) from National Geographic, Prehistory 101: Cave Art. What becomes apparent to you regarding prehistoric art? What questions do you have about these cave works? What stood out to you as you watched the video? Choose either prompt and post a short comment by
Art appreciation does not require knowledge of the historical context of an artwork (or a building). Art history does. Throughout the semester, we've moved beyond simply appreciating art and discovering works through the lens of history. The slideshow below introduces the cultures and historical time periods we studied this semester. Our focus was on Western art- art produced in the Mediterranean, the Near East, Northern Africa and Europe. If you wish, post a comment on which time period you've enjoyed learning about…and have a great break from classes. Take a little bit of time to read the short articles below, Byzantium (ca. 330-1453), and Icons and Iconoclasm in Byzantium (follow the links). For more information on the works of art shown here, follow the link given. What I'd like for you to contemplate today, as you read these and explore the works of art associated with each article, is the subject of iconoclasm. "Iconoclasm literally means “image breaking” and refers to a recurring historical impulse to break or destroy images for religious or political reasons." The Byzantine iconoclastic controversy lasted for about a century, between 726-843 CE, and centered on the Old Testament prohibitions against worshipping graven images (Exodus 20:4). The fear was that the viewer of these religious icons (sacred images representing Christ, the Virgin, and saints) would misdirect their reverence and worship to the image rather than to the holy person represented in the image. What is your opinion regarding this debate? Looking at these religious icons, do you feel that the viewer could worship the object more so than the person represented? Does the artist represent these persons in a manner that would guide the viewer to worship the image and not the person? Post your comment by 11:59 pm.
Today, you're invited to make a comparison between Aplu (fig. 1) and Kroisos (fig. 2) Watch the videos and determine a total of three (3) differences and/or similarities between these two works. Consider culture, materials, style and date, among other points we've discussed together in class. Delve deep…You're being graded on this assignment, so be sure to post your observations by 11:59 pm. Make your observations original to you, and go beyond what someone else may have noted. Looking forward to your remarks.
As we begin our study of ancient Greek art it is important to understand the varied media and techniques used to create a variety of art forms. Painting on ceramic pottery was an important art form for the ancient Greeks; black-figured and red-figured ceramic vases survive in great numbers, serving to inform us of the developments made by Greek painters. The process of producing such objects, that were both functional and inspiring, was complicated and one that entailed continued refinement. The creation of sculptures, both in marble and in bronze, was as equally important to Greek artists, and much of what we know about this three-dimensional art form survives through archaeological evidence of original Greek marble or bronze sculptures, and from Roman copies of Greek sculptures. An important development for ancient Greek sculpture was the use of bronze to realize the human form and depict it in expressive and dynamic movement. The capabilities of using bronze, a material whose tensile strength, its capability to be drawn out or stretched and supportive of its own weight, liberated the human form and contributed to the Greek aim of representing greater realism. The process of sculpting in bronze, whether solid cast or hollow cast, was one that was invented and masterfully developed in the ancient Near East. The earliest known life-size, monumental work of hollow-cast sculpture is one we are familiar with, The Head of an Akkadian Ruler. The process of making a hollow metal sculpture as opposed to pouring metal into a mold and producing a solid sculpture, was one that came to serve the purpose of financial economy as well as lightening the weight of life-size and greater than life size sculptures produced in bronze. Methods for hollow casting developed early on in the Near East using a technique known as lost-wax or cire perdue casting. The method survived and it was introduced throughout the Mediterranean world making its way to mainland Greece. The methods for producing ceramics and bronze sculpture are fascinating, revealing the sophisticated science of these ancient civilizations. These methods are still used today with very little alteration and I invite you to watch the videos below to learn more. Comment on what impresses you or what you have come to understand about these processes and/or the artists of such works. Post your thoughts by and enjoy the videos! I look forward to hearing from you… LaunchPad: Ancient Greek Vase Production and the Black-Figure Technique Art Institute of Chicago (Video, 4:15) https://youtu.be/FpLPx_Akl7Y Mesmerizing Animation: Capturing an Emperor’s Face in Bronze, National Geographic Short Film Showcase Direct Lost-Wax Casting (Video 4:19) youtu.be/pOM6gUp42EY Casting bronze: Indirect Lost-Wax Method Khan Academy (Video, 6:09) https://youtu.be/4AR_KftDRs4
Artist Unknown Crocus Gatherers Before 1630 BCE Detail of Wall Painting (buon fresco), Room 3 of House Xeste 3 Akrotiri, Thera (present-day Santorini), Cyclades Greek civilization originated on the Cycladic Islands in the Aegean Sea during the late Neolithic and early Bronze Ages (ca. 6000-3000 BCE) and followed with two Bronze Age civilizations of the eastern Mediterranean - the Minoan (c. 2500-1250 BCE) and the Mycenaean (c.1600-1150 BCE).
In comparison to their neighbors in the east, (Mesopotamia, Anatolia and Egypt) early Greek culture was slower to develop. However, being a sea-faring people with ports laid out to welcome ships from other cultures around the Mediterranean Sea, they quickly evolved. Soon, their society expanded and they built colonies along the northern Mediterranean. The works of art unearthed in the late 19th and early 20th centuries by Heinrich Schliemann and Arthur Evans reflect the concerns of the societies that developed in this part of the Western world. Pottery. marble sculpture, and wall paintings reveal the interests of these civilizations even if their written language is undeciphered, yet, and their full meaning is still a mystery. Review the slide presentation for Aegean art and skim through the text. Read the article, Akrotiri Frescoes, www.ancient.eu/article/673/akrotiri-frescoes/ and post a comment, by , on what subjects you see were of interest to Aegean Bronze Age societies. Envision life on the Greek islands and enjoy a trip even if it's an imaginative one today. The Ancient Near Eastern world gives us the earliest material evidence of the beginnings of civilization. We bear witness through the visual arts of the establishment of cities, religious beliefs and institutions, government, law, and writing-elements that serve to define civilized society. The Ancient Near Eastern civilizations that arose along the Mesopotamian river valley expressed their relationship to their world and each other through the visual arts, recording experience and belief. Below are three examples of such work, a mosaic (an art form that uses the technique of making pictures or patterns from small pieces of colored stone or glass set into cement or plaster, and in the case of the Standard of Ur, into bitumen), and two relief sculptures (sculpture made so that all or part of it projects from a flat surface). One of the earliest works of literature to emerge in the Western world is the Gilgamesh Epic, a poem about a legendary hero and leader revered for his strength and supernatural connections. I invite you today to read an excerpt from the Gilgamesh Epic (click on the link here or find it under Handouts on the ART 101 webpage), and to look for and highlight the names of individuals (pronouns) and the materials referenced in the poem. In comparison to this literary work, take a look at the artifacts shown below, watch the videos and or follow the links to the museums that own these works, and think about the poem. What materials do you see referenced in the poem and do they apply to any of the works here? Who is mentioned in the poem? What would you like to know more about? Address any of these questions and post a comment by 11:59 pm . Looking forward to reading your thoughts… Standard of Ur From Tomb 779, Royal Cemetery, Ur (modern Tell Muqayyar), Iraq ca. 2600 BCE Shell, lapis lazuli, and red limestone inlaid in wood and bitumen 8” x 1’ 7” British Museum, London Khan Academy Standard of Ur (Video, 8:48)
Daniel Chester French Lincoln Memorial (detail) 1911–1922 Photograph (1922) of full-sized plaster model of head (1917–1918) 50-1/2" tall As introduced in our lecture, What Is Art?, we have come to identify the elements with which an artist works to successfully communicate their meaning and purpose. Along with line, shape, mass, space, time and motion, color and texture, an artist heavily relies on light, whether actual or implied. Our eyes are light-sensing instruments and everything we see is made visible by light. Implied light is achieved in a painting when an artist utilizes hues in values from light to dark, from bright white accents to dark shades in order to illuminate their subjects, to show their volume and mass. Actual light, whether it is sunlight, moonlight, or artificial light, also plays a role in how a work of art communicates. The way light falls on a subject influences, greatly, how we see it, as can be evidenced in the plaster model of the head of Abraham Lincoln shown here.
How does the application of light on a three-dimensional object, the portrait of Abraham Lincoln here, change your perception of the man being represented? Please respond by 11:59 pm . I look forward to reading your comments! Dipylon Vase Greek, Late Geometric belly-handled amphora by the Dipylon Master ca. 750 BCE Height: 51" Ceramic National Archaeological Museum, Athens On Geometric vases of the Greek world in the 9th and 8th centuries, we see a decorative enhancement of ceramic vessels using geometric ornament. Continuous bands of meanders, zigzags, triangles are some of the most popular patterns, while circles and semicircles are seen less often. Zones of patterned ornament are divided into registers. Much of this ornamentation mirrors the ordinary basketry designs of the time period, and there is some influence from weaving that is indicated in the painted patterns on these Geometric vases. However, basketry and weaving does not fully explain the whole phenomenon of Geometric decoration. Book of Kells Folio depicting Christ Enthroned ca. 800 CE Ink and pigments on vellum 13 x 9 1/2" Trinity College Library, Dublin Making of Manuscripts, Getty Museum (Video, 6:19) "Insular La Tène art is characterized by curvilinear forms, abstraction, and a high degree of technical expertise in metalworking. [As seen in the purse cover design from Sutton Hoo]. It distinguishes itself from Greco-Roman art in that it is determinedly non-narrative despite a great tradition of storytelling…Shape-changing ambiguity is one of its prime characteristics, with reversible images in which creatures are part-human, part-bird, part-animal and part-mythological monster, where faces peer from foliage out of which they grow, and where foreground and background appear to interchange. It is an art that demands the active participation of the viewer’s imagination; in other words, it is the art of quiet contemplation or you will miss much of the subtleties. From the first century BCE onwards, the art is based on carefully laid-out compass design, and until the coming of the Romans to Britain, most designs avoid straight lines and rectangular spaces. It is with the introduction of Christianity that there is a marked change in Insular art. One of the main reasons for this is the conversion to a religion based on a sacred text, the Bible. The idea of a book with illuminations is foreign to pre-Christian art in Ireland, Scotland and England. Once the codex, or book, is introduced, a remarkable new type of approach to book illustration is developed. Often the ornamentation is so elaborate, it will obscure the clarity of the letters themselves, something a book illustrator trained in the Greco-Roman tradition would never do. Another contribution is to introduce each Gospel book with a decorative page, which is often referred to as a carpet page. This may have two functions: one, to easily find the beginnings of books; and second, it has been suggested that the cross motif and ornamental designs protect the Word from corruption through the use of symbol and magical power. This is hard to prove, but it would be consistent with what is known about medieval beliefs in magic. The result of approaching the illumination of the book as if it were jewelry or metalwork was to fundamentally change the relationship between word and image." – Dr. Dorothy Hoogland Verkerk From, Ireland’s Exquisite Insular Art, by James Weiner, https://etc.ancient.eu/interviews/irelands-exquisite-insular-art/ Opening Folio of the 26th Volume of the "Anonymous Baghdad Qur'an" Calligrapher, Ahmad ibn al-Suhrawardi al-Bakri; Illuminator, Muhammad ibn Aibak ibn 'Abdallah A.H. 706/ A.D 1306–7 Made in Iraq, Baghdad Ink, opaque watercolor, and gold on paper 17 x 13 7/8 in. Metropolitan Museum of Art, New York Neither the Qur'an nor the sayings of Muhammad (known as the hadith, or Traditions) specifically forbid figural representation in art. However, both sources take a strict position against the worship of idols and the worship of images. The steadfast compliance of these rules was adopted early on by Islamic religious leaders, and we often find that animal and human motifs are reserved for non-religious applications. Four types of ornamentation can be found in Islamic art: calligraphy, human and animal forms, vegetal motifs and geometric patterns. These patterns can be applied as a single element or combined to form intricate and complex arrangements. While geometric ornamentation reached its apex in the Islamic world, sources for the basic shapes and elaborate patterns already existed in the Byzantine and Sasanian empires (Sasanid Dynasty of ancient Persia). Islamic artists appropriated key elements of this late antique tradition, and elaborated upon them to invent a new form of decoration that stressed the importance of unity, logic, and order. What purpose does the ornamentation on these three works of art above serve for the viewer and user of these objects? Take the time to leave a comment by 11:59 pm. The Sarcophagus of Junius Bassus ca. 359 CE Marble Approx. 4' x 8' x 4' Museum of Saint Peter's Basilica, The Vatican, Rome Khan Academy, video (4:26) https://youtu.be/UjX4ExCixWY The sarcophagus of Junius Bassus, a coffin made of marble, is one of the earliest surviving high-status examples depicting Early Christian iconography. When we speak of iconography, we are referring to the traditional and conventional images or symbols that are associated with a subject, and especially a religious or legendary subject. With the sarcophagus of Junius Bassus we find the earliest visual example of, yet again, adopting and adapting here, Roman convention for depicting imperial and godly figures in the service to Christianity. When in the year 313 CE Emperor Constantine granted religious toleration throughout the empire under the Edict of Milan, the persecution of Christians officially ended. Shortly before his death in 337, Constantine himself was baptized as a Christian and thereby aligned the seat of the Roman Emperor with the divine authority of the Christian Church. As Christianity became an official practice, the long tradition of visually honoring Greek and Roman gods was now necessitated for the depiction of Christian iconology and doctrine. Remember still, the majority of the population was illiterate but had a great deal of training in visual literacy, and the power to communicate important tenets through images was inherited by Christian leaders. This sarcophagus belonging to Junius Bassus, a Roman prefect or regional governor, who died in 359 at age 42, is indicated through the Latin inscriptions on the cornice above the top register to have been recently baptized. He was a praefectus urbi as well, which was the highest level of administrative function in the city of Rome at that time, and had recently become a convert to Christianity, which had only been legal in the Roman Empire for 50 years or so. The Senate decided to give Junius Bassus the honor of a public funeral, as he was still serving the Empire at the time of his death. The sarcophagus was placed behind the confessio (typical early-Christian resting place under an altar for a saint or martyr) at Old St. Peter's Basilica in Rome. The face of the sarcophagus has been divided into two registers, think back to the Standard of Ur, and is structured to emulate a two-story Roman temple façade supported by composite columns, and divided into ten panels by a colonnade at the top and bottom. The upper register supports an architrave and cornice that is finished with a gable roof which at one point was elaborately carved with additional sculpture. On the front side, ten scenes derived from the Old Testament (four scenes) and the New Testament (six scenes) are carved into the marble providing a moralizing program, that is, Old Testament scenes are set against New Testament scenes as prefigurations (forerunners) for Christ. The two end (side) panels of the sarcophagus depict four scenes, two on each end, representing the four seasons and the typical occupations of the seasons, namely, the harvesting of grapes, wheat and olives by Cupids. The figures all wear togas of the classical Roman upper class, and are modeled along the same style of the Late Empire sculptures, Portrait of the Tetrarchs and the Constantinian relief sculpture from the Arch of Constantine, depicting figures with larger heads and shorter bodies. The scenes on the front side are, from left to right, upper register: 1) Sacrifice of Isaac; 2) St. Peter Taken Prisoner; 3) Christ Enthroned (treading the Head of the Roman pagan god of the heavens, Coelus) between Peter and Paul, the veritable saints of Rome; 4 & 5) Jesus before Pontius Pilate at his Trial (last two compartments). The scenes from left to right, lower register: 6) Suffering of Job; 7) The Temptation of Adam and Eve; 8) Jesus’ Entry Into Jerusalem on a Donkey; 9) Daniel in the Lion’s Den; 10) St. Paul led to his Martyrdom (The Execution of Paul). Before the time of Constantine, the figure of Christ was rarely directly represented. On the sarcophagus here we see Christ prominently represented in a formula derived from Roman imperial art as the enthroned emperor (panel 3). Christ's gesture of holding a scroll in his outstretched left arm in Panel 3, with St. Peter standing to Christ's right and holding a scroll himself, is known as the traditio legis, "handing over the law," and it became a classic convention of early Christian art. It displays an aspect of the deity, Christ, as a lawgiver and a teacher; it is an eloquent symbolic representation here of the teacher passing on his legacy to St. Peter as the founding father of the Church. In Roman imperial art it was used to indicate the emperor as a lawgiver or one who was investing someone with authority. The classical tradition continued to be a recurring element in Christian art throughout the Middle Ages. For today, I would like for you to choose one of the scenes (panels) from the front of the sarcophagus of Junius Bassus above to research. Define the subject of the panel you have chosen to delve into and share it on your post. Then, knowing the story behind the subject, think about how the artist represents the scene. Is it an accurate description of the subject? Does the artist choose certain characteristics, elements, or attributes to hint at the subject? Would anyone looking at this work understand what these images represented? How does the artist depict the story? I will be evaluating your responses for a grade this time around, so legitimately research, use Brittanica, use the resources of Christian iconography listed on the class website's Resources Page, look at the Life of Jesus in Art handout on the ART 101 page, and share succinctly but with detail for your fellow colleagues. Watch the videos presented below and take a good look at the sculptures here that represent individual emperors reigning during the Early, Middle, and Late Imperial Period. Republican rule, that is, governance by a Republic, a state that is ruled by a representative body of citizens, and in the case of Rome, a Senate that was controlled by the patrician class of Roman citizenry, ends in 27 CE. Thereafter, the rule of emperor-kings alongside the still functioning Senate, ruled the Roman Empire. The label 'Good Emperor' arises during this Imperial period, and the representation of Roman emperors as 'good' is a facet of these works, as seen below. These portrait sculptures were produced in multiple copies and disseminated and erected in all places that came under Roman rule. They were reminders of who was in control and what qualities they represented to the people that came under their rule. Looking at how these emperors were represented in their portrait sculpture, what do you believe are the qualities that make a good emperor? How are they depicted in their portraits? Do you notice any shared characteristics?
My husband, some years ago, had gifted me a pancake recipe book. I love to bake and I love breakfast! Did I mention I also love to eat? The three recipes here come from Kate Habershon's little cookbook, Pancakes and Waffles. I've been fortunate to be able to bake a little more at home these past couple of weeks, and to be fortunate to have my kids and husband bake for me. Perhaps you will all enjoy these really easy recipes that I've also adapted using gluten-free flours. Enjoy them and the links to the history of pancakes (just click on the slides above to National Geographic and Mental Floss). So from my family to yours, Cheers! Have a great weekend everyone!
The Sanctuary of Apollo at Delphi was developed over time but largely so during the Archaic period from the 6th and then up to the 3rd century BCE. The sanctuary (a holy place or a place of refuge) was a specific site, a location usually elevated from the surrounding area that also possessed a commanding presence and a view of the natural world, and was thought to be sacred to one or more gods.
These sanctuaries included outdoor altars or shrines and a natural element such as a tree, a rock or a spring of water that was believed to be sacred as well, The temples constructed within these sanctuaries were erected by the Greeks to protect the statue or statues of their gods and to store their dedications and votive offerings. Greek religion was anthropomorphic, that is, the Greek gods were male and female with distinct personalities and domains that they controlled. The Greek gods were immortal but possessed human emotions and flaws. The relationship between humans and their gods was one based on the concept of exchange- gods and goddesses were expected to answer prayers and humans were expected to give gifts. These offerings were a physical expression of thanks on behalf of the individual. The sanctuary here was dedicated to the god Apollo, one of the twelve Olympian gods, associated with prophecy and oracles, music, song and poetry, archery, healing, plague and disease, and the protection of the young. When you think of what he represented and what he had control over, Apollo's importance becomes clearly evident. A pilgrimage to Delphi, to both honor and appeal to the god for good fortune, would have held a prominent role for devotion in the Greek world. The sacred precinct of the sanctuary contained an altar in front of the temple, the temple being the house of the god, with a cult image of them on the inside of the temple. Ceremonies and the central ritual act of animal sacrifices took place outside for all to witness. As such, the temples and treasuries constructed within the sanctuaries were elaborately ornamented with relief sculptures that were also painted and highlighted with precious metals. The didactic quality of these works of art ornamenting the facade of the buildings was an important feature to honoring the gods but also honoring Greek culture and practice. Liquid offerings or libations were commonly made and religious festivals in honor of the god/s filled the year. The festivals that took place at Delphi to honor Apollo were held every four years and were attended by people from all over the Greek-speaking world, even from overseas. Each festival featured elaborate processions, athletic games, theatrical and poetry competitions, as well as sacrifices. As such, we see elaborate gateways, stairways and ramps constructed to lead into the sacred realm of the god, along with stadiums, theaters, temples, and treasuries to hold the dedicatory gifts to the god. As a center of the city-state, and of religious practice, these sanctuaries throughout the Greek world were a major focus of ancient Greek life. The amount of funding toward the artistic conception, production, and dedication of artful craftsmanship and skilled labor to these sites has been clearly recorded throughout history. It speaks to the same dedication to religious expression that societies in the ancient Near East, and Egypt afforded prior to Greek invention as well. For more on the Sanctuary of Apollo see the videos below: Sanctuary of Apollo, Delphi: https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/daedalic-archaic/v/delphi Siphnian Treasury, Delphi: https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/daedalic-archaic/v/siphnian APOTROPAIC DEVICES FROM THE ANCIENT WORLD |
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