Abstract An analysis of the ritualistic, religious and practical uses of public space at the Athenian Acropolis and Trajan's Forum. Part II considers the movement of people through the space, especially in ritualistic contexts and how the Athenians related the religious functions of the Acropolis to its layout is examined. Part III outlines what political functions, if any, took place at the Acropolis. In Part IV, the various social, business, religious, and civic uses of the different spaces at Trajan's Forum and Markets, and how these uses related to the physical layout of space are reviewed.
From the Paper "Acropolis is renowned as a fortified natural stronghold or citadel in ancient Greece. Greeks built their towns in plains near or around a rocky hill that could easily be fortified and defended. Nearly every Greek city had its acropolis, which provided a safe place of refuge for townspeople during times of turmoil or war. Rulers of the town often lived within the walls of this stronghold. In many cases the acropolis became the site of temples and public buildings and thus served as the town's religious center, focal point of its public life, and as a place of refuge."
Abstract This paper will argue that the Acropolis can only be understood in terms of the people who gave it shape and embodied it with the hopes, experiences and aspirations of their time.
Abstract The Greeks honored the gods through sculptures. This paper examines the triumphs and advances of Classical Greek sculpture during the different periods in Greek history.
Outline
Introduction to Classical Greek Sculpture in Historical Perspective
Transition from Archaic Period to Early Classical (ca. 480 BCE) favoring Contrapposto over Koroi.
High Classical Period (450-430 BCE) Symbolized by Athenian Acropolis.
Late Classical Period (430-323 BCE), between Peloponnesian War and the Death of Alexander the Great,
Conclusion: Hellenism Marked by Influence of Alexander the Great's Travels.
From the Paper "Rigid kouroi and kourai softened into the marble marvels of the works of Phidias and Polycletius. The pursuit of perfection was itself honed like the artists? bronze and stone palettes as larger-than-life statues graced majestic monuments and temples. Increasingly realistic bodies, viewable from all possible angles, epitomize Classical Greek sculpture. The Archaic period preceding it demonstrated the Greek values of perfection and symmetry; these qualities were held under scrutiny during the following centuries. Close scrutiny of the human form in action and as a stationary body yielded tremendous improvements in the effectiveness and accessibility of sculpture during the Classical Age of Greece. "
A discussion of the Moschophoros statue in the Acropolis Museum in Athens, Greece, comparing it with other statues in order to support the generally accepted date of its creation.
Abstract This paper discusses the Moschophoros statue in the Acropolis Museum in Athens, which has been dated to around 560 BC by scholars. The writer compares the Moschophoros to a number of representative Kouroi and Korai, whose dates have been more or less determined, and considers how his eyes, ears, mouth, lips and torso compare with the artistic developments in the 2nd quarter of the 6th century BC, demonstrating that a date of around 560 BC is secure within 5-10 years. By also comparing the representation of clothing on the Moschophoros with the Kore form, this date is further reaffirmed. This paper contains figures.
From the Paper "The Moschophoros has suffered some damage over the years, most of which was likely caused by the Persian sacking of Athens in 479/80. Moschophoros' genitals are missing from the sculpture because a good share of the front side of his left leg from roughly the left hip down to the shinbone is gone. His right hand is completely broken off just above the wrist and his left hand is partially broken off. The calf's left hind leg is partly missing in the same breakage as his left hand's demise; the calf's right front leg swings around Moschophoros' neck and is partially lost in the breakage that is centred at the centre of the chest of Moschophoros."
Abstract This paper briefly examines the history of ancient Greek art. It focuses on several periods - Archaic Period, Early Classical Period, Golden Age, Late Classical Period and Hellenistic Period. Different types of art forms are discussed and examined how they developed during these periods. The influence of other cultures on Greek art is also analyzed, namely Middle Eastern and Egyptian.
Outline
I. Introduction
A. History
B. Cultural influence
II. Archaic Period (600-480 B.C.)
A. Egyptian influence
B. Middle Eastern influence
III. Early Classical Period (480-450 B.C.)
A. New humanism led to balanced human form
B. Marble and bronze figurines
IV. Golden Age (450-400 B.C.)
A. Temples of the Athenian acropolis B. Parthenon sculptures
V. Late Classical Period (400-300 B.C.
A. Expression of emotion
B. Individualization and three-dimensional movement
VI. Hellenistic Period (323-31 B.C.)
A. Nike and Aphrodite
B. Terra-cotta figurines
VII. Conclusion
A. Importance of masterpiece copies
B. Influence of Greek culture
From the Paper "The earlier great cultures of Egypt and the Near East were making art long before the Greeks and much of the early Greek art looks Egyptian, with its stiff and profiled poses and boxy geometric designs. Moreover, the Greeks borrowed the ideas, motifs, conventions, and skills from these earlier civilizations (Tansy 1996). However, it was the Greeks who made the leap into naturalism and in their representations of the human body created an ideal of perfectly balanced proportions that has never been improved upon. Although, we often speak of Greek and Roman in the same breath, the greatest accomplishments of Greek art were five centuries old by the time the Romans began to copy them. "
Abstract The Parthenon (447-32 BCE) was a crowning glory of Athenian civilization of the classical era and, what is more important, it was intended as such at the time. Thus, nearly 2,500 years later, it is possible to view the building as incorporating all of what the Athenians saw as beautiful, sacred and of civic importance in architecture. The paper shows that as its overwhelming position and the nature of its sculptural decoration make clear, it was the focal point of the religious-civic identity of the Athenian polis. The paper describes how the Parthenon housed the great statue of Athena Parthenos, was the main building in the complex of temples dedicated to the gods on the sacred rock of the Acropolis, depicted some version of the most important Athenian religious ceremony (the Panathenaic procession and festival) and loomed over the city as a reminder and a promise of Athenian greatness.
From the Paper "But there was also a contradiction in being expected to achieve the perfection of the Doric order on a much larger scale, for which adjustments had to be made to the greater number of columns. As Boardman points out, however, the wider fa"ades lent the building a "reassuring breadth which is enhanced by the way its proportions then seem to match those" of the Acropolis on which it stands (112). But this breadth might have been oppressive in its effects if the architects had not devised a means of avoiding too great a visual equivalence between the rock and the temple. Their solution was a very subtle curvature of the stylobate, and the rest of the floor, which is also reflected in the entablature. This also affects the columns which "lean slightly in while the upperworks [that they support] lean slightly out" (Boardman 112). This gives the entire fa"ade a "pyramiding movement" to which all the external lines contribute; ever so subtly, therefore, the columns' inward inclination lends itself to a slight triangular effect that is enhanced by the surmounting pyramid of the pediment (Martin 292)."
A history and examination of how Ancient Athens, out of necessity of protecting its allies and lands, grew from a powerful city-state to an Aegean Empire.
Abstract This paper gives a history of how Athens, originally looking for a united front against the invading Persian armies during the Persian Wars in antiquity, grew from an influential city-state to one of the world's first empires, stretching its power base across the entire Aegean sea. The paper begins by discussing how the Delian League, the pretext to what would become the Athenian Empire, came into being as a direct way to combat the invading Persians. The alliance was created out of necessity, as a united Greek front would be the only way to repel the massive Persian army under King Xerxes. A brief history of the Persian Wars is given, with Persia's invasion of Northern Greece and the burning of the Acropolis in Athens, but eventually their defeat at the hands of the Athenian general Cimon at the mouth of the Eurymedon River. After Persia was defeated and their troops driven back to Asia, Athens was firmly set as the predominant military and economic leader of all of Greece. The Delian League that was organized to fight against the Persians soon evolved into an Athenian Empire, with Athens collecting tribute and taxes from other city-states in exchange for protection and economic stability. Athens used their power to create a more safe and secure Greece, but was eventually corrupted by greedy politicians who abused other Greek city-states to the point of war. The second half of the paper goes into detail over how Athens was justified to create an empire, as it brought about prosperity for all involved. This includes the destruction of piracy and the opening up with trade routes to eastern Turkey. Ancient sources are heavily quoted to reinforce the argument that having a single dominant polis inevitably stabilized the once troubled area of Ancient Greece. This section also deals with Athens feeling morally obligated to spread their particular form of democracy to all of the other city-states, and their desire to see Sparta have their power limited. This ancient Cold War would eventually boil over into the Peloponnesian War, and the result ended in a weakened Greece that would not rise to prosperity again until Alexander The Great unified Greece.
From the Paper "During the expansion of Athenian power, an economic concept developed that allowed a particular polis to form an economic alliance with a fellow Delian League member. This agreement would allow the two states to work together in transporting particular goods through their territories to a marketplace where the goods would be sold, and the profit generated from the selling of the goods would be evenly distributed between the two Greek states. Such an example of this economic unity can be seen in agreement between Athens and the polis of Phaselis, which held joint control over certain economic endeavors and even adopted the same coinage for a short span of history. Athens also made it clear that if the city-states were to live under the protection of Athens, then the economic system should be standardized."
Abstract This paper discusses a sculpture from the Hellenistic period of Greek art called the "Kritios Boy" (artist unknown), which was discovered in the late 1800s by archaeologists in the ruins of the Greek Acropolis in Athens. The paper examines how this statue represents Greek culture, especially the Hellenistic period, in a variety of ways and styles.
From the Paper "This sculpture clearly illustrates how Hellenistic culture was evolving and changing. The statue includes movement, which makes it a more natural and realistic rendition of people and life of the time. Rather than appearing stylized and even overly rigid, this figure seems as if it could easily come to life, and that represents a great change in style and purpose of Greek sculpture."
Abstract This paper describes the ways that the Athenians practiced a polytheistic religion which expressed itself through civic festivals and cults. The paper attempts to create an overview of the most important Athenian civic festivals. It describes the way in which each festival provided a basis in Athenian worship, gave Athenian's a sense and a meaning in life and provided them with a sense of identity as human beings.
Table of Contents:
The Panathenaia
The Anthesteria
The Dionysia
The City Dionysia
From the Paper "The Dipolieia was a very strange Athenian festival that took place two days after another important festival, the Skira (Parke 162). It comprised of a ceremony called the Butaphonia in the honor of Zeus (Parke 162). They celebrated a special aspect of Zeus by this festival, i.e. Zeus as the God of the city and the festivities took place at his altar from the Acropolis (Parke 162). The ceremony implied the sacrifice of an ox and a mock of its restoration to life. The ritual had become antiquated and so did the festival (Parke 166).
In conclusion, the calendar of the ancient Greeks was full with both the specific Athenian festivals and the ones referring to the entire Attica. However, they did not serve only the scope of entertainment, but they supported the development of the sciences and the art while encouraging people to travel and try new things."
