Abstract Using the art of the Parthenon and the play "The Oresteia", written by the Ancient Greek playwright Aeschylus, this paper determines a number of morals and ideals that the Ancient Greeks held in high esteem. In the first few paragraphs, the paper describes the various metopes in the Parthenon. It examines which gods and important Greek characters are depicted, what it is they are doing and how this represents a given Greek ideal. The paper then explores "The Oresteia" and uses important lines to either determine other Greek ideals or uses them to underscore the importance of an ideal already talked about in the segment on the Parthenon. Through comparing the Parthenon and "The Oresteia" the paper determines that the Greeks were a highly civilized people that believed highly in bravery, pride, civic duty, civility, order and justice.
From the Paper "Greeks were the most civilized peoples in the fifth century BCE as well as the best fighters. This was, of course, according to their standards. Their success as warriors and the importance of the Apollonian way of life is inscribed on the walls of the Parthenon and within the pages of The Oresteia. The Parthenon's gracefully sculpted friezes unite with "schylus" trilogy and both are founded on pride and bravery. There is an obvious mindset, almost a moral code among the Athenians. They believed moderation and civility were the keys to success and it was up to them to impose this onto other races. An Athenian who didn?t abide by this code was a pariah of sorts, to say the least, and was portrayed as such through the Parthenon and The Oresteia."
Abstract This paper discusses Plato's perspective of the Parthenon and how it supports his dictum that, "That which changes least is most real." The author also examines the role of Plato's tripartite soul and his views of the value of architecture in the context of the Parthenon.
This paper looks at the ways in which mythology served as the means of legitimizing power for rulers who built and/or renovated the Ara Pacis and the Parthenon.
Abstract This paper begins by focusing on the Ara Pacis and then moves on to the Parthenon. Its argument is that both of these structures serve as sources of legitimization of power and that the means of this legitimization is mythology.
From the Paper "Two works of art, the Ara Pacis monument and the Parthenon, exemplify the use of mythology as a tool of legitimization. In each case, the patrons sought to solidify their power by associating their societies with the gods. In the case of the Ara Pacis (fig. 1), Augustus sought to revitalize the Roman state to its former grandeur by building a monument to peace and a virtuous society. As David Castriota states, in The Ara Pacis Augustae?: "The Ara Pacis was a complex creation intended to embody the ideology of the Roman state at a pivotal stage of its development" Augustus and the ruling Roman elite? were? committed to the belief that the Roman state could meet the imperial challenge only by renewing and revitalizing popular belief in the national mores and institutions which had been progressively eroded by the decades of military and political strife, social unrest, and cultural confrontation endemic to the Late Republic (3).? In the case of the Parthenon, Pericles sought to associate the victory of Athens over the Persians (in the Persian war) with the gods. This war began in 499 B.C. and stretched into the year 480 B.C., when the Persians sacked Athens (Skokstad 178). The temple was dedicated to Athena, the goddess of victory in war. Pericles claimed that she helped the Athenians vanquish over the Persians."
Tags: aeneas, art, athena, augustus, centaurs, gaul, greece, history, lapiths, livia, pericles, persian, pompilius, poseidon, rome, romulus, titans, war, zeus
Abstract This paper examines how in its day, the Parthenon was considered the finest example of a Doric order temple and how it was built in the 5th century BCE to give thanks to Athena, the city's patron goddess, for the salvation of Athens and Greece in the Persian Wars.
From the Paper ""The name Parthenon refers to the worship of Athena Parthenos, the 'Virgin Athena' who issued fully grown from the head of her father Zeus" ("Parthenon, Athens, Greece"). Athena was the maiden goddess and patroness of Athens. She represented the gifts of intellect and understanding. Because of her purity in body, mind, and heart, Athena was considered "the symbol of the universal human aspiration for wisdom" ("Parthenon, Athens, Greece"). The topographical location, geometry, and astronomical orientation of the Parthenon reinforce the symbolism of the Parthenon as a shrine to the quest for wisdom. The temple itself was built to embody Athena's presence, both in its intention and in its physical construction."
An examination of the "Elgin Marbles", ancient Parthenon figures that were claimed by British archaeologists in the 18th century during Greek civil strife, and the debate over whether or not they should be returned to Greece.
Abstract This paper examines the controversy that exists over the "Elgin Marbles", which were originally part of the Greek Parthenon's frieze, that were taken by Lord Elgin of England in the late 18th century. The paper takes the position that the statues and other artifacts which currently are housed in English museums, are the rightful property of the Greek people and should be returned to Greece. The paper is divided into several sections. The first gives a history of the Elgin Marbles and how they came into possession of the English in the first place. A brief history of the Parthenon is also given in this section, with a detailed examination of the architecture and the ancient politics that surrounded its construction. The paper then spans the history of the Parthenon up until the 18th century, including the building losing its roof and several architectural designs due to the Ottoman Turks using it as an armory during their control of Greece. The paper discusses how British archaeologists claimed the pieces in the 1800s, fearful that the Greeks could not maintain such classical pieces of work. The paper ends with a section discussing the latest improvements that are underway in Greece to house the "Elgin Marbles" if an international agreement can be reached that will send the pieces of the Parthenon back to Athens. The concept of Greek pride and honor in their ancient ancestry is discussed and how originally, when Greece was unable to maintain such pieces, the idea to keep them in England was the correct decision to be made.
From the Paper "The mere thought of The Parthenon evokes an image of dignity and pride for not only the current Greek citizens who look upon their ancient ancestors with honor, but for the entirety of Western civilization who view The Parthenon as a representation of the greatness that can be achieved by Western culture. Using this Western concept of pride as a basis, it is clear to see why the British government has its roots in claiming that the treasures of the Parthenon would be better served in a more upscale environment such as The British Museum rather then an unfinished Acropolis museum in Athens. Nevertheless, the removal of The Parthenon artifacts, which are known as The Elgin Marbles since the works of art were "purchased" by the English noble Lord Thomas Bruce of Elgin in 1801, was in essence an infraction upon the Greek populace's right to their ancestors' culture. In large part due to the importance of The Parthenon and the culture that it represents to Greece, the rightful place of the Elgin Marbles is in Athens where the pieces of architecture were always intended to remain when they were completed. "
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)."
Abstract This paper looks at the life and the effects that we feel today of Corbusier. This biographical paper looks at his beginnings and early influences to understand this genius. For better or worse, the architect known as Le Corbusier changed the face of our cities. Along with Mies van der Rohe, Walter Gropius and Frank Lloyd Wright, Corbusier epitomizes modernism. Can, however, the future be built without standing on the shoulders of the past? Corbusier was a devotee of the esthetic of the machine and still he regarded the Parthenon as a pinnacle of architectural achievement. He believed in the Renaissance notion of man being at the center of creation and yet, built houses that men could not live in. Le Corbusier may have been designing square pegs for round holes but in the end, there was a direct line, for him, between the Parthenon and modernism.
Abstract In this article, the writer discusses that Greek art and its relationship with the modern world cannot be stressed enough, for it could be said that ancient Greece and even the modern Greek nation would be unrecognizable if it was not for Greek art, which over the last two thousand years has come to symbolize Greek culture. The writer points out that several examples stand out like the Jefferson Memorial and the US Capital, both designed by adopting the architectural styles of the ancient Greeks. The writer notes that the role of the city of Athens is also highly important, especially related to the Parthenon, as is the literature created by a number of Greek writers. The writer maintains that in essence, without the genius of the ancient Greeks, the physicality of our modern world would not be the same.
Outline:
Abstract
Greek Art: Historical and Cultural Influences
From the Paper "Of course, the history of ancient Greek art is inseparable from the city of Athens, where our modern principles of democracy emerged around 400 B.C.E. and which has become the penultimate symbol of Greek culture, especially related to the Parthenon atop the Acropolis which still stands today as the quintessential icon of ancient Greek architecture. It was here in Athens that some of the finest products of Greek civilization were created by Athenians, such as Phidias, one of the greatest sculptors of all time and responsible for the creation and overall design of the Parthenon.
"Also, modern-day Western society and the nation of Greece owe much to the writers who created the great Greek tragic plays, such as Aeschylus and Sophocles whose plays were ... "
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 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. "
From the Paper "The sculptures of the Parthenon represent a high point in Classical sculpture and a culmination in the centuries-long effort by Greek sculptors to fashion images that represent natural movement and repose. But, with the increased naturalism of the Classical era, it became difficult for artists to reconcile that realism with the ideal. In comparison with the other sculpture of the Classical era, the sculptures of the Parthenon (447-432 BC) represent a unique solution to this problem.
It might have been assumed that the expression of mood and emotion, which constituted the essence of the representation of the ideal, would be facilitated by greater realism. Yet increasing realism did just the opposite, and much of Classical sculpture is distinctly less inclined toward the ideal than.."
From the Paper " The Parthenon in Athens and the Pantheon in Rome are two of the greatest surviving monuments of ancient civilizations. Though they came from very different cultures, the two buildings have a great deal in common. Both monuments were symbols of the political goals of the rulers who built them. Each building is also considered the ultimate achievement of a period in architectural history. But, the two monuments also demonstrate differences between Greek and Roman ideas about architecture and the state.
The two monuments have similar recent histories. Both are so well preserved because they were adapted by later cultures. The Parthenon was the only temple ever to be used by four different religions (ancient Greek, Catholic, Greek Orthodox, and Islam). The survival of the Pantheon was due to its use by the.."
From the Paper "The Parthenon, built atop the Acropolis, was ancient Athens' greatest temple. It was dedicated to the worship of Athena Parthenos (the virgin), and the rich program of sculptural decoration was devoted to the glory of her city and her legend. The principal decorative aspects of the Parthenon are the following: the east and west pediments; the metopes, which are divided panels set below the roofline and pediments on all sides of the building; the frieze, which runs, uninterrupted, around the outside top of the cella, behind the peristyle; and the enormous statue of Athena Parthenos that was housed inside the cella. The statue disappeared long ago, and, since 1687, the Parthenon itself has been a ruin, with many of the surviving sculptural fragments dispersed around the world. But archaeologists and scholars have tried to reconstruct the.."
From the Paper "The Parthenon has been admired for centuries for its architectural purity. The structure appears visually perfect. The source of this perfection is the subtle structural refinements conceived by its architects. Contributing to the Parthenon's majesty is a wealth of sculptural detail. The combination of superior sculpture and pleasing proportion make the Parthenon the best-known of all Greek buildings.
The Parthenon is both a religious and political structure. The war between the Greek city-states and Persia interrupted almost all temple building for a generation while the Greeks concentrated on restoring their defensive walls, civic buildings, and the fleet. When the Persians were defeated in 479 BC, Athens emerged as the leader among Greek cities. Thus Athens controlled the war chest of the Delian League, a Panhellenic league. "
