"Plaque of the Ergastines" fragment from the frieze on the east side of the Parthenon발음듣기
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"Plaque of the Ergastines" fragment from the frieze on the east side of the Parthenon
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(jazzy piano music) Voiceover: We're in the Louvre in Paris, and we're looking at a fragment of the frieze from the Parthenon on the Acropolis in Athens, Greece.발음듣기
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In this case, the word frieze, refers to a band of sculpture that's about three feet tall, that wrapped around the entire Parthenon, just inside the first colonnade.발음듣기
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Here, we see no traces of paint, but originally, this would have been very brightly colored.발음듣기
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All the citizens of Athens gathered in a procession, made their way up the sacred way to the Acropolis, this high point in the city, where the great temple to Athena, the Parthenon stood.발음듣기
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Voiceover: Now, the peplos, this garment, was not for the colossal sculpture of Athena that was inside the Parthenon, but this was an ancient sculpture that was very sacred that stood in a temple right next to the Parthenon.발음듣기
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Voiceover: And so, a new garment was woven and given to this ancient olive wood sculpture of Athena.발음듣기
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Voiceover: The Pan-Athenaic Procession, as represented in the frieze on the Parthenon shows not only the procession of these young women bringing the peplos, but also animals being brought for sacrifice; libations.발음듣기
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Voiceover: The interesting thing about the frieze is that it seems to show a contemporary event.발음듣기
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That is, it's not a mythological event, which was normal decoration for a temple, but something from the civic life from Athens, and remember Athens is a democracy at this moment in the 5th century.발음듣기
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Voiceover: Of dignity; one immediately gets a sense that this is a religious procession in honor of Athena, the goddess, the patron of the city of Athens.발음듣기
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In fact, this kind of art was considered so perfect, that through much of the rest of Western History, we see more modern cultures looking back to classical Greece, and trying to achieve, again, what had been achieved in the 5th century B.C.E.발음듣기
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Voiceover: Phidias, who we generally think of as in charge of the sculptural program on the Parthenon, developed a style that we see here.발음듣기
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We see it in flatter areas move around the breasts of the women, but also very curvilinear folds at the edges of the peplos where it's folded over and belted, and still other areas where it falls in very straight lines that might remind us of the fluting of a column.발음듣기
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Voiceover: The figures are standing in contrapposto, that is, for the young women, in general, their left leg is the weight bearing leg.발음듣기
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Their right leg is moving forward, and we can see the knee breaking the fall of the drapery.발음듣기
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Look at how she's walking to her right, but turns her body to the left, and seems to address a companion behind her.발음듣기
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These figures may have carried ceremonial objects that they're offering to the male figures, or the male figures may be giving something to them.발음듣기
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The precise narrative is unclear. Voiceover: In fact, some art historians even question whether or not this is the Pan-Athenaic Procession.발음듣기
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It's important before we end, to acknowledge the fact that the Greek government has asked that both the British Museum and the Louvre return these marvels to Greece.발음듣기
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