Artemision Zeus or Poseidon

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Artemision Zeus or Poseidon발음듣기

Dr. Steven Zucker: We're in the National Archaeological Museum in Athens and we're looking at a great bronze sculpture of a striding god.발음듣기

Dr. Beth Harris: You didn't even have to tell me it was a god.발음듣기

He's so powerful, he looks so in control.발음듣기

We look at him and we know that this is a god who controls the fates of human beings.발음듣기

Dr. Steven Zucker: We're pretty sure he's either Poseidon or Zeus.발음듣기

Dr. Beth Harris: Now, Poseidon's the god of the sea.발음듣기

Dr. Steven Zucker: And his brother, Zeus, is the god who rules all of the Olympian gods from Mount Olympus.발음듣기

The way that we would be able to determine which it was, is dependent on what he was holding.발음듣기

Dr. Beth Harris: If he was holding a trident, he would be Poseidon and if he was holding a thunderbolt, he would be Zeus.발음듣기

Now, sadly, his attribute is lost.발음듣기

Dr. Steven Zucker: Most art historians tend to think it's Zeus.발음듣기

A thunderbolt was short and it would not have obscured the face the way that a trident would have, which was much longer.발음듣기

In addition, if you look at the gap in his hand, it's a wide grasp, much wider than it would be if it was the narrow handle of a trident.발음듣기

Dr. Beth Harris: A thunderbolt was Zeus's weapon of choice, he's referred to as, "The Hurler of Thunderbolts."발음듣기

Now, this is bronze, it's important to talk about what this would have looked like in 460 BCE when it was created.발음듣기

It would have gleamed, it would have shined in the light.발음듣기

Dr. Steven Zucker: It's so rare that we have an original Greek bronze and the only reason we have this one, is that it was recovered from an ancient shipwreck.발음듣기

What happens is, the bronze doesn't rust unless there is air and water that alternate.발음듣기

Underwater, it gets encrusted with lots of barnacles and sea creatures, but it actually can be quite well preserved as it is the case here.발음듣기

Dr. Beth Harris: That gleaming, shining, radiant effect goes with the idea of this being Zeus.발음듣기

Dr. Steven Zucker: Especially since we think that the eye brows, perhaps the beard and certainly the thunderbolt, would have been inlaid with silver.발음듣기

You would have had that gleaming warm color of the bronze against those brilliant flashes of silver.발음듣기

Dr. Beth Harris: His eyes would have been inlaid with glass and so you have this amazing figure, not only gleaming, but also striding toward us, depending on where we stand of course.발음듣기

Dr. Steven Zucker: Look at the way he occupies space, we don't want to stand in front of him, we would be the victim of that thunderbolt.발음듣기

His focus is extraordinary, we have that incredible extension that is more than six feet of one hand to the other and he's steadying himself, but also aiming with that hand before him.발음듣기

Dr. Beth Harris: He's shifting as you would need to do in order to hurl something like a thunderbolt, although it's hard to imagine hurling a thunderbolt.발음듣기

Dr. Steven Zucker: That's right, he's pushing off with his right leg and his left leg, the toes are up as if that foot is readying itself to bear the weight of the body as he steps forward.발음듣기

Dr. Beth Harris: Now, if you think back just a hundred years to the Archaic Period, Greek sculptors were making sculptures out of marble and they were very contained, that is the limbs were close to the body.발음듣기

We see during this early classical period- Dr. Steven Zucker: Sometimes known as the Severe style.발음듣기

Dr. Beth Harris: An interest in figures that are more open, where you have limbs that are apart, figures that move into the space of the viewer and this is possible because of the use of bronze.발음듣기

Dr. Steven Zucker: We don't need the struts, we don't need the bridges that are required in a marble sculpture.발음듣기

Here, the tensile strength of the bronze is great enough so that those arms can be out and give that kind of extraordinary vitality to this figure and invite us to walk around it.발음듣기

Dr. Beth Harris: There are really three distinct views of this sculpture, the front and the back make the figure look very flat, very schematic, very silhouetted.발음듣기

We see the full body, we see both legs, the torso- Dr. Steven Zucker: It's almost like a drawing.발음듣기

Dr. Beth Harris: The arms stretched out.발음듣기

Dr. Steven Zucker: The arms, especially the left arm are a little longer than they would be naturally.발음듣기

Dr. Beth Harris: When we move to the side, that sense of flatness changes and we get a figure that seems to occupy space in all directions.발음듣기

Dr. Steven Zucker: We see the depth of the torso, we can see a little bit of twist in the hips and the upper body.발음듣기

We see this figure breaking out from that kouros tradition dramatically.발음듣기

Dr. Beth Harris: What seems like silhouette, actually exists in depth.발음듣기

Dr. Steven Zucker: Look, for instance, at the angle of the hole in the right hand.발음듣기

We can see that the thunderbolt or the trident was not held parallel with the hand, but would have swung around because it's at a little bit of an angle.발음듣기

Dr. Beth Harris: The remarkable thing to me is that he looks powerful, he looks super human, but still human in his nudity.발음듣기

Dr. Steven Zucker: The Greeks understanding the male human body as this receptacle for all of its ideals.발음듣기

Plato talked about the idea that the gods were the perfect manifestation and that we work a kind of inferior reflection of that perfection.발음듣기

Here we see the Greek setting up this idealized human male body and we are just a reflection of that.발음듣기

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