East Pediment sculptures, Parthenon, including Helios, Horses and Dionysus (Heracles?)발음듣기
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East Pediment sculptures, Parthenon, including Helios, Horses and Dionysus (Heracles?)
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East Pediment sculptures, Parthenon, including Helios, Horses and Dionysus (Heracles?)
We're in the British Museum and we are looking at some of the most famous sculptures from all of the history, in fact, perhaps the most famous sculptures.
This is the Pediment 's sculptures from the East end of the Parthenon on the Acropolis in Athens.
Created in the 5th century B.C. , which was the Classical period of Ancient Greece The period when Athens is a Democracy the "Golden Age".
And the Parthenon was its most important monument.
It was a treasury, in fact, for the new Confederations, in Greece itself, and so it was a symbol of wealth, of power, of wisdom.
And, dedicated to the goddess Athena who was the goddess of this city-state of Athens.
And the goddess of wisdom, and also war a warrior goddess - The sculptures that we are looking at from the East pediment and, pediment is that triangular shape on either end of an ancient greek temple.
Yeah, really a gable.
The figures had to be arranged - it must had been a difficult composition to fill an elongated triangle.
In fact the figures rise and you can still see the triangle.
The fact is, though, that the middle figures are completely missing.
Let's give a quick overview of the narrative Athena would be born from the head of her father, Zeus, in the middle.
Then we have series of gods and goddesses reacting to that.
The 3 figures that survived, on the right side of the East Pediment we think it might be Hestia who would be closest to the middle, Aphrodite who is reclining on the lap of her mother.
And then to the right of Aphrodite, we think that that would have been the goddess of the Moon leading a chariot to the Moon's setting On the left side of the pediment we have the opposite of that.
We have the Sun actually rising and the god of the Sun actually bringing the Sun on his chariot into the new day representing, of course, the birth of Athena.
The thing that is most remarkable to me is how life like, these are and how filled with movement.
Even though we don't have any heads except for the one male reclining nude which is a severely damaged - and is thought to probably be Dionysus.
Even without the head, even without the hands which are often the most expressive part of the body.
And despite the fact the bodies themselves are largely clothed, the bodies are still incredibly expressive, in terms of their energy, in terms of their responsiveness and in terms of their relationship to each other.
There is a kind of integration of the figures, that's very complicated compositionally.
So the figure to the left of center moves away but turns back, and is interrelated to the figure next to her who is seated, who is also reacting to her and to the event in the center.
But then it is kind if more stabilized by that frontal seated figure just to the left.
And then the reclining nude who looks over to left.
So there is a real integration of the whole here, that's very complex.
The thing that I find so interesting is this psychological understanding as well as this anatomical understanding and simultaneously this respect for, and love of the beauty of the body.
Now the women are clothed, but the way that the artist is handling the drapery in some ways actually defines the turn of the muscles of the body.
In a sense of revealing more about the body than the body would itself if it was nude.
It is important to remember, I think, something that we often forget because we think about sculptures as white which is that all of this would have been painted in very bright colors which would have seemed very strange, almost garish to us today.
And probably really important because, of course these would've been much higher and much further away from the viewer than they are now.
But that paint would have helped viewers far below to see details in the sculptures.
But there is a kind of nobility that is very much emblematic of this high classical moment in Ancient Greece.
And if you look for instance at the figure that we think is Dionysus.
I mean here is the god of wine, right? who completely relaxed and yet there is still this kind of nobility.
Yeah. There is still this kind of balance.
He's a god.
Absolutely.
And we know it, there is no doubt about it when we look at him.
He's divine.
We're, we're on mount Olympus.
It's so easy to see why later cultures later ages would look back to this kind of sculpture and see this as kind of apex as a kind of high point of human achievement.
You imagine an entire culture that is somehow about perfection and transcendence, and beauty and the heroic, and the noble.
It's like, the art so much embodies those values, that one imagines them in the ancient Athenians themselves.
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We're in the British Museum and we are looking at some of the most famous sculptures from all of the history, in fact, perhaps the most famous sculptures.발음듣기
대기중
This is the Pediment 's sculptures from the East end of the Parthenon on the Acropolis in Athens.발음듣기
대기중
Created in the 5th century B.C. , which was the Classical period of Ancient Greece The period when Athens is a Democracy the "Golden Age".발음듣기
대기중
It was a treasury, in fact, for the new Confederations, in Greece itself, and so it was a symbol of wealth, of power, of wisdom.발음듣기
대기중
And the goddess of wisdom, and also war a warrior goddess - The sculptures that we are looking at from the East pediment and, pediment is that triangular shape on either end of an ancient greek temple.발음듣기
대기중
The figures had to be arranged - it must had been a difficult composition to fill an elongated triangle.발음듣기
대기중
Let's give a quick overview of the narrative Athena would be born from the head of her father, Zeus, in the middle.발음듣기
대기중
The 3 figures that survived, on the right side of the East Pediment we think it might be Hestia who would be closest to the middle, Aphrodite who is reclining on the lap of her mother.발음듣기
대기중
And then to the right of Aphrodite, we think that that would have been the goddess of the Moon leading a chariot to the Moon's setting On the left side of the pediment we have the opposite of that.발음듣기
대기중
We have the Sun actually rising and the god of the Sun actually bringing the Sun on his chariot into the new day representing, of course, the birth of Athena.발음듣기
대기중
The thing that is most remarkable to me is how life like, these are and how filled with movement.발음듣기
대기중
Even though we don't have any heads except for the one male reclining nude which is a severely damaged - and is thought to probably be Dionysus.발음듣기
대기중
Even without the head, even without the hands which are often the most expressive part of the body.발음듣기
대기중
And despite the fact the bodies themselves are largely clothed, the bodies are still incredibly expressive, in terms of their energy, in terms of their responsiveness and in terms of their relationship to each other.발음듣기
대기중
So the figure to the left of center moves away but turns back, and is interrelated to the figure next to her who is seated, who is also reacting to her and to the event in the center.발음듣기
대기중
The thing that I find so interesting is this psychological understanding as well as this anatomical understanding and simultaneously this respect for, and love of the beauty of the body.발음듣기
대기중
Now the women are clothed, but the way that the artist is handling the drapery in some ways actually defines the turn of the muscles of the body.발음듣기
대기중
It is important to remember, I think, something that we often forget because we think about sculptures as white which is that all of this would have been painted in very bright colors which would have seemed very strange, almost garish to us today.발음듣기
대기중
And probably really important because, of course these would've been much higher and much further away from the viewer than they are now.발음듣기
대기중
But there is a kind of nobility that is very much emblematic of this high classical moment in Ancient Greece.발음듣기
대기중
I mean here is the god of wine, right? who completely relaxed and yet there is still this kind of nobility.발음듣기
대기중
It's so easy to see why later cultures later ages would look back to this kind of sculpture and see this as kind of apex as a kind of high point of human achievement.발음듣기
대기중
You imagine an entire culture that is somehow about perfection and transcendence, and beauty and the heroic, and the noble.발음듣기
대기중
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