Great Altar of Zeus and Athena at Pergamon발음듣기
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Great Altar of Zeus and Athena at Pergamon
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출처 : 칸아카데미
Great Altar of Zeus and Athena at Pergamon
I love Greek sculpture, I love the archaic I love the classical and all it's restraint and harmony, but I have to tell you I really love the Helenistic.
and the reason I do is because two fragments from a great freeze from Pergamon.
One has Athena at it's center and one has Zeus.
And I can see why you love these sculptures.
They combine what is most wonderful about ancient Greek sculpture in the love of the body, but also the sense of expressiveness and drama which we associate so much with the Helenistic.
The Helenistic refers to the last period of Greek art, the last phase of Greek art.
After the death of Alexandra the Great; now Alexandra whose father had been a king in Northern Greece in Masadonia had been able to conquer all of Greece,
and ultimately conquer an enormous territory well beyond Greece's original borders.
And in so doing, he expanded the influence the Greek culture across a much wider area.
That's right, he in a sense helped Helenize this area, or made it Greek.
His expanded territory reached from the ancient civilization of Egypt all the way to the border between Persia and India to the Indus Valley itself.
It was an enormous territory but after he died his empire was divided among his four generals,
and one of those generals saw a hilltop near the coast of Turkey which he believe was an important defensive position and there founded the garrison of Pergamon that became ultimately the kingdom of Pergamon.
And those are the people who built this fabulous alter and sculpted this fabulous freeze.
So what's going on here is a battle between the giants and the gods and goddesses of mount Olympus.
We're witnessing a celestial battle of enormous proportions.
This is the great mythic battle where the giants battled the Olympian gods for supremacy of the earth and universe.
So lets take a close look at it.
Let's start with the fragment that has Athena at it's center She is graceful and beautiful even as she battles a ferocious giant, a Titan.
It's clear who's gonna win.
Athena looks totally in control.
She's grabbed Alcyoneus by the hair pulling him out of the earth disempowering him.
His mother on the other side, completely unable to help him, although she's wild with fear over about what's about to happen to her son.
Look at the way the artist, whoever it is, has actually constructed this image.
My eye starts with Athena herself, where her head would have been.
My eye rides down that beautiful arm until it's grasped almost tenderly by Alcyoneus.
It continues around his elbow and then across his face and down his chest.
I notice that one of Athena's snakes is biting him on his right side.
My eye then sweeps down that gorgeous curve that is his body, his torso that leads into his leg, but is slowed down by almost the staccato of the intersection of the deeply carved drape that belongs to Athena.
And of course, that leads us right back to Alcyoneus' mother.
So it's as though Athena, this powerful, in control goddess, is bracketed on either side by these passionate, wild figures that are being defeated and at the same time Athena is being crowned by a winged nike who comes from behind with a crown for her head.
So there's really a sense hear of figures coming from behind, of figures coming from below, of something that's completely influx, of something that's completely in motion with an incredible sense of drama.
It's as if the entire surface of this marble is swirling in a kind of counter clockwise motion around Athena's shield which is at it's very center.
It is full of diagonals which activates the surface.
It is full of the deepest carving that creates this brilliant contrast between the highlights of the exposed bodies and the dark shadows behind them.
But, what's also amazing to me is the complexity of the compositions of their bodies.
Athena who moves toward the left, keeps her arm to the right and then Alcyoneus lifts his head up, twists his shoulders his legs still back behind him,
and we're really talking about virtuoso sculpting here of the human body.
Imagine what this would have looked like when it was painted.
You know, we think so often about Greek sculpture as being just this brilliant white marble.
But we have to remember that all of this was brilliantly painted.
Let's take a look at the fragment with Zeus at its center.
Like Athena, he seems composed and totally in control, even as he rushes forward.
We have no doubt that he's the victor here.
So Zeus is an enormously powerful figure.
We have this beautifully exposed chest and abdomen and this wild, almost living drapery that seems to whip around his legs, and he is taking on not one, but three giants at the same moment.
But luckily he's the king of the gods and he's got things like eagles and thunderbolts to help him out.
That's right, if you look at the upper right you can see that an eagle, Zeus' emblem, is taking on the elder titan.
As the eagle is preoccupying that giant, Zeus is able to turn his attention to the giant at his feet who's on his knees and is shortly going to be vanquished.
You can see that on Zeus' other side he has just finished putting a way a giant who almost seems to be sitting on a rock.
He's gotten stuck in his theigh, what looks like a torch but is actually the way the Greeks represented Zeus' thunderbolts.
Ouch, that has to hurt...(laughter)
It does, there's a sense of heroism, a sense of balance, even as there is the sense of the momentary and a kind of excitement that really pulls us in.
You know, the story of the gods and the giants is a story that was really important to the Greeks.
It was really a set of symbols that spoke of the Greek's fear but also optimism that they could overcome chaos.
So this battle, it's really a metaphore for the victory of Greek culture over the unknown, over the chaotic forces of nature.
Right, and also represents the military victories over other cultures that they didn't understand and also feared.
So let's walk up the stairs of the great alter, into the most sacred part of the great alter where the fire, presumeably to Zeus, would have been lit and the sacrifices might have been offered.
You had mentioned earlier that the figures seemed to almost spill out away from the wall,
and I think that's most clearly seen as we walk up the stairs.
There are moments when the figures that are carved in this high relief actually rest their knee on the stairs, actually literally enter our space.
For instance, one of the sea nymphs whose legs actually end in the tail of a great serpent, coils her tail on one of the stairs.
There is this wonderful way in which they literally pour out into our world.
And so this whole drama is unfolding around us, moving into our space, and it, it must have been an amazing fitting to have seen.
One of the questions that comes to mind is why are these sculptures here in Berlin,
and the answer can be found in the political ambitions of Prussia at the time.
They were very much wanting to be the equal of the French and the British, and that meant in part to have great museums that express the civilizations of the past,
so they could be in a sense the inheritors of the great classical tradition which was so revered in the 19th century.
You know, Berlin in some ways wanted to be the new Rome.
And so one of the great thing about being in the Pergamon Museum in Berlin is that instead of just putting what remains of the freezes on the wall,
they've reconstructed the alter and as much of the freeze as possible and so we really get a sense of what this was like in the city of Pergamon in the 3rd century B.C.
Right, and so this was the 3rd century.
We would be on the Acropolis, this hilltop, in the city of Pergamon about 20 miles from the coast in what is now Turkey.
We would walk up this hill, and we would find the alter of Zeus surrounded by a great library that is reported to have had 200,000 scrolls.
A garrison for soldiers, a royal palace for the king.
And so this whole drama is unfolding around us, moving into our space and it must have been an amazing thing to have seen in the 2nd century B.C.
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I love Greek sculpture, I love the archaic I love the classical and all it's restraint and harmony, but I have to tell you I really love the Helenistic.발음듣기
대기중
They combine what is most wonderful about ancient Greek sculpture in the love of the body, but also the sense of expressiveness and drama which we associate so much with the Helenistic.발음듣기
대기중
After the death of Alexandra the Great; now Alexandra whose father had been a king in Northern Greece in Masadonia had been able to conquer all of Greece,발음듣기
대기중
His expanded territory reached from the ancient civilization of Egypt all the way to the border between Persia and India to the Indus Valley itself.발음듣기
대기중
It was an enormous territory but after he died his empire was divided among his four generals,발음듣기
대기중
and one of those generals saw a hilltop near the coast of Turkey which he believe was an important defensive position and there founded the garrison of Pergamon that became ultimately the kingdom of Pergamon.발음듣기
대기중
So what's going on here is a battle between the giants and the gods and goddesses of mount Olympus.발음듣기
대기중
This is the great mythic battle where the giants battled the Olympian gods for supremacy of the earth and universe.발음듣기
대기중
Let's start with the fragment that has Athena at it's center She is graceful and beautiful even as she battles a ferocious giant, a Titan.발음듣기
대기중
His mother on the other side, completely unable to help him, although she's wild with fear over about what's about to happen to her son.발음듣기
대기중
My eye then sweeps down that gorgeous curve that is his body, his torso that leads into his leg, but is slowed down by almost the staccato of the intersection of the deeply carved drape that belongs to Athena.발음듣기
대기중
So it's as though Athena, this powerful, in control goddess, is bracketed on either side by these passionate, wild figures that are being defeated and at the same time Athena is being crowned by a winged nike who comes from behind with a crown for her head.발음듣기
대기중
So there's really a sense hear of figures coming from behind, of figures coming from below, of something that's completely influx, of something that's completely in motion with an incredible sense of drama.발음듣기
대기중
It's as if the entire surface of this marble is swirling in a kind of counter clockwise motion around Athena's shield which is at it's very center.발음듣기
대기중
It is full of the deepest carving that creates this brilliant contrast between the highlights of the exposed bodies and the dark shadows behind them.발음듣기
대기중
Athena who moves toward the left, keeps her arm to the right and then Alcyoneus lifts his head up, twists his shoulders his legs still back behind him,발음듣기
대기중
You know, we think so often about Greek sculpture as being just this brilliant white marble.발음듣기
대기중
We have this beautifully exposed chest and abdomen and this wild, almost living drapery that seems to whip around his legs, and he is taking on not one, but three giants at the same moment.발음듣기
대기중
But luckily he's the king of the gods and he's got things like eagles and thunderbolts to help him out.발음듣기
대기중
That's right, if you look at the upper right you can see that an eagle, Zeus' emblem, is taking on the elder titan.발음듣기
대기중
As the eagle is preoccupying that giant, Zeus is able to turn his attention to the giant at his feet who's on his knees and is shortly going to be vanquished.발음듣기
대기중
You can see that on Zeus' other side he has just finished putting a way a giant who almost seems to be sitting on a rock.발음듣기
대기중
He's gotten stuck in his theigh, what looks like a torch but is actually the way the Greeks represented Zeus' thunderbolts.발음듣기
대기중
It does, there's a sense of heroism, a sense of balance, even as there is the sense of the momentary and a kind of excitement that really pulls us in.발음듣기
대기중
You know, the story of the gods and the giants is a story that was really important to the Greeks.발음듣기
대기중
It was really a set of symbols that spoke of the Greek's fear but also optimism that they could overcome chaos.발음듣기
대기중
So this battle, it's really a metaphore for the victory of Greek culture over the unknown, over the chaotic forces of nature.발음듣기
대기중
Right, and also represents the military victories over other cultures that they didn't understand and also feared.발음듣기
대기중
So let's walk up the stairs of the great alter, into the most sacred part of the great alter where the fire, presumeably to Zeus, would have been lit and the sacrifices might have been offered.발음듣기
대기중
There are moments when the figures that are carved in this high relief actually rest their knee on the stairs, actually literally enter our space.발음듣기
대기중
For instance, one of the sea nymphs whose legs actually end in the tail of a great serpent, coils her tail on one of the stairs.발음듣기
대기중
And so this whole drama is unfolding around us, moving into our space, and it, it must have been an amazing fitting to have seen.발음듣기
대기중
They were very much wanting to be the equal of the French and the British, and that meant in part to have great museums that express the civilizations of the past,발음듣기
대기중
so they could be in a sense the inheritors of the great classical tradition which was so revered in the 19th century.발음듣기
대기중
And so one of the great thing about being in the Pergamon Museum in Berlin is that instead of just putting what remains of the freezes on the wall,발음듣기
대기중
they've reconstructed the alter and as much of the freeze as possible and so we really get a sense of what this was like in the city of Pergamon in the 3rd century B.C.발음듣기
대기중
We would be on the Acropolis, this hilltop, in the city of Pergamon about 20 miles from the coast in what is now Turkey.발음듣기
대기중
We would walk up this hill, and we would find the alter of Zeus surrounded by a great library that is reported to have had 200,000 scrolls.발음듣기
대기중
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