Hellenism in the culture of Greco-Eastern synthesis presentation. Hellenism
The final stage in the development of ancient Greek culture is Hellenism (Greek nellenes - to become like the Hellenes). The art of Hellenism was formed on the territory that was part of the huge empire of Alexander the Great, and represents a kind of symbiosis of the Greek order and eastern artistic traditions. The cultural centers of the Hellenistic world were Alexandria in Egypt, Antioch in Syria, Pergamon in Asia Minor, and the island of Rhodes in Greece. The art of Hellenism, while not being integral, is united by a common aesthetic ideal - extreme individualism. This is probably why the key myth of the era became the myth of Narcissus.
The beautiful young man Narcissus did not love anyone and did not reciprocate anyone. The goddess of justice Nemesis, to whom there were pleas to punish the proud man, heeded them. One day, seeing his reflection in a stream. Narcissus fell in love with him and, unable to communicate with the object of his love, died of melancholy on the shore. In this place grew a flower of the same cold and lifeless beauty - a delicate and strong-smelling narcissus.
Myth in artistic forms reflected a new aesthetics: proportionality, harmony and calm, strong-willed purposefulness of the classics replaced decorativeness, emotional tension and pathos.
The East's love for decorativeness, pomp and ornamentation was reflected primarily in Hellenistic architecture. In the construction of public buildings, the Corinthian order was used, creating an extremely elegant, but somewhat pretentious and far from harmonious clarity image. The proportions of the Corinthian order repeat the Ionic ones, but with a higher capital, reminiscent of a bunch of flowers with volute-stamens, intercepted from below by a belt*. The Corinthian capital initially pursued purely decorative purposes, so the function of support in it is completely disguised by luxurious leaves, which cannot serve as a support for anything.
The building was given an incredibly pompous, lush appearance by the so-called Great Corinthian order, in which the columns are equal in height to two floors of the building, reaching almost 18 m. The new order was like a painful fantasy, but a fantasy of grace and taste. It was aggravated by the decoration of various types of colored marble, since the picturesque play of chiaroscuro on marble of the same color began to seem insufficiently decorative. Bronze served the same purpose, which was used in abundance to decorate the bases of columns, capitals and frieze details. In Alexandria, for example, this is how the Museum was built - a habitat for muses 11 which became the largest scientific center in the entire Mediterranean with a huge library, halls where works of art were exhibited and learned men gathered.
A passion for picturesque architectural form inevitably entailed the predominance of “oriental bliss” in sculpture. The search for a “gentle form” led to the ideal fusion of the forms of a youthful body and the elastic forms of an innocent girl in one figure, which resulted in the sculpture of the Hermaphrodite Capricorn (11th century BC). Strict classical beauty was replaced by grace; a simple, measured gesture - a voluptuous lazy movement; the image of an athlete-warrior is a hermaphrodite. The naked beauty of a woman became an end in itself, giving rise to an incredible number of statues of the goddess.
* According to legend, the Corinthian master Callimachus, passing by the cemetery. I saw on the tomb a forgotten basket entwined with young shoots of acanthus. Admired by the novelty of the look and form, the master made several columns for the Corinthians based on the beauty of Aphrodite (Venus), giving birth, bathing, and performing her morning toilet, as a model and determined their proportionality.
Altar of Zeus in Pergamon. II century BC e. State museums. Berlin
In the image of the Venus of Melos (11th century BC), whose torso is unusually, divinely beautiful, features characteristic of Hellenistic aesthetics are revealed: a small head with elongated proportions, delicate plasticity of the body, flowing draperies of the bedspread. Everything is graceful, soft, balanced.
But along with this interpretation of the image, there was another one. The disharmony of the soul of the Hellenistic man, his desire to bring everything to the point of passion - fear to horror, strength to rudeness - determined the appearance of such a tragic, heartbreaking work as the relief of the altar of 3eus on the acropolis in Pergamon (11th century BC).
Sleeping hermaphrodite. II century BC e. National Archaeological Museum. Rome
The now reconstructed altar is a gigantic platform for sacrifices, raised on a four-stage stereobat. A wide staircase is cut into it in the center, giving the entire structure a U-shape. The upper platform, 26 m wide, is decorated along the perimeter with Ionic columns. The outer side of the platform is also surrounded by a frieze along the perimeter, bending onto the internal planes facing the stairs. A specific historical event is the battle of the Pergamon king Attalus 1 with the Galatian barbarians at the end of the 111th century. BC e. – the creators of the altar depicted in an allegorical form the struggle of the Olympian gods with the giants.
3-09-4.jpg The battle of the Olympian gods with the mortal giants, born of the earth-gay from the blood of the castrated sky-Uranus and who had snake tails instead of legs, could end successfully only if a hero came out on the side of the gods, which is what happened thanks to the intervention of Hercules.
The frieze is made in high relief technique, and the steps to the altar serve as support for the stone participants in the fierce battle. The depiction of Athena’s fight with the winged giant Enceladus, whom the goddess has already brought to her feet, is filled with drama and expression. Nika rushes towards her on open wings in order to crown the flax of her curls with a victorious wreath. The sacred snake of the goddess Erichthonium stings the giant’s chest, and he, with a face distorted in pain and suffering, vainly strains his muscles in a last attempt to rise on his serpentine limbs and fly away. Gaia emerges from the bowels of the earth, bare-haired, tragically wringing her hands, grieving over the death of her sons.
NEREUS, DOR. Ocean. Frieze of the altar of Zeus in Pergamon. XI century BC e. State-owned museums. Berlin
Athena and Enceladus. Frieze of the altar of Zeus in Pergamon. XI century BC e. state museums. Berlin
The Pergamon school, as well as all Greek sculpture of the Hellenistic era, is characterized by the depiction of acute feelings - dying and pain, horror and despair - and spectacular poses. Let us remember that the harmony and tranquility of the classical reliefs of the Parthenon was achieved by a precise and simple line. In the plastic arts of Hellenism, which makes one almost physically feel suffering and death, completely different techniques were used. This includes the arrangement of the heads of the gods at the top and the giants at the bottom, creating a nervous broken line of the frieze. This is a complex turn of the bodies, conveying either the aggressive onslaught of the gods or the pathos of the thrown back heads and torsos of the giants. This is the whimsical drapery of clothes, scattering as if from gusts of wind. These include sharp contrasts of light and shadow, which increase anxiety. This includes the gigantic scale of the figures, overwhelming and depressing the viewer.
Questions and tasks
1. What features are characteristic of Hellenistic art? What is the reason for the appearance of two faces of beauty in Hellenistic plastic art?
2. What painting techniques did Hellenistic sculptors use to convey drama and expression? To answer, use the illustrations from task No. 8 in the workbook.
The beautiful, welcoming nature and clear, calm worldview of the Greeks gave birth to equally beautiful and clear art. The scale of the surrounding world determined the Hellenes’ commitment to the proportionality of volumes and shapes. This found expression in the pure forms and precise lines of Greek architecture and sculpture. The principles of classical art as understood by the ancient Greeks were realism, rationalism, simplicity and beauty. They perceived any deviation from nature as a disregard for the ideals of art.
It is not surprising that it was the Greek ideal that was adopted by a variety of peoples and became a model for the cultural development of the entire Mediterranean enclave. The Greek colonies on the Apennine Peninsula contributed to the penetration of Greek mythology and architectural techniques into the Etruscan culture. The influence of Ancient Greece on the culture of the Etruscans and Ancient Rome, which subjugated it in the 2nd century, was great. BC e. The artistic culture of Egypt, Syria, the regions of Asia Minor, the Balkan Peninsula, where Greek art became known as a result of the aggressive campaigns of Alexander the Great, acquired a perfect example, the creative development of which provided a breakthrough to Hellenism. It was in the Hellenistic version that Greek culture became the forerunner of the refined Byzantine culture. The great era of the European Renaissance was guided by the Greek model, and the aesthetics of European absolutism in the 15th century. relied on the rational and constructive artistic thinking of the Greeks, which manifested itself in the architecture, painting, sculpture and theater of French classicism.
SYNTHESIS OF EASTERN AND ANCIENT TRADITIONS
IN HELLENISM
Sleeping hermaphrodite. Venus of Melos
GIANTISM OF ARCHITECTURAL FORMS.
EXPRESSION AND NATURALISM OF SCULPTURE DECOR
Altar of Zeus in Pergamon
Hellenism as the final stage in the development of ancient Greek culture
New aesthetics of the next stage of cultural development
Hellenistic architecture. Great Corinthian order
"Eastern bliss" in sculpture. Search for a gentle form. Sleeping hermaphrodite and the divine beauty of Venus of Melos.
Altar of Zeus in Pergamon as a manifestation of the disharmony of Hellenistic man.
Art is a continuous harmonious analysis of the world, allowing one to analyze ancient Greek culture as the source of the development of all world art.
The great era of the European Renaissance was guided by the Greek model.
Without art it is impossible to live, to be happy and successful, to understand the world around us;
Professional mobility presupposes a high level of intellectual culture;
We conduct dialogues
We formulate questions on the topic of the lesson and answer them
Writing down definitions
We draw diagrams and make sketches in a notebook
We carry out the teacher's tasks.
Technological map of lesson No. 14 – grade 10
Didactic structure of the lesson
Student activities
Teacher activities
Assignments for students
Planned results
UUD
Organizing time
Remember the history course and what occurred in the territories that were part of the huge empire of Alexander the Great
Sets the emotional tone of the lesson
The divine beauty and tranquility of Venus of Melos and the disharmony of the soul of Hellenistic man, his desire to bring everything to the point of passion, the change from the image of an athlete-warrior to a hermaphrodite is the final stage in the development of ancient Greek culture. This -HELLENISM!
Personal – motivate interest in the topic being studied
Learning new material
Thinking and looking for an answer to a question , what ancient Greek myth can become key for our era?
They remember
that the harmony and tranquility of the classical reliefs of the Parthenon was achieved by a precise and simple line
Places accents
Cultural centers of the Hellenistic world: Alexandria in Egypt , Antioch in Syria , Pergamon in Asia Minor, Rhodes Island in Greece. The art of Hellenism was not integral, with a common aesthetic ideal - extreme individualism.
The key myth of the era is the myth of Narcissus. Myth in artistic forms reflected a new aesthetics: proportionality, harmony and calm, strong-willed purposefulness of the classics replaced decorativeness, emotional tension and pathos.
ARCHITECTURE
The East's love for decorativeness, pomp and ornamentation affected the order system. Began to be used Corinthian order.
The new order was like a painful fantasy, but a fantasy of grace and taste. It was aggravated by the decoration of various types of colored marble. The proportions of the Corinthian order repeated the Ionic ones, but with a higher capital, reminiscent of a bunch of flowers with volute-stamens, intercepted from below by a belt.
ALTAR OF ZEUS IN PERGAME
The Pergamon school, as well as all Greek sculpture of the Hellenistic era, is characterized by the depiction of acute feelings - dying and pain, horror and despair - and spectacular poses. Death, dying, the last breath are developed with amazing power, observation, even naturalism.In the plastic arts of Hellenism, which makes one almost physically feel suffering and death, not precise and simple lines were used, but completely different techniques.
Exercise 1
"Work with text"
Task 2
"Working with the visual series"
Subject – know the specific content component of the topic being studied.
Personal –
develop educational and cognitive interest in different types of culture.
Subject
Consolidating new material
1.Participate in a mini Blitz survey.
2. They work with the suggested text.
3. Compose and write down In the notebook there are three questions on the topic of the lesson (the teacher includes students’ questions in the quick survey).
Organizes a mini-blitz survey:
What contributed to the birth of beautiful and clear ancient Greek art?
What features are characteristic of Hellenistic art?
What is the reason for the appearance of two faces of beauty in Hellenistic plastic art?
What painting techniques did Hellenistic sculptors use to convey drama and expression?
Name the principles of classical art as understood by the ancient Greeks.
How was the Greek ideal perceived by different peoples?
Task 3
"The most famous library of antiquity"
Subject
Subject
Consolidation of basic knowledge and acquisition of new ones within the framework of disciplinary educational programs
Control
Conduct independent preparatory work in groups of 2 people.
Formulate questions on the topic of the lesson
Controls progress of independent and group work
Subject
Know the specific content component of the topic being studied.
Subject
Consolidation of basic knowledge and acquisition of new ones within the framework of disciplinary educational programs
Reflection
Discussing completing tasks.
Evaluate their work in the lesson and the lesson as a whole
Organizes and guides reflectionanalyzes working on assignments
Metasubject
Carry out reflection on school methods and abilities to act
Communication
Select adequate speech structures in meaningful educational dialogue.
Exercise 1.
Read the text and highlight the paragraphs
Give the text an attractive title
Fill out the form
The hot highway was lost in the vastness of a lifeless plain. And like a giant, a huge hill appeared in front, which alone dominated the entire endless steppe space. At the foot of the mountain were green olive and lemon groves and houses with flat roofs were crowded on ledges. It was Bergama - a small Turkish town located two hours drive from the Aegean coast. ...In the early autumn of 1878, the residents of Bergama looked with curiosity at a tanned European in a wide-brimmed hat. The German engineer Karl Human came to Turkey at the invitation of the Sultan to build bridges and roads. But, besides this, Human was interested in the ancient ruins of bygone Asia Minor civilizations, which at that time were almost unknown to European scientists and were not at all of interest to the Turks themselves. Human hired forty diggers in Bergama and climbed the mountain with them. He struck the dry, cracked earth first with his spade. Having started excavations in a bare place, the German engineer discovered one of the most important monuments of Hellenistic art - the Great Altar of Zeus. Under the layer of earth there were many large fragments of slabs with reliefs. By the end of the season, they built a narrative cycle about the battle of gods and giants.A large frieze of the altar of Zeus is placed on its plinth (height 23 m, length about 120 m). The frieze was executed by a group of sculptors, but according to a single compositional plan. The theme of the frieze is gigantomachy. In addition to the gods of Olympus, a number of deities take part in the battle, drawn either from old legends or newly invented. Death, dying, the last breath are developed with amazing power, observation, even naturalism. It is interesting that the sculpture accurately depicts the Gaul ethnic type. On the western side, deities of the water element were depicted. On the southern side are the gods of the heavens and celestial bodies. On the eastern, main one, there are the Olympian gods, on the northern one - night and constellations. In total there are about 50 figures of gods and the same number of giants. The figures are made in very high relief, almost in round plastic. The background of the frieze is densely filled with flowing clothes, wings of eagles, giants and snakes. The details are worked out so carefully that their materiality is felt. The figures were painted, many details were gilded; the high relief created deep shadows; the frieze was easy to read from a distance. The names of gods and giants are carved into the plinth and cornice.This plot was directly related to the history of the Kingdom of Pergamon.
What is the name of the structure discussed in the text?Frieze theme
What is the name of the type of relief in which the images are made?
What is depicted on the eastern side of the structure?
How many giants were depicted on the relief?
How many gods were depicted on the relief?
What specific historical event formed the basis of the relief?
Who started the archaeological excavations of the structure?
Task 2 “Working with images”
Here is an illustrative series, look at the images
Try to determine which period in the development of world art the images belong to
Do you know what these works are called and who their author is?
1 2 3 4 5
Task 3 " The most famous library of antiquity"
You need to think and answer in writing the questions why and why are you given the opportunity to familiarize yourself with this material?
What library are we talking about?
The most famous library of antiquity
This library was part of one of the main scientific centers of the ancient world, the Alexandria Museum.
The Museion (museum of the sanctuary of the Muses) and the library were created and existed during the reign of the Greek-Macedonian Ptolemaic dynasty in Egypt from the beginning. 3rd century BC e.
About 500 thousand scrolls were collected in the library's storage rooms, including manuscripts of Aeschylus, Sophocles, Euripides and others.
A new building was recently built on the very site where Ptolemy built the famous Library in 288 BC.
This Library is a unique structure of the modern world and reflects There is amazing architecture of the 21st century.
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Slide captions:
Synthesis of eastern and ancient traditions in Hellenism The presentation was prepared by Bekasova I.A., teacher of fine arts and art at MBOU Secondary School No. 1, Chekhov, Moscow region.
Hellenism - (Greek Hellenes - to be likened to the Hellenes) a period in the history of the countries of the Eastern Mediterranean from the time of the campaigns of Alexander the Great (334-323 BC) until the conquest of these countries by Rome, which ended in 30 BC. e. subjugation of Egypt Hellenism is the final stage in the development of ancient Greek culture. The art of Hellenism is a kind of symbiosis of the Greek order and Eastern traditions. Characteristic features are decorativeness, emotional tension, and pathos.
Bronze statue of Alexander the Great. Roman copy from a Greek original from Herculaneum. Naples. Archaeological Museum. 330-320 BC.
Hellenistic Temple of the Sun (1st century) in Garni in the territory of modern Armenia. Hellenism During the construction of public buildings, the Great Corinthian order was used, in which the columns are equal in height to two floors of the building, reaching almost 18 m.
The Altar of Zeus in Pergamon is a memorial monument erected in the 2nd century. BC(?) in honor of the victory won by the Pergamon king over the barbarian Gauls.
Frieze of the altar of Zeus in Pergamon. II century BC. frieze of the Pergamon altar of Zeus. The struggle between gods and giants, depicted on the frieze, was supposed to recall the victory won by Pergamum over the barbarian Gauls. The relief shows huge snakes and predatory animals taking part in the battle. The rustle of wide-open wings, the rustle of snake bodies, the ringing of swords and shields create the sound accompaniment of the battle. The masters use high relief forms, showing some figures in almost circular sculpture: the sculptor’s chisel and drill cut deeply into the thickness of the marble, outlining the heavy folds of clothing. The relief acquires the contrast of illuminated and shaded surfaces. Black and white effects enhance the impression of battle tension, the sense of tragedy of the doomed giants and the delight of the victors. Episodes of struggle, Spanish. The struggle between gods and giants, depicted on the frieze, was supposed to recall the victory won by Pergamum over the barbarian Gauls. The relief shows huge snakes and predatory animals taking part in the battle. The masters use high relief forms, showing some figures in almost circular sculpture: the sculptor’s chisel and drill cut deeply into the thickness of the marble, outlining the heavy folds of clothing. The relief acquires the contrast of illuminated and shaded surfaces. Black and white effects enhance the impression of battle tension, the sense of tragedy of the doomed giants and the delight of the victors.
Three Moirai deal mortal blows to Agria and Foant with their bronze maces.
“Battle of Athena with Alcyoneus”
Laocoon. Rhodes and its sculptors Agesander, Polydorus and Athenodorus. Marble. Beginning 3rd century BC.
Statue of Aphrodite from the island of Melos (Milos) or Venus de Milo. 2nd century BC. White marble. It is believed that its creator is the sculptor Agesander or Alexandros of Antioch. The sculpture represents a type of Aphrodite of Cnidus (Venus the bashful): a goddess holding a fallen robe with her hand. It was found in 1820 on the island. Melos (Milos) in Southern Greece, one of the Cyclades islands of the Aegean Sea by peasant Yorgos Kentrotas while working in the soil. Her hands were lost after the discovery, during a conflict between the French, who wanted to take her to their country, and the Turks (owners of the island), who had the same intention. Venus of Melos
Nike of Samothrace 3rd century. BC. It stood in the form of a victory monument on the island of Samothrace. It seems to take off from a pedestal shaped like the bow of a ship.
Sources Thank you for your attention http://works.tarefer.ru/42/100420/index.html http://iskusstvu.ru/electronnoe_uchebnoe_posobie/3_1_2_Iskusstvo_Drevnej_Grecii_Jellinizm.html http://www.google.ru/imgres?hl=ru&newwindow= 1&sa=X&tbo=d&biw=1228&bih=879&tbm=isch&tbnid=xzP0c7yTacXnFM:&imgrefu
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Alexander's campaigns marked the beginning of a new Hellenistic era. The Greek and ancient Eastern worlds, which had previously developed separately, became a single power, and a synthesis of ancient and Middle Eastern civilizations arose. After lasting about 300 years, this period ended with the Roman conquest of the last Hellenistic kingdom, Egypt, in 30 BC.
Hellenism, having united Greek and Eastern principles, became a completely new cultural phenomenon: in some places ancient features dominated, and in others oriental ones. Many Persian and Egyptian cults gained popularity in Greece, merging with the old ancient gods. Buddha statues from Gandhara (Northern India) combine Greek influence and Indian traditions.
The culture of Hellenism is characterized by two most important points: firstly, the widest spread of Greek culture throughout all areas of the Hellenistic world, as a result of which the peoples and tribes inhabiting the vast territory of the Hellenistic world were introduced to the best achievements of classical Greece in the field of science, literature and fine arts. world - from Sicily in the west to Central Asia and India in the east, from the Bosporan kingdom in the Northern Black Sea region to Nubia in equatorial Africa.
The second most important point is the combination of elements of Greek culture with local, mainly Eastern cultural traditions. On the basis of processed Hellenic and ancient local elements, a number of peoples that were part of the Hellenistic states created their own culture, merging these elements in a unique new quality.
Hellenistic art proper is the art of mainland Greece and the adjacent islands of the Aegean archipelago, Asia Minor (mainly the Kingdom of Pergamon), Rhodes, Syria (the western part of the Seleucid state) and Egypt, that is, those regions and states of the Hellenistic world in whose art there are Greek traditions , reworked in accordance with new social ideas, received predominant importance.
While there are undoubted and very significant features of commonality, the art of each of these areas is also marked by features of originality. This originality was determined by the peculiarities of the economic, political and cultural development of each state, as well as the significance of the local artistic tradition. Thus, in Hellenistic Greece, the preservation of the social and artistic traditions of the classical era determined a closer connection between art and classical models than anywhere else. To a much lesser extent, this connection is felt in the artistic monuments of Pergamon and Rhodes - here the signs of Hellenistic art as a new stage in the history of art received their most clear expression. In the art of Hellenistic Egypt, features of syncretism (fusion) of Greek art forms with the local artistic tradition are more noticeable than in any of the named states.
The process of formation of individual local art schools took place in the presence of very close cultural ties between them, which was facilitated, for example, by the frequent movements of artists from one state to another. The similarity of social conditions, combined with artistic connections, was the reason that, for all its complexity and versatility, the culture of the Hellenistic world was marked by features of integrity, since it reflected the specific features of a certain period in the development of ancient society.
In general, Hellenistic art is divided into two main stages. Time from the end of the 4th century. before the beginning of the 2nd century. BC. constitutes the early period of Hellenistic art, when it experienced its greatest flowering and progressive artistic tendencies received their deepest expression.
2nd - 1st centuries BC, the time of a new crisis of slave society and its culture, constitute the late period of Hellenistic art, already marked by features of obvious decline.
Exercise:
Make up questions for the text.
Send by letter with an attachment to an address known to you.
Hellenism is a period in the history of the ancient states of the Mediterranean region, the beginning of which is considered to be the conquests of Alexander the Great, and the end - the fall of Egypt and the complete establishment of the dominance of the states of Ancient Rome (around 30 AD).
The main feature of Hellenism
The main feature of Hellenism is considered to be the global spread of the Greek language and way of life in the territories conquered by Alexander the Great, as well as the mutual penetration and mutual influence of two great ancient cultures - Persian and Greek.
The Hellenistic era was characterized by a desire for monumentality. Huge statues are created, a typical example is the Colossus of Rhodes, a figure of the god Helios 32 meters high.
Nike of Samothrace ( 190 BC uh.)
Hellenistic art does not represent a single whole. During this period, there were independent art schools in Alexandria, Pergamon, Greece, on the island of Rhodes, and in the cities of Syria. The best works of Hellenic sculptors reflect the most exciting problems of the era with great completeness and artistic persuasiveness.
SLEEPING HERMAPHRODITE
Hermaphrodite is the son of Hermes and Aphrodite, a young man of extraordinary beauty, raised by naiads on Mount Ida in Phrygia.
AGESANDER
Together with his sons he sculpted the statue of Laocoon. The statue was found in 1488 in the Baths of Titus on the Esquiline in Rome, now in the Vatican Museum in Rome.
VENUS OF MILO
The famous sculpture, made of marble (c. 130–120 BC), dates back to the Hellenistic period in the art of Ancient Greece.
A common subject of ancient plastic art was Gigantomania.
It was built around 180 BC. e. on the acropolis of Pergamum, the capital of a small Hellenistic state in Asia Minor.
Pergamon Altar
The synthesis of eastern and ancient traditions, the use of highly emotional, dramatic plots are undoubted evidence of the influence that the political events that accompanied the decline and death of the Hellenistic states had on the spiritual life of the Greek world.
The main feature of Hellenism
The main feature of Hellenism is considered to be the global spread of the Greek language and way of life in the territories conquered by Alexander the Great, as well as the mutual penetration and mutual influence of two great ancient cultures - Persian and Greek.
The Hellenistic era was characterized by a desire for monumentality. Huge statues are created, a typical example is the Colossus of Rhodes, a figure of the god Helios 32 meters high.
Nike of Samothrace ( 190 BC uh.)
Hellenistic art does not represent a single whole. During this period, there were independent art schools in Alexandria, Pergamon, Greece, on the island of Rhodes, and in the cities of Syria. The best works of Hellenic sculptors reflect the most exciting problems of the era with great completeness and artistic persuasiveness.
SLEEPING HERMAPHRODITE
Hermaphrodite is the son of Hermes and Aphrodite, a young man of extraordinary beauty, raised by naiads on Mount Ida in Phrygia.
AGESANDER
Together with his sons he sculpted the statue of Laocoon. The statue was found in 1488 in the Baths of Titus on the Esquiline in Rome, now in the Vatican Museum in Rome.
VENUS OF MILO
The famous sculpture, made of marble (c. 130–120 BC), dates back to the Hellenistic period in the art of Ancient Greece.
A common subject of ancient plastic art was Gigantomania.
It was built around 180 BC. e. on the acropolis of Pergamum, the capital of a small Hellenistic state in Asia Minor.
Pergamon Altar
The synthesis of eastern and ancient traditions, the use of highly emotional, dramatic plots are undoubted evidence of the influence that the political events that accompanied the decline and death of the Hellenistic states had on the spiritual life of the Greek world.
The main feature of Hellenism is considered to be the global spread of the Greek language and way of life in the territories conquered by Alexander the Great, as well as the mutual penetration and mutual influence of two great ancient cultures - Persian and Greek.
The Hellenistic era was characterized by a desire for monumentality. Huge statues are created, a typical example is the Colossus of Rhodes, a figure of the god Helios 32 meters high.
Nike of Samothrace ( 190 BC uh.)
Hellenistic art does not represent a single whole. During this period, there were independent art schools in Alexandria, Pergamon, Greece, on the island of Rhodes, and in the cities of Syria. The best works of Hellenic sculptors reflect the most exciting problems of the era with great completeness and artistic persuasiveness.
SLEEPING HERMAPHRODITE
Hermaphrodite is the son of Hermes and Aphrodite, a young man of extraordinary beauty, raised by naiads on Mount Ida in Phrygia.
AGESANDER
Together with his sons he sculpted the statue of Laocoon. The statue was found in 1488 in the Baths of Titus on the Esquiline in Rome, now in the Vatican Museum in Rome.
VENUS OF MILO
The famous sculpture, made of marble (c. 130–120 BC), dates back to the Hellenistic period in the art of Ancient Greece.
A common subject of ancient plastic art was Gigantomania.
It was built around 180 BC. e. on the acropolis of Pergamum, the capital of a small Hellenistic state in Asia Minor.
Pergamon Altar
The synthesis of eastern and ancient traditions, the use of highly emotional, dramatic plots are undoubted evidence of the influence that the political events that accompanied the decline and death of the Hellenistic states had on the spiritual life of the Greek world.
The Hellenistic era was characterized by a desire for monumentality. Huge statues are created, a typical example is the Colossus of Rhodes, a figure of the god Helios 32 meters high.
Nike of Samothrace ( 190 BC uh.)
Hellenistic art does not represent a single whole. During this period, there were independent art schools in Alexandria, Pergamon, Greece, on the island of Rhodes, and in the cities of Syria. The best works of Hellenic sculptors reflect the most exciting problems of the era with great completeness and artistic persuasiveness.
SLEEPING HERMAPHRODITE
Hermaphrodite is the son of Hermes and Aphrodite, a young man of extraordinary beauty, raised by naiads on Mount Ida in Phrygia.
AGESANDER
Together with his sons he sculpted the statue of Laocoon. The statue was found in 1488 in the Baths of Titus on the Esquiline in Rome, now in the Vatican Museum in Rome.
VENUS OF MILO
The famous sculpture, made of marble (c. 130–120 BC), dates back to the Hellenistic period in the art of Ancient Greece.
A common subject of ancient plastic art was Gigantomania.
It was built around 180 BC. e. on the acropolis of Pergamum, the capital of a small Hellenistic state in Asia Minor.
Pergamon Altar
The synthesis of eastern and ancient traditions, the use of highly emotional, dramatic plots are undoubted evidence of the influence that the political events that accompanied the decline and death of the Hellenistic states had on the spiritual life of the Greek world.
SLEEPING HERMAPHRODITE
Hermaphrodite is the son of Hermes and Aphrodite, a young man of extraordinary beauty, raised by naiads on Mount Ida in Phrygia.
AGESANDER
Together with his sons he sculpted the statue of Laocoon. The statue was found in 1488 in the Baths of Titus on the Esquiline in Rome, now in the Vatican Museum in Rome.
VENUS OF MILO
The famous sculpture, made of marble (c. 130–120 BC), dates back to the Hellenistic period in the art of Ancient Greece.
A common subject of ancient plastic art was Gigantomania.
It was built around 180 BC. e. on the acropolis of Pergamum, the capital of a small Hellenistic state in Asia Minor.
Pergamon Altar
The synthesis of eastern and ancient traditions, the use of highly emotional, dramatic plots are undoubted evidence of the influence that the political events that accompanied the decline and death of the Hellenistic states had on the spiritual life of the Greek world.
VENUS OF MILO
The famous sculpture, made of marble (c. 130–120 BC), dates back to the Hellenistic period in the art of Ancient Greece.
A common subject of ancient plastic art was Gigantomania.
It was built around 180 BC. e. on the acropolis of Pergamum, the capital of a small Hellenistic state in Asia Minor.
Pergamon Altar
The synthesis of eastern and ancient traditions, the use of highly emotional, dramatic plots are undoubted evidence of the influence that the political events that accompanied the decline and death of the Hellenistic states had on the spiritual life of the Greek world.
It was built around 180 BC. e. on the acropolis of Pergamum, the capital of a small Hellenistic state in Asia Minor.
Pergamon Altar
The synthesis of eastern and ancient traditions, the use of highly emotional, dramatic plots are undoubted evidence of the influence that the political events that accompanied the decline and death of the Hellenistic states had on the spiritual life of the Greek world.
