The Classical World- Greece ARTintervention.roodie.co.za/.../files/Gr10VATerm2C5ClassicalWorldGree… · THE CLASSICAL WORLD Greece Architecture . Architecture. Greek Orders • Refer

The Classical World-

Greece ART

Verskillende Tipes Potte

Diiferent types vases• 1. Hydra: water beker met handvatsel/ Water container with handle

• 2. Lekythos: Olie vles met lang nek aangepas vir skink/ Oil container with long neck to pour

• 3. Krater: ‘n bak vir die meng van water en wyn/ bowl to mix water and wine

• 4. Amphora: vir die stoor van items soos meel/ to store flour

• 5. Kylix: ‘n drinkbeker/ a drinking cup

• 6. Oenochoe: n water beker/ a water container

Dyplon Vase

• Up until these periods all sculptures were made of wood and nothing survived.

• The main aim of the Greek sculptors were to make images that would be permanent. (Stone and Marble)

• There are 3 main periods with a transitional period in between.

The periods: • Archaic Period (700-500 BC)• Pre Classical Period (500-480 BC)• Classical Period (450-400 BC)• Pre Hellenistic Period (400-325 BC)• Hellenistic Period (3rd century- Christian era)

ANCIENT GREECE Sculptures

The Archaic period

• Images of animals and men were subjected to sculptural re-ordering.

• Many Archaic scultptureswere similar to those of the Egyptians.

• Early figures were the Kouros and the Kore.

• (Kouros= Male youth. Kore= Maiden)

• The Kore were always clothed.

The Kouros from Tenea

(570 BC- Marble)

• Recalls Egyptian Sculpture• Frontal pose left foot advanced • Broad angular shoulders• Arms held closely and stiffly to the body, hands

clenched• No turn in the body or head (no movement)• Block like, geometric character• Shoulders, torso and knees boldly carved- shows

the Greek’s interest in anatomical structure• Head and face conform to deliberate geometric

laws and stylisation• Eyes are large and bulging• Stylised ears accentuate the more naturalistic

modelling of the nose• The mouth, which forms ‘an archaic smile’, and

the wig-like hair are decoratively treated and conform to convention

The Classical Period

• Freedom of movement in freestanding sculpture was far more difficult to achieve

• Once the cotrapposto had been perfected, the solution to the technical problems of balance and self-sufficiency were easily found

• Large freestanding figures in motion are the most important development of this period

Discobolos (450 BC- Marble)

• The problem the sculptor was confronted with was how to condense a sequence of movements into a single pose

• There is a violent twist in the torso

• The action of the arms is brought into the same place as the legs

• The movement of the athlete has been limited to one plane

• Only two distinct views are possible

• The force is concentrated between two intersecting arcs; the arms and the left leg, and the other form the one by the head, torso and the right leg

Hellenistic Period

• Greek sculptures are now being produced through a vast territory

• Many of the works of this period cannot be securely identified as to the date and the place of origin

• The sculptures show extreme movement

• The sculptures all have exaggerated facial expressions

• Theatrical quality has replaced classical calm and control

• There is a feeling that the sculptor overdid the display of his technical proficiency

Laocoon

(175-150 BC- Marble)

• There is a clear over exaggeration in the movement in the sculpture.

• There is also an exaggerated facial expression

• Theatrical characteristics takes the place of the cool and calm used in the classical period.

• There is the feeling that the artist wanted to showcase his technical skills.

THE CLASSICAL WORLD

Greece

Architecture

Architecture

Greek Orders• Refer to the entire set of form that makes up

the principal elevation of a temple. • Composed of a base, an upright column or

support with its capital, and the horizontal entablature.

• All the parts of an order are proportionally derived from the size of the base of the column.

• It determines all aspects of the elevation of a building including its shape and the arrangement and proportion of its parts

• Each order had its own conventions about the design of the entablature

• The entablature is divided into three sections; the cornices, the frieze and the architrave

• According the rules of classical architecture, the entablature should always be divisible into these three zones

THE ORDERS/STYLES

• Doric Style

• Ionic Style

• Corinthian Style

1- Doric Order• The Doric order was the earliest to be developed

• By the 6th century, a set of universal proportions for the Doric temple had been developed.

• The Doric order is made up of three elements; stylobate, Column and entablature

• The stylobate is a podium raised three steps on which the temple sits

• The Doric column is further divided into the shaft and a square capital

• It had a height of between 5 and 6 times its diameter.

• The shaft is tapered and made to bulge slightly to provide correction for optical illusion.

• The shaft is usually divided into 20 shallow flutes.

• The entablature is divided into an architrave, a frieze and the cornice.

• The Doric column represents the proportions of a man’s body, its strength and beauty.

2- Ionic Order• The Ionic order had a

capital developed from a pair of volute about two-thirds the diameter of the column in height

• Ornaments are used to decorate the area between the capital and the volute

• The Ionic column has a base

• One of the limitations of the Ionic order is that it is designed to be seen from the front only

3- Corinthian Order• The Corinthian order takes its name from

the city of Corinth in Greece• It however appeared to have been

developed in Athens in the 5th century BC• This order is similar in its proportions to

the Ionic order but has a different capital• The core of the capital is shaped like an

inverted bel. • The bell-like capital is decorated with

rows of carved acanthus leaves• The rich decorative effect of the

Corinthian capital made it attractive.• Because of its symmetry, the Corinthian

capital unlike the ionic capital is designed to be seen from all directions

• The Corinthian column, the most beautifully ornate of the three orders represents the figure of a maiden

• This order was not extensively used during the Greek period

• It became popular during the ancient Roman period

Temple Architecture• The most important Greek building

was the temple• The temple had the finest building

materials and the richest decoration. • It was also the most complex of

architectural form. • It was designed not to hold

worshippers, but as symbolic dwelling of the gods

• The temple is usually rectangular in plan

• It is lifted on a podium, and in plan has colonnades on all its external sides

The temple always faced east so that the rising sun would light the statues inside

Temples were designed to be admired from the outside rather than used

The Greek temple is believed to originate from the Mycenaean megaron

A Typical Greek Temple

A row of columns

Surrounding the temple =

Peripteral Temple

Temple placed on a

Raised surface =

Stylobate & Stereobate

Entrance to the temple only

on East or West sides

Double columns on inside to raise the roof

Pediment

Greek Architecture in Athens

The Parthenon The Parthenon was the most prominent building on the Athenian Acropolis

It was designed by Ictinus and Callicrates in 447 BC

The Parthenon is the most perfect Doric temple ever built.

It was lighter and more graceful than previous temples

It also embodies the perfection of the Greek system of proportioning

The proportions of the Parthenon are based on the proportions of a man, which is seven to one

The ideal human body was seven heads tall

Greek Architecture in Athens The Parthenon

The Parthenon is an octastyle temple with 8 columns in front and 17 columns by its side

In the Parthenon we also find the best example of the application of entasis

The Parthenon had two rooms in plan; the treasury, which is most often empty and the naos or inner sanctuary

An ivory gold statue of Athena, 11 meters tall carved by Phidas once stood in the noas or inner sanctuary of the Parthenon

The statue reached the wooden roof of the temple

Parts of the inside and outside of the Parthenon were once painted

The inside of the temple was often not used

Processions and ceremonies were held outside

The temple’s alter was placed on the Eastern side

During the Christian period, the Parthenon was used as a church