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Kiklad kadın heykelciği

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... konulu sunumlar: "Kiklad kadın heykelciği"— Sunum transkripti:

1 Kiklad kadın heykelciği
y. MÖ Mermer y. 6 cm. Kiklad Sanatı Müzesi, Atina

2 Deniz üslubu (Saray üslubu), Minos,
MÖ y. 1500 Arkeoloji Müzesi, Iraklion, Girit

3 Yılanlı tanrıça, Çini heykelcik y. MÖ 1600 Knossos Sarayı’ndan Arkeoloji Müzesi, Heraklion,Girit

4 Boğa akrobatları, Kireç sıva üzerine duvar boyası, İÖ 15. yüzyıl Arkeoloji Müzesi, Iraklion. Girit

5 Krater formunda kap, Miken seramiği
MÖ 13. yüzyıl ilk yarısı, Metropolitan Sanat Müzesi, New York (ABD)

6 Geometrik Dönem, Grek, Attic Terracotta (10.49 cm)
This type of pyxis is an innovation in Athens around 850 B.C., based on influences from Mycenaean and Protogeometric pyxides and wooden boxes. It features a strongly curving body and a lid smaller in diameter than the box itself. The handle of the lid consists of a ridged shaft surmounted by a small reproduction of the pyxis, including a sort of conical handle often found on pyxides of this type. The artist of this pyxis has carefully organized the painted designs to highlight the vase's construction. A hatched meander, to which all other patterns are subordinated, designates the widest part of the vessel. It recalls the tradition of early Attic Geometric pottery that featured a single, large motif. Concentric bands of dogtooth, zigzag, and dots fill the remaining space on the body and lid. The miniature pyxis on the knob features a chevron frieze and a series of concentric bands. Although most pyxides are found in graves, ancient repairs on many of these vessels indicate their use during an owner's lifetime. This pyxis may have served as a container for small objects, such as jewelry and toiletries. Its lid and rim are perforated for a string so that the vessel could have been suspended from a shelf, for example. Pyxis (kapaklı kap) MÖ 8. yüzyıl ortaları Geometrik Dönem, Grek, Attic Terracotta (10.49 cm) Metropolitan Müzesi, New York, ABD

7 (Kıbrıs’ta bulunmuştur) Terracotta (114.91 cm)
During the eighth century B.C., the Geometric style that had originated in Athens spread throughout the Greek-speaking world. This beautifully proportioned krater found on Cyprus differs in a number of ways from other monumental Geometric kraters from Attica. Its shoulder is subdivided by four handles, rather than two, and its intricate decoration was applied over a light ceramic slip ground, instead of directly onto the clay. Since the 1870s, scholars have debated where this vase was made; current opinion attributes it to a workshop on Euboea, an island off the east coast of Attica, or to the island of Naxos, in the Cyclades. In the central panel between the handles, two stags or goats stand on their hind legs to nibble at a tree. While the graceful long-legged animals are represented in a typically Geometric style, the motif of animals flanking a sacred tree derives from Near Eastern iconography. The double axes used to fill the space above the horses that face the central panel recall images from the Minoan culture that flourished on Crete during the second millennium B.C. Kapaklı krater MÖ 8. yüzyıl ortaları Geometrik Dönem, Grek, (Kıbrıs’ta bulunmuştur) Terracotta ( cm) Metropolitan Müzesi, New York, ABD

8 Geometrik Dönem, Grek, Bronz(17.63 cm)
The clarity and elegance of form in Greek Geometric art is as effective in three-dimensional sculpture as it is in vase painting. Small-scale bronzes, such as this horse, were produced in workshops throughout the Greek mainland and represent the most innovative sculptural achievements of the period. This solid-cast bronze horse exemplifies Geometric art at its best. The flat parts of the neck and legs are carefully integrated with the cylindrical muzzle and body of the animal. The base, articulated with triangular patterns suggesting a rocky terrain, further contributes a sense of volume and lends definition to the space occupied by the figure. Freestanding figures of animals, such as this one, were often dedicated in Greek sanctuaries. At heykelciği MÖ 8. yüzyıl ortaları Geometrik Dönem, Grek, Bronz(17.63 cm) Metropolitan Müzesi, New York, ABD

9 Kore (Cheramyes Grubu)
MÖ y. 570–560; Arkaik Yunan Samos Mermer; y. 192 cm Metropolitan Müzesi, New York, ABD

10 This noble figure of a youth is one of the earliest freestanding marble statues from Attica, the region around Athens. It is a type of sculpture known as a kouros (male youth), characteristically depicted nude with the left leg striding forward and hands clenched at the side. Most kouroi were made in the Archaic period, between the late seventh and early fifth centuries B.C., and are believed to have served as grave markers or as dedications in the sanctuary of a god. The Greeks learned to quarry stone and plan the execution of large-scale statues from the Egyptians, who had been working very hard stones for centuries. The pose of the kouros, a clear and simple formula, derives from Egyptian art and was used by Greek sculptors for more than a hundred years. From the very beginning, however, the Greeks depicted their male figures in the nude, while the Egyptians were normally skirted. The Greek artist also evenly distributed the weight of the figure as though in the act of walking, eliminating the rectangular pillar of stone that is found on the back of Egyptian statues. Although this Greek kouros looks stiff and unnaturalistic to us, it exemplifies two important aspects of Archaic Greek art—an interest in lifelike vitality and a concern with design. In this early figure, geometric almost abstract forms predominate, and complex anatomical details, such as the chest muscles and pelvic arch, are rendered in beautiful analogous patterns. Some of the formulas, such as that used for the knees and wrists, are borrowed from Egyptian art. On the head, all the features are placed on the front plane, leaving flat sides with an ear placed much too far back, although the artist has made a beautiful design of the complex structure of the ear itself. The long curly hair is rendered as lovely strings of beads, and other details were added in paint, as traces on the figure reveal. Kuros heykeli, MÖ y. 590–580; Arkaik Yunan Mermer; y cm Metropolitan Müzesi, New York, ABD

11 Süvari başı (Rampin atlısı),
The Rampin Horseman This male head, which was found on the Acropolis in 1877, was sculpted around 550 BC. It was purchased by Georges Rampin, who left it to the Louvre in Ten years earlier, a body of a horseman and fragments of a horse had been found on the Acropolis; they were excavated from a ditch that was dug to hold statues that were broken during the sack of Athens by the Persians in 480 BC. It was not until 1936 that the English archaeologist Humphry Payne connected this head with the equestrian group in the Acropolis Museum in Athens (molds of the group have been added to the Louvre's presentation of the head). The asymmetrical neck, which is unusual in sixth century BC sculpture, is explained by the fact that the group is thought to have comprised two horsemen forming a pair. An uncertain identity The identity of the horseman is uncertain. For a long time, the hypothesis of a second horseman encouraged the notion that it was dedicated to Hippias and Hipparchus, the sons of Pisistratus, whose names predestined them to horseback riding. Horses (in Greek, hippos) were a privilege reserved for members of the aristocracy. The monument would have been erected after the return of the tyrant to Athens in 546 BC. It was thus supposed that the group was a depiction of Castor and Pollux-equestrian heroes frequently pictured on vases between 550 and 510 BC-without necessarily ruling out the Dioscuri or the Pisistratidae as subjects. An examination of the fragments has shown that they belonged to other horses, disproving these hypotheses. If this is an ex-voto, then it would not feature two people but one-the Rampin Horseman was one among many such offerings dedicated on the Acropolis by horsemen. They showed the winner in a horse race cheered by the crowd, which he acknowledges by a turn of his head. This new interpretation would explain the presence of a crown of lovage in the horseman's hair; this species of wild celery was used to crown winners in both the Nemean Games and the Isthmian Games, which were held in Corinth. A masterpiece of Archaic Athenian art The execution of the Louvre's head is masterful. It is sometimes attributed to the "Rampin Master," the sculptor of the Athens kore wearing a peplos (530 BC; Acropolis Museum). The two pieces feature the same Attic concept of the face: the triangular structure is framed by high cheekbones and a pointed chin, and the face is welcoming, animated by almond-shaped eyes and a gentle smile. Nevertheless, the Rampin Horseman blends sobriety with richly decorative hair ornamentation. The thickness of the beads, the fringe consisting of small rolled plaits, and the beaded work on the beard show the influence of eastern Greece, which spread to Athens via Ionian immigrants fleeing Asia Minor and the Persian threat. Red and black polychrome, partially preserved, adds to this sense of refinement. Süvari başı (Rampin atlısı), MÖ y. 550; Arkaik Yunan Mermer; yük: 27 cm Louvre Müzesi, Paris

12 Myron (MÖ. y. 5 yüzyıl) Disk atıcı (discobolus), Roma kopyası Capitoline Müzesi, Roma

13 Rodoslu heykeltraşlar Hagesandros, Polydoros, ve Athenodoros
Laocoon (MÖ. y. 2 yüzyıl Helenistik orijinalinden Roma Kopyası) Vatican Müzesi, Roma

14 Proto-Attik loutrophorus Analatos Ressamına atfedilir.
Proto-Attic loutrophorus This loutrophorus, a particularly slender amphora, marks the transition between the Geometric style that dominated the eighth century BC and the orientalizing style that was in vogue a century later. We can see how the Analatos Painter has taken motifs from the Geometric aesthetic-for example, the chariot procession, abstract patterns, and snakes modeled in light relief-while introducing new elements, like sphinxes and rosettes, and enlarging the figurative scenes. A ritual vase The loutrophorus is a type of amphora, distinguishable by its particularly tall neck and by its function. It was used to hold water for the nuptial bath and for washing the dead. When it marks the tombs of unmarried people, there is a hole in the bottom to allow communication with the dead. Snakes modeled in relief decorate the mouth, handles, and shoulder of the vase, confirming its funerary function: the snake, a chthonian animal, was traditionally associated with the netherworld. The decoration is divided into different registers, alternating decorative patterns (sphinxes, rosettes, braids, wolf teeth, steps, spirals, and petals) with figurative scenes (couples dancing to the sound of the double flute and a procession of chariots). The Analatos Painter This loutrophorus is attributed to the Analatos Painter, who owes his name to the site in Attica where a hydria dating from the beginning of his career was found. The artist trained in a workshop of the Late Geometric period and made the transition between this period and the orientalizing style that characterizes the seventh century BC. Although faithful to the Geometric tradition (in his use of various abstract motifs and the chariot procession, a well-known iconographic scheme), he nevertheless departs from it in many ways. An innovative artist The artist introduces motifs from the East, like sphinxes, rosettes, and braids, while enlarging the figurative scenes at the expense of the decorative motifs. We can also see a clear progression in terms of human representation: the male silhouettes are more fluid and the female silhouettes more fleshy; they are wearing peploses embellished with dots; and the contours of each face are marked out and dominated by an exaggeratedly prominent eye. Finally, the painter has demonstrated a wish to render these images more legible: he has used incisions to make the manes and backs of the horses stand out, thereby heralding the black-figure technique that would not be adopted in Athens until a few decades later. Proto-Attik loutrophorus Analatos Ressamına atfedilir. MÖ y. 690 (Oryantalizan dönem) Pişmiş toprak, siyah figür ve kazıma Louvre Müzesi, Paris

15 Pitsa Paneli (Krban Töreni)
Arkaik dönem, MÖ 540 Ahşap üzerine tempera tekniği Ulusal Arkeoloji Müzesi, Atina

16 Praxiteles Bebek Dionysos’u taşıyan Hermes, (MÖ 4. yy), Mermer, Olympia Arkeoloji Müzesi, Yunanistan

17 Dionysos Heykeli ("Madrid-Varese tipi“)
Dionysos Heykeli ("Madrid-Varese tipi“). Geç Helenistik dönem heykelinin (MÖ y ) Roma kopyası (MS 150 civarı), Mermer, Prado Müzesi, Madrid

18 Skene Proskene Orkestra Cavea


20 Glypthotek, Münih, Almanya
Marsyas’ın İşkencesi, Helenistik orijinalinden Roma kopyası (MS 1-2. yüzyıl) Mermer Louvre Müzesi, Fransa

21 Samothrake (Semadirek) Nikesi,
İÖ y. 190, mermer, Louvre Müzesi, Paris

22 Uyuyan satir, İÖ y. 220, mermer (bronz orijinalinden kopya), Glyptothek, Münih, Almanya

23 Ölen Galat, İÖ y , mermer (bronz orijinalinden kopya), Capitoline Müzesi, Roma, İtalya

24 Belvedere Apollosu (Apollo Belvedere)
Olasılıkla Leochares’in çalışmasından (MÖ 320) kopya Vatikan Müzesi, Roma

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