How it was Destroyed
The walls of the city of Babylon were destroyed just in the 1st century in the war after the hanging gardens of Babylon were just constructed. The gardens' plants, trees, and vines were almost dying in the war. The people who know about this structure survived until 2nd century and then they painfully died with many of the harsh earthquakes. But nobody knows how it was destroyed and where it was exactly. Some people said it was totally destroyed in the earthquakes in the 2nd century and because of its name, they believed it was in Babylon. And some said it was destroyed during one of the wars between enemies and was somewhere else.
But still, it is stated in several Seven wonders list. But until now, everybody is just guessing that these gardens were or not. No archaeological evidence proves that
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A temple was built in his honor at Olympia in the blessed woods between two rivers from where he could watch the Olympic games held in his honor after every four years.
Around 432 B.C., Phidias who was Greece's most famous carver, traveled to Olympia to start work on the statue of Zeus. He worked this project so beautifully that it became the fourth wonder of the world. He put down his workshop next to the temple and worked 12 years to complete it.
When he finished, the statue was looking amazing. Zeus' statue was illustrated like he was sitting and ruling on his throne. He was above 40 feet high and his head was virtually touching the temple's roof. Some people said that Phidias did something wrong in the heights. It is believed that it is the actual home of Zeus so if he stood up and then, he might break off the whole
Charles Champoiseau uncovered pieces of masterfully worked Parian marble in April of 1863.1 On Samothraki, the island from which Poseidon is said to have watched the fall of Troy, these segments of stone came together to form four main sections: a torso, a headless bust, a section of drapery, and a wing.2 The sections were shaped to be assembled though the use of cantilevering and metal dowels, allowing the sculptor to extend beyond medium’s gravitational limitations (fig. 2). Just one year later, the pieces were assembled (and those missing were remodeled), and the Greek goddess Nike was revealed at the Louvre.
Athletic events at this time were also closely related to the religious beliefs and practices of the Greek citizens. Each competition was devoted to a specific pagan god. For example, the patron of the Olympics was Zeus. The Greeks believed that the physical strength and ability of athletes was a direct gift from the gods (http://www.meiaconcerto.com/olympic/olympia/ideal_o.php, September 27, 2004). Therefore, each athlete competed not only in honor of his city-state, but also in honor of the gods.
The sculptor Pheidias created the Enthroned Zeus around 430 B.C. This magnificent statue stands at about forty feet tall. The Enthroned Zeus is a marble statue, glazed in gold and ivory to amplify the features of Zeus. Pheidias was also very intrigued by Zeus and characterized him through his sculpture as absolute king of the gods. The Enthroned Zeus was put in the temple of Zeus at Olympia. Zeus’s temple is considered to be one of the most, if not the most important religious sanctuary in the Greek world. This actually came to be considered one of the Seven Wonders of the ancient world. Zeus, as the king of the gods, sits on a large and elaborate throne with his feet on a footstool. His throne is very large with a high set back rest adding more size to the statue and to the image of Zeus as an all-powerful being. The cloak that Zeus wears drapes over him in a way that exposes his chest, showing of his mightiness, and aiming for the viewer to see the sculpture as an all-powerful force. Although his right hand is not attached we can assume that he was holding a scepter or a thunderbolt. At this time period this statue could have even been used as a statue in a private shrine of a wealthy Roman or Greek before traveling to Zeus’ temple. As the marine incrustations indicate, this statuette spent a long period of time submerged in the sea. When looking closely one notice the water marks all over the statue implicating that it must have been engulfed in the ocean for a long time period. But the left side of the sculpture is not marked which means it was probably buried in the sand and protected from the oceans currents.
The Greeks believed the deities provided the city protection and allowed them to be successful in their endeavors while in time of war. Phidias, a master bronze worker, was commissioned to create the sculpture of Athena Parthenos, the goddess of wisdom to show tribute to the gods by creating a large scale sculpture in Acropolis. The Acropolis was the most important site in the city of Athens, and was well recognized as the hilltop of protection. It is also the most significant reference point of ancient Greek culture as well as the symbol of the city of Athens. Some of the greatest architectural masterpieces of the period were erected on its ground.
time to time the Greeks held ceremonies of Games in honor of their god Zeus.
Ancient Greece has set the tone for the standard of how great sculptures were crafted. Therefore, a classic example of this form is the Fallen Warrior from the East Pediment, taken from the ruins of the temple of Aphaia. With its mythology and architectural styles, Ancient Greece has undoubtedly changed the way sculptures were made and still inspires many artists to this day.
The Ancient Greek Olympics were not only sporting events, it was a celebration to honor the great and powerful Zeus. The Ancient Olympics were held every four years at the famous Olympia, a district of Elis, here all free Greek men were allowed to compete. The first record of the Olympic Games was held in 776 B.C. The main sports were the Pentathlon, the Equestrian Events, Pankration, and Boxing.
Scarre, Christopher. The Seventy Wonders of the Ancient World: The Great Monuments and How They Were Built. London: Thames & Hudson, 1999. Print.
Babylon is even home to one of the Seven Wonders of the World, The Hanging Gardens of Babylon. They are in the plalace of Nebuchadnezzar II. The gardens were built on 23 metre tall and being water by a very complicated watering system, the water being provided by The Euphrates River. They were a mountain like series of planted terraces. Excavations have found the elaborate pully system watering the gardens right up to the top terrace.
The Parthenon was an amazing and important temple. Dedicated to Athena, the goddess of war and wisdom, it was a very important temple to the Greeks. Greeks worshiped all of their gods by building temples for them and giving sacrifices. Most of the sacrifices were sacred tiles designed especially for the gods, not many were human.
...ing Greek originals in bronze and was collected by art lovers. Marble was mined by bow drills in shapes of large blocks. A smaller block of marble would make parts of the statue. Then the sculptors connected statues with dowels and use a small hand drill and chisels to make smaller details. Then, the sculptors would use rough powders to smooth the sculpture. Lastly, the artist will then attach the sculpture to a platform and then added paint on the statue. Accessories were added as bronze spears, swords, helmets, and jewelry (Cartwright 1).
Perhaps one of the most defining and easily identifiable aspects of the ancient Greek culture was the immortalization of humans and gods in sculpture. Sculpture had existed in the world for thousands of years before the ancient Greeks made their stake in the art, but the Greeks added an entirely new set of aspects to their sculptures. Unlike the Egyptian and Mesopotamian sculpture centuries earlier, the Greeks set forth not just to capture the image of a man but to capture that which made him a man. The Greeks set in place three base tenants to display the tone of a sculpture. Through the use of Humanism, Realism, and Idealism the ancient Greeks were able to capture humans and gods forever in marble.
The constructions of the temple-palace had large scale implications for the Mesopotamian landscape. It served as a symbolic entity for the city and towns that it was located in due to the tremendous height of these buildings that served as beacons that loomed over villages. These temples were perceived by many individuals who resided in these villages as homes for the deities. A wide cross section of villagers from various social backgrounds belonged to a particular temple in which they would worship. “The temple community comprised a cross section of the population: officials, priests, merchants, craftsmen, food-producers and slaves.” (174 Temple-Palace) Due to the great spiritual investment that was placed within these temples it prompted much time and labor to be invested into their construction. These temples also served as an outlet in which to take care of underprivileged citizens who were poor, orphaned or physically incapable of earning a living. Besides the fact that these temples provided support to the community it also supported the government sector as well. “The activities of the temple coordinated the construction of irrigation canals that often involved the cooperation of several communities.” (174 Temple-Palace) The temple-palace served a variety of integral roles to the villages and cities located within Mesopotamia. Temples intially did not immediately serve all these features within communities in Mesopotamia. Through examining specific periods on the Mesopotamian plain we will further understand how the temple-palaces evolved over the centuries within Mesopotamia and how they eventually became centralized within the community.
Throughout history, there have been several significant architectural movements. The last, and perhaps most enduring movement is that of Classic Greece. Although for centuries, the architecture of ancient Greece has been admired, mimicked, and replicated, its beginnings are somewhat surprising to one unfamiliar with the history of the region. It is important to understand the history and mechanics of Classic Greek architecture in order to fully appreciate its form, function, and beauty. “Ancient Greek architects strove for the precision and excellence of workmanship that are the hallmarks of Greek art in general. The formulas they invented as early as the sixth century B.C. have influenced the architecture of the past two millennia” (metmuseum.org).
As we didn’t want to create a model replica of the building, the group decided to repurpose the exterior of the building. As excluding Athena, the city’s patron deity, Poseidon was considered the most important god in the city’s history, we decided to create a temple dedicated to Poseidon, with a trident placed at the front of the entrance to denote its significance. But as it unfolded, both lack of time and appropriate materials forced us to reconsider. So, as a result, only the front and a small portion of the side were columned, creating a patio in front of the entrance. As it now looked more like a modern building than an ancient temple, we hit upon the idea of making it an expensive seafood restaurant called Poseidon’s Restaurant. Our design finalized, we started building with plasterboard and wooden rods serving as the walls and steeple roof and the columns respectively, caps painted white that served as Doric capitals, and thin wooden sticks that served as the flat roof. Finally, the piece was wrapped in textured contact paper to invoke the image of it being made of marble. The decorations such as the trident placed on the patio. The building step took approximately nine hours to