In this chapter, “The Appeal of Hellas”, Gruen’s wide-ranging analysis of ancient documentation and scholarly research facilitates his study on Rome’s dichotomous attitude of philhellenism and animosity towards “Hellenization” throughout the last two centuries B.C, and furthermore orchestrates his view that these sentient complexities were a discreet product of Roman nobles’ endeavor for controlling Rome.
To commence, Gruen sheds light on Rome’s philhellenism sentiments through their indulgence in Greek athletic contests (Isthmian Games), religious festivals (Eleusinian Mysteries), the acquisition of Greek regalia fashion and culture, indicated by L. Scipio Asiagenus’ statue and moreover, through investigating Roman aristocrats and scholars
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Kuttner addresses the multifaceted Pergamon-Rome’s artistic symbiosis through addressing Pergamon’s influence in Rome’s Eastern Expansion, national religion and through the importance of Pergamene silver, ceramic and architectural ornamentation within Hellenistic-Roman architecture, as indicated by complicated terrace and portico designs.
Kuttner also uses the ancient documentation of Strabo’s Geography, which recorded famous Pergamenes that culturally and politically assisted the Julio Claudian hegemony, including Mithridates and Apollodoros, to assert Pergamon’s continuous cultural and artistic influence in Rome.
Kuttner further demonstrates Pergamon’s art-historical influence and production through artifactual evidence, including Augustus’ ornamental monument, Ara Pacis, Mantua’s Pergamene-style building, which had an interior frieze of Romans fighting Celts and moreover, Pompey’s Attalicism to suggest Roman pride and defence of Hellenistic culture against opposing non-Hellenic
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Wallace-Hadrill’s extensive chapter centralises on the establishment of architectural code switching and the shifting of identities within language, monuments and material-culture in the urbanisation of Italy between the eclectic mix of Greek, Roman and local influence. In doing so, he incorporates evidence from wide-ranging quantities of Roman-Italian archaeological data coupled with crucial case studies that stretches from the Celtic Oleggio through to Praneste, the Secco valley to Pompeii and Pietrabbondatnte.
Wallice-Hadrill primarily concentrates on the importance of language – bilingualism, (evident from inscriptions), and trilingualism (Ennuis’ tria corda) and how it shaped significance to cultural identity, as shown by Italian negotiatores in the Delos slave market between 166-87 B.C who demonstrate various incentives for Italians to learn Greek and
An analysis of Mycerinus and Kha-merer-nebty II and Augustus of Primaporta, reveals that there are many similarities, but also many differences between these two pieces of sculpture. These similarities and differences are found in the subject, style, and function of both works of art.
"National Roman Museum - Palazzo Massimo Alle Terme." Soprintendenza Speciale per I Beni Archeologici Di Roma. N.p., n.d. Web. 05 Mar. 2014.
The third and most important way that Roman culture and ideals were spread throughout western civilization is through mere contact. Whether this is through physical influence, or the study of Roman relics, Rome's ideas spread like wild fire. An importan...
Livius, Titus. The Early History of Rome. Trans. Aubrey De Sélincourt. London: Penguin Group, 2002. N. pag. Print.
Favro, Diane G.. The urban image of Augustan Rome. Cambridge: Cambridge University Press, 1996. (266)
The Roman Empire began as a small colony, in the city of Rome, and eventually, became one of the largest empires that the world has ever known before its ultimate demise. Because of the vast size of their territory, and the number of cultures they consumed throughout their existence, the Romans were heavily influenced by the Greeks and other Hellenistic civilizations. Two different groups of professors argue this point. Professors Matthews, Platt, and Noble argue this influence is reflected by Roman music, philosophy, literature, architecture, art, culture/government, and technology and science; and Professor Weber argues this is reflected in the areas of government/law, the influence and effects of conquests, culture, religion, architecture and art, and philosophy. Both parties make compelling arguments as to why the Romans were heirs to Greek and Hellenistic civilization however, it will be demonstrated that Matthews et al. provide a more thorough argument than Weber.
The primary function of monumental portraits in Ancient Rome was to honor political figures of power through repeating social and political themes. The Romans expressed these themes through a form of “realism”. Relics of this era were found depicting the elderly conservative nobility that lived through civil disruptions and war, elaborately individualized through detail of the face expression. Through the features of grimacing heaviness, wrinkles, and effects of old age, the Romans were able to express the reality of their political situation felt by the people whose faces were sculptured into stone. Furthermore, Nodelman discusses the use of sculpture portraits to depict the ideology behind Roman conservative aristocracy. Artists would portray the virtues of gravitas, dignities, and fides, through the use to physical expression and symbolic meaning, rather than through words. A statue of Augustus, for instance, displays the militaristic, powerful, godly perception of the conservative ideology through the use of symbolic detail. The decorative, rich, military outfit on Augustus, represents the power of the military and Augustus’s role as imperator in it. The freely held masculine arm and pointing gesture towards the horizon are Rome’s expanding dreams, clashing with the overall powerful and sturdy stance of the body. The bare feet bring about the impression
Platner, Samuel Ball, and Thomas Ashby. A Topographical Dictionary of Ancient Rome. London: Oxford University Press, 1929
Although both Roman and Greek civilizations shared similarities in the areas of art and literature, their differences were many and prominent. Their contrasting aspects rest mainly upon political systems and engineering progress, but there are also several small discrepancies that distinguish between these two societies. This essay will examine these differences and explain why, ultimately, Rome was the more advanced civilization of the two.
Wilson, R.J.A. “Roman Art and Architecture.” Oxford Illustrated History. Oxford U. Press, 1988. pp. 361-399
The city of Rome delivers rich culture, influential architecture, and beautiful scenery that collectively demonstrate a course of great history and a prominent civilization. There are various structures from Imperial Rome that are highly recognized and mentioned within artistic research. Some examples include the Pantheon, Basilica Ulpia, Flavian Amphitheater, Arch of Titus, and Column of Trajan. Also referred to as Trajan’s Column, the iconic sculpture retains a prestigious appearance as it’s shown with characteristics of empowering height and intricate detail (Fig. 1). When analyzing such a remarkable piece of artwork one should consider the different elements that pertain to the subject matter and historical context. With that in mind, this paper presents the argument that the column is not only a portrayal of the Dacian Wars but also a funerary monument, paradigm of military inspiration, and tribute to Trajan’s reign.
Marcel Le Glay, Jean-Louis Voisin, Yann Le Bohec. A History of Rome. West Sussex, UK: Wiley-Blackwell, 2009.
Moving forward to the Hellenistic Baroque period, the Greeks now experience attacks from the Gauls of central Europe. Eventually, the Gauls were crushed in battle by the Pergamon army under Attalos I. Attalos I then construc...
Kleiner, Fred S. A History of Roman Art. Boston, MA: Wadsworth, Cengage Learning, 2010. Print.
One of the defining characteristics of the Hellenistic period was the division of Alexander the Great's empire into smaller dynastic empires founded by the diadochi, or the rival generals and friends of Alexander the Great who served him. Each succeeding dynasty practiced a royal patronage which differed from those of the city-state. Architecturally, this resulted in vast urban plans and large complexes which had mostly disappeared from city-states by the 5th century BC. This city planning was quite innovative for the Greek world; rather than manipulating space by correcting its faults, building plans conformed to natural settings. One city, in particular, embodied architecture that was revolutionary during the Hellenistic period. Pergamon in Asia Minor showcased the Pergamon Altar as a monumental construction built during the reign of King Eumenes II on one of the terraces of the acropolis of the ancient city of Pergamon. Initially built as a monument to the emerging power of the Attalids, colossal and humbling scale were exhibited for visitors. The path connecting the lower part of the town with the acropolis led visito...