Like the Parthenon in Athens - another icon of classical antiquity - the Zeus Altar was constructed on a terrace of the acropolis overlooking the ancient city of Pergamon, situated on the west coast of Anatolia (now Turkey) in Asia Minor. However, unlike the Parthenon, it was not a temple but merely an altar, possibly connected to the Doric Temple of Athena which had been built 150 years earlier and which stood above the altar on a separate terrace. Furthermore, unlike the Parthenon's High Classical Greek sculpture (450-400 BCE), whose statues and reliefs were always calm and serene and never expressed any particular emotion, Greek Hellenistic art (323-27 BCE) was less about harmony and serenity, and more about achieving excitement, wild movement …show more content…
The base is decorated with a frieze in high relief showing the battle between the Giants and the Olympian gods known as the Gigantomachy. To assist in the identification of the figures, the names of the gods were chiseled on the pedestal. However, only a few of these inscriptions have been preserved making the reconstruction of the frieze and identification of some of the preserved figures impossible based on hard evidence alone. Despite its fragmentary state, the general program underlying the learned design of the frieze has been surmised. This program groups the Olympians on the east side, the heavenly lights and Titans on the south, probably night and constellations on the north, and earth and water on the west ends and flanking the entrance …show more content…
Next comes Artemis, armed with a bow and arrow against Otos. Her hunting dog savages another Giant on the neck. Leto, the mother of Artemis, fights at her daughter's side against an animal-like Giant; she is helped by Artemis's twin brother Apollo, who has just shot Ephialtes with an arrow. A barely decipherable panel shows Demeter and Hera, Zeus and Heracles (known from a lion's paw). Zeus hurls bolts of lightning against two young Giants and their leader, Porphyrion. After this, Athena, the patron goddess of Pergamon, is struggling against the giant Alkyoneus and his mother Gaia. Finally, we see Ares, the god of war, riding into battle on a
Pemberton, E. G. (1972). The East and West Friezes of the Temple of Athena Nike. American Journal of Archaeology, 303-310.
2:12-13). Characterized by its enormity—massive sculpted friezes protrude from its walls and encompass a wide marble staircase leading up to the pinnacle of the altar completed by an Ionic colonnaded hall. Erected in Pergamon—a relatively young capital of Asia Minor (modern day Turkey) established in the early 3rd century following the death and breakup of Alexander the Great’s empire— in c. 175 BCE; Eumenes II (r. 197-159 BCE) commissioned the altar as monument to their triumph on the city’s Acropolis. The dramatic gravity of the structure and dynamic motion observed in its friezes represents, overall, the Greek Hellenistic period.
Zeus’ marriages to Demeter, Leto and Hera yield the gods and goddeses familiar to the Greek world, Persephone, Apollo, Artemis, Hebe, Ares and Eileithyia, and he himself eventually bears Athena (912-24). These are not elements of good rule, but simply the gods of the Greek polis. Demeter and Persephone are worshipped for agriculture, Apollo for his oracular shrine, Artemis for the wilderness and young women, Ares for war. Poseidon as sea god is apart from the polis, but he sires the fearsome Triton (931). Likewise, Ares’ children Phobos and Deimos, two aspects of fear, delineate realms beyond the proper bounds of the polis. Maia bears for Zeus Hermes (938-9), who as herald of the gods moves between realms, between one polis and another.
Hellenistic art, let alone architecture, was a period of dramatic transformations that deterred greatly from the Greek Classical period. While the Classical Greek concepts were not entirely abandoned, the Hellenistic period expanded the formal horizons with dramatic posing, sweeping lines, and high contrast of light, shadow and emotion, something greatly different from the Classical artists ideas. The conventions and rules of the Classical period gave way to experimentation and a sense of freedom that allowed the artists of the Hellenistic period to explore their subjects from unique points of view that they had not previously done. The Altar to Zeus in Pergamon is the perfect representation of the Hellenistic period. Pergamon contained the Altar to Zeus in the same way that the Athenian Acropolis contained the Parthenon and is considered by the Greek art historian Gisela Richter to be “the most famous altar of Hellenistic times” (Handbook 32). The Altar of Pergamon is uniquely suited as an ideal example of 2nd century Greek culture that is tied to the ideals of the people, and shows off Hellenistic characteristics that define the time just as the Parthenon is a staple in the Classical period. [Stokstad]
During Classical Greece the Parthenon was built as temple to the Goddess Athena, as symbol of the state’s wealth and superiority, along with serving as the treasury. The architecture uses a bit of both Doric and Ionic orders. On the outside rim of the temple Doric columns, triglyphs and metopes are used but on the inside of the temple Ionic friezes were used. Both the metopes and friezes were completely filled with painted sculptures depicting the gods, Athenians, and conquered enemies. The themes center on gods or Athenians being victorious over chorus. One of the main stories shown in the Parthenon is the story of the Goddess of Wisdom, Athena being chosen as the patron Goddess of Athens over the Sea God, Poseidon. Poseidon was a war god who offered the people a beautiful but useless saltwater spring while Athena offered an olive tree. The people of Athens choose the olive tree symbolizing their culture valuing peace and prosperity over the chorus of war. The Parthenon also shows the Ancient Greeks value in mathematics and idealized perfection. The columns were carved to bulge slightly as well as tilting inwards, which creates the illusion that the columns were both straighter and taller than they were. Other illusions they used to give the appearance of perfection included arching in the middle just enough to ensure what would not pull and stop the eye from seeing the ends of the steps rise. Ancient Greeks valued their gods, perfection, mathematics, wealth and
The Greek gods and goddess have sparked my interest ever since seventh grade when I read The Percy Jackson Series. All throughout the books my attention was grasped by their power and demanding personalities, one specific goddess that stood out to me was Athena. Her charm and dominant personality fascinated me and definitely caught my attention. Before reading The Percy Jackson Series, I knew very little about Athena or the gods and goddess’ in general. Later, I took it upon myself to find out more about who the gods were and why they are important to the series I was reading at the time. My knowledge came in handy during the research I did to complete my paper. During my research I found that Athena was very important in not only The Odyssey, but in Greek mythology. She was one of the most confident and practical goddess’, and she was very well respected by the Greek people because of how she helped them.
Use of Movement and Characterisation in the Sculptures of the East and West Pediments of The Temple of Zeus at Olympia The architectural sculpture of the Temple of Zeus at Olympia dates from between 465 and 457BC. Putting the temple into historical context, this was a somewhat flourishing time in Greek history, drama, and philosophy. In 490BC, the Athenians won a great victory at Marathon against the Persians, and in 480BC the Persians sacked Athens but were eventually defeated in a naval victory for the Athenians at Salamis. Greek tragedy was thriving during the fifth century, with Aeschylus’ Oresteia being written roughly around the same time as the sculptures for the temple of Zeus were created, and fifth century philosophy was developing ideas regarding how one should act in society. This information proves to be relevant to our understanding of the development of Greek sculpture in this period, and encourages us to recognise how the sculptures on the Temple of Zeus at Olympia may reflect this prosperous time of Greek history.
In the world today, there are many spectacular sculptures and artworks. The statue of Zeus at Olympia was possibly the most famous statue in the ancient world. It is known to be one of the seven wonders of the ancient world. The Greek sculptor Phidias made it about 435 BC, and dedicated to Zeus the king of gods. The statue of Zeus was the greatest statue to be built in Greece. The artists of this statue captured the royalty of the king by seating Zeus on a throne to inspire tremendous awe in all that witnessed this statue.
Athena was one of the twelve gods in Greek mythology that lived on Mount Olympus. She was the daughter of Zeus the ruler of all the gods and the god of the sky. Athena had many titles is Greek mythology but her two most influential were the goddess of war and the goddess of wisdom. Some of the stories that will be discussed in this paper have multiple versions to them depending on who is telling them or what culture is telling them.
Possibly one of the greatest testaments to the Greeks passion for their gods is the Acropolis and Parthenon in Athens, Greece. “. . . temple after temple, each more gorgeous and more perfect than the one before, rose all over the Greek main land, to reach a final climax in the Athenian Parthenon . . .” (Hamlin 124). Here Hamlin explains the greatness of what was achieved in Athens at the Acropolis and how nothing beyond that point could compare.
In ancient Greece and Rome, each of the gods was associated with specific objects. Zeus (Jupiter), the father of the gods, was often accompanied by an eagle or a thunderbolt; Apollo, the god of art, by a lyre; Artemis (Diana), the hunter, by a bow and quiver. In addition, the Romans perfected the use of secular allegorical symbols. For example, a woman surrounded by bunches of grapes and sheaves of wheat would be readily understood as a representation of the bounties of the earth.
Zeus, most likely the most renowned god of all gods, the mighty god of lightning has taken part in some of the most widely known myths of all times. Zeus has taken part in many Greek and Roman myths alike, either as Zeus or as his Roman counterpart of Jupiter. Unlike most gods in mythology though, Zeus is the main character in almost all of the myths he is mentioned in. Whether the myth is about his epic clash against the Titans, his fight against the Giants or even about his extramarital affairs, Zeus always seems to come out of these conflicts unaffected and triumphant. When examining Zeus’ character though, it is important to note that Zeus is a god that exhibits human characteristics throughout most of his myths. Growth is one of the many human attributes that Zeus portrays in many of his myths.
Ares, also known as Mars, was the god of war. He symbolizes strength and brute force in a war. He is the opposite of Athena, the goddess of wisdom and military strategy. Ares was the son of Zeus and Hera, he was one of the 12 Olympians. (Philips 1)
When Zeus grew up, and with the help of Gaea and his mother Rhea, he slipped Cronus a potion that made the Titan disgorge the swallowed children. Being gods, they were unharmed, albeit a tad dazed and confused. With Zeus serving as their leader, Poseidon, Hades, Hestia, Demeter and Hera waged war against the Titans for supremacy of the Universe. Assisted by the Cyclops (they gave Zeus his thunderbolts, Poseidon his trident and Hades his helmet of invisibility) and the Hecatoncheires (the Hundred-handed-ones), the siblings fought a terrible war that lasted ten years. In the end they were victorious, banishing their vanquished foes to the deepest depths of the Underworld, called Tartarus.