(Hellenistic Greek Art [continued (8))[– The Dreveni Krater][28th January 1991]

[Redbook8:203][19910128:1247h](Hellenistic Greek Art [continued (8))[– The Dreveni Krater][28th January 1991]

19910128.1247

[continued]

And this one* is here because I like it.

*’The Derveni Krater; bronze; height 91cm (36in); late 4^th century BC[E]. Archaeological Museum, Thessalonica.’

– E[ncylopaedia of] V[isual] A[rt]1:157

(where see it in colour)

[Caption is on photocopy of (black-and-white) photograph included in ms but not in ts]

[continued]

[PostedBlogger19for20042023]

(Hellenistic Greek Art [continued (7))[– Terracotta figurines][28th January 1991]

[Redbook8:202][19910128:1247g](Hellenistic Greek Art [continued (7))[– Terracotta figurines][28th January 1991]

19910128.1247

[continued]

[A photocopy in the ms of ‘a photograph of a terracotta figurine of a young woman from Tanagra’ (height 33cm (13in), Staatliche Museum, East Berlin), with accompanying text, from Encylopaedia of Visual Art 1:156, is not reproduced in the ts. but includes the following text:]

‘... [Tanagra figurines] were extremely popular throughout the Greek world from c[irca]340 until 200BC[E]. Tanagra figurines were chiefly female, fully clad, and represented scenes of daily life, though occasionally one may be interpreted as a goddess, a Muse (perhaps with musical instrument), or Aphrodite half-naked. Women and girls stand, dance, or sit, sometimes playing knucklebones. Occasionally young men and boys – seated or standing – are the subjects, or chubby, babyish Erotes, usually in flight. There are also a few grotesque figures, probably in part influenced by contemporary comedies – ugly old nurses, for example, or enormously fat women. Naturalism was the aim, with relaxed poses and familiar dress to give the figures a human quality which helps to explain their popular appeal....’

‘After 200BC[E] the terracotta industry fragmented, different centers concentrating on certain subjects.... Tanagra types, in bigger, more varied, and more elaborate forms, continued until c[irca]130BC[E] as production and repertoire gradually increased. Mythological subjects featured frequently and comic actors too, many of whom are very fine, although the style in general finally degenerated into grotesque coarseness.’

– Encylopaedia of Visual Art 1:156

[continued]

[PostedBlogger19042023]

(Hellenistic Greek Art [continued (6))[– 16-pointed star][28th January 1991]

[Redbook8:201][19910128:1247f](Hellenistic Greek Art [continued (6))[– 16-pointed star][28th January 1991]

19910128.1247

[continued]

[A photocopy in the ms of a photograph of what is thought to be the funeral casket of Philip of Macedon, from Encylopaedia of Visual Art 1:161, is not reproduced in the ts but is described in the ms as follows:]

The gold casket in the marble sarcophagus near the centre of the back wall of the inner chamber of the Tomb [presumed to be of]* Philip of Macedon.

On the lid is a multi-rayed star:** the emblem of the Macedonian Royal Family.***

*[Square brackets per ms]

**[16-pointed]

***(ref earlier [], re TV programme?)

[Unclear to what this refers]

[continued]

[PostedBlogger17for18042023]

(Hellenistic Greek Art [continued (5))[– Eclecticism][28th January 1991]

[Redbook8:201][19910128:1247e](Hellenistic Greek Art [continued (5))[– Eclecticism][28th January 1991]

19910128.1247

[continued]

‘The eclecticism that informed Hellenistic jewellery was equally characteristic of architecture. The old orders disintegrated, their parts being treated as interchangeable, while Ionic and Corinthian developed at the expense of the less decorative Doric. Flamboyance was the fashion....’

– ibid [Encylopaedia of Visual Art 1] 158

[continued]

[PostedBlogger17042023]

(Hellenistic Greek Art [continued (4))[– Post-realism][28th January 1991]

[Redbook8:201][19910128:1247d](Hellenistic Greek Art [continued (4))[– Post-realism][28th January 1991]

19910128.1247

[continued]

‘In the 2^nd century [bce], however, there were signs of a reaction against exaggerated realism. The statue usually identified as Demetrius I of Syria (reigned 162-150BC[E]; Terme Museum, Rome) with its godlike nudity shows an idealised picture of statesmanship and intellect. His body is massive and haughty, his brow deeply furrowed, his expression contemptuous – all to emphasise his kingly aloofness. Other works, too, show a return to the less realistic treatment of earlier centuries, sometimes even imitating the style of the Archaic period.’

– ibid [Encylopaedia of Visual Art 1:] 153-6

[continued]

[PostedBlogger17for16042023]

(Hellenistic Greek Art [continued (3)][– Monsters])[28th January 1991]

[Redbook8:201][19910128:1247c](Hellenistic Greek Art [continued (3)][– Monsters])[28th January 1991]

19910128.1247

[continued]

*‘Physical abnormality and monsters** (especially centaurs in the 1^st century BC[E]) became popular subjects with sculptors, presumably because of their customers’ tastes.’

***

*(In the Hellenistic period)

(c[irca]320-[circa]0BCE)

**A~-J~? or flushing out at R~?

***cf [[Redbook8:150][19901223:1916d]{More Mesopotamian Symbols [continued (4)] – Monsters}[23rd December 1990],] 150 (c1500-1100 Mesopotamia)

***– E[ncylopaedia of] V[isual] A[rt]1:153-6

[continued]

[PostedBlogger17for15042023]

{Hellenistic Greek Art [continued]} {([–]Concentrated Action v. Diffusion)}[28th January 1991]

[Redbook8:200][19910128:1247b]{Hellenistic Greek Art [continued]} {([–]Concentrated Action v. Diffusion)}[28th January 1991]

19910128.1247

[continued]

M~ can be seen as concentrated action – going back to basics* even though the movement from Attraction (/Unity) at C through Outward Action inevitably begins the process of diffusion (eg via analysis) which reaches its ultimate stage at R~(→C). The power of the G~ semicircle is of a different degree – diffusion – from that of M~.

*[Unclear whether this refers to movement on the circle or this way of looking at it – probably the former]

[continued]

[PostedBlogger13for14042023]

{Hellenistic Greek Art}[28th January 1991]

[Redbook8:200-205][19910128:1247]{Hellenistic Greek Art}[28th January 1991]

19910128.1247

‘Alexander’s career gave rise to a new Greek world, in which the city-states played a role subordinate to territorial monarchies but in which the genius of the Greek people found outlets in every field of culture and political experimentation. The three centuries from Alexander to the establishment of the Roman Empire under Augustus were among the most productive and influential in the whole of Greek history.’

*

This represents the sector from just before R~ [to] C on the 2048 year scale (also around G~-C on the 1028 year scale.) The parallel with our own times is unmistakable: although Western imperialism may have peaked a little later,** it is certainly arguable that the high point of Western influence so far is now – after the end of even the Third World empires of the Western powers.

*– E[ncyclopaedia] B[ritannica] 20:289

**[by comparison]

[continued]

[PostedBlogger13042023]

{Classical Greek Art [continued (23)]} ([–] (Coins [continued])[27th January 1991]

[Redbook8:199][19910127:1250w]{Classical Greek Art [continued (23)]} ([–] (Coins [continued])[27th January 1991]

19910127.1250

[continued]

*

**

[Extracts from the ms image reproduced above are set out in the table below:]

R~		|		S~
Aquarius	\	←|→	/	TVIII
Pisces		|		Charioteer
G~	←	+	→
		|
	/	|	\
		|

**

*[– Encylopaedia of Visual Art 1:144]

[‘…the beautiful dekadrachm of Syracuse, 405BC[E], signed by Cimon, which carries the Syracusan dolphin and nymph Arethusa, and on the reverse a chariot.’ (– ibid)]

**(But cf Auriga, ‘The Charioteer’, at c[irca]A~)

re the (Greek & Roman) Order of Architecture, see IX. [] 225

[PostedBlogger10for12042023]