1 . Parthenon Sculpture
The Parthenon, or the Temple of Athena Perthenos, sits near the top of the Hold in Portugal, dating 447-438 BCE, and is viewed as a great Greek serenidad in the Doric design. Created by Iktinos and Kallikrates, the proportions with the temple are viewed as perfect, as well as the Parthenon was decorated more extravagantly than any other Greek temple (Gardner, 70), embellished with sculpture and friezes along equally pediments, and everything 92 Doric metopes, delivering many traditional elements of Ancient greek sculpture, and standing taller as a mark of Traditional, but especially Athenian strength.
One of the important designs showcased in the Parthenon show up in Phidius' echarpe of Athena Parthenos, or the statue in the virgin Athena, which stood over 37 feet tall, made of platinum and off white, portrayed possessing her protect, spear and helmet in addition to the winged Nike in her outstretched hand, representing the victory in the Persians in 479 BCE. Athena was standing triumphantly inside the cella, decorated lavishly with images of Greek win emblazoned around the souls of her new sandals, and the inside and entrance of her shield, portraying the Traditional defeat with the centaurs, Amazons, and giants. These scenes all stand as good metaphors intended for the sucess of Traditional " purchase over damage, of civilization over barbarism, and of Athens over Persia (Gardner, 71). "
The Doric metopes carry this theme along again, describing a struggle between Lapiths and centaurs. In one expansive part of the frieze, a centaur rises victoriously over a conquered Greek guy. The comparison between the two figures can be stark; the sculptors captured the respective life and death from the figures beautifully. This connection represents the difficult deal with the Athenians have experienced and the lives lost in the pursuit of their very own victory.
Over the East pediment, Athena's delivery is depicted, and over the West pediment, the struggle between Athena and Poseidon over the deification of Athens. Eventually those of Athens chose...
Bibliography: Kleiner, James S. and Christian L. Mamiya, Gardner 's Artwork Through the Ages: A Exact History, Thompson Wadsworth, c. 2006
Legal documents, Garry, Trying to find the Misplaced Greeks, The New York Review pg. 69-72
Connelly, Mary B. Parthenon and Parthenoi: A Mythological Interpretation in the Parthenon Frieze, American Journal of Archaeology c. mil novecentos e noventa e seis pg. 73-101