Analysis Of The Features Of Sculpture Art In The Hellenistic Period

Table of Contents

Introducing

Customs

Religious Cults/Depictions Of Religion/ Belief

Recreational and Entertainment Purposes

Reality Vs. Ideality/Idea Of Heroism

Material’s importance

In conclusion

An opening statement

The Hellenistic age brought new artistic diversity and transcended past works. These sculptures were bold and risk-taking. Different functions were served by the Hellenistic Terracotta figurines. All of the figures discussed here were made in the Hellenistic period. However, the dates and artists are not known. There is much to be speculated and analysed about the mystery of these sculptures. This analysis will show figures representing different types, and discuss the history of each sculpture as well as their meanings. Religious Cults/ Depictions Of Religion/ Belief rituals were used often by religious groups for various reasons. These were dolls that had articulated limbs. They were believed to provide protection. Figure 1 shows dolls that were believed to protect against evil. This is ironic considering they didn’t have arms. The belief was that power within was more important than physical strength. These “dolls”, which are often found in adult graves, indicate a possible chthonic connection. They are dolls made of women. The only indications of femininity are the women’s breasts and their hair. Headbands are worn by women to cover their curly hair. The women seem very powerful and obedient. They sit straight up, as if following some kind of order. It would be used for entertainment purposes and recreational purposes. They would be smiling, dressed in wreaths, and performing dancing. Grotesques were mainly used for comedy purposes. The wreath worn by a dancing dwarf indicates that he was likely part of a comedy act. This figure looks similar to a doll for religious cults. However, he does have arms. The figure could also serve apotropaic purposes. Festivals were used during this period to pay respect and honor Dionysus. The dwarf has very small feet and is playful. Contrary to popular belief, the dwarf has a chest that looks almost like a mature man. Although the figure is childlike, his expression and the wreath on top of his head make it seem playful. Before, during, and after death, rituals were used. The Dying Gaul, or Dying Gladiator, is Figure 3. It is assumed that the figure is in his final days and that he is not currently alive. He is not showing any wounds or scarring, even though he’s dying. His vulnerability is apparent in his nudity, and it could also indicate his inability to comprehend the severity of the actions he was about to engage. His hand clasping his leg in pain could be an illusion. The Dying Gaul (an Ancient Roman marble copy a lost Hellenistic bronze sculpture) is believed to be an Ancient Roman marble copy. Figure 3 shows a shift of culture in Greece. The Hellenistic period’s art was intensely emotional, and required strong expressions to be understood. His hair is spiked, not curled. This could indicate that he is not a god and higher power but a slave. His body is a triangle with a strong diagonal. This further speaks to his future and the title “The Dying Gaul”. Reality V. Ideality/ Idea Of HeroismGrotesques were human figures that reflect real life. Rhyton as a Centaur. Centaurs are wild, uncivilized creatures. However, this Centaur is serene and focused. This illusion is to believe stereotypes. It’s a trick to make people believe he is half-man, half-horse. This image, which is a mix of both man and horse, makes people feel enlightened. Rhyton appears strong, his abdominal muscles are clearly visible while Rhyton seems tall and confident. Rhyton’s hair looks more like leaves than hair. This illusion is due to Rhyton’s bottom being from nature. Many women were depicted during this period as royalty or higher than gods and goddesses. The Statuette of Apollodite is considered luxury art and was probably made in the second century B.C.

Aphrodite’s apple-shaped hand holds it as an attribute. Paris, Troy gave it to her goddess as a prize at a beauty competition. She could represent Aphrodite of Pergamon, or a Hellenistic Queen. Her clothing, sandals and head gear are all inconsistent with the person she is supposed be portraying. The simplicity of her dress is apparent. She wears thongs sandals, which were popular in early 100s B.C. Her dress is very simple in texture. It has no patterns, no jewelry, and is quite expressive. Her crown is simple and has no strong details. The curled hair and veil look like they were inspired by royal portraiture. Her hand is almost a superhero-like position. As though she is declaring her victory, she holds out the apple to show that it was the prize of beauty. It was difficult for Hellenistic artists to tell the difference between men or women. This is the head depicted of an old woman. The head also shows a prominent bony larynx. Although the figure is supposed to represent an elderly woman, her features suggest otherwise. Her nose looks like a man’s. Her lips and bone structure are both large. The only thing on her body that can be considered feminine is her headband. The headband is not athletic, but a headband made of leaves that is feminine and somewhat feminine. Due to her skull’s large size, it appears that the viewer may believe the old lady is sick. The texture in her left eye seems to be less than in the right. The discoloration of the clay and the indentions on the face suggest that the material has been weathered. Clay was one main material in sculptures at the Hellenistic time. The sculpture depicts Herakles. Clay sculptures look very different from bronze. This head was twice the size of a life-size statue. The sides of the head are carved with hair, which suggests that the statue was intended to be viewed at the front. His eyes look set, even though his pupils are not visible. Athletic appearance. Cult figures were known for their athletic appearance. Herakles, the cult’s focus, was once himself. This is however not a cult symbol. The statue was a symbol of athletic training and strength. In contrast to bronze statues, it is important to highlight the eyes of the figure. His pupils are absent. There is a lot of detail, but not the same character as bronze sculptures. It is clean and not worn bronze sculptures which are often painted as being coppery-like. The texture of his hair is very different to the one shown in The Dying Gaul. His hair is shaped in strong, curly curls which are a sign of his social status. Tritoness Relief Applique, a statue made from bronze and copper inlays. This is Triton’s feminine counterpart. Her long, flowing hair falls in snake-like tendrils and falls to her shoulders. Her curls seem wet, a reflection of her position in the water. She is holding the handle of a weapon behind her head. The copper inlay appears in the eyes and lips as well as the nipple. Her eyes are not made of clay but have pupils. Her hair texture is rich, but her curls aren’t too strong. As if in battle, she holds a sword to her side. This sculpture depicts Aphrodite and Pan with Eros. It was believed that the statue would counter “Hellenisticrococo”. The sculpture is filled with smiling figures, which suggests that they believe in the lighthearted, playful tone. Pan grips Aphrodite’s wrist as Eros flies high above her shoulder, trying to grab Pan. Aphrodite defends herself by raising her sandal. The artist can see her feminine part, which is something that has been done throughout history of art. However, she does show her breasts, which suggests that her body is not hidden from the viewer. Aphrodite is shown as being taller than Pan and with stronger abdominal muscles. Eros holds onto Pan’s horns. Pan has a tail and hooves. His dominant muscularity and macho figure show that he is very masculine. Statue groups with satyrs and nymphs were more daring during the Late Hellenistic period. These statues are often seen as the realization of the erotic masculine fantasy. This is a playful representation of Eros.

The idea is well-suited to the innovative themes of Hellenistic Art Period. The Greek mythology of the satyrs described sub-human male woodland spirits that had several animal characteristics. This image depicts a drunken person who falls asleep on a stone. He has his eyebrows twisted together to signify his worry. His hands and legs are tight; you can clearly see his veins. This man is not at ease. His left thigh is exposed and his tail rises from his ears. His face displays intense naturalism and is not symmetrical. His left leg and right foot have had their left thigh, and entire right leg and feet restored. There are also marks that look like scars to indicate this. His sexuality is extraordinary as he has never been a soldier. His nudity does not look athletic. It is more exotic. This explicit view of nudity is meant to show the barbaric nature of human nature. Conclusion: Research has revealed the extent of Hellenistic culture’s diversity. These sculptures were unique and unlike anything else. They weren’t just beautiful; they were also stories about real life. Both their creators and commissioners are reflected in the sculptures. All sculptures reflect the open-mindedness of those who created them. Every figure was unique and served a purpose.