Academic literature on the topic 'Parthenon (Athens, Greece). Frieze'
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Journal articles on the topic "Parthenon (Athens, Greece). Frieze"
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Fowden, Elizabeth Key. "The Parthenon, Pericles and King Solomon: a case study of Ottoman archaeological imagination in Greece." Byzantine and Modern Greek Studies 42, no. 2 (September 5, 2018): 261–74. http://dx.doi.org/10.1017/byz.2018.8.
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What made Athens different from other multi-layered cities absorbed into the Ottoman Empire was the strength of its ancient reputation for learning that echoed across the Arabic and Ottoman worlds. But not only sages were remembered and Islamized in Athens; sometimes political figures were too. In the early eighteenth century a mufti of Athens, Mahmud Efendi, wrote a rarely studiedHistory of the City of Sages (Tarih-i Medinetü’l-Hukema)in which he transformed Pericles into a wise leader on a par with the Qur'anic King Solomon and linked the Parthenon mosque to Solomon's temple in Jerusalem.
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Gill, David W. J. "Expressions of wealth: Greek art and society." Antiquity 62, no. 237 (December 1988): 735–43. http://dx.doi.org/10.1017/s0003598x00075189.
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In the 2nd century AD Pausanias (i.2.4-15.1) walked through the agora at Athens describing some of the statues and naming the artists; at least 35 of the statues were of bronze, yet not a single one survives intact today (Mattusch 1982: 8-9). Thinking only of the extant marble sculpture does an injustice to the civic art of Athens. This problem is commonplace; almost any classical site has numerous stone bases for bronze statues which have long gone into the melting-pot. Yet so often in modern scholarship stone sculpture is given a privileged position. Although modern histories of Greek art pay much attention to the marble sculpture of the Parthenon, ancient authorities were not so impressed; Pausanias (i.24.5-7) provides the briefest of descriptions to the marble sculpted pediments and omits to mention the frieze. For many scholars today the frieze has become an example of what ‘unlimited money can do’ (Ashmole 1972: 116), yet, as R. Osborne has recently pointed out, it merely helped the viewer to process to the east end of the temple where he or she would have been confronted by the great chryselephantine cult-statue of Athena: ‘this is what the temple was built to display, this is the object towards which worship is directed, and this is what the procession was all about’ (Osborne 1987: 101). And this is what Pausanias describes in detail, the great work of art and expression of Athens’ wealth which no longer survives.
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Spivey, Nigel. "Art and Archaeology." Greece and Rome 60, no. 1 (March 12, 2013): 176–79. http://dx.doi.org/10.1017/s0017383512000344.
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The front cover of John Bintliff's Complete Archaeology of Greece is interesting. There is the Parthenon: as most of its sculptures have gone, the aspect is post-Elgin. But it stands amid an assortment of post-classical buildings: one can see a small mosque within the cella, a large barrack-like building between the temple and the Erechtheum, and in the foreground an assortment of stone-built houses – so this probably pre-dates Greek independence and certainly pre-dates the nineteenth-century ‘cleansing’ of all Byzantine, Frankish, and Ottoman remains from the Athenian Akropolis (in fact the view, from Dodwell, is dated 1820). For the author, it is a poignant image. He is, overtly (or ‘passionately’ in today's parlance), a philhellene, but his Greece is not chauvinistically selective. He mourns the current neglect of an eighteenth-century Islamic school by the Tower of the Winds; and he gives two of his colour plates over to illustrations of Byzantine and Byzantine-Frankish ceramics. Anyone familiar with Bintliff's Boeotia project will recognize here an ideological commitment to the ‘Annales school’ of history, and a certain (rather wistful) respect for a subsistence economy that unites the inhabitants of Greece across many centuries. ‘Beyond the Akropolis’ was the war-cry of the landscape archaeologists whose investigations of long-term patterns of settlement and land use reclaimed ‘the people without history’ – and who sought to reform our fetish for the obvious glories of the classical past. This book is not so militant: there is due consideration of the meaning of the Parthenon Frieze, of the contents of the shaft graves at Mycenae, and suchlike. Its tone verges on the conversational (an attractive feature of the layout is the recurrent sub-heading ‘A Personal View’); nonetheless, it carries the authority and clarity of a textbook – a considerable achievement.
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Diamantis, Alexandros. "Il Convegno AICA del 1984. La Presidenza Hăulică e la questione dei Marmi del Partenone." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 157–73. http://dx.doi.org/10.24193/subbhistart.2020.08.
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"The 1984 Conference of the International Association of Art Critics. The Presidency of Dan Hăulică and the Issue of the Parthenon Sculptures. In 1984, the Conference of the International Association of Art Critics (AICA), chaired by the Romanian Dan Hăulică (1932-2014), was organized for the first time in Greece; the event offered an opportunity for historians and art critics of various nationalities to meet. The theme of the conference, „Contemporary art and the Greek world. The XXth century in the face of the civilizations that have followed one another in the Greek space”, on the one hand honored the host country and on the other, placing the accent on the relationship between XXth century art and the Western artistic tradition, was part of the international discussion on the end of the avant-gardes. The complex relationships between the ancient and the contemporary were discussed in terms of influences, continuity and discontinuity. Particular attention was paid to the concept of myth and the mythical dimension of contemporary art. On the other hand, the generic definition of „Greek world"", intentionally chosen by the Greek section of the AICA, re-proposed the national narrative of an essentially unitary historical-artistic development. The Conference also had a dimension of international political significance connected to the fact that the previous year the AICA, an organization affiliated with UNESCO, had approved a motion for the return to Greece of the Parthenon marbles kept at the British Museum. In Athens, the confirmation of solidarity with the Greek cause was also a matter of electoral campaign for the renewal of the Presidency of the AICA. Keywords: AICA Congress, art discourse, contemporary art, Parthenon marbles, classical heritage, myth "
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ALLAN, DAVID. "THE AGE OF PERICLES IN THE MODERN ATHENS: GREEK HISTORY, SCOTTISH POLITICS, AND THE FADING OF ENLIGHTENMENT." Historical Journal 44, no. 2 (June 2001): 391–417. http://dx.doi.org/10.1017/s0018246x01001686.
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This article explores changing responses among late Georgian Scots towards Greek history in general and classical Athens in particular. Tracing the early study of Greece through some of the more innovative Scottish Enlightenment scholars, it argues that Periclean Athens long remained a difficult and controversial topic, mainly because eighteenth-century authors found it hard to offer a fully sympathetic treatment of a historical subject strongly associated with radical political democracy. With the defeat of Napoleon, however, and as new ways were sought to celebrate Scotland's own recent imperial, economic, and intellectual achievements, Athenianism gained in credibility, assisted by the rising tide of cultural Hellenism and political Hellenophilia throughout Britain. Plans were laid for a national monument in Edinburgh, modelled on the Athenian Parthenon. Nevertheless, insufficient support was forthcoming and by 1830 the project had stalled. Not least among the causes of this debacle – popularly known as ‘Scotland's Disgrace’ – were the contradictions involved in Athenian symbolism: the abandoned monument ultimately served to represent only the failings of Scotland's tory establishment.
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Walker, Matthew. "Francis Vernon, the Early Royal Society and the First English Encounter with Ancient Greek Architecture." Architectural History 56 (2013): 29–61. http://dx.doi.org/10.1017/s0066622x00002446.
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Francis Vernon (c. 1637-77) is not a particularly well-known figure in the history of British architecture, but perhaps he should be. In 1675 he became one of the first English people to have set foot in Athens and, the following year, published what was undisputedly the first account in the English language of the city and its architecture. Vernon was a member of the recently founded Royal Society and one of a group of English and French travellers who journeyed through central Greece and Turkey in the 1670s. He was murdered in Isfahan in early 1677. Vernon's account of the time he spent in Athens was published in the Society's journal, thePhilosophical Transactions, in 1676, and it included brief but illuminating descriptions of the Erechtheion, the Temple of Hephaestus and the Parthenon, the latter written over ten years before the bombing of the temple by a Venetian army in 1687. TheTransactionsoften contained both travel writing and antiquarian material and, in this respect, Vernon's account was typical of the journal's somewhat eclectic content in its early years. Significantly, Vernon's publication predated more famous accounts of Greece from the period, such as those written by his travelling companions Jacob Spon (who released hisVoyage d'ltalie, de Dalamatie, de Grèce et du Levantin France in 1678) and George Wheler, whoseA journey into Greecewas published in 1682. Unlike Vernon, both Spon and Wheler survived their journeys. The only European publication on Athens that preceded Vernon's was a French text of 1675 that would prove to be a fabrication. As this article will demonstrate, Vernon's initial exposure of this fabrication was one of the reasons why his account of the city became so important in English intellectual culture at the time.
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Shapiro, D. "Conference report. The restitution of the Parthenon marbles and the European Union: a historical-cultural-legal approach. Athens, Greece (May 23-24, 2000)." International Journal of Cultural Property 9, no. 2 (January 2000): 354–58. http://dx.doi.org/10.1017/s094073910077113x.
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Delgado Linacero, Cristina. "La Gigantomaquia, símbolo socio-político en la concepción de la polis griega." Espacio Tiempo y Forma. Serie II, Historia Antigua, no. 12 (January 1, 1999). http://dx.doi.org/10.5944/etfii.12.1999.4349.
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Este estudio propone una interpretación del mito de la Gigantomaquia como símbolo político y sociológico de la evolución de la ciudad griega. Está basado en fuentes literarias y visuales que aparecieron entre los siglos viii y ii a.C. El desafío final a la autoridad de los Olímpicos viene de los Gigantes, hijos de Gala, nacidos de las gotas de sangre brotada de los miembros emasculados de Urano. Fue el tema del friso norte del Tesoro de los Sifnios en Deifi y tuvo una importancia particular en las metopas orientales del Partenón (Acrópolis de Atenas) y sobre el gran friso del altar de Pérgamo. El análisis trata de aportar alguna luz sobre el modo en que los griegos entendieron su propia historiaThis survey proposes a Gigantomachy myth interpretation as a political and sociological symbol in the Greek polis evolution. It is based on literary sources and visual arts created between Vlllth and llth centuries B.C. The final challenge to the authority of the Olympians came from the Giants, sons of Gala born from the drops of blood that fell from Ouranos' severed members. It was the subject on the north frieze of the Siphinian Treasury at Delphi and had a particular importance on the eastern metopes of the Parthenon (Acrópolis of Athens) and on the altar large frieze at Pergamon. The analysis intends to throw some light on the Greek way to understand their own history.
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Beresford, James M. "Museum of Light: The New Acropolis Museum and the Campaign to Repatriate the Elgin Marbles." Architecture_MPS, March 1, 2015. http://dx.doi.org/10.14324/111.444.amps.2015v7i1.001.
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It is almost half-a-dozen years since the New Acropolis Museum in Athens was inaugurated in June 2009, following a gestation period of over three decades. Before, during and after the construction of the building, the importance of natural light was frequently emphasised by the Museum’s Swiss-French architect, Bernard Tschumi, as well as many Greek government officials, archaeologists, and other heritage professionals. The manner in which the same bright sunlight illuminates both the Parthenon and the temple’s decorative sculptures which are now on display in the Museum, is also routinely referenced by campaigners advocating a return of those sculptures that were removed from the Athenian Acropolis on the orders of Lord Elgin between 1801–03 and subsequently shipped to London. Following the purchase of the collection by the British government in 1816, the Marbles of the Elgin Collection were presented to the British Museum, where they are presently on display in Room 18, the Duveen Gallery. However, for more than two centuries it has been maintained that the sculptures can only be truly appreciated when viewed in the natural light of Athens. Even before the completion of the New Acropolis Museum there were bitter attacks on the manner in which the Marbles are displayed in the British Museum, and the quality of the illumination afforded to the sculptures in the Duveen Gallery. The aesthetics of the Attic light has therefore taken its place as one of the principal weapons in the armoury of Greek officials and international campaigners seeking the return of the Marbles removed by Lord Elgin. Nonetheless, this paper will argue against the accepted orthodoxy that the New Acropolis Museum replicates the original light conditions many of the sculptures from the temple experienced when on the Parthenon. Indeed, this article will dispute the goal of many architects, politicians, and heritage professionals of the need ensure that, when on public display, all of the Parthenon sculptures are bathed in bright natural light. The ability to display the Marbles in the sun-drenched gallery of the New Acropolis Museum forges a powerful link binding the environment of Classical Athens with the present-day capital of Greece, offering politicians and activists seeking the repatriation of the Elgin Marbles a potent weapon wielded to great effect. However, the politically motivated design parameters laid on the museum, requiring the building admit vast amounts of natural Attic light, has destroyed the architectural context the Marbles were displayed in when originally affixed to the temple in the fifth century BC.
Dissertations / Theses on the topic "Parthenon (Athens, Greece). Frieze"
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Lewis, David Correll. "Revealing the Parthenon's logos optikos : a historical, optical, and perceptual investigation of twelve classical adjustments of form, position, and proportion." Diss., Georgia Institute of Technology, 1994. http://hdl.handle.net/1853/23998.
Full textBooks on the topic "Parthenon (Athens, Greece). Frieze"
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Bird, Susan. Second sight of the Parthenon frieze. Turin: British Museum Press in association with Silvio Zamorani editore, 1998.
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Bird, Susan. Second sight of the Parthenon frieze. Turin: British Museum Press in association with Silvio Zamorani editore, 1998.
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Ernst, Berger. Der Parthenon in Basel: Dokumentation zum Fries. Mainz: P. von Zabern, 1996.
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Ernst, Berger. Der Parthenon in Basel: Dokumentation zu den Metopen. Mainz: P. von Zabern, 1986.
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Nardo, Don. The Parthenon of ancient Greece. San Diego, CA: ReferencePoint Press, 2014.
Find full textBook chapters on the topic "Parthenon (Athens, Greece). Frieze"
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Fagan, Brian. "Greece Bespoiled." In From Stonehenge to Samarkand. Oxford University Press, 2006. http://dx.doi.org/10.1093/oso/9780195160918.003.0007.
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The grand tour took the young and wealthy to Rome and Naples, but not as far as Greece, which had sunk into oblivion under its Byzantine emperors, who began to rule in A.D. 527. For seven hundred years Greece remained masked in obscurity as Crusaders, Venetians, and then Turks established princedoms and trading posts there. The Turks entered Athens in 1455 and turned the Parthenon and Acropolis into a fortress, transforming Greece into a rundown province of the Ottoman Empire. Worse yet, the ravages of wind, rain, and earthquake, of villagers seeking building stone and mortar, buried and eroded the ancient Greek temples and sculptures. Only a handful of intrepid artists and antiquarians came from Europe to sketch and collect before 1800, for Greek art and architecture were still little known or admired in the West, overshadowed as they were by the fashion for things Roman that dominated eighteenth-century taste. A small group of English connoisseurs financed the artists James Stuart and Nicholas Revett on a mission to record Greek art and architecture in 1755, and the first book in their multivolume Antiquities of Athens appeared in 1762. This, and other works, stimulated antiquarian interest, but in spite of such publications, few travelers ventured far off the familiar Italian track. The Parthenon was, of course, well known, but places like the oracle at Delphi, the temple of Poseidon at Sounion—at the time a pirates’ nest— and Olympia were little visited. In 1766, however, Richard Chandler, an Oxford academic, did visit Olympia, under the sponsorship of the Society of Dilettanti. The journey took him through overgrown fields of cotton shrubs, thistles, and licorice. Chandler had high expectations, but found himself in an insect-infested field of ruins: Early in the morning we crossed a shallow brook, and commenced our survey of the spot before us with a degree of expectation from which our disappointment on finding it almost naked received a considerable addition. The ruin, which we had seen in evening, we found to be the walls of the cell of a very large temple, standing many feet high and well-built, its stones all injured . . .
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Schultz, A. C. "Fake Structures – Real Architecture? From the Parthenon in Athens, Greece to the Parthenon of Banned Books in Kassel, Germany." In Structures and Architecture: Bridging the Gap and Crossing Borders, 1064–71. CRC Press, 2019. http://dx.doi.org/10.1201/9781315229126-127.
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Comstock, Anna Botsford. "A Sabbatical Year Abroad—Egypt and Greece." In The Comstocks of Cornell-The Definitive Autobiography, edited by Karen Penders St Clair, 275–304. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501716270.003.0012.
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This chapter examines Anna Botsford and John Henry Comstock's sabbatical year abroad in Egypt and Greece. On January 1, 1908, the Comstocks boarded the Italian steamer “Perseo,” bounded for Alexandria. Arriving early on January 5 in the city of Euclid and Cleopatra, the Comstocks then visited the Egyptian Quarter—a narrow, crooked street through houses that date back to Cleopatra's time. From Alexandria, they traveled to Cairo, where they wandered through the Ezbekieh Gardens and admired the palm trees and studied the hooded crows. They also took a train to Old Cairo and visited the pyramids. However, one of their most interesting experiences in Cairo was a visit to the University which is held in the Mosque of Gamai el-Azhar. Later, it was on the S.S. Osmaniah that the Comstocks took passage from Alexandria to Greece. They then went to the Acropolis and the Parthenon in Athens.