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The virtual museum
Alexander the Great’s death in 323 B.C. marked the expansion of Grecian mythology beyond the territory. Alexander quickly extended the borders of the Macedonian Empire to include Afghanistan and eastern Pakistan today. His generals struggle for power after his death without nominating a replacement. The empire was divided among Hellenist states, which ruled Greece, part of southern Italy, Asia Menor, Egypt, and the North East for three hundred years after several civil wars. During this time, Greek became a foreign language, resulting in Greek art blooming. In terms of realism, eroticism, and mass media (a standard coinage that was not recognized as such), the literature of the Hellenistic era broke out new ground in terms of (a contemporary coinage never regarded as such at the time).
The Attalid Kingdom, which ruled Pergamon on the west coast of Turkey, is one of those Hellenistic dynasties. Pergamon became a wealthy, cultured city under Attalid and Roman rule (133 B.C.) .Its big acropolis (the hill town) had a huge altar with complex chips known as the well-known Grand Altar. Carl Humann, a German engineer and amateur archeologist, met the old site of Pergamon during excavations for the Ottoman Turkish road construction project in the mid-1960s (Gardinier).
But the actual drilling had to wait until 1879 when Humann could receive funding from the Berlin Kingdom Museums. It is the start of a long-standing partnership of German towns to Hellenistic cities that eventually led to the establishment of the Pergamon Museum (the Ottoman Government claimed the balance) – a large complex dedicated to the conservation of its accepted site (the Ottoman government claimed the credit). In a diplomatic game of archeological standards, the Great Altar friezes have been recognized as worthy contestants for the British Museum’s Elgin Marble (Parthenon frieze sculptures in Athens) (sculptures from the frieze of the Parthenon in Athens). The field is still excavated today under the management of the Pergamon Museum.
The show has been identified as ‘unabashedly an ‘artifact exhibition’ by Carlos Picon, Met’s chief curator of antiquities,’ which does not seem to involve a simple art-history survey. “In any case, the study of the plurality of Hellenistic distinctions cannot be resolved,” he writes in an exhibition catalog. “In any case,” she says. “It is only possible to explore new ideas and try to find ways to further studies, or at the very least to inspire us to look at this rich material with new eyes,” he writes.
The display “Pergamon and the Ancient World Hellenistic Realms” will be shown for the first time to many Met travelers. Works that are visually and mentally taxing are more likely to be recognized, even by skilled at them (Baker). At the same time, the Grand Altar cannot move (since it is embedded in the walls of the Pergamon Museum itself). The New York show includes a striking design reflecting the look of the altar when it was first placed, as well as elements from the friezes.
Among the items in the collection are some extensive marble bas-reliefs discovered between 1878 and 1886 on the north and east sides of the Athena shrine. These daring sketches, dating from about 180 B.C., depict fights between Pergamon’s kings and the Kings, shields, a standard ship and rudder, and a mask helmet. The trophies’ haphazard, rugged construction suggests a peaceful life on the ground and a more cubistic result (Briscoe). Dedication to such a significant institution as this shrine in Athena shows that Pergamon, like any other foreign region, collaborated to communicate with Greek religious sources and incorporate himself into Greek mythology.
The actual arms and armor and the frieze elements are depicted: One of the few surviving Hellenistic objects of its type is a bronze shield with a diameter of 32 inches and an embellishment discovered in modern Turkey. “Of King Pharnakes,” the inscription between two concentrations of ornamental strips reads, referring to Pharnakes I, who ruled Pontos in the second century B.C. Initially, a wooden or leather support with a six-point central star pattern can be mounted behind the shield’s brass front.
Images of the Hellenistic civilization’s founder, Alexander the Great, are prominently displayed at the start of the installation. Bucephalus, one of the collection’s most impressive pieces, is a bronze sculpture perched on his beloved horse, which is dressed in traditional Macedonian attire and poised to blast an unseen opponent (about 20 inches high). He would have used his weapons invisibly for us at the very least, but his abilities had deteriorated over time. Alexander is depicted without a shield, alluding to a significant occurrence in 334 B.C. The sculpture was discovered in Herculaneum and is a copy of a Greek original from the Roman Republic or the early Imperial era, created between 320 and 300 B.C.
There is also an unfinished monumental marble head at Pergamon, possibly depicting Alexander, though it is much smaller in size. The head in the wall of the Pergamon Gymnasium in the second century B.C. was nearly double (almost 23 inches) in length and was most likely cut. The young King’s face was dramatically severed, leaving only its expressive, slightly open mouth, nose, and curly hair; most of the head was severed, resulting in a stunning yet unintentional effect.
Every characteristic appears to be that of an individual rather than an idealized archetype. The eyes are expressive, with white stems and dark gray stone irises that express pathos or sorrow. Late-Hellenistic portraiture is distinguished by keen attention to naturalistic details and a desire to represent the sitter’s true nature and character. The person depicted may have been a public official, a journalist, or a well-known local, but the artist portrays himself rather than a public figure.
Frank’s eroticism is another characteristic of Hellenistic sculpture. Hermaphrodite Sleeping, a 2nd century B.C. Greek imitation of Roman Imperial origin. Hermaphrodite Sleeping, a 2nd century B.C. Greek replica. The exhibit The Met was a magnificent example of Minor Asia discovered in Rome at the end of the nineteenth century during a theater building. According to mythology, Hermaphroditos, the son of Hermes and Aphrodite, was a hindrance to the nymph’s success, prompting the spirit to seek the aid of the gods. They became one by fusing her with her beloved and creating a bisexual creature for all time. The man is sleeping in the marble, partially encased in a blanket, with one leg crossed over the other and his face resting on his side. Despite this, it seems to be on the verge of collapsing at any moment. The body and face are sex-neutral, with women skewed to the side of the face. On the other hand, the sculptor uses the breast and the cock as dramatic representations of the androgynous nature of this mix.
Naturalist painting was a significant accomplishment in Hellenistic art, but unfortunately, only a few paintings survived. Mosaic paintings, on the other hand, depict what Hellenistic art may have looked like. A community of busy musicians dedicated to the culture of the Cybele Goddess is displayed on a late Roman Republican icon discovered in Pompeii between the 2nd and 1st centuries B.C. Each of them is dressed theatrically (Bowen). The first is blown by a double flute, the second by a large tambourine, and the seventh by a pair of small hand cymbals. To the left is a small man, maybe a boy or a dwarf. The poet, Dioskourides of Samos, signs the Greek image, most likely as a model for Menander’s comedy, The Possessed Girl, which is mainly lost, and only a few lines remain. This piece is a reconstruction of artwork from the last century. It employs chiaroscuro and demonstrates three-dimensional control of space due to its mosaic nature.
Conclusion
A fascinating multi-figure composition cut outside in relief can be found in the marble calyx crater Borghese Krater. This one stands out in a show of only high positions. This large vase, made in Greece about 40-30 B.C., was discovered in 1569 in Rome’s Sallust gardens and is now housed in the Louvre. The frieze depicts Dionysus, the god of wine, and Ecstasy in procession, with a shape that resembles the shape of ceramic craters that can be used to serve wine at banquets. Dionysos is also a grapevine under the crater floor. One of the characters in the frieze is a sky portraying semi-nudism, three monads or female worshipers, and five satyrs or faunas, all of whom are dancing and playing musical instruments. One fauna appears to have consumed excessive alcohol, while another fauna appears to be helped. The decorative arts in “Hellenistic Kingdoms of Pergam and the Ancient World” include numismatics and diamonds. The Vienna Cameo is one of the most appealing items in this category. This ten-layered onyx double portrait dates from the early Hellenistic period of Ptolemaic Egypt, which lasted from 278 to 270/269 B.C. This profile depicts Pharaoh Ptolemy II and his sister-wife, Arsinoe II (Philadelphia means “sibling-lover” in Greek) (Philadelphos means “sibling-lover” in Greek). The stem’s white layers were used to build the faces.
Work cited
Bowen, Jonathan. “The Virtual Museum”. Museum International, vol 52, no. 1, 2000, pp. 4-7. Informa UK Limited, doi:10.1111/1468-0033.00236.
Baker, Abigail. “K Servi The Acropolis. The Acropolis Museum. Athens: Ekdotike Athenon S.A., 2011. Pp. 167, Illus. €10.50. 9789602134528.”. The Journal Of Hellenic Studies, vol 133, 2013, pp. 281-281. Cambridge University Press (CUP), doi:10.1017/s0075426913001122.
Gardinier, Suzanne. “The West Point Museum”. Grand Street, vol 8, no. 4, 1989, p. 196. JSTOR, doi:10.2307/25007283.
Briscoe, John. “The Attalid Kingdom – R. E. Allen: The Attalid Kingdom. A Constitutional History. Pp. Xi + 251; 2 Maps. Oxford: Clarendon Press, 1983. £20.”. The Classical Review, vol 34, no. 2, 1984, pp. 266-268. Cambridge University Press (CUP), doi:10.1017/s0009840x00103762.
