Archaic Period PDF

Archaic Period
640 – 490 BCE
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Kouroi & Kourai
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New York Kouros
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Moscophoros
ca. 570 BCE
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Dying Warrior from west pediment
of the Temple of Aphaia at Aegina,
ca. 500 – 490 BCE, Marble
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Rampin
Horseman
c. 550 BCE
from the
Acropolis
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"stay and mourn at
the tomb of dead
Kroisos, whom raging
Ares destroyed one
day as he fought in
the foremost ranks."
Kroisos, ca. 530 BCE,
from Anavysos,
Marble
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Korai
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"Berlin"
Kore
570/560
BCE
Hera of
Samos
570/560
BCE
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Peplos
Kore
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Kore, from the
Acropolis, Athens,
Greece, ca. 520–510
BCE. Marble, 1’ 9” high.
Acropolis Museum,
Athens.
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Archaic Architecture
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Plan of Temple A, Prinias, Greece, ca. 625 B.C.E.
Stone temple with stone sculpture, based on megaron
plan.
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Peripteral Greek Temple
Figure 5-13 Plan of a typical peripteral
Greek temple.
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Compare Doric and Ionic Orders
Figure 5-14 Elevations of the Doric and Ionic orders.
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Figure 5-15 Temple of Hera I (“Basilica”), Paestum, Italy, ca. 550 BCE.
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Figure 5-16 Plan of the Temple of Hera I, Paestum, Italy, ca. 550 BCE.
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Figure 5-17 West pediment from the Temple of Artemis,
Corfu, Greece, ca. 600–580 BCE. Limestone, greatest height 9’
4”. Archaeological Museum, Corfu.
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Figure 5-18 Reconstruction drawing of the Siphnian
Treasury, Delphi, Greece, ca. 530 BCE (John Burge).
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Figure 5-19 Gigantomachy, detail of the north frieze of the
Siphnian Treasury, Delphi, Greece, ca. 530 BCE. Marble, 2’ 1”
high. Archaeological Museum, Delphi.
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Temple of Aphaia at Aegina
and the Transition to the
Classical Period
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Temple of Aphaia, Aegina, Greece, ca. 500-490 B.C.E.
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GUILLAUME-ABEL BLOUET’S 1828 restored view of the façade of the
Temple of Aphaia, Aegina, Greece, ca. 500–490 BCE.
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Temple of Aphaia, Aegina, Greece, ca. 500-490 B.C.E.
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West pediment of the Temple of Aphaia
Aegina, Greece
ca. 500-490 B.C.E.
marble
approximately 5 ft. 8 in. high at center
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Dying warrior
from the Temple of Aphaia, Aegina, Greece
ca. 500-490 B.C.E.
marble
approximately 5 ft. 2 1/2 in. long
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Dying warrior
from the Temple of Aphaia, Aegina, Greece
ca. 490-480 B.C.E.
marble
approximately 6 ft. 1 in. long
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Archaic Vases
Greek painters were said to
produce great paintings.
Unfortunately, there are no
extant paintings. What we
know about Greek pictorial
representation comes from
the work preserved on vases.
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Archaic Vases
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“Chigi Vase”
Ca. 640 BCE
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The Chigi vase is an early instance of
narrative art; the lower areas of oinochoe
(type of vase) pottery forms of the Archaic
period were now becoming utilized for
painting and decoration. This marked a
departure from the previous Geometric
period forms in that pottery was now being
used to reference specific stories and myths,
with representations of different figures or
characters. The decorations on the Chigi Vase
itself are rather sophisticated, as it is graced
with narrative scenes, incised lines and
varied coloration. Polychromy, where the use
of multiple colors is employed, was another
improvement upon the previous Geometric
period.
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The first representation of the hoplite
phalanx on pottery, appears on this vase.
Individual hoplite warriors in formation,
as well as the hoplon (soldier’s shield)
and other armaments are clearly visible.
This example of vase painting gives
modern viewers a brief look into ancient
Greek military organization. Such
groupings indicate a level of social
cohesion where Greeks came together to
unite as equals. Of course, this was only
for a select few (elite Greek males), as
women, slaves, and the poor were
denied equal status.
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Chigi Vase
• Change in warfare
– Hoplites: citizen soldiers with shields and
spears
– Phalanx (later): Square formation with long
spikes
• Change in vase painting
– Black figure (almost)
– No longer just geometric shapes (more
realistic)
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Hoplites
• From hoplon = “shield”
• Increased availability of
iron
• Increased wealth
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Detail of Chigi Vase, showing
hoplite (Greek citizen soldiers)
in battle formation.
Polychrome
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Black Figure Vases
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KLEITIAS and ERGOTIMOS, François Vase (Athenian black-figure volute krater),
from Chiusi, Italy, ca. 570 BCE. General view (top) and detail of centauromachy
on other side of vase (bottom). 2’ 2” high. Museo Archeologico, Florence.
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Start to see scenes from the Iliad
on pottery
Ajax (
and Achilles
from the
François
volute
krater
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Exekias,
Achilles and
Ajax playing a
game, Vulci,
ca 540 – 530
BCE
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Exekias &
Black Figure Vases
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Exekias:
Achilles
slays the
Amazon
queen
Penthesilea
, ca. 540
BCE
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Exekias:
Ajax
prepares
for suicide
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Panathenaic Games held every 4 years
for athletes of Athens to compete. It
was part of a special version of the an
annual Pananthenaic celebration.
These games were not considered as
great as the Olympic games. Vases
were given as trophies to the winners.
The event the athlete won in was
depicted on the vase.
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Panathenaic Vase, Stade (footrace)
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Discus
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Pankration (mixed martial art of ancient Greece)
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Bilingual Vases
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ANDOKIDES PAINTER, Achilles and Ajax playing a dice game (Athenian bilingual amphora), from Orvieto, Italy,
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ca. 525–520 BCE. Black-figure side (left) and red-figure side (right). 1’ 9” high. Museum of Fine Arts, Boston.
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Heracles and Athena. Attic
bilingual amphora painted by
Andokides Painter, ca. 520 BCE,
from Vulci.
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Euphronios and
Red Figure
Vases
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EUPHRONIOS, Herakles wrestling Antaios (detail of an Athenian red-figure
calyx krater), from Cerveteri, Italy, ca. 510 BCE. Whole vessel 1’ 7” high; detail
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7 3/4” high. Louvre, Paris.
Euphronios, Red Figure Vase: Death of Sarpedon during the Trojan War
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EUTHYMIDES, Three revelers
(Athenian red-figure
amphora), from Vulci, Italy, ca.
510 BCE. 2’ high. Staatliche
Antikensammlungen, Munich.
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Onesimos, Girl going to wash, ca. 490 BCE
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Picasso
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