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Ancient Greek sculpture

The sculpture of ancient Greece is the main surviving type of fine ancient Greek art as, with the exception of painted ancient Greek pottery, almost no ancient Greek painting survives. Modern scholarship identifies three major stages in monumental sculpture in bronze and stone: the Archaic (from about 650 to 480 BC), Classical (480–323) and Hellenistic. At all periods there were great numbers of Greek terracotta figurines and small sculptures in metal and other materials.

Riders from the Parthenon Frieze, around 440 BC
Jockey of Artemision. Late Hellenistic bronze statue of a mounted jockey, National Archaeological Museum, Athens.

The Greeks decided very early on that the human form was the most important subject for artistic endeavour.[1] Seeing their gods as having human form, there was little distinction between the sacred and the secular in art—the human body was both secular and sacred. A male nude of Apollo or Heracles had only slight differences in treatment to one of that year's Olympic boxing champion. The statue, originally single but by the Hellenistic period often in groups was the dominant form, though reliefs, often so "high" that they were almost free-standing, were also important.

Materials edit

 
Natural marble

By the classical period, roughly the 5th and 4th centuries, monumental sculpture was composed almost entirely of marble or bronze; with cast bronze becoming the favoured medium for major works by the early 5th century; many pieces of sculpture known only in marble copies made for the Roman market were originally made in bronze. Smaller works were in a great variety of materials, many of them precious, with a very large production of terracotta figurines. The territories of ancient Greece, except for Sicily and southern Italy, contained abundant supplies of fine marble, with Pentelic and Parian marble the most highly prized. The ores for bronze were also relatively easy to obtain.[2]

 
Athena in the workshop of a sculptor working on a marble horse, Attic red-figure kylix, 480 BC, Staatliche Antikensammlungen (Inv. 2650)

Both marble and bronze are easy to form and very durable; as in most ancient cultures there were no doubt also traditions of sculpture in wood about which we know very little, other than acrolithic sculptures, usually large, with the head and exposed flesh parts in marble but the clothed parts in wood. As bronze always had a significant scrap value very few original bronzes have survived, though in recent years marine archaeology or trawling has added a few spectacular finds, such as the Artemision Bronze and Riace bronzes, which have significantly extended modern understanding. Many copies of the Roman period are marble versions of works originally in bronze. Ordinary limestone was used in the Archaic period, but thereafter, except in areas of modern Italy with no local marble, only for architectural sculpture and decoration. Plaster or stucco was sometimes used for the hair only.[3]

Chryselephantine sculptures, used for temple cult images and luxury works, used gold, most often in leaf form and ivory for all or parts (faces and hands) of the figure, and probably gems and other materials, but were much less common, and only fragments have survived. Many statues were given jewellery, as can be seen from the holes for attaching it, and held weapons or other objects in different materials.[4]

 
The Victorious Youth (c. 310 BC), a remarkably weather-preserved bronze statue of a Greek athlete in Contrapposto pose

Painting of sculpture edit

 
While the pigments originally present on most sculptures from the era have worn away, Greek sculptures were originally painted.[5][6][7] This experimental color restoration shows what a statue of a Trojan archer from the Temple of Aphaia, Aegina may have originally looked like.[6]

Ancient Greek sculptures were originally painted in multiple colors;[5][6][7] they only appear colorless today because the original pigments have deteriorated.[5][6] References to painted sculptures are found in classical literature,[5][6] including in Euripides's Helen in which the eponymous character laments, "If only I could shed my beauty and assume an uglier aspect/The way you would wipe color off a statue."[6] Some well-preserved statues still bear traces of pigments[5] and archaeologists can reconstruct what they may have originally looked like.[5][6][7]

Development of Greek sculptures edit

Geometric edit

It is commonly thought that the earliest incarnation of Greek sculpture was in the form of wooden or ivory cult statues, first described by Pausanias as xoana.[8] No such statues survive, and the descriptions of them are vague, despite the fact that they were probably objects of veneration for hundreds of years. The first piece of Greek statuary to be reassembled since is probably the Lefkandi Centaur, a terracotta sculpture found on the island of Euboea, dated c. 920 BC. The statue was constructed in parts, before being dismembered and buried in two separate graves. The centaur has an intentional mark on its knee, which has led researchers to postulate[9] that the statue might portray Cheiron, presumably kneeling wounded from Herakles' arrow. If so, it would be the earliest known depiction of myth in the history of Greek sculpture.

The forms from the Geometric period (c. 900 to 700 BC) were chiefly terracotta figurines, bronzes, and ivories. The bronzes are chiefly tripod cauldrons, and freestanding figures or groups. Such bronzes were made using the lost-wax technique probably introduced from Syria, and are almost entirely votive offerings left at the Hellenistic civilization Panhellenic sanctuaries of Olympia, Delos, and Delphi, though these were likely manufactured elsewhere, as a number of local styles may be identified by finds from Athens, Argos, and Sparta. Typical works of the era include the Karditsa warrior (Athens Br. 12831) and the many examples of the equestrian statuette (for example, NY Met. 21.88.24 online). The repertory of this bronze work is not confined to standing men and horses, however, as vase paintings of the time also depict imagery of stags, birds, beetles, hares, griffins and lions. There are no inscriptions on early-to-middle geometric sculpture, until the appearance of the Mantiklos "Apollo" (Boston 03.997) of the early 7th century BC found in Thebes. The figure is that of a standing man with a pseudo-daedalic form, underneath which lies the hexameter inscription reading "Mantiklos offered me as a tithe to Apollo of the silver bow; do you, Phoibos [Apollo], give some pleasing favour in return".[10] Apart from the novelty of recording its own purpose, this sculpture adapts the formulae of oriental bronzes, as seen in the shorter more triangular face and slightly advancing left leg. This is sometimes seen as anticipating the greater expressive freedom of the 7th century BC and, as such, the Mantiklos figure is referred to in some quarters as proto-Daedalic.

Archaic edit

 
Kleobis and Biton, kouroi of the Archaic period, c. 580 BC. Delphi Archaeological Museum.
 
The Sabouroff head, an important example of Late Archaic Greek marble sculpture, and a precursor of true portraiture, c. 550-525 BCE.[11]

Inspired by the monumental stone sculpture of ancient Egypt[12] and Mesopotamia, the Greeks began again to carve in stone. Free-standing figures share the solidity and frontal stance characteristic of Eastern models, but their forms are more dynamic than those of Egyptian sculpture, as for example the Lady of Auxerre and Torso of Hera (Early Archaic period, c. 660–580 BC, both in the Louvre, Paris). After about 575 BC, figures such as these, both male and female, began wearing the so-called archaic smile. This expression, which has no specific appropriateness to the person or situation depicted, may have been a device to give the figures a distinctive human characteristic.

Three types of figures prevailed—the standing nude male youth (kouros, plural kouroi), the standing draped girl (kore, plural korai), and the seated woman. All emphasize and generalize the essential features of the human figure and show an increasingly accurate comprehension of human anatomy. The youths were either sepulchral or votive statues. Examples are Apollo (Metropolitan Museum of Art, New York), an early work; the Strangford Apollo from Anafi (British Museum), a much later work; and the Anavyssos Kouros (National Archaeological Museum of Athens). More of the musculature and skeletal structure is visible in this statue than in earlier works. The standing, draped girls have a wide range of expression, as in the sculptures in the Acropolis Museum of Athens. Their drapery is carved and painted with the delicacy and meticulousness common in the details of sculpture of this period.

The Greeks thus decided very early on that the human form was the most important subject for artistic endeavour. Seeing their gods as having human form, there was no distinction between the sacred and the secular in art—the human body was both secular and sacred. A male nude without any attachments such as a bow or a club, could just as easily be Apollo or Heracles as that year's Olympic boxing champion. In the Archaic Period the most important sculptural form was the kouros (See for example Biton and Kleobis). The kore was also common; Greek art did not present female nudity (unless the intention was pornographic) until the 4th century BC, although the development of techniques to represent drapery is obviously important.

As with pottery, the Greeks did not produce sculpture merely for artistic display. Statues were commissioned either by aristocratic individuals or by the state, and used for public memorials, as offerings to temples, oracles and sanctuaries (as is frequently shown by inscriptions on the statues), or as markers for graves. Statues in the Archaic period were not all intended to represent specific individuals. They were depictions of an ideal—beauty, piety, honor or sacrifice. These were always depictions of young men, ranging in age from adolescence to early maturity, even when placed on the graves of (presumably) elderly citizens. Kouroi were all stylistically similar. Graduations in the social stature of the person commissioning the statue were indicated by size rather than artistic innovations.

Classical edit

 
Riace bronzes, examples of proto classic bronze sculpture, Museo Nazionale della Magna Grecia, Reggio Calabria
 
Artemision Bronze, thought to be either Poseidon or Zeus, c. 460 BC, National Archaeological Museum, Athens. Found by fishermen off the coast of Cape Artemisium in 1928. The figure is more than 2 m in height.

The Classical period saw a revolution of Greek sculpture, sometimes associated by historians with the popular culture surrounding the introduction of democracy and the end of the aristocratic culture associated with the kouroi. The Classical period saw changes in the style and function of sculpture, along with a dramatic increase in the technical skill of Greek sculptors in depicting realistic human forms. Poses also became more naturalistic, notably during the beginning of the period. This is embodied in works such as the Kritios Boy (480 BC), sculpted with the earliest known use of contrapposto ('counterpose'), and the Charioteer of Delphi (474 BC), which demonstrates a transition to more naturalistic sculpture. From about 500 BC, Greek statues began increasingly to depict real people, as opposed to vague interpretations of myth or entirely fictional votive statues, although the style in which they were represented had not yet developed into a realistic form of portraiture. The statues of Harmodius and Aristogeiton, set up in Athens mark the overthrow of the aristocratic tyranny, and have been said to be the first public monuments to show actual individuals.

The Classical Period also saw an increase in the use of statues and sculptures as decorations of buildings. The characteristic temples of the Classical era, such as the Parthenon in Athens, and the Temple of Zeus at Olympia, used relief sculpture for decorative friezes, and sculpture in the round to fill the triangular fields of the pediments. The difficult aesthetic and technical challenge stimulated much in the way of sculptural innovation. Most of these works survive only in fragments, for example the Parthenon Marbles, roughly half of which are in the British Museum.

Funeral statuary evolved during this period from the rigid and impersonal kouros of the Archaic period to the highly personal family groups of the Classical period. These monuments are commonly found in the suburbs of Athens, which in ancient times were cemeteries on the outskirts of the city. Although some of them depict "ideal" types—the mourning mother, the dutiful son—they increasingly depicted real people, typically showing the departed taking his dignified leave from his family. This is a notable increase in the level of emotion relative to the Archaic and Geometrical eras.

Another notable change is the burgeoning of artistic credit in sculpture. The entirety of information known about sculpture in the Archaic and Geometrical periods are centered upon the works themselves, and seldom, if ever, on the sculptors. Examples include Phidias, known to have overseen the design and building of the Parthenon, and Praxiteles, whose nude female sculptures were the first to be considered artistically respectable. Praxiteles' Aphrodite of Knidos, which survives in copies, was often referenced to and praised by Pliny the Elder.

Lysistratus is said to have been the first to use plaster molds taken from living people to produce lost-wax portraits, and to have also developed a technique of casting from existing statues. He came from a family of sculptors and his brother, Lysippos of Sicyon, produced fifteen hundred statues in his career.[13]

The Statue of Zeus at Olympia and the Statue of Athena Parthenos (both chryselephantine and executed by Phidias or under his direction, and considered to be the greatest of the Classical Sculptures), are lost, although smaller copies (in other materials) and good descriptions of both still exist. Their size and magnificence prompted rivals to seize them in the Byzantine period, and both were removed to Constantinople, where they were later destroyed.


Hellenistic edit

 
Laocoön and His Sons (Late Hellenistic), Vatican Museum
 
The Hellenistic Pergamon Altar: l to r Nereus, Doris, a Giant, Oceanus

The transition from the Classical to the Hellenistic period occurred during the 4th century BC. Greek art became increasingly diverse, influenced by the cultures of the peoples drawn into the Greek orbit, by the conquests of Alexander the Great (336 to 323 BC). In the view of some art historians, this is described as a decline in quality and originality; however, individuals of the time may not have shared this outlook. Many sculptures previously considered classical masterpieces are now known to be of the Hellenistic age. The technical ability of the Hellenistic sculptors are clearly in evidence in such major works as the Winged Victory of Samothrace, and the Pergamon Altar. New centres of Greek culture, particularly in sculpture, developed in Alexandria, Antioch, Pergamum, and other cities. By the 2nd century BC, the rising power of Rome had also absorbed much of the Greek tradition—and an increasing proportion of its products as well.

During this period, sculpture again experienced a shift towards increasing naturalism. Common people, women, children, animals, and domestic scenes became acceptable subjects for sculpture, which was commissioned by wealthy families for the adornment of their homes and gardens. Realistic figures of men and women of all ages were produced, and sculptors no longer felt obliged to depict people as ideals of beauty or physical perfection. At the same time, new Hellenistic cities springing up in Egypt, Syria, and Anatolia required statues depicting the gods and heroes of Greece for their temples and public places. This made sculpture, like pottery, an industry, with the consequent standardisation and (some) lowering of quality. For these reasons, quite a few more Hellenistic statues survive to the present than those of the Classical period.

Alongside the natural shift towards naturalism, there was a shift in expression of the sculptures as well. Sculptures began expressing more power and energy during this time period. An easy way to see the shift in expressions during the Hellenistic period would be to compare it to the sculptures of the Classical period. The classical period had sculptures such as the Charioteer of Delphi expressing humility. The sculptures of the Hellenistic period however saw greater expressions of power and energy as demonstrated in the Jockey of Artemision.[16]

Some of the best known Hellenistic sculptures are the Winged Victory of Samothrace (2nd or 1st century BC), the statue of Aphrodite from the island of Melos known as the Venus de Milo (mid-2nd century BC), the Dying Gaul (about 230 BC), and the monumental group Laocoön and His Sons (late 1st century BC). All these statues depict Classical themes, but their treatment is far more sensuous and emotional than the austere taste of the Classical period would have allowed or its technical skills permitted. Hellenistic sculpture was also marked by an increase in scale, which culminated in the Colossus of Rhodes (late 3rd century), thought to have been roughly the same size as the Statue of Liberty. The combined effect of earthquakes and looting have destroyed this as well as any other very large works of this period that might have existed.

Following the conquests of Alexander the Great, Greek culture spread as far as India, as revealed by the excavations of Ai-Khanoum in eastern Afghanistan, and the civilization of the Greco-Bactrians and the Indo-Greeks. Greco-Buddhist art represented a syncretism between Greek art and the visual expression of Buddhism. Discoveries made since the end of the 19th century surrounding the (now submerged) ancient Egyptian city of Heracleum include a 4th-century BC depiction of Isis. The depiction is unusually sensual for depictions of the Egyptian goddess, as well as being uncharacteristically detailed and feminine, marking a combination of Egyptian and Hellenistic forms around the time of Alexander the Great's conquest of Egypt.

In Goa, India, were found Buddha statues in Greek styles. These are attributed to Greek converts to Buddhism, many of whom are known to have settled in Goa during Hellenistic times.[17][18]

Cult images edit

 
Reproduction of the Athena Parthenos statue at the original size in the Parthenon in Nashville, Tennessee.

All ancient Greek temples and Roman temples normally contained a cult image in the cella. Access to the cella varied, but apart from the priests, at the least some of the general worshippers could access the cella some of the time, though sacrifices to the deity were normally made on altars outside in the temple precinct (temenos in Greek). Some cult images were easy to see, and were what we would call major tourist attractions. The image normally took the form of a statue of the deity, originally less than life-size, then typically roughly life-size, but in some cases many times life-size, in marble or bronze, or in the specially prestigious form of a Chryselephantine statue using ivory plaques for the visible parts of the body and gold for the clothes, around a wooden framework. The most famous Greek cult images were of this type, including the Statue of Zeus at Olympia, and Phidias's Athena Parthenos in the Parthenon in Athens, both colossal statues now completely lost. Fragments of two chryselephantine statues from Delphi have been excavated. Cult images generally held or wore identifying attributes, which is one way of distinguishing them from the many other statues of deities in temples and other locations.

The acrolith was another composite form, this time a cost-saving one with a wooden body. A xoanon was a primitive and symbolic image, usually in wood, some perhaps comparable to the Hindu lingam, although the oldest cult image from the Greek world, the Minoan Palaikastro Kouros, is highly sophisticated. Many xoana were retained and revered for their antiquity in later periods; they were often light enough to be carried in processions. Many of the Greek statues well known from Roman marble copies were originally temple cult images, which in some cases, such as the Apollo Barberini, can be credibly identified. A very few actual originals survive, for example the bronze Piraeus Athena (2.35 metres high, including a helmet).

In Greek and Roman mythology, a "palladium" was an image of great antiquity on which the safety of a city was said to depend, especially the wooden one that Odysseus and Diomedes stole from the citadel of Troy and which was later taken to Rome by Aeneas. (The Roman story was related in Virgil's Aeneid and other works.)

Drapery edit

Female edit

Male edit

See also edit

  • Meniskos, a device for protecting statues placed outside

Notes edit

  1. ^ Cook, 19
  2. ^ Cook, 74–75
  3. ^ Cook, 74–76
  4. ^ Cook, 75–76
  5. ^ a b c d e f Brinkmann, Vinzenz (2008). "The Polychromy of Ancient Greek Sculpture". In Panzanelli, Roberta; Schmidt, Eike D.; Lapatin, Kenneth (eds.). The Color of Life: Polychromy in Sculpture from Antiquity to the Present. Los Angeles, California: The J. Paul Getty Museum and the Getty Research Institute. pp. 18–39. ISBN 978-0-89-236-918-8.
  6. ^ a b c d e f g Gurewitsch, Matthew (July 2008). "True Colors: Archaeologist Vinzenz Brinkmann insists his eye-popping reproductions of ancient Greek sculptures are right on target". Smithsonian.com. Smithsonian Institution. Retrieved 15 May 2018.
  7. ^ a b c Prisco, Jacopo (30 November 2017). "'Gods in Color' returns antiquities to their original, colorful grandeur". CNN style. CNN. Cable News Network. Retrieved 15 May 2018.
  8. ^ The term xoanon and the ascriptions are both highly problematic. A.A. Donohue's Xoana and the origins of Greek sculpture, 1988, details how the term had a variety of meanings in the ancient world not necessarily to do with the cult objects
  9. ^ [1] February 27, 2005, at the Wayback Machine
  10. ^ Μαντικλος μ' ανεθεκε ϝεκαβολοι αργυροτοχσοι τας {δ}δε|κατας· τυ δε Φοιβε διδοι χαριϝετταν αμοιϝ[αν]," transliterated as "Mantiklos m’ anetheke wekaboloi argyrotokhsoi tas dekatas; tu de Phoibe didoi khariwettan amoiw[an]"
  11. ^ CAHN, HERBERT A.; GERIN, DOMINIQUE (1988). "Themistocles at Magnesia". The Numismatic Chronicle. 148: 20 & Plate 3. JSTOR 42668124.
  12. ^ The debt of archaic Greek sculpture to Egyptian canons was recognized in Antiquity: see Diodorus Siculus, i.98.5–9.
  13. ^ Gagarin, 403
  14. ^ a b Hutchinson, Godfrey (2014). Sparta: Unfit for Empire. Frontline Books. p. 43. ISBN 9781848322226.
  15. ^ "IGII2 6217 Epitaph of Dexileos, cavalryman killed in Corinthian war (394 BC)". www.atticinscriptions.com.
  16. ^ Stele, R. Web. 24 November 2013. <http://www.ancientgreece.com/s/Sculpture/>
  17. ^ Gazetteer of the Union Territory Goa, Daman and Diu: district gazetteer, Volume 1. panajim Goa: Gazetteer Dept., Govt. of the Union Territory of Goa, Daman and Diu, 1979. 1979. pp. (see page 70).
  18. ^ (see Pius Melkandathil,Martitime activities of Goa and the Indian ocean.)

References edit

Bibliography edit

  • Boardman, John. Greek Sculpture: The Archaic Period: A Handbook. New York: Oxford University Press, 1978.
  • --. Greek Sculpture: The Classical Period: A Handbook. London: Thames and Hudson, 1985.
  • --. Greek Sculpture: The Late Classical Period and Sculpture In Colonies and Overseas. New York: Thames and Hudson, 1995.
  • Dafas, K. A., 2019. Greek Large-Scale Bronze Statuary: The Late Archaic and Classical Periods, Institute of Classical Studies, School of Advanced Study, University of London, Bulletin of the Institute of Classical Studies, Monograph, BICS Supplement 138 (London).
  • Dillon, Sheila. Ancient Greek Portrait Sculpture: Contexts, Subjects, and Styles. Cambridge: Cambridge University Press, 2006.
  • Furtwängler, Adolf. Masterpieces of Greek Sculpture: A Series of Essays On the History of Art. London: W. Heinemann, 1895.
  • Jenkins, Ian. Greek Architecture and Its Sculpture. Cambridge: Harvard University Press, 2006.
  • Kousser, Rachel Meredith. The Afterlives of Greek Sculpture: Interaction, Transformation, and Destruction. New York: Cambridge University Press, 2017.
  • Marvin, Miranda. The Language of the Muses: The Dialogue Between Roman and Greek Sculpture. Los Angeles: J. Paul Getty Museum, 2008.
  • Mattusch, Carol C. Classical Bronzes: The Art and Craft of Greek and Roman Statuary. Ithaca: Cornell University Press, 1996.
  • Muskett, G. M. Greek Sculpture. London: Bristol Classical Press, 2012.
  • Neer, Richard. The Emergence of the Classical Style In Greek Sculpture. Chicago: University of Chicago Press, 2010.
  • Neils, Jenifer. The Parthenon Frieze. Cambridge: Cambridge University Press, 2001.
  • Palagia, Olga. Greek Sculpture: Function, Materials, and Techniques In the Archaic and Classical Periods. New York: Cambridge University Press, 2006.
  • Palagia, Olga, and J. J. Pollitt. Personal Styles In Greek Sculpture. Cambridge: Cambridge University Press, 1996.
  • Pollitt, J. J. The Ancient View of Greek Art: Criticism, History, and Terminology. New Haven: Yale University Press, 1974.
  • --. Art In the Hellenistic Age. Cambridge: Cambridge University Press, 1986.
  • Ridgway, Brunilde Sismondo. The Archaic Style In Greek Sculpture. 2nd ed. Chicago: Ares, 1993.
  • --. Fourth-Century Styles In Greek Sculpture. Madison: University of Wisconsin Press, 1997.
  • Smith, R. R. R. Hellenistic Royal Portraits. Oxford: Clarendon Press, 1988.
  • --. Hellenistic Sculpture: A Handbook. New York: Thames and Hudson, 1991.
  • Spivey, Nigel Jonathan. Understanding Greek Sculpture: Ancient Meanings, Modern Readings. New York: Thames and Hudson, 1996.
  • --. Greek Sculpture. Cambridge: Cambridge University Press, 2013.
  • Stanwick, Paul Edmund. Portraits of the Ptolemies: Greek Kings As Egyptian Pharaohs. Austin: University of Texas Press, 2002.
  • Stewart, Andrew F. Greek Sculpture: An Exploration. New Haven: Yale University Press, 1990.
  • --. Faces of Power: Alexander's Image and Hellenistic Politics. Berkeley: University of California Press, 1993.
  • von Mach, Edmund. Greek Sculpture: Its Spirit and Its Principles. New York: Parkstone Press International, 2006.
  • --. Greek Sculpture. New York: Parkstone International, 2012.
  • Winckelmann, Johann Joachim, and Alex Potts. History of the Art of Antiquity. Los Angeles: Getty Research Institute, 2006.

External links edit

  • Classic Greek Sculpture to Late Hellenistic Era, lecture by professor Kenney Mencher, Ohlone College [link not valid as of 20 March 2023]
  • Sideris A., Aegean Schools of Sculpture in Antiquity, Cultural Gate of the Aegean Archipelago, Athens 2007 (a detailed per period and per island approach).

ancient, greek, sculpture, sculpture, ancient, greece, main, surviving, type, fine, ancient, greek, with, exception, painted, ancient, greek, pottery, almost, ancient, greek, painting, survives, modern, scholarship, identifies, three, major, stages, monumental. The sculpture of ancient Greece is the main surviving type of fine ancient Greek art as with the exception of painted ancient Greek pottery almost no ancient Greek painting survives Modern scholarship identifies three major stages in monumental sculpture in bronze and stone the Archaic from about 650 to 480 BC Classical 480 323 and Hellenistic At all periods there were great numbers of Greek terracotta figurines and small sculptures in metal and other materials Riders from the Parthenon Frieze around 440 BC Jockey of Artemision Late Hellenistic bronze statue of a mounted jockey National Archaeological Museum Athens The Greeks decided very early on that the human form was the most important subject for artistic endeavour 1 Seeing their gods as having human form there was little distinction between the sacred and the secular in art the human body was both secular and sacred A male nude of Apollo or Heracles had only slight differences in treatment to one of that year s Olympic boxing champion The statue originally single but by the Hellenistic period often in groups was the dominant form though reliefs often so high that they were almost free standing were also important Contents 1 Materials 2 Painting of sculpture 3 Development of Greek sculptures 3 1 Geometric 3 2 Archaic 3 3 Classical 3 4 Hellenistic 4 Cult images 5 Drapery 5 1 Female 5 2 Male 6 See also 7 Notes 8 References 9 Bibliography 10 External linksMaterials edit nbsp Natural marbleBy the classical period roughly the 5th and 4th centuries monumental sculpture was composed almost entirely of marble or bronze with cast bronze becoming the favoured medium for major works by the early 5th century many pieces of sculpture known only in marble copies made for the Roman market were originally made in bronze Smaller works were in a great variety of materials many of them precious with a very large production of terracotta figurines The territories of ancient Greece except for Sicily and southern Italy contained abundant supplies of fine marble with Pentelic and Parian marble the most highly prized The ores for bronze were also relatively easy to obtain 2 nbsp Athena in the workshop of a sculptor working on a marble horse Attic red figure kylix 480 BC Staatliche Antikensammlungen Inv 2650 Both marble and bronze are easy to form and very durable as in most ancient cultures there were no doubt also traditions of sculpture in wood about which we know very little other than acrolithic sculptures usually large with the head and exposed flesh parts in marble but the clothed parts in wood As bronze always had a significant scrap value very few original bronzes have survived though in recent years marine archaeology or trawling has added a few spectacular finds such as the Artemision Bronze and Riace bronzes which have significantly extended modern understanding Many copies of the Roman period are marble versions of works originally in bronze Ordinary limestone was used in the Archaic period but thereafter except in areas of modern Italy with no local marble only for architectural sculpture and decoration Plaster or stucco was sometimes used for the hair only 3 Chryselephantine sculptures used for temple cult images and luxury works used gold most often in leaf form and ivory for all or parts faces and hands of the figure and probably gems and other materials but were much less common and only fragments have survived Many statues were given jewellery as can be seen from the holes for attaching it and held weapons or other objects in different materials 4 nbsp The Victorious Youth c 310 BC a remarkably weather preserved bronze statue of a Greek athlete in Contrapposto posePainting of sculpture edit nbsp While the pigments originally present on most sculptures from the era have worn away Greek sculptures were originally painted 5 6 7 This experimental color restoration shows what a statue of a Trojan archer from the Temple of Aphaia Aegina may have originally looked like 6 Ancient Greek sculptures were originally painted in multiple colors 5 6 7 they only appear colorless today because the original pigments have deteriorated 5 6 References to painted sculptures are found in classical literature 5 6 including in Euripides s Helen in which the eponymous character laments If only I could shed my beauty and assume an uglier aspect The way you would wipe color off a statue 6 Some well preserved statues still bear traces of pigments 5 and archaeologists can reconstruct what they may have originally looked like 5 6 7 Development of Greek sculptures editGeometric edit It is commonly thought that the earliest incarnation of Greek sculpture was in the form of wooden or ivory cult statues first described by Pausanias as xoana 8 No such statues survive and the descriptions of them are vague despite the fact that they were probably objects of veneration for hundreds of years The first piece of Greek statuary to be reassembled since is probably the Lefkandi Centaur a terracotta sculpture found on the island of Euboea dated c 920 BC The statue was constructed in parts before being dismembered and buried in two separate graves The centaur has an intentional mark on its knee which has led researchers to postulate 9 that the statue might portray Cheiron presumably kneeling wounded from Herakles arrow If so it would be the earliest known depiction of myth in the history of Greek sculpture The forms from the Geometric period c 900 to 700 BC were chiefly terracotta figurines bronzes and ivories The bronzes are chiefly tripod cauldrons and freestanding figures or groups Such bronzes were made using the lost wax technique probably introduced from Syria and are almost entirely votive offerings left at the Hellenistic civilization Panhellenic sanctuaries of Olympia Delos and Delphi though these were likely manufactured elsewhere as a number of local styles may be identified by finds from Athens Argos and Sparta Typical works of the era include the Karditsa warrior Athens Br 12831 and the many examples of the equestrian statuette for example NY Met 21 88 24 online The repertory of this bronze work is not confined to standing men and horses however as vase paintings of the time also depict imagery of stags birds beetles hares griffins and lions There are no inscriptions on early to middle geometric sculpture until the appearance of the Mantiklos Apollo Boston 03 997 of the early 7th century BC found in Thebes The figure is that of a standing man with a pseudo daedalic form underneath which lies the hexameter inscription reading Mantiklos offered me as a tithe to Apollo of the silver bow do you Phoibos Apollo give some pleasing favour in return 10 Apart from the novelty of recording its own purpose this sculpture adapts the formulae of oriental bronzes as seen in the shorter more triangular face and slightly advancing left leg This is sometimes seen as anticipating the greater expressive freedom of the 7th century BC and as such the Mantiklos figure is referred to in some quarters as proto Daedalic Archaic edit Further information KourosMain article Archaic Greek Sculpture nbsp Kleobis and Biton kouroi of the Archaic period c 580 BC Delphi Archaeological Museum nbsp The Sabouroff head an important example of Late Archaic Greek marble sculpture and a precursor of true portraiture c 550 525 BCE 11 Inspired by the monumental stone sculpture of ancient Egypt 12 and Mesopotamia the Greeks began again to carve in stone Free standing figures share the solidity and frontal stance characteristic of Eastern models but their forms are more dynamic than those of Egyptian sculpture as for example the Lady of Auxerre and Torso of Hera Early Archaic period c 660 580 BC both in the Louvre Paris After about 575 BC figures such as these both male and female began wearing the so called archaic smile This expression which has no specific appropriateness to the person or situation depicted may have been a device to give the figures a distinctive human characteristic Three types of figures prevailed the standing nude male youth kouros plural kouroi the standing draped girl kore plural korai and the seated woman All emphasize and generalize the essential features of the human figure and show an increasingly accurate comprehension of human anatomy The youths were either sepulchral or votive statues Examples are Apollo Metropolitan Museum of Art New York an early work the Strangford Apollo from Anafi British Museum a much later work and the Anavyssos Kouros National Archaeological Museum of Athens More of the musculature and skeletal structure is visible in this statue than in earlier works The standing draped girls have a wide range of expression as in the sculptures in the Acropolis Museum of Athens Their drapery is carved and painted with the delicacy and meticulousness common in the details of sculpture of this period The Greeks thus decided very early on that the human form was the most important subject for artistic endeavour Seeing their gods as having human form there was no distinction between the sacred and the secular in art the human body was both secular and sacred A male nude without any attachments such as a bow or a club could just as easily be Apollo or Heracles as that year s Olympic boxing champion In the Archaic Period the most important sculptural form was the kouros See for example Biton and Kleobis The kore was also common Greek art did not present female nudity unless the intention was pornographic until the 4th century BC although the development of techniques to represent drapery is obviously important As with pottery the Greeks did not produce sculpture merely for artistic display Statues were commissioned either by aristocratic individuals or by the state and used for public memorials as offerings to temples oracles and sanctuaries as is frequently shown by inscriptions on the statues or as markers for graves Statues in the Archaic period were not all intended to represent specific individuals They were depictions of an ideal beauty piety honor or sacrifice These were always depictions of young men ranging in age from adolescence to early maturity even when placed on the graves of presumably elderly citizens Kouroi were all stylistically similar Graduations in the social stature of the person commissioning the statue were indicated by size rather than artistic innovations nbsp Dipylon Kouros c 600 BC Athens Kerameikos Museum nbsp The Moschophoros or calf bearer c 570 BC Athens Acropolis Museum nbsp Phrasikleia Kore c 550 BC Athens National Archaeological Museum of Athens nbsp Peplos Kore c 530 BC Athens Acropolis Museum nbsp Frieze of the Siphnian Treasury Delphi depicting a Gigantomachy c 525 BC Delphi Archaeological Museum nbsp Euthydikos Kore c 490 BC Athens authorized replica original in National Archaeological Museum of Athens nbsp An Ethiopian s head and female head with a kalos inscription Attic Greek janiform red figure aryballos c 520 510 BC Classical edit Further information Classical Greek sculpture and Severe style nbsp Riace bronzes examples of proto classic bronze sculpture Museo Nazionale della Magna Grecia Reggio Calabria nbsp Artemision Bronze thought to be either Poseidon or Zeus c 460 BC National Archaeological Museum Athens Found by fishermen off the coast of Cape Artemisium in 1928 The figure is more than 2 m in height The Classical period saw a revolution of Greek sculpture sometimes associated by historians with the popular culture surrounding the introduction of democracy and the end of the aristocratic culture associated with the kouroi The Classical period saw changes in the style and function of sculpture along with a dramatic increase in the technical skill of Greek sculptors in depicting realistic human forms Poses also became more naturalistic notably during the beginning of the period This is embodied in works such as the Kritios Boy 480 BC sculpted with the earliest known use of contrapposto counterpose and the Charioteer of Delphi 474 BC which demonstrates a transition to more naturalistic sculpture From about 500 BC Greek statues began increasingly to depict real people as opposed to vague interpretations of myth or entirely fictional votive statues although the style in which they were represented had not yet developed into a realistic form of portraiture The statues of Harmodius and Aristogeiton set up in Athens mark the overthrow of the aristocratic tyranny and have been said to be the first public monuments to show actual individuals The Classical Period also saw an increase in the use of statues and sculptures as decorations of buildings The characteristic temples of the Classical era such as the Parthenon in Athens and the Temple of Zeus at Olympia used relief sculpture for decorative friezes and sculpture in the round to fill the triangular fields of the pediments The difficult aesthetic and technical challenge stimulated much in the way of sculptural innovation Most of these works survive only in fragments for example the Parthenon Marbles roughly half of which are in the British Museum Funeral statuary evolved during this period from the rigid and impersonal kouros of the Archaic period to the highly personal family groups of the Classical period These monuments are commonly found in the suburbs of Athens which in ancient times were cemeteries on the outskirts of the city Although some of them depict ideal types the mourning mother the dutiful son they increasingly depicted real people typically showing the departed taking his dignified leave from his family This is a notable increase in the level of emotion relative to the Archaic and Geometrical eras Another notable change is the burgeoning of artistic credit in sculpture The entirety of information known about sculpture in the Archaic and Geometrical periods are centered upon the works themselves and seldom if ever on the sculptors Examples include Phidias known to have overseen the design and building of the Parthenon and Praxiteles whose nude female sculptures were the first to be considered artistically respectable Praxiteles Aphrodite of Knidos which survives in copies was often referenced to and praised by Pliny the Elder Lysistratus is said to have been the first to use plaster molds taken from living people to produce lost wax portraits and to have also developed a technique of casting from existing statues He came from a family of sculptors and his brother Lysippos of Sicyon produced fifteen hundred statues in his career 13 The Statue of Zeus at Olympia and the Statue of Athena Parthenos both chryselephantine and executed by Phidias or under his direction and considered to be the greatest of the Classical Sculptures are lost although smaller copies in other materials and good descriptions of both still exist Their size and magnificence prompted rivals to seize them in the Byzantine period and both were removed to Constantinople where they were later destroyed nbsp Kritios Boy Marble c 480 BC Acropolis Museum Athens nbsp Copy of Polyclitus Diadumenos National Archaeological Museum Athens nbsp So called Venus Braschi by Praxiteles type of the Knidian Aphrodite Munich Glyptothek nbsp Family group on a grave marker from Athens National Archaeological Museum Athens nbsp The Marathon Youth 4th century BC bronze statue possibly by Praxiteles National Archaeological Museum Athens nbsp Atalante Hermes possibly by Lysippos National Archaeological Museum Athens nbsp Terracotta vase in the shape of Dionysus head c 410 BC on display in the Ancient Agora Museum in Athens housed in the Stoa of Attalus nbsp Pottery vessel Aphrodite inside a shell from Attica Classical Greece discovered in the Phanagoria cemetery Taman Peninsula Bosporan Kingdom southern Russia early 4th century BC Hermitage Museum Saint Petersburg nbsp Athenian cavalryman Dexileos fighting a naked hoplite in the Corinthian War 14 Dexileos was killed in action near Corinth in the summer of 394 BC probably in the Battle of Nemea 14 or in a proximate engagement 15 Grave Stele of Dexileos 394 393 BC Hellenistic edit nbsp Laocoon and His Sons Late Hellenistic Vatican Museum nbsp The Hellenistic Pergamon Altar l to r Nereus Doris a Giant OceanusMain articles Hellenistic sculpture and Phidias The transition from the Classical to the Hellenistic period occurred during the 4th century BC Greek art became increasingly diverse influenced by the cultures of the peoples drawn into the Greek orbit by the conquests of Alexander the Great 336 to 323 BC In the view of some art historians this is described as a decline in quality and originality however individuals of the time may not have shared this outlook Many sculptures previously considered classical masterpieces are now known to be of the Hellenistic age The technical ability of the Hellenistic sculptors are clearly in evidence in such major works as the Winged Victory of Samothrace and the Pergamon Altar New centres of Greek culture particularly in sculpture developed in Alexandria Antioch Pergamum and other cities By the 2nd century BC the rising power of Rome had also absorbed much of the Greek tradition and an increasing proportion of its products as well During this period sculpture again experienced a shift towards increasing naturalism Common people women children animals and domestic scenes became acceptable subjects for sculpture which was commissioned by wealthy families for the adornment of their homes and gardens Realistic figures of men and women of all ages were produced and sculptors no longer felt obliged to depict people as ideals of beauty or physical perfection At the same time new Hellenistic cities springing up in Egypt Syria and Anatolia required statues depicting the gods and heroes of Greece for their temples and public places This made sculpture like pottery an industry with the consequent standardisation and some lowering of quality For these reasons quite a few more Hellenistic statues survive to the present than those of the Classical period Alongside the natural shift towards naturalism there was a shift in expression of the sculptures as well Sculptures began expressing more power and energy during this time period An easy way to see the shift in expressions during the Hellenistic period would be to compare it to the sculptures of the Classical period The classical period had sculptures such as the Charioteer of Delphi expressing humility The sculptures of the Hellenistic period however saw greater expressions of power and energy as demonstrated in the Jockey of Artemision 16 Some of the best known Hellenistic sculptures are the Winged Victory of Samothrace 2nd or 1st century BC the statue of Aphrodite from the island of Melos known as the Venus de Milo mid 2nd century BC the Dying Gaul about 230 BC and the monumental group Laocoon and His Sons late 1st century BC All these statues depict Classical themes but their treatment is far more sensuous and emotional than the austere taste of the Classical period would have allowed or its technical skills permitted Hellenistic sculpture was also marked by an increase in scale which culminated in the Colossus of Rhodes late 3rd century thought to have been roughly the same size as the Statue of Liberty The combined effect of earthquakes and looting have destroyed this as well as any other very large works of this period that might have existed Following the conquests of Alexander the Great Greek culture spread as far as India as revealed by the excavations of Ai Khanoum in eastern Afghanistan and the civilization of the Greco Bactrians and the Indo Greeks Greco Buddhist art represented a syncretism between Greek art and the visual expression of Buddhism Discoveries made since the end of the 19th century surrounding the now submerged ancient Egyptian city of Heracleum include a 4th century BC depiction of Isis The depiction is unusually sensual for depictions of the Egyptian goddess as well as being uncharacteristically detailed and feminine marking a combination of Egyptian and Hellenistic forms around the time of Alexander the Great s conquest of Egypt In Goa India were found Buddha statues in Greek styles These are attributed to Greek converts to Buddhism many of whom are known to have settled in Goa during Hellenistic times 17 18 nbsp The Hellenistic Prince a bronze statue originally thought to be a Seleucid or Attalus II of Pergamon now considered a portrait of a Roman general made by a Greek artist working in Rome in the 2nd century BC nbsp The Winged Victory of Samothrace Hellenistic The Louvre Paris nbsp Sepulchral monument of a dying Adonis polychrome terracotta Etruscan art from Tuscana 250 100 BC nbsp Fragment of a marble relief depicting a Kore 3rd century BC from Panticapaeum Taurica Crimea Bosporan Kingdom nbsp Ancient Greek terracotta head of a young man found in Tarent c 300 BC Antikensammlung Berlin nbsp Female head incorporating a vase lekythos c 325 300 BC nbsp Bronze portrait of an unknown sitter with inlaid eyes Hellenistic period 1st century BC found in Lake Palestra of the Island of Delos nbsp Greco Buddhist frieze of Gandhara with devotees holding plantain leaves in Hellenistic style inside Corinthian columns 1st 2nd century CE Buner Swat Pakistan Victoria and Albert Museum nbsp Gravestone of a woman with her child slave attending to her c 100 BC early period of Roman Greece Cult images edit nbsp Reproduction of the Athena Parthenos statue at the original size in the Parthenon in Nashville Tennessee All ancient Greek temples and Roman temples normally contained a cult image in the cella Access to the cella varied but apart from the priests at the least some of the general worshippers could access the cella some of the time though sacrifices to the deity were normally made on altars outside in the temple precinct temenos in Greek Some cult images were easy to see and were what we would call major tourist attractions The image normally took the form of a statue of the deity originally less than life size then typically roughly life size but in some cases many times life size in marble or bronze or in the specially prestigious form of a Chryselephantine statue using ivory plaques for the visible parts of the body and gold for the clothes around a wooden framework The most famous Greek cult images were of this type including the Statue of Zeus at Olympia and Phidias s Athena Parthenos in the Parthenon in Athens both colossal statues now completely lost Fragments of two chryselephantine statues from Delphi have been excavated Cult images generally held or wore identifying attributes which is one way of distinguishing them from the many other statues of deities in temples and other locations The acrolith was another composite form this time a cost saving one with a wooden body A xoanon was a primitive and symbolic image usually in wood some perhaps comparable to the Hindu lingam although the oldest cult image from the Greek world the Minoan Palaikastro Kouros is highly sophisticated Many xoana were retained and revered for their antiquity in later periods they were often light enough to be carried in processions Many of the Greek statues well known from Roman marble copies were originally temple cult images which in some cases such as the Apollo Barberini can be credibly identified A very few actual originals survive for example the bronze Piraeus Athena 2 35 metres high including a helmet In Greek and Roman mythology a palladium was an image of great antiquity on which the safety of a city was said to depend especially the wooden one that Odysseus and Diomedes stole from the citadel of Troy and which was later taken to Rome by Aeneas The Roman story was related in Virgil s Aeneid and other works Drapery editFemale edit nbsp Diane of Gabies fr dressing with a diplax nbsp Pallas over a peplos nbsp Chiton nbsp Weavers on the Parthenon FriezeMale edit nbsp Chlamys nbsp Parthenon FriezeSee also editMeniskos a device for protecting statues placed outsideNotes edit Cook 19 Cook 74 75 Cook 74 76 Cook 75 76 a b c d e f Brinkmann Vinzenz 2008 The Polychromy of Ancient Greek Sculpture In Panzanelli Roberta Schmidt Eike D Lapatin Kenneth eds The Color of Life Polychromy in Sculpture from Antiquity to the Present Los Angeles California The J Paul Getty Museum and the Getty Research Institute pp 18 39 ISBN 978 0 89 236 918 8 a b c d e f g Gurewitsch Matthew July 2008 True Colors Archaeologist Vinzenz Brinkmann insists his eye popping reproductions of ancient Greek sculptures are right on target Smithsonian com Smithsonian Institution Retrieved 15 May 2018 a b c Prisco Jacopo 30 November 2017 Gods in Color returns antiquities to their original colorful grandeur CNN style CNN Cable News Network Retrieved 15 May 2018 The term xoanon and the ascriptions are both highly problematic A A Donohue s Xoana and the origins of Greek sculpture 1988 details how the term had a variety of meanings in the ancient world not necessarily to do with the cult objects 1 Archived February 27 2005 at the Wayback Machine Mantiklos m ane8eke ϝekaboloi argyrotoxsoi tas d de katas ty de Foibe didoi xariϝettan amoiϝ an transliterated as Mantiklos m anetheke wekaboloi argyrotokhsoi tas dekatas tu de Phoibe didoi khariwettan amoiw an CAHN HERBERT A GERIN DOMINIQUE 1988 Themistocles at Magnesia The Numismatic Chronicle 148 20 amp Plate 3 JSTOR 42668124 The debt of archaic Greek sculpture to Egyptian canons was recognized in Antiquity see Diodorus Siculus i 98 5 9 Gagarin 403 a b Hutchinson Godfrey 2014 Sparta Unfit for Empire Frontline Books p 43 ISBN 9781848322226 IGII2 6217 Epitaph of Dexileos cavalryman killed in Corinthian war 394 BC www atticinscriptions com Stele R Web 24 November 2013 lt http www ancientgreece com s Sculpture gt Gazetteer of the Union Territory Goa Daman and Diu district gazetteer Volume 1 panajim Goa Gazetteer Dept Govt of the Union Territory of Goa Daman and Diu 1979 1979 pp see page 70 see Pius Melkandathil Martitime activities of Goa and the Indian ocean References editCook R M Greek Art Penguin 1986 reprint of 1972 ISBN 0140218661 Gagarin Michael Elaine Fantham contributor The Oxford Encyclopedia of Ancient Greece and Rome Volume 1 Oxford University Press 2010 ISBN 9780195170726 Stele R Web 24 November 2013 http www ancientgreece com s Sculpture Bibliography editBoardman John Greek Sculpture The Archaic Period A Handbook New York Oxford University Press 1978 Greek Sculpture The Classical Period A Handbook London Thames and Hudson 1985 Greek Sculpture The Late Classical Period and Sculpture In Colonies and Overseas New York Thames and Hudson 1995 Dafas K A 2019 Greek Large Scale Bronze Statuary The Late Archaic and Classical Periods Institute of Classical Studies School of Advanced Study University of London Bulletin of the Institute of Classical Studies Monograph BICS Supplement 138 London Dillon Sheila Ancient Greek Portrait Sculpture Contexts Subjects and Styles Cambridge Cambridge University Press 2006 Furtwangler Adolf Masterpieces of Greek Sculpture A Series of Essays On the History of Art London W Heinemann 1895 Jenkins Ian Greek Architecture and Its Sculpture Cambridge Harvard University Press 2006 Kousser Rachel Meredith The Afterlives of Greek Sculpture Interaction Transformation and Destruction New York Cambridge University Press 2017 Marvin Miranda The Language of the Muses The Dialogue Between Roman and Greek Sculpture Los Angeles J Paul Getty Museum 2008 Mattusch Carol C Classical Bronzes The Art and Craft of Greek and Roman Statuary Ithaca Cornell University Press 1996 Muskett G M Greek Sculpture London Bristol Classical Press 2012 Neer Richard The Emergence of the Classical Style In Greek Sculpture Chicago University of Chicago Press 2010 Neils Jenifer The Parthenon Frieze Cambridge Cambridge University Press 2001 Palagia Olga Greek Sculpture Function Materials and Techniques In the Archaic and Classical Periods New York Cambridge University Press 2006 Palagia Olga and J J Pollitt Personal Styles In Greek Sculpture Cambridge Cambridge University Press 1996 Pollitt J J The Ancient View of Greek Art Criticism History and Terminology New Haven Yale University Press 1974 Art In the Hellenistic Age Cambridge Cambridge University Press 1986 Ridgway Brunilde Sismondo The Archaic Style In Greek Sculpture 2nd ed Chicago Ares 1993 Fourth Century Styles In Greek Sculpture Madison University of Wisconsin Press 1997 Smith R R R Hellenistic Royal Portraits Oxford Clarendon Press 1988 Hellenistic Sculpture A Handbook New York Thames and Hudson 1991 Spivey Nigel Jonathan Understanding Greek Sculpture Ancient Meanings Modern Readings New York Thames and Hudson 1996 Greek Sculpture Cambridge Cambridge University Press 2013 Stanwick Paul Edmund Portraits of the Ptolemies Greek Kings As Egyptian Pharaohs Austin University of Texas Press 2002 Stewart Andrew F Greek Sculpture An Exploration New Haven Yale University Press 1990 Faces of Power Alexander s Image and Hellenistic Politics Berkeley University of California Press 1993 von Mach Edmund Greek Sculpture Its Spirit and Its Principles New York Parkstone Press International 2006 Greek Sculpture New York Parkstone International 2012 Winckelmann Johann Joachim and Alex Potts History of the Art of Antiquity Los Angeles Getty Research Institute 2006 External links editClassic Greek Sculpture to Late Hellenistic Era lecture by professor Kenney Mencher Ohlone College link not valid as of 20 March 2023 update Sideris A Aegean Schools of Sculpture in Antiquity Cultural Gate of the Aegean Archipelago Athens 2007 a detailed per period and per island approach Retrieved from https en wikipedia org w index php title Ancient Greek sculpture amp oldid 1207716407, wikipedia, wiki, book, books, library,

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