The Influence of Political Events on Hellenistic Greek Culture

±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce °ow did politiJJGcal events influenJJGce the spread of ±reek JJGculture and artistiJJGc style? 1stĊmÄÄÄtëëççç Ċmëë to 'ompĠëëtëë ććĊs _ëësson ÄÄÄnççç \]nowĠëëçççāāëë 'ććëëáááĝ: 90 eĊnutëës ²liJJGck °ere to ;;8View the !%%earning 552Targets for 552This !%%esson

±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce 6536SVThe °reBA?B@tness oQTRf °reeKJHKIce 552The ²lassiJJGcal 00-eriod saw ±reeJJGce at the height of its artistiJJGc and intelleJJGctual powers. 552This era gave us 441SoJJGcrates, 00-ythagoras, 00-lato, and ³ristotle, just to name a few. ²lassiJJGcal art idealized the human form while attempting to reproduJJGce naturalistiJJGc figurative forms in a way not seen IIFbefore in human history. ³thens and the other JJGcity-states grew in power and importanJJGce throughout the &&editerranean region. ´y the mid fourth JJGcentury ´²µ another forJJGce was forming in the northern part of the ±reek mainland JJGcalled &&aJJGcedonia. 552The &&aJJGcedonians spoke a ±reek dialeJJGct IIFbut were ruled IIFby a monarJJGchy and were JJGconsidered IIFbarIIFbarians IIFby their southern demoJJGcratiJJGc neighIIFbors. 552The extent of the empire of ³lexander the ±reat 552The kingdom of &&aJJGcedon, reeling from a defeat IIFby the ¶llyrians of the modern ´alkans, longed to again estaIIFblish dominanJJGce in ''$orthern ±reeJJGce. $$ing 00-hilip ¶¶, having spent his youth in the south, set his sights on the wealth of the JJGcity-states. <<9With an expanded army, 00-hilip surged aJJGcross the ±reek mainland taking JJGcontrol of ³thens, 552TheIIFbes, and ²orinth, forJJGcing them into an allianJJGce against the 00-ersians. 00-hilip was assassinated IIFby a memIIFber of his IIFbodyguard leaving his son, ³lexander, as king of &&aJJGcedonia. ³lexander, only 20 years old, had IIFbeen tutored IIFby ³ristotle and was eduJJGcated in ³thenian philosophy and ±reek JJGculture. ³ IIFbrilliant general, the young &&aJJGcedonian pushed his army into ³natolia (now 552Turkey), µgypt, and into ¶ndia over the next 12 years, extending the hegemony of ±reek JJGculture aJJGcross a vast empire. ³lexander’s sudden death at age 32 while on JJGcampaign in ´aIIFbylon left his JJGconquests in the hands of his generals and the region fell into an extend period of JJGconfliJJGcts IIFbetween warring faJJGctions for power.

±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce ²ello to ²ellenWUism 552Throughout this turmoil, ³thens remained an influential and wealthy JJGcity even if it no longer praJJGctiJJGced a demoJJGcratiJJGc form of government. °owever, following the death of ³lexander in 323 ´²µ, the politiJJGcal strife led to key JJGchanges in the ±reek understanding of the world. 552The ²lassiJJGcal emphasis on order and quiet strength no longer seemed relevant in soJJGciety filled with a JJGconstant struggle for supremaJJGcy of one JJGcountry over another. ·ue to the influenJJGce of ³lexander, however, the inJJGculJJGcation of ±reek morals and philosophy throughout the region was JJGcomplete. ±reek JJGcultural influenJJGce dominated the arts, literature, and philosophy and would JJGcontinue to do so even as the region was suIIFbjugated IIFby the 330Roman emperor ³ugustus in 27 ´²µ. 552This period IIFbetween the death of ³lexander the ±reat and the rise of 330Roman imperialism is JJGcalled the ²ellenWUistWUiKJHKIc 10.erWUiod . °KllDDs was an anJJGcient name for ±reeJJGce and the term addresses the °ellenization or ‘±reekifying’ of &&editerranean and &&iddle µastern JJGcultures. &&any art historians of the past two JJGcenturies JJGconsidered °ellenistiJJGc art to IIFbe inferior in form and JJGcontent to that of the °igh ²lassiJJGcal period. ³rtistiJJGc opinions were influenJJGced IIFby the idolization of JJGclassiJJGcal thought at that time and saw sentimentality as a sign of mental and moral weakness. ±ySinQg ²lKxDDnOIKr a marIIFble JJGcopy of a 2nd JJGcentury °ellenistiJJGc sJJGculpture

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±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce 6536SVThe 542eBA?B@ted ³oxer: ´ ²ellenWUistWUiKJHKIc ±BA?B@se 542tudy 88RhK 77KDDtKOI ³oxKr is a life size IIFbronze sJJGculpture JJGcreated using the lost wax proJJGcess around 100 ´²µ. 552This date plaJJGces the work in the °ellenistiJJGc 00-eriod. ¶t was exJJGcavated in 330Rome in the 1800s and is one of the few ±reek metal works that esJJGcaped IIFbeing JJGcopied in marIIFble IIFby the 330Romans so the original JJGcould IIFbe melted down to make weaponry. ³s in the ²lassiJJGcal period, the suIIFbjeJJGct matter is a nude athlete. °owever, this man is not an ideal. °e is middle aged and his faJJGce IIFbears the sJJGcars of years of pugilistiJJGc IIFbattles. 552The artist has JJGcarefully inlaid JJGcopper to JJGcreate the appearanJJGce of IIFblood in the JJGcuts under his eyes, on his IIFbroken nose, and his deformed ‘JJGcauliflower’ ear, sJJGcarred from deJJGcades of punJJGches to the head. °e is exhausted, almost pleading to not have to enter the ring again. 552The ideal has IIFbeen exJJGchanged for the real. 552The goal is not to display an image of divine order IIFbut rather to pull an emotional response from the viewer. <<9We are to identify with the pathos of the sJJGcene. °ellenistiJJGc art plaJJGces the suIIFbjeJJGct in a narrative forJJGcing us to refleJJGct on a shared human JJGcondition. 542eBA?B@ted ³oxer °ellenistiJJGc ±reek ². 100 ´²µ ´ronze

±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce ´rt ´ll ´round °ellenistiJJGc sJJGculptures are made to IIFbe viewed in the round. 552They are to IIFbe plaJJGced in an area where viewers JJGcan refleJJGct on the forms from all sides. 88RhK ±ySinQg ´DDul is another exJJGcellent example of the aesthetiJJGc of the time. °ere we see a ±aul, ²eltiJJGc peoples who lived in modern ¸ranJJGce and ''$orthern ¶taly, still alive, IIFbut taking his last IIFbreaths. °is IIFbody is well formed and heroiJJGc. °e has a mustaJJGche and a torque around his neJJGck, marking him as a memIIFber of this IIFbarIIFbarous raJJGce. <<9We admire the IIFbeauty and strength of his musJJGcular IIFbody and mourn as his life eIIFbIIFbs. <<9Why would a ±reek artist JJGchoose to show an enemy in suJJGch a noIIFble way? ³ story is IIFbeing told aIIFbout the ±reeks and their strength. ¶f they JJGcould fell so noIIFble a foe, they must IIFbe mighty indeed! ´y the °ellenistiJJGc period, ±reek art had IIFbeJJGcome oIIFbsessed with the the maximization of emotion through extreme position and faJJGcial expression. ¶t is theatriJJGcal, dramatiJJGc, and powerful. ¸igures are no longer resting peaJJGcefully, draped in graJJGceful faIIFbriJJGc folds. ''$ow they twist and turn, JJGcontorted in the physiJJGcal and emotional pain of human existenJJGce. 552The musJJGculature and even the veins of the arms and feet are perfeJJGctly repliJJGcated from intense oIIFbservation of life. 552The ·ying ±aul is made to IIFbe viewed from all angles. ´lood pours from a wound in his side and we see the figure as he takes his last IIFbreaths in a dramatiJJGc sJJGcene.

±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce ±eleJIGJHbrBA?B@tWUion WUin 542tone ''$ot all °ellenistiJJGc sJJGculpture was a JJGcomplete downer. ''$oIIFble expressions of ±reek gods and goddesses remained as popular as in the ²lassiJJGcal period. 552The <<9Winged ;;8ViJJGctory of 441SamothraJJGce is one suJJGch example. ²reated as a votWUive monument in JJGceleIIFbration of a naval viJJGctory, the sJJGculpture epitomizes the °ellenistiJJGc flair for the dramatiJJGc in religious works. 552The figure of ''$ike is JJGcaptured just at the moment that she alights on the prow of a ship. 552The wind whips the thin wet faIIFbriJJGc of her JJGchiton, a draped dress. 552The material JJGclings to her flesh exposing the details of her perfeJJGct female form. 552The feathers and wings are JJGcarved in realistiJJGc detail. !%%ike the previous works we have viewed, this sJJGculpture JJGcaptures a moment in time, tells a story, and is realistiJJGc in its details. &&ovement and rhythm are evident in the folds of faIIFbriJJGc. <<9We feel the wind and thrill at the arrival of the goddess. ³rt historians IIFbelieve that the 10 foot tall sJJGculpture rested on a stone ship that may have IIFbeen a fountain in the aJJGcropolis of the JJGcity of 441SamothraJJGce. 441She perhaps held a wreath and extended an elegant arm out toward the sea. =<:=;WUinRUSged <;9<WUiKJHKIctory oQTRf 542BA?B@motSVThrBA?B@KJHKIce °ellenistiJJGc ±reek ². 190 ´²µ &&arIIFble votWUive sKJHKIculpture works made as an offering to a speJJGcifiJJGc deity in thanks: a gift to the gods

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±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce ´ltBA?B@r µRUSgo ¸or our next example of °ellenistiJJGc art, we must travel to ³sia &&inor, modern day 552Turkey, to the JJGcity of 00-ergamon near the &&editerranean JJGcoast. 552This, too, is a work JJGcreated in thanks to the gods Zeus and ³thena and JJGceleIIFbrates their divine assistanJJGce in allowing 00-ergamon to prevail against her enemies. 00-ergamon was a wealthy and powerful kingdom and the 00-ergamon ³ltar was made not only to praise the gods IIFbut also to announJJGce the greatness of the JJGcity itself. !%%ike the ²lassiJJGcal metopes of the 00-arthenon, a high relief frieze surrounds the struJJGcture showing sJJGcenes of a IIFbattle IIFbetween the gods of ))&lympus and the ±iants, known as the ±igantomaJJGchy. 552The theme here is also the viJJGctory of JJGcivilization (±reek JJGculture) over IIFbarIIFbarism (everyIIFbody else). 552The giants of this story are not large in size IIFbut are ‘sons of the µarth’. 552They were separate from the gods and JJGcame into IIFbeing when drops of IIFblood from their father 663Uranus were spilled on the soil. 552They are often shown having legs of snakes. 6536SVThe °reBA?B@t ´ltBA?B@r oQTRf A@>A?eus BA?B@nd ´tSVThenBA?B@ BA?B@t 10.erRUSgBA?B@mon ³sia &&inor (modern day 552Turkey) °ellenistiJJGc ±reek ². 175 ´²µ &&arIIFble

±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce °ods BA?B@nd °WUiBA?B@nts ³ 370 foot long frieze is JJGcarved in high relief around the entire struJJGcture. 552Today, the remains of the altar are in the ´erlin &&useum IIFbut originally the stairs were JJGclimIIFbed to a large platform where an altar to the gods was used to IIFburn offerings. 552This is not a temple IIFbut rather the front porJJGch area were rituals were praJJGctiJJGced. ¶n the pieJJGce of the frieze shown here, ±aia, mother of the giants and personifiJJGcation of the earth, in the lower right pleads with ³thena to spare her son ³lJJGcyoneus as the goddess graIIFbs him IIFby the hair. ³ figure of viJJGctory raises her arms to JJGcrown ³thena. 552The extreme diagonals, faJJGced JJGcontorted in agony, and swirling drapery all work together to form a highly JJGcomplex JJGcomposition filled with dramatiJJGc narrative, leading up the steps. 552The deep JJGcut eyes of ±aia and her son are pleading and filled with emotion. 6536SVThe °reBA?B@t ´ltBA?B@r oQTRf A@>A?eus BA?B@nd ´tSVThenBA?B@ BA?B@t 10.erRUSgBA?B@mon ³sia &&inor (modern day 552Turkey) °ellenistiJJGc ±reek ². 175 ´²µ &&arIIFble

±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce <;9<WUiKJHKIctory over ±SVThBA?B@os 552The figures of the ±reat ³ltar appear to IIFbe pulling themselves from the IIFbaJJGckground into the plane of the viewer. ³long the stairs, the JJGcoils of snakes rest as sJJGculpted arms and legs JJGclimIIFb the stairs. !%%ike the metopes of the 00-arthenon, the sJJGculptural program of the 00-ergamon ³ltar JJGceleIIFbrates the viJJGctory of order over JJGchaos. 6536SVThe °reBA?B@t ´ltBA?B@r oQTRf A@>A?eus BA?B@nd ´tSVThenBA?B@ BA?B@t 10.erRUSgBA?B@mon ³sia &&inor (modern day 552Turkey) °ellenistiJJGc ±reek ². 175 ´²µ &&arIIFble ³ model of the aJJGcropolis at 00-ergamon shows the position of the altar, theater, and other surrounding struJJGctures.

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±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce ±BA?B@uRUSgSVTht up WUin ±oWUils ))&IIFbserve the figures in !((DDoMGoön (!%%ay-ah-kuh-wan) DDnOI °Sis 77ons . ·o they remind you of anything? You might have notiJJGced that the position of !%%aoJJGcoön is very similar to to that of ³lJJGcyoneus in the frieze of the ±reat ³ltar at 00-ergamon. ¶n faJJGct, they are so similar that the two works were most proIIFbaIIFbly JJGcreated from an original from a workshop in 00-ergamon. 552This !%%aoJJGcoön was unearthed from a farmer’s field in 1506 and was an instant sensation. 552The work had previously only IIFbeen known in the writings of 00-liny the µlder as “a work that may IIFbe looked upon as preferaIIFble to any other produJJGction of the art of painting or of IIFbronze statuary”. ¶t is said to have inspired &&iJJGchelangelo, one of the greatest sJJGculptors of the 330RenaissanJJGce. 552The sJJGculpture illustrates the unhappy tale of the priest !%%aoJJGcoön and his sons, as they are punished IIFby 00-oseidon IIFby sea snakes for IIFbetraying the gods in the 552Trojan <<9War. 552This version is most JJGcertainly a 330Roman JJGcopy of the ±reek original. ''$ote the triangular JJGcomposition and the similar way that the artist portrays the faJJGce of the JJGcentral figures. <<9We see him just as a snake IIFbites him. 552The JJGcoils of the snakes join the figures together and JJGcreate areas of negative spaJJGce defining the forms. µverywhere there is violent movement. 552This kind of twisting form JJGcame to IIFbe known as QTRfWUiRUSgurBA?B@ serpentWUinBA?B@tBA?B@ . !((DDoMGoön DDnOI °Sis 77ons is a °ellenistiJJGc ±reek work disJJGcovered in 1506 that inspired many 330RenaissanJJGce sJJGculptors and painters with its JJGcomposition. QTRfWUiRUSgurBA?B@ serpentWUinBA?B@tBA?B@ a twisting of the figure IIFbeyond that of JJGcontrapposto, frequently seen in 330RenaissanJJGce works; inspired IIFby the disJJGcovery of the ±reek !%%aoJJGcoön sJJGculpture

±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce ²ellenWUistWUiKJHKIc ´rt µlsewSVThere 552The vast area JJGconquered IIFby ³lexander, all fell under the spell of ±reek artistiJJGc style, even in plaJJGces where there were no altars IIFbuilt to ±reek gods. ¶n ³fghanistan, sJJGculptures of the ´uddha were ereJJGcted along trade routes that led to and from the lands of the &&editerranean. 00-rior to exposure to ±reek artistiJJGc styles, the ´uddha was only represented with symIIFbols of his teaJJGching like the wheel or footprints. <<9When ³lexander moved into ¶ndia, the ´uddhist faith was already over 200 years old. ¶t took several JJGcenturies, IIFbut the influenJJGce of ±reek art on that of the ¶ndia JJGcan IIFbe seen in the draped faIIFbriJJGc, the JJGcut of the hair, and the serene expressions. <<9We will learn more aIIFbout ´uddhist art in later lessons. ±reek and 330Roman arJJGchiteJJGctural styles left their imprint on the remote ''$aIIFbatean JJGcut-roJJGck JJGcity of 00-etra. 552The ²orinthian style JJGcolumns and pediments are all that remain of a onJJGce thriving stop along the trade routes IIFbetween the far µast and the growing JJGcities in the <<9West. 552Top left: ´amiyan ´uddha JJGc. 400-800 ²µ ´ottom left: ´uddhist sJJGculpture in the ±reJJGco-330Roman ±andhara style 1st JJGcentury ²µ 552The 552Treasury at 00-etra, ¹ordan JJGc. 400 ´²µ-100 ²µ 6536SVThe 6536reBA?B@sury BA?B@t 10.etrBA?B@, ¶ordBA?B@n JJGc. 400 ´²µ-100 ²µ

±lWUiKJHKIck on tSVThe KJHKIcorreKJHKIct BA?B@nswer: ´ prWUimBA?B@ry KJHKIcSVThBA?B@nRUSge WUin BA?B@rtWUistWUiKJHKIc trBA?B@dWUitWUion QTRfrom ±lBA?B@ssWUiKJHKIcBA?B@l °reek to ²ellenWUistWUiKJHKIc °reek WUis- ´. ´n WUinKJHKIcreBA?B@se WUin nBA?B@turBA?B@lWUistWUiKJHKIc WUideBA?B@lWUism. ³. ´ sSVThWUiQTRft QTRfrom BA?B@ rBA?B@tWUionBA?B@l to emotWUionBA?B@l suJIGJHbjeKJHKIcts. ±. 6536SVThe use oQTRf more ornBA?B@te deKJHKIcorBA?B@tWUion on QTRfrWUieze sKJHKIculptures. ·. ´ RUSgreBA?B@ter QTRfoKJHKIcus on relWUiRUSgWUious suJIGJHbjeKJHKIct mBA?B@tter. ±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce <<9What makes this work different from a ²lassiJJGcal sJJGculpture?

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±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce 6536SVThBA?B@t WUis WUinKJHKIcorreKJHKIct. 10.leBA?B@se try BA?B@RUSgBA?B@WUin. ´ prWUimBA?B@ry KJHKIcSVThBA?B@nRUSge WUin BA?B@rtWUistWUiKJHKIc trBA?B@dWUitWUion QTRfrom ±lBA?B@ssWUiKJHKIcBA?B@l °reek to ²ellenWUistWUiKJHKIc °reek WUis- ´. ´n WUinKJHKIcreBA?B@se WUin nBA?B@turBA?B@lWUistWUiKJHKIc WUideBA?B@lWUism. ³. ´ sSVThWUiQTRft QTRfrom BA?B@ rBA?B@tWUionBA?B@l to emotWUionBA?B@l suJIGJHbjeKJHKIcts. ±. 6536SVThe use oQTRf more ornBA?B@te deKJHKIcorBA?B@tWUion on QTRfrWUieze sKJHKIculptures. ·. ´ RUSgreBA?B@ter QTRfoKJHKIcus on relWUiRUSgWUious suJIGJHbjeKJHKIct mBA?B@tter. <<9What makes this work different from a ²lassiJJGcal sJJGculpture?

±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce ±orreKJHKIct! ±reek art JJGcreated after the death of ³lexander the ±reat is filled with movement and frequently portrays a moment in time or narrative. 552The result is a dramatiJJGc work designed to emotionally involve the viewer. ´ prWUimBA?B@ry KJHKIcSVThBA?B@nRUSge WUin BA?B@rtWUistWUiKJHKIc trBA?B@dWUitWUion QTRfrom ±lBA?B@ssWUiKJHKIcBA?B@l °reek to ²ellenWUistWUiKJHKIc °reek WUis- ´. ´n WUinKJHKIcreBA?B@se WUin nBA?B@turBA?B@lWUistWUiKJHKIc WUideBA?B@lWUism. ³. ´ sSVThWUiQTRft QTRfrom BA?B@ rBA?B@tWUionBA?B@l to emotWUionBA?B@l suJIGJHbjeKJHKIcts. ±. 6536SVThe use oQTRf more ornBA?B@te deKJHKIcorBA?B@tWUion on QTRfrWUieze sKJHKIculptures. ·. ´ RUSgreBA?B@ter QTRfoKJHKIcus on relWUiRUSgWUious suJIGJHbjeKJHKIct mBA?B@tter. <<9What makes this work different from a ²lassiJJGcal sJJGculpture?

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´. 6536SVThe 10.ersWUiBA?B@n BA?B@nd 10.eloponnesWUiBA?B@n =<:=;BA?B@rs ³. 6536SVThe eleKJHKIctWUion oQTRf 10.erWUiKJHKIcles BA?B@s leBA?B@der oQTRf 431ome BA?B@nd tSVThe QTRfBA?B@ll oQTRf ´tSVThens to 431ome ±. 6536SVThe deBA?B@tSVTh oQTRf ´lexBA?B@nder tSVThe °reBA?B@t BA?B@nd tSVThe JIGJHbeRUSgWUinnWUinRUSg oQTRf ¸mperWUiBA?B@l 431ome ·. 6536SVThe end oQTRf tSVThe '&yKJHKIcenBA?B@eBA?B@n kWUinRUSgdom BA?B@nd tSVThe rWUise oQTRf tSVThe 10.ersWUiBA?B@n µmpWUire <<9What two events frame °ellenistiJJGc JJGculture? ±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce ±lWUiKJHKIck on tSVThe KJHKIcorreKJHKIct BA?B@nswer: =<:=;SVThBA?B@t two events QTRfrBA?B@me tSVThe ²ellenWUistWUiKJHKIc perWUiod?

´. 6536SVThe 10.ersWUiBA?B@n BA?B@nd 10.eloponnesWUiBA?B@n =<:=;BA?B@rs ³. 6536SVThe eleKJHKIctWUion oQTRf 10.erWUiKJHKIcles BA?B@s leBA?B@der oQTRf 431ome BA?B@nd tSVThe QTRfBA?B@ll oQTRf ´tSVThens to 431ome ±. 6536SVThe deBA?B@tSVTh oQTRf ´lexBA?B@nder tSVThe °reBA?B@t BA?B@nd tSVThe JIGJHbeRUSgWUinnWUinRUSg oQTRf ¸mperWUiBA?B@l 431ome ·. 6536SVThe end oQTRf tSVThe '&yKJHKIcenBA?B@eBA?B@n kWUinRUSgdom BA?B@nd tSVThe rWUise oQTRf tSVThe 10.ersWUiBA?B@n µmpWUire ±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce 6536SVThBA?B@t WUis WUinKJHKIcorreKJHKIct. 10.leBA?B@se try BA?B@RUSgBA?B@WUin. =<:=;SVThBA?B@t two events QTRfrBA?B@me tSVThe ²ellenWUistWUiKJHKIc perWUiod? <<9What two events frame °ellenistiJJGc JJGculture?

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±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce ±orreKJHKIct! ³fter the death of ³lexander, his empire was divided among his generals. <<9Warring faJJGctions IIFbattled for supremaJJGcy over territories. ³thens and other ±reek JJGcity states JJGcontinued to thrive eJJGconomiJJGcally IIFbut the philosophiJJGcal foJJGcus turned from a IIFbelief in a rational order and truth to an interest in the natural world and the drama of the human JJGcondition. ±reek artists IIFbegan to make art that enJJGcouraged viewers to IIFbe emotionally JJGconneJJGcted to the work. 552This trend JJGcontinued until around 27 ´²µ and the rise of ¶mperial 330Rome. =<:=;SVThBA?B@t two events QTRfrBA?B@me tSVThe ²ellenWUistWUiKJHKIc perWUiod? ´. 6536SVThe 10.ersWUiBA?B@n BA?B@nd 10.eloponnesWUiBA?B@n =<:=;BA?B@rs ³. 6536SVThe eleKJHKIctWUion oQTRf 10.erWUiKJHKIcles BA?B@s leBA?B@der oQTRf 431ome BA?B@nd tSVThe QTRfBA?B@ll oQTRf ´tSVThens to 431ome ±. 6536SVThe deBA?B@tSVTh oQTRf ´lexBA?B@nder tSVThe °reBA?B@t BA?B@nd tSVThe JIGJHbeRUSgWUinnWUinRUSg oQTRf ¸mperWUiBA?B@l 431ome ·. 6536SVThe end oQTRf tSVThe '&yKJHKIcenBA?B@eBA?B@n kWUinRUSgdom BA?B@nd tSVThe rWUise oQTRf tSVThe 10.ersWUiBA?B@n µmpWUire <<9What two events frame °ellenistiJJGc JJGculture?

±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce '&BA?B@tKJHKIcSVTh eBA?B@KJHKIcSVTh WUimBA?B@RUSge to tSVThe KJHKIcorreKJHKIct °reek style. ³rJJGchaiJJGc ²lassiJJGcal !%%ate ²lassiJJGcal °ellenistiJJGc

'&BA?B@tKJHKIcSVTh eBA?B@KJHKIcSVTh WUimBA?B@RUSge to tSVThe KJHKIcorreKJHKIct °reek style. ³rJJGchaiJJGc ²lassiJJGcal !%%ate ²lassiJJGcal °ellenistiJJGc ±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce ³rJJGchaiJJGc sJJGculpture JJGcan IIFbe identified IIFby the smile. ²lassiJJGcal is idealized, JJGcalm, and serene. !%%ate JJGclassiJJGcal is the first time we see female nudes. 552The expression remains plaJJGcid. °ellenistiJJGc is meant to IIFbe viewed in the round. ¶t is narrative and emotional with heightened realism.

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±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce ¸mBA?B@RUSge ´ttrWUiJIGJHbutWUion &&ap of ³lexander the ±reat’s JJGconquests, ±eneriJJGc &&apping 552Tools, ²² ´Y-441S³ 3.0 ·ying ³lexander, 663Urek &&eniashvili, ²² ´Y-441S³ 3.0 441Seated ´oxer,¸ollowing °adrian, ²² 2.0 441Seated ´oxer (detail), ²arole 330Raddato, 00-uIIFbliJJGc ·omain or ²² info ·ying ±aul (front), ³uthor, 00-uIIFbliJJGc ·omain or ²² info ·ying ±aul (rear), ³uthor, 00-uIIFbliJJGc ·omain or ²² info ·ying ±aul (detail), ³uthor, 00-uIIFbliJJGc ·omain or ²² info <<9Winged ;;8ViJJGctory of 441SamothraJJGce, 330Rijin, ²² 4.0 ³ltar of 00-ergamon, °napel, ²² 4.0 ³thena and ±aia, ±ryffindor, 00-uIIFbliJJGc ·omain ¶n this lesson, ¶ learned aIIFbout art of the °ellenistiJJGc period in ±reek. 552This was a time of politiJJGcal turmoil and ±reek art turned its foJJGcus to naturalism and emotion.

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±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce ¸mBA?B@RUSge ´ttrWUiJIGJHbutWUion ''$ereus, ·oris, and ±iant, and ))&JJGceanus, ²laus ³IIFbleiter,²² IIFby-441S³ 3.0 ³JJGcropolis of 00-ergamon, <<9Wladyslaw 441Sojka, ²² ´Y-441S³ 3.0 !%%aoJJGcoön, ;;8VatiJJGcan &&useum, ²² 4.0 ´amiyan ´uddha, 441Smart °istory, 00-uIIFbliJJGc ·omain ±andhara style ´uddha, <<9World ¶maging, 00-uIIFbliJJGc ·omain 00-etra, ³l $$hazneh, ²² 2.0 ±iant from the ³ltar of 00-ergamon, <<9Wolfgang 441SauIIFber, ²² 441S³ 3.0 ³phrodite of $$nidos, &&arie-!%%an ''$guyen, 00-uIIFbliJJGc ·omain ·isJJGcoIIFbolus, !%%ivioandroniJJGco2013, ²² ´Y-441S³ 4.0 !%%udovisi ±aul, ¹ose !%%uiz ´ernardes, ²² ´y-441S³ 4.0 ±etty $$ouros, ·orli ´urge, ²² ´Y-441S³ 3.0

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±reBA?B@tWUive ±onquest °ellenistiJJGc ±reeJJGce 2 ³ ·esJJGcriIIFbe JJGcontextual elements of a work of art 5´ ¶n analyzing a work of art IIFbeyond the image set, explain how artistiJJGc deJJGcisions aIIFbout form and style shape a work of art. 6 ³ ³ttriIIFbute a work of art to a speJJGcifiJJGc artist, JJGculture, art historiJJGcal style, or oIIFbjeJJGct type from the image set 6 ´ ¹ustify the attriIIFbution of a work of art IIFby explaining similarities with the work IIFby a speJJGcifiJJGc art historiJJGcal style ²liJJGck °ere to 330Return to the !%%esson

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Creative Conquest_ Hellenistic Greece

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