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This volume brings together the proceedings of an international and interdisciplinary symposium held at Budapest between 8th and 10th May 2014. It was the first event dealing exclusively with the temple of Zeus at Olympia, which was, at the time of its construction, the largest temple in mainland Greece, and which has remained the largest ancient building of the Peloponnese ever since. Contributors come from eight countries, namely Austria, France, Germany, Greece, Hungary, Italy, Japan, and the UK, and from several different fields of classical studies, including archaeology, ancient history, numismatics, epigraphy and architecture. The contributions deal with widely different aspects of the building and its sculptural decoration, including masons’ marks, metrology, the usage of different marbles, and depictions of invisible gods, and approach these issues from new and unique perspectives. Some papers focus on the cult of Zeus, or on inscriptions found in or on coins associated with the sanctuary; others describe how later authors might have used the monument, or bridge the gap between classical studies and the latest digital technologies applied to archaeology and cultural heritage. As such, all of the essays gathered here will inspire classical scholars to make use of these new research paths.
This book began to take shape following a conference on the Statue of Zeus at Olympia held at the University of Queensland in July 2008. In line with the main themes of the conference, the book has two fundamental aims: the first is to recognise the unsurpassed reputation of the Zeus in antiquity, to move beyond the framework provided by the Seven Wonders of the Ancient World, and to treat the famous statue in depth, as befits its unique importance in ancient times; the second aim is to employ a variety of interdisciplinary perspectives in the hope of capturing more accurately than before something of that unique importance. The book is aimed at academic specialists in a variety of disciplines (such as art, archaeology, history, literature, and cultural poetics), though it is also intended to be accessible to undergraduates and certainly to research students. The audience will primarily be one interested in classical antiquity, but there are chapters which trace the story and influence of the Zeus through the Byzantine, Renaissance, and early modern periods, and into more recent centuries in both the northern and southern hemispheres.
"A milestone, not only in the field of classics but in the wider field of the history of religion. . . . It will find a place alongside the works of Jane Ellen Harrison, Sir James George Frazer, Claude Levi-Strauss, and van Gennep."—Wendy Flaherty, Divinity School, University of Chicago "This book is a professional classic, an absolute must for any serious student of Greek religion."—Albert Henrichs, Harvard University
In this book, Catherine M. Keesling lends new insight into the origins of civic honorific portraits that emerged at the end of the fifth century BC in ancient Greece. Surveying the subjects, motives and display contexts of Archaic and Classical portrait sculpture, she demonstrates that the phenomenon of portrait representation in Greek culture is complex and without a single, unifying history. Bringing a multi-disciplinary approach to the topic, Keesling grounds her study in contemporary texts such as Herodotus' Histories and situates portrait representation within the context of contemporary debates about the nature of arete (excellence), the value of historical commemoration and the relationship between the human individual and the gods and heroes. She argues that often the goal of Classical portraiture was to link the individual to divine or heroic models. Offering an overview of the role of portraits in Archaic and Classical Greece, her study includes local histories of the development of Greek portraiture in sanctuaries such as Olympia, Delphi and the Athenian Acropolis.
This volume presents the proceedings of a conference hosted by the American School of Classical Studies, Athens and the Deutsches Archäologisches Institut, Athens in 2004. There are additional contributions from Patricia Butz, Robin Osborne, Katherine Schwab, Justin St. P. Walsh, Hilda Westervelt and Lorenz Winkler-Horacek. The contents are divided into four sections I. Structure and Ornament; II. Technique and Agency; III. Myth and Narrative and IV. Diffusion and Influence. Highlights include Robin Osbornes discussion of What you can do with a chariot but cant do with a satyr on a Greek temple; Ralf von den Hoffs consideration of the Athenian treasury at Delphi; and Katherine Schwabs presentation of New evidence for Parthenon east metope 14. The papers not only cover a great variety of issues in architectural sculpture but also present a range of case studies from all over the Greek world. The result is an important collection of current research.
The Handbook of Greek Sculpture aims to provide a detailed examination of current research and directions in the field. Bringing together an international cast of contributors from Greece, Italy, France, Great Britain, Germany, and the United States, the volume incorporates new areas of research, such as the sculptures of Messene and Macedonia, sculpture in Roman Greece, and the contribution of Greek sculptors in Rome, as well as important aspects of Greek sculpture like techniques and patronage. The written sources (literary and epigraphical) are explored in dedicated chapters, as are function and iconography and the reception of Greek sculpture in modern Europe. Inspired by recent exhibitions on Lysippos and Praxiteles, the book also revisits the style and the personal contributions of the great masters.
Edited by Dimitrios Pandermalis Essays by Katerina Boli, Angelos Chaniotis, Fritz Graf, Maria Katsakiori, Sophia Kremydi, Richard P. Martin, Dimitrios Pandermalis, and Semeli Pingiatoglou. Located on the eastern slopes of Mount Olympus and atop the bubbling source of the ancient river Baphyras, the city of Dion and its natural environment were interpreted by the ancient Greeks as divine. Dion's proximity to the gods was reflected in the cults and daily existence of local residents but also prompted the area's critical role in establishing the identity of the royal house of Philip and Alexander the Great. With Zeus Olympus as their principal deity, generations of royalty and their followers celebrated their dedication to the god with sanctuaries, festivals, temples, statues, and public buildings, transforming the city into a central sacred site and a monumental urban center. The exhibition presents highlights of the finds of the last fifty years of archaeological excavations and is organized by the Onassis Foundation (USA) and the Dion Excavations, in collaboration with the Hellenic Ministry of Culture and Sports--Ephorate of Antiquities of Pieria.
This book offers insight into Greek conceptions of art, the artist, and artistic originality by examining artists' signatures in ancient Greece.