Power and Pathos: Bronze Sculpture of the Hellenistic World

Power and Pathos: Bronze Sculpture of the Hellenistic World

J. Paul Getty Museum

Dancing Saryr, Hellenistic, Mazara del Vallo.

Fig. 1. Laocoon from the Hellenistic Laocoon Group. Image courtesy of Prof. Osmund Bopearachchi

Skylla-Gruppe aus Sperlonga: der Kopf des Steuermanns

zeigt deutliche Übereinstimmungen mit dem des Laokoon

http://syndrome-de-stendhal.blogspot.com/2014/04/das-ultimative-antike-meisterwerk-der.html

Fig. 2. Agonized monk, Vardak, Ghandhara. Image courtesy of Prof. Osmund Bopearachchi

Fig. 3. Pain-stricken layman, V&A Museum. Image courtesy of Prof. Osmund Bopearachchi

Fig. 4. Lamenting arahat, Mogao cave No.158. Image courtesy of Prof. Osmund Bopearachchi

Hendrick Goltzius (Dutch, 1558–1617), Two Male Heads after the Antique, the Sons of Laocoön, c. 1605. Red chalk on ivory laid paper. The Art Institute of Chicago, Regenstein Acquisition Fund.

Fragmentary figure of a mourner (Gandhara, 2/3 c., Ashmolean Museum, ac. nr. EA1999.33)

http://jameelcentre.ashmolean.org/collection/4/6739/6746/11431

Fig. 5. Bronze Hellenistic statuette of a veiled and masked dancer (3rd–2nd century B.C.), MET Museum nr. 1972.118.95

The complex motion of this dancer is conveyed exclusively through the interaction of the body with several layers of dress. Over an undergarment that falls in deep folds and trails heavily, the figure wears a lightweight mantle, drawn tautly over her head and body by the pressure applied to it by her right arm, left hand, and right leg. Its substance is conveyed by the alternation of the tubular folds pushing through from below and the freely curling softness of the fringe. The woman's face is covered by the sheerest of veils, discernible at its edge below her hairline and at the cutouts for the eyes. Her extended right foot shows a laced slipper. This dancer has been convincingly identified as one of the professional entertainers, a combination of mime and dancer, for which the cosmopolitan city of Alexandria was famous in antiquity.

Medallion with Athena Wearing the Head of Medusa, 200–150 B.C., found in Thessaloniki, Greece. Bronze with inlaid white glass, 10 11/16 in. high. The Hellenic Ministry of Culture, Education and Religious Affairs. The Archaeological Museum of Thessaloniki, 17540. Image © Hellenic Ministry of Culture and Sports /Archaelogical Receipts Fund. Photo: Orestis Kourakis

Η Πηνελόπη χαλάει το υφαντό της τη νύχτα. Penelope Unraveling Her Work at Night, Dora Wheeler 1886

ΒΙΒΛΙΟΓΡΑΦΙΑ

Wong, S., and W. Yu. "Buddhist Iconography Along the Silk Road with Prof. Osmund Bopearachchi," Part Two – The Land Route, <https://www.buddhistdoor.net/features/buddhist-iconography-along-the-silk-road-with-professor-osmund-bopearachchi-part-two-the-land-route> (24 January 2021).

https://www.academia.edu/108828554/Imitatio_Alexandri_in_Hellenistic_Art_Portraits_of_Alexander_the_Great_and_Mythological_Images?auto=download&email_work_card=download-paper&fbclid=IwAR0r5aamAZrFFiqPYcoJ69IFVQqZcDPrXNtQuqldYkWMSRuOZTDb7U8SXh4

Trofimova, A. 2012. Imitatio Alexandri in Hellenistic Art. Portraits of Alexander the Great and Mythological Images, Roma.

https://www.academia.edu/108828554/Imitatio_Alexandri_in_Hellenistic_Art_Portraits_of_Alexander_the_Great_and_Mythological_Images?auto=download&email_work_card=download-paper&fbclid=IwAR0QwaRcbjchQ8RecQzrkDUK_clcfb_ioCjtY36Ia5m_F40pP8V6UOfL1fY

Trofimova, A. 2012. Imitatio Alexandri in Hellenistic Art : Portraits of Alexander the Great and Mythological Images (Studia Archaeologica 187), transl. P. Williams, Roma.

https://www.academia.edu/31805520/Emotions_in_Ancient_Greek_Art?fbclid=IwAR21V0s2aA-9e5FTCDXLQyFqdvv1DrhSMfxQ-t-Mm3FM1mr2Q7V8rACJlEs

Mylonopoulos, I. 2017. "Emotions in Ancient Greek Art," in A World of Emotions: Ancient Greece, 700 BC - 200 AD, New York 2017, Onassis Foundation, pp. 72-85

Death of the Buddha, Sculpture, 2nd century-3rd century (made)

Lower part of a relief showing a scene at the death of the Buddha (Parinirvana), grey schist, 3rd century AD, Gandhara

Physical description

The lower half of a relief depicting the Buddha's death (parinirvana). Five disciples are seen grieving in a row in front of the sweeping drapery of the deathbed. On the left-hand side the stricken, groaning figure of Vajrapani props up his reclining body with one arm while the other is raised above his head, having dropped his attribute, a thunderbolt, to the ground. He has curly hair and is bare-chested,dressed only in a robe round the lower part of his body He is being comforted by a bearded man with a top-knot and large earrings. To his right another man half kneels and looks despairingly upwards, raising his (now damaged) right arm up towards where the body of the dead Buddha would have been above. He too is bare-chested, but he wears a necklace and wrist bangles with an uttariya draped over his left shoulder . The next figure is of an ascetic, bare-chested, dressed only in a lower garment with his hair tied up in a topknot. He sits cross-legged and shields his head behind his right hand while his left one rests on top of his left knee. The last figure on the right is of a meditating monk with his hands wrapped in his robe in his lap with his eyes cast down. He has a cap-like hairstyle with the ends flicked back across the centre of his head and caught in a tassel-like arrangement over his forehead. He is presumably Subhadra, the last convert. He sits next to a netted water bag suspended from a tripod of three poles lashed together on the extreme right.

https://collections.vam.ac.uk/item/O25034/death-of-the-buddha-sculpture-unknown/#object-details

P. 88/202

http://users.uoa.gr/~xmoussas/Hellenistic_Civilization/Greeks-in-Asia%20(%CE%95%CE%BB%CE%BB%CE%B7%CE%BD%CE%B9%CE%BA%CE%B1)%202024.pdf