Fourth module for GNED 1201 (Aesthetic Experience and Ideas). This one covers Greek art and culture during the archaic and classical time periods (roughly 700 - 400 BCE).
This course is a required general education course for all first-year students at Mount Royal University in Calgary, Canada. My version of the course is structured as a kind of Art History and Culture course. Some of the content overlaps with my other Gen Ed course.
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It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
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We all have good and bad thoughts from time to time and situation to situation. We are bombarded daily with spiraling thoughts(both negative and positive) creating all-consuming feel , making us difficult to manage with associated suffering. Good thoughts are like our Mob Signal (Positive thought) amidst noise(negative thought) in the atmosphere. Negative thoughts like noise outweigh positive thoughts. These thoughts often create unwanted confusion, trouble, stress and frustration in our mind as well as chaos in our physical world. Negative thoughts are also known as “distorted thinking”.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
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5. The Hellenistic World
We will focus on Pergamon, which is located in modern Turkey – a region that
had once been part of the Persian empire
6. The site is in ruins today, but when it was built it was conceived to be a “new
Athens,” indicating that Hellenistic kings continued Alexander’s legacy of
importing Greek culture into conquered territories
7. The acropolis at Pergamon included an altar that was dedicated to Zeus
8. The altar was erected to commemorate the king’s victory over a neighboring
barbarian tribe
9. It is now located in a specially built museum in Berlin
Altar of Zeus, Pergamon, c. 175 BCE
Staatliche Museen, Berlin
10. Altar of Zeus, Pergamon, c. 175 BCE
Staatliche Museen, Berlin
The altar represents a fusion of Greek and Near Eastern elements
11. The grand staircase leading to the altar recalls the monumental ramps that led to
the top of the Mesopotamian Ziggurat
12. But the ionic columns are clearly Greek in influence
13. The reliefs that decorate the base of the altar on either side of the stairway recall
the reliefs along the stairway to the Apadana at Persepolis.
Altar of Zeus, Pergamon, c. 175 BCE
Staatliche Museen, Berlin
14. The base of the altar is decorated with a frieze depicting a “gigantomachy” — a
battle between the gods and giants, a race of creatures known for their great
strength
15. The gigantomachy theme had been a feature of the Parthenon where, like the
story of the Lapiths and Centaurs, it symbolized the theme of good triumphing
over evil, and served as a political allegory of the Greek victory over the Persians
16. So the King of Pergamon was borrowing the Greek strategy, for the relief
decorations were intended to celebrate his recent victory over a neighboring
barbarian tribe
17. The figures are carved in very high relief, so that they are almost free-standing
statues
18. As we round the corner, the figures seem to “spill out” onto the stairs, so that it
feels like the battle is bursting into our space
19. The giants are burly and brutish figures, some of them having legs that morph
into coiling serpents
20. The drama is explosive and action-packed, animated by flailing limbs, billowing
drapery, strained muscles, and agonized facial expressions
21. In this scene, we see Zeus taking on a group of giants – his torso is rippled by
powerful muscles, as his wind-swept drapery creates the impression of
unimpeded forward motion
22. To the right, we see Athena battling with another group of gods
23. Athena can be identified by the Medusa head on her chest
24. She carries a shield, and strides boldly forward, as her drapery clings to her
body, creating a powerful sense of surging motion
25. With her right hand, she clutches the head of a giant by his hair, while a serpent
encircles his body and bites at his chest
26. We can see the agony on his face, as his eyes roll back into his head – even his
hairr seems to be writhing in pain
27. To the right, the primordial goddess Gaia (mother
of the giants) seems to raise her arms in
surrender
28. And above her, a winged Nike is already crowning
Athena is the victor
30. There is certainly Greek influence the idealized muscular bodies, and the
extraordinary naturalism of the drapery (clearly, we see the influence of
Phidias’ wet drapery style here)
31. But what is new, and distinctly Hellenistic, is the drama, violence, and emotion of
the scene
32. Greek Classical art is renowned for its serenity and grace – in battle scenes
such as this, it seems more like a graceful ballet than a real battle
33. And remember the Lapith women at the Temple of Zeus at Olympia? They showed no
sign of emotion, in spite of the violence of the theme
34. But in the Hellenistic period, artists began to explore the full range of human
emotion, in action-packed scenes of violence and drama
37. This was another monument that was set up by the king of Pergamon to
commemorate his victory over the Gauls, a neighboring barbarian tribe
38. The original monument was made of bronze, and is now only known through
Roman copies
39. Unlike the Altar of Zeus, this monument dispensed with mythological allusions
and focused instead on a realistic (and sympathetic) portrayal of the “barbarian”
foe
40. Ludovisi Gaul and his wife. Marble, Roman
copy after an Hellenistic original from a
monument built by Attalus I of Pergamon after
his victory over Gauls, ca. 220 BC.
Wikimedia
The centerpiece was a group representing a Gaul warrior committing suicide
after slaying his wife to avoid the shame of slavery and defeat
41. At the four corners of the monument were dying Gaul soldiers, portrayed with
remarkable realism and emotion — one of the distinguishing characteristics of
Hellenistic art
42. Dying Gaul, Roman copy of a bronze original from Pergamon, c. 230-220 BCE
The Gaul is portrayed seated on the ground, with his trumpet and sword beside
him, as he draws his last breath
43. Dying Gaul, Roman copy of a bronze original from Pergamon, c. 230-220 BCE
The fatal wound can be seen just above his right rib cage, with carved drops of
blood dripping from it
44. Dying Gaul, Roman copy of a bronze original from Pergamon, c. 230-220 BCE
Although his physique is highly idealized, there are remarkably realistic elements
in the way the sculptor has endowed the figure with recognizably “ethnic”
attributes
45. He has bushy hair and wears a mustache, and the choker around his neck
would have made him easily recognizable as a Gaul warrior
46. There is also remarkable realism in the facial expression
47. His forehead is furrowed, and his mouth is grimacing, making us sympathize with
his pain
48. The Greeks had a word for this: pathos refers to a quality that evokes pity or
sadness
49. Hellenistic realism invites us to relate to the figure on deeply emotional level,
enabling us to empathize with his suffering
50. Which raises an interesting question: why would the king want us to take pity on
his enemies?
51. In fact, this monument seems unusual as a victory monument since it does not
even portray the victor; instead, it features only his defeated enemies, who are
nonetheless depicted as worthy adversaries
52. Noble Foe
The strategy actually recalls the dead and dying lions that decorated Assyrian
palaces, which only served to amplify the king’s power, since only a great man
could conquer such a powerful beast
53. Dying Gaul, Roman copy of a bronze original from Pergamon, c. 230-220 BCE
The sympathetic treatment of the dying Gaul warrior serves a similar purpose
54. Dying Gaul, Roman copy of a bronze original from Pergamon, c. 230-220 BCE
It is an indirect tribute to the king’s great accomplishment, since only a powerful
king could defeat such a worthy adversary!
57. Let’s start by reviewing some of the differences between Greek Classical and
Hellenistic art
58. While Greek art is characterized by ideal beauty, serenity, and calm, Hellenistic
art if full of action, drama, violence and emotion
59. Dying Gaul, Roman copy of a bronze original from Pergamon, c. 230-220 BCE
And while Greek Classical statues typically portrayed ideal heroes who were
distant and aloof, Hellenistic sculptors explored more realistic characters that
invite pity and emotion
60. In fact, Greek Classical sculpture portrayed a very limited range of humanity:
their statues depicted athletes, warriors and gods – the super-heroes of society,
rather than ordinary people
61. Marble statue of an old fisherman, Roman
copy of a Greek statue of the 3rd c. CE
1st or 2nd c. CE
Metropolitan Museum
But during the Hellenistic period, sculptors began to explore a wide range of
social types – ordinary people, who were neither beautiful nor heroic
62. Marble statue of an old fisherman, Roman
copy of a Greek statue of the 3rd c. CE
1st or 2nd c. CE
Metropolitan Museum
There are images of elderly people, such as the old fisherman and market
woman seen here
63. Young Slave, Late 2nd, early 3rd century CE
Louvre
Bronze statuette of an Ethiopian, 3rd-2nd c. BCE
Met Museum
And ethnic types, such as Africans make their appearance – likely a response to
the multi-cultural atmosphere of Hellenistic cities which were much like our
modern cities in their ethnic diversity
64. Seated Boxer, Bronze, c. 100-50 BCE
National Museum, Rome
This statue represents a seated boxer – a male athlete that had been a popular
theme in the Classical era
65. However, unlike the Olympic champions of the Classical age, he is far from being
the “perfect” male
66. Seated Boxer, Bronze, c. 100-50 BCE
National Museum, Rome
Seated on a rock, he seems exhausted from the years he has spent competing
in this brutal sport
67. He wears leather knuckle straps on his hands, and while his body still seems fit,
it seems weighed down by exhaustion
68. His face is scarred and badly misshapen (his nose has clearly been broken
multiple times), and his expression is one of weary resignation
69. And so we have a dramatic contrast between Hellenistic realism and Greek
idealism
70. While Greek Classical statues invited us to admire the physical prowess of ideal
warriors and athletes who were almost godlike in their perfection, Hellenistic
statues explored more real-life individuals, and invite us to empathize with their
humanity
71. Marble statue of an old woman, copy of a
Greek work of the 2nd c. BCE
Metropolitan Museum
This statue is another example of Hellenistic realism. It represents an elderly
woman on her way to market
72. Marble statue of an old woman, copy of a
Greek work of the 2nd c. BCE
Metropolitan Museum
Her face is wrinkled with age, and her expression seems haggard. Her clothes
appear disheveled, and her frame seems small and emaciated.
73. Marble statue of an old woman, copy of a
Greek work of the 2nd c. BCE
Metropolitan Museum
As she stoops to carry her heavy burden, her robe falls immodestly off her
shoulder to reveal her breast – a detail that makes her seem all the more
pathetic
74. Marble statue of an old woman, copy of a
Greek work of the 2nd c. BCE
Metropolitan Museum
This emphasis on pathos – an appeal to the viewer’s emotion – along with its
realism, was a characteristic of Hellenistic art
75. Bronze Statue of Eros Sleeping, 3rd century BCE
Metropolitan Museum
In addition to old age, Hellenistic sculptors also mastered the representation of
young children
76. Marble Grave Stele with a family
group, c. 360 BCE
Metropolitan Museum of Art
In Greek Classical art, children were
often represented as mini-adults
77. Bronze Statue of Eros Sleeping, 3rd century BCE
Metropolitan Museum
But Hellenistic artists understood that children have very different proportions
than adults, as seen in this delightful statue of the god Eros as a pudgy little
toddler, sleeping on a rock
78. Most Hellenistic statues of common people (fishermen, boxers, exotic dancers,
and old women) were not portraits — instead, they were generic social types
79. Polykleuktos, Demosthenes, Roman
marble copy of a bronze original c. 280
BCE
But portraiture did emerge in the Late Classical and Hellenistic periods, where
artists endeavored to record the recognizable features of a specific individual
80. Polykleuktos, Demosthenes, Roman
marble copy of a bronze original c. 280
BCE
Many of these portraits depicted philosophers, and this one is an early example
of the type
81. Polykleuktos, Demosthenes, Roman
marble copy of a bronze original c. 280
BCE
It portrays Demosthenes, who was a frail man who suffered from a speech
impediment (so, like most of us, he could hardly meet the standards of 5th
century Greek beauty and perfection!)
82. Polykleuktos, Demosthenes, Roman
marble copy of a bronze original c. 280
BCE
But he was a man of great courage and moral conviction. He became famous as
an orator who rallied the Athenian citizens to defend their democracy against
Macedonia; later, when the city was conquered, he took his own life
84. Polykleuktos, Demosthenes, Roman
marble copy of a bronze original c. 280
BCE
“The orator clasps his hands nervously in front of him as he looks downward,
deep in thought. His face is lined, his hair is receding, and his expression is one
of great sadness. Whatever physical discomfort Demosthenes felt is here joined
by inner pain, his deep sorrow over the tragic demise of democracy at the hands
of the Macedonian conquerors.”
Fred S. Kleiner, Gardner’s Art Through the Ages (Backpack Edition), p. 139
87. Nike (Winged Victory) of Samothrace
c. 190 BCE
Louvre
One of the most beautiful works from the Hellenistic period is the Nike of
Samothrace
88. Commemorated a naval battle
Originally placed in a reflecting pool -- a theatrically dramatic environment
89. Phidias’ wet drapery style is taken to a new level in the wind-blown drapery that
clings to the goddess’s torso
90. Her great wings stretch out behind her creating the impression that she is
weightless -- in spite of the fact that the statue is made from solid stone