Group 5 presented on form and content in art as well as the basic elements of design such as line, color, space, shapes, light, texture, pattern, and time/motion. They discussed important Greek sculptures from 650-325 BCE like the Kore of Nikandre and Kouros from Sounion as well as buildings such as the Temple of Hera at Samos and Siphnian Treasury at Delphi. The presentation also covered sanctuaries and the architectural aspects of temples, highlighting the three Greek architectural orders of Doric, Ionic, and Corinthian and providing a mini-history of the evolution of the Greek temple from the 7th century BCE to 2nd century BCE.

1. WEEK 5
PRESENTED BY GROUP 5:
• MIGUEL ABRAM AGNO
ADERIEYAN TIMOTHY DELA ROSA
ALFONSO AUREL LAPINORIA
MIGUEL JOSE MANCENIDO
LANCE JOSHUA RIVERA
PAUL JERICHO VALE

2. FORM AND CONTENT
Form and content are the basic components of any work of art. Their careful examination is an
important starting point in visual analysis. In some cases, the condition of a work, conservation,
and scientific tools may provide additional information. Form includes the elements of design,
which are arranged, based on principles of design, to create a composition

3. ELEMENTS OF DESIGN
Elements of design are the means employed by artists to express their ideas. They are critical to the
overall visual aspects and play a significant role in viewers’ response to art. They include
-line
-color
-space
-shapes
-light
-texture
-pattern
-time and motion

4. LINE
The line is the most basic element of visual expression, which often defines objects and forms.
Artists have used lines not only for descriptive purposes.

5. COLOR
Color is mostly associated with
painting. It is, however, also widely
used in sculptures, works made of
glass, photography, architecture,
ceramics, fiber arts, and so on.
Color has often been used to
emulate reality.

6. SPACE
In art, space underscores the three-dimensional
quality of our environment. In sculpture, mass
represents the solid, three-dimensional part of art.
Mass is also called positive space, in contrast to the
negative space, or void, i.e., the air around the
sculpture, architecture, or monument.

7. SHAPES
are outlined and marked by lines. They can
have geometric, organic, or free forms.
Overlapping shapes can create a sense of
depth in two-dimensional art. In two-
dimensional art, perspective is the mechanism
which permits artists to create the illusion of a
three-dimensional space on a surface.

8. LIGHT
The play between light and dark defines space and
volume. Together with other elements, it creates the
illusion of the actual world in two- and three-
dimensional art. In two-dimensional art the term
defines the transition between light and dark.
Chiaroscuro (Italian for “light/dark”) is the balance
between light and dark. Light also helps to underline
the differences between mass and void in three-
dimensional works.

9. TEXTURE
Texture is related to the visual properties of art
materials. There are two types of texture: actual and
implied. Actual texture is the real quality of the
surface and materials used. Implied texture is the
suggestion, illusion, or appearance of a certain
surface or material. In addition to the visual impact,
texture can play.

10. PATTERN
a repetition of a formal element. Patterns have
been widely used in art. They are often
perceived to be just a decorative
embellishment with no significance. The
contemporary group Pattern and Decoration
has made a point of transforming pattern into
a meaningful visual component of their art.

11. TIME AND MOTION
The representation of time and motion has its limitations in traditional media. In the past,
artists depicted these elements using light, creating a mysterious space, and presenting an
impending or interrupted development. The body and individual gestures were also used to
suggest time and motion. Three types of motion can be identified: implied motion, apparent
motion, and actual motion.

12. TIMELINE OF
GREEK
SCULPTURES AND
BUILDINGS

13. Scuplture Buildings
800-700 Geometric Tripods at Olympia, 750-700
700-600 Mantiklos Apollo, 600-675
Kore of Nikandre, 650-625
Temple of Hera 1b at Samos, 700
Temple of Hera 2 at Samos, 650-625
Temple of Apollo at Thermon
600-500 Kouros from Sounion, 590 Temple of Hera I at Poseidonia/Paestum,
550
Temple of Apollo (archaic) at Delphi, 548-
510
Temple C at Selinus/Selinunte, 550-530
Siphnian Treasury at Delphi, 530-525
500-400 Kore of Euthykides, c. 490
Olympia sculpture, 470-457
Parthenon sculpture, 447-432
Athenian Treasury at Delphi, 490-485
Temple of Zeus at Olympia, 470-457
Temple of Hera II at Poseidonia/Paestum,
460
Parthenon at Athens, 447-432
Temple of Concord at Akragas/Arigento,
440-430
Erechtheion at Athens, 431-405
400-300 Aphrodite of Knidos, mid-4th cent. Temple of Asklepios at Epidauros, 375-370
Thymele at Epidauros, 360-330
Temple of Apollo (classical) at Delphi,
373/2-327/6
300-200 Nike of Samothrace, later 3rd-early 2nd
cent.
Temple of Apollo at Didyma, begun 300
(unfinished)
200-100 Cult statues at Lykosoura. 200-190 Great Altar of Zeus a Pergamon, 180-150

14. SANCTUARIES
• They exist in a variety of locations and in sizes, but built to be connected with the divine.
• In Greece, this took place in both group and individual level. They place offerings in this
sanctuaries when there’s a festival. This usually comes with animal sacrifices, harvest,
dancing, poetry and many more.
• Personal level, People would thank and ask for blessings of healing from a God like
Delphi or Epidauros. This comes with a sacrifice or offering but a smaller scale than a
group.
• Sanctuaries usually have shelters for those who are staying for a long period of time
during the festives or course of healing. They also have a storage where they keep the
offerings and gifts.

15. SCULPTURES

16. KORE OF NIKANDRE
(650-625)
KOUROS FROM
SOUNION, 590
APHRODITE OF KNIDOS,
MID 4TH CENTURY

17. NIKE OF
SAMOTHRAC
E
LATER 3RD-
EARLY 2ND
CENT.

18. BUILDINGS

19. TEMPLE OF
HERA AT
SAMOS

20. SIPHNIAN
TREASURY
AT DELPHI,
530-525

21. TEMPLE OF
ASKLEPIOS
AT
EPIDAUROS,
375-370

22. GREAT
ALTAR OF
ZEUS A
PERGAMON,
180-150

23. Sanctuaries

24. What are sanctuaries ?
• Sanctuaries exist in a variety of locations and sizes, but all can be
said to be places that are set apart from ordinary life in which
humans can connect with the divine.
• Most communal activities took place in the open air, so that
sanctuaries were generally defined precincts with paths for
circulation and open areas for gathering, as well as a collection of
support structures that additionally served as a stage setting for
the activities.
• In looking at a sanctuary, then, one must consider it both
diachronically, as it developed from one point in time to the next,
and synchronically, as a pastiche of works and buildings from
different periods that existed concurrently with each other.

25. Communal acts
• Processions
• Performances of choral songs or plays
• Sacrifices of animals or harvest followed by communal
feasting
• Dedications of gifts
• Competitions in both athletics and the arts, including music,
poetry, drama, and dance

26. Architectural aspect of the sanctuary
• The sanctuary or temenos is usually defined by walls or
boundary markers to distinguish the sacred space clearly.
• Entrances are limited and regulate the flow of traffic, which
will be set on pathways that provide an order to the visit or
ritual.
• The most essential ritual feature of the sanctuary is its altar,
where sacrifices take place outside before the assembled
participants.

27. Architectural aspect of the sanctuary
• The space around the altar is open to provide room for the
congregation, while the altar itself is often elevated to
provide a view of the sacrifice.
• The most prominent building of the temenos is the temple,
which is typically located across an open space from the
altar. Larger and taller than anything else, it housed the cult
statue of the deity and served as a storehouse for many of
the most valuable offerings.

28. Treasury
a small building housing
dedications at a sanctuary,
usually rectangular in
plan with a naos and
pronaos with columns in
antis

29. View of the sanctuary at delphi

30. Delphi
• According to mythology, Delphi was the center of the earth,
the omphalos, which was guarded by a serpent, Python, son
of Gaia. He was killed by Apollo, who took over the sanctuary
and, most important, its prophetic function.
• The priestess, called the Pythia, pronounced the oracles,
which frequently had an obtuse and hard-to-decipher quality
about them. These oracles were held as sacred by cities
throughout Greece, who often sent for a pronouncement from
the Pythia before a major undertaking such as war or
colonization. As a rural site that was not associated with a
specific major city, the sanctuary became Panhellenic.

31. Olympic games
• After a reorganization around 582 bce, quadrennial athletic
games took place midway between the Olympic Games.
Additional athletic contests were organized in the sixth
century at Isthmia and Nemea during the odd years between
the Olympic and Pythian games, and the sites together
constituted the four crown games of ancient Greece,
referencing the crowns of olive, laurel, or celery awarded at
each site.

32. View of the sanctuary at delphi

33. Plan of the
sanctuary at Delphi.
Structures

35. TEMPLES AND THE
ARCHITECTURAL ORDERS

36. Peripetral
• Columns that run around the exterior of the
building, that supports the edge of the
roof and enclosing a central rectangular
chamber called the naos or cella.
TEMPLES AND THE ARCHITECTURAL
ORDERS

37. Stereobate
• Elevates the temple above the surrounding
terrain
TEMPLES AND THE ARCHITECTURAL
ORDERS

38. Stylobate
• Platform of the temple on which the
colonnade sits
TEMPLES AND THE ARCHITECTURAL
ORDERS

39. Entasis
The vertical tapering and swelling of columns,
It gives the column more of a visual “lift.”
TEMPLES AND THE ARCHITECTURAL
ORDERS

40. Echinus
• the round cushion-shaped section of the Do
• the square block that sits on top of the
capital and supports the architraveric capital
TEMPLES AND THE ARCHITECTURAL
ORDERS
Abacus

41. Entablature
• the superstructure of a building above the
colonnade, which includes the architrave,
frieze, cornice, and pediment
• the lower section of the entablature that rests
on column capitals.
TEMPLES AND THE ARCHITECTURAL
ORDERS
Architrave

42. Three orders in ancient Greek
architecture

43. Doric order
• The Doric order originated on the mainland and on
western Greece. It is the simplest of the orders,
characterized by short, faceted, heavy columns with
plain, round capitals (tops) and no base.
• With a height that is only four to eight times its
diameter, the columns are the most squat of all orders.
The shaft of the Doric order is channeled with 20 flutes.
The capital consists of a necking which is of a simple
form. The echinus is convex and the abacus is square.
Above the capital is a square abacus connecting the
capital to the entablature. The entablature is divided
into three horizontal registers, the lower part of which is
either smooth or divided by horizontal lines.

44. Ionic order
• The Ionic order came from eastern Greece, where its
origins are entwined with the similar but lesser
known Aeolic order. It is distinguished by slender,
fluted pillars with a large base and two
opposed volutes (also called scrolls) in the echinus of
the capital. The echinus itself is decorated with
an egg-and-dart motif. The Ionic shaft comes with four
more flutes than the Doric counterpart (totaling 24).
The Ionic base has two convex moldings
called tori which are separated by a scotia.

45. Ionic order
• The Ionic order is also marked by
an entasis, a curved tapering in the
column shaft. A column of the Ionic
order is nine times its lower diameter.
The shaft itself is eight diameters high.
The architrave of the entablature
commonly consists of three stepped
bands (fasciae).

46. Corinthian order
• The Corinthian order is the most ornate of the
Greek orders, characterized by a slender fluted
column having an ornate capital decorated with
two rows of acanthus leaves and four scrolls. It
is commonly regarded as the most elegant of
the three orders. The shaft of the Corinthian
order has 24 flutes. The column is commonly
ten diameters high.

47. A MINI-HISTORY OF THE
GREEK TEMPLE

48. The earliest temples of the
polis appear to have been
similar in conception to houses,
as the small temple built at
Zagora in the seventh century
shows.

49. Consisting of a pronaos and a
rectangular naos with four
columns and a hearth, it recalls
the Mycenaean megaron that
was the core of the Late Bronze
Age palaces.

50. The earlier house at Lefkandi is much larger and more
complex, and whether intended as a house or a heroön, it
represents the idea of the temple as a house distinguished by
its size.
We see the further development of this symbolism in the
hekatompedon, or hundred-footer, in the first Temple of Hera
built at Samos.

52. The greater use of stone as a
more prominent building
material created the need for
more systematic construction
techniques and stimulated the
development of the orders
during the late seventh and
early sixth centuries.

53. In the first half of the sixth
century we see the
construction of temples built
completely of stone and the
use of the Doric and Ionic
orders throughout the Greek
world.
Later temples show some changes from the fifth-century
standards of proportions.

54. The Temple of Apollo at Bassae
in the Peloponnesos was the
earliest building to use the
Corinthian order on the
interior, and that new order is a
prominent feature of the
fourth-century tholoi that were
built in sanctuaries at
Epidauros, Delphi, and
Olympia.

55. Siting continues to be a major consideration and can be seen
in Hellenistic examples of temple architecture.
The Temple of Asklepios at Kos
was modest in scale, but
gained visual prominence
through the construction of
terraces lined with stoas and
the creation of a more
longitudinal avenue leading to
it from the nearby city.

56. Some Hellenistic temples, such
as the unfinished Temple of
Apollo at Didyma, were huge in
both size and scale, with
columns over 20 meters high
and bases made up of seven
large steps rather than the
more traditional three.

57. While conforming to the rules
of the orders, these buildings
focused on dramatic
presentations. During the
second century the Corinthian
order was used for the exterior
of a temple for the first time at
the Temple of Olympian Zeus in
Athens.

58. To summarize, the temple is the most distinctive building
type developed by the Greeks and becomes a visual mark of
their identity.
Temples are among the earliest structures built in a city, and
even though they serve mainly a supporting role in
communal ritual, they help to distinguish the Greek
sanctuary and city.

59. The orders provided a system for their design and
construction, but one that could be adapted or varied to
make each temple potentially distinctive.
Certainly a city would strive to build temples that rivaled
those of other cities through the manipulation of materials,
proportions, furnishings, and siting within the framework of
the orders.