The Interiors of Greek Temples

Miles, Margaret M.

doi:10.1002/9781118327586.ch15

Cited by 5 publications

(3 citation statements)

References 32 publications

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“…Second, I depart from other recent syntheses on Greek architecture that concentrate on the Archaic through to the Hellenistic periods (Miles 2016) and, in doing so, retain the origins of Greek architecture as a branch of Classical, and specifically text-oriented, archaeology. The materialist emphasis adopted here points to a broader chronological range, extending to Bronze Age architecture, whose ruins still populate the landscape of Greece and profoundly impacted the development of Classical architecture.…”

Section: Introductionmentioning

confidence: 89%

7 Recent research on Greek architecture: 2012–2022

Sapirstein¹

2022

Arch. Rep.

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The discipline of Greek architecture has been changing rapidly since the time of a major review published in 2011. The current study examines research published since 2012 about the prehistoric through to the Hellenistic eras in mainland Greece and the Aegean, along with the expansion of Greek architectural systems throughout the Mediterranean and Black Sea in the first millennium BC. A narrative discussing close to 300 works from recent years is bolstered by a quantitative analysis of the subjects treated in nearly 1,000 studies from the previous decade. Traditional foci of the discipline, such as palaces and sanctuaries, are being approached in new and methodologically sophisticated manners. A notable rise in the scrutiny of material remains suggests diverse new interests in planning and construction, from the scale of an individual architectural member up to a territorial defence network. The integration of recent digital and scientific methods has been remarkable, including widespread adoption of 3D recording and modelling, remote sensing, and compositional analysis. Certain architectural types – in particular fortifications, harbours, and urban planning – have received a great deal more attention than in past decades.

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Section: Introductionmentioning

confidence: 89%

7 Recent research on Greek architecture: 2012–2022

Sapirstein¹

2022

Arch. Rep.

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“…Ioannis Mylonopoulos (2011, 284–8) on the other hand notes many instances in literature across the Archaic to Hellenistic periods where the interiors of temples do appear open and accessible, at least at certain times of the year, necessitating barriers around the most sacred part of the cella – the cult statue. No doubt entire ethnic and/or gender groups could see restrictions on their entry into the very temenos (Mylonopoulos 2011, 287 n. 75), but for citizens, Greek temples were generally more accessible to the public than Egyptian temples or temples in the Near East (Miles 2016, 219). It is thus difficult to imagine the implement(s) would have been completely and permanently kept out of public view.…”

Section: Accessing the Ivories In A Changing Societymentioning

confidence: 99%

CELEBRATING DEATH AT THE SANCTUARY OF ORTHIA: A PROTHESIS SCENE, THE IVORY CORPUS AND RITUAL LANDSCAPES IN THE ARCHAIC PERIOD

Daniels

2023

Annu. Br. Sch. Athens

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The corpus of carved ivories from the sanctuary of Orthia at Sparta forms one of the most cosmopolitan assemblages from Archaic Laconia. One image within this corpus, however, has remained an anomaly: a mirror-image scene on two plaques showing three figures mourning a deceased male in the prothesis ritual. The puzzling nature of these plaques rests on the dearth of imagery elsewhere in Laconia from this period displaying the prothesis, unlike Attica. These images have been viewed as representing a mythical death or a commemoration of an actual death, tied to a period in Sparta's history when elite groups claimed power through ostentatious ritual, but their overall meaning within Orthia's sanctuary remains obscure. I argue, however, that these plaques are not anomalies within the ivory corpus, nor are they divorced from the broader ritual programme in Orthia's sanctuary – rather, the ivory corpus itself represents a unified composition that merged scenes showing ideal activities for Spartan citizens with heroic episodes from myth, geared towards the achievement of everlasting kléos. The semantics of these combined iconographies are clarified via comparison with cultic implements described in ancient literature alongside extant examples of multi-scene figural pottery from the seventh and sixth centuries. This paper thus highlights the mythological and ideological meanings of the prothesis plaques within the broader ivory corpus, and elucidates the role of complex figural iconographies in the elaboration of heroic ideals centred on Spartan citizens in this period.

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“…For its purposes, ‘Greek art’ was widely construed to include architecture, colonization, and reception, and the book was reissued in paperback in 2018 with corrections and an updated bibliography. Since that time, other companions and handbooks – notably those edited by Clemente Marconi on Greek and Roman art and architecture (2014), with a recommended section on ‘approaches’, and by Margaret Miles on Greek architecture (2016), which includes temple decoration – have found a home on the bookshelves of student and scholar alike; and a place for Greek art and all it entails was established alongside no shortage of such volumes devoted to many aspects and periods of the ancient Mediterranean world. Simultaneously, a spate of introductory textbooks in English, most commissioned by their publishers, began to take shape in a feverish attempt to bring Greek art (often coupled with ‘archaeology’) up to date for a student audience through the incorporation of new finds and photographs, and importantly fresh perspectives (Neer 2011/2018; Maffre 2013, in French; Barringer 2015; Stansbury-O’Donnell 2015; Plantzos 2016, translated from the Greek original of 2011).…”

Section: Introductionmentioning

confidence: 99%

8 Greek art: recent developments and current trends

Smith

2023

Arch. Rep.

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This review essay focuses on recent developments and trends in the study of ancient Greek art. The publications covered date primarily to the period beginning in 2017–2018, though selected earlier works have been included where considered to be of particular merit or importance. Examples have been chosen to span and represent the long Archaic to Hellenistic phases (eighth–first century BC), and a full range of artistic categories and media have been featured in the discussions. In order to structure the large quantity of bibliography available, the presentation is divided into several broad categories according to themes (e.g. sites, reports, guides; exhibitions, conferences, Festschriften) or materials (e.g. sculpture and terracottas; metals, coins, gems, and jewellery). Where possible, digital resources applicable to the discipline have also been mentioned and cited. By way of conclusion, some general observations are made about the subjects of Greek art that seem not only to be the most prevalent in recent scholarship, but also transcend artistic medium, style, and scale – among them the body and adornment, senses and emotion, aesthetics and beauty, religion and performance, and archaeological contexts and intercultural connections.

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The Interiors of Greek Temples

Cited by 5 publications

References 32 publications

7 Recent research on Greek architecture: 2012–2022

7 Recent research on Greek architecture: 2012–2022

CELEBRATING DEATH AT THE SANCTUARY OF ORTHIA: A PROTHESIS SCENE, THE IVORY CORPUS AND RITUAL LANDSCAPES IN THE ARCHAIC PERIOD

8 Greek art: recent developments and current trends

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