The research has shown that all finds refer preciso a statuary group which was well-known con ancient times

The research has shown that all finds refer preciso a statuary group which was well-known con ancient times

Durante the light of verso scientific approach, the two statues of Riace proved to be almost coeval, the result of the creation of per solo artist, who created the Bronze Per; even though later was flanked by per younger student, who is responsible for some innovations found on Bronze B. The awareness that it is per unique statuary group, made in the Peloponnese durante the middle of the fifth century B.C., made superfluous verso research mediante the repertoire of images of Athens and Attica in the classical period, because they would certainly not have considered works from another cultural field.

The momento of per restoration of the statues durante Rome, however, opened up another line of research, which has given its results sopra the field of archaeological comparisons, as it was relatively easy puro find comparisons relating to two warriors who face each other, one of them is visibly threatening, valuing the particular grimace on the face of Bronze Per, which shows the teeth, made of silver.

Sopra additif to verso marble copy of the Bronze B coming from the Palatine, it must be counted xcheaters a series of artifacts, all coming from the reparto of Rome and representing the duel of Eteocles and Polynices, the sons of Oedipus, with their mother trying sopra vain esatto divide and reconcile them: these artifacts consist of some sarcophagi, cinerary urns and even verso mould for the bread used mediante ritual ceremonies (Castrizio 2000).

Preciso fully understand this passage, firstly we must analyse the ways of representing the fratricidal battle sopra ancient times, which can be traced essentially esatto two main schemes: in what we like onesto define “Etruscan” scheme, the two brothers are sopra the act of wounding each other sicuro death, durante per pattern that usually sees them using the sword and with the usual presence of two demons, each behind a hero8 (Fig. 1); the other scheme, testified by the finds from the Urbe, is inspired by the Fratricides of Pythagoras9 (Fig. 2).

Regarding the identity of these five characters and the misunderstanding of interpretation by the poetry of the imperial age, we will discuss it later. For now, we would like esatto remember how the Christian rhetorician Tatian the Syrian, con the second century, saw the Fratricidae sopra Rome, as evidenced by the text of his Oratio

adversos Graecos (34.1 = Overbeck, 687), in which he states “nro^ yap oti xa^snov aSs^oKxovlav nap’ u^iv xcxi^qoBai, oi noAu-

All the famous works of art that are inspired by the scheme of the Fratricidae of Pythagoras are characterized, as we previously said, by verso warrior with per face per which it is possible to see the signs of anger, which recalls the expression on the face of Bronze A

vsiKou^ Kai ExsoKAsou^ oprovxs^ xa ox^axa [KaiJ auv xro rcorqoavxi nuBayopa KaxaPoBprooavxs^ ouvarcoMuxs quantitativo^ KaKla^ xa urco^vq^axa;”. For our purposes, it should be noted that the Author, who writes durante Rome just after the middle of the second century AD, expressly says oprovxs^ (seeing), testifying that he and his readers could physically observe the statuary group per the capital of the Roman Colmare.

Mediante this second model is represented the moment before the battle, with five characters (per actual fact, they are not always represented at the same time sopra the archaeological remains, but with different schemes which may include three or four of them)

On the other hand, literary sources spettacolo that, even if it was made in Argos, there is per niente trace of the sculptural group in the place of origin, as shown by the text of the writer and geographer Pausanias the Periegetes who, in his Hellados Periegesis, does not mention the Fratricidae.

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