Introductory Studies in Greek Art by Jane Ellen Harrison

By Jane Ellen Harrison

Jane Ellen Harrison (1850-1928) used to be a widespread classical student who's remembered mainly for her influential reviews of Greek faith, archaeology, literature and artwork. Introductory reports in Greek artwork (1885) used to be Harrison's moment ebook, released after a interval spent learning archaeology on the British Museum below Sir Charles Newton and writing and lecturing with regards to Greek vase portray. In her preface to the e-book Harrison claims that Greek paintings is exceptional through what she calls 'ideality', a time period she defines as a 'peculiar caliber ... which adapts itself to the recognition of successive a long time ... a definite largeness and universality which outlives the person race and persists for all time.' The ebook covers issues together with Chaldaeo-Assyria, Phoenicia, Pheidias and the Parthenon, and the altar of Eumenes at Pergamos.

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In speaking of Egypt we noticed how civilization mounted from the mouth to the source of the river; here with the Euphrates we have the same principle to guide us (3). From the sea—that is, the Persian Gulf—came, says an old Chaldaean fable, a fish-god, Oannes, who taught men the arts of life. Learning and skill came then, as so often after, by way of the sea. From the mouth civilization slowly mounted the river. "And the sons of Ham: Cush, and Mizraim, and Phut, and Canaan. . And Cush begat Nimrod : he began to be a mighty one CHALVJEO-ASSYRIA.

25 Greeks. They rightly argued if a god is to take visible form that form must be the highest known to us ; the highest known to us is the human form, therefore the gods have human form. This, as we shall see, was largely at the root of their idealism in art. One condition specially favoured them. Before they had matured their art their religion was already in this human stage, the gods had been thought into human shape long before they were required to take plastic form. The Egyptians were less happy.

By virtue of these scenes which supplemented the actual sacrifices made to the dead, the life of the ka was in a curious, magical fashion supposed to be maintained. Similarly when the spiritual " ba " went forth on his purgatorial journey through the dark region of Amenti, his trials and terrors were depicted on the walls of the labyrinthine passages of the syrinx, which thus formed a miniature under-world, and by these representations the soul was magicallysupported. Very intense must have been this belief, for it must be remembered that these sculptural scenes, familiar now to travellers, were never meant to be seen by mortal eye.

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