Greek Architecture in Egypt Essays

Greek Architecture in Egypt Essays Greek Architecture in Egypt Essay Greek Architecture in Egypt Essay Instead of covering nearly every bit of space with ornament, as the Egyptians did, the Greeks selected only the best places for it, and thus gave it its proper effect. The decorations, especially the sculptures, were one of the chief features of a Greek temple. Besides their temples the Greeks built many theaters which may be studied from their ruins, but of their dwelling-houses almost nothing remains to us. The Greek style is noted for the repose, harmony, and proportion of its effect. These are terms we might use in speaking of a painting, but they relate to the composition of a building which is, in many respects, similar to the composition of a picture. In selecting his materials, and style, and site, and in arranging his masses of stones; in placing the lights and shades, and in producing an effect of symmetry and balance, the architect is doing much the same things that a painter does in composing his pictures. As to proportion, we may say, in a general way, that Doric temples were twice as long as they were wide, and once and a half as high as they were wide. : The column was about six times its diameter in height, while the capital was one-half one diameter in height. CLIMATIC INFLUENCES:- To make further comparison with the Egyptian, we notice that the Greek made a gable to his roof. This was to ward off the weather, a thing the Egyptian never had to think of. It shows us how climate will bring out new features in architecture, and that, what might be beautiful in Egypt, might seem ridiculous in Chicago. Only the suitable is beautiful. STYLE OF CONSTRUCTION:- Using stone as the main constructional material led to trabeated and columned architecture, resembling that of the temple architecture in Ancient Egypt. Because many Greek buildings were made of wood, mud-brick, or clay, nothing remains of them except for a few ground-plans, and almost no written sources on early architecture or descriptions of these embryonic buildings exist. Common materials of Greek architecture were wood, limestone, and bronze. Those materials were used to construct five simple types of buildings: religious, civic, domestic, funerary, or recreational themes. GREEK ARCHITECTURE:- There is a very early period of Greek architecture, the remains of which are mainly tombs and gateways. The ending of the war between the Greeks and the Persians delivered the country from the fear of invasion, and left it free to exercise the arts of peace. Under Pericles, the old temples were rebuilt with greater splendor. This was the Golden Age of Greek Art, both in architecture and in the sister art of sculpture. Pericles was the great figure, in Athenian public affairs for forty years; the one man power of his time. His fleets overcame the neighboring countries, and the wealth and prosperity of Greece was the greatest in the world. He was a believer in art, and under him flourished the great sculptor Phidias, who superintended the construction of Pericles buildings. Sculptures made by Phidias, or under him, with which to adorn the temples, were the best the world has seen to this day. Sculpture was then as much a part of a fine building as the stone itself, and Pericles had such an idea of the importance and value of beautiful things that he kept the best artists busily at work. The result was that he made Athens the most beautiful city in the world. GREEK TEMPLES:- The architecture that we know as Greek is the most perfect of all architecture, and the Parthenon, a temple at Athens, is its best example All Greek temples faced the east and in front of them there was an altar for the sacrifices.. The Greeks loved both freedom and beauty, and their temples were true and noble expressions of themselves and their aspirations. Their religion, though different from the religions of today, was a pure and lofty one, and entered largely into their architecture. Their temples were built to do honor to their gods, and were set upon their beautiful hills. All Greek temples resemble each other in so many respects that, having seen one, we should never be at a loss to recognize another. There were three different orders, named Doric, Ionic, and Corinthian. Every order consists of two essential parts, a column and its entablature. The column is divided into three parts; base, shaft, and capital. The entablature or upper part of the building, which is supported by the column, consists of architrave, frieze, and cornice. The character of an order is displayed not only in its column, but in its ornaments, its general style, and its detail. THE GREEK DORIC ORDER:- The Doric order is the oldest and strongest as well as the most simple of the three Greek orders, combining with solidity and force, the most subtle and delicate refinement of outline. The column of the Doric order has no base, that is, it rests directly on the stone platform, and is thicker at the bottom than at the top, swelling outward in a subtle curve called entasis. The Doric column was fluted. The fluted part is called the shaft and the top of the column is the capital. The capital of the Doric column is very plain. THE GREEK IONIC ORDER:- The Ionic order is named from the Ionic race, by which it is supposed to have been developed and perfected. The distinguishing characteristic of the column of this order is the volute, or spiral ornament of its capital. In the true Ionic, the volutes have the same form on the front and rear of the column, and are connected on the flanks by an ornamented roll or scroll, except in the case of corner capitals, which have three volutes on the two outer faces The Ionic temples are not so well preserved as the Doric. The most important of the Ionic temples left to us is the Erechtheum at Athens. It differs from other temples in its irregularity. This makes it doubly interesting for it shows that although the Greeks nearly always adhered to one simple form, they could dispense with it when they wished. In the Erechtheum, they wished to provide for several shrines in one building, and under one roof. The irregularity they have made so beautiful and interesting that it is a wonder they did not repeat the idea many times in other structures. Its two colonnades of different designs, its remarkable north doorway, and the famous caryatid porch to the south are unsurpassed. Another temple, that of Artemis (Diana) at Ephesus, was known as one of the seven wonders of the ancient world. THE GREEK CORINTHIAN ORDER:- This is the most ornate of the classical orders, and the most slender in its proportions. The capital is shaped somewhat like a bell inverted, and is adorned with rows of acanthus leaves. A great example of the, third, or Corinthian order is the monument of Lysicrates at Athens. Straight is the line of duty. Curved is the line of beauty Follow the one and it shall be; The other shall always follow thee. For such reasons, Greek architecture was called Intellectual. Where on the Aegean shore a city stands, Built nobly, pure the air and light the soil; Athens, the eye of Greece, mother of arts and eloquence. Milton. IDENTIFYING FEATURES:- * Most have porticos (either entry or full-width) supported by prominent square or rounded columns, typically of Doric style, but also Ionic and Corinthian * Gabled or hipped roof of low pitch * Cornice line of main roof and porch roofs emphasized with wide band of trim (this represents the classical entablature and is usually divided into two parts: the frieze above and architrave below) * Enormous windows and doors Front door surrounded by narrow sidelights and a rectangular line of transom lights above, door and lights usually incorporated into more elaborate door surround (ancient Greek structures did not use arches) * Window sashes most commonly with six-pane glazing * Small frieze-band windows, set into the wide trim beneath the cornice (attic), are frequent. These are often covered with an iron or wooden grate fashioned into a decorative Greek pattern. GREEK TEMPLES| NEW EGYPTIAN KINGDOM TEMPLES| LOCATION:Sea everywhere with mountains, hard topography, and outward nature. Location is at the centre of the old world maintained effective communications with other civilizations | Egypt, the land of the Pharaohs,. It was the only country of the ancient world which, by means of the Red Sea, commanded outlets and inlets for foreign trade by both the Mediterranean and Arabian Seas. The Nile itself was of untold value, and it may truly be described as the rich life-blood which runs in the veins of Egypt. On its banks therefore, from time immemorial, the Egyptians founded their cities, both for the living and the dead, and here are the royal pyramids and the priestly temples. GEOLOGICAL:Mineral wealth, different types of stones, mainly marble with various kinds were used . Greek architects were very inspired by neatness of such a material and its potentials, leading to clear-cut surfaces. Such surfaces served perfectly for decorations and extraordinary art work, mainly sculpturing| The natural products, such as timber, brick, clay, and stone, largely determine the character of the architecture of a country. Different types of stones were the materials chiefly employed, for constructive and decorative architectural work, as the country was poor in metals. The gigantic scale which distinguishes Egyptian architecture was made possible not only by the materials, but also by the methods employed in the quarrying of enormous blocks of stone, and in transporting and raising them into position. Recent excavations have revealed the use of sun-dried and burnt bricks for dwelling-houses and royal palaces. | RELIGIOUS:Greek had rather a human-centered cult where the man was the most important feature. The main subjects of decoration were human figures. Even the gods and goddesses were figured in human images. Unlike in Egypt, the temple was not segregated with its priests from the public. It was rather open for them and easily accessible without a barrier. Even the holiest place, the Cella or Naos, where the statue of the gods was laid, had a simple gate almost always facing the East behind a colonnade. | The close connection between religion and architecture is everywhere visible. The religious rites of the Egyptians were traditional, unchangeable, and mysterious, and these traits are reproduced in the architecture, both of tombs and temples. The religion was monotheistic in theory, but became polytheistic in practice through the cult of many gods representing natural phenomena and the heavenly bodies. Judged by the elaborate preparations for the care of their bodies after death the wealthy built themselves tomb-houses against the time when they should enter the great land of silence. | CLIMATIC:It’s mild, intermediate between the accurate cold and relaxing heat. (Notice the pitched roof made of terra cotta covering the typical Greek Temple) This had its reflection on the people and their architecture. It permitted openness of the Greek Temple as well as outdoor activities enjoying the mild sun while practicing different life activities. The outdoor nature of architecture expressed through the trabeated and columned architecture influenced the architecture typology of the buildings. | Egypt has been said to have two seasons, spring and summer. The climate is equable and warm; snow and frost are unknown, while storm, fog, and even rain are rare, and these conditions have contributed to the preservation of the buildings. Its brilliant sunshine conduced also to simplicity of design; for, as sufficient light reached the interior through doors and roof slits, and thus unbroken massive walls protected the interior from the fierce heat of the sun. In the absence of rain, flat roofs of thick stone slabs were sufficient to cover in the building, and to exclude the heat. | SOCIAL:Greek life was organized around the independent and self government city-state. There were at least 700 of them in Greece during this time. All the Greek people, although, shared a common language, with similar religious beliefs and participating in common games The Olympics. A community of citizens (only men), women and slaves (usually obtained from wars) had no rights. Priests were not a segregated or isolated class; they could practice their religious job and retire as common citizens. Egyptian civilization is the most ancient of which we have any clear knowledge. Our information is derived from the Old Testament, and from Greek and Latin authors, but more particularly from Egyptian buildings with their inscriptions. It was the custom to record matters of history on temples, and of domestic and social interest on tombs. | GLOSSARY:- Cella (or naos): T he main chamber of a Greek or Roman temple, built to house the cult statue. Peristyle: The colonnade around a peripteral building or around a court. Peripteral: An adjective describing a building with a colonnade around its entire perimeter. Intercolumniation: The space between two adjacent columns. Stereobate: A solid mass of masonry serving as the visible base of a building, especially a Greek temple. In a Greek temple only the lower steps are called the stereobate; the top step, on which the columns rest, is called the stylobate. Entasis: The swelling convex curvature along the line of taper of classical columns. The entasis of early Greek Doric columns is pronounced, but becomes ever more subtle until, in the columns of the Parthenon, it is barely perceptible. Echinus: In the Doric order, the quarter round molding beneath the abacus of a capital. Abacus: The uppermost part of a capital, forming a slab upon which the architrave rests. Entablature: The group of horizontal member resting on the columns of the one of the classical orders. It is divided into three parts: architrave, frieze, and cornice. Architrave: The lowest member of an entablature, resting directly on the columns. Frieze: The middle member of an entablature, between the architrave and cornice. Triglyph: In the frieze of the entablature of the Doric order -the vertical blocks- which are divided by channels into three sections. Originally, the triglyphs were probably the ends of wooden ceiling beams. Metope: In the frieze of an entablature of the Doric order, one of the panels between the triglyphs sometimes ornamented. Originally, in wooden temple, the metopes may have been openings between the ceiling beams. Cornice: The topmost part of a classical entablature. Pediment: In classical architecture, the low-pitched gable, or triangular area formed by the two slopes of the low-pitched roof of a temple, framed by the horizontal and raking cornices and sometimes filled with sculpture. Orders: An architectural order is one of the classical systems of carefully proportioned and interdependent parts which include column and entablature. Doric: The oldest, studiest, and most severe of the orders. It developed on the mainland of Greece. The most distinguishing characteristic is probably its capital, but note the absence of a column base and the introduction of triglyphs and metopes in the frieze course. Ionic: Its more slender and lighter than the Doric. The Ionic developed in the lands east of the Aegean and was more subject to the influence of older Asiatic styles. It is quickly distinguished by the volutes of its capitals. Note the presence of a column base and the absence of the triglyphs and metopes. Corinthian: Its developed later than the Doric or Ionic. It is distinguished from the Ionic by its capital formed of a circular belle of rows of acanthus leaves. Megaron: A large oblong hall in a Minoan or Mycenaean palace. * Library of Alexandria: The Royal Library of Alexandria was once the largest in the world. It is usually assumed to have been founded at the beginning of the 3rd century BC during the reign of Ptolemy II of Egypt after his father had set up the temple of the Muses, the Musaeum (whence we get Museum). The initial organization is attributed to Demetrius Phalereus, and is estimated to have stored at its peak 400,000 to 700,000 parchment scrolls. The librarys destruction remains a mystery. One story holds that the Library was seeded with Aristotles own private collection, through one of his students, Demetrius Phalereus. Another concerns how its collection grew so large. By decree of Ptolemy III of Egypt, all visitors to the city were required to surrender all books and scrolls in their possession; these writings were then swiftly copied by official scribes. The originals were put into the Library, and the copies were delivered to the previous owners. While encroaching on the rights of the traveler or merchant, it also helped to create a reservoir of books in the relatively new city. * Lighthouse of Alexandria: Alexandria, Egypt. This city is where the Lighthouse of Alexandria stood. The city was completed by Ptolemy Soter, the new ruler of Egypt. The city soon became rich. The city needed a symbol and a mechanism to guide the trade ships into its harbor. It was completed 20 years later and was the first lighthouse of the world. It was also the tallest building with the exception of the Great Pyramid. That means that the lighthouse stood between 450 to 600 feet high. A man named Sostrates of Knidos designed the lighthouse. He thought it needed to have his name carved in the foundation. But Ptolemy II, who ruled after his father, refused and wanted his own name carved in. Sostrates, being a clever man, had this inscription put on the lighthouse: SOSTRATES SON OF DEXIPHANES OF KNIDOS ON BEHALF OF ALL MARINERS TO THE SAVIOR GODS. Then he covered it with plaster. Then they put Ptolemys name into the plaster. As years passed, the plaster chipped away, leaving Sostrates declaration. The lighthouse was built on the island of Pharos. Pharos became the word lighthouse in French, Italian, Spanish, and Romanian languages. This lighthouse was designed differently than modern lighthouses. It was more like a 20th century sky scraper. There were three stages which were piled on top of each other. The lowest level was about 200 feet square and was shaped like a huge box. The blocks on which the lighthouse was built were marble. There was a staircase in the lighthouse that led the keepers to the beacon chamber. In there, was a curved mirror. It was used to project a fires light into a beam. Ships could detect the beam from the tower at night or the smoke from it could be seen during the day from up to 100 miles away. I bet youre wondering what happened to the worlds first lighthouse. It stood for 1,500 years but was damaged by tremors in 365 and 1303 A. D. The final collapse came in 1326. ARCHITECTURE in ALEXANDRIA The history of ancient Greek art mainly in the form of sculpture is composed of roughly three periods: the Archaic, the Classical, and the Hellenistic. The Archaic is rather stiff and primitive; the Classical becomes more sophisticated and realistic; and the Hellenistic becomes flowery and highly decorative. These three periods can be thought of in the same way as the three periods of Greek architecture the Doric, the Ionic, and the Corinthian. Doric columns are the most simple, Ionic are more highly decorative, and the Corinthian are downright over the top and lavish. Archaic In the Archaic period of Greek art [800-500 BC], sculptures were placed on pedestals lining the way to the entrance to a main temple or for marking graves. The typical statue is of either a male or female figure assuming a rather stiff pose. Male statues are called kouroi (simply meaning young men) and represent gods, warriors, and athletes. The female statues are called korai and depict clothed priestesses, goddesses, and nymphs. Always each has the thin-lipped Archaic smile, perhaps echoing the prosperity and relative peace of the time. During the Archaic period, Greek artists try to achieve realistic likeness in picturing the human figure, and the statues are a far cry from the extremely abstract figures of the geometric style which preceded. In fact, the statues show the influence of Egyptian art in its stiffness, gracefulness, and idealization. But the artists werent quite comfortable with achieving naturalism yet. The archaic smile, outstretched palm, clenched fist, and wooden posture of a striding figure are all stylistic devices that compensate for an inability to portray a figure in realistic full action during this emerging stage of naturalism. Classical During this period [500-323 BC], Greece reaches the height of economic success and cultural and artistic splendor. Its expansionist foreign policy triggers revolts throughout the Hellenic world and rivalry with Sparta, Corinth, Thebes, and Syracuse leads to much fighting and bloodshed. Gone is the dreamy Archaic smile from the sculptures. The Classical period of Ancient Greece produced some of the most exquisite sculptures the world has ever seen. The art of the Classical Greek style is characterized by a joyous freedom of movement and freedom of expression. It celebrates mankind as an independent entity. Artists hold their aesthetic standards to a quest for ideal beauty; this leads to their depicting the human figure in a naturalistic manner because it is the first time in human history that the human body is studied for its aesthetic values. They replace the stiffness of the human figure from the Archaic period with a free-flowing form more true to life. The most significant change is the counterbalance, or s-curve, of the body, known as controposto. One foot comes forward so that one leg is relaxed and the other bears the weight of the body; the pose is much more naturalistic. In the art of Greece during the Classical period the characteristic smile of the Archaic sculpture is replaced by a solemn facial expression. Even in sculptures which depict violent and passionate scenes the faces betray no expression; however, their enemies have dramatic facial expressions. Ancient Greeks believed that suppression of the emotions is a noble characteristic of all civilized men, while the public display of human emotion is a sign of barbarism. Logic and reason are the dominant human qualities even during the most dramatic situations. This is the period that of course so greatly influenced the ascendance of the Renaissance when Italian scholars, writers, and artists experienced a rebirth (renaissance) of classical values after the Middle Ages. The Classical period is considered the golden age for the arts, literature, philosophy, and politics and its principles continue to influence western civilization today. Hellenistic: The Hellenistic period occurred from the third to the first centuries B. C. in the times that spring up after Alexander the Greats conquests. This is a great time of prosperity that encourages the production of art of a more secular nature. A new reality emerges in Greek sculpture. Instead of depicting ideals such as logic and suppressed emotion or perfect beauty, the artists explore reality. For instance, the Boxer shows the boxers bleeding knuckles after the fight. Humane themes such as childhood, old age, ugliness, and suffering are now of interest and are treated with great exuberance and pathos. The Laocoon is the epitome of this style. The Hellenistic period is above all a period of eclecticism. Artists expand their work with dramatic poses and emotions, sweeping lines, and high contrasts of light and shadow. The conventions of the Classical period give way to this new experimentation and freedom that let artists explore subjects from different points of view. Greek architecture| Archaic ca. 800-500 BC| Classical ca. 500-323 BC| Hellenistic ca. 323-27 BC| megaron gt; peripteral temple Doric and Ionic orders| Parthenon, Propylaea, Erechtheum venue seating Corinthian order| Alexandria (Library, Lighthouse) Tower of the Winds| | | |