L’« inventaire des différences » en couleurs : à la recherche du paysage sensible des Grecs à l’époque archaïque

Grand-Clément, Adeline

doi:10.4000/anabases.3227

Cited by 2 publications

(3 citation statements)

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“…An inscription excavated in the building attests that its construction was begun by king Xerxes (r. 486-465 BCE) and completed by his son Artaxerxes I (r. 465-424 BCE) [37] (pp. [124][125][126][127][128][129][130][131][132][133][134][135][136][137]. Situated east of the Apadana, the audience hall erected by Darius I (r. 522-486 BCE), the Hall of 100 Columns was the second space at Persepolis where the king could have hosted large social gatherings, and its excavators referred to it as Throne Hall.…”

Section: The Fragment and Its Original Locationmentioning

confidence: 99%

“…Greek artists of the sixth and early fifth centuries BCE, too, employed rich polychromy to characterize their deities: the Athena with scaly cape aegis from the west pediment of the temple of Aphaia on Aegina makes for a particularly good comparison with the somewhat later Achaemenid god [9,31]. As Adeline Grand-Clément has shown, poikilia-variegation, colorfulness, intricacy, brilliance-was highly appreciated by Greeks of earlier periods [134]. It acquired a negative connotation in the wake of the Persian wars, at least for mortals.…”

Section: The Bigger Picturementioning

confidence: 99%

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An Achaemenid God in Color

Ebbinghaus,

Eremin,

Lerner

et al. 2023

Heritage

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A limestone relief fragment with a figure in a winged disk from the fifth-century BCE Hall of 100 Columns at Persepolis in southwestern Iran that entered the Harvard Art Museums’ collections in 1943 preserves significant traces of its original coloration and has played a key role in the rediscovery of polychromy at the Achaemenid Persian capital. After tracing the fragment’s journey to Cambridge, MA, this article presents the results of recent technical studies of its pigment remains, including visible light-induced infrared luminescence (VIL) imaging, X-ray fluorescence (XRF) spectroscopy, and the analysis of micro samples by Raman spectroscopy, Fourier transform infrared (FT-IR) spectroscopy, scanning electron microscopy (SEM), and polarizing light microscopy (PLM). The new scientific data is compared to the findings of ongoing investigations of polychromies at Persepolis and other Achaemenid Persian sites and evaluated for the information it can and cannot provide on the original appearance of the figure in the winged disk, likely the Zoroastrian god Ahuramazda. The article reviews past attempts at reconstructing the relief’s coloration and the assumptions that guided them, recounts the experience of creating a tangible three-dimensional color reconstruction for an exhibition, and concludes with some general thoughts on the valuation of colorfulness.

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Section: The Fragment and Its Original Locationmentioning

confidence: 99%

Section: The Bigger Picturementioning

confidence: 99%

An Achaemenid God in Color

Ebbinghaus,

Eremin,

Lerner

et al. 2023

Heritage

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show abstract

“…on hue, saturation and brightness, 47-68 on ancient understandings of colour, 125-38 on Byzantine understandings (very much within the Classical tradition); also Pentcheva (2010), 109-15. On colour from archaic to Classical Greece, see Grand-Clément (2011).…”

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confidence: 99%

Lithic Poetics: Posidippus and His Stones

Elsner¹

2014

Ramus

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The 20 poems collected together as thelithikaof Posidippus, the first surviving poems on a papyrus roll only published in 2001 and dating from the third century BCE, offer a range of spectacular new evidence for a series of issues in Hellenistic history, art and literature. The standard view is that Posidippus was probably author of all the epigrams in the roll known as P. Mil. Vogl. VIII 309, although this has been contested and by no means need certainly be the case. For my purposes here, I do assume that the interconnected poetics of the poems in thelithikado imply a single poet who is quite likely to be Posidippus, since poem 15—independently anthologised in antiquity and known through a manuscript tradition—was attributed to Posidippus in the twelfth century by the Byzantine poet and grammarian John Tzetzes. Historically speaking, the fact that so many of these poems focus on gems from the east gives remarkable insight into the interchange between Hellenistic and Achaemenid cultures: specifically, they signal the prestige of treasures from the east in the Hellenistic courts. In the history of collections, they represent a very early example of exoticism in elite collecting, of the accumulation of valuables in what we may assume was a royal and non-sacredSchatzkammer, of the need for an aesthetic response (in this case through short poems) to ‘label’ and valorise the precious items in the collection. In the history of ancientWissenschaft, the poems’ use of late Classical gem-lore (exemplified in texts like theOn Stonesof Theophrastus) offers a vivid instance of the ways theoretical knowledge circulated at least in elite contexts around the royal circle.

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L’« inventaire des différences » en couleurs : à la recherche du paysage sensible des Grecs à l’époque archaïque

Cited by 2 publications

References 3 publications

An Achaemenid God in Color

An Achaemenid God in Color

Lithic Poetics: Posidippus and His Stones

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