The Sculpture of the Hellenistic Age

Carpenter, Rhys; Bieber, Margarete

doi:10.2307/3047685

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“…By looking at the structure of the artistic production network and social ties between producers rather than the physical similarities among objects, the primary issues for current scholarship on Hellenistic sculptureinteractions between sculptor communities, the presence or absence of sculptural schools, the meaning of stylistic choice, and political effects on artistic production (Palagia and Coulson 1998: v;Ridgway 2000: 3-14)-may be reexamined in a new light, verifying, refining, and challenging scholarship which has long been rooted in stylistic analysis (Carpenter 1957). For example, considering the possible existence of a school of sculptural production on Delos, Jockey (1998: 183) concludes that the nascent carving methods and sculptural types developed there could have transferred to other production locales, 'but evidently did not', except perhaps to Kos, where four statues dating to the mid-1st century BC exhibit a similar carving method.…”

Section: Conclusion: Implications For Sculptural Schoolsmentioning

confidence: 99%

A Network Approach to Hellenistic Sculptural Production

Larson

2013

JMA

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Recent advances in network theory have facilitated the collection and analysis ofarchaeolo^cal data in new ways, with significant implications for the detection of social networks and transmission of information in the ancient world. These new models invite a reassessment of the diffusion of information and organization of artistic production that has long been based on physical mobility and familial organization of workshops. This article applies network analysis to a corpus of sculptors'signatures from the Helknistic Aegean in order to test the scale and frequency of mobility and significance of social relationships in sculptural production. Signatures, with their formulaic patronyms and toponyms, reveal complex personal relationships between sculptors, their collaborators, and the places they lived and worked. In turn, these affliations shed light upon physical and conceptual connections among sculptors over time and space. Network modeling reveals that communication among clusters of sculptors working in different production centers fiuctuates over theHellenistic period, with the optimal period for homogeneous cultural expression coinciding with the small world properties of the network around the mid-2nd century BC, when a few key itinerant individuals create bridging ties between centers. This study yields a more holistic model for sculptural production during the Hellenistic period in which the duration, distance, andfiequency of individual itinerancy is less common than has been assumed. Direct familial relationships emerge as less important for workshop organization than a common city or region of origin.

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Section: Conclusion: Implications For Sculptural Schoolsmentioning

confidence: 99%

A Network Approach to Hellenistic Sculptural Production

Larson

2013

JMA

View full text Add to dashboard Cite

show abstract

The Sculpture of the Hellenistic Age

Cited by 1 publication

References 0 publications

A Network Approach to Hellenistic Sculptural Production

A Network Approach to Hellenistic Sculptural Production

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