Cesar Avila 11/1/13

Midterm Part II Essay

The cultural legacies of both Ancient Greek and Ancient Roman civilizations are
heavily predicated upon observance of the Classical ideal. Both civilizations subscribed
to the notion that true perfection was obtained through the harmonious unification of the
body, mind, and spirit, in conjunction with the forces of nature. While this model was
ubiquitous throughout many facets of both cultures, perhaps the most poignant example
of the Classical paradigm is communicated through the representation of the male figure
in both sculpture and portraiture. Two pieces that best exemplify the glorification of the
masculine figure are the Greek sculpture Doryhphrous (c. 450-440 BCE) and the Roman
portrait Augustus of Primaporta (Early 1
st
Century BCE). Although Greek and Roman art
both revolved around Classical conventions, the subtle differences between the stylistic
approaches of each civilization reflect the unique values of their societies. While the
Greeks emphasized the anonymous representation of physical beauty, the Romans saw
portraiture as a means to exalt the legacy of their leaders in a propagandist manner.
Despite such inherent differences, each piece ultimately communicates the flawless and
omnipotent nature of the artists subject.
Largely considered to symbolize the climax of Ancient Greek artistic opulence,
the sculpture of Doryphorus combines a naturalistic expression of the human form with
physical attributes that ascribe to the Greek ideal of masculinity. Throughout the
sculpture, carved from white marble, Polycleitos attention to idealized proportions
abides by the mathematical system that he postulated in his canon on the criterion for
human beauty. The sculpture prominently displays the contrapposto pose with the
figures weight resting almost exclusively on the tensed right leg and balanced by the
angled left arm, which would have carried a spear. On the other hemisphere of the
figures body, the left leg is bent and relaxed, offset on the other side by the rigid right
arm. The sculpture realistically demonstrates how every part of the body is affected by
this pose with joints such as the elbows, hips, and knees shifted to correspond to the
disruption of the perfectly horizontal axis of the torso. In effect, this chiastic balance
between tension and relaxation creates a visual image of harmony that represents
stability. While the symmetrical positioning of Doryphoros achieves a sense of balance,
other physical features of the figure are skillfully crafted to embellish the subjects sheer
beauty. Polycleitos rendering of the hair through precise chiseling creates a distinctive
pattern in which not a single lock or strand appears out of place. The articulation of the
musculature under the skin imparts a sense of animation and vital responsiveness that
suggests dynamic motion despite its eternal stationary nature in marble. Finally, the
sculpture exhibits a sober facial expression with serene eyes that gaze in the distance and
lips that neither smile nor frown. Such stoic depiction relates the figures unwavering
disposition, self-discipline and internal composure. At the height of such intellectual and
physical perfection, the statue reflects the impeccable nature of the figure, suggesting that
it is a model of idealization rather than any actual human. The stylistic conventions used
to construct Doryphorus conform to a precise methodology laid out by Polycleitos canon
in order to portray, through sculpture, the quintessential model of a man. Such a depiction
conforms to the overwhelming ideology in Greek society, one which was founded upon a
communal and democratic state with all men striving to attain greatness. Ultimately this
legacy of perfection and meticulous attention to detail permeated to Roman society,
creating the foundation for the artistic adoration of Romes most illustrious leaders.
Although modeled and heavily influenced by the Classical style implemented
throughout Doryphorus, Augustus of Primaporta embodies the artistic and societal shift
from the Ancient Greeks established template of idealization to that of the Roman
Empire, which sought to accurately depict historical figures through portraiture. From a
technical standpoint, Augustus of Primaporta exhibits stylistic conventions that parallel
those established by the Greek sculptural canon Doryphorus. This is most apparent with
the portraits same emphatic contrapposto pose that similarly reflects physical and
intellectual balance in the same medium of white marble. Similarly, the sculptors
decision to depict Augustus much taller than his actual height is an example of the use of
hieratic scale to further illustrate Augustus commanding presence. Moreover, Augustus
hair is sculpted with the same precision and minute detail that led to the notion of
flawlessness in Doryphorus. Most significantly with regard to the Classical convention,
the artists depiction of Augustus face reflects a youthful man without any of the
wrinkles or blemishes despite the fact that at the time of the portrait, he was relatively
seasoned at forty-three years old. Such an idealized representation defies the typical
accuracy of Roman portraiture in order to affirm Augustus reputation as an ambitious
leader possessed by a fervent ambition to advance the boundaries of the Roman Empire.
Although Augustus of Primaporta mirrors the ideal flawlessness of the Greek warrior, its
sculptor clearly infuses Roman conventions of portraiture to add a dimension of authentic
human power. This inclusion of unique symbols and features ultimately leads to the
creation of a propagandist image that is both physically and emotionally stimulating. In
showing the musculature of Augustus body the sculptor again references the Classical
ideal, however, the addition of the cuirass removes any sense of anonymity by including
heroic images of triumph that are inextricably linked to the victories and achievements
attained by Augustus. The intricate low-relief sculpture of the breastplate illustrates
Augustus relegation as an archetypical ruler whilst simultaneously equating him with
several of the divine figures that lie on his chest. The focal image of the cuirass depicts
sculptures of both a Roman and Parthian soldier surrounded from above by Sol and
Caelus (the Roman gods of the sun and sky, respectively). This symbolism indicates the
diplomatic victory that directly led to the Pax Romana and also suggests divine favor on
the Roman Empire. Other symbolic representations of Apollo, Diana, and Ceres iterate
the immortals approval and acceptance of Augustus earthly dominance. At the base of
the portrait is a sculpture of Cupid upon a dolphin. The inclusion of Cupid relates
Augustus divine lineage from Venus while the dolphin celebrates his victory at the naval
battle of Actium. As is evident from the repeated references to militaristic victory and
deification, Augustus of Primaporta is presented in a manner that aggrandizes his
accomplishments and heroic nature. In its entirety, the statue can be regarded as a piece
of propaganda used to augment and subsequently preserve the legacy of Augustus as one
of Ancient Romes most influential leaders. In contrast to Greek society, the Romans
concentrated more on the unique accomplishments of individuals, insisting that the
unmistakable representation of a certain figure was a source of pride and distinction.
Whereas Doryphoros achieves immortality through the pure idealization of physical
form, the combination of Classical conventions and strategic symbolism illustrated in the
complete portrait of Augustus of Primaporta signify obvious eternal reverence.
In both Ancient Greece and Rome, the artistic representation of the male figure
through sculpture and portraiture, respectively, served as a prominent means to manifest
the ideals and values of each society. Without question, the legacy of the Ancient Greek
civilization is captured through Polycleitos Doryphorus. The idealization of masculine
features and the strict observance of proportion and balance in the Greek canonical piece
combine to transmit Classical values and serve as a model of perfection for the human
figure. Similarly, the Roman portrait Augustus of Primaporta illustrates an example of
artistic propaganda that melds the glorifying features typical of the Classic model with
symbolic allusions to both impressive victories and divine entities. This synthesis of
stylistic conventions creates a uniquely Roman statue that unequivocally represents
Augustus in an impeccable and almighty light. Regardless of the motives or societal
strata that underscored each piece, it is clear that both sculpture and portraiture were
integral to the cultural identities of both Ancient Greek and Roman civilizations.