The Goulandris Museum of Cycladic Artwork in Athens is a beacon for all those that are obsessed with exploring the prehistoric and historic cultures of the Aegean and Cyprus. Boasting over 3,000 objects in its everlasting assortment, with a particular emphasis on Cycladic artwork from the third millennium BC, the museum has been acclaimed by The New York Occasions as “one of many world’s most vital privately assembled collections of Cycladic antiquities,” establishing it as a must-visit vacation spot for artwork aficionados and historical past lovers within the Greek capital.
Based in 1986, the museum owes its inception to Greek shipowner Nikolaos Goulandris and his spouse Aikaterini (Dolly), whose personal assortment laid the muse for its preliminary displays. Nestled in a contemporary constructing in central Athens, a stone’s by from the Nationwide Gardens, the museum’s design harmonizes with its historic environment, providing a serene setting for exploration. Famend for its complete array of Cycladic marble collectible figurines, vases, sculptures, cash, jewellery, and quite a few different distinctive artifacts, the gallery format takes guests on a chronological journey from the Neolithic (New Stone Age) to the Submit-Byzantine interval, with an added part devoted to the historical past and archaeology of early Cyprus.
© Shutterstock
Within the early Nineties, the Museum of Cycladic Artwork expanded to incorporate the neoclassical Stathatos Mansion, positioned on the nook of Vassilissis Sofias Avenue and Herodotou Road. Designed by the celebrated German-Greek architect Ernst Ziller within the late nineteenth century, the mansion options an ornate façade, tall columns, and enormous home windows that echo the classical influences of historic Greece.
Navigating such a spectacular museum may be overwhelming, so we’ve compiled a listing of 12 highlights from the everlasting assortment to information your go to (subjective, in fact). For these exploring with younger kids, contemplate turning this listing right into a treasure hunt! The museum stock numbers are included within the margins that will help you find every bit simply.
Feminine Figurine (2700-2400/2300 BC)
Among the many most iconic treasures of the Museum of Cycladic Artwork is a hanging feminine figurine from the Early Bronze Age (2700-2400/2300 BC), crafted from crystalline white marble. One among a number of dozen collectible figurines on show, this canonical piece is a prime instance of the so-called Dokathismata selection, attributed to the famend “Ashmolean Museum Grasp,” named after the Ashmolean Museum in Oxford, the place his/her largest identified work is displayed.
The figurine, which stands at simply over 39cm tall, contains a triangular head with a distinguished, lengthy aquiline nostril, and angular shoulders that curve barely downward. The chest is rendered in aid, and the arms are folded over a barely distended stomach, doubtless symbolizing being pregnant.
This specific piece’s serene and summary type captures the essence of Cycladic artwork’s minimalist aesthetic, making it a standout instance of prehistoric Aegean artistry. The cautious rendering of particular person particulars, such because the incised V on the neck, the shield-shaped head, and the joined legs, showcases the meticulous craftsmanship of the sculptor. Extra broadly, the strict geometric construction, harmonious proportions, and summary simplicity of Cycladic collectible figurines – and Cycladic artwork usually – had a big affect on Twentieth-century artists, together with Pablo Picasso, Henry Moore, and lots of others.
“The Cup-bearer” (2700-2400/2300 BC)
One other intriguing figurine from the Early Bronze Age, this time rendered in a seated place, is the famend “Cup-bearer.” Crafted from white marble and measuring 15.2 × 4.3cm, this uncommon artifact is the solely intact instance of its variety found up to now. Though its gender just isn’t explicitly indicated, it’s believed to symbolize a male determine because of its dynamic, “action-orientated” posture. The determine sits on an integral marble stool, holding a cup in its proper hand, poised as if able to suggest a toast or carry out a libation.
Archaeologists have surmized that this figurine exemplifies the early works of the so-called Spedos selection, characterised by the plasticity of its volumes and the parted legs. The “Cup-bearer” belongs to a sequence of stylish Cycladic compositions often known as “particular type” collectible figurines. These embody standing and seated males engaged in actions similar to taking part in musical devices (flute-players and lyre-players – a famous example is on show on the Nationwide Archaeological Museum of Athens), in addition to seated females and teams of two or three figures. Most of those works date from the early part of the Early Cycladic II interval (2700-2200 BC).
The aim of those particular collectible figurines stays enigmatic, although their repeated kinds recommend they held particular features, presumably as votive choices, or ritual objects. The dynamic nature of “The Cup-bearer” units it aside from extra static Cycladic collectible figurines, showcasing the artistry and cultural significance attributed to such depictions.
“Frying Pan” (2800-2700 BC)
One other fascinating piece within the Exhibition of Cycladic Artwork is that this mysterious “frying pan,” courting again to 2800-2700 BC. Crafted from reddish clay with inclusions, this uncommon ceramic piece measures 5 × 18.3cm and contains a distinctive quadrilateral deal with. Its floor is adorned with intricate incised and impressed decorations stuffed with a white substance, doubtless kaolin. The bottom is elaborately embellished from the middle outward with a sequence of motifs: a spiral, a hoop zone of triangles, a working double spiral, and one other zone of triangles. The frying pan’s vertical partitions are equally embellished with a double working spiral and a zone of triangles.
Any such ceramic vessel, widespread within the Early Cycladic II interval (2700-2200 BC), will get its title from its attribute form paying homage to a frying pan. Sometimes, these vessels have low vertical or barely flaring partitions and a deal with, both forked or quadrilateral. The decorations on the bottom usually embody concentric circles, spirals, and radiate ornaments, which could symbolize celestial our bodies or sea waves. Certainly, some frying pans even function incised boats and triangles, probably representing feminine anatomy, hinting at symbolic associations with nature and fertility.
Whereas the precise objective of those “frying pans” stays a thriller, their presence in each graves and settlements suggests different makes use of. Proposed interpretations embody ritual vessels for libations or choices to the lifeless, containers for cosmetics, drums for funerary rituals, mirrors, navigational devices, and even plates for meals. This enigmatic artifact not solely showcases the inventive ingenuity of Early Bronze Age artisans but additionally supplies a window into the symbolic and sensible points of prehistoric Cycladic life.
Learn extra on the hypothesized perform and objective of Cycladic frying pans here.
“Dove Vase” (2700-2400/2300 BC)
This bizarre-looking object has had archaeologists scratching their heads for years. No matter its objective, the aptly-named “dove vase,” courting again to 2700-2400/2300 BC, is undeniably an impressive instance of Early Bronze Age craftsmanship.
The “dove vase” is a big (5.1 × 39 × 41.5cm), disc-shaped marble plate with low partitions, adorned with a row of 16 doves carved within the spherical throughout its heart. Doves look like a preferred motif in Early Cycladic artwork, maybe, as right now, symbolizing peace and concord.
This specific vase is the most important and best-preserved instance of its sort, identified solely from the tiny, uninhabited Cycladic island of Keros, particularly the positioning of Kavos-Daskalio, excavated by archaeologists from the College of Cambridge. The presence of the row of birds throughout the diameter of the underside suggests a ritualistic perform. Students have proposed that it could have been used for ritual choices, as objects of symbolic significance have been usually deposited and intentionally damaged at Kavos-Daskalio, most likely within the context of particular rituals.
What do you suppose it was used for?
Mycenaean Burial Larnax (1400-1200 BC)
Stepping away from the Exhibition of Cycladic Artwork, hold a watch out for this intriguing object: the lengthy facet of a Mycenaean clay cist-shaped burial larnax, courting from the Late Bronze Age (1400-1200 BC). Measuring 54 × 99cm and made from coarse-grained, pale reddish clay, this larnax (coffin or enclosed “ash chest”) is adorned with an in depth depiction of a procession of mourners, all marching to the left. The figures are all ladies, sporting lengthy skirts with fringes and a headdress often known as “polos.” The primary girl within the procession is wearing a extra richly embellished garment, suggesting she could also be a priestess. Every determine is proven with fingers raised to their heads in a gesture of deep lamentation, indicative of the “prothesis” (the laying in state of the lifeless), a ritual previous the “ekphora” (the procession to the grave).
Larnakes (plural), four-sided clay coffins with legs and a canopy, have been utilized in elite Mycenaean burials, and contained the cremated stays of the lifeless. Their sides usually featured representations of non secular processions, mourners, and sometimes scenes of burial, warriors, monks, and legendary creatures. This specific larnax doubtless originates from the Mycenaean cemeteries at Tanagra in Boeotia (Viotia), north of Athens, the place related examples have been excavated. Whereas larnax burials have been comparatively uncommon on mainland Greece, they have been a typical observe in Crete from the Center Minoan interval (2000-1600 BC).
The painted representations on the larnakes of Tanagra present invaluable insights into Mycenaean burial customs and spiritual practices within the Late Bronze Age. This particular larnax, with its detailed depiction of a mourning procession, not solely highlights the ceremonial points of Mycenaean funerary rituals but additionally gives a glimpse into the societal roles and apparel of the interval.
© Shutterstock
Pyxis with Horse Collectible figurines (760-750 BC)
Staying on the Greek mainland, this elaborate clay “pyxis” is an beautiful instance of Attic pottery from the early years of the Late Geometric interval (760-700 BC). Measuring almost 25cm in top, it’s a luxurious variation of the flat pyxis, a vessel historically used for storing cosmetics and jewellery.
Adorned with intricate Geometric motifs, each the physique and lid of the pyxis are fantastically embellished. Notably hanging are the 4 horse collectible figurines standing atop the lid.
Pyxides have been generally discovered as grave items in feminine burials and as votive choices in sanctuaries devoted to feminine deities. Within the early ninth century BC, spherical and pointed pyxides with conical lids have been predominant. Nevertheless, by the latter years of the ninth century and the early eighth century BC, the flat pyxis had changed the spherical one.
This particular sort of flat pyxis, with horse collectible figurines adorning the lid, seems to have been supposed solely for male burials, sometimes discovered within the graves of the aristocratic class, the Knights (“Hippeis”). These horse collectible figurines doubtless symbolized the aristocratic standing of the deceased.
This pyxis not solely showcases the inventive sophistication of Attic pottery through the Late Geometric interval but additionally supplies worthwhile perception into the social and cultural practices of historic Athens. Its intricate ornament and symbolic significance make it an enchanting artifact, shedding gentle on the elite class and their burial customs throughout this era.
Black-figure Amphora, attributed to the Swing Painter (540-530 BC)
One other masterpiece of Attic black-figure vase-painting is that this amphora attributed to the so-called Swing Painter, courting from 540-530 BC. Standing simply over 40cm tall, it’s a surprising instance of Late Archaic pottery.
On the principle facet of the amphora, going through the viewer, Dionysus, the god of wine, is depicted flanked by two Satyrs, mischievous half-human, half-horse creatures from Greek mythology. The opposite facet options a scene of divine meeting, with Hermes and Athena within the center, Ares on the left, and one other determine on the best. The intricate particulars of the ornament are rendered with incisions and added colours, showcasing the talent and artistry of the Swing Painter.
The depiction of Dionysus on this amphora displays the god’s reputation in sixth century BC Attic vase-painting, particularly on vessels related to wine consumption. The prevalence of such scenes on Attic vases from the latter half of the sixth century BC suggests the rising significance of the cult of Dionysus in Attica.
The Swing Painter was one of the prolific Athenian artists of the second half of the sixth century BC. He earned his title from his repeated depiction of a lady on a swing, a topic that turned his signature motif.
Corinthian Helmet (475-450 BC)
For these guests with a eager curiosity in historic Greek arms and armor, this exceptional object is one of many best-preserved Corinthian helmets on show anyplace on this planet. Courting from the early to mid-Fifth century BC, this helmet represents a complicated stage within the improvement of the Corinthian sort, that includes a spherical form that might have offered a greater match for the wearer and, crucially, higher safety.
Crafted from a single sheet of bronze, this helmet would have successfully shielded each a part of the pinnacle, boasting a bigger nose-guard, cheek-pieces, and a neck-guard; vital developments in design and performance in comparison with earlier varieties.
This specific helmet, weighing 787g and measuring 23 × 29cm, was presumably an providing to the sanctuary of Zeus at Olympia. Comparable helmets have been present in graves and sanctuaries, the place they have been usually devoted by victorious warriors.
In the course of the Persian Wars, Greek hoplites (citizen troopers that served as heavy infantry) generally wore Corinthian helmets into battle. An virtually an identical instance discovered within the Museum at Olympia bears the inscription “Miltiades supplied (me) to Zeus,” suggesting it was a votive providing by the Athenian normal Miltiades after the Battle of Marathon of 490 BC.
The Corinthian helmet is undeniably essentially the most attribute sort of Greek helmet. Its introduction within the late eighth century BC marked a big innovation in historic metalworking, offering efficient safety for the pinnacle. This innovation coincided with the rise of hoplites and the creation of the navy phalanx, revolutionizing ways in historic warfare.
Fish-Plate, attributed to the Palmer-Scallop’s Painter (Third quarter of the 4th century BC)
This quirky-looking object is a big footed fish-plate attributed to the so-called Palmer-Scallop’s Painter, courting from the third quarter of the 4th century BC. Measuring 17.6cm in diameter, it’s a excellent instance of useful Classical interval pottery.
The plate contains a rim embellished with a “tongue-like” sample and is adorned with red-figure ornament. Two massive fishes are depicted, both swimming or portrayed as meals positioned inside the dish. A scallop and a small shell are proven between the fishes.
This fish-plate is the product of a “Campanian” workshop in Italy, and is attributed to the Robinson Group. We all know that fish-plates, also referred to as fish-dishes, have been significantly standard within the workshops of southern Italy within the mid-4th century BC, though the earliest examples have been already produced in Fifth century BC Attic workshops.
Of specific curiosity on this instance is the round melancholy or cavity in the course of the plate. Students agree that this cavity was used for “garum,” the accompanying sauce created from fermented fish entrails, a delicacy within the historic Mediterranean world.
Look out for the opposite fish-plate within the museum assortment – Object No. ΝΓ0043 – depicted within the video above.
Statue of a Youngster Holding a Hare (320-310 BC)
Standing at simply over 52cm in top, this fascinating marble statue of a kid holding a hare in his left hand is a exceptional instance of Early Hellenistic sculpture.
The statue portrays the kid with extra naturalistic parts, exhibiting an exaggerated motion of the physique and an elaborate coiffure typical of his age and gender, a big departure from the extra inflexible types of early statuary. The kid’s character is additional accentuated by a cheeky smile and a spherical stomach, fantastically capturing the innocence and appeal of childhood.
In the course of the 4th century BC, Greek sculpture shifted away from the idealized fashions of Early Classical artwork towards realism. Artists started portraying figures with individualized options, making an attempt to convey the internal psychological state (“ethos”) of the topic.
By the top of the century, because the Hellenistic interval started (323 BC), a brand new development emerged, specializing in photos from personal life in each metropolis and countryside settings. Sculptors aimed to depict abnormal individuals in easy on a regular basis conditions quite than in distinctive moments or in demise, as had been widespread in early Classical artwork.
Throughout this era, there was a specific curiosity in representing kids, who had beforehand been solely a complementary topic in Greek artwork. Statues of kids, each girls and boys, have been usually discovered as choices in sanctuaries such because the one devoted to Artemis in Brauron, on the southeast coast of Attica.
Gold Earring with Eros (third century BC)
If brilliant, shiny issues excite you, then hunt down this beautiful piece of Hellenistic jewellery: a gold earring courting from the third century BC. A shocking instance of historic craftsmanship, the earring contains a wire hook in its higher half and a disc embellished with a central setting and a steady spiral round it, resembling a vine shoot. Hanging from the disc is a hoop with a full-length winged Eros, the Greek god of affection and want, depicted bare, and sporting a masks. He holds an inverted torch in his proper hand and a ribbon or “telamon” in his left hand, a nod to his presence within the Dionysian “thiasos” (troupe), wherein he participates sporting a masks.
This specific sort of earring, with flying figures suspended from discs (e.g., Eros, Nikes, Sirens), was standard within the late Classical (400–323 BC) and Hellenistic durations (323-31 BC). Certainly, the frequent depiction of Eros on earrings can be attributed to their shut relationship with Aphrodite, the goddess of magnificence, in addition to to aesthetic causes. These winged figures have been thought of essentially the most appropriate equipment for earrings.
This gold earring not solely showcases the talent and artistry of historic goldsmiths but additionally supplies worthwhile perception into historic style and cultural practices.
A Little One thing from Cyprus …
The Museum of Cycladic Artwork is house to among the best collections of Cypriot artifacts outdoors of Cyprus. Make sure to take a look round this exceptional gallery, and hold your eyes peeled for this little treasure:
Cruciform Figurine-Pendant (3900-2500 BC)
Stepping again in time to the Chalcolithic interval (actually “Copper Stone Age”), 3900-2500 BC, we encounter this light-green picrolite cruciform figurine-pendant from Cyprus. This ingeniously formed artifact, standing at simply 3.9cm tall, is a masterful mixture of two figures intersecting at proper angles. The outstretched arms of the bigger determine type a second, smaller determine with an extended neck and incised facial options. A suspension gap on the prime of the bigger determine’s head means that it was worn as a pendant.
Any such “double” figurine is extraordinarily uncommon in Cyprus, and its precise significance stays a topic of scholarly debate. Interpretations vary from a mom and little one, a pair in a mating place, to an amulet with magical properties, presumably worn by these hoping for twins. The selection of picrolite, a smooth stone native to Cyprus with a horny green-blue hue, provides to its attract. This specific instance hails from the Paphos district within the west of the island, additional emphasizing its cultural and regional significance.
The cruciform figurine-pendant not solely showcases the craftsmanship of Chalcolithic artisans but additionally supplies a glimpse into the symbolic and mystical beliefs of historic Cypriot society.
For extra data on this exceptional museum, its collections, and momentary exhibitions, go to the web site here.
Recent Comments