帕台农神庙东楣上的《生与死

IF 0.1 3区 历史学 0 CLASSICS
P. Sandin
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引用次数: 0

摘要

帕特农神庙雕带上的众神表现为从雅典卫城上的物质形象的位置俯瞰现实世界,展示了雅典当代的帝国自我意识。波塞冬的目光守护着通往蒿海峡的入口。赫耳墨斯和阿瑞斯带着潜在的敌对意图看着埃及。阿佛洛狄特向厄洛斯指出了一些东西,这意味着她在一个未指明的地方表明了爱的受害者。阿耳忒弥斯遵循她的指示,担任分娩女神,当地崇拜的布劳罗尼亚。在东方的山墙上,阿佛洛狄特以类似于雕带的方式躺在阿尔忒弥斯的怀里。厄洛斯和阿佛洛狄特与代表生命创造的阿尔忒弥斯·布劳罗尼亚的结合,以及东方雕带上呈现的普遍的神圣和谐,表达了两次大战(公元前479年至431年)期间雅典突出的乐观主义和帝国霸权意识形态,她女儿居住的死者之地的经验丰富的访客。包括阿瑞斯在内,左边的四位神与最右边的三位神形成了鲜明的对比,暗示了生命的反面。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Life and Death on the East Frieze of the Parthenon
The gods on the Parthenon frieze are represented as looking out on the real world from the position of their material image on the Acropolis, displaying the contemporary imperial self-awareness of Athens. Poseidon’s gaze guards the entrance to the straits of Artemisium. Hermes and Ares look towards Egypt with implicit adversary intent. Aphrodite pointing something out to Eros means that she is indicating a victim of love in an unspecified location. Artemis follows her indication, assuming duty as the goddess of childbirth, the locally worshipped Brauronia. On the East pediment, Aphrodite rests in the bosom of Artemis in a similar fashion as on the frieze. The association of Eros and Aphrodite with Artemis Brauronia, representing the creation of life, and the general divine concord presented on the East frieze, are expressions of the optimistic and imperial hegemonic ideology prominent in Athens in the period between the two major wars (479–431 B.C.). On the other hand, Demeter on the left looks with longing at Hermes and Dionysus, experienced visitors to the land of the dead, where her daughter resides. Including Ares, the group of four gods on the left, in polar contrast to the three gods on the rightmost side, allude to the opposite of life.
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来源期刊
Symbolae Osloenses
Symbolae Osloenses CLASSICS-
CiteScore
0.40
自引率
0.00%
发文量
2
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