Phidias Pheidias : (c.500-c.432 BC), Greek sculptor, considered Greece’s greatest.
... that would uplift the spirit of every Athenian. Pheidias 11 Ictinus and Mnesicles, the best sculptors, were engaged for the fruition of this architectural programme. The Acropolis 12 was crowned with the Parthenon within which stood the marvelous statue of Athena, executed in ivory and gold by Pheidias, and the Erectheum,13 created also by Pheidias, with its colossal statue in bronze of Athena Polias... empire. This, then, was the atmosphere in which Socrates took his first breath. Athens produced during that Golden Age great men in all walks of life Socrates, the founder of Greek philosophy, Pheidias, Myron, and Polycletus, the sculptors, Zeuxis and Parrhasius, the painters, Pericles, the great orator and statesman, Herodotus and Thucydides, the historians, and Euripides and Sophocles, the tragedians... Plutarchus, was a Greek historian, biographer, essayist, and Middle Platonist. Plutarch was born to a prominent family. His literary works consist of the Parallel Lives and the Moralia. ., 11. Pheidias (480-430 BC), son of Charmides, was an ancient Greek sculptor, universally regarded as the greatest of all Classical sculptors. Along with the Athenian works commissioned by Pericles, he also sculpted ...
... others. "In the artist's vision too there can be gradations, a hierarchy of values.—Apollo's grapes deceived the birds that came to peck at them, but there was more aesthetic content in the Zeus of Phidias, a greater content of consciousness and therefore of Ananda to express and fill in the essential principle of Beauty, even though the essence of beauty may be realised perhaps with equal aesthetic ...
... gives them. If not all the while in what he says, then in the manner of his saying, the Archetypal is ever his quest and goal. But he seeks it and attains it ever through the phenomenal. The marble of Phidias and Ustad Isa, the pigments of Rembrandt and the Ajanta Buddhists, the word-stuff of Shakespeare and Sri Aurobindo - all these are phenomenal, even as the figures and designs and images that stand ...
... was rebuilt in the late 5th century BC. Right: Athena. This Roman version is the only evidence we have of the sumptuous appearance of the gold and ivory image of Athena made by Phidias for the Parthenon. Page 152 These supporting pillars in female form, the Caryatids, form part of the Erechtheum, a small temple on the Acropolis (see photo pp. 136-37). "Our ...
... radiance and smile of Apollo (Apollo Belvedere) or Hermes. The Greeks might have, they must have taken up their gods from a more ancient Pantheon, but they have, after the manner of their sculptor Phidias, remoulded them, shaped and polished them, made them more luminous and nearer and closer to earth and men. ¹ Was it not said of Socrates that he brought down the gods from heaven upon earth? ...
... spirit rather than an effort of India to imitate Greece. And in any case the great characteristic work could no more have been the creation of a foreign mind or of its influence than the sculptures of Phidias can be attributed to an Assyrian, Egyptian or Chinese origin. A psychological insensibility to the spiritual significance of Indian work is probably at the root of these errors and, so long as that ...
... high intensity of impulse and action and those who know Greek feel that he casts it in terms of beauty and in divine proportions. He is rightly compared with Phidias, whose field of creativity was sculpture; for Homer deals with human life as Phidias dealt with the human form when he wished to create a god in marble. In both the Iliad and Odyssey, one feels uplifted upon the earth that belongs to a ...
... material, that means that the spirit of the statuette has come into the statue and we may be sure of an approaching decadence. Hellenic sculpture following this line passed from the greatness of Phidias through the soft self-indulgence of Praxiteles to its decline. A later Europe has failed for the most part in sculpture, in spite of some great work by individuals, an Angelo or a Rodin, because it... bring a different mind to this work, a different capacity of vision and response, we have to go deeper into ourselves to see than in the more outwardly imaginative art of Europe. The Olympian gods of Phidias are magnified and uplifted human beings saved from a too human limitation by a certain divine calm of impersonality or universalised quality, divine type, guna; in other work we see heroes, athletes ...
... Partly, the Hindu theory would say, the ignorant & fragmentary survival of defaced & disintegrated beliefs & customs, originally deeper, simpler, truer than the modern,—even as a broken statue by Phidias or Praxiteles or a fragment of an Athenian dramatist is Page 311 at once simpler & nobler or more beautiful and perfect than the best work of the moderns,—partly, a reeling back into the ...
... of outstanding gifts. In the realm of tragic drama there were Aeschylus, Sophocles and Euripides; in comedy there was Aristophanes. Herodotus the father of History was there and the master sculptor Phidias. Above all, there was Socrates with his band of young disciples. All of them produced their wonderful work during this period of a little more than a hundred years. We may remember that precisely during ...
... well-known for restraint and control. Compared to the art of other peoples, theirs is almost cold. It is its remarkable beauty that saves it from real coldness. This applies to the whole period from Phidias down to in which the Laocoon was sculptured. It is only when you come to the Laocoon that you find the expression of strong feeling or passion. PURANI: Perhaps Elie Faure makes that remark because ...
... varying possibilities of one subject or another that there lies an immense difference. Apelles' grapes deceived the birds that came to peck at them, but there was more aesthetic content in the Zeus of Phidias, a greater content of consciousness and therefore of Ananda to express and with it to fill in and intensify the essential principle of Beauty even though the essence of beauty might be realised perhaps ...
... Paracelsus, 150 Paris, 373 Parthenon, 136 Patanjali, 315, 319 Pericles, 206-7, 239 Periclean Age, 206 Persia, 240 Pharaohs, the, 239 Phidias, 220 Phoenicia, 219 Pisa, 322 Pisacha, 201, 234 Planck, Max, 356 Plato, 1l7, 150, 211, 219, 326 Plotinus, 150, 361 Poland, 72, 127 Pole ...
... gives us the life of man always at a high intensity of impulse and action and without subjecting it to any other change he casts it in lines of beauty and in divine proportions; he deals with it as Phidias dealt with the human form when he wished to create a god in marble. When we read the Iliad and the Odyssey, we are not really upon this earth, but on the earth lifted into some plane of a greater dynamis ...
... development and like ancient Athens have concentrated on thought and beauty and the delight of living. But there were in the Athenian development two distinct periods, one of art and beauty, the Athens of Phidias and Sophocles, and one of thought, the Athens of the philosophers. In the first period the sense of beauty and the need of freedom of life and the enjoyment of life are the determining forces. This ...
... Ideal of a young uplifted race. For these are her gifts to those who worship her. Here we have Classical Greece hit off to a nicety. But the typical spirit of the Greece of Pericles and Phidias and Sophocles— "the inspired reason and the enlightened and chastened aesthetic sense", as Sri Aurobindo's Future Poetry 1 has it—is developed not only when a crude vitalism is overpassed: it is ...
... gives us the life of man always at a high intensity of impulse and action and without subjecting it to any other change he casts it in lines of beauty and in divine proportions; he deals with it as Phidias dealt with the human form when he wished to create a god in marble. When we read the Iliad and the Odyssey, we are not really upon this earth, but on the earth lifted into some plane of a greater ...
... art. The Greek are well-known for restraint and control. Compared to other peoples' art it is almost cold. It is its remarkable beauty that saves them from coldness. This applies to the period from Phidias to Praxiteles. Only when you come to the Laocoon that you find the expression of strong feeling or passion. Disciple : Perhaps because of the satyrs he says so. Sri Aurobindo : That is ...
... artist as well; "In the Artist's vision too there can be gradations, a hierarchy of values—Appelle's grapes deceived the birds that came to peck at them but there was more aesthetic content in Zeus of Phidias, a greater content of consciousness and therefore Ananda to express and fill in the essential principle of beauty, even though the essence of beauty may be realised perhaps with equal aesthetic perfection ...
... well; " In the Artist's vision too there can be gradations, a hierarchy of values. Appelle's grapes deceived the birds that came to peck at them but there was more aesthetic content in Zens. of Phidias, a greater content of consciousness and therefore Ananda to express and fill in the essential principle of beauty, even though the essence of beauty may be realised perhaps with equal aesthetic perfection ...
... Partly, the Hindu theory would say, the ignorant fragmentary survival of defaced and disintegrated beliefs and customs, originally deeper, simpler, truer than the modern, – even as a broken statue by Phidias or Praxiteles or a fragment of an Athenian dramatist is at once simpler and nobler or more beautiful and perfect than the best work of the moderns, – partly, a reeling back into the beast, an enormous ...
... years; then she Reblossoms." But the Shadow antagonist: "Let him be shown the glory he would renounce." And over the flaming pediment there moved, As on a frieze a march of sculptures, carved By Phidias for the Virgin strong and pure, Most perfect once of all things seen in earth Or Heaven, in Athens on the Acropolis, But now dismembered, now disrupt! or as In Buddhist cavern or Orissan temple ...
... Plato or Plotinus or Spinoza or Hegel, poetry superior to Homer's, Shakespeare's, Dante's or Valmiki's, music more superb than the music of Beethoven or Bach, sculpture greater than the statues of Phidias and Michael Angelo, architecture more utterly beautiful than the Taj Mahal, the Parthenon or Borobudur or St. Peter's or of the great Gothic cathedrals? The same may be said of the crafts of ancient ...
... are submitted. The beauty of the body comes from the harmonious development of the muscles and the skeleton. It reached the height of perfection at the epoch of Pericles, in the Greek athletes whom Phidias and his disciples immortalized in their statues. The shape of the face, the mouth, the cheeks, the eyelids, and the lines of the visage are determined by the habitual condition of the flat muscles ...
... not only the discovery or the expression of Beauty— it is a self-expression of Consciousness under the conditions ____________________ 1. Greek painter (fourth century BC). 2. Pheidias or Phidias (fifth century BC): Greek sculptor, famous in antiquity for colossal statues of gold and ivory which have not survived. Page 328 of aesthetic vision and a perfect execution ...
... varying possibilities of one subject or another that there lies an immense difference. Apelles' grapes deceived the birds that came to peck at them, but there was more aesthetic content in the Zeus of Pheidias... . 80 Or he can, in the course of a few lines, balance the merits of Albert Samain's poem Pannyre aux talons d'or as against those of Flecker's English translation of the same poem: ...
... a blind man discoursing on colours". 31 Now turn to Sri Aurobindo, and what a difference! Here he is writing of the sculptures of the Olympian and the Indian gods: The Olympian gods of Phidias are magnified and uplifted human beings saved from a too human limitation by a certain divine calm of impersonality or universalised quality, divine type, guna: in other work we see heroes, athletes ...
... Sisyphus was a king of Corinth who was famous for his unscrupulous cleverness. Presumably it was his brains rather than his character that interested Socrates. Page .86 Phidias in the centre, Pericles and Aspasia on the left, Alcibiades on the right, admiring the work of the sculptor Page 87 Page 88 ...
... collective life prospered and developed. 2 Architecture and the arts blossomed during this time, when Pericles, a political leader, promoted the extension and beautification of the Acropolis, and Phidias, the sculptor, created the statues of the Parthenon. 3 Cultural events such as public performances of the great plays of Aeschylus, Sophocles and Euripides formed part of the developing urban lifestyle ...
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