CATEGORY: Sculptures CIVILIZATION: Greek

MATERIAL: Stone

DESCRIPTION The imposing presence of Zeus was felt throughout Ancient Greece, as evidenced by the numerous sculptures and paintings of his image that make up the archaeological record of the region. This white marble sculpture of Zeus dates from the Hellenistic period of Greece, approximately 300-200 BCE, a time when Greek sculpture had entered the Classical period defined by its rigid poses and severe features. The figure’s lush hair, parted lips, and strong forehead demonstrate the emphasis placed on these stylized details during the Classical period of Greece.

This sculpture is a highly realistic representation of Zeus, and it is possible that the sculptor based this image on someone he knew from his daily life. This sculpture is a stunning example of the technical skill and detailed eye of the celebrated Greek sculptors. The piece has been restored to reveal the original power of the sculpture, although the body has been lost to the vagaries of history.

REFERENCE # SI_GR_1011

CIVILIZATION Hellenistic Greek, 300 BC - 200 BC

SIZE H. 30 cm . .

AN EXPRESSIVE GREEK HEAD OF A SATYR

MATERIAL: Stone

DESCRIPTION: The expressive face of this satyr reveals a right eye slightly lower than the left and a malicious smile carved deliberately crooked. The satyr itself may be of Greek origin, but this piece comes from Central Asia, a result of the clash of cultures that arose from Alexander the Great's successful campaigns across the region. The result was a vast melting pot of culture, art and religion that spanned the subsequent Hellenistic era of Greek history, when Greek influence and cultural power were at their height in Europe and Asia. At the time, this satyr’s inlaid eyes and simple braided crown were unusual in Asian art, particularly seen in Buddhist sculptures of Siddhartha from the Gandhara region of northern Pakistan. Other examples include the famous Parthian relief from Hatra, as well as the Bodhisattva’s hair and head from the Peshawar Museum. In the years following Alexander’s conquests, sculpture from the region incorporated elements in the years that followed, as trade and technology increased the blending of Eastern and Western cultures, creating new currents of art and thought that still inspire us today.

The round face is dominated by deep eyeholes that were originally inlaid. The bridge of the nose is deeply furrowed, as is the forehead above, its series of wavy furrows reflecting the curvature of the expressive arched eyebrows. Prominent cheekbones, with full, rounded cheeks below; beneath the broad nose, full, sensual lips with dimples. On either side of the face are long, pointed ears with deep auricles. A lush shock of wavy locks, the individual strands of which are articulated with incised lines, is parted in the middle to form an anastole and spreads outward in three lush strands to frame the face.

Likewise rendered locks envelop the entire head, like a wig, in schematically arranged rows. The tendons of the neck form a pronounced V-shape. The combination of frowning features and unruly hair gives the head an intensely expressive quality. Encircling the crown of the head is a rope-like garland that has served as a base for an attachment, its upper surface flattened to accommodate another element. Head of a statue, probably an architectural support such as a caryatid.

CIVILIZATION Central Asia, with Ghandara influence, 200 BC – 100 BC

SIZE Ht. 24cm