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 1st 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 artist’s 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

figure’s 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

figure’s 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 subject’s 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 figure’s 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 Rome’s 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 Greek’s 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 portrait’s same emphatic contrapposto pose that similarly reflects physical and

intellectual balance in the same medium of white marble. Similarly, the sculptor’s

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 artist’s 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 Rome’s 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.