AH101 Introduction to Art History and Visual Culture
University of Rochester
During the Ancient Greek Empire, The Classical Greeks artists and architects sought order, beauty, and perfection in their sculpture and architecture. The bronze sculpture Doryphoros (Spear Bearer) (c. 440 BCE), by Polykleitos, and the Parthenon on the Acropolis (c. 447-432 BCE), by Iktinos and Kallikrates, both share those aforementioned qualities in their strikingly similar design. While the Parthenon on the Acropolis may be a building, it still has similar symmetry and aspects of desired beauty as that of the sculpture, Doryphoros. Classical Greek architecture and sculpture, using symmetry, proportion, and balance, was able to achieve a world-renowned level of artistic achievement that has endured throughout the millennia.
Symmetry is an important aspect of Classical Greek art and architecture, appearing in just about every part of the Classical Greek culture. Visible on the Parthenon on the Acropolis are straight lines running along the top of the Doric columns that surround and support the building. However, Iktinos and Kallikrates, in order have their work appear symmetrical, actually made what appeared to be long horizontal lines of marble on the columns curve upwards, giving the lines the symmetrical appearance that they desired. Similarly, the bodily lines on Doryphoros are slightly slanted at the top where the shoulders are, in order to make them level. However, the hips and knees are in opposition, slanting in reverse to keep the symmetry across the body aligned. None of this was done accidentally. Both Iktinos and Kallikrates possessed an intimate knowledge and familiarity with trigonometry, allowing them to make measurements more accurately than their artistic predecessors. Additionally, both the Parthenon on the Acropolis and Doryphoros have vertical lines of symmetry, allowing for a crisp, perfect appearance. From the peak of the Parthenon down to the ground, separating equal amounts of columns on each side. While Doryphoros has bodily symmetry, with a perfect line from the nose, crossing through the centre of the groin, landing in between the two feet. This line was achieved by having different horizontal slants, ultimately creating equilibrium between the angles if added together.
Additionally, the Classical Greek sculptors and architects used proportions to make their symmetry even more apparent. On Doryphoros, each muscle, appendage, and feature has an equal feature on the other side. Moreover, it has exact proportions that were viewed as ideal, such as certain proportions of the length of the forearm in relation to the arm and length of the legs in relation to the size of the feet. According to the Greeks, this was the ideal magnificence that was desired on individuals, while on buildings it was the view of proportionate sides. What was done to one side of a building was done to the other side of the building. Equal proportions of columns around the sides of the Parthenon on the Acropolis were displayed to achieve this proportion. Furthermore, the Classical Greek sculptors knew also knew how to use disproportionate features to achieve visible features from a distance. Inside the frieze of the Parthenon on the Acropolis, the sculptors made the figures have exaggerated proportions to make them visible from a distance. For example, the Head of Horse of Selene in the East Pediment, had enlarged nostrils, widely flared nostrils, and gaping mouth, so that viewers from the ground could see the features. The Classical Greeks used this knowledge of symmetry and proportions to create balanced works of artistic and architectural beauty.
Balance is the core of symmetry and proportions that make up a work. The balance of proportionate features in symmetry gives the sculpture the ideal beauty that is desired. The contrapposto stance is accurately and
