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Tombs of the Eastern Dynasts, image, image, image, image, image, statue of…
Tombs of the Eastern Dynasts
Nereid Monument
from Lycia, probably for Erbinna
about 15m high, c.390-80BC
4 columns along the short sides, same as temple of Athena Nike, evocative of this
'nereids'
in intercolumniations, 11 survive
female figures with a clinging, wet-look
very visually similar to the statue of Iris on the Parthenon, or the nikai on balistrade frieze of temple of Athena Nike
it would be peculiar for a Lycian tomb to show Greek deities like the Nereids, and it is more likely that these show 'Eliyana'
'Eliyana' are associated with Leto, and it would make sense for Erbinna's tomb to be adorned with Leto's servants
sculpture likely made by Greek sculptors - after the PP war, Greek craftsmen needed to travel elsewhere for work
statue base
Erbinna dedicated a statue of himself in honour of Leto, and also built a temple for Leto
Therefore, he was inspired by Athenian buildings, which we can see with this monument that uses Greek sculptural techniques
Side A of the statue base says that Erbinna went to Delphi, we could suppose that he also went to Athens
also a greek poem inscribed on the base by Symmachos from Pellana, on the greek mainland
Conclusion
the nereid monument has a cella frieze which goes all the way around the cella, only other precedent is the parthenon
it is obvious that the tomb uses Greek sculpture
yet the subjects of these friezes are intended to amplify the personal respect for Erbinna
friezes
lesser frieze shows a siege scene, which relates to historical events: Erbinna seiged three cities
but these cities were Lycian, so it makes sense that this frieze is un-violent and doesn't show casualties
the greater frieze shows a violent, dynamic battle
they emphasise seige machinery, and greek phalanx formation, shows military knowhow
has a cella frieze like the Parthenon
ionic tetrastyle, peripteral building
column capitals resemble those at the Erechtheum
depiction of Erbinna
tells us about elite self-representation
in banqueting frieze he holds a rhyton - distinctive Achaemenid shape
Greek or nah?
evokes the temple of Athena Nike, yet aligns with Lycian tradition of pillar tombs
The intercolumniations represent local deities, but carved in emphatically Greek style
continuous cella frieze evocative of Parthenon
audience scene and banquet scene have precedents in Persian art
Mausoleum at Halicarnassus
Mausolus
preceded his father in 377BC, and ruled until his death in 353BC
he was Persian satrap of Karia
Mausoleum
set in its own precinct, measuring 242 metres long and 105 metres wide
mausoleum had very high podium with peristyle of 9 to 11 ionic columns almost 10m in height
one of the seven wonders of the world, according to Pliny
a continuous frieze of low relief with amazonomachy was located around top of podium, that had Heracles within it
the presence of Heracles connected this subject to Asia Minor, although it was also a common Greek subject
there was also a centaur frieze and a chariot frieze, little of which survives
Waywell and Jeppesen believe there were 36 figures in the intercolumniations of the monument, that showed the Hekatomnid ancestors
they are carved in an emphatically Greek style, yet show local fashions and subjects
portrait sculpture
there were over life-size sculptures of a man and women, thought to be Mausolus and Artemisia (his sister and wife, who commissioned the monument)
Artemisia is damaged in the face, but is heavily built, in contrapposto with weight on left leg
she wears a long chiton, a himation that is drawn up over her head
need not be Artemisia specifically, just a female member of the Hekatomnid dynasty
the male figure - Mausolus - has a relaxed pose
sculptors
Scopas of Paros, Leochares, Bryaxis, and Timotheus
Tomb of Perikle at Limyra
Perikle
its owner, Perikle, is seen as either a pro-Achaemenid dynast or a fan of his namesake, the Athenian strategos
Perikle was born around 435, ruled Limyra and then tried to control most of Lycia between 380–362
he was born to a local family with ties to Athens
one view says he was a Westerner, who from the beginning saw himself as an heir to Pericles of Athens (Bryce)
Alternatively, they see him as a loyal vassal to the Achaemenid authority who only became the king’s enemy after his involvement in the Satraps’ Revolt (Keen)
He can be both: he seems to have been a uniquely Anatolian leader, who created his own socio-political ideology by utilising Persian, Athenian and western Anatolian artistic traditions
tomb
The Heroon shows associations with both the buildings of the Athenian Acropolis and Persian iconography
Limyra is on eastern coast of Lycia
Greek influence
in the form of a Greek ionic temple, and almost the exact same size as the temple of Athena Nike
adorned with caryatids similar to those of the erechtheion, however they are dressed in the local style (peplos over chiton and long hair)
a processional frieze on the cella walls is very similar to the Parthenon
Greek or nah?
uses both Greek and Persian models, but adapts them for local Lycian context
whilst the caryatids are likely inspired by the erechtheion, their dress is distinctly Anatolian: they wear chiton, peplos, long veil
statue of Iris from West pediment of the Parthenon
Nereid/Eliyana - same wet-look clinging drapery
akin to audience scene from Persepolis in composition
in british museum
procession, like the Apadana reliefs
balustrade frieze of temple of Athena Nike - same wet-look
amazonomachy frieze - high relief
akroteria - Perseus holding Medusa's head
portrait of Perikle from his coinage
fleeing Gorgo (akroteria)
caryatid from erechtheion
caryatid from tomb of Perikle
