Our concept of ancient art has been built from the archaeological remains that, for centuries, have recovered from places like Greece or Rome. We have designed buildings following the artistic canons of our Greco -Roman ancestors, such as those raised on elegant columns of Doric, Ionic or Corinthian orders, built with Immaculate White Marble.
However, thanks to the detailed analysis of the artistic pieces that have reached us, as well as the thorough study of written sources, we have reached conclusions that completely transform our stereotyped vision of Greco -Roman art.
In this sense, the nudity of marble in the temples of the acropolis contrasts with what the sources tell, which describe the Greek temples as canvases painted in bright tones of red, blue or yellow.
Something similar occurs with the sculptures in round lump. A study carried out by the experts of the Museum of the Acropolis He discovered that the archaic works guarded there retained signs of polychromy. The analysis of these pieces under the microscope and with advanced techniques such as spectroscopy or high definition photography has revealed that, for the ancient Greeks, the colors not only embellished the statues, but also symbolized social features and characteristics.
Thus, the gods were represented with blonde hair, which reflected their divine power; Warriors and athletes with gray tones on the skin, symbol of virtue and couragewhile the maidens showed white skin, emblem of grace and youth, among other features.
In addition, the most valued sculptures were dressed in rich peples and chitones, and decorated with delicate jewelryglass stones in the eyes and other ornaments that made them a real visual show.
Olfactory dimension
A recent study published in the prestigious scientific journal ‘Oxford Journal of Archaeology’ and conducted by archaeologist Cecilie Brans, a researcher at the new Carlsberg Gliptoteca de Copenhagen, suggests that the ancient Greco -Roman had a more complex, even multisensory understanding, of the art of sculpture.
Thanks to the analysis of literary and epigraphic sources, Brans has discovered that many statues were scented with oils and ointmentsgranting them an olfactory dimension that played a fundamental role in the enjoyment of the works by their contemporaries.
In his study, Brans cites historical sources such as Cicero, who mentions the custom of Anoint with perfumes the Artemis Statue in Segesta, Sicily; or the Calimaco poet of Cyrene, who describes in an epigram the statue of the Egyptian queen Berenice II, impregnated with aromatic substances.
The study also refers to the Sanctuary of Delos in Greece, where inscriptions have been found that detail both the composition and the prices of the perfumes used to embellish the statues of Artemis and Hera.
Ritual function
These fragrances contained ingredients such as olive and rose oilsbee wax and sodium carbonate, among others. According to Brans herself, the perfumeries discovered in Delos suggest that the perfumes used in the decoration of the statues probably occurred on the island and fulfilled a ritual function.
To aromatize the statues, techniques such as the application of waxes and oils were used, which not only helped preserve the colors of the statues, but also enhanced their brightness. For example, Pausanias mentions the use of olive oil in the statue of Zeus in Olimpia to protect it from moisture. In addition, the olfactory experience seemed to be accompanied by the aroma of the Guirnaldas Flowers that were placed on the statues on special dates of the festive calendar of the temples and sanctuaries, such as the so -called Floralia, the great party of the Roman spring.
In short, color, odors and tissues were not only a decorative element in sculptures, but also contributed a New aesthetic dimensiontransforming the perception of works into a multisensory experience that included smell as a fundamental factor.
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