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Unlike other conquered territories, the main Phoenician cities were not renamed or refounded by their new Hellenistic leaders, and instead kept their traditional Phoenician names. [5] The Greek language, while incorporated into the territory, never completely replaced the Phoenician language, and the two seemed to coexist within the society.
The sanctuary's walls were constructed using stones and large blocks to provide stability, using a typical header-and-stretcher bond ashlar [f] construction technique that is commonly seen in Persian and Hellenistic-period buildings in Phoenicia.
Hellenistic art is the art of the Hellenistic period generally taken to begin with the death of Alexander the Great in 323 BC and end with the conquest of the Greek world by the Romans, a process well underway by 146 BC, when the Greek mainland was taken, and essentially ending in 30 BC with the conquest of Ptolemaic Egypt following the Battle of Actium.
Polykleitos: The Doryphoros, the summary of the aesthetic idealism of Classicism. The sculpture of Classicism, the period immediately preceding the Hellenistic period, was built on a powerful ethical framework that had its bases in the archaic tradition of Greek society, where the ruling aristocracy had formulated for itself the ideal of arete, a set of virtues that should be cultivated for ...
Remains of the north retaining wall of the Stoa of Eumenes. The Stoa of Eumenes [1] was a Hellenistic colonnade built on the South slope of the Acropolis, Athens and which lay between the Theater of Dionysus and the Odeon of Herodes Atticus The gallery was donated to the city of Athens by the king of Pergamon, Eumenes II (197–159 BC), around 160 BC. [2]
The collection was acquired by New York's Metropolitan Museum of Art in 1872. Many were then published in the 1880s in the Corpus Inscriptionum Semiticarum, although CIS inscriptions 24, 26 and 28 and RES 389, 1518 and 1519 are now missing - i.e. they are not in the museum and some were not in the collection when it was studied in 1885.
Hellenistic portraiture was one of the most innovative features of Hellenistic art. Spurred on by an increased interest in realism, Hellenistic sculptors sought to produce true-to-life portraits defined by the individualism of their subjects. [ 1 ]
The statuettes measure 3–38 cm tall, mostly represent males, and have tangs projecting from their feet that would have allowed them to be placed onto bases. [1] Most wear cone-shaped hats resembling the labbade [10] while some resemble the Egyptian hedjet and others wear helmets, [1] signaling an intensification of relations with Egypt during the Twelfth and Thirteenth Dynasties. [11]
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