Colour shifts: On methodologies in research on the polychromy of Greek and Roman sculpture

The article offers a partial overview of methodologies of research on the polychromy of Greek and Roman sculpture. The character of the evidence requires an interdisciplinary approach. This evidence is briefly presented, after which aspects of the actual investigation are dealt with, the section on analytical methods dealing only cursorily with invasive techniques. Attention is drawn to the importance of research based experimental reconstruction of polychrome sculptures. Finally, some interdisciplinary research scenarios are described. The article is based on work done within the framework of the ‘Tracking Colour’ project of the Ny Carlsberg Glyptotek and the Copenhagen Polychromy Network, 2009 – 2013, with the support of the Carlsberg Foundation

Farven vender tilbage. Et “sandere billede” af antik skulptur

The Re-Emergence of Colour. A “Truer Picture” of the Sculpture of Classical AntiquityThough often held to be a well-known fact, the consequences of the re-emergence of polychromy of ancient Greek and Roman sculpture have not yet made themselves noticeably felt in the practice of disciplines most affected, namely classical archaeology and art history. Yet it challenges what we have long held to be “the true picture” of classical sculpture, as well as ideas on the aesthetics of later European sculpture. The absence of studies of the aesthetic dimension of polychrome sculptures of these later periods is remarkable. An outline of views on the aesthetics of the portrait of Nefertiti, a world famous masterpiece of ancient Egyptian polychrome sculpture, is followed by sections dealing in chronological order with some of aspects of how polychromy affects the picture we have of Greek and Roman sculpture. The relatively recent recognition of the unity of form and colour in Archaic sculpture is discussed on the background of the reception of the period; similarly, the unity of the sensuality of polychromy with ideal forms is the theme of the Classical section. In archaeology and art history, academic taxonomies of sculpture are established on the basis of materials, formats and dimensionalities. The advent of polychromy creates a continuum across these categories, in all periods, but is most clearly to be traced in the Hellenistic. In Roman sculpture, “copies” of Greek originals have for some time been the subject of increasingly varied, positive appreciation. The term “copy” is therefore being replaced by others, reflecting the “originality” of the contribution made by the Roman sculptors. To this can now be added that of the sculpture painter, leading to a whole new set of research questions. Were identical copies similar in their polychromy as well? This touches on the concept of “copy” and “original” in a Greek and Roman context. A final section reflects briefly on how this affects “true pictures” of later European sculpture and architecture

“Reconstruction” of the polychromy of ancient sculpture: a necessary evil?

The contribution offers an overview of the history of reconstructions and their use, with a representative selection of formats and their contexts, from the beginnings in the early 19th century to the present. The polychromy of ancient architecture is dealt with only to a limited degree.The point of departure is a perceived need of establishing an informed and critical discussion of the whys and wherefores of reconstructions. On the background of the investigative technologies which have been developed with unprecedented rapidity, a methodological protocol allowing cross-checks of data is recommended.Cet article présente un bref historique des restitutions et de leur utilisation, avec un choix représentatif des méthodes et de leurs contextes, depuis les prémices au début du xixe siècle jusqu’à aujourd’hui. Il examine dans une certaine mesure la polychromie des architectures antiques. Le point de départ était la nécessité d’instaurer un débat sérieux et critique sur les fins et les moyens de la restitution. À une époque où les techniques d’investigation se développent avec une rapidité sans précédent, il est recommandé d’adopter un protocole prévoyant un recoupement des données

A Late Archaic/Early Classical Greek Relief with Two Hoplites (Ny Carlsberg Glyptotek IN 2787)

The relief, republished in the present article in the form of a joint archaeological and historical investigation, has not been dealt with at any length since 1942. We identify it as a fragment of an Attic gravestone dating from the Late Archaic / Early Classical period. The hoplites’ weapons are standard, but their postures are unique: they are defensive, but indicate readiness for action. This is interpreted as a measure against long range weapons, probably arrows. Missile combat was of limited importance in Archaic and Classical Greek city-state warfare, yet the scene depicted suggests an opposing force fielding large formations of archers or slingers. The relief may depict fighting between Athenian and Persian forces. Volleys from massed Persian archers may have led to countermeasures among hoplites, such as ›shield aprons‹. In showing the moment before action is unleashed, the scene relates to an Early Classical rather than a Late Archaic way of visual communication. [Article available online on November 2023