#métope

[philoursmars]

Retour à mon projet de présenter la plupart de mes 53880 photos (nouveau compte approximatif !)

2014. Marseille au printemps. 

- les 2 premières :La Canebière 

- le reste:  le Port antique d’époque romaine, face au Musée d’Histoire et au centre Bourse.

 - remplois sur le quai du port

- enceinte de la nécropole avec alternance de triglyphes et de métopes

- la voie romaine d’entrée et sa reconstitution numérique

- la nécropole et le port.

[lesser-known-composers]

Karol Szymanowski (1882-1937) - Métopes, Op. 29

Daniel Szefer, Piano

[whencyclopedfr]

Les Sculptures du Parthénon

La qualité et la quantité extraordinaires des sculptures en marbre qui ornaient le Parthénon d'Athènes, au Ve siècle avant notre ère, en faisaient le temple grec le plus richement décoré. Les sculptures, aujourd'hui essentiellement scindées entre les marbres du Parthénon (marbres d'Elgin) et la collection du musée de l'Acropole d'Athènes, comprenaient autrefois 92 métopes, une frise unique courant sur les quatre côtés de l'édifice, et les deux frontons remplis de 50 figures monumentales. Les sculptures présentaient des scènes de la mythologie qui étaient une métaphore du triomphe grec sur Darius et Xerxès lors des récentes guerres perses. L'ensemble de l'édifice et des œuvres d'art était conçu pour impressionner les spectateurs et glorifier Athènes et sa déesse patronne Athéna. En tant qu'instigateur de l'ensemble du projet, Périclès se vantait à juste titre de "...nous serons la merveille du jour présent et des âges à venir".

Lire la suite...

[philcollinsenjoyer]

architecture exam tomorrow. soubassement stéréobate stylobate tore inférieur tore supérieur fût astragale corbeille tailloir architrave perles/moulure frise -> triglyphes & métopes fronton -> tympan rampant. tambour dôme lanternon. chevet rotonde chapelle axiale chapelles latérales baptistère massif barlong transept clocher flèche. narthex nef centrale nefs latérales/bas-côté transept -> croisé croisillon chœur/autel absidiole déambulatoire chapelle axiale chapelle rayonnante. arcade tribunes fenêtres hautes. archivolte voussures tympan tore colonnettes linteau trumeau jambage seuil ébrasement. toit corniche modillons contreforts baie en plein cintre plinthe. colonne adossée pilastre colonne engagée

[newmic]

 TROPAEUM TRAIANI est un monument triomphal romain dans la ville d'ADAMCLISI dans le comté de CONSTAN ț A / ROUMANIE, étant le deuxième dédié par l'Empire romain aux guerres avec les Daces, après la COLONNE de TRAIAN à ROME.

Il a été érigé en l'honneur de l'empereur romain TRAIAN, entre 106 et 109 après JC, pour commémorer sa victoire sur les Geto-Daces (les ancêtres des Roumains d'aujourd'hui) en 106 après JC.

Le monument a été reconstruit en 1977, selon l'un des modèles hypothétiques d'archéologues célèbres (le Roumain Grigore TOCILESCU, l'Autrichien George Niemann et l'Allemand Adolf Furtwängler), et est actuellement déclaré monument historique.

Les premières recherches archéologiques ont été entreprises à partir de 1882 par GRIGORE TOCILESCU.

Le monument, reconstitué par des archéologues en 1977, sous la direction de l'historien ADRIAN RĂDULESCU, se compose d'un socle cylindrique, décoré de 54 métopes qui enchâssent des bas-reliefs avec des scènes de guerre.

Le corps cylindrique présente à sa base plusieurs rangées de marches circulaires, et au sommet un toit conique, fait d'écailles de pierre en rangées concentriques, du milieu duquel s'élève une superstructure hexagonale sur laquelle se trouve le trophée de 10,75 m de haut, représentant une armure avec quatre boucliers.

A la base du trophée se trouve un groupe statuaire composé de trois sculptures représentant trois prisonniers daces : deux femmes et un homme.

La hauteur du monument avec le trophée est approximativement égale au diamètre de la base, soit environ 40 m.

Les métopes présentées se trouvent au Musée TROPAEUM TRAIANI à ADAMCLISI.

***

 TROPAEUM TRAIANI is a Roman triumphal monument in the town of ADAMCLISI in the county of CONSTAN ț A / ROMANIA, being the second dedicated by the Roman Empire to wars with the Dacians, after the COLUMN of TRAIAN in ROME.

It was erected in honor of the Roman emperor TRAIAN, between 106 and 109 AD, to commemorate his victory over the Geto-Dacians (the ancestors of today's Romanians) in 106 AD.

The monument was rebuilt in 1977, according to one of the hypothetical models of famous archaeologists (the Romanian Grigore TOCILESCU, the Austrian George Niemann and the German Adolf Furtwängler), and is currently declared a historical monument.

The first archaeological research was undertaken from 1882 by GRIGORE TOCILESCU.

The monument, reconstructed by archaeologists in 1977, under the direction of historian ADRIAN RĂDULESCU, consists of a cylindrical base, decorated with 54 metopes that enshrine bas-reliefs with war scenes.

The cylindrical body has at its base several rows of circular steps, and at the top a conical roof, made of stone scales in concentric rows, from the middle of which rises a hexagonal superstructure on which stands the trophy 10.75 m high, representing armor with four shields.

At the base of the trophy is a statuary group consisting of three sculptures representing three Dacian prisoners: two women and one man.

The height of the monument with the trophy is approximately equal to the diameter of the base, which is about 40 m.

The metopes presented are in the TROPAEUM TRAIANI Museum in ADAMCLISI.

[werewolvesandaccordions]

Szymanowski – Métopes, trois poèmes pour piano (1915) A challenge in describing music by composers like Szymanowski is that the works are usually about the atmosphere and the sound more than anything. Strange harmonies, chromatic shifts, decorations on the piano…a lot of attention to details like these instead of clear melody or strong rhythm. The…

Szymanowski – Métopes, trois poèmes pour piano (1915) A challenge in describing music by composers like Szymanowski is that the works are usually about the atmosphere and the sound more than anything. Strange harmonies, chromatic shifts, decorations on the piano…a lot of attention to details like these instead of clear melody or strong rhythm. The…

[dariaandjanelanefanboy]

Szymanowski – Métopes, trois poèmes pour piano (1915) A challenge in describing music by composers like Szymanowski is that the works are usually about the atmosphere and the sound more than anything. Strange harmonies, chromatic shifts, decorations on the piano…a lot of attention to details like these instead of clear melody or strong rhythm. The…

Szymanowski – Métopes, trois poèmes pour piano (1915) A challenge in describing music by composers like Szymanowski is that the works are usually about the atmosphere and the sound more than anything. Strange harmonies, chromatic shifts, decorations on the piano…a lot of attention to details like these instead of clear melody or strong rhythm. The…

[tinas-art]

Szymanowski – Métopes, trois poèmes pour piano (1915) A challenge in describing music by composers like Szymanowski is that the works are usually about the atmosphere and the sound more than anything. Strange harmonies, chromatic shifts, decorations on the piano…a lot of attention to details like these instead of clear melody or strong rhythm. The…

Szymanowski – Métopes, trois poèmes pour piano (1915) A challenge in describing music by composers like Szymanowski is that the works are usually about the atmosphere and the sound more than anything. Strange harmonies, chromatic shifts, decorations on the piano…a lot of attention to details like these instead of clear melody or strong rhythm. The…

[hushilda]

Szymanowski – Métopes, trois poèmes pour piano (1915) A challenge in describing music by composers like Szymanowski is that the works are usually about the atmosphere and the sound more than anything. Strange harmonies, chromatic shifts, decorations on the piano…a lot of attention to details like these instead of clear melody or strong rhythm. The…

Szymanowski – Métopes, trois poèmes pour piano (1915) A challenge in describing music by composers like Szymanowski is that the works are usually about the atmosphere and the sound more than anything. Strange harmonies, chromatic shifts, decorations on the piano…a lot of attention to details like these instead of clear melody or strong rhythm. The…

[philoursmars]

Marseille : le port antique de Massalia la Phocéenne puis Massilia la gallo-romaine

Là où sont les “barques” en métal, la mer s’étalait jusque là, le Lacydon formant une corne jusque devant les remparts grecs puis romains.

L’avant-dernière photo montre une terrasse funéraire, la dernière montre la voie romaine avec les ornières laissées par les chars...

[burberrycanary]

MUSIC ART WORDS: 1915

Karol Szymanowski, Métopes, Op.29: Wyspa syren/The Isle of Siren (1915)

Henri Matisse, Le rideau jaune (1915)

T. S. Eliot, The Love Song of J. Alfred Prufrock (1915)

[livingthelifeuniverse]

The Parthenon of Athens

 The Parthenon, dedicated by the Athenians to Athena Partenos, the patroness of the city, is the most magnificent creation of Athenian democracy at the height of its power.

It is also, the best monument of the Acropolis both in terms of design and execution. Built between 447 and 438 A.C. as part of the larger Pericles construction project, called the Pericles Parthenon (Parthenon III) which earlier replaced the marble temple (Parthenon II), which began after the victory of the Battle of Marathon in approximately 490 A.C. and was destroyed by the Persians in 480 A.C.

This temple was replaced by the first Parthenon (Parthenon I) of 570 A.C. The Parthenon of Pericles was designed by the architects Iktinos and Kallikrates, while the sculptor Phidias supervised the entire construction program and created the sculptural decoration of the temple and the Cristian-Athena statue of Athena.

The Parthenon is a double peripteral Doric temple with several innovative and unique features. The temple is divided into pronau, cella and opisthodomos, with a separate room at the west end, and is surrounded by a pteron with eight columns on each of the short side and seventeen columns on the long.

The column has the same width as those of the Parthenon II, so it was used of the material prepared for this, although the new temple was much wider than its predecessor. The interior shows an innovative approach to both new and old elements: inside the cell a double Pi-shaped colonnade established a background in the statue of Athena Partenos of gold and ivory, which showed the goddess in full armor carrying Niki (Victory) to the Athenians in her right hand.

The west room, where the city's treasures were kept, had four Ionic columns. The wooden roof of two sloping sides had marble tiles, false palmette-shaped marble anchors along the edge of its long and false beaks in the shape of lionheads in the corners.

The building of the Parthenon, built with white marble from Mount Pentelic, was designed to house the gold and ivory image of Athena Parthenos, a colossal statue of twelve feet high elaborated by Phidias.

Approximately 70 meters long and 30 meters wide, the Parthenon was surrounded by columns around its perimeter, 8 on the main facades and 17 on the sides.

In the frieze was represented the procession of Panateneias, the most important religious festival that happened in Athens. Along the four sides of the building was the representation, including more than 300 human figures, gods and beasts.

Statues of marbles adorned the corners of the pediments and large, ornate palmettes at their apex. The pediments were decorated with sculptural compositions inspired by the life of the goddess Athena.

The eastern pediment depicts the birth of the goddess, who was born from the head of her father, Zeus, before an assembly of the gods of Olympus, while the west pediment shows Athena and Poseidon vying for the possession of the city of Athens before the gods, heroes and kings myths of Attica.

Ninety-two métopes alternating with triglyphs that were placed above the epistle of the outer colonnade and under the architrave. All of them were adorned with reliefs, the first sculptures of the Parthenon. Their themes were derived from legendary battles: Gigantomachy was depicted on the eastern side, the Troy War on the north side, the Amazonomaquia on the west side, and Centauromaquia on the south side.

The frieze, an element of ionic order, brilliantly added to this Doric temple along the top of the cella, pronau and opisthodomos, which portrayed the splendid procession of Panathinaia, the largest festival of Athens in honor of Athena.

The Parthenon remained unchanged until the fifth century D.C, when it was converted into a church dedicated to the first Saint Sophia and later to Panagia (Virgin Mary). Under the Turkish government it became a mosque.

In 1687, during the siege of the Acropolis by Morozini, the Parthenon was bombed and largely destroyed. More serious damage was caused in the early 19th century by Lord Elgin, who plundered the sculptural decoration of the temple and sold it to the British Museum. Conservation and restoration of the Parthenon occurred in 1896 - 1900 and again in 1922 - 1933.

A vast conservation and restoration program for the Acropolis monuments, including the Parthenon, has been under way since 1975 by the Acropolis Monuments Restoration Service in collaboration with the First Ephorate of Prehistoric and Classical Antiquities, under the supervision of the Committee for Conservation of the Acropolis.

[mythodico]

Asopos

description: dieu-fleuve de l'Asopos

catégorie: dieux marins

parents: Océan et Téthys ou Poséidon et Péro ou Cégluse ou Zeus et Eurynomé

épouse: Métope (enfants: Pelasgos ou Pélégon, Ismenos)

enfants: Pelasgos ou Pélégon, Ismenos

sources: Bibliothèque ( Apollodore), IV ( Diodore de Sicile), Périégèse ( Pausanias)

[werewolvesandaccordions]

Szymanowski – Métopes, trois poèmes pour piano (1915) A challenge in describing music by composers like Szymanowski is that the works are usually about the atmosphere and the sound more than anything. Strange harmonies, chromatic shifts, decorations on the piano…a lot of attention to details like these instead of clear melody or strong rhythm. The music ends up sounding hypnotic at points, and that may be what Szymanowski was going for. He wrote this suite, Metopes, after a tour of southern Europe which included a visit to Greece. Szymanowski took this trip in 1914, just as Europe was on the brink of War. His interest in Mediterranean and Eastern cultures helped define his new style. What interests me most, or at least what I can relate to today, is this interest in escaping to an other-worldly soundscape while the world is on the brink of extreme conflict. Today, we have non-stop portable access to news stories, videos, and photos of war, terror, and pain. It’s too much for our brains to handle. How do we deal with it? We also escape into art that puts us into a new ‘world’. Szymanowski’s world is decadent, nocturnal, and alluring. The word “metopes” means the space at the top of Greek columns that can have elaborate decorations and scenes carved onto them. So each piece could be thought of as trying to depict a Greek stone-carving of the mythic subjects. Here, Szymanowski chose to focus on scenes from Homer’s Odyssey. The first piece, L’isle des sirènes, imitates the ethereal and deadly siren songs. There is also a lot of tone painting for the ocean waves, and we grow in anxiety, thinking back to the story where Odysseus is enchanted by their songs and has to be tied against a mast post to keep from driving the ship into the rocks. The next poem, Calypso, opens with and uses a lot of glittering tremolos, making me think of the Romani cimbalom’s sound evoked in 19th century music. In the story, Odysseus has washed up on Calypso’s island. She enchants him in staying for seven years. Likewise, musically, a perception of time is distorted by these floating harmonies and unpredictable resolutions, constant chromatic notes keeping us from thinking of a clear “direction” that is ingrained in traditional tonality. Calypso tries to get Odysseus to stay with her forever, promising him immortality. He remembers his wife, Penelope, and insists on being let go to continue with his journey. The third scene isn’t supernatural, and the music is more down-to-earth. Odysseus has shipwrecked on the island of Phaeacia, where the King’s daughter Nausicaa takes him in as a guest. With the hospitality, Odysseus is entertained by dancers. The music is a fun, and at times frantic, dance full of percussive dashes. It ends with a slower, reflective section, that kind of dies off into silence; Odysseus leaves the fun and games to continue his journey back to Ithaca. In his program on the work, Grant Hiroshima comments that we don’t follow Odysseus to the end of his journey, maybe to reflect the uncertainty of the future; will the next adventure be dangerous? Will he ever return home? And perhaps this shows Szymanowski’s own anxieties at the state of the world. While art can be an ‘escape’, it is still reflecting our culture and ourselves. Movements: L’îsle des sirènes Calypso Nausicaa

mikrokosmos: Szymanowski – Métopes, trois poèmes pour piano (1915) A challenge in describing music by composers like Szymanowski is that the works are usually about the atmosphere and the sound more than anything. Strange harmonies, chromatic shifts, decorations on the piano…a lot of attention to details like these instead of clear melody or strong rhythm.…

[dariaandjanelanefanboy]

Szymanowski – Métopes, trois poèmes pour piano (1915) A challenge in describing music by composers like Szymanowski is that the works are usually about the atmosphere and the sound more than anything. Strange harmonies, chromatic shifts, decorations on the piano…a lot of attention to details like these instead of clear melody or strong rhythm. The music ends up sounding hypnotic at points, and that may be what Szymanowski was going for. He wrote this suite, Metopes, after a tour of southern Europe which included a visit to Greece. Szymanowski took this trip in 1914, just as Europe was on the brink of War. His interest in Mediterranean and Eastern cultures helped define his new style. What interests me most, or at least what I can relate to today, is this interest in escaping to an other-worldly soundscape while the world is on the brink of extreme conflict. Today, we have non-stop portable access to news stories, videos, and photos of war, terror, and pain. It’s too much for our brains to handle. How do we deal with it? We also escape into art that puts us into a new ‘world’. Szymanowski’s world is decadent, nocturnal, and alluring. The word “metopes” means the space at the top of Greek columns that can have elaborate decorations and scenes carved onto them. So each piece could be thought of as trying to depict a Greek stone-carving of the mythic subjects. Here, Szymanowski chose to focus on scenes from Homer’s Odyssey. The first piece, L’isle des sirènes, imitates the ethereal and deadly siren songs. There is also a lot of tone painting for the ocean waves, and we grow in anxiety, thinking back to the story where Odysseus is enchanted by their songs and has to be tied against a mast post to keep from driving the ship into the rocks. The next poem, Calypso, opens with and uses a lot of glittering tremolos, making me think of the Romani cimbalom’s sound evoked in 19th century music. In the story, Odysseus has washed up on Calypso’s island. She enchants him in staying for seven years. Likewise, musically, a perception of time is distorted by these floating harmonies and unpredictable resolutions, constant chromatic notes keeping us from thinking of a clear “direction” that is ingrained in traditional tonality. Calypso tries to get Odysseus to stay with her forever, promising him immortality. He remembers his wife, Penelope, and insists on being let go to continue with his journey. The third scene isn’t supernatural, and the music is more down-to-earth. Odysseus has shipwrecked on the island of Phaeacia, where the King’s daughter Nausicaa takes him in as a guest. With the hospitality, Odysseus is entertained by dancers. The music is a fun, and at times frantic, dance full of percussive dashes. It ends with a slower, reflective section, that kind of dies off into silence; Odysseus leaves the fun and games to continue his journey back to Ithaca. In his program on the work, Grant Hiroshima comments that we don’t follow Odysseus to the end of his journey, maybe to reflect the uncertainty of the future; will the next adventure be dangerous? Will he ever return home? And perhaps this shows Szymanowski’s own anxieties at the state of the world. While art can be an ‘escape’, it is still reflecting our culture and ourselves. Movements: L’îsle des sirènes Calypso Nausicaa

mikrokosmos: Szymanowski – Métopes, trois poèmes pour piano (1915) A challenge in describing music by composers like Szymanowski is that the works are usually about the atmosphere and the sound more than anything. Strange harmonies, chromatic shifts, decorations on the piano…a lot of attention to details like these instead of clear melody or strong rhythm.…