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The purpose of this article is to study the conceptualization of foreigners in ancient Greece and to see how the Greeks visually identified foreigners(or barbarians) in statues and statuettes from ca. 480 to 31. The Greeks had early contact with foreigners around the Mediterranean Sea, in whose lands they founded colonial cities. According to various Greek and Latin sources, they were able to explain, upon analyzing these foreign peoples, the natural, cultural and climatic environmental differences between themselves and the people of other lands. In fact, regardless of the reasons, it seems that foreigners and their cultures were basically considered inferior to the people and culture of Greece. In Greek plastic arts, ‘Barbaroi’, defined as the inability to speak Greek or the difficulty to communicate in Greek, were represented differently from the figures of Greeks. Here, the specific visual concepts and ideas that made such distinctions will be analyzed.
The first ethnic group to look on here is the Scythian civilization, whose people were well-known for their excellent archery and horse-riding abilities. The Scythians appeared in Greek Attic black-figured vase-paintings in the late 6th century, and these people were generally archers with arches and arrow-boxes(gorytos) and were attired in headdresses, long-sleeved chitons(xeiridoto chiton), jackets(kandus), trousers(anaxirides) and the headdress ‘kurbasia’. In the Classical and Hellenistic plastic arts, the Scythians were represented as archers, punishers of Marsyas, horse riders, slaves, parodied figures of ‘boys struggling with animals’ and warriors in particular. Their artwork shows two stereotyped Greek viewpoints of Scythians: the Scythian style of archery, executed from a distance, was thought of by the Greeks as an ‘unmanly’ battle tactic, while the supposedly inhumane mythological beliefs of the Scythians coupled with their apotrophaic usage of figures on graves.
It was during the Persian Wars(490-480) that the Persians, who had been closely connected with the Greek poleis politically and economically during the Classical period, were known to Greeks. In the Greek plastic arts from that era, the Persians are depicted wearing similar costumes to those of the Scythians, right down to their footwear. The Persians appear on certain monumental sculptures, architectural reliefs, and sarcophagi mostly from Asia Minor. Although most Persians are represented as warriors in battle with the Greeks, the second most frequent iconographic theme is the ‘Royal Hunting Scene’, which depicts hunters on horseback and foot chasing animals. In the Hellenistic period, it is conceived that the fall of the Persian Empire may have caused the reduction in the number of Persian figures being reproduced in the Greek plastic arts of the period as well as an increase in the number of iconographic faults.
The Galatians, who were part of the Celtic race, emigrated from southwest Europe to Anatolia in the early 3rd century. It was after the sack of Delphi(279) at which they were first recorded in Greek history. Many ancient writers characterized them as war-like and easily angered, with oval shields(thyreos), strong bodies and blond, tufted, upright hair, moustaches and beards. It was on a relief dated in the early 3rd century that Greek sculptors depicted the Galatians, on which a Galatian is captured and beaten by Heracles with a club. Because Galatians had served as mercenaries in various battles in the Hellenic World, depictions of them were found beyond the regional boundaries where the figures of Scythians and Persians were found. The most important works in Pergamon in which the Galatians were depicted could be found in the Atallid Greater Group and Lesser Group, all of which remain in Roman copy. The Galatians in these groups are all shown as being defeated in battle and ending up wounded or dead. In terracotta statuettes from Asia Minor, the iconographic evidence is restricted to typical expressions(e.g. tufted hair, oval shields, etc), probably because of the small size the artists had for depicting other details. The figures of Galatians reproduced in South Italy depict unusual attributes such as belts, trousers, helmets with horns, and so on, which are uncommon in the works of Greek mainland, Asia Minor and Egypt. Such iconographic variations suggest that sculptors and craftsmen in South Italy might have kept to their regional traditions, in spite of the strong Greek sculptural influence.
In summary, most of the figures of barbarians depicted in the Greek plastic arts from this period are represented primarily as warriors in battles or as royal hunters, while the remaining figures are inhumane mythical figures, slaves, women and children. Greek sculptors and craftsmen identified foreigners mainly through their ethnic costumes and weapons or through their physiognomic features, and there are few exceptions to be found in these ancient statements. It is concluded that regarding the Greek visual ideas of the period, figures of foreigners were typically distinct in terms of their attributes and physiognomic features - Scythian archers, Asian warriors and hunters in headdresses, long-sleeved chitons and trousers and Galatians with tufted hairs and oval shields - and these ethnic stereotypes were reproduced repeatedly in the Classical and Hellenistic Greek plastic arts.
The first ethnic group to look on here is the Scythian civilization, whose people were well-known for their excellent archery and horse-riding abilities. The Scythians appeared in Greek Attic black-figured vase-paintings in the late 6th century, and these people were generally archers with arches and arrow-boxes(gorytos) and were attired in headdresses, long-sleeved chitons(xeiridoto chiton), jackets(kandus), trousers(anaxirides) and the headdress ‘kurbasia’. In the Classical and Hellenistic plastic arts, the Scythians were represented as archers, punishers of Marsyas, horse riders, slaves, parodied figures of ‘boys struggling with animals’ and warriors in particular. Their artwork shows two stereotyped Greek viewpoints of Scythians: the Scythian style of archery, executed from a distance, was thought of by the Greeks as an ‘unmanly’ battle tactic, while the supposedly inhumane mythological beliefs of the Scythians coupled with their apotrophaic usage of figures on graves.
It was during the Persian Wars(490-480) that the Persians, who had been closely connected with the Greek poleis politically and economically during the Classical period, were known to Greeks. In the Greek plastic arts from that era, the Persians are depicted wearing similar costumes to those of the Scythians, right down to their footwear. The Persians appear on certain monumental sculptures, architectural reliefs, and sarcophagi mostly from Asia Minor. Although most Persians are represented as warriors in battle with the Greeks, the second most frequent iconographic theme is the ‘Royal Hunting Scene’, which depicts hunters on horseback and foot chasing animals. In the Hellenistic period, it is conceived that the fall of the Persian Empire may have caused the reduction in the number of Persian figures being reproduced in the Greek plastic arts of the period as well as an increase in the number of iconographic faults.
The Galatians, who were part of the Celtic race, emigrated from southwest Europe to Anatolia in the early 3rd century. It was after the sack of Delphi(279) at which they were first recorded in Greek history. Many ancient writers characterized them as war-like and easily angered, with oval shields(thyreos), strong bodies and blond, tufted, upright hair, moustaches and beards. It was on a relief dated in the early 3rd century that Greek sculptors depicted the Galatians, on which a Galatian is captured and beaten by Heracles with a club. Because Galatians had served as mercenaries in various battles in the Hellenic World, depictions of them were found beyond the regional boundaries where the figures of Scythians and Persians were found. The most important works in Pergamon in which the Galatians were depicted could be found in the Atallid Greater Group and Lesser Group, all of which remain in Roman copy. The Galatians in these groups are all shown as being defeated in battle and ending up wounded or dead. In terracotta statuettes from Asia Minor, the iconographic evidence is restricted to typical expressions(e.g. tufted hair, oval shields, etc), probably because of the small size the artists had for depicting other details. The figures of Galatians reproduced in South Italy depict unusual attributes such as belts, trousers, helmets with horns, and so on, which are uncommon in the works of Greek mainland, Asia Minor and Egypt. Such iconographic variations suggest that sculptors and craftsmen in South Italy might have kept to their regional traditions, in spite of the strong Greek sculptural influence.
In summary, most of the figures of barbarians depicted in the Greek plastic arts from this period are represented primarily as warriors in battles or as royal hunters, while the remaining figures are inhumane mythical figures, slaves, women and children. Greek sculptors and craftsmen identified foreigners mainly through their ethnic costumes and weapons or through their physiognomic features, and there are few exceptions to be found in these ancient statements. It is concluded that regarding the Greek visual ideas of the period, figures of foreigners were typically distinct in terms of their attributes and physiognomic features - Scythian archers, Asian warriors and hunters in headdresses, long-sleeved chitons and trousers and Galatians with tufted hairs and oval shields - and these ethnic stereotypes were reproduced repeatedly in the Classical and Hellenistic Greek plastic arts.
목차
Ⅰ. 들어가는 말
Ⅱ. 고전문헌 분석
Ⅲ. 외국인조각 분석
Ⅳ. 맺음말
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