_Greek Archaeology Falling Warrior _
By: Terry Z
As I began my search for an artifact to identify from the Late Bronze Age in
Ancient Greece, I looked for a piece that would symbolize a major difference
in stylistic change from the previous period. The artifact that captured my
attention and satisfied my requirement, was none other than the Falling
Warrior from the East Pediment at the Temple of Aphaia at Aegina. The subjects
depicted in the pediment represent the warriors from the battles at Troy. The
Falling Warrior was created c. 490 BC and is the first sculpted figure at the
pediments right end. It is constructed of marble and is 1.42m long. It is
currently on display at the Glyptothek in Munich, Germany While observing
the Falling Warrior, one can immediately depict the sense of drama that the
sculptor was attempting to create. One can feel the pain and admire the
courage and nobility this warrior had during the battle. I believe the
sculptor designed the dramatic figure as a tribute to the warriors lost during
the battles at Troy. This depiction would have constantly reminded the Ancient
Greek people of the patriotic warriors that died for their state and thus
promote devotion to the ruling Greek government Despite what the political
intentions of the sculptor would have been, gazing at the Falling Warrior as
an individualized sculpture is a marvel alone. Observing more closely, one can
immediately notice the twist in body movement as the warrior tries to raise
his body back up. Clinging to the enormous shield and looking downward, one
can conclude that the warrior is severely injured. Yet, despite his injuries,
he is still not giving up the battle and desperately attempts to survive.
Through this agile movement, the sculptor has created a dramatic moment not to
be forgotten. The lower leg is positioned in a pushing movement while the
upper leg is getting ready to do the same. This shows the attempt of the
Falling warrior to use the ground surface as leverage to rise back up.
Although the Falling warrior is determined to survive, his injuries obviously
lead toward his death Attention to detail is significant throughout the
sculpture. The feet and toes are bent and in constant movement (pl.1-1). Both
calve muscles are flexed indicating use of the lower legs as a pushing factor
(pl.1-2). Thigh muscles are also shown clearly joining the movement of the
lower leg. While the lower part of the body seems to be in a struggle of
survival, the upper body is more concerned with supporting itself from falling
(pl.1-3). The forearm muscles are erected while the joining hand is pushing up
off the ground. However, the joining bicep is not as flexed and may perhaps
indicate an area of pain (pl.1-4). The chest is also very calm while the left
bicep is hard at work, supporting the entire upper body by combining forces
with the shield. Detail of the double handle is shown fiercely in conjunction
with the warriors left hand (pl.1-5). This shows the warriors strength, as
the size of the shield indicates very heavy armor. The helmet clings to the
warriors head and a beard is portrayed as well as the eye in profile view, a
common trait of that period In comparison to the earlier built, Fallen
Warrior at the West pediment at the Temple of Aphaia at Aegina, a major
stylistic change can be noted. The Fallen Warrior from the West Pediment,
built c. 500 BC, one can see the traditional Late Archaic smile that the
warrior has. This is a very unnatural behavior that a real falling warrior
would not depict. Also very troubling, is the twist that the warriors body is
in. The right leg is crossing the left leg, which would have been very
uncommon, and a troublesome position for a real warrior in pain. At the same
time, while performing this twist and continuing to smile, the warrior is
retracting an arrow from his chest. These traits are well noted by the later
sculptor who pays more attention to natural body movement. In the Fallen
Warrior on the East pediment, the twist, and changes in masses depicted is
much more likely to occur in reality. Also the constant smile is lost as it
probably would have been as the real warrior encountered his death. Clearly,
the sculptor has mastered the natural form of representation The stylistic
difference between the two warriors are very important in determining the
period of the Falling Warrior from the East Pediment. Recognizing the factors
mentioned above, the Falling Warrior from the east pediment marks the entrance
into the Early Classical period. Traditional with this period is the artists
attempt to achieve perfection of reality in their artwork. Representation of
body mass in many sculptures, including the Falling warrior, supports this
notion Another recognizable aspect is the sculptors realization in
producing work in accordance with the architectural requirements of the
temples. The Falling Warrior not only achieves its dramatic sense but also
fills in the triangular corner of the pediment. The artist creates a scale for
the figures to be fitted into the pediment. Although, the artist believes he
has achieved complete perfection, one can see that the navel on the Fallen
Warrior has been misplaced. Despite the imperfection, it is clear that a goal
of perfection in realism and scale was trying to be achieved In conclusion,
Speculative identification of the Fallen Warrior from the East Pediment of the
temple of Temple of Aphaia at Aegina has proven very helpful in understanding
the change in lifestyle that must have occurred between the Late Archaic and
Early Classical periods. By means of observation, one can already see that
life is becoming less controlled, more relaxed and focused on reality rather
than false representations of Ancient Greek life
_Bibliography _
Bibliography Biers R. William. The Archaeology of Greece. 2nd ed. New York:
Cornell University Press, 1996. Croix De La Horst, Tansey G. Richard,
Kirkpatrick Diane Art Through The Ages. 9th ed. New York: Harcourt Brace
Jovanovich College Publishers, 1987.
Word Count: 967
| 
