Aristocratic Greek Sculpture Museum

The Greek Sculpture Museum is the most aristocratic of all museum buildings. It is a gift given to the people by Ludwig I of Bavaria (1786 - 1868) and is usually considered to be the first public sculpture museum. This museum, which embodies great enthusiasm for ancient Greek culture, deeply drew the hearts of German intellectuals in the late 18th and early 19th centuries. For Ludwig I, it wasn’t reading or hearing about ancient Greek art that inspired him to be interested in antiques, but the Canova sculpture Heba, which he saw in Venice at the age of 18. "Everything has changed for me. Everything has changed for me," he wrote. As a result he became the greatest antique collector in Europe.

Our contemporary recognition of ancient Greek culture originated from the works of the German historian Winckelmann and his ancient Greek culture studies based on the Papal collection (he himself had never been to Greece). Winklmann believes that "liberty itself is the reason for the power and authority that Athens has achieved." His tendency to equate the development of Greek art with the development of freedom (which reached its peak in the era of Pericles rule) has aroused the way. Devig's resonance. The king became a loyal reader of Winklmann, and viewed the appreciation of Greek art and architecture as possession of moral authority. He hoped that this moral authority could serve the emerging spirit of German nationalism. Fortunately, Ludwig soon found an architect, Krünz, who fulfilled his dream in an extraordinary and pure manner.

As early as 1804 and his travel in 1805, he was the prince who expressed his desire to build a special antique museum. In 1814, he announced a tender for a construction project through the Munich Academy, where the Greek Sculpture Museum is located. As a result, Krenz won the bid and one of the most complete and impressive reforms in European cities began.

The Greek Sculpture Museum is the first building designed by Cruz in Munich. It combines Greek, Roman and Renaissance elements but the overall effect is the Ionic style of simplicity and elegance. Behind the colonnade is a square building with a courtyard. The interior of the building is rich and gorgeous. It is a decorative pattern drawn by Nazarene artist Peter Cornelius and some scenes of ancient Greek history. There are some royal dining appliances on the north side, because although Ludwig had given the Greek Sculpture Museum to the people, it was in part an extension of the royal palace. Ludwig’s collection is unusual by any standard, and its size continues to grow with those famous gifts. This makes it a place to feel and appreciate ancient Greek culture.

Ernst Gombrich said: "Athens is the most important Greek city-state in the history of art. The greatest and most amazing thing in the history of art is the fruit that was first bred here." This intermittent ** is Associated with a desire - it wants to represent the human body in a much more noble and interesting way, this way of expression is very different from the prevailing contour Egyptian statue. The first phase of Greek sculpture in the history of the collection is the exquisite statue of two freely standing young men in the period of archaic period (about 700 BC - 480 BC). They have been mistaken for the statue of "Apollo". However, there are some truths. They have been used by wealthy parents to encourage young people or athletes, and they have been placed in cemeteries to pay their respects. These sculptures have been given an ideal human form, and sculptors have attempted to create "God's general effect." Sometimes we can recognize the identity of the statue from the inscription on the base. For example, in the portrait of a young man in the Athens Museum, write a sentence like "Please stop mourning the tomb of Chlothos, who was the God of War in the frontline battle. defeat". As the art historian Gombrich said, the Egyptians used knowledge to explore the human body, while the Greeks used their eyes. The latter pursues idealism and perfect human rather than rationalism. “The statue of a young man from Terry” is a typical example: the face with a smile, the left leg steadily stepping forward – a little formal, but consciously shows the body's contours. In this regard, John Boardman explained: “Life is beginning to become as important as geometry.” The most important exhibits in the museum and the main reason why museums were built are Ludwig’s defeat of many competitors from Britain and France. Triangular thresholds decorate the statues, which were discovered by an international team of archaeologists in 1811 at the Temple of Aphaia on Aegean Island. They are the most important group of ancient Greek free standing people behind the marble image of London's Parthenon. The embossed on the wall of the herringbone portrays the fighting scenes of two looting Trojans described by Heracles in the mythological story and Agamemnon's battle experience described by Homer.

They are one of the most magnificent ancient Greek sculpture groups depicting the heroic war. What is different is that we see the pain and dignity of death in the fallen soldiers, be they victors or losers. They confirm the importance of Homer's so-called "great death." The herringbone wall dates back to 490 BC to 480 BC. The display of decorative sculptures on the west triangular threshold shows a kind of eccentric movement, which symbolizes the transition from the initial stage to the classicism style. The more broken Eastern Wall group sculpture shows a kind of centripetal movement. Highly dramatic and painful, it reflects the spirit of early classicalism. Ludwig had hired Danish sculptor Botel Thorvaldson to repair these statues.