Book contents
- Rhetoric and Innovation in Hellenistic Art
- Rhetoric and Innovation in Hellenistic Art
- Copyright page
- Dedication
- Contents
- Illustrations
- Preface
- Abbreviations and Translations
- Chapter One Rhetoric, Innovation, and the Courts
- Chapter Two Narrative in the Telephos Frieze
- Chapter Three Personification in the Archelaos Relief
- Chapter Four Ekphrasis in Sosos’s Unswept Room Mosaic
- Chapter Five Conclusion
- Notes
- Bibliography
- Index
- Plate Section (PDF Only)
Chapter Five - Conclusion
Published online by Cambridge University Press: 16 May 2020
- Rhetoric and Innovation in Hellenistic Art
- Rhetoric and Innovation in Hellenistic Art
- Copyright page
- Dedication
- Contents
- Illustrations
- Preface
- Abbreviations and Translations
- Chapter One Rhetoric, Innovation, and the Courts
- Chapter Two Narrative in the Telephos Frieze
- Chapter Three Personification in the Archelaos Relief
- Chapter Four Ekphrasis in Sosos’s Unswept Room Mosaic
- Chapter Five Conclusion
- Notes
- Bibliography
- Index
- Plate Section (PDF Only)
Summary
Rhetorical education – specifically, the advent of the progymnasmata, or preliminary rhetorical exercises – taught students how to be Greek, and it appears to have been the root of many Hellenistic innovations in both art and literature. The wealthy and elite backgrounds of some Greek artists enabled them to be well educated, and their intellectualism aided their adult pursuits in oratory, teaching, and scholarship, not to mention art. Kings and courtiers, too, received Greek rhetorical educations, which allowed them to appreciate the rhetorically informed art in the courts. The courts also played a role in Hellenistic artistic production by drawing Greek artists around the ancient Mediterranean. The result of all this seems to be a standardization of Greek art that is analogous to a linguistic koine.
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- Rhetoric and Innovation in Hellenistic Art , pp. 132 - 134Publisher: Cambridge University PressPrint publication year: 2020