IndexIntroductionRitualsReligious Cults/Representations of Religion/BeliefRecreational/Entertainment PurposesReality V. Ideality/Idea of ​​HeroismImportance of MaterialConclusionIntroductionThe Hellenistic period brought a new wave of artistic diversity that transcended all works past. Sculptures made during this period pushed boundaries and took risks. Hellenistic terracotta figures had various functions. The figures we will talk about were all made during the Hellenistic period, however the exact dates and artists are unknown. The mystery behind the sculptures leaves much room for speculation and analysis. The following analysis will describe figures from different categories, discussing the background of all the sculptures and their meaning. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Rituals Religious Cults/Depictions of Religion/Belief Rituals were often used by religious cults for various reasons. The figures were mostly dolls with jointed limbs. People believed they were protection. The dolls in figure 1 were thought to ward off evil – ironic given that they had no arms. It was believed that inner power was more important than physical power. These “dolls” are often discovered in adult graves; this indicates possible chthonic connection or apotropaic function. The dolls are women; they are not goddesses and have no specific powers. Women seem to lack femininity; the only signs are the breasts and, very sparingly, the hair. The women appear to wear headbands to hold back their hair, which appears curly; this could be due to the fact that their powers are not overshadowing their beauty. For being so powerful, the women appear to be very obedient as they sit up straight as if following orders of some kind. Recreational/Entertainment Purposes Rituals would be performed at festivals, comedy demonstrations, and even musical theater performances. The figures would be depicted smiling, wearing garlands and dancing. Grotesques were used primarily as comic presences. A dancing dwarf is shown wearing a garland who was most likely a participant in a comedy show. This figure is made similarly to a doll that would be used in religious cults; the only difference is that he has arms. The figure could also be used for apotropaic reasons. During this period, festivals were mainly used to honor Dionysus by paying him homage. The dwarf almost looks like a child; extremely small feet, playful attributes. In contrast, the dwarf's chest looks like that of an adult man; it has indentations on the chest almost like abdominal muscles. Although the figure appears childish, he is not smiling; his body language and the crown on his head work together to create a playful image. The rituals used in death were done before, during and after the actual death. Figure 3 is known as the Dying Gaul or the Dying Gladiator. The figure is depicted as a person who is currently dying; it can be assumed that he has just taken part in a war or hard combat. Although he is dying, there are no injuries depicted, no scars of any kind. Galli's nakedness suggests his vulnerability and perhaps also his unawareness of the harsh nature of the actions in which he had just taken part. Her hand gripping his leg is an illusion of her pain; this could also be an illusion relating to the era in which it was made. The Dying Gaul is an Ancient Roman marble copy of a lost Hellenistic sculpture, thought to have beenoriginally made in bronze. Figure 3 symbolizes a change in Greek culture. Art during the Hellenistic period was very emotional and heavily focused on strong expressions. His hair is tied up, not in curls: this may be due to the fact that the figure is only a slave and not a god or a higher power. Its body forms a triangle, which includes a strong diagonal; the diagonal further speaks to the foreshadowing of the figure's future; hence the title “The Dying Galata”. Reality V. Ideality/Idea of ​​Heroism Grotesques are human figures that were intended to reflect reality. Rhyton in the form of a centaur. Centaurs are known as wild and uncivilized creatures; however, the one above is depicted serene and focused. This is an illusion so as not to believe stereotypes. He is shown to be half man and half horse; an illusion about what people want to see versus who you are. Describing the figure as a hybrid excites people, makes them believe in something opposite. Rhyton appears to be strong, with his abdominal muscles on full display while looking "strutting" tall - this shows Rhyton's confidence. His hair doesn't look like hair at all; they look like leaves - an illusion that the origin of Rhyton's lower half is in nature. During the period, many women were depicted as royal or greater than gods or goddesses. The statuette of Aphrodite is believed to have been made in the 2nd century BC; this is luxury art. The apple she holds in her hand is an attribute of Aphrodite; it was awarded to the goddess by Paris of Troy as a prize in a beauty contest. It may represent a Hellenistic queen portrayed as Aphrodite, perhaps Apollonis of Pergamon. Her fashion is contradictory to who she should be depicted; his dress, his sandals and his headdress. Her dress is quite simple; she wears flip-flop sandals, fashionable in the early 100s BC. The texture of her dress is expressive, but simple; there are no designs or patterns, no jewels: its only seemingly deous factor is the crown. The curls of hair brushed forward across her cheeks and veil appear drawn from royal portraiture of the time: her crown has no jewels and no extremely strong details. He holds his hand on his hip with almost superhero stature. He holds the apple in front of him as if to say he has won a prize; this would be the prize of beauty. In Hellenistic art, it was sometimes difficult to distinguish between men and women. This figure is the head of an old woman depicted with the bony larynx protruding and the head of a bald male figure. The figure above is supposed to be an elderly woman, but the features tend to say otherwise. His nose is protruding, like a man's and his lips are very large, as is the bone structure of his head. The only part of the figure that may exude feminine qualities is the band around the head. It's not an athletic band – a band of leaves, a bit feminine. The shape of the head leads the viewer to believe that the old woman may have been ill, due to her skull being too large. Both eyes appear closed, however there is much less texture on the left eye than the right, almost as if it was never there or is fading away. The material of the figure appears to be altered; this is demonstrated by the extensive discoloration and random indentations. Importance of Material During the Hellenistic period, clay was one of the two main materials used in sculptures. The sculpture depicts Heracles; the statue is made of Corinthian clay. The appearance of a clay sculpture is very different from that of a bronze one. The head belonged to a statue twice the size of life. The hair is sculpted on the sides around the face, meaning the statue was most likely made to be viewed from.