Recepcija prošlosti u helenističkom periodu: ugledanje, kopiranje i kolekcionarstvo

Abstract

Nadovezujući se na dugu istoriju istraživanja antičke grčke skulpture u klasičnoj arheologiji, ovaj rad ima za cilj da analizira novonastali fenomen masovnog kopiranja i imitiranja klasičnih skulptora tokom helenističkog doba. Preciznija kontekstualizacija fenomena o kojem su napisani tomovi istorije antičke umetnosti, kao što će se videti, osvetljava iz jednog drugačijeg ugla naše dosadašnje znanje o dobro poznatim primercima antičke grčke skulpture. Dovođenjem u vezu stilskog fenomena, poznatijeg kao helenističko ugledanje i kopiranje, sa istovremenom pojavom kolekcionarstva u elitnim krugovima helenističkog društva, značajno se proširuje tumačenje helenističkih skulptura u pogledu značenja i funkcije koje su ovi artefakti imali u svom originalnom kontekstu. U krajnjem ishodu, takva analiza vodi nas do koraka bliže u pokušaju da razumemo kakav su odnos imali helenistički Grci prema sopstvenoj prošlosti i da li je i kako taj odnos izražavan putem materijalnih ostataka.

Building upon the long history of research in classical archaeology of the ancient Greek sculpture, the paper aims to explore the phenomenon emerging during the Hellenistic period of copying and imitating the Classical sculptors. Based upon the premise that the theory on the development of the Classical Greek art itself dates back into the Hellenistic times, the aim here is to associate the known examples of the Hellenistic sculpture to the then valid theories on the development of art. Furthermore, the stylistic phenomenon of Hellenistic copying is associated to the contemporaneous collectionary practice of the elites, thus indicating the meaning and function of these artefacts in their original context. As the result, the conclusion is proposed that copying and imitating in the Hellenistic art is the consequence of the newly established trend to refer through art to the great role models of the past, already elevated to the status of canonical art.The second part of the paper investigates the possible social roles of these works of art, as well as the historic narrative promoted by them. On the grounds of the published work on reception of the past in the ancient Greek culture, the conclusion is proposed that the Hellenistic trend of artistic copying and imitating was promoted by the elites, with the intention to create permanent monuments of cultural memory. The Hellenistic sculpture thus had the function to confirm, codify, and materialize the perceptions of the Greek past and identity, and to legitimize certain social interests and values.