Book contents
- Relief in Greek, Roman, and Late Antique Art
- Relief in Greek, Roman, and Late Antique Art
- Copyright page
- Dedication
- Contents
- Figures
- Contributors
- Acknowledgments
- Abbreviations
- Introduction
- 1 Ancient Relief
- 2 Thinking through Marble
- 3 The Body in Relief in Archaic Funerary Sculpture
- 4 Relief in Athenian Vase Painting
- 5 Sculpture, Relief, and the Surrounding Space
- 6 Seeing the Past
- 7 Remedial Relief
- 8 Foregrounding the Background in Roman Relief Sculpture
- 9 Encrusted in Ancestors
- 10 Relief on and for the Body in Late Antique Numismatic Jewelry
- Index
- References
3 - The Body in Relief in Archaic Funerary Sculpture
Published online by Cambridge University Press: 11 October 2025
By
Book contents
- Relief in Greek, Roman, and Late Antique Art
- Relief in Greek, Roman, and Late Antique Art
- Copyright page
- Dedication
- Contents
- Figures
- Contributors
- Acknowledgments
- Abbreviations
- Introduction
- 1 Ancient Relief
- 2 Thinking through Marble
- 3 The Body in Relief in Archaic Funerary Sculpture
- 4 Relief in Athenian Vase Painting
- 5 Sculpture, Relief, and the Surrounding Space
- 6 Seeing the Past
- 7 Remedial Relief
- 8 Foregrounding the Background in Roman Relief Sculpture
- 9 Encrusted in Ancestors
- 10 Relief on and for the Body in Late Antique Numismatic Jewelry
- Index
- References
Summary
Sculpted funerary monuments from Archaic Attica have traditionally been divided into two categories: those taking the form of a stele sculpted in relief and those taking the form of freestanding statues. In iconographical studies of these monuments, the distinction in medium has often been assigned interpretive weight, with those monuments carved in relief regarded as representing the deceased in a fundamentally different manner than those carved in the round. In contrast to such approaches, I attend in this chapter to points of continuity between relief and freestanding monuments in order to consider how they engage complementary forms of visualization. To do so, I focus on three case studies: the Gorgon stele from the Kerameikos in Athens, the Hoplite stele now in New York (together with its associated sphinx in Boston), and the “Hockey Player” base also from the Kerameikos. Ultimately, I argue, all sculpted funerary monuments from Archaic Attica mobilize aspects of relief sculpture, insofar as they position the body of the deceased between another world and our own.
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- Relief in Greek, Roman, and Late Antique Art , pp. 108 - 138Publisher: Cambridge University PressPrint publication year: 2025
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