Гректік ғибадатханалар: Құдайлардың мүсіндерін сақтаған ғимараттар

Buildings housing cult statues in Greek sanctuaries

Greek temples (ναός, semantically distinct from Latin templum, "temple") were structures built to house deity statues within Greek sanctuaries in ancient Greek religion. The temple interiors did not serve as meeting places, since the sacrifices and rituals dedicated to the respective ouranic (a god or goddess that does not reside on the Earth) deity took place outside them, within the wider precinct of the sanctuary, which might be large. Temples were frequently used to store votive offerings. They are the most important and most widespread surviving building type in Greek architecture. In the Hellenistic kingdoms of Southwest Asia and of North Africa, buildings erected to fulfill the functions of a temple often continued to follow the local traditions. Even where a Greek influence is visible, such structures are not normally considered as Greek temples. This applies, for example, to the Graeco Parthian and Bactrian temples, or to the Ptolemaic examples, which follow Egyptian tradition. Most Greek temples were oriented astronomically. Between the 9th century BCE and the 6th century BCE, the ancient Greek temples developed from the small mud brick structures into double porched monumental "peripteral" buildings with colonnade on all sides, often reaching more than 20 metres in height (not including the roof). Stylistically, they were governed by the regionally specific architectural orders. Whereas the distinction was originally between the Doric and Ionic orders, a third alternative arose in late 3rd century BCE with the Corinthian order. A multitude of different ground plans were developed, each of which could be combined with the superstructure in the different orders. Temples would be destroyed due to warfare in the Greek World or from lack of repairs. Some of these temples such as the temple of Poseidon Soter (The Savior) would be rebuilt outside of Athens after the defeat of the Persian Empire in 449 BCE. From the 3rd century BCE onward, the construction of large temples became less common; after a short 2nd century BCE flourish, it ceased nearly entirely in the 1st century BCE. Thereafter, only smaller structures were started, while older temples continued to be renovated or brought to completion if in an unfinished state. Greek temples were designed and constructed according to set proportions, mostly determined by the lower diameter of the columns or by the dimensions of the foundation levels. The nearly mathematical strictness of the basic designs thus reached was lightened by optical refinements. In spite of the still widespread idealised image, Greek temples were painted, so that bright reds and blues contrasted with the white of the building stones or of stucco. The more elaborate temples were equipped with very rich figural decoration in the form of reliefs and sculptures on the pediment. The construction of temples was usually organised and financed by cities or by the administrations of sanctuaries. Private individuals, especially Hellenistic rulers, could also sponsor such buildings. In the late Hellenistic period, their decreasing financial wealth, along with the progressive incorporation of the Greek world within the Roman state, whose officials and rulers took over as sponsors, led to the end of Greek temple construction. New temples now belonged to the tradition of the Roman temple, which, in spite of the very strong Greek influence on it, aimed for different goals and followed different aesthetic principles (for a comparison, see the other article). The main temple building sat within a larger precinct or temenos, usually surrounded by a peribolos fence or wall; the whole is usually called a "sanctuary". The Acropolis of Athens is the most famous example, though this was apparently walled as a citadel before a temple was ever built there. This might include many subsidiary buildings, sacred groves or springs, animals dedicated to the deity, and sometimes people who had taken sanctuary from the law, which some temples offered, for example to runaway slaves.

The earliest Greek sanctuaries probably did not contain temple buildings, though our knowledge of these is limited since many of these were destroyed, and the subject is controversial. A typical early sanctuary seems to have consisted of a temenos, often around a sacred grove, cave or spring, and perhaps defined only by marker stones at intervals, with an altar for offerings. Many rural sanctuaries probably stayed in this style, but the more popular were gradually able to afford a building to house a cult image, especially in cities. This process was certainly under way by the 9th century BCE, and probably started earlier. The Mycenaean megaron (15th to the 13th century BCE) was the precursor for later Archaic and Classical Greek temples, but during the Greek Dark Age the buildings became smaller and less monumental. The basic principles for the development of Greek temple architecture have their roots between the 10th century BCE and the 7th century BCE. In its simplest form as a naos, the temple was a simple rectangular shrine with protruding side walls (antae), forming a small porch. Until the 8th century BCE, there were also apsidal structures with more or less semi circular back walls, but the rectangular type prevailed. By adding columns to this small basic structure, the Greeks triggered the development and variety of their temple architecture. The Temple of Isthmia, built in 690–650 BCE was perhaps the first true Archaic temple. Its size, colonnade, and roof made it different from then contemporary buildings.

The first temples were mostly mud, brick, and marble structures on stone foundations. The columns and superstructure (entablature) were wooden, door openings and antae were protected with wooden planks. The mud brick walls were often reinforced by wooden posts, in a type of half timbered technique. The elements of this simple and clearly structured wooden architecture produced all the important design principles that were to determine the development of Greek temples for centuries. Near the end of the 7th century BCE, the dimensions of these simple structures were increased considerably. Temple C at Thermos is the first of the hekatompedoi, temples with a length of 100 feet (30 m). Since it was not technically possible to roof broad spaces at that time, these temples remained very narrow, at 6 to 10 metres in width. To stress the importance of the cult statue and the building holding it, the naos was equipped with a canopy, supported by columns. The resulting set of colonnade surrounding the temple on all sides (the peristasis) was exclusively used for temples in Greek architecture. The combination of the temple with colonnades (ptera) on all sides posed a new aesthetic challenge for the architects and patrons: the structures had to be built to be viewed from all directions. This led to the development of the peripteros, with a frontal pronaos (porch), mirrored by a similar arrangement at the back of the building, the opisthodomos, which became necessary for entirely aesthetic reasons.

After the reintroduction of stone architecture, the essential elements and forms of each temple, such as the number of columns and of column rows, underwent constant change throughout Greek antiquity. In the 6th century BCE, Ionian Samos developed the double colonnaded dipteros as an alternative to the single peripteros. This idea was later copied in Didyma, Ephesos and Athens. Between the 6th and the late 4th century BCE, innumerable temples were built; nearly every polis, every Greek colony contained one or several. There were also temples at extra urban sites and at major sanctuaries like Olympia and Delphi. The observable change of form indicates the search for a harmonious form of all architectural elements: the development led from simpler early forms which often appear coarse and bulky up to the aesthetic perfection and refinement of the later structures; from simple experimentation to the strict mathematical complexity of ground plans and superstructures.

From the early Hellenistic period onwards, the Greek peripteral temple lost much of its importance. With very few exceptions, Classical temple construction ceased both in Hellenistic Greece and in the Greek colonies of Magna Graecia. Only the west of Asia Minor maintained a low level of temple construction during the 3rd century BCE. The construction of large projects, such as the temple of Apollo at Didyma near Miletus and the Artemision at Sardis did not make much progress. The 2nd century BCE saw a revival of temple architecture, including peripteral temples. This is partially due to the influence of the architect Hermogenes of Priene, who redefined the principles of Ionic temple construction both practically and through theoretical work. At the same time, the rulers of the various Hellenistic kingdoms provided copious financial resources. Their self aggrandisation, rivalry, desires to stabilise their spheres of influence, as well as the increasing conflict with Rome (partially played out in the field of culture), combined to release much energy into the revival of complex Greek temple architecture. During this phase, Greek temples became widespread in southern Asia Minor, Egypt and Northern Africa. But in spite of such examples and of the positive conditions produced by the economic upturn and the high degree of technical innovation in the 3rd and 2nd centuries BCE, Hellenistic religious architecture is mostly represented by a multitude of small temples in antis and prostyle temples, as well as tiny shrines (naiskoi). The latter had been erected in important places, on market squares, near springs and by roads, since the Archaic period, but reached their main flourish now. This limitation to smaller structures led to the development of a special form, the pseudoperipteros, which uses engaged columns along the naos walls to produce the illusion of a peripteral temple. An early case of this is temple L at Epidauros, followed by many prominent Roman examples, such as the Maison Carrée at Nîmes.

In the early 1st century BCE, the Mithridatic Wars led to changes of architectural practice. The role of sponsor was increasingly taken by Roman magistrates of the Eastern provinces, who rarely demonstrated their generosity by building temples. Nevertheless, some temples were erected at this time, e. g. the Temple of Aphrodite at Aphrodisias. The introduction of the principate lead to few new buildings, mostly temples for the imperial cult or to Roman deities, e. g. the temple of Jupiter at Baalbek. Although new temples to Greek deities still continued to be constructed, e. g. the Tychaion at Selge they tend to follow the canonical forms of the developing Roman imperial style of architecture or to maintain local non Greek idiosyncrasies, like the temples in Petra or Palmyra. The increasing romanisation of the east entailed the end of Greek temple architecture, although work continued on the completion of unfinished large structures like the temple of Apollo at Didyma or the Olympieion at Athens into the later 2nd century AD.

The edicts of Theodosius I and his successors on the throne of the Roman Empire, banning pagan cults, led to the gradual closure of Greek temples, or their conversion into Christian churches. Thus ends the history of the Greek temples' original purpose, although many of them remained in use for a long time afterwards. For example, the Athenian Parthenon, first reconsecrated as a church was turned into a mosque after the Ottoman conquest and remained structurally unharmed until the 17th century AD. Only the unfortunate impact of a Venetian cannonball into the building, then used to store gunpowder, led to the destruction of much of this important temple, more than 2,000 years after it was built.

Canonical Greek temples maintained the same basic structure throughout many centuries. The Greeks used a limited number of spatial components, influencing the plan, and of architectural members, determining the elevation.

In front of the naos, there is a porch, the pronaos, created by the protruding side walls of the naos (the antae), and two columns placed between them. A door allows the naos to be accessed from the pronaos. A similar room at the back of the naos is called the opisthodomos. There is no door connecting the opisthodomos with the naos; its existence is necessitated entirely by aesthetic considerations: to maintain the consistency of the peripteral temple and to ensure its visibility from all sides, the execution of the front has to be repeated at the rear. A restricted space, the adyton, may be included at the far end of the naos, backing up on the opisthodomos.

These components allowed the realisation of a variety of different plan types in Greek temple architecture. The simplest example of a Greek temple is the templum in antis, a small rectangular structure sheltering the cult statue. In front of the naos, a small porch or pronaos was formed by the protruding naos walls, the antae. The pronaos was linked to the naos by a door. To support the superstructure, two columns were placed between the antae (distyle in antis). When equipped with an opisthodomos with a similar distyle in antis design, this is called a double anta temple. A variant of that type has the opisthodomos at the back of the naos indicated merely by half columns and shortened antae, so that it can be described as a pseudo opisthodomos. If the porch of a temple in antis has a row of usually four or six columns in front of its whole breadth, the temple is described as a prostylos or prostyle temples. The whole pronaos may be omitted in this case or just leave the antae without columns. An amphiprostylos or amphiprostyle repeats the same column setting at the back. In contrast, the term peripteros or peripteral designates a temple surrounded by ptera (colonnades) on all four sides, each usually formed by a single row of columns. This produces an unobstructed surrounding portico, the peristasis, on all four sides of the temple. A Hellenistic and Roman form of this shape is the pseudoperipteros, where the side columns of the peristasis are indicated only by engaged columns or pilasters directly attached to the external naos walls. A dipteros or dipteral is equipped with a double colonnade on all four sides, sometimes with further rows of columns at the front and back. A pseudodipteros has engaged columns in the inner row of columns at the sides. Circular temples form a special type. If they are surrounded by a colonnade, they are known as peripteral tholoi. Although of sacred character, their function as a temple can often not be asserted. A comparable structure is the monopteros, or cyclostyle which, however, lacks a naos. To clarify ground plan types, the defining terms can be combined, producing terms such as: peripteral double anta temple, prostyle in antis, peripteral amphiprostyle, etc.

The elevation of Greek temples is always subdivided in three zones: the crepidoma, the columns and the entablature.

Stereobate, euthynteria and crepidoma form the substructure of the temple. The underground foundation of a Greek temple is known as the stereobate. It consists of several layers of squared stone blocks. The uppermost layer, the euthynteria, partially protrudes above the ground level. Its surface is carefully smoothed and levelled. It supports a further foundation of three steps, the crepidoma. The uppermost level of the crepidoma provides the surface on which the columns and walls are placed; it is called stylobate.

Placed on the stylobate are the vertical column shafts, tapering towards the top. They are normally made of several separately cut column drums. Depending on the architectural order, a different number of flutings are cut into the column shaft: Doric columns have 18 to 20 flutings, Ionic and Corinthian ones normally have 24. Early Ionic columns had up to 48 flutings. While Doric columns stand directly on the stylobate, Ionic and Corinthian ones possess a base, sometimes additionally placed atop a plinth. In Doric columns, the top is formed by a concavely curved neck, the hypotrachelion, and the capital, in Ionic columns, the capital sits directly on the shaft. In the Doric order, the capital consists of a circular torus bulge, originally very flat, the so called echinus, and a square slab, the abacus. In the course of their development, the echinus expands more and more, culminating in a linear diagonal, at 45° to the vertical. The echinus of Ionic columns is decorated with an egg and dart band followed by a sculpted pillow forming two volutes, supporting a thin abacus. The eponymous Corinthian capital of the Corinthian order is crowned by rings of stylised acanthus leaves, forming tendrils and volutes that reach to the corners of the abacus.

The capitals support the entablature. In the Doric order, the entablature always consists of two parts, the architrave and the Doric frieze (or triglyph frieze). The Ionic order of Athens and the Cyclades also used a frieze above an architrave, whereas the frieze remained unknown in the Ionic architecture of Asia Minor until the 4th century BCE. There, the architrave was directly followed by the dentils. The frieze was originally placed in front of the roof beams, which were externally visible only in the earlier temples of Asia Minor. The Doric frieze was structured by triglyphs. These were placed above the axis of each column, and above the centre of each intercolumniation. The spaces between the triglyphs contained metopes, sometimes painted or decorated with relief sculpture. In the Ionic or Corinthian orders, the frieze possesses no triglyphs and is simply left flat, sometimes decorated with paintings or reliefs. With the introduction of stone architecture, the protection of the porticos and the support of the roof construction was moved upwards to the level of the geison, depriving the frieze of its structural function and turning it into an entirely decorative feature. Frequently, the naos is also decorated with architrave and frieze, especially at the front of the pronaos.

Above the frieze, or an intermediate member, e. g. the dentil of the Ionic or Corinthian orders, the cornice protrudes notably. It consists of the geison (on the sloped sides or pediments of the narrow walls a sloped geison), and the sima. On the long side, the sima, often elaborately decorated, was equipped with water spouts, often in the shape of lions' heads. The pedimental triangle or tympanon on the narrow sides of the temple was created by the Doric introduction of the gabled roof, earlier temples often had hipped roofs. The tympanon was usually richly decorated with pedimental sculpture of mythical scenes or battles. The corners and ridges of the roof were decorated with acroteria, originally geometric, later floral or figural decorations.

As far as topographically possible, the temples were freestanding and designed to be viewed from all sides. They were not normally designed with consideration for their surroundings, but formed autonomous structures. This is a major difference from Roman temples which were often designed as part of a planned urban area or square and had a strong emphasis on being viewed frontally.

The foundations of Greek temples could reach dimensions of up to 115 by 55 m, i. e. the size of an average football pitch. Columns could reach a height of 20 m. To design such large architectural bodies harmoniously, a number of basic aesthetic principles were developed and tested already on the smaller temples. The main measurement was the foot, varying between 29 and 34 cm from region to region. This initial measurement was the basis for all the units that determined the shape of the temple. Important factors include the lower diameter of the columns and the width of their plinths. The distance between the column axes (intercolumniation or bay) could also be used as a basic unit. These measurements were in set proportions to other elements of design, such as column height and column distance. In conjunction with the number of columns per side, they also determined the dimensions of stylobate and peristasis, as well as of the naos proper. The rules regarding vertical proportions, especially in the Doric order, also allow for a deduction of the basic design options for the entablature from the same principles. Alternatives to this very rational system were sought in the temples of the late 7th and early 6th centuries BCE, when it was attempted to develop the basic measurements from the planned dimensions of naos or stylobate, i. e. to reverse the system described above and deduce the smaller units from the bigger ones. Thus, for example, the naos length was sometimes set at 100 feet (30 m) (100 is a sacred number, also known from the hecatomb, a sacrifice of 100 animals), and all further measurements had to be in relation to this number, leading to aesthetically quite unsatisfactory solutions.

Another determining design feature was the relationship linking naos and peristasis. In the original temples, this would have been subject entirely to practical necessities, and always based on axial links between naos walls and columns, but the introduction of stone architecture broke that connection. Nevertheless, it did survive throughout Ionic architecture. In Doric temples, however, the wooden roof construction, originally placed behind the frieze, now started at a higher level, behind the geison. This ended the structural link between frieze and roof; the structural elements of the latter could now be placed independent of axial relationships. As a result, the naos walls lost their fixed connection with the columns for a long time and could be freely placed within the peristasis. Only after a long phase of developments did the architects choose the alignment of the outer wall face with the adjacent column axis as the obligatory principle for Doric temples. Doric temples in Greater Greece rarely follow this system.

The basic proportions of the building were determined by the numeric relationship of columns on the front and back to those on the sides. The classic solution chosen by Greek architects is the formula "frontal columns : side columns = n : (2n+1)", which can also be used for the number of intercolumniations. As a result, numerous temples of the Classical period in Greece (c. 500 BCE to 336 BCE) had 6 × 13 columns or 5 × 11 intercolumniations. The same proportions, in a more abstract form, determine most of the Parthenon, not only in its 8 × 17 column peristasis, but also, reduced to 4:9, in all other basic measurements, including the intercolumniations, the stylobate, the width height proportion of the entire building, and the geison (here reversed to 9:4).

To loosen up the mathematical strictness and to counteract distortions of human visual perception, a slight curvature of the whole building, hardly visible with the naked eye, was introduced. The ancient architects had realised that long horizontal lines tend to make the optical impression of sagging towards their centre. To prevent this effect, the horizontal lines of stylobate and/or entablature were raised by a few centimetres towards the middle of a building. This avoidance of mathematically straight lines also included the columns, which did not taper in a linear fashion, but were refined by a pronounced "swelling" (entasis) of the shaft. Additionally, columns were placed with a slight inclination towards the centre of the building. Curvature and entasis occur from the mid 6th century BCE onwards. The most consistent use of these principles is seen in the Classical Parthenon on the Athenian Acropolis. Its curvature affects all horizontal elements up to the sima, even the naos walls reflect it throughout their height. The inclination of its columns (which also have a clear entasis), is continued by architrave and triglyph frieze, the external walls of the naos also reflect it. Not one block of the building, not a single architrave or frieze element could be hewn as a simple rectilinear block. All architectural elements display slight variations from the right angle, individually calculated for each block. As a side effect, each preserved building block from the Parthenon, its columns, naos walls or entablature, can be assigned its exact position today. In spite of the immense extra effort entailed in this perfection, the Parthenon, including its sculptural decoration, was completed in the record time of sixteen years (447 to 431 BCE).

Only three basic colours were used: white, blue and red, occasionally also black. The crepidoma, columns, and architrave were mostly white. Only details, like the horizontally cut grooves at the bottom of Doric capitals (annuli), or decorative elements of Doric architraves (e. g. taenia and guttae) might be painted in different colours. The frieze was clearly structured by use of colours. In a Doric triglyph frieze, blue triglyphs alternated with red metopes, the latter often serving as a background for individually painted sculptures. Reliefs, ornaments, and pedimental sculptures were executed with a wider variety of colours and nuances. Recessed or otherwise shaded elements, like mutules or triglyph slits could be painted black. The paint was mostly applied to parts that were not load bearing, whereas structural parts like columns or the horizontal elements of architrave and geison were left unpainted (if made of high quality limestone or marble) or covered with a white stucco.

Greek temples were often enhanced with figural decorations. especially the frieze areas offered space for reliefs and relief slabs; the pedimental triangles often contained scenes of free standing sculpture. In Archaic times, even the architrave could be relief decorated on Ionic temples, as demonstrated by the earlier temple of Apollo at Didyma. Here, the architrave corners bore gorgons, surrounded by lions and perhaps other animals. On the other hand, the Ionic temples of Asia Minor did not possess a separate frieze to allow space for relief decoration. The most common area for relief decoration remained the frieze, either as a typical Doric triglyph frieze, with sculpted metopes, or as a continuous frieze on Cycladic and later on Eastern Ionic temples.

The metopes, separate individual tableaux that could usually not contain more than three figures each, usually depicted individual scenes belonging to a broader context. It is rare for scenes to be distributed over several metopes; instead, a general narrative context, usually a battle, is created by the combination of multiple isolated scenes. Other thematical contexts could be depicted in this fashion. For example, the metopes at the front and back of the Temple of Zeus at Olympia depicted the Twelve Labours of Heracles. Individual mythological scenes, like the abduction of Europa or a cattle raid by the Dioscuri could be thus depicted, as could scenes from the voyage of the Argonauts or the Trojan War. The battles against the centaurs and Amazons, as well as the gigantomachy, all three depicted on the Parthenon, were recurring themes on many temples.

Battle scenes of all kinds were also a common theme of Ionic friezes, e. g. the Gigantomachy on the temple of Hekate at Lagina, or the Amazonomachy on the temple of Artemis at Magnesia on the Maeander, both from the late 2nd century BCE. Complex compositions visualised the back and forth of fighting for the viewer. Such scenes were contrasted by more quiet or peaceful ones: The Assembly of the gods and a procession dominate the 160 m long frieze that is placed on top of the naos walls of the Parthenon.

Special attention was paid to the decoration of the pediments, not least because of their size and frontal position. Pedimental sculpture was originally in massive relief figures, as in the earliest to survive, from shortly after 600 BCE, on the temple of Artemis at Kerkyra, where the west pediment is taken up by the gorgon Medusa and her children at the centre, flanked by panthers. Smaller scenes are displayed in the low corners of the pediments, including Zeus with a thunderbolt, fighting a Giant. The pedimental sculpture of the first peripteral temple on the Athenian Acropolis, from c. 570 BCE, is nearly free standing sculpture, but remains dominated by a central scene of fighting lions. Again, the corners contain separate scenes, including Heracles fighting Triton. After the mid 6th century BCE, the compositional scheme changes: animal scenes are now placed in the corners, soon they disappear entirely. The central composition is now taken over by mythological fights or by rows of human figures, and the figures become free standing, as in the Elgin Marbles from the Parthenon. The high regard in which the Greeks held pedimental sculptures is demonstrated by the discovery of the sculptures from the Late Archaic temple of Apollo at Delphi, which had received a veritable burial after the temple's destruction in 373 BCE. The themes of the individual pedimental scenes are increasingly dominated by myths connected with the locality. Thus, the east pediment at Olympia depicts the preparations for a chariot race between Pelops and Oinomaos, the mythical king of nearby Pisa. It is the foundation myth of the sanctuary itself, displayed here in its most prominent position. A similarly direct association is provided by the birth of Athena on the east pediment of the Parthenon, or the struggle for Attica between her and Poseidon on its west pediment. The pediment of the later temple of the Kabeiroi at Samothrace, late 3rd century BCE, depicted a probably purely local legend, of no major interest to Greece as a whole.

The roofs were crowned by acroteria, originally in the form of elaborately painted clay disks, from the 6th century BCE onwards as fully sculpted figures placed on the corners and ridges of the pediments. They could depict bowls and tripods, griffins, sphinxes, and especially mythical figures and deities. For example, depictions of the running Nike crowned the Alcmaeonid temple of Apollo at Delphi, and mounted amazons formed the corner akroteria of the temple of Asklepios in Epidauros. Pausanias (5, 10, 8) describes bronze tripods forming the corner akroteria and statues of Nike by Paeonios forming the ridge ones on the Temple of Zeus at Olympia.

For the sake of completeness, a further potential bearer of sculptural decoration should be mentioned here: the columnae celetae of the Ionic temples at Ephesos and Didyma. Here, already on the Archaic temples, the lower parts of the column shafts were decorated by protruding relief decorations, originally depicting rows of figures, replaced on their late Classical and Hellenistic successors with mythological scenes and battles.