Table of contentsIntroductionRitualsReligious cults/representations of religion/beliefRecreational/entertaining purposesReality V. Ideality/idea of ​​heroismImportance of the materialConclusionIntroductionThe Hellenistic period brought about a new wave of artistic diversity that transcended all past works. Sculptures made at this time pushed boundaries and took risks. Hellenistic terracotta figures had various functions. The figures discussed were all made during the Hellenistic period, but the exact dates and artists are unknown. The mystery behind the sculptures leaves much room for speculation and analysis. The following analysis will present 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 Should Not Be Banned”?Get the original essayRitualsReligious Cults/Representations of Religion/BeliefRituals were often used by religious sects for a variety of reasons. The characters were mostly dolls with articulated limbs. People believed they represented protection. The dolls in Figure 1 were thought to ward off evil – ironic given that they had no arms. Inner power was thought to be more important than physical power. These “dolls” are often discovered in the graves of adults; this indicates a possible chthonic connection or an apotropaic function. The dolls are women; they are not goddesses and do not have specific powers. Women seem to lack femininity; the only signs being their chest and, very sparingly, their hair. The women appear to wear headbands to hold back their hair, which appears curly; this could be so that their powers don't put a damper on their beauty. For women to be so powerful, they seem very obedient because they sit up straight as if following orders of some sort. Recreational/Entertainment Purposes Rituals would be performed at festivals, comedy demonstrations, and even musical theater performances. The characters would be depicted smiling, wearing crowns and dancing. Grotesques were primarily used as comic presences. A dancing dwarf is depicted wearing a crown who was probably a participant in a comedy show. This figurine is made in a similar way to a doll that would be used in religious cults; the only difference is that he has weapons. The figure could also be used for apotropaic reasons. During this time, festivals were primarily used to honor Dionysus by paying homage to him. The dwarf almost looks like a baby; extremely small feet, playful attributes. On the other hand, the dwarf's chest resembles that of an adult man; he has indentations on his chest almost like abdominal muscles. Although the character appears childish, he does not smile; his body language and the crown on his head work together to create a playful image. The rituals used at death were performed before, during and after the actual death. Figure 3 is known as the Dying Gaul or the Dying Gladiator. The character is depicted as currently dying; we can assume that he has just participated in a war or a fierce fight. Although he is dying, no injuries are depicted nor any scars of any kind. The Gaul's nudity suggests his vulnerability and perhaps even his unconsciousness of the harshness of the actions he faces.he had just given himself up. His hand grasping his leg is an illusion of his pain; it could also be an illusion about the time in which it was made. Dying Gaul is an ancient Roman marble copy of a lost Hellenistic sculpture, believed to have been originally executed in bronze. Figure 3 symbolizes a change in Greek culture. The art of the Hellenistic period was very emotional and heavily focused on strong expressions. His hair is spiky, not curly – this could be because the character is just a slave and not a god or higher power. Its body forms a triangle which includes a strong diagonal; the diagonal also speaks to the foreshadowing of the character's future; hence the title “The Dying Gaul”. Reality V. Ideality/Idea of ​​HeroismGrotesques are human figures that were intended to reflect reality. Rhyton in the form of a centaur. Centaurs are known as wild, uncivilized creatures; however, the one above is depicted as being serene and focused. It's an illusion not to believe in stereotypes. He is shown as being half-man, half-horse; an illusion of what people want to see versus what you are. Describing the figure as a hybrid drives people crazy – makes them believe in something to the contrary. Rhyton appears to be strong, his abdominal muscles clearly visible as he appears to "strut" tall - this shows Rhyton's confidence. Her hair doesn't look like hair at all; it looks like leaves – an illusion that the origin of Rhyton's lower half is found in nature. During this period, many women were depicted as royalty or superior to gods or goddesses. The statuette of Aphrodite is believed to have been made in the 2nd century BC; it’s luxury art. The apple she holds in her hand is an attribute of Aphrodite; it was awarded to the goddess Paris of Troy as a prize in a beauty contest. It perhaps represents a Hellenistic queen depicted as Aphrodite, perhaps Apollonis of Pergamon. Her fashion is at odds with that in which she is supposed to be represented; her dress, her sandals and her head covering. Her dress is a bit simple; she wears flip-flops, fashionable in the early 100s BC. The texture of her dress is expressive, but simple; there are no designs or patterns, no jewelry – her only seemingly goddess factor is the crown. The curls of hair brushed forward on the cheeks and the veil seem taken from royal portraits of the period – her crown has no jewels or extremely strong details. She keeps her hand on her hip, almost in superhero stature. She holds out the apple in front of her as if to say that she has won a prize; that would be the price of beauty. In Hellenistic art, it was sometimes difficult to differentiate men from women. This figure is the head of an old woman depicted with a protruding bony larynx and the head of a bald man. The figure above is supposed to be an old woman, but her features tend to say otherwise. His nose is prominent, like a man's, and his lips are very large, as is the bony structure of his head. The only part of the silhouette that can exude feminine qualities is the headband around the head. This is not an athletic headband – a leaf headband, somewhat feminine. The shape of the head suggests that the old woman was perhaps ill, because her skull was too large. Both of his eyes appear closed, but there is much less texture on the left eye than the right, almost as if it was never there or is fading. The material of the figurine appears to have been weathered; This is evidenced by the extensive discoloration and indentations.