雅典卫城博物馆(Μουσείο Ακροπόλεως)的巴特农神庙雕塑

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http://www.theacropolismuseum.gr/?pname=Home&la=2
virtual tour http://www.parthenonfrieze.gr/#/play/introduction
卫城博物馆是一间位于希腊雅典卫城山下的博物馆。卫城博物馆新馆于2007年开始兴建，同年陆续将雅典卫城的手工艺运到博物馆内，该博物馆于2008年落成，并于2009年6月20日星期六开幕。于开幕日时，希腊总理卡拉曼利斯呼吁大英博物馆归还巴特农神庙的大理石雕塑。(http://zh.wikipedia.org/wiki/卫城博物馆)
Exhibit Number 856 – Part of Block VI of the East Frieze of the Parthenon. Gods Poseidon, Apollo, Artemis, and Aphrodite.
In contrast to the mythological subjects of the metopes and pediments, on the Parthenon frieze, Pheidias chose to depict the Great Panathenaia, the greatest festival of the city in honor of the Goddess Athena.

The frieze consisted of 115 blocks. It had a total length of 160 meters and was 1.02 meters high. Some 378 human figures and deities and more than 200 animals, mainly horses, are presented in the process. Groups of horses and chariots occupy most of the space on the frieze. The sacrificial procession follows next, with animals and groups of men and women carrying ceremonial vessels and offerings. The procession concludes with the giving of the peplos, the gift of the Athenian people to the cult statue of the goddess, a xoanon (ancient wooden statue). Left and right of the peplos scene sit the twelve gods of Mount Olympos.

From the entire frieze that survives today, 50 meters are in the Acropolis Museum, 80 meters in the British Museum, one block in the Louvre, and several fragments are scattered in the museums of Palermo, the Vatican, Würzburg, Vienna and Munich. (http://www.theacropolismuseum.gr ... ction=16&item=9)
This detail represents Poseidon (god of the sea), Apollo (god of light, reason, music, archery, medicine, and prophecy), and Artemis (virgin goddess of the hunt). Poseidon is shown as a mature, bearded god with a himation draped over his legs. Perhaps he once held his typical trident in his left hand, which might have been indicated in paint. Apollo, who turns back to converse with Poseidon, is represented as a much younger man. There are attachment holes in his hair for a laurel wreath, probably fashioned out of gilded bronze. Apollo's twin sister Artemis is shown wearing a scarf (sakkos) and a chiton which is slipping from her shoulder, a motif that we will see again in the East Pediment. (http://www.willamette.edu/cla/wviews/slides.cgi?f110)
卫城博物馆邮戳

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Seated next to Artemis is Aphrodite (41) in fragmentary condition. She sits relaxed and carefree, the upper part of her body turned in 3/4 view. She rests her right forearm with ease on the left thigh of Artemis, who has passed her left hand around Aphrodite's forearm in a beautiful gesture of love and tenderness. Perhaps this gesture indicates a common cult of these two goddesses, which has not been found. Aphrodite too wears a richly folded chiton with short sleeves held by brooches, a cover on her head and himation partly in folds across her knees, partly hanging in folds beside her seat. Rocky ground is shown by her feet. With her outstretched arm resting on her son Eros' shoulder (42), she points to the approaching procession. Eros, standing, leans back supporting his lovely nude figure with his right hand on his mother's knees. In his lowered left hand he holds a parasol by its long handle. This may well be a reference to his participation in the procession of the parasol- carriers, who, however, are omitted from the frieze. He is looking in the direction to which his mother points.
The next section of the block has suffered badly. Yet it can be restored on the basis of a cast that belonged to the French consul in Athens, L.S. Fauvel, and had been made in 1787 by order of the French ambassador to the Sublime Porte in Constantinople, Count Choiseul-Gouffier. A group of four men (43-46) are shown, three bearded and one beardless youth, all himation-clad and conversing, their backs to both the gods and the procession. They are leaning on their staffs, two with their legs crossed in a favorite pose of Greek art from archaic times on. These are the other four eponymous heroes, the mythical kings of the Acropolis: to the left is Kekrops (43), to the right of him his successor Erechtheus (46). It is not by chance that they are on the north part of the frieze, toward the Erechtheion, the place where they were worshipped. The third hero was Pandion (45), with his son Aigeus (44) to the left. The stance of the two figures supports this identification. For Pandion rests his right hand on the shoulder of the figure beside him, thus showing a clear connection between the two men: indeed, father and son, given the difference in age. (http://www.ekt.gr/parthenonfrieze/description/east/block6.jsp)

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North Frieze, Slab 6 (youths with water jars) Athens, Akropolis Museum
The North Frieze is fairly well-preserved today, although a window cut through the frieze in late antiquity obliterated part of the chariot sequence. In addition, the 1687 explosion tore out the long sides of the Parthenon as well as the middle sections of both the North and South Frieze that took the full impact of the blast. Consequently, they are very fragmentary today. The overall subject of the North Frieze is continued preparation and procession of riders, chariots, musicians, men carrying water jars (hydriai) or sacrificial implements, and men leading sacrificial animals. The direction flow is from right to left (west to east). Slab 6 represents four youths with hydriai. Three carry the jars on their shoulders and one is in the process of lifting a jar up (again, the element of time is introduced). Note also the sense of strain and solemnity. To the far right a bit of a double flute play can be observed. (http://www.willamette.edu/cla/wviews/slides.cgi?f90)
North Frieze, Slab 6 shows the file of four hydriaphoroi (water-carriers). They are young men with short curly hair, and with their himatia wrapped around them.Three (16-18) bear their hydriae on their left shoulders. The weight is so great that the fourth (19) had rested his jar for a moment on the ground and now prepares to lift it up again. According to the literary sources, hydriaphoroi were usually the daughters of metoikoi (settlers) and they bore their vessels on their heads. Perhaps shown here is an earlier phase of the procession and they carry the vessels on their shoulders rather than on their heads so that the figures coincide with the height determined for the frieze. E. Simon has given yet another interpretation of the male hydria bearers. She believes they may be victors of the lampadedromia (torch-race) that took place the evening before the procession and that the hydria was the victor's prize. Be that as it may, it is generally believed that the water in the vessels was destined for sprinkling on the altar and for watering the animals. (http://www.ekt.gr/parthenonfrieze/description/north/block6.jsp)

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Since its removal from the monument in 1993, the west frieze has been stored in the Acropolis Museum, except for blocks I and II in the British Museum. The west frieze is made up of sixteen blocks averaging 1.40 m. in length, with the exception of blocks I and XVI, which are only 0.60 m. long because they are actually the narrow sides of the west blocks of the north and south sides, N XLVII and S I respectively. The frieze depicts the preparation for the Panathenaic procession of the horsemen in the Kerameikos. Each frieze block includes one to three (at most) figures and as many as two horses. At intervals are individuals standing still, who in a sense form the axes of the entire composition along this side. Blocks with quiet scenes are interposed with those bearing scenes of action.
Great variety is also seen in the clothing of the horsemen. Some have interpreted this as a means of distinguishing the 10 or 4 tribes of Attica. Some riders are nude, some wear a short belted chiton or exomis, others a chlamys and petasos; still others cuirass and helmet, while evident too is the garb of other parts of Greece, such as Macedonia or Thrace: chiton and chlamys of coarse cloth, boots and alopeke. Weapons and the horses' bridle attachments were applied in bronze. (http://www.ekt.gr/parthenonfrieze/description/west.jsp)
Stamp may be based on the drawing of the South Frieze Slab 27 by flemish artist Jacques Carrey  in 1674 prior to the Venetian bombardment. This slab has not been restored.  
可能沒有对位明信片，因為大理石浮雕炸成碎片不能修复。

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West Frieze Slab 8 is of rare artistry for its daring, unique and unified, closed composition. Depicted is a cavalry commander (hipparchos) trying to control his runaway horse. He has placed his foot firmly against a rock. On his head he wears an alopeke and he is clad in exomis with full over-fold, His chlamys blows out behind him in the force of action. His face, lost at some undetermined time, is preserved in a cast. His expression is particularly determined and he has a short beard. The block differs from the others in its inventive composition, the especially realistic rendering of the anatomy of the horse with veins dilated, and the richly billowing folds of the wind- blown chlamys, all bespeaking the skillful hand of a creative master. Thus many scholars have attributed this piece to Pheidias himself.
Those who see mythological representations in the frieze indentify this figure (15) as the mythical hero or king, Theseus, who introduced the "synoecism" of the scattered demes of Attica and established the Panathenaic festival. Others identify the bearded figure (15) and the bearded horseman (8) on block IV, who is of the same age and similarly clad, as the two cavalry commanders. Still others identify as Thracian allies the two above figures and figure (19) on block X, because of their Thracian garb. It is worth noting that both blocks VIII and IX were situated above the middle intercolumniation of the west end with the join between them precisely in the middle of the west frieze. (http://www.ekt.gr/parthenonfriez ... /block8.jsp?lang=en)  \
This card was sold at eBay. I do not know who is the current owner.
這張在eBay被賣了。 我不知道誰是當前所有者。

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West Frieze Slab 10 shows two horsemen ride horses at full gallop, one next to the other with (19) slightly behind and partly concealing the horse of (18). The right hand horse in particular is literally flying, with all four hooves in the air. His rider (19), with short chiton and chlamys floating out behind him, boots and fox-skin cap, holds tight the reins with his left hand, and with his right he pats the horse's head in a gesture of approval and encouragement. Horseman (18), more restrained, holds the reins in both hands, bending his splendid head with curly hair. He is clad in short chiton and anatomical thorax (cuirass), that is, a cuirass that shows the anatomical divisions of the upper part of the body. (http://www.ekt.gr/parthenonfrieze/description/west/block10.jsp)

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巴特农神庙大理石浮雕带 的 波塞冬 (Poseidon), 阿波罗 (Apollo), 阿忒弥斯 (Artemis) 诸位天神。
那条长达160米的浮雕带一气呵成，气韵生动，人物动作完美，历来被认为是希腊浮雕的杰作。它以表现大雅典娜节游行庆祝活动为主题，第一次把普通公民的形象堂而皇之地列于庙堂之上。起点在神庙西南角上，这儿表现公民群众准备跨鞍上马，然后在长长的南墙和北墙上表现公民游行队伍，其中以骑在马上的青年公民为主。在南北两墙东端转角处，游行队伍开始接近神庙入口，浮雕的内容也由欢呼雀跃而转变为庄重肃静，迈着轻缓步伐的少年们逐渐走向卫城中心。浮雕的终点特别安排了坐在椅子上观看游行的诸位天神，意味着众神都应邀前来与雅典人同庆佳节。(http://baike.baidu.com/view/31656.htm)