wyl.p5.t2

In the midst of the Classical Greek architecture period, at around the 5^th century BC, the glory that is The Parthenon of Athens was built on the Acropolis and admired by all. With its towering marble pillars and intricate carvings, the Parthenon was feast for the eyes as much as it was a haven for the soul. The interplay of religion, science, and aesthetics in the structure itself reflects the interconnectedness of the trio in ancient Greek society. The aesthetic attractiveness of the Doric order and Ionic order of architecture prevalent in the Parthenon was due only to the exact scientific proportions, often 4 to 9, and angles of the curved pillars, topped off by the most powerful shape – the triangle – with pedimental sculptures of the Gods adorning it. The visual attention to detail and beauty in representing the gods continued on the frieze, which displayed human rituals for gods that reflected the focus on the earth, not heaven, in Greek religion. However, science was not prominently displayed in the Parthenon; it was simply used to give the Parthenon beauty. So although science was appreciated in Greek culture, it had no place next to religion, and had no right to use its inquisitive nature to challenge the godliness or logic behind gods. However, art was a wonderful medium for beauty and through which they could show reverence for the gods. Artistic imitation, as seen by Aristotle, repairs deficiencies and makes important contributions. Thus, everything should be beautiful since beauty was the purpose of art (Plato), and everything should be beautiful because beauty was inherent in art (Aristotle).

Tiffany Chen, Melody Sue, Lucy Zhao