Category Archives: LETTER D

Doric Order in Ancient Greek and Roman Architecture

The Doric order “was one of the three orders of ancient Greek and later Roman architecture; the other two canonical orders were the Ionic and the Corinthian” (“Doric order” 2021). It is characterized by heavy proportions, austerity and monumentality.

Classical Greek Architecture. Example of the Doric Order: 1. Tympanum, 2. Acroterion, 3. Sima, 4. Cornice, 5. Mutule, 7. Frieze, 8. Triglyph, 9. Metope, 10. Regula, 11. Gutta, 12. Taenia, 13. Architrave, 14. Capital, 15. Abacus, 16. Echinus, 17. Column, 18. Fluting, 19. Stylobate. Drawing by Napoleon Vier (2005). CC BY-SA 3.0. Photo and caption source: “Sima (architecture)” (2020). In: Wikipedia. The Free Encyclopedia.

Doric columns do not have a base and are directly supported on a stylobate. They either have a fluted shaft: from 18 to 20 sharply cut grooves or a smooth-surfaced shaft. In any case it is tapered upwards, with a slight bulge (enthase) at 1/2 or 2/3 of its height. It has a head consisting of echinus and abacus.

Doric entablature consists of a smooth architrave, a frieze is divided into triglyphs and metopes (square spaces for either painted or sculpted decoration). Beneath each triglyph and below a flat band (taenia), separating the architrave from the frieze, there is the so-called gutta regula (gutae). “[In] the frieze, […] the two features originally unique to the Doric [are] the triglyph and guttae; [they] are skeuomorphic memories of the beams and retaining pegs of the wooden constructions that preceded stone Doric temples. [But in] stone they are purely ornamental” (“Doric order” 2021). Above the frieze, there is, in turn, a flattened plate (modillion) with looking like water drops, three rows of mutules, supporting the cornice. A cornice (geison) often ends with a gutter (sim) with spouts and antefixes, located above.

Mandatory in the Doric order is the so-called triglyph rule (a correct spacing of the triglyphs), which strictly defines the arrangement of triglyphs on the frieze. It was, however, difficult to apply in monumental structures, which eventually may have caused the abandonment of the Doric architectural order in the Hellenistic period.

The Doric order was initiated “on the Greek mainland in the late seventh century [BC.] and remained the predominant order for Greek temple construction through the early fifth century [BC.], although notable buildings built later in the Classical period—especially the canonical Parthenon in Athens—still employed it” (Khan Academy 2021).

View of the Rhodian Apollo Temple, which used to be in the Doric order. Copyright©Archaeotravel.

After Vitruvius (81-15 BC.), a Roman author and architect, “the height of Doric columns is six or seven times the diameter at the base, [which] gives the Doric columns a shorter, thicker look than Ionic columns, which have 8:1 proportions. It is suggested that these proportions give the Doric columns a masculine appearance, whereas the more slender Ionic [or Corinthian] columns appear to represent a more feminine look. This sense of masculinity and femininity was often used to determine which type of column would be used for a particular structure” (“Doric order” 2021).

Featured image: Two early Archaic Doric order Greek temples at Paestum (Italy) with much wider capitals than later. Photo by Miguel Hermoso Cuesta – Own work (2013). CC BY-SA 3.0. Photo and caption source: “Doric order” (2021). In: Wikipedia. The Free Encyclopedia.

BIBLIOGRAPHY:

“Sima (architecture)” (2020). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/2PSDVaC>. [Accessed on 6th May, 2021].

“Doric order” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3b7TORX>. [Accessed on 6th May, 2021].

Khan Academy (2021). “Greek architectural orders. The Doric order”. In: Khan Academy. Available at <https://bit.ly/2PXIroq>. [Accessed on 6th May, 2021].

PWN (2007). Słownik terminologiczny sztuk pięknych, p. 327. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.

Dadaism – an International Movement for Radical Artistic Revolt

The movement was initiated in 1915 by European and American artists and writers. In 1916, during the First World War, an international artistic group was formed in Zurich (Switzerland), including Tristan Tzara, Marcel Janco, Hugo Ball, Richard Huelsenbeck, Hans Arp and others. Cabaret Voltaire became the group’s first headquarters. It was there that the word ‘dada’ was coined for the first time, which was later adopted to denote the entire movement.

Dadaism was a spontaneous protest against the reality: against bloody war, hypocrisy of bourgeois systems, an empty phraseology and a commercialization of art. Its main feature was an anti-racialist and anti-aesthetic attitude and a strong negation of the existing forms of social life and culture resulting from the feeling of the collapse of civilization. In the fight against this cruel world, the Dadaists put forward slogans of an anarchy, a total negation and a drastic mockery. In their actions, an extreme individualism, unbridled fantasy and ingenuity emerged. The hoax, an arranged ‘accident’, provocations and the desire to cause a scandal were to directly affect the viewer and to force them to act.

Grand opening of the first Dada exhibition: International Dada Fair, Berlin, 5 June 1920. The central figure hanging from the ceiling was an effigy of a German officer with a pig’s head. From left to right: Raoul Hausmann, Hannah Höch (sitting), Otto Burchard, Johannes Baader, Wieland Herzfelde, Margarete Herzfelde, Dr. Oz (Otto Schmalhausen), George Grosz and John Heartfield. Anonymous author (1920). Public domain. Photo and caption source: “Dada” (2021). Wikipedia. The Free Encyclopedia.

The Swiss group of Dadaists developed a lively and multidirectional activity. From 1917, art exhibitions, lectures and Dada evenings were organized. In 1917, two issues of the Dada periodical were also published, and in 1919, Der Zeltweg was printed. In 1918, Francis Picabia came to Europe; he largely contributed to the bonding of individual Dadaist groups. In Berlin, where some symptoms of Dadaism appeared as early as in 1916, the Dadaists were directly involved in political struggle, which was favoured by the atmosphere of the revolution. The Dada club was established there, together with many ephemeral magazines and other publications, such as Der blutige Ernst, Hedermann sein eigner Fussball. Additionally, the Almanach Dada (1920) was published and exhibitions were organized, among which there was the First International Dada Fair (1920). Johannes Baader, Richard Huelsenbeck, Jhon Heartfield, George Grosz, Hannah Höch, Raoul Hausmann, Hand Richter and Rudolf Schlichter were active there.

Kurt Schwitters, the founder of Merz-paintings, developed a very individual variety of Dadaism in Hanover. Another important center of German Dadaism was Cologne, which was then occupied by the French. This was the field of activity of Max Ernst, Hans Arp and Johannes Theodor Baargeld. The journals Der Ventilator and Die Schammade were published there. An exhibition at Winter’s beer hall (1920) ended in a scandal and was finally closed by the police. In 1922 Max Ernst left for Paris and the group of the Dadaists ceased to exist. Consequently, most of the old ‘dada’ members joined the Surrealist movement, whose main center was established in Paris.

Feature image: Dada artists, group photograph, 1920, Paris. From left to right, Back row: Louis Aragon, Theodore Fraenkel, Paul Eluard, Clément Pansaers, Emmanuel Fay (cut off). Second row: Paul Dermée, Philippe Soupault, Georges Ribemont-Dessaignes. Front row: Tristan Tzara (with monocle), Celine Arnauld, Francis Picabia, André Breton. hAnonymous authot (1920). Anonymous – Museum of New Zealand (Te Papa Tongarewa). Public domain. Photo and caption source: “Dada” (2021). Wikipedia. The Free Encyclopedia.

BIBLIOGRAPHY:

“Dadaizm” (2020). In: Wikipedia. Wolna Encyklopedia. Available at <https://bit.ly/3ultzzk>. [Accessed 22nd February, 2021].

“Dada” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/2NSzqeH>. [Accessed 22nd February, 2021].

Barucki T. et al. (2009). “Dadaism”. In: Sztuka świata. Leksykon A-K, tom 12. [Historia del Arte, vol. 12], p. 175. Warszawa: Wydawnictwo Arkady.

PWN (2007). Słownik terminologiczny sztuk pięknych, p. 82. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.