結語

從古風時期到希臘化時代，社會政治環境的改變直接影響到藝術的發展和創新。在古風和古典時代的生活中，城邦和宗教是希臘人關注的中心。到希臘化時期，人們對俗世享樂的追求顯而易見，國王宮廷、墓地以及私人住宅都成了展示奢侈藝術品的舞臺。與世俗化相伴的是個人主義傾向，不僅反映在以亞歷山大為代表的國王肖像藝術上，更體現為藝術家對普通人的關注。

希臘藝術的另一大特征是藝術要素的多元化。古風時期以來，希臘人積極吸收近東地區民族的文化傳統和藝術成果，以至于出現了被西方史家所稱之的“東方化革命”時代。希波戰爭的爆發在客觀上進一步促進了希臘與近東地區的文化交流。至希臘化時期，亞歷山大帝國的建立及希臘化世界的形成，極大地推動希臘文化向外的傳播。此時的藝術表現出更明顯的地域特色，尤其是希臘的藝術主題、風格和觀念傳入東方，與當地的藝術形式相融合，形成獨特的希臘化藝術。

（徐　朗）

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(1)R. Osborne, Archaic and Classical Greek Art, Oxford: Oxford University Press, 1998, p. 47.

(2)Pliny, Natural History, 34.17, with an English translation by H. Rackham, Cambridge, Mass.: Harvard University Press, 1952.

(3)Pausanias, Description of Greece, 1.8.5, with an English translation by W.H. S. Jones, Cambridge, Mass.: Harvard University Press, 1918.

(4)Plutarch, Alexander, 4, with an English translation by B. Perrin, Cambridge, Mass.: Harvard University Press, 1919.

(5)Plutarch, Pompey, 2; Caesar, 11, with an English translation by B. Perrin, Cambridge, Mass.:Harvard University Press, 1917, 1919.

(6)A. Stewart, Art in the Hellenistic World: An Introduction, New York: Cambridge University Press, 2014, p. 206. 也有18—20萬塔蘭特之說。

(7)E. D. Carney, Arsinoe of Egypt and Macedon: A Royal Life, Oxford: Oxford University Press, 2013, p. 85, pp. 95-100.

(8)Diodorus Siculus, Library of History, 5.28.1-3, with an English translation by C. H. Oldfather, Cambridge, Mass.: Harvard University Press, 1984.

(9)B. M. Bryan, “A Newly Discovered Statue of a Queen from the Reign of Amenhotep III,”in S. H. D’Auria, ed., Servant of Mut: Studies in Honor of Richard A. Fazzini, Leiden: Brill,2008, pp. 40-41.

(10)L. Burn, Hellenistic Art: From Alexander the Great to Augustus, London: British Museum Press, 2004, p. 152.

(11)M. P. Canepa, The Iranian Expanse: Transforming Royal Identity through Architecture, Landscape and the Built Environment, 550BCE-642CE, Oakland: University of California Press, 2018, p. 185.

(12)Gherardo Gnoli and P. Jamzadeh, “Bahrām (V?r?θraγna),” Encyclopaedia Iranica, Vol. III, Fasc. 5(1988), p. 510-514.

(13)希臘語銘文見https://en.wikipedia.org/wiki/Statue_of_Hercules_in_Behistun.

(14)Vitruvius, De Architectura, 4.1.9-10, with an English translation by F. Granger, Cambridge, Mass.: Harvard University Press, 1931.

(15)B. S. Ridgway, The Archaic Style in Greek Sculpture, Chicago: Ares, 1993, pp. 72-74.

(16)J. Whitley, The Archaeology of Ancient Greece, Cambridge:Cambridge University Press, 2001, p. 218.

(17)Inscriptiones Graecae, I3 1240.

(18)A. Stewart, Greek Sculpture, New Haven: Yale University Press, 1990, pp. 109-110.

(19)Pliny, Natural History, 36.20, with an English translation by D. E. Eichholz, Cambridge, Mass.:Harvard University Press, 1962.

(20)Pliny, Natural History, 35.15-16, with an English translation by H. Rackham, Cambridge, Mass.: Harvard University Press, 1952.

(21)Thomas Mannack, “Greek Decorated Pottery I: Athenian Vase-painting,”in T. J. Smith, ed., A Companion to Greek Art, Vol. 1, Chichester: Wiley-Blackwell, 2012, pp. 46-56.

(22)M. Stansbury-O’Donnell, A History of Greek Art, Chichester: Wiley Blackwell, 2015, p. 255.

(23)R. R. Holloway, “The Tomb of the Diver,” American Journal of Archaeology, Vol. 110, No. 3(2006), p. 365.

(24)M. Stansbury-O’Donnell, A History of Greek Art, pp. 310-311.

(25)A. Stewart, Art in the Hellenistic World: An Introduction, p. 203.