Sculptor, Painter, Architect, Mathematician, Philosopher (c480 BC – 430 BC)
The greatest Greek sculptor who ever lived, initiated into the mysteries of the Greek Meditation (Ἑλληνικὸς Διαλογισμός), flourished during the Golden Age of Pericles when he sculpted the Parthenon Marbles, the statue of Athena Parthenos and the statue of Zeus in Olympia and was glorified as a god of sculpture by his contemporaries.
In Ancient Greece, sculptures occupied a very special place in the Greek Meditation. The sculptor, being an initiate of the mysteries studied nature, communicated with it and acted as the intermediate between the statue and the observer. Sculptures acted as powerful initiative tools in the mysteries. The sculptures did not move and did not speak. They were immobile and silent. This gave the observer unlimited time to study the sculpture using “the soul’s eye” (ψυχῆς ὄμμα). Automatically, the observer’s soul would jump from the aesthetic field, the mortal world, to the noetic field, the world of the Divine once he/she conceived the original, the prototype idea which the artist, working in the noetic field, had received from the Divine Beings and had crafted the sculpture based on that idea. That idea was transmitted to the observer, transformed into an optic presentation and worked in their soul. The sculpture and the observer communicated with each other when the observer resonated to the sculpture’s frequency. Only in antiquity did sculpture reach such perfection where artists such as Pheidias could represent the prototype ideas in the aesthetic field and bring about equilibrium to the soul.
Pheidias’ works such as the statue of Athena Parthenos in the Parthenon, the statue of Athena Promachos between the Propylaia and the Erechtheion, and the statue of Zeus in Olympia possessed such powers. The statue of Athena Parthenos was 12m high. The unclothed parts of the statue were made of ivory, the clothing was made of gold and the inside was made of wood. Wood and ivory are poor electrical conductors but good conductors of energies from higher spiritual levels. The opposite is true for gold. The statue, together with all the rest statues around it were not merely for decoration (the term statue in the English language is inaccurate and misleading). They were symbols that spoke to the observer. Pheidias’ masterpiece narrated the story of the soul, which he had conceived from the Gods.
The same symbology was present in the statue of Zeus in Olympia, one of the 7 Wonders of the World, which was also chryselephantine. Other notable masterpieces of Pheidias include the Parthenon Marbles, the most beautiful sculptures which decorated the monument of Athens, the chryselephantine statue of Athena of Pellene and Athena of Elis, the bronze statue of Athena of Lemnos, statues of Hermes, Aphrodite and Apollo, numerous exquisite statues of men and heroes (ἀνδρῶν τε ἡρώων τε), namely the apotheosis of Miltiades in the Battle of Marathon, Amazons, as well as numerous paintings.
All of the Ancient Greek artists, particularly Pheidias were influenced by the Divine in order to create masterpieces of insuperable beauty which enabled the soul of those who observed them and deciphered their meaning have contact with the Divine planes. Lesa quoted on Pheidias “This great craftsman of the Olympian Gods presents himself as an Olympian as well, superior to all other craftsmen of Greece. Because this God of Greek sculpture, like Zeus, whom he depicted beautifully in his magnificence, gives the impression of a wonderful spirit, which dominated the Greek art, just like the Parthenon dominated the Acropolis… ”. Today the symbol φ of the golden ratio is named after the first letter of his name. Pheidias used the golden ratio in his sculptures. The Parthenon is also built according to the golden ratio.
- Altani. Arritoi Logoi Kentauroi, Amazones, Medousa. Georgiades: Athens, 2005. Print.
- Pheidias. Helios New Encyclopaedic Dictionary. Passas, I. Athens, 1946. Print.