Early prototypes of the cartoon in the greek art

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Early prototypes of the cartoon in the greek art

Bayram Hajizadeh

Bayram Hajizadeh Honored art worker, PhD on Study of Art, Professor

Summary The article considers the early stages of the development of the cartoon and its primary forms in the Greek art. The history of the origin of this unique genre, tested for several centuries was analyzed in this article. The article provides information on the very rare paintings, which could be called the early prototypes of the Greek cartoon. Also, the author has commented in detail on the murals in the drawings. In the end, the author summarizing the material under study comes to concrete conclusions.

Keywords: early prototypes of cartoon, history, irony, sarcasm, art, elements of cartoon, humor, grotesque, artist.

Formulation of the problem

There are a lot of interesting and different thoughts about stimulating creation of caricature in Greece which has given invaluable contributions to the world history and culture. Some people explain creation and rapid development of this type of art in Greece with joyful and cheerful character of the Greeks, their high sense of humor and ability to approach to the events taking place around with humor. There are also a number of people who accept the existence of the funniest type of art in Greece which is considered the capital of culture and art, as well as the sympathy of large crowds for this art type there as something ordinary. But in any case, not depending on the time and reason of formation of this art type in Greece, we can state confidently that these catoons were distinguished with their completeness, joyful mood and artistic perfectness. It goes without saying that prosperity of this art type in Greece was not accidental. As the scholars investigating that period write, in the country where Aristophanes (444-380 B.C.) lived and created the caricature which is the funniest and an entertaining art type had to be loved. Perhaps, from the point of view of severity and acuity, Greek cartoon lagged behind Egyptian and Aristophanes' comedies. However, today based on the samples which have survived to us, we can say that these caricatures enriching Greek art got a worthy place in the history of the world cartoon. We read the followings in one of the first research works about the factors influencing on formation and popularity of this art type among the people:

Analysis of recent research and publications

“According to some researchers, the first peculiarities of the cartoon is related namely with brought of a naked human body to the Greek art. Since namely this period cartoon gaining artistic independence stepped into a new stage and proved its being an original and entertaining art type differing with its language and individuality. Caricature, as an independent genre, has survived up to our days and preserved all the enumerated peculiarities in it.”(4.4). The Greeks who were art lovers have always glorified the art and expanded their possibilities.

Tendency for a parody in the Greek creativity was more evidently felt and it was noticed both in literature and fine arts. Of course, demonstration of satiric drawings involving criticism in front of public buildings, on walls, in streets and squares was not supported by certain groups.

Maybe namely due to these reasons, artists drew satiric pictures, the scenes causing laughter on different things, vessels, vases and labor instruments which were used in household. In spite of availability of certain frameworks or limits in the Greek society, freedom of the artists in term of their attitude to the incidents taking place around was evident. In these drawings, unlike Egyptian, Roman and other cartoons, joyful mood, high sense of humor is clearly felt and unlimited independence is observed in the artists' approach. Perhaps, one of the main peculiarities differing Greek caricature from Egyptian and other nations' cartoon samples is namely this independence and freedom felt in the creativity of artists. This independence and freedom observed in creativity of artists can be explained with popularity of hedonism philosophy in the Greek society (3.129).

Each of these unique art pieces involving satiric approach and joyful mood is considered one of the rare pearls of the world culture and requires special attention, individual approach and analysis of researchers. Humoristic, critical and erotic images on vases, frescos, masks and wall pictures survived up to our days and reflecting the way of life of the Greeks, their views, custom and traditions besides enriching the history of the world art, were also mirrors of their period.

Identification of previously unresolved parts of a common problem

In antique Greek and Etruria decorative applied art samples as the drawings on the vases and epigrams which have survived up to our time, the humans, the heroes of that period, even Gods were described in very acute and severe forms. Characters and forms of the figures in the presented pictures are exaggerated on purpose and using grotesque style which is close to cartoon, mythical heroes as Heracles, Eneya, Apollo, even Zeus were described in very ugly forms (2.7). At present day, the drawing on the vase which is kept in Vienna museum of the history of art is called “Apotheosis of Hercules” and here his bravery and courage is described. Another drawing on the second vase kept in Louvre Museum of France and which refers to approximately the 410-400th years B.C. was drawn as a parody to the picture “Apotheosis of Hercules”. In this picture the mythical hero Hercules was described as an ugly dwarf. The mythical hero which has been depicted in a very ugly and funny form can be recognized only due to his famous wand which he holds in his left hand (pic. 1).

Formulation of the objectives of the article (task setting)

A picture drawn on another vase kept in Vatican library is called “Jupiter at Almea” (the vase refers to the period of reign of Macedonian Alexander). In the drawing on the vases Jupiter who was considered the god of gods was shown as helpless and weak old man trying to climb up to beautiful and passionate Al- mea. According to the legend, princess Almea rejected her lover who had not taken the revenge of her three brothers. Jupiter, knowing it, transformed into the appearance of her lover, made a special make-up and claiming that he had revenged for Almea's three brothers tried to enter to her place. In the picture drawn on the vase Jupiter is described with a ladder in his hand and Mercury with a handstick in one hand and with another hand indicating to Almea who is observing the happenings imperturbably.

In the second picture looking like one of Etrurian applied art samples “Jupiter at Almea”, Jupiter has already been shown climbing the ladder up to his lover's place. In this scene Jupiter, who fell in love, is accompanied with a guardian with a torch in his hands which indicates the night time. Availability of several parodies to any legend or an event prove satiric character of them and each artist approaching to the known incident in a different, individual way gives a second life to the picture. One of the interesting samples dedicated to very serious problems of that period is called “Apollo in Delos”. The reason due to this picture survived up to our days without a damage, i.e. in initial form is explained with a special composition of the material of the vessel it has been drawn on. This drawing had always been drawn on vinegar vessels which were always on the table of the Greeks and Romans, in front of their eyes. Of course, it required a great courage and valor from the artist and the host to draw a respected person of that period in a ridiculous position on the thing that everybody can easily see. In the above mentioned drawing an old and blind Chiron (or Kheiron-according to Greek mythology, a hero distinguished from other centaurs with his mind, culture and beauty) was described to be taken to Oracle against his will in order to get advice from him. Oracle (Orakula - a priest who could see the future) was a respected person whom the kings, commanders, well-known and prominent people of that period addressed for advice and almost all the Greeks believed and trusted in him. In the picture Oracle who was worshipped by entire Greece, and Apollo, the god of the Sun and protector of art, were chosen as targets and described in very funny forms (pic. 2). Humoristic approach and critical attitude to the events were widely spread in Greek art and literature and it found its reflection in different anecdotes, sayings, and drawings. In this case, the identity of the person in target was not so important. The matter is that the target point could be a 5 prominent scholar of that time, or a respected officer, as well as a hero or even God. It is not accidental that Socrates who is considered a symbol of wisdom and genius, as well as well-known philosophers and scholars of that time were also criticized, made laugh at for several times, they were made the heroes of the anecdotes (5.31). In one picture drawn on the vase referring to approximately the V century B.C. a well-known philosopher of that period was described in a very funny way- while he was talking to a fox. Although in some sources this satiric drawing is represented under the name of “Philosopher and a fox”, majority of the researchers call this picture “Aesop's talk with a fox”. Aesop is a fabulist who lived in the VI century B.C. Aesop, who laid ground of a fable is considered the author almost all the fables created in antique time. Those fables had been collected under “Aesop's fables” since the IV-III centuries B.C. The information about Aesop's life who was known as the author of approximately 300 fables written in prose carries almost legendary character. The first information about Aesop, who was later included to the list of the seven prominent wise men of the world was given by Herodotus. It is known that Aesop was a slave of Samos from Ksenf and was set free due to his mind, skills and talent. Afterwards, he worked as an assistant and consultant at Czar Lidi Krez. In Aesop's fables which have peerless place in the world literature and culture the motifs of hopelessness and pessimism are strong. No love, delicate feelings, self-sacrifice or rhetoric had place in these fables which were written in a folk language and the topics of which were taken from everyday life. Injustices of his time were shown in his fables, strength, power, money, lie and trickery were taken higher than existing laws. Most likely, due to namely these qualities, he entered to the Greek and world literature as the first fabulist. Beginning from the ancient Roman poets Fedr and Babrin up to J.Lafonten and I.Krilov, almost all fable plots in European literature were taken from Aesop. It is not accidental that the phrase “Aesop language” used in the literature is related with figurative, hidden expression style (1.575).

Statement of the main research material

Aesop's being one of the well-known and respected persons of his time did not slip away from the contemporary Greek artists' eyes. As other famous people, scholars and philosophers of that time he became the hero of satiric drawings. According to expression style and humoristic approach, the picture “Aesop's talk to a fox” which we have already mentioned and which draws attention and interest, the artist skillfully using grotesque style described Aesop talking to a fox, one of the slyest heroes of his fables. If a grotesque is closer to epigram and parody, then this work of the artist can be called epigram to the most famous fabulist of that time. Sharp mind and high sense of humor of the Greeks allowed them to make parody not only to famous and prominent people of that time, even legendary and mythical heroes who were considered most sacred. In one of the most sad and impressive Greek legends it is told that when Troy had been burnt out Eney's father took Ankhiz on his shoulder, and took by the hand of the his son Askaniya and left his native land. The samples found in Pompey prove that this legend which is accepted by the Romans with special sensitiveness was painted by different artists in a realistic style. The Greeks who are distinguished with their ability to approach to any incident with humor transformed even this sad story to parody also and drew the heroes of the legend in the form of monkeys. The interesting point is that in these parodies the heads of the monkeys were shown as dog heads as in the Egyptian drawings.

Such samples carrying the elements of satire and being an integral part of the Greek culture and which are distinguished as the work of skillful artist with a high sense of humor are of great value. One of these samples - a drawing on the vase called “A young guy on a rooster” referring to the 520-510* years B.C. criticizes and reveals abnormal sexual relations of that time and shows sharp attitude of the artist to the concrete incident. As it seems, such kind of abnormal relations which were reproached by the society and the satirists did not evade from the eyes of the artists and this type of people were made the negative heroes of their works. While researching and thoroughly analyzing the works created by the artists with a high sense of humor and expressing their attitude to the events taking place around by means of satire, we get a chance to watch the shortcomings of the society of that period from aside. (7).

In another drawing on the vase referring to approximately IV century B.C. we see a famous actor of that period. The personage described in a half-naked form and in a characteristic Greek mask (grotesque mask) holds a torch in his right hand and a mantle in his left hand. The actor who was distinguished with his joyful mood was shown as drunk. The personage presented in a funny and comic pose makes a spectator think that he will just stumble and fall down. The point of interest in the drawing is Phylax's - the famous actor of that period, coming to the scene with a special mask. According to the opinion of a number of researchers such masks besides being considered one of the elements of the ceremonies of worship to Dionis in Athens also were used in different holidays, parties and performances. The actors in Greece, as well as in Rome wore these masks during their play on the scene. It is a pity that the masks prepared from fragile and instable material did not survive until our days and we get to know them only by means of the drawings on the vases and walls, frescos or other samples prepared from more solid materials. It is interesting that human heads drawn in a funny way and looking like these masks can be met on many vases. In these drawings on the vases heroes of Greek mythology were described very ugly and bigheaded. A jar found in Italy and referring to the 490th year B.C. on which one of the heroes of Greek mythology Medusa is described, a drawing “Achilles and other heroes of Troy” depicted on a vase referring to the 480th year B.C., a bowl with a picture of a woman and a Satyr (seducing women) found in Athens and referring to the 470thyear B.C. and other rare art pieces carrying the elements of satire and humor can be accepted as the indicator of a high sense of humor, world outlook, taste and optimistic view to the events taking place around.

Among the satiric and humoristic samples drawing the researchers' and experts' attention and interest the monument of Eros (Eros - God of Love in ancient Greek mythology, in some sources is shown as Epot and Amur) should be specially noted. In a number of sources this sample referring to the II century B.C. is presented as the cartoon of old Eros. The author of the monument showed Eros as an old tired man sitting miserably. Perhaps, the artist describing Eros in a very ridiculous and ugly form, tired and miserable wanted to indicate lack of love and desire for life (it can be concluded in this way because Eros is a God of love). This monument besides proving ancient roots of cartoon to the researchers and art critics, also confirms many- sidedness of expression means of the artists addressing to this art type. This type of samples is visual indicator of infinity of creative possibilities of the artists working in this field and width of range of this art type.

In this sense, creativity of the artists using all existing means of art as a result, made contribution to development of the cartoon as an art type and expanded its sphere of influence. In this drawing on the vase referring to the 1117thyear B.C. two women talking to each other at the fountain are depicted. In order to adapt to the composition one of the women shown from the profile (one in the left) has been drawn relatively smaller than the other one. Unlike the first woman having a jar in her hands, the second woman described in the center of the picture, in the foreground (a tall woman) fills her jar with the water running from the spring. The clothes of the women (women wear tiaras) prove them to be ordinary urban residents, not slaves or maids. The jar drawn in the right-hand of the picture overflows with water. The woman in the left holds the jars vertically and it indicates that the jar is full, and feet of the women are turned to left which shows that she wants to go away. But her head is still turned to the direction of the second woman, her delay, gestures of the figures and most important the jar overflowing under the water indicates that the women who are fond of talking do not want to go away. The similar scene of the women gossiping at the fountain is observed in another drawing also. Four women in a queue were described at the fountain. Three of them hold jars vertically on their shoulder and it indicates that the jars are full. In spite of the heaviness of the vessels, in one hand they hold the full jars, in another hand they make gestures during the talk. The first woman turns her head back to the woman behind in order to talk to her and the jar forgotten under the water is overflowing. All these are shown by the artist in order to show the gossip- prone character of the women and their attitude to household work. Of course, these pictures are just a small part of numerous comic situations related with the women (6).

Generally, the men and women talking, bathing and filling jars with water are often met in the Greek drawings on vases. Either the picture “The women at the spring” referring to the 510thyear B.C. or the picture on the vase “The young bathing in the spring” or other such kind of numerous samples in many cases were accompanied with humor. In some cases, the artists drew parodies to these pictures and described the heroes of these pictures in a funny way and this time irony is felt, rather than humor.

Pic. 1. A parody to the drawing on a vase “Hercules's apotheosis” (Brevity of Hercules) (Louvre museum).(approximately the 410-400-th years B. C.)

Pic. 2. “Apollo in Delos”. A drawing on a vase where Chiron is described to be taken to Oracles against his will in order to take an advise”

Conclusions

aesop artist greek

Such kind of satiric pictures, parodies lets us to have an idea about the attitude of the Greek artists to the events taking place around. As we have mentioned before, the Greeks who approached the events with humor and made parodies even to the saddest legends had no limits in this sense. It is very interesting that the Greeks who were able to enjoy the life fully knew how to describe any event they had been witnesses of in a satiric and humoristic way. In this sense, hundreds of art pieces carrying satiric elements i. e. the drawings that they had made on things, walls, the monuments they had made which survived up to our days are very valuable.

These full of humor pictures making a joyful mood on a spectator gives us an idea about delicate taste and high culture of this nation creating these rare art samples. Owing to namely these artists who had created these rare art pieces, an event took place approximately 2000 years ago or a hero of this event obtains immortality.

Abundance of satiric, humoristic and erotic pictures with the elements of caricature on vases and walls, in monuments, frescos and terracottas which are integral part of the Greek culture is understandable for anyone who has knowledge on the nature and outlook of the Greeks. In this sense, the grotesques dedicated to Priap, the most joyful among the Roman gods, is explained with a high culture and sense of humor of the Greeks. Such an optimistic view of the Greeks who lived in abundance and welfare, to the events taking place around besides being an indicator of their strong soul and desire for life, also proves this nation to be a carrier of a classic culture based on deep roots.

References

1. Azerbaijan Soviet Encyclopedia, in X volumes, III volumes. Baku: Head office of Azerbaijan Soviet encyclopedia, 1979, 600 pages.

2. Hajizadeh B. Development of cartoon in Azerbaijan Baku: Publishing house “Sada” , 2008, 320 pages.

3. Kazanevskiy V. Art of cartoon. Kiev: Publishing house «Alterpes», 2004, 152 pages.

4. Shvirov A. History of cartoon. S. Petersburg: «Panteleev's publishing house», 1903, 404 pages.

5. Parton J. Cartoon and other comic art. New York: “Harper and Brothers, Publishers”, 1877, 340 pp.

6. www.cairn.info

7. www.metmuseum.org

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