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Due to the high value of some of the materials used and the perishable nature of others, most chryselephantine statues were destroyed during antiquity and the Middle Ages. For example, of the statue of Athena
Parthenos, only the hole that held its central wooden support survives today in the floor of
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was made from solid gold with this very purpose in mind. Indeed, in times of prosperity, up to six solid gold Nikae were cast, serving as a "sacred treasury" whose safety was ensured by the sanctity accorded to a cult object, as well as the presence of priestesses, priests, and maintenance staff at
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Chryselephantine statues were not only intended to be visually striking; they also displayed the wealth and cultural achievements of those who constructed them or financed their construction. The creation of such a statue involved skills in sculpture, carpentry, jewellery, and ivory-carving. Once
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The origins of the technique are obscure. There are known examples, from the 2nd millennium BC, of composite sculptures made of ivory and gold from areas that became part of the Greek world, most famously the so-called
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completed, the statues required constant maintenance. It is known that at
Olympia, skilled personnel were employed to ensure the upkeep of the Zeus statue. In the second century BC, the prominent sculptor
341:. The result was somewhat disappointing: "... it cost Luynes a hundred thousand francs to prove that Simart was not Phidias." Another 19th-century version of this figure by American sculptor
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Few examples of chryselephantine sculpture have been found. The most prominent surviving examples are fragments of several smaller than life-sized burnt statues from the
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statues, with marble heads and extremities and a wooden trunk either gilded or covered in drapery, were a comparable technique used for cult images.
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became well known for their chryselephantine sculptures. A number of other
European sculptors also produced chryselephantine pieces, among them
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The technique was normally used for cult statues within temples; typically, they were greater than life-sized. Construction was
305:. In this context, it describes statuettes with skin of ivory and clothing and other details made of other materials, such as
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in times of severe financial hardship, to be replaced later when finances had recovered. For example, the figure of
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that has survived. It is, however, not clear whether the Greek chryselephantine tradition is connected with these.
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476:"... il en coûta cent mille francs au duc de Luynes pour prouver que Simart ne fut pas Phidias." Boissieu 1869:260.
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was extended to include any statue fashioned in a combination of ivory with other materials.
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is also used for a style of sculpture fairly common in 19th-century
European art, especially
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her temple. The appearance of the statue is nevertheless known from a number of miniature
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Chryselephantine statues were built around a wooden frame with thin carved slabs of
502:(1st ed.). Woodbridge, England: Antique Collectors' Club Ltd. pp. 1–398.
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Fragments of a burnt chryselephantine statue thought by some scholars to depict
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representing the garments, armour, hair, and other details. In some cases,
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produced a copy in ivory and gold, based on ancient descriptions, of the
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discovered in Athens, as well as from a detailed description by
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were used for detail such as eyes, jewellery, and weaponry.
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Chryselephantine sculpture became widespread during the
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34:Gold and fire-blackened ivory fragments of a burnt
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104:attached, representing the flesh, and sheets of
27:Ancient Greek sculpture made with gold and ivory
360:In the early 20th century, German sculptors
76:, 'ivory') is a sculpture made with
204:The two best-known examples, both from the
146:BC. It is likely the only enshrined Minoan
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465:The Metropolitan Museum of Art Bulletin
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347:modern reproduction of the Parthenon
467:, Spring 2012 Volume LXIX, Number 4
436:. Oxford: Oxford University Press.
339:Honoré Théodoric d'Albert de Luynes
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234:Seven Wonders of the Ancient World
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220:, and the 12-metre (39 ft)
432:Lapatin, Kenneth D. S. (2001).
293:in the U.S. state of Tennessee.
248:was commissioned to repair it.
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208:period, are those sculpted by
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461:Art of the Aegean Bronze Age
198:Delphi Archaeological Museum
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40:Delphi Archaeological Museum
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500:Art Deco and Other Figures
176:held in the right hand of
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47:Chryselephantine sculpture
38:chryselephantine statue (
232:, considered one of the
530:Ancient Greek sculpture
88:enjoyed high status in
498:Catley, Bryan (1978).
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267:period, discovered at
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64:, 'gold', and
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486:Art Nouveau Sculpture
410:Art in ancient Greece
327:Pierre-Charles Simart
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382:Claire J. R. Colinet
351:Nashville, Tennessee
283:Reproduction of the
118:semi-precious stones
415:Classical sculpture
84:. Chryselephantine
535:Ivory works of art
488:, Alastair Duncan.
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126:Palaikastro Kouros
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509:978-1-85149-382-1
459:Hemingway, Seán,
386:Pierre Le Faguays
228:in the temple at
16:(Redirected from
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420:Ram in a Thicket
398:Dominique Alonzo
362:Ferdinand Preiss
355:chryselephantine
331:Athena Parthenos
299:chryselephantine
286:Athena Parthenos
182:Athena Parthenos
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185:the temple.
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73:elephántinos
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540:Cult images
337:for patron
303:Art Nouveau
144: 1450
137:Palaikastro
110:glass paste
67:ελεφάντινος
524:Categories
426:References
394:Bruno Zach
148:cult image
297:The term
258:Pausanias
214:Parthenon
206:Classical
106:gold leaf
404:See also
242:Damophon
114:precious
335:Phidias
289:in the
265:Archaic
246:Messene
230:Olympia
210:Phidias
178:Phidias
170:bullion
166:modular
155:Archaic
61:chrysós
36:Archaic
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463:, 31,
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396:, and
319:silver
315:marble
311:bronze
269:Delphi
218:Athens
194:Apollo
134:Minoan
55:χρυσός
49:(from
321:, or
102:ivory
82:ivory
51:Greek
504:ISBN
438:ISBN
364:and
323:onyx
307:gold
226:Zeus
174:Nike
116:and
80:and
78:gold
349:in
333:of
244:of
224:of
216:at
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