This thesis is a study in the transformation of Alexander the Great’s image throughout Hellenistic times. It starts out with an introduction to Alexander’s world and the research questions that...Show moreThis thesis is a study in the transformation of Alexander the Great’s image throughout Hellenistic times. It starts out with an introduction to Alexander’s world and the research questions that this study will be focusing on. It is followed by an extended look into the image he created of himself during his life, followed by the time just after his death and finally the later Hellenistic eras. As part of that, this thesis also goes into the background that led to him creating this image, studying his life from his early days, on to his conquests and finally his death. The Hellenistic world in general and its development during and after Alexander’s death, both politically and culturally, gets the same treatment. As the main artifacts chosen to show the change in his image are the sculptures of his likeness, their origins and development are part of the study as well. Both the reasoning behind them from Alexander himself, the effect they had on the hellenistic world as well their unique qualities in comparison to other ruler statues will be subjects handled as well. The study in general covers the sculptures from the early Lysippan varieties to the myriad of statues from the later Hellenistic kingdoms, stopping at the advent of Roman times. A brief interlude, that goes into the history of the study of Hellenistic sculpture and its archaeological context, is included as well. Problems that arise when studying Hellenistic sculpture are introduced this way as well, as they will play an important rule when discussing the three sculptures part of this study focuses on. Because as part of the thesis, three specific examples are chosen as case-studies from three different parts of the Hellenistic world to show off their context, development and local influences. The first being the Alexander Rondanini, which was created in Greece during or just after Alexander’s life. The second example is the Nahman Alexander, an Egyptian variant from the first half of the Ptolemaic period. The third and final example is the Magnesia Alexander, which was created in Graeco-Roman times in an area of Lydia. All three examples follow the same format in their chapters, starting with a focus on their history and context, followed by a detailed description of their appearance and ending with a discussion about their unique characteristics as well as the problems that arise when studying the sculpture, such as its identification. Finally, the last chapter will focus on the comparisons between these three case-studies, studying both their similarities and differences compared to both the Lysippan originals as well as each other. In the conclusion, the information gathered from the study is used to answer the research questions brought up in the introduction and to close the thesis off.Show less
