Bryaxis
In today's article we are going to delve into the topic of Bryaxis, a question that has generated great interest in recent times. Bryaxis, whether on a personal, social or professional level, has a significant impact on our lives. In this article, we will explore the different facets of Bryaxis, analyzing its implications, challenges, and possible solutions. Additionally, we will examine how Bryaxis has evolved over time and its relevance today. Through a holistic approach, we will seek to better understand Bryaxis and its influence on our daily lives. Join us on this journey to discover more about Bryaxis and its importance in our current reality!
Bryaxis (Ancient Greek: Βρύαξις or Βρύασσις; fl. 350 BC) was a Greek sculptor. He created the sculptures on the north side of the mausoleum of Maussollos at Halicarnassus which was commissioned by the queen Artemisia II of Caria in memory of her brother and husband, Mausolus. The three other greatest sculptors of their time, Leochares, Scopas and Timotheus, were each one responsible for one side of the grave. The tomb was completed three years after the death of Mausolus and one year after the death of Artemisia.[1] Some authors allege that Bryaxis created a famous colossal statue of Serapis in the temple at Alexandria; however, according to Michaelis, Athenodoros Cananites expressly pointed out that the Bryaxis connected with the Alexandrian statue was merely a namesake of the famous Bryaxis.[2] The works of Bryaxis include a bronze statue of Seleucus, king of Syria, five huge statues at Rhodes,[3] and a statue of Apollo at Daphne near Antioch.[4]
References
- ^ Fergusson, John (1862). The Mausoleum of Halicarnassus. London: John Murray. p. 8.
- ^ Michaelis, Ad. (1885). "Sarapis Standing on a Xanthian Marble in the British Museum". Journal of Hellenic Studies. 6: 289–292.
- ^ Smith, Sir William (1849). Dictionary of Greek and Roman Biography and Mythology. Boston: Charles C. Little, and James Brown. p. 513.
- ^ Gardner, Ernest Arthur (1897). A Handbook of Greek Sculptures. Vol. 2. London: Macmillan and Co. p. 374.
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