摘要
Classical temples constructed by an entire class are considered as a democratic artifact that symbolizes social and communal beliefs and embodies religious significance. In contrast with these meanings that existing scholars have addressed, this paper investigates the extent to which architecture, as both shelter and artwork, serve as a medium of spatial-textile storytelling, providing a rich sensory context that represents and mediates culture. This study is drawn from a case study of the Ionic frieze in Parthenon, Athens, considered both a textile and spatial storytelling device. The research method applied in this paper consists of a literature review of references on the ideas on the links between textile- making and architectural ornament by Gottfried Semper, as well as the historical develop- ment of the frieze in both textile weaving and classical architecture. The paper concludes that the significance of the religious Panathenaia festival is not merely depicted by the peplos identified on the central east Ionic frieze, but is also expressed in the entire representational scheme of the Ionic frieze, along with the overall spatial configuration of the Parthenon. Architecture, instantiated by the Parthenon, is regarded as spatial-textile storytelling to communicate meanings.
Classical temples constructed by an entire class are considered as a democratic artifact that symbolizes social and communal beliefs and embodies religious significance. In contrast with these meanings that existing scholars have addressed, this paper investigates the extent to which architecture, as both shelter and artwork, serve as a medium of spatial-textile storytelling, providing a rich sensory context that represents and mediates culture. This study is drawn from a case study of the Ionic frieze in Parthenon, Athens, considered both a textile and spatial storytelling device. The research method applied in this paper consists of a literature review of references on the ideas on the links between textile- making and architectural ornament by Gottfried Semper, as well as the historical develop- ment of the frieze in both textile weaving and classical architecture. The paper concludes that the significance of the religious Panathenaia festival is not merely depicted by the peplos identified on the central east Ionic frieze, but is also expressed in the entire representational scheme of the Ionic frieze, along with the overall spatial configuration of the Parthenon. Architecture, instantiated by the Parthenon, is regarded as spatial-textile storytelling to communicate meanings.
