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archaic sculpture, with its stitched folds and closely aligned pieces of fabric on the legs, contrast with the lavish cloak flowing out behind her - an entirely different form of materiality. This use of oppositions is also seen in the head and face. Thus, the face is shown with blooming cheeks, deep-set eyes, a small, full mouth, as well as long wavy hair, held back by a band on the forehead and temples. These features are answered by rigid spiral locks of hair on the neck and in front of the ears, which are carved in an archaic style.
109:. This view has been regularly affirmed, although there are no parallels among the other surviving archaising statues. The statue was probably damaged in Antiquity, either by war damage or an earthquake. As a result, there are some odd aspects of its current shape. Thus, the hair on the neck is short on the left, visible side, but on the right side it has the long, typologically correct spiral locks. It is assumed that the left side reached its current form as a result of reworking in ancient times.
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not survived. Her left hand reaches downwards, lightly gripping her dress. The hand and part of the lower arm are not preserved; nor are the statue base and the feet, which have been replaced by a modern creation made of imitation marble. The clothes and face are partially damaged; her nose and many pieces of her dress are missing. The maiden wears several thin layers of fabric which hug her body closely in some parts and forming deep folds of drapery in others. The lowest layer is a sleeved
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The statue of white translucent marble is 120 cm high (114 cm excluding the base), and the head is 14.5 m high. It depicts a young woman, with her left leg forward, giving the impression that she is moving forward. Her right hand is raised. It was made from a separate piece of stone and has
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statues of the 6th century BC. The clothing enhances the dynamism of the statue rather than concealing it. The creator of the statue played with various oppositions, as with the broad-spread posture on the one hand and the torsion of the upper body on the other. Similarly, the measured forms of
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with very fine folds, over which she wears another, armless garment. The fine, rippling fabric is framed at the neck and shoulders by a broad border. The outermost layer is a voluminous cloak, which falls in broad, deep folds. It hangs from her right shoulder, leaving her left shoulder and left
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On stylistic grounds, the statue is dated to the period between 150 and 125 BC. The statue is an example of the luxurious furnishings of the
Pergamene palace. The archaic stylistic features are intentional and recall the grace,
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believed that it was a torchbearer and originally held a torch in the raised right arm, based on similarities with the torchbearer from the
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mosaic). From there it was accessioned to the Berlin
Antikensammlung (inventory number AvP VII 43), where it formed part of the
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until 2010. In 2011/12 it formed part of the special exhibition "Pergamon: Panorama of the
Ancient Metropole."
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in one of the two dining rooms of Palace V (the notes on the find location in the
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Pergamon. Panorama der antiken
Metropole. Begleitbuch zur Ausstellung.
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The Dancer of
Pergamon as displayed at the Pergamon Museum until 2010
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The Dancer was found in March 1886 during the German excavations of
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121:: "Die „Tänzerin“ aus Palast V in Pergamon." in Ralf Grüßinger,
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breast free and recalls in its shape the cloaks worn by
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Classical sculptures in the
Staatliche Museen zu Berlin
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155:Online catalogue of the Berlin sculptures
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50:speak for the dining room with the
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176:Findings in Turkey outside Turkey
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196:1886 archaeological discoveries
191:2nd-century BC Greek sculptures
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186:Marble sculptures in Germany
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105:and torchbearer from the
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31:statue of a woman from
37:Antikensammlung Berlin
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134:Michael Imhof Verlag
136:, Petersberg 2011,
119:Christiane Vorster
25:Dancer of Pergamon
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142:978-3-86568-693-0
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107:Villa Boscoreale
103:Mahdia shipwreck
48:excavation diary
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62:Description
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160:Arachne
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84:Context
74:archaic
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91:charis
69:chiton
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