Athena, known as the Ingres Minerva at the Louvre, Paris

This colossal statue is one of a large series of Roman replicas inspired by the work of the Athenian sculptor Phidias (active 460-435 BC). The statuary type, derived from that of the Athena Parthenos, is probably a reproduction of the bronze Athena Promachos of the Acropolis in Athens or the Athena Areia of Plataea. The technique involving several parts used by the copyist - probably intended to imitate the original acrolith - supports the latter hypothesis. The Ingres Minerva The imposing Ingres Minerva stood in the gardens of the Villa Medici in Rome when the French painter Ingres, then director of the Académie de France in Rome, decided to send it to France. It entered the Louvre in 1913 after spending several years at the École des Beaux-Arts in Paris. The statue is one of a large series of Roman replicas inspired by a Greek original produced in the fifth century BC. The head and arms were added - as shown by the recesses for fitting probably aimed at imitating the acrolith technique of the original. The extremities of the body were carved separately in a different material. Athena can be recognized by the aegis draped over her shoulders: the skin of the goat Amalthaea decorated with the head of the Gorgon Medusa and formerly edged with metal snakes. The goddess probably wore an Attic helmet with a triple plume and bore attributes symbolizing the greatness of Athens and the power of its tutelary deity. An echo of Phidias' classicism The work is a faithful transcription of Phidias' art and the classicism that developed in the second half of the fifth century BC in the wake of the Athenian sculptor (active 470-435 BC). The pose of the goddess, the harmony of the balance, and the treatment of the drapery are imprinted with the aesthetics of the Parthenon sculptures. Athena is dressed in a similar way, with a chiton, a peplos, and a cloak thrown negligently over her left shoulder. The artist played on the contrasts between the different fabrics. The movement of the right leg reveals the fine drapery of the chiton, while the deep folds of the peplos show the rigidity of the leg carrying the weight of the figure like the fluting of a column. The replica of a sculpture of Athena by Phidias Although everybody agrees that Phidias carved the original, the name of the piece is still controversial. The statuary type reproduced in the Ingres Minerva seems to be a variant of replicas of the Athena Parthenos, a masterpiece in gold and ivory made by Phidias circa 440 BC and placed in the Parthenon. The clothing is the same and the posture simply reversed. According to ancient writings (especially Pausanias' Periegesis Hellados), the sculptor made several famous effigies of the goddess, and it is difficult to identify with certitude which of them inspired the copy in the Louvre. Some people think that it is a replica of the Athena Promachos, a colossal bronze statue erected on the Acropolis in Athens in the mid-fifth century BC. Others feel that it echoes the Athena Lemnia, which had been given to Athens by the inhabitants of Lemnos at roughly the same time. Finally, others mention the Athena Areia of Plataea (an acrolith statue) to account for the technique chosen by the copyist, a hypothesis that nevertheless seems to be contradicted by numismatic evidence. This object is part of Scan The World. Scan the World is a non-profit initiative introduced by MyMiniFactory, through which we are creating a digital archive of fully 3D printable sculptures, artworks and landmarks from across the globe for the public to access for free. Scan the World is an open source, community effort, if you have interesting items around you and would like to contribute, email [e-mail] to find out how you can help.这座巨型雕像是一系列受雅典雕塑家菲迪亚斯（Phidias，活跃于公元前460-435年）作品启发的罗马复制品之一。该雕像的造型源自《帕特农神庙雅典娜（Athena Parthenos）》，其原型大概率是雅典卫城的青铜雕像《战神雅典娜（Athena Promachos）》，或是普拉提亚的《普拉提亚雅典娜（Athena Areia）》。复制品制作者采用的分体拼接工艺，意在还原原作的杂合石雕工艺（acrolith），这也为后者的推测提供了支撑。 安格尔密涅瓦雕像 这座气势恢宏的密涅瓦（Minerva，罗马体系中的雅典娜）雕像曾陈列于罗马美第奇别墅（Villa Medici）的花园中，时任罗马法兰西学院（Académie de France in Rome）院长的法国画家安格尔决定将其运回法国。该雕像先在巴黎美术学院（École des Beaux-Arts in Paris）存放数年，最终于1913年入藏卢浮宫（Louvre）。 该雕像同样属于一系列受公元前5世纪希腊原作启发的罗马复制品。其头部与手臂为后期加装——从用于拼接的预留凹槽可见，制作者意在还原原作的杂合石雕工艺。雕像的肢体部分采用不同材质单独雕刻而成。 可通过其肩部披挂的神盾（aegis）识别出这是雅典娜：神盾以阿玛尔泰亚山羊（Amalthaea）的皮制成，饰有戈耳贡·美杜莎（Gorgon Medusa）的头颅，原边缘镶嵌金属蛇形装饰。这位女神大概率头戴带有三重羽饰的阿提卡式头盔（Attic helmet），手持象征雅典城邦荣耀与庇护神权能的圣物。 菲迪亚斯古典主义的回响 该作品忠实复刻了菲迪亚斯的艺术风格，以及这位雅典雕塑家（活跃于公元前470-435年）身后于公元前5世纪下半叶发展起来的古典主义美学。女神的姿态、均衡和谐的构图，以及衣褶的处理手法，都带有帕特农神庙石雕的美学印记。雅典娜的着装风格与之类似：内穿希顿长衫（chiton），外罩佩普洛斯长袍（peplos），又有一件斗篷随意搭在左肩。创作者刻意利用不同面料营造出质感对比：右腿的动态下，希顿长衫的衣褶细腻柔和；而佩普洛斯长袍的厚重褶皱，则如同柱槽纹（fluting of a column）般，凸显出承托全身重量的左腿的硬朗质感。 菲迪亚斯雅典娜原作的复制品 尽管学界公认原作出自菲迪亚斯之手，但这件复制品的具体原型仍存在争议。安格尔密涅瓦雕像所复刻的造型，似乎是《帕特农神庙雅典娜》复制品的变体：后者是菲迪亚斯约公元前440年以黄金与象牙制作的杰作，曾陈列于帕特农神庙内。二者的服饰完全一致，仅姿态完全相反。 据古代文献（尤其是鲍萨尼亚斯（Pausanias）的《希腊志（Periegesis Hellados）》）记载，菲迪亚斯曾创作多尊知名的雅典娜雕像，因此无法确切判定卢浮宫的这件复制品究竟源自哪一件原作。部分学者认为其复刻的是《战神雅典娜》——公元前5世纪中叶立于雅典卫城的巨型青铜雕像；另有观点认为其风格呼应了《勒姆诺斯雅典娜（Athena Lemnia）》，该雕像由勒姆诺斯居民于同期赠予雅典；还有学者提出，该复制品的工艺对应《普拉提亚雅典娜》（一件杂合石雕雕像），但这一推测似乎与钱币学证据（numismatic evidence）相悖。 本展品隶属于「全球扫描计划（Scan The World）」。该计划是由MyMiniFactory发起的非营利性项目，旨在打造一个可免费公开访问的数字档案库，收录全球各地可完全3D打印的雕塑、艺术品与地标建筑。「全球扫描计划」是一项开源的社区共建项目，若您身边有有趣的藏品并希望参与贡献，可发送邮件至[e-mail]了解参与方式。