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Representation in the Greek Temple

Does the Greek temple represent, and if so, what does it represent? This initial inquiry presents us the possibility of a certain understanding of the temple within the cultural context of Greek thinking.

Representation in the Greek Temple Sudipto Ghosh 2000 Does the Greek temple represent, and if so, what does it represent? This initial inquiry presents us the possibility of a certain understanding of the temple within the cultural context of Greek thinking. The first question, whether the temple represents at all, leads us into our understanding of representation itself. Does the temple present something other than itself? Is it an allegory (allo agoreuei), as Heidegger would ask? Is something other brought together (symabllein) in the making of the temple? If so, then the temple becomes a symbol for that something other, and our perception of it must be from the perspective of ‘equipments’. The temple is equipmental towards symbolizing that something other. In becoming a symbol of something, the temple also substitutes that thing. According to Gadamer, the symbol through its symbolization does not add to the being of what it manifests because the symbols very function depends on the foreknowledge of what is symbolized. Such a view necessitates us to look at the temple as a thing or an object that symbolizes another thing. The element in the temple that joins with or brings about something other is its “thingly” quality. The temple must be perceived as formed matter from this perspective, and its making from the point of view of a craft. This seems to have been the normative way of approaching the Greek temple and Architecture in general. The formal studies on the proportion and the precise correlation of its parts are a reduction of the temple to a “thing”. This has been Heidegger’s basic premise in his essay, “The Origin of the Work of Art”. “A building, a Greek temple, portrays nothing”, says Heidegger. In standing there, the temple ‘opens up’ a world for the people of Greece. It gives to things their look (appearance as eidos) and to the people their outlook on themselves (as beings in the world). The temple in its quiet repose contrasts with, and brings out, the overwhelming presence of nature and all things in the world. Truth, as alētheia or unconcealment, happens by way of the temple as artwork. The artist brings forth the artwork by means of a technē or a mode of knowing, and the artwork, in turn, sets up a world for the people. Technē as knowledge, understood in the Greek manner, is a bringing forth of beings, that is, a bringing forth what is present as such out of concealment and specifically into the unconcealment of its appearance. In other words, technē is the bringing forth of eidos. The question that must follow this line of thought is whether this ‘bringing forth’ is a representation in some way that is quite different from the way we understand representation today as ‘standing for’ something? The Greek temple seems to represent not as standing for something but as a movement from something to the other. The temple in its rootedness or steadfastness within the landscape is able to build relationships and to hold things and their relationships. Harmonia, understood as the tightness of weave in cloth or in boat-building, as a bringing together into a whole or an agreement, belongs to the temple as it stands there giving to all things an appearance. The temple becomes a frame through which the world is seen and understood. The movement here is an outward movement that begins from the temple as an object, complete and independent of its surroundings, to one where the temple becomes a means to the understanding of the world for the people. There is also an inward movement in the temple that allows the temple to be looked at as an independent structure that presents nothing but the know how of its own making. In such a movement, what appears is the temple’s outward appearance as eidos. In its making, the temple appears as it “is”. Eidos or the Idea brings together the particularities of the temple and allows it to be unified as one outward appearance that lets the temple be seen as a temple. The process of making the temple is really the process of letting the Idea appear in what is being produced. The shoemaker therefore allows the Idea of the shoe to appear in the leather that he transforms with his tools. The potter allows the Idea of the pot to guide his hands that shape the pot. The Idea of the shoe or the pot is not simply the ideal shoe or pot that the artisan emulates in his making, rather it is the essence and what constitutes the being of the shoe or pot in each of their outward appearances. In the presentation of its outward appearance, the temple therefore represents the Idea or the eidos that constitutes the essence of the temple. Representation here is a movement that is inward that discloses the essence of the temple. The temple represents its own essence. The notion of mimēsis is important here since representation could also be seen as an imitation. However, the Greeks did not perceive mimēsis as imitatio, as the Romans translated it in the sense that we understand imitation today as a copy, rather as verisimilitude. If the creatorcraftsman god, demiourgos, made the world by an imitation of an absolute and transcendent harmony, then a recall of that absolute harmony by the process of mimēsis, for the Greeks, gave every object or artifact its essence. Every artifact thus had the possibility of attaining the harmony of nature as every artisan had the possibility of becoming the demiourgos. Mimēsis in the creative action of the artisan or the architect is ontological, allowing the artifact to show itself as it is, and not cosmological, as would be in holding up a mirror in the imitation of nature. The architect of the Greek temple does not produce the temple that is in being rather he produces only a kind of bringing forward that will never be able to produce the “temple” or “the house of the gods” itself. As Heidegger says, “(the framemaker, architect) does not produce the pure outward appearance in itself. He presupposes it as already granted to him and thereby brought forth onto and produced for him.”1 Since the eidos, or the essence cannot really be produced by the craftsman, does this mean that he can only represent that eidos in the work? Were the Greek architects representing the eidos of the temple as a “house of the gods” in their buildings? How did mimēsis play a role in the representation of the eidos in the building? The symmetry and the precise correlation of parts of the Greek temples were interpreted by the Romans as a eurhythmy of parts: a mathematical, intellectual exercise towards ‘aesthetic’ perfection. The Greeks, however, referred to this as analogia: according to the logos of something, interrelation, correspondence. The word logos itself has various connotations including ‘reason’, ‘law’, and ‘proportion’. For the Greek mathematicians, logos was laying one thing next to another, bringing them together as one, in short, gathering; at the same time contrasting one with the other. Myths and allegories, that shaped Greek life, were a way of explaining things with the means of analogies. They explained a particular phenomenon with the help of a narrative that proportionately embodied that phenomenon. The myth was a mimēsis of the phenomenon and the phenomenon, in turn, could be understood in the myth. The mathematical order and symmetry of the Greek temples were according to the laws of nature or the cosmos. The temple represented its eidos through a mimēsis of the laws of nature and it was only in the temple were these laws understood. The movement, outwards and inwards, from the temple to the something other outside of it and from the outward appearance of the temple to the laws contained within, is the mark of the physis as an emerging sway. In opposition to our understanding of representation as a direct and one-way movement from one to the other, the representation in the Greek temple may be understood as that of its own being as one that gathers relationships. The original sameness of the Heidegger, Martin, Plato’s Republic: The Distance of Art (Mimēsis) from Truth (Eidos) in Nietzsche, v. 1. The will to power as art., tr. David Farell Krell, San Francisco: Harper and Row, c1978-1989, p.179 1 terms logos and physis become clear in the temple, where logos is understood “as constant gathering, the gatheredness of beings that stands in itself, that is, Being”2, and physis is the “first and the essential name for beings themselves as a whole.”3 2 3 Heidegger, M, An Introduction to Metaphysics, tr. Richard Polt opcit. Heidegger, M. p.81