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For many years, the aesthetic interpretation of art was the only accepted interpretation. Then Alex Potts wrote a book on Winckelmann that proposed that art was more than aesthetics, that art included psychological, political and other aspirations. The process became on of finding embodied meanings within art that had otherwise been forgotten. The most shocking of these interpretations by Wincklemann showed that Greek art, once considered to be universalistic in nature, responded to several other measures of great art as posited by the ancient Greeks about ancient Greek Art. Therefore, the concept that is new, should not be new that Ancient Greek art offers a development to include the range of techne, or techniques that contributed to the finely chiseled Greek art with which we are familiar. 5 works cited. jvGreekA.rtf
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that art included psychological, political and other aspirations. The process became on of finding embodied meanings within art that had otherwise been forgotten. The most shocking of these interpretations by
Wincklemann showed that Greek art, once considered to be universalistic in nature, responded to several other measures of great art as posited by the ancient Greeks about ancient Greek Art.
Therefore, the concept that is new, should not be new that Ancient Greek art offers a development to include the range of techne, or techniques that contributed to the finely
chiseled Greek art with which we are familiar. Techne is the Greek word for art, which is closer in meaning in English
to the word craft, or to craft a piece of art, but which Richard Woodfield argues is closest to technique in terms of ancient Greek art (Woodfield 560). He states
that the ancient Greeks did not relate to the art they produced as art, but as a means of exploring "the difference between truth and falsity in images and the
differences between images and reality" (Woodfield 560). He further states that Platos "theory of beauty was not connected to Art . . . but to the Good" (Woodfield 560).
It is for this reason that Greek art conveyed abstract ideas such as "beautiful" concepts of the human body through a dichotomous undertaking of
what Winckelmann called "a comparative absence of sensual refinement of form, and a beautiful mode, characterized by a fullness of sensuality and grace" (Rubin 350). This promoted the concept of
a mimetic style, or the mimicking and accurate portrayal of the human body. At the beginning of the first phase of the
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