Friday Five: Depictions of the Greek Underworld

I have been exploring the Greek underworld - not literally, obviously - but because The Penelopiad by Margaret Atwood, the play I am directing and co-producing, is partially set there.

The underworld itself - sometimes known as Hades, after its patron god - is described as being either at the outer bounds of the ocean or beneath the depths or ends of the earth. It is considered the dark counterpart to the brightness of Mount Olympus with the kingdom of the dead corresponding to the kingdom of the gods. The Underworld is a realm invisible to the living, made solely for the dead.

Landscape with Charon crossing the Styx by Joachim Patinir

The Greeks had a definite belief that there was a journey to the afterlife or another world. They believed that death was not a complete end to life or human existence.

In the Greek underworld, the souls of the dead still existed, but they are insubstantial, and flitted around the underworld with no sense of purpose. The Greeks accepted the existence of the soul after death, but saw this afterlife as meaningless. In the underworld, the identity of a dead person still existed, but it had no strength or true influence. The dead within the Homeric underworld lack menos,or strength, and therefore they cannot influence those on earth. They also lack phrenes, or wit, and are heedless of what goes on around them and on the earth above them. Their lives in the underworld were very neutral, so all social statuses and political positions were eliminated and no one was able to use their previous lives to their advantage in the underworld.

Generally speaking, the Greek Underworld can be thought of as being made up of three different regions; Tartarus, the Asphodel Meadows and Elysium.

An alternative view of the London Underground tube map by the Iris Project

While Tartarus is not considered to be directly a part of the underworld, it is described as being as far beneath the underworld as the earth is beneath the sky. It was thought to be the deepest region of the Underworld, ad a place where it would take an anvil nine days to reach if allowed to fall from the rest of the Underworld. It is so dark that the “night is poured around it in three rows like a collar round the neck, while above it grows the roots of the earth and of the unharvested sea.” – Robert Garland, The Greek Way of Death

Tartarus is the region of the Underworld normally associated with hell, and was the area where imprisonment and punishment was undertaken; as such it was the normal location of the imprisoned Titans, Tantalus, Ixion and Sisyphus. Zeus cast the Titans along with his father Cronus into Tartarus after defeating them. Homer wrote that Cronus then became the king of Tartarus. While Odysseus does not see the Titans himself, he mentions some of the people within the underworld who are experiencing punishment for their sins.

Aneas and Sibyl in the Underworld by Jan Brueghel the Younger

The Asphodel Meadows was a place for ordinary or indifferent souls who did not commit any significant crimes, but who also did not achieve any greatness or recognition that would warrant them being admitted to the Elysian Fields. It was where mortals who did not belong anywhere else in the underworld were sent. It was where the majority of the deceased would end up, for it was the region of indifference. Having drunk from the River Lethe the deceased located here would forget their previous lives, but would spend eternity in a greyness of mindlessness.

While in the underworld, the dead passed the time through simple pastimes such as playing games, as shown from objects found in tombs such as dice and game-boards. Grave gifts such as clothing, jewellery, and food were left by the living for use in the underworld as well, since many viewed these gifts to carry over into the underworld. There was not a general consensus as to whether the dead were able to consume food or not. Homer depicted the dead as unable to eat or drink unless they had been summoned; however, some reliefs portray the underworld as having many elaborate feasts. While not completely clear, it is implied that the dead could still have sexual intimacy with another, although no children were produced. The Greeks also showed belief in the possibility of marriage in the underworld, which in a sense describes the Greek underworld having no difference than from their current life.

Fields of Asphodel by Brian Doers

Elysium, or the Elysian Fields, was a place for the especially distinguished. It was ruled over by Rhadamanthus, and the souls that dwelled there had an easy afterlife and would spend an eternity of pleasure free from work and strife. Usually, those who had proximity to the gods were granted admission, rather than those who were especially righteous or had ethical merit, however, later on, those who were pure and righteous were considered to reside in Elysium. Most accepted to Elysium were demigods or heroes. Heroes such as Cadmus, Peleus, and Achilles also were transported here after their deaths. Normal people who lived righteous and virtuous lives could also gain entrance such as Socrates who proved his worth sufficiently through philosophy. It is the region of the Underworld where mortals were supposed to aspire to and the most closely associated with paradise.

The Waters of Lethe by the Plains of Elysium by John Rodham Spencer-Stanhope

The idea of progress did not exist in the Greek underworld – at the moment of death, the psyche was frozen, in experience and appearance. The souls in the underworld did not age or really change in any sense. They did not lead any sort of active life in the underworld – they were exactly the same as they were in life. Therefore, those who had died in battle were eternally blood-spattered in the underworld and those who had died peacefully were able to remain that way.

Overall, the Greek dead were considered to be irritable and unpleasant, but not dangerous or malevolent. They grew angry if they felt a hostile presence near their graves and drink offerings were given in order to appease them so as not to anger the dead. Mostly, blood offerings were given, because they needed the essence of life to become communicative and conscious again. This is shown in Homer's Odyssey, where Odysseus had to give blood in order for the souls to interact with him.

Hades itself was free from the concept of time. The dead are aware of both the past and the future, and in poems describing Greek heroes, the dead helped move the plot of the story by prophesying and telling truths unknown to the hero. The only way for humans to communicate with the dead was to suspend time and their normal life to reach Hades, the place beyond immediate perception and human time.

It sounds as though social strata was rigidly imposed even back then and even in death.

My Newest Favourite Thing: Ken & Julia Yontenani

Five years ago I went to an exhibition at NGA Contemporary. The gallery closed the next day. It's not my fault, honest - the gallery on the Lake Burley Griffin waterfront was only open for 18 months with articles at the time citing 'the federal government's continued efficiency dividend imposed on several cultural institutions' or 'relentless government cutbacks' as the reason for the closure. Anyway, I was clearing some photos from my phone because it's full (hard to believe, I know, being as it's still got photos from five years ago on it...), and I came across these from the exhibition so I thought I would share.

In two major installations, artists Ken and Julia Yonetani explore the notion that although the world appears rich in natural resources, the well-being of the planet is held in precarious balance. The first exhibition, Crystal Palace: The Great Exhibition of the Works of Industry of all Nuclear Nations is a provocative response to the Fukushima Daiichi nuclear power plant disaster in Japan in 2011. In an installation of chandeliers reconfigured to emanate UV light, and decorated with specially sourced uranium glass, each chandelier represents a country that operates nuclear power stations and is of a scale relative to that country's nuclear output. 

The idea of using the chandelier was sparked when the Yonetanis were entranced by the displays in the shop windows while on a bus ride in London. Tempted by the opulent beauty of antique chandeliers and their history in the evolution of electric light, they envisioned a contemporary take on The Great Exhibition of 1851 in the Crystal Palace, which aimed to showcase the world's latest technologies (those of the Industrial Revolution). This set the stage for the artists' idea of nuclear nations of the world.

Faced with the challenge of how to represent radiation, they hit upon using uranium glass beads and ultraviolet light bulbs that make the green of the beads fluoresce in the dark. The work is aesthetically astounding, accessible and engaging. Uranium glass contains very small traces of uranium within the glass, is legal and poses no health risks. While their chandeliers are entirely safe, the idea of recycling a uranium by-product that glows in the dark appealed to the artists. 

‘You can’t see, smell or perceive radiation with your senses, but it becomes visible in our works when illuminated with ultraviolet lights,’ say the artists. ‘Presented in darkness, the glass chandeliers and tubes glow with an eerie bright green light indicating the presence of radiation. We hope to prompt viewers to react in their own way to this radioactive presence.’

The blurb says that there are many cross-cultural layers of meaning and paradoxes in this installation that combines significant environmental issues within a floating glowing dream-world. I think it's pretty. 

Alongside these opulent chandeliers sits The last supper, a nine-metre table made of over one tonne of groundwater salt sourced from the Murray-Darling Basin featuring a variety of foodstuffs in the form of an exquisite banquet. Drawing its title from Leonardo's great Renaissance mural of the same name, this work plays with the idea of the final meal - the endgame of how we utilise our natural resources. 

The artists' use of salt came out of a residency working with scientists at the Murray-Darling Freshwater Research Centre, where their research was focused on the question of how to deal with rising salt levels in the water irrigating crops in a region regarded as a food bowl. Their initial concerns broadened, however, to include the impact of salinity in a a global sense, noting the subject of salt has been fraught since the beginning of human existence. ‘Here salt is a metaphor for the death of the land, sacrificed in the production and consumption of what has become The last supper,’ explain the artists.

On a practical level, the medium of salt posed great difficulties for the artists due to its solubility. After experimenting with smaller works, the creation of a nine-metre salt banquet table replete with an array of foodstuffs and objects was a labour of love and a great challenge. It connects with a tradition of still-life and banqueting subjects in the history of art as well as with different religious and cross-cultural traditions.As the artists have said,

"Although the work isn't necessarily a religious comment, The Last Supper is obviously connected to biblical stories, and salt is very much connected to not only the bible but a lot of religions, including in Japan - it's seen as a very sacred material."

The incongruity of the salt creations of edible treats is most market on the supposedly sweet things, and it also carries over into a work which combines the two installations, in a piece that meets the viewer as they enter the gallery. Grape Chandelier (2011) is made of salt and metal, although it looks like an exotic style of beaded curtain one might find in the tropics. 

"Historically in Europe the chandelier was often considered as reminiscent of the shape of grapes. In this chandelier, we have cast more than 5,000 grapes with salt. The grapes were sourced in the Mildura region, known for its wine production. The issues of irrigation, wine production and salinity all go hand in hand in this region. Hence we put them all together in this work, which is actually our first chandelier-inspired work, made before the Crystal Palace series. We began drawing on the idea of the chandelier as a symbol of luxury from the Renaissance era with this work." - Ken and Julia Yonetani