Editing Macedonia (ancient kingdom) (section)

===Visual arts===
{{main|Ancient Greek art}}
{{further|Hellenistic art|Music in ancient Greece|Pottery of ancient Greece|Ancient Greek sculpture}}
{{multiple image| align = right | direction = horizontal | header = | header_align = left/right/center | footer = Left, a fresco of a [[Ancient Macedonian army|Macedonian soldier]] resting a spear and [[Kausia|wearing a cap]], from the tomb of [[Agios Athanasios, Thessaloniki]], 4th&nbsp;century&nbsp;BC. Right, fresco from the [[Tomb of Judgement, Lefkadia|Tomb of Judgement]] in ancient [[Mieza, Macedonia|Mieza]] (modern-day Lefkadia), [[Imathia]], [[Central Macedonia]], Greece, depicting religious imagery of [[Greek underworld|the afterlife]], 4th&nbsp;century&nbsp;BC.| footer_align = left | image1 = Fresco of a Macedonian soldier, from the Tomb of Agios Athanasios, 4th&nbsp;century&nbsp;BC.jpg | width1 = 145 | caption1  = | image2 = Ancient Mieza, Macedonian tombs of Lefkadia, The Tomb of Jugdement 545fddcedb8f434cdb346f41dbd838ec.jpg | width2 = 150| caption2  = }}

By the reign of [[Archelaus I of Macedon|Archelaus{{nbsp}}I]] in the 5th century BC, the ancient Macedonian elite was importing customs and artistic traditions from other regions of Greece while retaining more archaic, perhaps [[Homer]]ic, funerary rites connected with the [[symposium]] that were typified by items such as the decorative metal [[krater]]s that held the ashes of deceased Macedonian nobility in their tombs.<ref name="hardiman 2010 515">{{harvnb|Hardiman|2010|p=515}}.</ref> Among these is the large bronze [[Derveni Krater]] from a 4th-century{{nbsp}}BC tomb of Thessaloniki, decorated with scenes of the Greek god [[Dionysus]] and [[Cult of Dionysus|his entourage]] and belonging to an aristocrat who had had a military career.<ref>{{harvnb|Hardiman|2010|pp=515–517}}.</ref> Macedonian [[metalwork]] usually followed [[Pottery of ancient Greece|Athenian styles of vase shapes]] from the 6th{{nbsp}}century{{nbsp}}BC onward, with drinking vessels, jewellery, containers, crowns, [[diadem]]s, and [[Ancient Greek coinage|coins]] among the many metal objects found in Macedonian tombs.<ref name="hardiman 2010 517">{{harvnb|Hardiman|2010|p=517}}.</ref>

[[File:Lion hunt mosaic from Pella.jpg|thumb|[[Alexander the Great|Alexander]] (left), wearing a ''[[kausia]]'' and fighting an [[Asiatic lion]] with his friend [[Craterus]] (detail); late 4th-century{{nbsp}}BC [[mosaic]],<ref>{{harvnb|Palagia|2000|pp=182, 185–186}}.</ref> [[Pella]] Museum.]]
Surviving Macedonian painted artwork includes [[fresco]]es and [[mural]]s, but also decoration on [[Ancient Greek sculpture|sculpted artwork]] such as [[statue]]s and [[relief]]s. For instance, trace colors still exist on the [[bas-relief]]s of the late 4th-century BC [[Alexander Sarcophagus]].<ref>{{harvnb|Head|2016|pp=12–13}}; {{harvnb|Piening|2013|p=1182}}.</ref> Macedonian paintings have allowed historians to investigate the clothing fashions as well as military gear worn by the [[ancient Macedonians]].<ref>{{harvnb|Head|2016|p=13}}; {{harvnb|Aldrete|Bartell|Aldrete|2013|p=49}}.</ref> Aside from metalwork and painting, [[mosaic]]s are another significant form of surviving Macedonian artwork.<ref name="hardiman 2010 517"/> The [[Stag Hunt Mosaic]] of Pella, with its three-dimensional qualities and illusionist style, show clear influence from painted artwork and wider Hellenistic art trends, although the rustic theme of hunting was tailored to Macedonian tastes.<ref name="hardiman 2010 518">{{harvnb|Hardiman|2010|p=518}}.</ref> The similar Lion Hunt Mosaic of Pella illustrates either a scene of Alexander the Great with his companion [[Craterus]], or simply a conventional illustration of the royal diversion of hunting.<ref name="hardiman 2010 518"/> Mosaics with mythological themes include scenes of Dionysus riding a panther and [[Helen of Troy]] being abducted by [[Theseus]], the latter of which employs illusionist qualities and realistic shading similar to Macedonian paintings.<ref name="hardiman 2010 518"/> Common themes of Macedonian paintings and mosaics include warfare, hunting, and aggressive masculine sexuality (i.e. abduction of women for rape or marriage); these subjects are at times combined within a single work and perhaps indicate a metaphorical connection.<ref group="note">This metaphorical connection between warfare, hunting, and aggressive masculine sexuality seems to be affirmed by later [[Byzantine literature]], particularly in the [[Acritic songs]] about [[Digenes Akritas]]. See {{harvnb|Cohen|2010|pp=13–34}} for details.</ref>