Ancient Greek statues of women. Sculpture of the classic era: Beauty without solarness and wisdom without a lotness. Outstanding sculptures of the era
An attribute image is still the most common subject of sculpture. The perfect human beauty is that they strive to embody the Greeks in the images of athletes. The figure of the Delphian edition of the composition created by about 476 BC. e. An unknown master. The figure is cast in bronze, which has become a favorite material from that time.
Not only anonymous works V c are known. BC e. At this time, the sculptures of FIDI, Miron and a policlet worked in Athens. Many statues have reached us only in Roman marble copies of I-II century. n. e. The most famous among the works of Mirone from the Eleuter "Discobol" (about 460-450 BC), depicting an athlete at the time of the highest voltage before throwing the disc. Mirona first managed to convey the liveliness of movement in static art, the inner voltage of the figure. In another work - "Athena and Mariji", performed for the Athenian Acropolis, the Forest Forest of Mariji chooses a musical instrument among scattered at his feet, stands next to him with anger of Athena. Both figures are combined by action. It is interesting to note that, although Marsii acts here as a creature, expressing modern tongue, negative, only in his improper face emphasizes the absence of perfection, the body is perfectly perfect.
For eleven years, Alexander subordinates the Persian Empire of Western Asia and Egypt, continuing to Central Asia The valley of the Indian River. During his reign, Alexander cultivated art, since there was no patron to be in front of him. His work, first of all his portraits of Alexander, opened many features hellenistic sculpture, such as the portrait of the heroic ruler. Colette Hemingway Independent Scientist.
Bordman, John. Greek sculpture: Classic period: Directory. Greek sculpture: Late classic period and sculpture in colonies and overseas countries. Milelemer, with Richard de Puma reports. Man Metropolitan Museum: Greece, Cyprus, Etrury, Rome.
The policlet from Argos worked already in the period of high classics, in the middle and second half of the V c. BC e. He created the generalized artistic image of an athlete, which became the norm and sample. He was written theoretical treatise "Canon" (measure, rule), where the sculptor accurately calculated the size of the parts of the body on the basis of human growth as a unit of measurement (for example, a head - 1/7 to growth, face and brush hands - 1/10, feet - 1/6, etc.). He expressed his ideal in the restrained-powerful, calm-majestic images of Dorimfora (spear; 450-440. BC. Er), "Diadumen" (Athlete, who grows his head by a victorious bandage, about 420 BC. er) and "wounded Amazon", intended for the famous temple of Artemis in Ephesus. The polyclet embodied in his statures, above all, the image of an ideal free-born citizen of the policy, the city-state of Athens.
New York: Metropolitan Museum; New Haven: Press conference of Yale University. Pollitt, Jerome J. Art and Experience in classical Greece. Cambridge: the press of the University of Cambridge. As mentioned above, Parfenon was a typical example of how the Greeks used a sculpture to decorate and strengthen their religious buildings. Initially, the sculptures of Parfenon were divided into three groups: large-scale detached groups containing numerous figures of gods and mythological scenes were located on both sides.
The third greatest sculptor V c. BC e. There was already mentioned Athenian Fidium. In 480-479 Persians captured and plundered Athens and the main sanctuations on the Acropolis. Among the ruins of the sacred church of Fidi, the seventener bronze statue of Athena Warper, Athens-Prosakhos, with a spear and a shield in hand, as a symbol of the revival of the city, its power and irreconcilities to enemies. Like all the subsequent works of Fidia, the statue died (she was destroyed by crusaders in Constantinople in the XIII century).
On both sides there were almost 100 reliefs of the struggling figures, including gods, people, centaurs, etc. Around the entire building there was another embossed structure about 150 meters long, in which the Great Pointing was a religious 4-year-old festival, praising Athena. Despite the fact that they are very damaged, the sculptures of Parfenon reveal the highest artistic ability of their creators. First of all, they, like many other classic Greek sculptures, reveal the amazing sense of movement, as well as the marked realism of the human body.
About 448 BC. FIDI performed the 13-meter Statue of Zeus for the temple of Zeus in Olympia. The face, hands and body of God were laid out by plates of ivory on a wooden basis, eyes from precious stones, raincoat, sandals, olive branches on the head, hair, beard - from gold (the so-called Christhelefactory technique). Zeus recresented on the throne, holding a scepter in his hands and the figure of the Victory Goddess. The sculpture was enjoying great fame, but she died in V c. n. e.
A painting of stone, terracotta and wooden sculpture was another special technique, mastered by Greek artists. Stone sculptures were usually painted in greasy; Although usually, only those parts of the statue that portrayed clothing, or the hair was painted, while the skin remained in a natural stone, but sometimes the whole sculpture was drawn. Sculptural painting was considered as peculiar art - the early type of mixed media, and not just sculptural perfection. In addition to paint, the statue can also be decorated with precious materials.
From 449. G. BC. e. The reconstruction of the Athenian Acropolis and FIDI began to be an embodiment of pericla's plan, supported by all Athenians.
In the sculpture to replace the masses and the severity of the strict classics, interest in the spiritual world of man comes, and in plastic, a more complex and less rectilineaceous characteristic is reflected. So, in the only sculptor reached the sculptor of the marble statue of Hermes (about 330 G. BC), the master portrayed an excellent young man, carelessly calm on the stump, in a state of rest and serenity. Thoughtfully and gently he looks at the baby Dionysus, who keeps on his hands. To change the courageous beauty of the athlete V c. BC e. Beauty comes a somewhat feminine, elegant, but also more spiritualized. On the statue of Hermes, traces of ancient coloring are preserved: red-brown hair, silver bandage. Another sculpture of Prakkitel was used by special glory - the statue of the Aphrodite of the Book. It was the first image of a naked female figure in Greek art. The statue stood on the banks of the Peninsula of Books, and the contemporaries wrote about real pilgrimages here to admire the beauty of the goddess, who was preparing to enter the water and dropping the clothes to the Vaza standing nearby. The original statue of the Aphrodite Book, unfortunately, has not been preserved. The heroes of Praxitel are not alien to the lyrical feeling, distinctly expressed, for example, in his "resting satire". Such traits developed even earlier, in the plastic of students of the Fidiye school, it is enough to indicate "Aphrodite in the gardens" of Alkamena, the reliefs of balustrade church of the Nick Aptereros or the tombstone of Gegezo unknown masters.
Other famous artists of the 4th century included the apiells of the "rivals of Antifila and Protogenov", Evphranor Corinthian, Evpe and the historic artist Androckid from Kizikus. Relief ball is a very early example of a new style. It is from marble marble, about a feet of a height and one of the sides of the square base for the statue, probably the usual koss. The carving is in a very low relief, and the background still shows the red paint, although hair and other details of the figures have lost most their original coloring.
The base is decorated on three people. Athletes are trained at the front, one side of young men sets up a dog on a cat, and on the other hand - some kind of team game with a player on the left, throwing inside - the subject, very rare in Greek art, but well-appropriate to show oblique and twisted poses; Indeed, only one figure adheres to the old formula, it is possible to remind the viewer the modernity of the sculptor.
Skas, a native of the island of Paros, was a modern manner of Prapkitel. He participated in the creation of a relief frieze for Galicarnas Mausoleum in conjunction with Timothy, Leohhar and Brixis. Unlike Praxitel, Skasa continued the tradition of high classics, creating images of monumental-heroic. But from the images V c. They are distinguished by the dramatic tension of all spiritual forces.
The high relief was less close to painting, and therefore it is not necessary to be random that our first examples in early classical style appear a little later. With its decisive modeling and turning of the head, this work is much less dependent on painting than the relief of the ball. For gravestone reliefs, a narrow field was still popular in which there was only one or two standing figures, but even in wider fields, calm scenes became more common than before.
It is characteristic of classical art in general, where - when the ability in the view increased - the mood has become as important as the action. Even the signs of the landscape are small, and the least unusual is almost natural in sculpture from stone. Front of the "TRONE TRON" width of 4 feet 8 inches offers an exceptional example of early classic sculptureEmulating Greek classical painting. In modern painting, it was easy to show the foot contour through the drapery, but this attempt of transparency in the relief technically inelen with its sharp contour of the back and the illogical deflection of the folds of the skirt.
In the state of ecstasy, in a stormy impulse of passion is shred to Menada. The satellite of God Dionisa is shown in the rapid dance, her head is trapped, the hair fell on the shoulders, the body is curved, represented in a difficult perspective, the folds of a short chiton emphasize the rapid movement. Lighting game enhances the dynamics of the image.
Unlike sculpture V in. Menada Schopasa is already calculated on all sides.
There is also a pebble platform on which side shapes cost. Nevertheless, although this "throne" is possible, the wing for the altar or the sacred well - was made of marble imported from Tasos, its style is provincial, compressed in some Greek workshop of southern Italy, and provincial art is subject to an indiscriminate experiment.
This also explains the strange aroma of Archaizma in the hair of the central figure and the lifting of the concomitant right; But the posture of the servant, the rest of the drapery and the expression of the surviving facial is early classical, and in the folds of the fabric, unnoticed by servants, there is an unexpected subtlety. The topic is unclear, perhaps a goddess or a priestess that comes out of a ritual bath or even Aphrodite rising from the sea.
Lisipp - the third great sculptor IV century. BC e. (370-300 Gg. BC. E.). He worked in bronze and, if you believe the ancient writers, left after myself 1,500 bronze statues, which did not reach us in the script. Lisypes used already known plots and images, but it sought them to make them more vitality, not perfectly perfect, but characteristic of expressive. So, he showed athletes at the time of the highest voltage of the forces, but, as a rule, at the time of their recession, after the competition. This is how his apoxy is presented to the sand after sports battle. He has a tired face licking his hair. Plenitive Hermes, always fast and alive, is also represented by the Lisipp, as it were, in a state of extreme fatigue, briefly fastened to a stone and ready to run on their winged sandals at the next second. Tired from the features depicts Lisipp and Hercules ("Recreation Hercules"). Lisipp created his canon proportions of the human body, according to which his figures are higher and slimmer than at the polyclet (the size of the head is 1/9 of the figure).
List of best statues, figurines and reliefs created during the classic antiquity, see: The greatest sculptures. For a review of important later works, see: Venus Milo and Lokon and his sons Hasander, Athenod and Polyelfor. The legacy of the early classic sculpture.
Early classic style was adopted in Etruscan art, although often with an admixture of archaic, but preserved a pretty clean archaic style. In Lycia, the most common region of southwestern Anatolia, the taste of greek sculpture He began in the sixth century and grew up in the fifth, although there are some provincial delays. The Effect of Early Classic Style in Phenicia is more noteworthy, where Egyptian's marble sarcophages were fashionable from the beginning of the fifth to the late fourth century, many of which are made from Paris marble and are decorated with persons in more or less Greek style.
Lisipp was a multifaceted artist. The court sculptor Alexander Macedonsky, he made gigantic multi-digurized compositions, such as the battle of 25 shapes of riders, statues of the gods, portraits (more than once he depicted Alexander Macedonian, the best portraits of the famous commander carries the features of almost tragic rejection).
Persians seem to have found a new development of Greek sculpture too revolutionary to be adopted in the official Persian art of the Court of Achhemenidov. Then the copy began on a limited scale, and in the early classic manner there was an adaptation and even the original creation. Some of these styles have an independent merit with their well-calculated feelings or self-conscious impurities. The subsequent recognition of this phase of Greek sculpture, both practicing artists and critics, indistinguishable from archaic.
Sculpture Ancient Greece Dedal style Sculpture Greek painting Archaic period Greek sculpture Late classic period Greek sculpture of the Hellenistic period Hellenistic styles of statues and reliefs Greek painting of the Hellenistic period Greek artwork.
For art late classic The introduction of new genres, which found further development at the next stage - in Ellinism.
Victory over the powerful Persian Empire in V c. BC e. The Greek policies were rallied and gave the strongest impetus to the development of all industries, starting from the economy and ending with creativity. It seems that the Greek masters of that time have suffered some sacral secrets of being, they have obtained such impressive creations. Characterizes works of visual art of that era as sensual, natural, immediate, rational. This was especially brightly expressed in sculpture.
The classical period of ancient Greece has created some of the most exquisite sculptures that the world has ever seen. The art of a classic Greek style is characterized by the joyful freedom of movement, freedom of expression, and it celebrates humanity as an independent being. During this period, artists begin to expand the formal aesthetic boundaries when they worked on to express the human figure more naturalistic. They were able to replace the strict asymmetry of the shape of a free current, more faithful to life, while they approached the perfect aesthetic vision through the stone and bronze.
Today, the sculpture is associated with museum expositions, but at that time the heroes of myths and legends from marble and bronze decorated the streets greek policies, Temples, Parks and Square. It was a natural embodiment of beauty, accessible to everyone to humilion. Probably, that is why the original ancient Greek sculptures They found mainly in the form of fragments and fragments - the Greeks could not imagine that the creations of their sublime consciousness need to be hidden and protected from the consciousness of the barbaric.
The form of classical sculpture has become liquid and natural, and the stylization of archaic art has given way to realistic figures, which proceeded from the illusion of movement in space. For the first time in the history of mankind, the anatomy of man was considered worthy perpetuation of the stone or bronze, and the smyster and painstaking step forward Statues of the Kuros was replaced by the pose, who commanded their space with a slight movement. During the classic period, Greek artists replaced the rigid vertical figures of the archaic period by three-dimensional pictures of figures in action.
Many classic statues are known to us thanks to Roman copies. Rome generally was the successor of Greek culture, but the copies often simply could not convey the beauty of the originals, passing only the plot. The difference was felt not so much in the absence of mastery of imitators, as in the spirit of the era itself. So, greek statues It was from another marble - yellowish, filled with light and warm tones. This was achieved thanks to the witch marble.
While the archaic sculptures seemed static, the classic statues kept dynamic poses, taking off with potential energy. General models of fixed muscles were turned into a complex universe of tension and relaxation. Ancient greek sculptors Finally reached the balance through the opposing effect of human muscle groups.
For the first time in the history of mankind human body It was studied for its aesthetic values \u200b\u200band was considered as an autonomous universe. The object of art became the person himself, since the focus of the artist rotated around ordinary items, such as weight shift during the front step at the moment before the production of thunder, binding ribbons around the head or just shift the pelvis when one foot supports the weight of a man.
Loved motifs ancient Greek sculptors - The accomplishments of mythical heroes, the battle of the Olympic gods with titans, sports competitions. Thanks to the specifics of scales, the Greek sculptors learned how to recreate the human body in motion, depicting complex poses.
The classic Greek sculptor was rather a wizard than an artist. He surpassed ordinary items in unusually universal signs. And in this process, he canceled thousands of years of the artistic tradition, when he switched attention from the supernatural and unknown to more earthly affairs. Throughout history, the human figure was used by many civilizations as a simple object, which meant metaphysical concern. On the other hand, in the classic Greek sculpture, the figures often depict deities, but it is clear that the human body becomes the subject of the study.
An innovator is the attic sculptor Miron and his "discobol". The athlete waves, getting ready to run the disk, it is tilted and tense, even a moment - the throw will be perfect and the athlete will relax members. But Miron captured this second, when the athlete froze in the position seemingly unstable but, at the same time, in equilibrium.
The gods were depicted as a simple reason for learning people. In ancient Greece, a long intellectual evolution reached its logical completion in the classical era, when a person as a living organism on this planet acquired the value he deserved, and the gods became people across marble and bronze. The golden age of classical Greece dictated that this earth Mir It can be explained from the point of view of the cause and effect, and that each civilized society was based on logic. In classical Greece, the visible universe became explained and, consequently, the subject of intensive study.
The Greek original of an unknown author, presumably Sotades, preserved relatively good - the bronze statue of the "cat", found in delphes. Specialists belong to the period of strict style (approx. 470 g. BC. Er). Look at this young man. He controls the four horses, but at the same time absolutely calm. It costs without shoes, the flute of doric columns is measured in the folds of his Hiton, and the hair is pulled on the foreheads of the silver dress. Peer in his eyes - they are like alive, full of energy. What is characteristic of all outstanding sculptures, "cat", with a look from different angles, "opens up" to the contemplate of various faces. One of this bronze figure, its strong, cast plastic, allows you to feel - what exactly the ancient Greeks understood under human dignity.
Ellity bowed before the beauty and wisdom of the living body device. They understood the body language - as the language of the soul. As a result, the Greek masters mastered the art of the transmission of "typical" psychology, expressing the richest gamut of spiritual experiences through generalized human types. For the same reason, the art of the portrait in ancient Greece was developed relatively weak - the whole body was expressed by the mood and essence of the hero depicted.
In the period from the end of the VI to IIV centuries. BC er, the creators sought to express spiritual power and the vigor of the Spirit, but over time, the accents shifted to excessive pathos, dramaticness and lyrical contemplation. Sculptors attracted the charms of childhood, the power of maturity, old age with her wisdom and femininity - her charm, temptation and chastity. Skas, Praxitel and Lisipp - the greatest Greek sculptors of the Late classic era. They had such an impact on the development of ancient art, which is comparable to significance with the sculptures of Parfenon.
The peak of the classical sculpture of ancient Greece, as a general opinion, is "Apollo Belvedere", the authorship of Leohara. This statue is synonymous for aesthetic perfection. "Apollo Belvedere" really amazes with his plastic advantages: in the figure and switches, the Lord MUCs are combined with force and grace, energy and ease; Stepping on the ground, he boot over the ground. To achieve such an effect, the exclusive skill of the brewer was required - the trouble is only that the calculation on the effect is too obvious.
The ancient Greeks left behind the great cultural heritage, which can be considered a decent landmark for the creators of today, newly emerging from the barbaric state.