history of sculpture

24/02/2015 HISTORYOFSCULPTURE

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KANON.HISTORYOF:ART.ARCHITECTURE.PAINTING. SCULPTURE.FURNITURE.DESIGN.CLOTHING.GARDENS.MUSIC.PHOTOGRAPHY.ICONOGRAPHY.MYTHOLOGY.PHILOSOPHY.LIBRARY.@

CHAPTER: PREHISTORY/EARLYCIVILIZATIONS.ANCIENTGREECE.ANCIENTROME.MIDDLEAGES.RENAISSANCE/MANNERISM.BAROQUE/ROCOCO/CLASSICISM.XIXCENTURY.MODERNISM.XXCENTURY

LISTOFSCULPTORS

HISTORY OF SCULPTURE PREHISTORY AND EARLY CIVILIZATIONS

BELLOW:PREHISTORY.SUMER/AKKAD.BABILON/ASSYRIA.EGYPT.CYCLADICISLANDS.MYCENAE.CRETE

PREHISTORY

Thesculptureisprobablytheoldestofthearts,andthisisbecauseit isnot illusive,concrete,spatialandsensualnature.Unlikemostworks of art (to the time of abstraction), the sculpture does notpretend,doesnotrefertoadifferentreality,whichisanillustrationof or allusion. The sculpture is simply in all its simplicity andreality.Probablybecausethefirstcreativeimpulsehaspromptedaprehistoricmantodoaclumsy,butuniqueinitssacredsculpture.Remains amystery why the earliest works of art (sculpture andpainting) come from Central Europe, not the "fertile crescent" isregarded as the cradle of civilization. Admittedly, the objectsconsideredbyhistorianstobethesculpture found inMoroccoandtheGolanHeightsandgoesbacktothemonthemiddlePaleolithic(from about 300,000 BC), but the objects that will undoubtedlyhave a function as a cult, and required the contractor to artistictalent developed in areas ranging from France to presentdayUkraineintheUpperPaleolithicperiod(40,00014,000BC).

Why is the art of sculpture and painting (the cave) was born inEurope,thendisappearedforahundredcenturiesandwasrevivedinadifferentformintheculturesofremoteareasseveralthousandmilesdonotwe'llprobablynever.TypicaloftheartformoftheStoneAgeisawomanasymboloffertility.Figurines called "Venus"weremade froma soft stone orivory, and the most famous examples come from the area ofAustria,Germany,Moravia,andUkraine.Found in the Hittite bulkheads Catal Hyk seated figure of theMotherGoddessfromaround74007300BC,isoneoftheearliestexamples of prehistoric sculpture and cult belongs to the artcreatedinawellorganizedandhierarchicalsociety.

ZVenusTanTanMaroko,400000pne

VenusBerekhatRamGolanHeights,230000BC



VenuszHohleFelsSchelklingen,Niemcy,40000pne



LowerVstoniceVenusMoravia,29,000BC

VenusLaugerieBasseFrance

VenuszSavignano25000pne

VenusofTursac22,000BC

VenusofWillendorf22,000BC

VenusLespugue20000BC



VenusdeLaussel19000BC

VenuszgagarinoUkraine

MotherGoddessofatalhyk,74007300BCMuseumofAnatolianCivilizationsinAnkara



MESOPOTAMIA

In the sixth millennium BC in Mesopotamia (modern Iraq), the firstcivilizations constitute the beginning of the empires of Sumer and Akkad.Sculpture in these areas was performed with the basalt, sandstone andalabaster,andforsmallobjects,aswellaslargersculpturesdecoratingalsoused copper, gold, silver, lapis lazuli, shell fragments and a variety ofpreciousstones.Thepotteryandclayfigurinesweremadeofterracotta.

ThecharacteristicsofthegreatSumerianstatues,staringeyes, longbeardsformenandprayerfullyclaspedhands.Votive figurines from the Uruk period around 31002700 BC, and manyobjectswerefoundinthecemeteryintheSumerianUr(2650BC).

SUMER I AKAD

SteleofNaramSin,kingofAkkad,celebratingvictoryoverthepeopleLullubiofZagros,21902154BC



VotivereliefkingofLagashUrNansha,25502500BC,Telloh



Praying,alabaster,2400BC,Telloh



SittingGudea,PrinceofLagash,2120BC(setneosumeryjski,Telloh



TwoprayingthatthetempleinEshnunna(nowTellAsmar),.2700BC,plaster,shells,limestone,IraqMuseum,Baghdad

I Babylonian Assyrians

ThebeginningofthehistoryofHammurabiofBabyloniaweregovernment(1750BC),thefounderofthefamousCode.SculptureoftherulerisstillalotofSumerianartfeatures.InthisperiodthegoddessIshtarfigurines,whichwascalledthemotherofthegods,lightoftheworld,liketheriveroflife.MostofthebuildingsarepreservedreliefsadorningpalacescountrysuccessiverulersofAssyria,whichhavemanyfeaturesincommonwiththelaterartofPersia.



Hammurabi(17921750BC)

BabyloniangoddessIshtarAshtart,c.2000BC,Louvre



Lamassu,arelieffromthepalacesofSargonIIinDurSharrukininAssyria(nowKhorsabadinIraq),c.713716BC



SargonIIandclerk,arelieffromthepalacesofSargonIIinDurSharrukininAssyria(nowKhorsabadinIraq),c.713716BC



Thegeniusofaflower,arelieffromthepalacesofSargonIIofAssyriaSharrukinDur(nowKhorsabadinIraq),c.713716BC



TheservantcarryingthethroneofSargonII,arelieffromthepalacesofSargonIIinDurSharrukininAssyria(nowKhorsabadinIraq),c.713716BC

Royalhuntlions,fromthenorthernpalaceatNineveh,645635BC,BritishMuseum

Persia

In theartofPersiansculpture is involved in thearchitectureandoccursalmostexclusively in the formof reliefgraces thewallsof thechambersof thepalaceandwewntrzpaacowychstreetfrontage.Humanfiguresareshownschematically,noevidenceofindividualizing,drawsattentiontothedevelopmentofextremelyprecisestylizeddetail(hairstyles,beards).Oftenappearinginrecital(alreadypresentinartAssyrian)isLamassucaringdeitydepictedasawingedbullwithahumanhead,flankinghonorarypalaceentranceandgates.ThegreatestcollectionofPersiansculptureisinPersepolis,thecitywasfoundedin518.BCbyDariusIanddestroyedbyAlexandertheGreatin330AD.BC.

Persiansoldiers,thepalaceinPersepolis,



WellpreservedfromthetimeoftheAchaemenidreliefinPersepolis

BasreliefdepictingiconicZaratusrtianfightingbull(Earth)withalion(Sun)



Lamassus,GateofNationsinPersepolis

HarryfromthepalaceinPerspeolis



PalaceofDariusIinPersepolis

Bull'sheadguardingtheentrancetotheHalloftheHundredColumnsinPersepolis



EGYPT

Althoughitperformedwellasasophisticatedformofsmallsculpture,astatueof ancient Egypt is primarily a monumental form of the temple (as in theTempleofRamsesIIatAbuSimbel)andsubjecttotherulesofcanonpresentformofgods,pharaohs,priests,officialsandmembersoftheirfamilies.Except for a short period of the reign of Pharaoh Akhenaten and QueenNefertiti,whenthereareelementsofrealism,thesculptureofEgypthasaveryschematic formandhasbeenassociatedprimarilywith thepreparationof thedeceasedtoeternallife.Setitattheentrancestothetombsandtheirinteriors,meant to represent the deceased and to provide him with immortality.Therefore,not celebratedsculptorsof the individual features of the portrayedperson,butacertainidealofdescribingitanditsstatus.Present the form of sculptures in stiff poses standing, sitting or kneeling,sittingasthehandswereplacedontheknees,thesizeofthestatueswasdueto the hierarchical relationships rather than physical attributes the Pharaohwasalwayshigherthanthosesubjectedtoit.Avoidedbybreakinguplumpstooexplicitformationofthearmsandlegstheywerepartofamonolith.Allthesculptureswerepolychrome,evenifitweremadeofpreciousmaterials.Colorsalittle itssymbolism.Womenandcivilservants inmiddleagedpaintedbright yellow color, men in their prime brownishred color. Red meant thevitality,thedivineattributeofblue,blackfertilityoftheNile,whichwasborninEgypt.Eyesasperformedwithcrystalsandgemstones.Due to the conventionality of imaging important role played by costume, andaboveallattributes,afterwhichthestatusofpersonsdiagnosedorthetypeofdeity.

Shortlived,butaradicalrevolutioninartandinthewholeorganizationofthe Egyptian Pharaoh Amenhotep IV moved (around 1350 BC 1918Dynasty), which deprived the government of priests, temples receivedhugeestates,andintroducedamonotheisticreligionandreformed(byhiscourtsculptorTutmosisa)thecanonofsculpturalart.AmenhotepIV,afterthereforms,whichheregardedasthebeginningofanewerainEgyptianhistorychangedhisnametoAkhenaten.Thenewstyleischaracterizedbyprolongationoftheformandmembers,long necks, elongated faces and amazing "bezpciowo 'form. Do notavoid the ugliness, broke the stillness and lack of perspective. Thesecharacteristicsofartassociatedwiththepharaoh'sdisease,whichmaybean illustration of a study done by the face of Akhenaten Tutmosisa,startlingrealisticrepresentationoftheextraordinarysufferingofthewholeartofEgypt.A realistic style of sculpture in Egypt, still remained under the reign ofPharaoh Tutankhamen, but after the destruction of the capital, whichAkhenaten moved to TelelAmarna reinstated the validity of thetraditionalcanon.A special kind of Egyptian sculptures are called uszebti. These weremostly done with polychrome terracotta figurines left in considerablequantitiesinthetombsofprominentpersons,ofservicereadytoperform"intheafterlife,"avarietyofworkforthedeceased.UszebtiappearedintheMiddleState,andsince1918aproliferationofthedynasty.Therewerecasesofputtingtoathousandfiguresinonetomb.



TheoldestknownsculptureEgyptianivoryprzeddynastycznyperiod,NaqadaI/NaqadaII,37503550BC

SculptureattheentrancetotheTempleofRamsesIIatAbuSimbel,Nubia,c.1230BC



PharaohMenkaureandhiswifeKhamerernebty,2500BC



OfficialBes,XXVIDynasty,660610BC,limestone



ThetombofPharaohTutankhamen'smask,13411323BC



HemiunustatuefromthetombatGiza



CmentarzystascribeofSaqqara,poloichromowanylimestone,eyeswithcrystalsandcopper,26002350BC

StatueofKa(spirit,whichisacomponentofthehumansoul),13dynasty,c.1700BC



"GreenHead"500BC,theAltesMuseuminBerlin

PharaohEchnaton



StudyoftheheadofAkhenatenmadebyTuthmosis

Nefertiti,wifeofAkhenaten,Thutmosis,1345.BC



Figuresushebti

AEGEAN SCULPTURE

AegeanArthadthreecenters:theCycladesacomplexofislandsintheAegeanSea,Mycenaecontinentalcastle,andCrete,whichisdefinedastheartoftheMinoan(namedafterthelegendaryKingMinos.)

Mycenae

Mycenaeanculture flourished intheBronzeAge inthecontinentalpartofAegeancivilization.AccordingtoHomer'sepic,warriorsunder thecommandofAgamemnonmykescyconqueredTroy.TypicalofMycenaeanart isabasreliefthatadornsthewallsofbuildings.Oneexampleiscalled.LionessGatetriangularbasreliefstonecrowningtheentrancegatetothestrongholdofMycenaean,showingtwolionheadrestingonthebase.AtMycenae also producedgold funerarymask, fromwhich themost famous is theMask of Agamemnon, and adornedwith gold jewelry and sculpturalvessels,suchasacupfromVafioshowingtetheringbulls.



Input"Gatewaylioness",Mycenae

Goldrhytonintheshapeofalion'shead,circlefuneraryAsixteenthcentury.BC



Portraitofawoman,polychromeconcrete,13001250BC,CentreAcropolisMykeskim

MycenaeangoldcupwithVafeio,Laconia,thefirsthalfofthefifteenthcentury.BC



Goldburialmaskso.MaskofAgamemnon,graveNo.V,thesixteenthcentury.BC,NationalArcheologicalMuseum,Athens

CYCLADES

Cycladiccultureflourishedaround2500BCanddevelopedtheproductionofceramicswithasquare,circularorspiraldecorativemotifs,andtheproductofsilverjewelry.Butespeciallycharacteristicofthisculturearethe idols marblestatuesofvarioussizesandvaryingdegreesofdevelopmentofdetail fromthesimplest,evenprimitiveformstomorecomplexgeometricrepresentationsofpeople,includingmusiciansplayinginstruments.TheendofCycladicartsetsavolcaniceruptionontheislandofTherainthefifteenthcenturyBC.



IdoloftheislandofKeros,27002300BC

IdolzAkrotiri,Santorini



Marblefemalecharacters

CharactersmusiciansfromthetombofKeros,c.2000BC



CRETE

TheBronzeAgelastedinCreteabout2700BC,theprepalace.Around1900BCbeganaperiodofoldpalaces,whichcompletedthedestructionofmanybuildings in the earthquake around 1700 BC. The eruption on Thera(Santorini)about1600BCdestroyedtherebuiltculture. In thenext "periodofnewpalaces"builtthepalaceatKnossos,theCretanmagnificenceendedwinningbyMycenaeabout1400BC.In addition to the most famous center of Knossos on Crete there were anumberofotherartcenters,suchasPhaistos,Zakros,Malia,AgiaTriada.

Cretansdespitethemurkymythologycreatedawonderful,colorfulandlightart, whose character is largely defined unusual for those days the socialsystem the feature was not fortified palaces located among the citybuildings.PerhapsthatiswhytheMinoancultureisnotcreatedmonumentalsculptures. Were created and carefully developed valuable, sophisticatedjewelry and ornaments. An example of a cult statues chamber is the"Goddessofsnakes"andrhyton intheshapeofabull'sheadmadeofhighrealismsculptureofgoldenhornsandcrystaleyes.

GoddessofsnakesadistinctivejerseyCretanwomenwithbaredbreasts.



Rytonwithgildedhornsandcrystaleyes.



1400BC

IntheabsenceofsourcematerialsisdifficulttodeterminewhydevelopingforalmosttwothousandyearsofculturefellAegeanSeaaround1200BC.It isnot knownwhether the cause was the socalled hypothetical invasion.maritime peoples who had not only destroy the area, but all the centers of theMediterranean,orthecollapseoccurredasaresultofinternalcrisisandconflictcausedbythechangesofcivilization.ThefactisthatincontemporaryEuropeandtheMiddleEastforseveralcenturiesreignedregression,whichneithercausenorcoursewedonotknow.Evenmoremysteriousisthatafteraboutdwustuletnimcrisis,thefirstsignsofrecoveryarenotinGreece,buttodayinthenorthofItaly(Villanovaculture,andEtruscans),andafteranotherhundredyearsinAtticabegantohatchanarchaicGreekculturerepresentingthehistoryofthebeginningofanentirelynewera.Theperiodofdarkagesisthereforeaturningpointseparatingtheprehistoryandearlyantiquity(oursiteofthefirstperiodwecall itcivilization)fromwhatistheessenceofthecultureofantiquity.

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