Antique statues of women. Antique statues are casts from living people? Zeus from Cape Artemia

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Architecture and sculpture of ancient Greece

The cities of the ancient world usually appeared near the high cliff, the citadel was erected on it to be where to hide if the enemy penetrates the city. Such a citadel was called Achropole. Similarly, on a rock, which rose almost 150 meters above Athens and has long served as a natural defensive structure, the upper city in the form of a fortress (acropolis) was gradually formed with various defensive, public and cult facilities.
Athenium Acropolis began to uploaded for another II millennium BC. During the Greek-Persian wars (480-479 BC), it was completely destroyed, later under the guidance of the sculptor and architect Fidiya began his recovery and reconstruction.
Acropolis refers to such places, "about which everyone is stolen that they are great, unique. But do not ask why. No one can answer ... " It can be measured, you can even recalculate all its stones. Not such a big work to go out of the end to the end - just a few minutes will leave. The walls of the acropolis are steep and breaks. Four great creations are still on this hill with rocky slopes. A wide zigzag road comes from the foot of the hill to the only entrance. This propiletia is a monumental gate with columns in doric style and a wide staircase. They were built by architect Men's character in 437-432 BC. But before entering these majestic marble gates, everyone involuntarily turned into the right. There, on a high pedestal of bastion, once guarded the entrance to the Acropolis, the temple of the Goddess Victory Niki Aptereos, decorated with ionic columns. This is the work of the Kallicrat architect (the second half of the V century BC). The temple is lightweight, air, extraordinarily beautiful - stand out for its white on the blue sky. This is a fragile, similar to a graceful marble toy. The building as if smiling itself and makes it affectionately to smile passersby.
The restless, ardent and active gods of Greece were like the Greeks themselves. True, they were higher than the growth, knew how to fly through the air, to take any appearance, turn into animals and plants. But in all the rest, they behaved like ordinary people: married, cheated each other, quarreled, put up, punished children ...

Temple Demetra, builders are unknown, VI. BC. Olympia

Temple Nicky Aptereros, architect Kallikrat, 449-421 BC Athens

Propilenes, the architect mesome character, 437-432 BC Athens

The goddess of Victory Nick was depicted a beautiful woman with large wings: the victory is beaten and flying from one opponent to another. The Athenians portrayed her blindly, so that she would not leave the city, who recently won the great victory over the Persians. The devoid of the wings of the goddess could not fly more and should be forever remained in Athens.
The temple of Nicky stands on the ledge of the rock. He is slightly turned toward the propellant and plays the role of a lighthouse for the processions of the rolling rock.
Immediately, Athena Warlitsa, the spear of which welcomed the trampoline from afar and served as a beacon for navigators, was proudly rising. The inscription on the stone pedestal was reading: "Athenians devoted from victory over the Persians." This meant that the statue was cast from bronze weapons, taken away from the Persians as a result of victories overwhelmed.
The Acropolis was also the temple ensemble Ereheheton, who (according to his creators) had to tie together several shrines, located at different levels, - the rock here is very uneven. The North Portico of Erehechteion led in the sanctuary of Athens, where the wooden statue of the goddess was kept, allegedly fallen from the sky. The door from the sanctuary opened in a small courtyard, where the sole olive olive tree rose on the whole Acropolis, which rose when Athena touched in this place to the rock with his sword. Through the eastern portico, it was possible to get into the sanctuary of Poseidon, where he, hitting his trident on the rock, left three grooves with murmur water. There was also a sanctuary of Erechtea, revered on a par with Poseidon.
The central part of the temple is a rectangular room (24.1х13.1 meters). In the temple, there were also graves and the sanctuary of the first legendary king Attica Kekreop. On the south side of Erehechteion - a famous portico. Caryatid: the edge of the wall has six of the marble girls support overlap. Some scientists suggest that the portico served as the tribune of honor to citizens or that priests were gathered here for religious ceremonies. But the exact destination of the portica is still unclear, because the "portico" means the opposition, and in this case the portico did not have doors and from here you can not get inside the temple. Figures Portica Caryatid is essentially supporting a pillar or column, they also exceed the ease and flexibility of maiden figures. Turks who captured Athens in their time and not allowed in their Muslim convictions of human images, destroy these statues, however, did not. They were limited only to the fact that the face of the girls.

Erehechteion, builders are unknown, 421-407 BC Athens

Parthenon, architects, Kallikrat, 447-432 BC Athens

In 1803, Lord Eldin, an English ambassador to Constantinople and a collector, using the resolution of the Turkish Sultan, broke out one of the Caryatid in the temple and drove into England, where he proposed her to the British museum. The Turkish Sultan's firman of Turkish Sultan is too wide, he took along with him many sculpting fidiya and sold them for 35,000 pounds. The firman states that "no one should prevent several stones with inscriptions or figures from Acropolis." Eldhin filled with such "stones" 201 box. As he himself stated, he took only those sculptures that have already fallen or who threatened the fall, allegedly in order to save them from final destruction. But Bajron called him thief. Later (during the restoration of the British Portication in 1845-1847), the British Museum sent a gypsum cast of a statue taken by Lord Eldzhin into Athens. Subsequently, the cast was replaced by a stronger copy of an artificial stone made in England.
At the end of the last century, the Greek government demanded from England to return the treasures belonging to her, but it turned out that the London climate was more favorable for them.
At the beginning of our Millennium, when in the division of the Roman Empire, Greece went to Byzantium, Erehechteyon turned into a Christian temple. Later, the crusaders, who took advancing athens, made the church by the Duccian Palace, and in the Turkish conquest of Athens in 1458 in Erehechteyon staged a harem of the fortress. During the liberation war, 1821-1827, the Greeks and Turks alternately precipitated the Acropolis, bombarding its structures, including Ereheheton.
In 1830 (after the proclamation of the independence of Greece), only foundations could be found on the site of Erechteyon, as well as architectural decorations that lay on Earth. Means for the restoration of this temple ensemble (as well as on the restoration of many other structures of the Acropolis) gave Heinrich Schliman. His closest associate Verderpfeld carefully measured and compared the ancient fragments, by the end of the 70s of the last century he was already planning to restore Erehetion. But this reconstruction was subjected to strict criticism, and the temple was disassembled. The building was reinstated under the guidance of the famous Greek scientist P.Kavadias in 1906 and was finally restored in 1922.

"Venus Milos" Amessandr (?), 120 BC Louvre, Paris

"Laocoon" Assandr, Polydor, Athenor, OK.40 BC Greece, Olympia

"Hercules Farnesky" OK. 200 BC er, nat. Museum, Naples

"Wounded Amazon" Polyklet, 440 BC. Nat. Museum Rome

Parthenon - The Temple of the Goddess Athens is the largest building on the Acropolis and the finest creation of Greek architecture. It is not standing in the center of the square, but several on the side, so you can immediately cover the front and side facades, to understand the beauty of the temple in general. The ancient Greeks believed that the temple with the main cult statue in the center represents the house of the deity. Parthenon - The Temple of Athena-Virgin (Parfenos), and therefore in the center it was Christelefantine (made of ivory and gold plates on a wooden basis) statue of the goddess.
Parthenon erected in 447-432 BC. Architects Iktin and Callicrat from Pentelian marble. It was located on a four-stage terrace, its base size is equal to 69.5x30.9 meters. From four sides, Parfenon surrounds the slender colonnades, the lumens of the blue sky are visible between their white grammor trunks. All permeated light, it seems to be air and light. There are no bright drawings on white columns as it is found in Egyptian temples. Only longitudinal grooves (flutes) cover them from top to bottom, from which the temple seems higher and still slightly. With its slightness and ease of columns, they are obliged to be a little narrow up. In the middle part of the trunk, not at all noticeable for the eyes, they thicken and seem to be elastic, stronger with standing the severity of stone blocks. Iktin and Callicrat, having thought over each small detail, created a building that amazing the amazing proportionality, the maximum simplicity and purity of all lines. Putting on the top platform of the Acropolis, at an altitude of about 150 meters above sea level, Parfenon was visible not only from anywhere in the city, but also with numerous vessels who sailed to Athens. The temple was a doric perimeter surrounded by a colonnade of 46 columns.

"Aphrodite and Pan" 100 BC, Delphi, Greece

"Diana-hunter" Leochar, Ok.340 BC, Louvre, Paris, France

"Recreation of Hermes" Lisipp, IV. BC e., National Museum, Naples

"Hercules fighting with Lvom" Lisipe, approx. 330 BC Hermitage, St. Petersburg

"Atlant Farnesky" OK.2 BC, Nats. Museum, Naples

The most famous masters participated in the sculptural design of Parfenon. The artistic director of the construction and design of Parfenon was FIDI, one of the greatest sculptors of all time. He owns the overall composition and development of the entire sculptural decor, part of which he fulfilled himself. The organizational side of construction was engaged in Pericles - the largest statesman of Athens.
All sculptural design of Parfenon was designed to glorify the goddess Athena and her city - Athens. The theme of Eastern Fronton is the birth of the beloved daughter Zeus. In Western Fronton, the Master depicted the scene of the dispute of Athena with Poseidon for domination over the attic. According to the myth, Athena defeated the dispute, which gave the inhabitants of this country an olive tree.
Greece's gods gathered on the frontones of Parfenon: Rubezzz Zeus, the mighty ruler of the seas Poseidon, wise warrior of Athena, winged Nika. The sculptural decor of Parfenon Friz has completed, at which a solemn procession was presented during the celebration of the Great Panafine. This frieze is considered one of the tops of classical art. With all the compositional unity, he hit his diversity. Of the more than 500 figures of boys, elders, girls, hiking and horseback, no one repeated the other, the movements of people and animals were transferred with amazing dynamism.
The figures of the sculptural Greek relief are not flat, they have the volume and shape of the human body. From statues, they differ only by the fact that not processed from all sides, but as if merged with a background formed by the flat surface of the stone. Easy color revived Marble Parthenon. The red background emphasized the white features, clearly highlighted blue narrow vertical protrusions, separating one plate of Frieza from the other, brightly shone gilt. Behind the columns, a festive procession was depicted on the marble tape, which is moving all four facades of the building. There are almost no gods here, and people, forever captured in stone, moved along two long sides of the building and connected on the eastern facade, where the solemn ceremony of awarding the priests of robes, woven with Athenian girls for the goddess. Each figure is typical of its unique beauty, and all together they accurately reflect the genuine life and customs of the ancient city.

Indeed, once every five years in one of the hot days of the mid-summer in Athens, a nationwide festival occurred in honor of the birth of the goddess Athena. It was called the Great Panafine. It was attended by not only citizens of the Athenian state, but also a lot of guests. The festival consisted of a solemn procession (pump), bringing hecaters (100 heads of livestock) and a total meal, sports, equestrian and musical contests. The winner received a special, so-called Panificine amphora, filled with oil, and a wreath of the leaves of the sacred olive oil growing on the Acropolis.

The most solemn point of the holiday was a nationary procession on the Acropolis. Moved riders on the horses, they walked public men, warriors in armor and young athletes. In long white clothes, priests and noble people went, smoldering a goddess loudly, musicians were filled with joyful sounds. According to the Zigzag Panafine road, the thousands of people, highlighted by thousands of people, rose to the high hill of acropolis sacrificial animals. The young men and girls were taken by the model of the Sacred Panificine Ship with the Peplos (bedspread) attached to his mast. A light breeze waved a bright yellow-violet robe fabric, which was carried away by the goddess of Athena noble girls of the city. For a whole year, they are a fabric and embroidered it. Other girls highly raised over the sacred vessels head for sacrifices. Gradually, the procession was approaching Parthenon. The entrance to the temple was made not from the side of the propellera, but on the other, as if for each of the first, he looked around, inspected and appreciated the beauty of all parts of an excellent building. Unlike Christian temples, the ancient Greeks were not intended for worships inside them, the people during cult action remained outside the temple. In the depths of the temple, surrounded by two sides by bunk colonnades, the famous statue of the Virgin Athena, created by the famous fid, proudly rose. Her clothes, helmet and shield were made of pure sparkling gold, and the face and hands shone a white ivory.

A lot of book volumes were written about Parfenone, among them there are monographs about each of his sculpture and about every step of a gradual decline since that time, when after decree Feodosia I became the Christian temple. In the XV century, the Turks made a mosque from it, and in the XVII century - a powder warehouse. In the final ruins, it was turned on by the Turkish-Venetian war of 1687, when the artillery shell came there and for one moment did what that could not be done in 2000, the all-living time.

The highest points of the economic, political and cultural lift Greece reached in the middle of the V c. BC. After winning the union of the Union of Greek cities above the powerful percion.
In the style of Greek classics, sensual perception and rationality are merged.
"We love beauty without whiminality and wisdom without a fancy", - said Pericles. The Greeks appreciated rationality, equilibrium and measure, but, at the same time, they recognized the power of passion and sensual joy.
When we say "ancient art" now, we see the museum halls, tested by statues and fucked by the walls of reliefs. But then everything looked differently. Although the Greeks have special buildings for storing paintings (Pinakotheki), in the overwhelming mass of the work of art was not a museum lifestyle. Statues stood outdoors, illuminated by the sun, near the temples, on the squares, by the sea; Near them passed processions and holidays, sports games. As in the archaic era, the sculpture was cleaned. The world of art was a living bright world, but more perfect.

Greek sculpturepartially survived in the wreckage and fragments. Most of the statues are known to us in Roman copies, which were performed in a set, but often did not transmit the beauty of the originals. The Romans translated bronze products into a snow-white marble, but the marble itself of Greek statues was different - yellowish, light-touch (it was rubbed with wax, which gave him a warm tone).
Battles, fights, feats of heroes ... The art of early classics is filled with these warlike plots. For example, famous copies of Greek sculpture in treasurer of Sifnos in Delphi. The northern frieze of which is dedicated to Gianthahi: the battle of gigants with giants. Hephaesto blows the mountain to raise winds against the giants, Cybel rules the chariot, shaped with lions, one of which torments the giant. Gemini Artemis and Apollo are fighting nearby ...

Another favorite complex of motifs is sports. Themes of hand-to-hand fights, equestrian competitions, competitions in the run, throwing the disk taught scatter to portray the human body in the dynamics. Now complex poses appear, bold perspectives, broad gestures. The brightest innovator spoke attic sculptor Miron..Taks him famous "Discus thrower". The athlete leaned and swollen before the throw, second - and the disk will fly, the athlete straightened. But for this second his body froze in a position very complex, but balanced.

Bronze statue "Auriga"found in Delphi, is one of the few well-preserved Greek scripts. It belongs to the early period of the strict style - approximately approx. 470 BC. This young man is very straightforward (he stood on the chariot and rules of the Quadriga Horse), his legs, the folds of long chitone remind of deep flute of doric columns, the head is tightly covered by silver dress, the inlaid eyes look like alive. It is restrained, calm and at the same time executed energies and will. Like any outstanding sculpture, "Auriga" In various angles, it opens up completely different degrees of concentration and the verge of emotion. In one of this bronze figure with its strong, cast plastic, you can feel the complete measure of human dignity, as the ancient Greeks understood it.

In their art, at this stage, the images were prevailed, but, fortunately, the beautiful relief with the image of Aphrodite emerging from the sea was preserved - sculptural triptych, the upper part of which is repulsed.

In the central part of the goddess of beauty and love, the "foam", rises from the waves supported by two nymphs, which chasowly protect it with a light covering. It is visible to the belt. Her body and body nymph shine through transparent chitons, the folds of the clothes are pushed with a cascade, like a jet of water like music. On the side parts of Triptych, two female figures: one nude, playing on the flute; Another, closed in the bedspread, lights a sacrificial candle. The first is a hetera, the second is the wife, the custodian of the hearth, like two fabricity, both under the auspices of Aphrodites.

The worship of the Greeks in front of the beauty and wise body of the living body was great. Body language was the language of the soul. The Greeks owned the art of the transfer of "typical" psychology, they expressed a rich gamut of spiritual movements based on generalized human types. It is not by chance that the portrait in ancient Greece was developed relatively weak.

Great skill, achieved by Greek art in V c., Vibrant and in IV, so the most inspired artistic monuments of late classics are marked by all the same seal of higher perfection.

Skas, Praxitel and Lisipp- The greatest Greek brownies of late classics. By the influence that they had for all the subsequent development of ancient art, the work of these three geniuses can compare with the sculptures of Parfenon. Each of them expressed his bright individual globility, his ideal of beauty, his understanding of perfection, which through personal, only identified, reaches eternal - universal, vertices. And again, in the work of each of everyone, this is personal consonant with an era, embodying those feelings, the desires of contemporaries that most responded to his own. Spiritual durability and vigorous energy that breathes the art of early and mature classics, gradually inferior to the dramatic pathos of the stem and the lyrical contemplation of the PRAKER.
Artists iv c. Attract the charm of childhood for the first time, the wisdom of old age, the eternal charm of femininity.

Praxitel was famous for the special softness of the modeling and the skill of the material processing, the ability in cold marble to convey the warmth of the living body. The only surviving original of the Prakkitel is considered a marble statue "Hermes with Dionysis" found in Olympia.
Almost also a little left of the genuine works of the stem cutter, but even behind these wreckage - they breathe passion and gust, anxiety, the struggle with some hostile forces, deep doubts and sorrowful experiences. All this was obviously characteristic of his nature and at the same time pronounced certain moods of his time. Partially preserved reliefs of the frieze of Mausoleum in Galicarneas (Small Asia).

Great glory from contemporaries used Menada. Skasa depicted a storm of the Dionysian dance, straining the whole body of menada, bent the torso, which thrust his head. The Mystery of Dionysis was allowed to arrange only once every two years and only on Parnassa, but at that time, frantic vakhanks discarded all conventions and prohibitions.
These festivities were customary very ancient, like the Cult of Dionysis himself, but in the art of the element earlier did not break through with such force and openness, as in the statue of the Spropa, and this was obviously a symptom of time.

Lisippt created sculptures in difficult movements, counting on bypassing the statue around, processing their surfaces with equal care. The figure of the figure in the space was the innovative conquest of Lisippa. It was inexhaustible in the invention of plastic motifs and very fruit. Working exclusively in bronze, Lisypes in the plot plan preferred men's figures; Hercules was his favorite hero.
There is no uniform genuine work of the sculptor, but there is a rather large number of copies and repetitions that give an approximate view of the style of the wizard.
Other brownies tried to support the traditions of mature classics, enriching them with great grace and complexity.

This way was Leochar, who created the statue of Apollo Belvedere. For a long time, this sculpture was estimated as the top of ancient art, Belvedere Kumir was a synonymous for aesthetic perfection. As it often happens, high praises over time caused the opposite reaction. It began to find pompous and mannered. Meaning Apollo Belvederey - The work is really outstanding on its plastic dignity; In the figure and switches, the Lord MUCs are combined with strength and grace, energy and ease, walking on the ground, at the same time hear over the ground. To achieve such an effect, it was necessary to have a sophisticated skill of the brew; The trouble is just that the calculation on the effect is too obvious. Apollo Leohara as if invited to admire his beauty, and in the era of late classics, the virtuoso performance was very valued.

ARTICLETOC: Enabled \u003d YES)

Faced with the sculptures of ancient Greece, many outstanding minds expressed genuine admiration. One of the most famous researchers of the art of ancient Greece, Johann Winkelman (1717-1768) speaks of Greek sculpture: "Experts and imitators of Greek works are found in their workshops, not only the most beautiful nature, but also more than nature, namely, a certain ideal beauty, Which ... Created from images sketched by reason. " Everyone who writes about Greek art is celebrated in it an amazing combination of naive directness and depth, reality and fiction.

In it, especially in sculpture, the ideal of man is embodied. What is the feature of the ideal? What he fascinated people so much that the aged Goethe was sobbed in the Louvre in front of the sculpture of Aphrodite? The Greeks were always believed that only a beautiful soul could live in a beautiful body. Therefore, the harmony of the body, external perfection - an indispensable condition and the basis of an ideal person. The Greek ideal is determined by the term calocation (Greek. Kalos is beautiful + Agathos kind). Since calocation includes perfection and bodily addition, and spiritually moral warehouse, then justice, chastity, courage and intelligence are carried out with beauty and power. This is exactly what the Greek gods are bored with ancient sculptors, uniquely beautiful.

The best monuments of ancient Greek sculpture were created in V c. BC. But earlier works reached us. CATATU VII - VI centuries. BC. Symmetric: one half of the body is a mirror reflection of another. Counted poses, elongated hands pressed against a muscular body. Not the slightest tilt or turn of the head, but the lips are disclosed in a smile. Smile as if from the inside illuminates the sculpture of the expression of the joy of life. Later, during the classicism of the statue acquire a greater variety of forms. There were attempts to algebraically comprehend harmony. The first scientific study of the fact that there is harmony, taught Pythagoras. The school, which he founded, considered philosophical-mathematical issues, applying mathematical calculations to all parties of reality.

Video: Sculptures of ancient Greece

The theory of numbers and sculptures of ancient Greece

There were no exceptions to neither the musical harmony, nor the harmony of the human body or architectural structure. The Pythagorean school considered the number the basis and the beginning of the world. What is theory of the theory of numbers to Greek art? It turns out that the most direct, since the harmony of the spheres of the Universe and the harmony of the whole world is expressed by the same relations of numbers, the main of which are 2/1, 3/2 and 4/3 relations (in music, respectively, Octava, Quint and Quarta). In addition, harmony assumes the possibility of calculating any correlation of parts of each subject, including sculptures, according to the following proportion: A / B \u003d B / C, where A is any smaller part of the object, B - any large part, C is an integer. On this basis, the great Greek sculptor polyclet (V century BC) created a sculpture of the boy-spear (V century. BC), which is called "Dorina" ("Copionaire") or "Canon" - by the name of the writings Sculptor, where he, arguing about the theory of art, considers the laws of the image of a perfect person.

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Greece on the map where the sculptures of ancient Greece were created

Statue of the Policlet "Copyensec"

It is believed that the artist's arguments can be attributed to his sculpture. Statues of the polyclet full of tense life. The polyclet loved to portray athletes at rest. Take the same "spear". This mighty addition man is full of self-esteem. He stands still in front of the viewer. But this is not static peace of the ancient Egyptian statues. As a person, skillfully and easily owning his body, the spearman slightly bent one leg and moved the burden of the body to another. It seems that there will be a moment and he will make a step forward, turn his head, proud of his beauty and strength. Before us is a strong, beautiful, free from fear, proud, discreet - the embodiment of Greek ideals.

Video: Greek sculptors.

Statue of Mirone Discobol

Unlike its contemporary of the Polyklet, Miron loved to portray his statues in motion. Here, for example, a "discobol" statue (V in. BC. E.; Museum Term. Rome). Its author, the great sculptor Miron, depicted an excellent young man at the moment when he swung a heavy disc. Its captured by the movement body is curved and intense, as ready to turn around the spring.

Under the elastic leather, the trained muscles began to take up his hands. Foot fingers, forming a reliable support, deeply rushed into the sand.

Sculpture Fidia "Athena Parfenos"

The statues of Mirone and the Polyclet were cast from bronze, but only marble copies from the ancient Greek originals made by the Romans reached us. The greatest breeder of his time of the Greeks was considered to be a fididium, which decides the marble sculpture of Parfenon. In his sculptures, it is especially reflected that the gods in Greece are nothing more than the images of an ideal person. The world's marble rope ribbon is preserved. 160 m long. It depicts a procession heading into the temple of the goddess Athens - Parfenon. The sculpture of Parfenon suffered greatly. And "Athena Parfenos" died in ancient times. She stood inside the temple and was extremely beautiful. The head of the goddess with a low smooth forehead and rounded chin, neck and hands were made of ivory, and hair, clothes, shield and helmet were wound out of gold sheets. The goddess in the image of an excellent woman is the personification of Athens. Many stories are associated with this sculpture.

Other sculptures of Fidia

The created masterpiece was so great and famous that his author immediately appeared many envious. They tried to press the sculptor in every way and searched for various reasons for which it would be possible to acclaim him in something. It is said that the fidiy was accused of the fact that he allegedly passed a part of gold, given as Mother for the decoration of the goddess. In proof of innocence, FIDI removed all the golden items and weighing them. Weight accurately coincided with the weight of the gold given on the sculpture. Then the fidia was discovered in Godlessly. The reason for this was the shield of Athens.

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Athens on the map where the sculptures of ancient Greece were created

It shows the plot of the battle of the Greeks with Amazons. Among the Greeks FIDI depicted himself and his favorite pericles. Image of Fidia on the shield and caused the conflict. Despite all the boosts of the Fidiya, the public of Greece was able to set up proteins. The life of the Great Sculptor ends with a cruel execution. Achievements of Fididia in Parfenone were not exhausted for his work. The sculptor created a set of other works, the best of the kolossal bronze figure of Athena Promahos, erected on the Acropolis, approximately 460 BC, and no less huge fighters from ivory and gold Zeus for the temple in Olympia.

Unfortunately, there are no more authentic work, and we cannot see our eyes great works of art of ancient Greece. Only their descriptions and copies remained. In many ways, the reason was the fanatical destruction of statues by believers of Christians. So you can describe the statue of Zeus for the temple in Olympia: a huge fourteenthimeth-meter God rented on the golden throne, and it seemed to stand up, spreading wide shoulders - closely will be in the extensive hall and low will be the ceiling. Zeus's head was decorated with a wreath of the branches of Maslina - a sign of the peacefulness of the Terrible God. The shoulders, the shoulders, the chest were from the ivory, and the cloak - shut off through the left shoulder. Crown, Zeus beard were sparkling gold. Fidius endowed Zeus with human nobility. His frauded face framed by curly beard and curly hair was not only strict, but also good, the pose solemn, Majikhava and calm.

The combination of physical beauty and kindness of the soul emphasized his divine ideality. The statue produced such an impression that, according to the ancient author, people depressed by the grief were looking for consolation in contemplation of the creation of Fidia. Solva announced the statue of Zeus one of the "seven wonders of the world." The works of all three sculptors were similar in that they all portrayed the harmony of a beautiful body and a good soul enclosed in it. It was the main direction of that time. Of course, norms and installations in Greek art changed throughout history. The art of Archaika was more straightforward, there was no complete deep meaning of non-evolving, which hesitates humanity in the period of Greek classics. In the era of Hellenism, when a person lost the feeling of the sustainability of the world, art has lost their old ideals. It began to reflect the feelings of insecurity in the future, reigning in the public currents of the time.

Materials of the sculpture of ancient Greece

One united all periods of the development of Greek society and art: it, as M. Alpatov writes, a special addiction to plastic, to spatial arts. Such addiction is explained: the huge reserves of a variety of coloring, noble and perfect material - marble - represented ample opportunities for its implementation. Although most of the Greek sculptures were carried out in bronze, as marble was fragile, however, it was the texture of marble with its color and decorativeness with the greatest expressiveness to reproduce the beauty of the human body. Therefore, most often "Human body, its structure and compliance, its harmony and flexibility attracted the attention of the Greeks, they willingly portrayed the human body and naked, and in light transparent clothes."

Video: Cultural of ancient Greece

A curious hypothesis regarding the ancient Greek miracular miracle found in the Sculptor Nigel Konstam (Nigel Konstam): he believes that the ancient statues were casting with living people, because otherwise it is impossible to explain such a quick transition from the manufacture of static statues of Egypt type to the perfect realistic motion transmission art that It occurs in the interval from 500 to 450 BC.

Nigel confirms its hypothesis, confirms the study of the steps of antique statues, comparing them with plaster fingerprints and wax castings made from the predetermined pose of modern simulators. The deformation of the material on the feet confirms its hypothesis that the Greeks did not make a statue, as before, and began to use castlers from living people instead.
For the first time on this hypothesis, Constam found out from the film "Athens. True on democracy," the material went on the Internet and that's what I found.

Nigel removed the video with the explanation of his hypothesis on the ancient casts and it can be viewed here http://youtu.be/7fe6pl7ytck in English.
But let's first look at the statue yourself.

Antique Statue of Kuros Archaic Epoch about 530 BC It seems coward and tense, then the contrapost was not known - the free position of the figure, when the equilibrium of rest is created from opposite to each other movements.

Koss, the figure of the young man, began the V century BC. Looks just more dynamically.

Warriors from Riach, statues of the second quarter of the V century BC. 197 cm Height - the rarest find of the original Greek sculpture of the classic period, most of which are known to us in Roman copies. In 1972, Snorkeling, the Roman engineer Stefano Marottini found them at the bottom of the sea off the coast of Italy.

These bronze figures are distinguished not entirely, their details were bonded as a designer, which makes it possible to learn much more about the technique of creating sculptures of that time. Their pupils are made of golden paste, eyelashes and teeth of silver, lips and nipples from copper, and eyes using inlaid techniques bone and glass.
That is, in principle, a few times modified, as scholars found out, some details of statues with casts with live models, albeit enlarged and improved, could well be.

It is in the process of researching the deformed strength of the severity of the warriors from Riach sculptor to the head, this idea of \u200b\u200bblinders came to mind, which could have used antique sculptors.

When watching the film "Athens. The truth about democracy" I was interested in how I felt a fairly fluffy fitter, from whom they filmed a gypsum form, because many who had to wear plaster complained that he would hurt him, because he had to shake her hair.

On the one hand, there are sources from which it is known that in ancient Greece not only women, but the man-athletes removed their hair on the body.
On the other hand, they differed from women. No wonder in the comedy of Aristophan "Women in the People's Assembly" one of the heroines, who decided to take away the power to the men say:
- And I threw the first thing to the razor
Far away, so that Sashava and Kudatta become,
Do not like a chute to a woman.

It turns out that if the male's hair was removed, then most likely those who professionally engaged in sports, namely such simultuers and needed sculptors.

I read, however, about the gypsum and found out that there were ways to deal with this phenomenon in antiquity: when we made masks and casts, the body of the simulator was smeared with special oil ointments, thanks to which the gypsum was removed painlessly, even if there were hair on the body. That is, the technique of blinds is not only from the dead, but from a living person in ancient times really well known in Egypt, however, it was the transfer of movement and copying a person who was not considered beautiful there.

But for Hellenes, the beautiful human body, perfect in his height, seemed the greatest value and object of worship. It is possible, therefore, in the use of casts from such a body for the manufacture of works of art, they have not seen anything reprehensible.

Frina in front of the areaopag. J.L.Mer. 1861, Hamburg, Germany.
On the other hand, they could well blame the sculptor in the dishonor and the insult of the gods because for the statue of the goddess as a simulator he used heter. In the case of Prakkiter accused of wormless Frin. But wouldn't he agree to posing non-hetera?
It was justified by its areaopag in 340 BC, however, after during speech in her protection, the speaker Hipperid presented the original - Nude Friend, having stopped Hiton from her and rhetorically, a question of how such beauty could be guilty. After all, the Greeks believed that the beautiful body had no less beautiful soul.
It is possible that the goddes were depicted before him, and the density of the judge could consider the fact that the goddess looks like Frin, as if one in one, and the accusation of the heterhairs herself in God was only a pretext. Maybe they knew or guessed about the possibilities of working with gypsum casts from a living person? And then an unnecessary question could arise: to whom they worship in the temple - Frin or Goddess.

With the help of working with a photo, the modern computer artist "revived Frin, that is, of course, the statue of the Aphrodite of the Book, and more specifically - it is a copy of it, because the original has not reached us.
And, as we know, the statues of the ancient Greeks were painted, so it may well be that the hetera could look like that if her skin was slightly yellowish, for which it was on some sources and called Frina.
Although in this case, our contemporary competes with Niki, the artist, of course, and not a commander who leads the wrong link to Wikipedia. After all, to the question of what kind of works of Praxitel considers the best, he answered the legend that those that were painted by Niki.
By the way, this phrase remained a long century mysterious for those who did not know or did not believe that the finished Greek sculptures were not white.
But it seems to me that the statue of Aphrodite is unlikely to be painted exactly the way, because scientists claim that the Greeks painted them enough to the Pestro.

Rather, approximately as Apollo is painted from the exhibition of the motley gods "Bunte Götter".

And imagine how strangely felt a fitter when I saw how people worship in the image of God.
Or not him, and his copies, which the artist proportionally increased, brightly painted and corrected small physical inconsistencies and shortcomings in accordance with the Canon of the Polyclet? This is your body, but more and better. Or isn't yours? Could he believe that the statue made from him is the statue of God?

In one of the articles, I also read about the huge number of gypsum blanks in an ancient Greek workshop for copies prepared for sending to Rome, which were found archaeologists. Maybe it was including casts from people, not just from the statues?

I will not insist on the prestam hypothesis that interested me: Of course, it knows specialists, but the fact that antique sculptors from living people and parts of their body have doubts do not cause doubts. Can I think that the ancient Greeks were so stupid that, knowing what kind of plaster would not be guessed?
But what do you think, make copies of living people - is it an art or deception?

Today I would like to raise the topic, which, by experience, sometimes it causes a difficult and far-minded reaction - to talk about an ancient sculpture, and more specifically - about the image of the human body in it.

Attempts to introduce children with an ancient sculpture sometimes come out for an unforeseen difficulty, when parents simply do not decide to show a child naked statues, considering such images almost pornography. I do not assume to assert the versatility of the method, but in my childhood such a problem did not even arise, because - thanks to my wise mommy - a wonderful publication of the legends and myths of ancient Greece Kun, richly illustrated by photographs of the work of antique masters, appeared in my life in five or six years, There are long before the girl began to be interested in all sorts of specific flooring questions.

So the struggle of Olympians and the titans and the feats of Hercules lay down in the head somewhere on one shelf with the snow queen and wild swans and remembered not only as bizarre stories, but immediately gained a visual embodiment, they were tied - maybe at that time not quite consciously - Specific poses, gestures, persons - human plastic and facial expressions. At the same time, the mother's children's questions that had happened immediately found simple and understandable answers - that, first, in ancient Greece it was hot, and, secondly, the statues are not people and now they are not at all cold.

As for adult questions, it should be borne in mind that the idea of \u200b\u200bdividing a person to the soul and the body, which in Christian anthropology led, in the end, to the idea of \u200b\u200bbody subordination of the body (and even later, in some Protestant branches and at all - To the hard teaser of the body), first was clearly formulated, perhaps only by Plato. And before the Greeks, at least a few centuries reached the thought that the soul is not just a spirit, breathing, but something individually personal and, so to speak, "stationary", very gradually moving away from the concept θυμός to the concept of ψυχή. Thus, especially since the gods became anthropomorphic, the Greek masters simply had no other way to tell about different sides of life, except to portray the human body.

So, a significant part of Greek sculpture is illustrations for myths, which in antiquity were not just "fairy tales of the gods", but also a means of transmitting major information about the device of peace, life stuff, due and short. That is, similar "3D illustrations" were much more important for ancient people than for me in childhood. However, perhaps, much more significant than understanding the myths, it turns out to be another opportunity that Greek sculpture provided to their creators is to study and know the person himself. And if the main characters of primitive art were a variety of animals, then since the time of the Paleolithic and throughout the antiquity, there is no doubt a person becomes.

All the efforts of the artists of this largely in time of the period are aimed at first to catch and convey the most common anatomical features of the structure of the human body, and then more complex dynamic manifestations - movements, gestures, facial expressions. So European art began its long path from gross and only distant human-like "Paleolithic Venus" to the works of Mirone perfect in the proportions, and on them further; The path that could be called dear to man, - first to his body, and then to the soul - the truth is still in the psychological sense of the word. Let's go through some of its stages and we.

Paleolithic Venus. About 30 thousand years ago

The most first human images in Europe, as mentioned above, were "Paleolithic Venus" - tiny figures made of mammoth or soft rocks. Features of their images are almost complete absence of hands, and sometimes even legs and heads, a hypertrophied middle part of the body - suggest that we are still in front of us, most likely, not even an image of the human body fully, but only an attempt to transfer one of its functions. - Children. Communication "Venus" precisely with the cult of fertility implies the absolute majority of researchers; We are also needed only as the starting point of our journey.

The next stop in it will be kosses and barks (letters - young men and girls) - human images dried in ancient polishes in the VII-VI centuries BC.

Koss, archaic smile. Kuros and bark

As you can see, similar statues used, for example, as monuments of famous athletes, the appearance of the human body is already transferred much more detail, however, they are a kind of "man's scheme". For example, all numerous kosses for some kind of inexplicable reason are in the same position - pressing his hands in the body, putting forward a left leg forward; The most recent suspicions of portrait are finally dispelled when looking at their faces - with the same absent expression and lips, stretched into a creepy - so-called. Archaic - smile.

Next stop. V c. BC, Greek Archaica. Sculptures of the Mirone and the Polyclet, who amazing the viewer by the perfection of proportions.

Miron. Discobol 455 gto AD, Polyclet. Doricor (speynoster) (450-440 BC) and wounded Amazon (430 BC)

Do you ask you, and this is again the scheme? And imagine the answer will be affirmative. Evidence of this we have, at least two. First, before our time there were excerpts of the so-called. "Canon Polyclet". In this mathematical treatise, the sculptor, a follower of the flow of Pythagoreans, tried to calculate the ideal proportions of the male body. An illustration of such calculations seems to be the statue later. And the second proof will be ... Extensive Greek literature of the time. From it we can learn, for example, the following Sappo lines:

One who is beautiful is good.

And the one who is kind, will soon become beautiful.

Moreover, among all the heroes of "Iliad", Homer is unquestioned to join an endless war on which the heroes of the gods are chased, alone is refused by the "feebled" Trysit. The author does not regret the black paint for this character, who outraged the army with his speeches and hates literally everyone; But the same Trysit does not at all by chance, according to the will of the author, a terrible freak:

The husband is the loose-free, he came to Ilion between Danayev;
There was a squint, chromonog; Absolute humpback from behind
The shoulders on the perfume converged; Head has risen
Up the edge, and was only rare dot down.

Thus, it can be said that the Greeks of the archaic period were supporters of the idea that the beauty of the external is an indispensable manifestation of inner beauty and harmony, and, consequently, the scrupulously calculating the parameters of the perfect human body, tried to portray any little, the perfect soul, so much Perhaps, that it even seems inanger.

And the truth, answer me just one simple question: where will the disc-discobol dismissed the next moment? The longer you will look at the statue, the clearer will understand that the disc will not be thrown nowhere, because the position of the reserved hand of the athlete does not imply the shuffles on the throw, his chest muscles do not give out some special tension, the face is completely calm; Moreover, the depicted position of the legs does not allow you to do not need that needed to throw a jump with a turn, but even - a simple step. That is, it turns out that discobol, despite the seeming complexity of his postures, is absolutely static, perfect, dead. Like the wounded Amazon, in his sufferings gracefully polished at such a period of the cap by the cap.

Finally, IV century. BC. Looks into Greek sculpture new moods. At this time, the Greek policies are experiencing a decline - we can assume that the small universe of an ancient person gradually finishes its existence. Greek philosophy decisively refers to the search for the new foundations of human happiness, offering the choice of Kinikism Antisphen or the hedonism of Aristippa; One way or another, but from now on with the problems of the deep meaning of their life, a person will be forced to understand himself. The same separate human character goes to the fore and in the sculpture in which there is also a meaningful facial exposure and a real movement.

LisiPP Recreation Hermes IV Century BC, Menada Skopas, 4th century. BC, Artemis from Gabi 345 BC

Pain and tension are expressed in the pose of Menada Skopas, and her face with widely open eyes turned to the sky. Thinking, the elegant and familiar gesture stamps a phillu on the shoulder of Artemis from Gabi Prakkitel. Hermes Lisippa is also clearly in deep thoughtfulness, and unnecessary extended, completely non-classical proportions of his body make a figure with a light, giving a certain dynamics of even this almost static pose. It seems a little more, and the young man will take some important decision and run on. So, for the first time through the outlines of beautiful marble and bronze bodies begins to peise the soul.

By the way, the majority of the statues considered by us today are naked. But did someone noticing this?

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