The word relief comes from the Latin verb RELEVO, which means "raise". The creation on the monument of sculptures in the form of relief creates an impression of raising the image above the stone surface.

In fact, a cutter on a stone or wood chooses certain parts of the plane, leaving untouched future relief. This work requires a considerable skill, of great time and excellent ownership of a cutter. If you consider these disadvantages, then the advantages of art relief technology can be attributed:

• lack of the need to form a sculpture back;
• the increased strength of the sculpture, especially in comparison with the figures cut out of stone.

When using materials such as metal, clay, plaster or ceramics, relief can be added or squeezed out of the plane, and monumental barrel bas-reliefs are made by casting.

Depending on the height of the embossed image, it distinguishes its views using Italian or French terminology:

• borrow (ITal. Alto-Rilievo is a high relief) - a sculptural image that protrudes over a plane by more than 50%, and often having elements partially separated from the plane;
• bas-relief (ITAL. BASSO-RILIEVO - Low relief) - Sculptural image performs above the surface of the stone no more than half
• koylanaglif (Fr. En Creux) - The relief has an in-depth contour and convex sculptural image
• counter-relief (ITAL. CAVO-RILIEVO) - relief negative or in-depth relief

In modern monumental sculpture, the mainstream techniques and bas-relief are most often used and their variations. However, it does not mean that other types of embossed sculptures have no place left in contemporary art. Consider them in more detail.

Bas-relief or low relief

The simplest example of using these techniques is ordinary coins. It is quite obvious that images on them have a minimal relative height, almost indistinguishable when viewing on the side. If you put a coin on the palm and look at her front, then the three-dimensional effect will be maximal.

The very idea of \u200b\u200bthe manufacture of the bas-relief involves simplicity in cutting, low manufacturability and low cost in production, so it got the greatest distribution in most world cultures, starting from ancient Egypt, the countries of the Middle East and civilizations of Central and North America. In addition, the bas-reliefs were often cried with paints of various shades in order to maximize the image. Before this day, the ancient bas-reliefs reached mostly in an unfamiliar form - the paint time does not spare much faster than the statue itself. However, a chemical analysis allows you to say with confidence that most bas-reliefs stained.

Historians are known and more exotic types of bas-reliefs, such as Ishtar Gate from ancient Babylon. Animal sculptures are created using molded bricks. Egyptian and Roman bas-reliefs were made by plaster, and, as a result, most of these bas-reliefs were practically preserved to the present day.

In European culture, the most famous bas-reliefs were made of wood and were used as elements of church altars.

But most often bas-reliefs are found in the technique of manufacturing Buddhist monuments of India and Southeast Asia. Temples in the caves of Ajanta and Ellora contain a tremendous size of the image of the gods carved from one-piece pieces of stone. The Borodulur Temple on Central Java (Indonesia) contains almost one and a half thousand bas-reliefs that tell about the birth of the Buddha. On the same island is the temple of Prambanan, with bas-reliefs illustrating the plot of the Hindu Poem Ramayan.

High relief

Relief sculptures in which there are at least half of the volume above the plane, for the first time most noticeably appeared in the art of ancient Greece. Often these were practically independent sculptures separated from the surface of the stone and crossed with each other to create a complete effect of depth.

The burners of Greek and Roman sarcophagus were made by drilling, without chisels. Their compositions are as satisfied with the figures and characters as possible - for example, sarcophagus. The Middle Ages marked the complete distribution of high-relief techniques, especially in Greeks. In the era of Renaissance, the burners was given a second life. It was especially noticeable to use their use in the funeral art, later - in neoclassical frontions and urban monuments.

In the Hindu monumental sculpture, the burners were adjacent to the bas-reliefs, not much inferior to them in popularity. The group of temples in Khajuraho is the most obvious example of the use of high-relief techniques with Indian sculptors.

Counter-relief and Koylanaglyph

These types of relief have not received global distribution in funeral art. Separate civilizations, for example, ancient Egypt, used an in-depth relief rather widely, but outside this state, this type of sculpture did not receive a significant distribution.

Various types of reliefs are often used in the manufacture of monuments on the grave and as overhead items for them, as well as in creating ritual and memorial plates, including for a columbary wall or family columbarium. Less time-consuming and, accordingly, more affordable bas-relief, as it is not better suitable for registration of tombstones or granite slabs. This technique is perfectly used both to create dynamic growth sculptures and for small, "brass" formats.

A company that trades gravestone monuments in your area, you will find in the section Making monuments of our ritual directories

Under the term "morphoskulpture" combine the form of relief created "under the prevailing effects of exogenous processes developing on the surface of morphostructure elements". If the main features of the morphorestructure relief within the region developed for a long time and were formed mainly in her daiety, then in a quaternary period with its sharp climatic fluctuations, with alternating glacial eras and intellaries, with strong changes in the water regimes, the formation of a modern sculpture relief occurred. The sculpture relief was formed at all geological stages of the development of the territory, but it was usually almost completely destroyed by the abrasion-accumulative activities of the transgression seas. The quaternary sculpture relief is fully preserved in the visible surface. Its development went with the continuing newest and modern movements of the structures that the imprint on the sculpture relief formation. However, the "energy" of external processes was significantly higher than endogenous, therefore the boundaries of the sculptural complexes of relief often do not coincide with the boundaries of morphostructures. If the latter on the territory of the region is predominantly meridional oriented, the sculptural zones have more latitudinal orientation, which indicates their "climatic" conditionality.

The combination of structural reservoir plastic plains and sculptural forms of different genesis (aquatic, glacier, karst, etc.) within the territory under consideration has significant differences.

Fluvial relief

On the territory of the Bryansk region in Neogen-Quaternary time, the leading role in the development of sculpture relief belonged to fluids. Rivers dedicated mainly to tectonic deflection and linear faults, with a general lift of the region, significantly increased the contrast of the relief, created deep valleys and "recorded" in the relief of the valleys of information on the development of the territory. The good preservation of this "information" is related to the fact that the territory of the region was not covered with glaciers on a significant area.

In the development of rivers there are three age-related strokes: the time of laying the surfaces of the drain (subtractability), the time of formation of the river (or hydraulic strokes), the time of formation of the valley of the river. The formation of the south-western subtildness of the territory belongs to the Durassian time. Information about the Late Paleozoic direction is very small. Only the overall northeastern direction of rivers in the coal period is noted.

The time of addressing the drain from the northeastern direction to the southwest occurred, obviously, at the beginning of the Mesozoic between Carbon and Yura. Under the Jurassic sediments, large erosion hinders open to the south-west can be traced. In the meso-census, the general downstream of the basin is preserved.

The casting of rivers in the northern part of the gum basin took place as the chalk seas retreat in the cognac and the Santon centuries of the late chalk. By the end of the early Neogen, a developed river network was already existed with a pattern, close to modern. An initially formed a river network of the left bank gums, a little later - the right bank of the Desniny basin and the poutte pool. The most ancient deposits in the valley of the gums are timed to the lower buried terrace, therefore the age of the valley itself can be defined as early-playful (Q i). In the Paleodolians in the Basin, the gums are often found to be spectacular levels, blocked by oligocene-miocene (P 3 -N 1) sands and loams of continental genesis, which gives reason to consider the age of some ancient valleys neogenic.

The early Pleistocene River Network inherited the main hollows of the Pliocene Relief. In the glacial zone, many valleys were filled with glacial sediments. Some restructuring experienced small rivers. The valleys of large rivers (Dnipro, Ugra, gums, Bolov) remained confined to the Viednik Pradolins, although their axial parts experienced some side offset.

South border of the Dnieper Glacier The river network as a whole has kept the wholnikovy drawing. Climatic changes and tectonic movements aroused here a complex development of the Vertical Valleys.

During the retreating of the glacier (deglayadiation) on the watersheds, numerous hollows of the flow of melt waters were formed. After the edge of the edge of the glacier, draining these hipsters of the River "died", and in the relief there were "through" valleys. Separate through valleys or their parts are inherited in small rivers (Ressat, Voronitsa, etc.). Numerous through hollows are located in the southwest of the region, on the watersheds of the Iputi rivers and again. An example is a wide bench between PGT. Red Mountain and Oz. Vikholka. Threaded valleys between the rivers of the Ipool (s. Dobrush) and the Tsate, the Horseman of the Gasomov and Sudsy rivers. On the Central Russian hill, through valleys combine the upper stakes of the rivers of the oco and gums, neurussia and sowing.

RELIEF

The word "relief" comes from the Italian "RELEVIO", which means "bulge", "protrusion". In the relief, the image is created by a bulk form, only partially protruding over the flat surface. As with any sculpture, he has three dimensions, but the third is abbreviated, conditional. Other "words, it becomes as if an intermediate link between a round sculpture and an image on a plane. The plane is both the technical basis and - at the same time - the background on which the composition is located.

The relief was especially common in the ancient East: in India, two-range, Cambodia (Campuches), Iran. The scenes of the palaces of the Assyrian and Persian kings in Ninevei and Persepola were completely covered with reliefs. Assyrians depicted the scenes of war and hunting, they did not know themselves equal in the recreation of the actions and feelings of animals, able to show them with fierce, suffering fighting. Perseneg reliefs argued the royal power: they were depicted warriors with swords, spears and bows and peoples, carrying tribute to the king of the kings - Babylonians led him by the bulls, Armenians - horses, Elamician-taught Lviv, Arabs - camels. Due to the fact that all the figures were the same size and walked in one direction, the impression was created that there are many people and animals behind them: the simplest method of repetitions and a peculiar rhythm and a sense of the magnificity of what is happening were reached.

Space Eastern Reliefs far exceed European. Sometimes they close the whole wall completely, sometimes they go through it with a frieze - a horizontal strip located in its upper part. They are always ambitious. The total magnitude of Frieza, coming from the hall to the hall in the palace in District Cherrukin in Assyria, reaches six thousand square meters. On the frieze of the "ivory terrace" in Angkore, the old capital of Cambodia, elephants are depicted in a natural value.

Temples Cambodia: Relphone Angkor WAT.

Images on reliefs for the most part very realistic. England reliefs are a genuine encyclopedia of everyday folk life. N. And they depict hunters shooting birds from onions; fishermen throwing networks into water; Bricklayers, bare stones; Cooks that are fussing near the stoves - they boil rice, bake cakes; rope, boldly walking over a rope outstretched in the air; A boyfriend, sanguilding something from a trash of the rear in the merchant market; The agitated group of "fans" captured by a cocktail. Even in such solemn reliefs, which was the relief of the palace in Persepole, strictly observes the realism of the details: the garment of one of the kings depicted on it exactly reproduces the true kaima, found by archaeologists in one of the most ancient burials.

The relief is divided into three main varieties: deepened relief, bas-relief and high relief. An in-depth is called the relief not with convex, but embedded into the depths or walls with contours - the planny image is preserved here in its entirety. This is a graphic and very clear technique: despite the game of light and shadows caused by a light simulation on its surface, it never collapses with a pattern.

Deepened relief

In-depth relief used in ancient Egypt. They were decorated with miniature strains and huge temples. Reliefs on the temples designed to review from long distances, had clear compositions and clear contours. Especially deep, these contours became the image of the pharaohs and their approximations, their figures were simulated volumetric, the minor characters "drew" superficially and seemed flat. This technique replaced the Egyptians to the European perspective.

Bas-relief

The word "bas-relief" comes from the French Bas-Relief and means "low relief." The pictures of the figures in it are not more than half of its volume. The classic example of the bas-relief is the frieze of the ancient Greek temple of Parfenon (442-435 BC), which shows the solemn procession of Athenian to the temple of Athens, the patronessism of the city. Boys, riders who are holding a sacred hill, teenagers, boosters with wine, old men with olive branches, symbol of the world, - All this is shown on the frieze almost without abbreviations in the future: the bas-relief does not destroy the wall plane, but as if it is stelee parallel She, becoming an organic part of the temple. One of the most beautiful fragments of Frieza - the procession of girls, woven the covers with the Athena; They move leisurely, smoothly, their gestures are slowed down - on alternating their poses based on the rhythm of the composition. To show the spiritual community of the procession, the unquestion of all who is it, the sculptor depicts all heads - and pedestrians, and riders - on the same level, such a reception is called Isochefali. The composition of the bas-relief is developing, as if following the procession (no wonder it is examined by moving at the image), the friise von is completely glad, attention focuses on the silhouettes of the walking figures.

Multifigure reliefsAs a rule, narrated, with "stories" they can be significantly more exhaustive than "stories" of round sculptural groups. Sculptor does not have to express his idea in a "stopped moment", and his narration often unfolds in the same chronological order in which recreated events took place. This is distinctly expressed in Roman reliefs that adorned the triumphal arches and columns. The thirtiethimimeter column of Trianta erected in honor of the victory over Daca (approx. 111 -114 yd. N. E.) From the pedestal to the capitals covered with a spiral ribbon of bas-reliefs, with the protocol accuracy of Tracan's campaigns on the Danube. Gradually, one by one, the days of the war are depicted: the construction of the bridge across the Danube, the sacrifice of the gods, military advice, the receptions of ambassadors, battles, the suicide of the leader of Ducks, the burning Dacée villages. Very carefully - in detail - the arms of the Romans, siege guns, ships, bridges are shown. Parently emphasizes the role of the commander: Traian is always ahead of fighting troops. To convince the viewer, the author of reliefs (presumably Apollodor Damasky) depicts it ninety time - then in front of one, then in front of another legion. The narrative is completed by the triumphant return of the Romans to their homeland - the final round of reliefs, as if the last sheet of the book, summarizes the result told.

In Russia in the XVIII-XX centuries. Reliefs were decorated with palaces and public buildings, they completed and completed the premises of monuments. At the pedestal of the Leningrad Monument I. A. Kryonov, performed in 1848-1855. Peter Klodtom, recreated a whole fastener animal: Pump, barking on an elephant; Swan, pike and cancer, trying to move from the place of WHO with a swing; Fox stretching to grapes. This cheerful dance surrounding the Basinist figure complements the monument.

Multifigure reliefsAs a rule, narrated, with "stories" they can be significantly more exhaustive than "stories" of round sculptural groups. Sculptor does not have to express his idea in a "stopped moment", and his narration often unfolds in the same chronological order in which recreated events took place. This is distinctly expressed in Roman reliefs that adorned the triumphal arches and columns. The thirtiethimimeter column of Trianta erected in honor of the victory over Daca (approx. 111 -114 yd. N. E.) From the pedestal to the capitals covered with a spiral ribbon of bas-reliefs, with the protocol accuracy of Tracan's campaigns on the Danube. Gradually, one by one, the days of the war are depicted: the construction of the bridge across the Danube, the sacrifice of the gods, military advice, the receptions of ambassadors, battles, the suicide of the leader of Ducks, the burning Dacée villages. Very carefully - in detail - the arms of the Romans, siege guns, ships, bridges are shown. Parently emphasizes the role of the commander: Traian is always ahead of fighting troops. To convince the viewer, the author of reliefs (presumably Apollodor Damasky) depicts it ninety time - then in front of one, then in front of another legion. The narrative is completed by the triumphant return of the Romans to their homeland - the final round of reliefs, as if the last sheet of the book, summarizes the result told.

A unique contribution to the sculpture became medieval Russian relief Or, as it is more often called, the Russian stone thread of the XII-XIII centuries, the center was Vladimir-Suzdal Rus. Covered by a carpet of ornamental-fabulous patterns, massive walls of Russian temples seemed simultaneously monumental, and decorative. Like all ancient Russian art, the carving was closely connected with the church, but it did not make it a ascetic or dogmatic. On the walls of the Dmitrovsky Cathedral in Vladimir, actually Christian images are relatively few - only forty-six of the five hundred and sixty six, they are literally drowning in the mass of animal, fabulous, fantastic plots. Cutters borrow them everywhere: from folk ornaments, fairy tales, ancient nature, ancient miniature, Bible and even from medieval novels. Alexander Macedonian travel history on the sky is entirely taken from the popular adventure story "Alexandria". Sitting in a wicker basket, harboring fantastic grapplets, Alexander holds over his head of small, newborns lion; Seeing the lacquer prey, the griffins rush to it, and the basket rises into the air.

hERE OF GEORGIEVSKY CATHROVA in Yuryev-Polsky

More thicker and elegant the sculptural journey of the St. George Cathedral in Yuryev-Polsky. It rises straight from the ground, becomes part of the architectural details: portals' capitals are completely covered with bizarre omse colors and leaves; Pilasters are decorated with women and warriors. The images of Christ, angels, saints, enclosed in embossed medallions, figures of dragons and vultures are buried in a vegetable ornament. We see and good-naturedly smiled, philosophically tuned loaf, which will be dreamed of the shadow of their tree tails. Both Sirins, half-day-halftoles, ready for any minute to turn around the legendary birds of sadness and joy. And centaurs dressed in Kaftans and caps of princely skills. Centaurs and lions were considered in medieval Rus emblematic animals: they could only be depicted next to the princes, personifying their wisdom and power. But in Russian stone thread, they live by themselves and, moreover, lose the abstract-magnificent appearance, becoming fabulous. The People's Spirit triumphs in it and above the princely symbolism, and above church settings.

In the visual art, the sculpture is one of the types of art whose works have a volume and three-dimensional shape, which can be placed in the real space of the interior and exterior. "Art cut off too much" called Michelangelo sculpture in stone and marble. Sculptor, performing the modeling of the work in a soft material, creates a bulk sculptural plastic shape, and then translates it into a stone by cutting off the superfluous, creating a unformed block of the strongest material, the product of sculptural art.

There are two varieties of sculpture: a round sculpture, freely placed in space, and a relief in which the bulk images are located on the plane. The one and the other varieties of sculptures are divided into its intended purpose on the machine, monumental and monumental-decorative.

In the educational process of students of the specialty "Teaching of the Fine Arts", the sculpture occupies one of the significant places. This discipline is practical, and its specificity is a combination of aesthetic and industrial activities of students.

Cashing sculpture, students significantly increase their artistic level, master the skills of working with various materials and tools, develops a sense of material and plastic shape, improves the eye meter, the ability to fine hand.

Studying sculpture, students know the figurative language, which is expressed in dynamics and plastic, develop a sense of composition, master the technical possibilities for transferring works into the material. They get strong theoretical knowledge, practical professional skills and skills in mastering high sculptural skills, as well as know the main stucco and sculptural processes: performing models from plastic materials (plasticine, clay). They learn to make a frame and sculpt the bulk sculpture of small forms.

The entire educational process on sculpture is focused on the state educational standard, according to which students should explore the basic laws of formation of a form with tectonics. To know the peculiarities of working with materials of different nature, to get acquainted with the main means of expressiveness in the sculpture (the ratio of volumes, gravity, the plasticity of the masses, the proportionality and proportionality of the parts to the whole), the effect of light on the perception of the surface volume of surfaces.

Much attention in teaching sculpture is given to the implementation of a number of tasks section "Relief".

The relief is one of the types of sculpture transmitting a two-dimensional space located on the plane. All spatial relations of plastic embossed forms can be transmitted conditionally, as if gradually shrinking and complied. Students, performing relief modeling, impose on the background weakly speakers, depending on the topic: Still life of household items, landscape with architecture, or elements of sockets.

Students should understand that the main expressive relief means is the deployment of the composition on the background plane, with the ability to build spatial image plans from the transmission of spatial relationships of the depth of space, and creating a variety of spatial illusions.

It is necessary to study well and know the appointment and possibility of applying types of reliefs: low relief - bas-relief and high relief - the burner. Application of bas-relief: medal and applied art, in architecture. The image of the surface of the bas-relief is considered at close range, it is very flattened, speaking less than half the volume. The burner is perceived from the distance from the viewer of the distance, it is little complicated and therefore mainly applied in architecture.

Students need to study the analogues of the visual series of relief art created by sculptors - classics to know the techniques of relief plastics and learn them to apply when performing their reliefs of educational tasks and creative relief works.

In the process of studying analogs, students will see that on artistic and visual signs, all types of relief can be performed in various manners and technical techniques. Basically, the sculptors perform reliefs in a realistic solution, or using the stylization method, transmitting various stories - thematic compositions, as well as compositions from natural forms, compositions in ornament using geometric shapes.

When laying up the relief, students should apply those or other techniques that are necessary for them to transfer a composite idea by transmitting the largest association, emotional expressiveness, imagery and texture.

To acquire theoretical knowledge of the relief, practical skills, skills and techniques to solve their composite ideas, students need to perform a number of training tasks: relief - a copy of the classic outlet, develop your creative outlet, applying the surveyed skills when copying the implementation of relief plastics, relief Still life of several items of various shapes.

To secure the resulting theoretical knowledge by type of relief, students perform practical work in plasticine to copy the relief of the classic outlet of a simple stylized form.

Before the start of work, the teacher needs to hold an introductory conversation in which he explains to students the essence of this task, talks about the goals and objectives to work, methods and stages of the modeling process, how to use sculptural and measurement tools.

I bring to students the content of work:

1) Preparation of the base of the DVP material or chipboard in the size of the gypsum ornament, which the student chooses for copying;

2) On the base surface, it is necessary to apply plasticine with a thickness of 3-5 mm, and the surface for the socket is a plinth. The surface of the molding is perfectly smooth out a wide stack, or a spatula.

3) execution of a graphical pattern of a copied outlet, which is translated into a prepared molding with a sharp end of the needle;

4) The plinth with the drawing pattern is installed in the inclined position on the sculptural machine and the modeling of the copies with a gypsum sample begins in the plasticine;

5) Before starting work, it is necessary to carefully examine the entire surface of the relief of the copied sample, to determine the levels of the planned elements of the embossed form;

6) Then small pieces of plasticine lay the whole relief.

The teacher must lead the work of students, give practical advice, to respond to emerging issues, to provide practical assistance.

Sometimes several students copy the same classic outlet. It is possible to periodically move it from one student to another, to make the heights of the elements of the socket, and it causes great inconvenience. Therefore, the teacher can offer students a method of laying the height of the levels of the elements of the socket, using the benchmarks of the heights, installing them in the main points of the relief.

To maintain the modeling process, it is necessary to work using measuring instruments (lines, circles, etc.), the height of all surfaces of the relief is specified, the width of all elements, after which the surfaces should be proceeded to the characteristic form.

Students in the process of performing a task to copy the classic outlet, practically explore the technique of performing the modeling, acquiring skills and skills to maintain all stages of work. The resulting practical experience, they can apply when creating subsequent educational and creative sculptural works.

After performing the modeling - a copy of the classic outlet, the students received not only theoretical knowledge of the form of sculpture - relief, but also that it is very important, they acquired skills on the facet of relief, studied and knew the technique of embossed plastics.

To secure the knowledge gained, skills and skills, students need to develop and fulfill each of their creative composition of the relief in the plasticine. The intention of the sculptural relief decision of the teacher can offer vegetable forms: leaves, flowers, fruits using the stylization method, combining the selected shape into the square, rectangle, polygon, oval, circle.

Before starting work, the teacher must tell about the stages of work on the relief, to present the visual range of analogues of existing sockets. The most important and responsible stage should be the stage of creating a graphic sketch of the socket, which is created as a result of graphic search and selection of the most successful solution. The teacher provides students with assistance in the selection, gives the necessary advice and wishes, aims to fulfill the form - sketch in Plasticine.

The importance and necessity of the implementation of the form - sketch is the rapid and correct finding of all plans and levels of the future creative outlet. This work should be carried out under the guidance of a teacher who helps the student to make a right decision. Approved by the teacher's form - sketch, gives the student to apply it to perform creative relief.

Students must in the process of working on relief apply the knowledge gained by them, practical skills and skills that they purchased when copying a classic outlet. Therefore, they, performing the modeling of their creative relief, apply all studied stages of work.

The process of execution by students of the modeling of a creative outlet should be held under the guidance of a teacher. He gives them the necessary advice, responds to the emerging issues, and also shows practically how to sculpt those, or other elements of the socket.

After the end of work on the outlet, it is necessary to make a teacher to view and highlight the best work. This task is desirable to carry into the intermediate sculptural material - gypsum. Molding and casting from plaster will allow students to master this technique, and further apply it in their professional and creative labor.

Of great importance for further study of the type of sculpture is the relief, it has a task to model the terrain of still life. Therefore, the teacher needs to establish a still life from the objects of life of various shapes with simple folds, consider the goals and objectives of the work process, the stages of the maintenance and methods of execution with the transfer of characteristic volumes, using the studied relief plastic during modeling - copies of the outlet.

All these requirements of the teacher brings to students during an introductory conversation, gives answers to those who have arisen. On the board, chalk performs the constructive construction of all the elements of the still life, shows examples of the composition of the format of the plinth.

The students begin to work, choose places and perform a sketch of still life with a pencil on a sheet of paper. The teacher checks the correctness of the company and approves the sketch of work. He needs to make sure that students in the sketch depicted properly finding the table with the prospects, finding items on the table with proper transmission of shape, proportions, standing levels relative to each other, took an interesting solution of the folds of the fabrics, determined and correctly chose the format.

The teacher offers students to perform a small form - sketch in Plasticine and explains about the goals and objectives of it in work on still life.

Students perform the form - sketch, where they choose the view of the relief (bas-relief, burner), find plans of all elements of still life in the relief, solve the relief form of objects, folds, applying the laws of perspective. The teacher approves the form - sketch and students begin to model the terrain of still life.

Students need to perform the fretake model - the foundations of the relief; The plinth is gaining 5-8 mm thick, which makes it possible to perform the relief of the folds, deepening into the plinth;

Then the stool is applied with a drawing of a still life onto a plinth and the modeling of the objective table of the object begins, taking into account the perspective on which the items of still life will be located.

The relief modeling begins in small pieces of plasticine, which the volume of all the elements of the still life is recruited, taking into account the selected relief plans, from the bottom plan to the upper surfaces. The teacher must help students, correctly set the height of the volume and folds commensurately with each other so that the relief plans are solved correctly.

It is better to start solving the relief of the folds to correctly set the background on which the items of still life are located. During the work on the relief of objects, the teacher needs to be reminded to students how to perform the height of the relief of objects depending on their planhood.

The objects of rectangular shape are gaining taking into account the prospects for the convergence of the parties in the front or angular perspective, correctly transmitting the disclosure of all sides.

The teacher on the chalk board shows how to perform relief of rounded items (jug, pot, etc.), so that space appeared behind their side surface.

Usually, students are gaining the embossed volume of rounded items not correctly. In the burner on the planned pattern of a rounded item on a plunge, they begin to perform immediately round the surface of the subject, which is anterior, that is, they are transmitted only half of the item. The second half, which's rear, is not felt, it is not felt, it is no matter - it is in a plinth. It seems that in the terrain of still life we \u200b\u200bonly see half of the rounded object of life, and there is no other at all.

Therefore, the teacher needs to be intelligible to explain, and may even show how to sculpt the volumetric form in the relief of the round item. Very detailed and accessible in the stages, he explains this process of modeling.

First, it is gained in the extent lower, that is, the back half of the object at the right angle to the molding. Then the front half is transferred to the desired elevation height. After the embossed surface surface of the subject appears, it is starting to cut through with stacks, perpendicularly wung the side surface of the back of the volume of the subject, i.e. Performing the rear seized the form of the subject.

Thus, the front and rear semi-windows will create a relief of the entire rounded item. If we make it a horizontal section, this section should be in the form of the correct oval.

The teacher must explain how to sculpt vegetables or fruits present in still life. Better to show almost. Students will immediately understand everything.

Special attention should be paid to the stage the latter, that is, the completion of the relief modeling. Here, students should engage in the refinement of the embossed form of all the elements of still life, the transfer of the nature of the form, the depths of space in the relief, the integrity of the entire embossed sculptural plastics.

At the end of the work process on the terrain of still life, the teacher needs to be viewed to watch the reliefs of still life, discuss discussion, allocate the best work of students.

Students in the process of performing data of three tasks studied in practice Methods of relief modeling, knew technical techniques to solve the surface of the relief performed by them, using the studied relief plastic skills, learned how to work as an initial sculptural material - plasticine, applying competently and professionally working and measurement tools.

The most difficult in the process of maintaining relief modeling is the ability to transmit the volume of elements of the relief depending on the depth of the space, the perspective and the plannedness of the transmitted composition. Students must understand and learn to conclusted the bulk form in the relief, having them according to the plans of the location on the subject plane. Therefore, the modeling of the relief of still life from the subjects of life gives students the opportunity to learn this and perform competently.

The teacher must do a large methodological work in assimilation by students of theoretical knowledge, skills and skills on the proper maintenance of practical work on the relief, to fully provide all information about the methods and techniques of conducting a relief surfaces, responding to questions that arise from students. If necessary, it is necessary to show practically how to sculpt in the relief of the one or another bulk form.

A great importance in explaining the methods of conducting work on the tasks to perform relief has the ability of a teacher to provide an explanation on the school chalk chalk. The teacher must speak very well in pedagogical graphics. Made by the teacher on the board of drawings and schemes for competent leading to the relief, allow students to master and understand how to properly make a relief and sculpt that or other volumetric form.

Before the start of working on the facet of the relief, the teacher must necessarily hold an introductory conversation with the show of the best relief works stored in the methodological fund, as well as illustrations of reliefs from the works of sculptors - classics.

The significance of this work is very high to master the following tasks, such as medal art, where the laws of constructing the relief of medals, modeling the relief of the landscape with architectural forms and others. The students have increased their professional aesthetic level in knowledge of the surrounding real reality, theoretical knowledge, practical skills and skills of working with sculptural materials and tools, love for fine handmade work appeared, the creative personality of the artist - the Creator originated.

They are used when there are so many actors in the sculptural composition that it would be too big if it was done three-dimensional. Most often, they are part of the architectural structure. Reliefs are found on the walls of palaces and temples - both ancient Greek and other ancient peoples and Christian.

Forms relief

The main form of relief - bas-relief and the burner. In addition to them, two more types of reliefs are distinguished: counter-relief and Koylanaglif. These terms are less known, since the works of art that they describe, in the present years, is rare and more often from ancient civilizations or are applied. As a rule, people who face these terms concerns one question: the differences between the bas-relief and the burial. This is no wonder - they are quite similar in their structure and by the very idea of \u200b\u200bthe convex image on the surface. Well, then you should reveal this secret.

Bas-relief

So, what is the difference between the bas-relief and the burner? You can answer briefly: in depth. Bas-relief is a shallow relief. The term comes from French Bas-Relief, which is allegedly trading with Italian Bassorilievo - low relief. The figures are as far as possible to the surface and protrude from it only half or even less. Bas reliefs enjoy the greatest popularity. They appeared in the Stone Age and found in the architecture of all ancient cultures. In ancient Greece and Rome, they were often present on the front of the temples. Bas reliefs are used now. Moreover, they decorate not only architectural structures, but also the surface of coins, medals, monuments.

High relief

The burner is a high relief. The term comes from French Hautrelief, which means literally "high relief". On it, the figures can rise both by 1/2 depth, and actually act and be voluminous. They are found in antique art, on triumphant arches. The Renaissance has begun to be used as a means of transferring perspective.

Later, after the transition to manherism, and then Baroque, they acquired bold and bizarre outlines, which dictated nothing to the limited imagination of sculptors. In the works of Bernini, for example, you can see the transitional form between the terminal and the sculptural group completely released from the surface. An example may be "Ecstasy Holy Teresa", the composition of which transfers excited, enthusiastic mood.

How to distinguish

Differences of the burners and bas-relief, as already understandable from their description, visible on the surface. Still, whether it is easy to distinguish between their person who does not work professionally? There is another criterion that you can see and feel. This is unity with the surface. The bas-relief is often distinguished by several modified proportions - its image is often flattened, which can be seen both on the facades of buildings and on coins or dishes. It is a complete unity with the surface on which it is depicted. Even the most vivid imagination with difficulty separates the figures, glued in the background. The burner often tends to separate. The image is more voluminous and its proportions are saved. It is on the sculptural composition. If you have been fantasized, you can present it separately from the background. This is one of the most characteristic differences between the bas-relief and the burial. If some details perform and are not attached to the background - the head of the hero, the kon's hoof, the bas-relief it can not be. So now you are confidently seeing the difference between the burners and bas-relief!

Counter-relief and Koylanaglyph

Counter-relief, as can be seen from the name, this is something opposite to the relief, namely the asked relief, where the recesses would correspond to the protrusions. Most often it is used in matrices and seals. Ottisk, such as the image on the coins, is a bas-relief. In the avant-garde art of the XX century, the concept of counter-relief was rethought and endowed with a new meaning. The artist and designer Tatlin called counter-relief volumetric compositions from items attached to the wall or two walls. These works of art no longer had the surface, and the items did not have anything in common with the wall and were pieces of wood, paper, metal or stretched strings connected into a bizarre composition. Some researchers suggest that this trend comes from Pablo Picasso.

Koylanaglyif is difficult to attribute to reliefs. It is an image with the help of in-depth contours, scratched in stone lines. You can meet the Koylanaglyphs in the art of ancient Egypt.

Now you know exactly what the difference between the bas-relief and the burners, and what is a counter-relief and Koylanaglif. A person who has these knowledge, consider architectural and sculptural structures much more interesting!