Characteristic features of the sculpture of the first half of the 4th century. BC e. reflected in the works of the great masters - Scopas and Praxiteles. Despite the differences between them, they are united by the desire to convey energetic actions, and most importantly, the world of feelings and human experiences. Passion and sadness, daydreaming and falling in love, frenzy and despair, suffering and grief become the object of creativity of these artists.
Scopas(420 - c. 355 BC) was a native of the island of Paros, rich in marble. It was with this material that the great sculptor worked, but almost all of his works were destroyed by time. The few that have survived to this day testify to the highest artistic skill and virtuoso marble processing technique. The passionate, impetuous movements of his sculptures seem to lose their balance, the scenes of the battle with the Amazons convey the ardor of battle and the rapture of battle.
One of the most perfect creations of Skopas is the statue of Maenad, a nymph who raised the young god Dionysus. Skopas also owns numerous sculptures on the pediments, relief friezes, and round sculpture. He is also known as an architect who took part in the decoration of the famous Mausoleum of Halicarnassus.
Praxiteles(c. 390-330 BC), a native of Athens, entered the history of sculpture as an inspired singer of female beauty. The images of athletes, in all likelihood, did not interest the artist very much. If he turned to the ideal of a beautiful young man, then first of all he emphasized in his figure not physical qualities, but harmony and grace, joy and serene happiness. These are "Hermes and Dionysus", "Resting Satyr" and "Apollo Saurocton" (or "Apollo killing a lizard").
But Praxiteles was especially famous for female images in sculpture, and in particular the famous Aphrodite of Cnidus. According to legend, Praxiteles created two statues, depicting the goddess dressed in one of them, and naked in the other. The inhabitants of the island of Kos, frightened by the courage of the master, acquired Aphrodite in clothes for their city, and the inhabitants of the island of Knidos turned out to be more far-sighted: they installed a statue of a naked goddess in one of the main squares. From now on, admirers of the illustrious creation of the sculptor began to come here from all over Greece, thus increasing the glory of the city.
Aphrodite is shown at the moment when she, throwing off her clothes, wants to enter the source for bathing.
In the guise of a goddess there is not even a shadow of coquetry or narcissism. Her beauty is simple and natural. If the master had even the slightest hint of affectation or bashfulness of nudity, she would have become far from perfection and divinity. Praxiteles managed to masterfully convey the amazing vitality of the image. Moreover, the statue was tinted with soft and warm wax paints. It is no coincidence that the Roman writer of the 1st century. Pliny the Elder considered this work of the sculptor "higher than all the works not only of Praxiteles, but in general existing in the Universe."
It is known that the model for the statue was the beautiful Phryne, with whom many beautiful legends are associated. According to one of them, Phryne asked Praxiteles to give her his best work as a token of love. He agreed, but refused to name it. Then the cunning Phryne ordered the slave to inform the artist that his workshop was destroyed by fire. The frightened Praxiteles exclaimed: "If the flame destroyed Eros and Satyr, then everything perished." So Phryne found out what exactly she should ask for a gift from the sculptor.
The statue was acquired by the Dresden Museum in 1902; the famous antiquarian Georg Trey recognized in it a reduced Roman copy of the famous dancing Bacchante Scopas. Scopas is a master of pathos, strong passions. He presented the Bacchante, a participant in orgiastic actions in honor of the god of death-rebirth Dionysus, in an impetuous, stormy movement. In her right hand, she probably held a knife with which she stabbed a kid. By tormenting the animal and eating its raw flesh, participants in the Dionysian mysteries partake of the flesh of the god himself, one of whose incarnations in antiquity was the goat. One ancient epigram was dedicated to the statue:
Parian stone - Bacchante,
But the sculptor gave the stone a soul,
And, like a drunk, jumping up,
She rushed into the dance ...
Maenads (ancient Greek Μαινάδες "crazy", "raging") - in ancient Greek mythology, companions and admirers of Dionysus. According to his name, the Romans - Bacchus, they were called Bacchantes, also Bassarids - according to one of the epithets of Dionysus - "Bassar" (see also Bassara), fiads, mimallons (see below).
Maenads tore the legendary Orpheus to pieces.
The word maenad is mentioned in Homer's Iliad (XXII 460) as a comparison to describe the behavior of Andromache. Aeschylus calls Io "Maenad Hera".
They numbered about three hundred. According to the interpretation, the spears of the Bacchantes in the army of Dionysus are disguised as thyrses.
Scopas can rightly be called one of the greatest sculptors of Ancient Greece. The direction he created in ancient plastic art outlived the artist for a long time and had a huge impact not only on his contemporaries, but also on the masters of subsequent generations.
It is known that Skopas was from the island of Paros in the Aegean Sea, an island famous for its wonderful marble, and worked between 370-330 BC. His father, Aristandros, was a sculptor, in whose workshop, apparently, the talent of Scopas was formed.
The artist performed orders from different cities. There were two works by Scopas in Attica. One, depicting the avenging goddesses Erinyes, is in Athens, the other, Apollo-Phoebe, in the city of Ramnunte. Two works by Scopas adorned the city of Thebes in Boeotia.
One of the most emotionally rich works of Scopas is a group of three figures depicting Eros, Pothos and Himeros, that is, love, passion and desire. The group was in the temple of the goddess of love Aphrodite in Megaris, a state lying south of Boeotia. The images of Eros, Himeros and Pothos, according to Pausanias, are as different from each other as the feelings they embody actually differ. “The compositional structure of the statue of Pothos is much more complicated than in the earlier works of Skopas,” writes A. G. Chubova. “The rhythm of a smooth, soft movement passes through arms outstretched to one side, a raised head, and a strongly inclined body. To convey the emotion of passion, Skopas does not resort here to a strong facial expression. The face of Pothos is thoughtful and concentrated, the melancholy languid look is directed upward. Everything around seems to not exist for the young man. Like all Greek sculpture, the statue of Pothos was painted, and color played an important role in the overall artistic design. The cloak hanging down from the left hand of the young man, was bright blue
or red, which well emphasized the whiteness of the naked body, left in the color of marble. Against the background of the cloak, a white bird with wings that were lightly tinted in gray stood out clearly. The hair, eyebrows, eyes, cheeks and lips of Pothos were also painted. Probably, the statue of Pothos, like the statue of Himeros, stood on a low pedestal, and the statue of Eros on a higher one. This explains the turn of the figure of Pothos and the direction of his gaze. The task set by Scopas in this work was new and original for the plastic arts of that time. Having embodied in the statues of Eros, Pothos and Himeros the nuances of great human feelings, he revealed to plastic art the possibilities of transmitting various other emotions.
Working in the temple of the Peloponnesian city of Tegey, Skopas became famous not only as a sculptor, but also as an architect. The ancient temple in Tegea burned down in 395 BC. Pausanias says that "the current temple, in its majesty and beauty, surpasses all the temples, how many there are in the Peloponnese ... Its architect was the Parian Skopas, the same one who built many statues in ancient Hellas, Ionia and Carius." On the eastern pediment of the temple of Athena Aley in Tegea, the master presented the hunt for the Calydonian boar. “A scene from a myth was shown on the western pediment,” writes G.I. Sokolov, “also far from the participation of the supreme Olympic deities popular in the 5th century, but with a complex conflict and dramatic denouement. The Greeks, son of Hercules Telephus, who went to war with Troy, not recognized, and a battle began, ending in the death of many of its participants. Not only the plots chosen for these pediments are tragic, but also the images themselves. The master shows the head of one of the wounded slightly thrown back, as if in excruciating pain. Sharply curved lines of the eyebrows, mouth, nose convey excitement and colossal tension of feelings. The inner corners of the eye sockets, deeply cut into the thickness of the marble, enhance the contrasts of light and shade and create strong dramatic effects. The relief of the face with swollen muscles of the superciliary arches, swollen corners of the mouth, is uneven, bumpy, distorted by hidden suffering. " The most significant of the creations of Scopas in round plastic can be considered the statue of the Bacchante (Maenad) with a goat.
Only an excellent copy of the statue, kept in the Dresden Museum, has survived. But the 4th-century writer Callistratus left a detailed description of the statue: " Scopas created a statue of the Bacchante from Parian marble, it could seem alive ... You could see how this stone, hard by nature, imitating female tenderness, itself became as if light and conveys to us a female image ... Deprived of nature of the ability to move, he learned under the hands of the artist what it means to rush about in a Bacchic dance ... So clearly expressed was the insane ecstasy on the face of the Bacchante, although the manifestation of ecstasy is not characteristic of a stone; and everything that seizes the soul, wounded by the sting of madness, all these signs of severe mental suffering were clearly presented here by the creative gift of the artist in a mysterious combination. The hair, as it were, was given to the will of Zephyr, so that he would play with it, and the stone seemed to turn into the smallest strands of magnificent hair ... The same material served the artist to depict life and death; he presented the Bacchante before us alive when she aspires to Cithaeron, and this goat is already dead ... Thus, Skopas, creating images of even these lifeless creatures, was an artist full of truthfulness; in the bodies he was able to express the miracle of spiritual feelings ... "
The famous creations of Scopas were also in Asia Minor, where he worked in the fifties of the 4th century BC, in particular, he decorated the temple of Artemis at Ephesus.
And most importantly, together with other sculptors, Skopas participated in the design of the Halicarnassus Mausoleum, completed in 352 and decorated with true oriental splendor. There were statues of the gods, Mausolus, his wife, ancestors, statues of horsemen, lions and three relief friezes. On one of the friezes, a chariot race was depicted, on the other - the struggle of the Greeks with centaurs (fantastic half-humans, half-horses), on the third - Amazonomachy, that is, the battle of the Greeks with the Amazons. From the first two reliefs, only small fragments have survived, from the third - seventeen slabs. It is believed that Scopas was the author of the Amazonomachy. Indeed, only a brilliant sculptor could create such an emotionally rich, dynamic multi-figured composition. A frieze with amazonomachy, having a total height of 0.9 meters, with figures equal to about a third of human height, encircled the entire structure, and if we cannot say exactly in which part it was placed, then we can still determine its length, approximately equal to 150-160 meters. Probably more than 400 figures were placed on it.
The legend of the Amazons - a mythical tribe of female warriors - was one of the favorite themes of Greek art. According to legend, they lived in Asia Minor on the river Fermodon and, undertaking distant military campaigns, even reached Athens. They entered into battles with many Greek heroes and were distinguished by courage and dexterity. One of these battles is depicted on the Halicarnassian frieze. Battle in
in full swing, and it's hard to say who will be the winner. The action unfolds at a rapid pace. Amazons and Greeks on foot and on horseback attack fiercely and defend themselves bravely. The faces of the combatants are captured by the pathos of the battle. A feature of the compositional construction of the frieze was the free placement of figures on a background that was once painted in bright blue.
A comparison of the surviving slabs shows the general artistic conception, the general compositional structure of the frieze. It is very possible that the composition belongs to one artist, but it is unlikely that the author himself arranged all the individual figures and groups. He could outline the general arrangement of the figures, give their dimensions, conceive the general character of the action, and leave other craftsmen to finish the relief in detail. On the slabs of this best-preserved frieze, the "handwriting" of the four masters is quite clearly distinguished. Three slabs with ten figures of Greeks and Amazons, found on the eastern side of the ruins, are distinguished by outstanding artistic merit; they are attributed to Scopas.
On the slabs, which are considered the work of Leohar and Timothy, the swiftness of movement is emphasized not only by the postures of the combatants, but is also enhanced by fluttering cloaks and chitons. Scopas, on the other hand, depicts the Amazons only in short tight clothes, and the Greeks completely naked, and achieves an expression of strength and speed of movement mainly by bold and complex turns of figures and expression of gestures. One of Scopas's favorite compositional techniques was the collision of oppositely directed movements. So, a young warrior, falling on his knee, maintains balance, touching the ground with his right hand and evading the blow of the Amazon, defends himself by stretching forward his left hand with a shield. The Amazon, lunging away from the warrior, at the same time swung her ax at him. The Amazon's chiton tightly fits the body, well outlining the forms; fold lines emphasize the movement of the figure. Even more difficult is the location of the Amazon figure on the next plate. The young warrior, retreating from the rapidly attacking bearded Greek, still manages to strike him with an energetic blow. The sculptor did a good job of conveying the dexterous movements of the Amazon, quickly evading an attack and immediately turning into an attack. The staging and proportions of the figure, the clothes that opened so that half of the body of the Amazon was exposed - everything closely resembles the famous statue of the Bacchante.
Especially boldly, Scopas used the technique of opposing movements in the figure of an equestrian Amazon. The skillful rider launched the well-trained horse into a gallop, turned her back to his head and fired at the enemies with a bow. Her short chiton flung open, revealing strong musculature. In the compositions of Scopas, the impression of the tension of the struggle, the fast pace of the battle, the lightning speed of blows and attacks was achieved not only by the different rhythm of movement, the free placement of figures on the plane, but also by the plastic modeling and masterful execution of clothing. Each figure in the composition of Scopas is clearly "read". Despite the low relief, the depth of space is felt everywhere. Scopas probably also worked on the scene of the chariot race. A fragment of a frieze with a figure of a charioteer has been preserved. Expressive face, smooth curve of the body, tight to the back and hips
long clothes - everything reminds of Skopas' Amazons. The interpretation of the eyes and lips is close to the Tegey heads.
The bright personality of Scopas, his innovative methods in revealing the inner world of a person, in conveying strong dramatic experiences could not but affect everyone who worked next to him.
Skopas had a particularly strong influence on young masters - Leohar and Briaxis. According to Pliny, it was the sculptors Skopas, Timothy, Briaxis and Leohar who made this building so remarkable with their works that it was included in the Seven Wonders of the World. “Fluent in various sculpture techniques, Skopas worked both in marble and bronze,” writes A.G. Chubova. “His knowledge of plastic anatomy was perfect. Depicting the most complex positions of the human figure was not difficult for him. Skopas’ fantasy was extremely rich , he created a whole gallery
well-defined images. His realistic works are imbued with high humanism. Capturing various aspects of deep experiences, depicting sadness, suffering, passion, Bacchic ecstasy, martial ardor, Scopas never interpreted these feelings in a naturalistic way. He poeticized them, forcing the viewer to admire the spiritual beauty and strength of his characters."
Municipal budgetary institution of additional education
"DSHI Pochinkovsky district"
Lecture course.
History of sculpture.
Scopas.
History of fine arts.
DKhSh.
Developer: teacher of the art department
MBU DO "DSHI Pochinkovsky district"
Kazakova Inna Viktorovna
2018
Scopas
Scopas can rightly be called one of the greatest sculptors of Ancient
Greece. The direction he created in ancient plastic art outlived the artist for a long time and
had a huge impact not only on his contemporaries, but also on the masters
subsequent generations. It is known that Skopas was from the island of Paros in the Aegean.
sea, an island famous for its wonderful marble, and worked between 370–
330 BC. His father, Aristandros, was a sculptor, in the studio
which, apparently, formed the talent of Scopas. The artist completed orders
different cities. There were two works by Scopas in Attica. One depicting
the avenging goddess Eriny, - in Athens, the other - Apollo Phoebe - in the city
Ramnunte. Two works by Scopas adorned the city of Thebes in Boeotia. One of the most
emotionally rich works of Scopas - a group of three figures,
depicting Eros, Pothos and Himeros, that is, love, passion and desire. Group
was in the temple of the goddess of love Aphrodite in Megaris, the state lying to the south
from Boeotia. Images of Eros, Himeros and Pothos, according to Pausanias, are also
differ from one another, just as the people they represent actually differ.
the senses. “The compositional construction of the statue of Pothos is much more complicated than in more
early works of Scopas, writes A. G. Chubova. - Smooth soft rhythm
movement passes through arms outstretched to one side, a raised head,
strongly inclined body. To convey the emotion of passion, Scopas does not resort here to
strong facial expressions. The face of Pothos is thoughtful and concentrated, melancholy languid
gaze is directed upward. Everything around him does not seem to exist for the young man. Like all
Greek sculpture, the statue of Pothos was painted, and color played an important role in
general artistic vision. The cloak hanging from the young man's left arm was brightly
blue or red, which well emphasized the whiteness of the naked body left
in marble color. Against the background of the cloak, a white bird with wings stood out clearly, easily
tinted grey. Hair, eyebrows, eyes, cheeks and
lips of Pothos. Probably the statue of Pothos, like the statue of Himeros, stood on a low
pedestal, and the statue of Eros - on a higher one. This explains the rotation of the figure
Pothos and the direction of his gaze. The task set by Scopas in this
work, was new and original for the plastics of that time. Embodied in
statues of Eros, Pothos and Himeros, the nuances of great human feelings, he revealed
before the plastic art of the possibility of transmission and other diverse
emotions." Working in the temple of the Peloponnesian city of Tegey, Skopas became famous not
not only as a sculptor, but also as an architect and builder. The ancient temple in Tegey burned down in
395 BC. Pausanias says that “the current temple, with its majesty and
beauty surpasses all the temples, how many there are in the Peloponnese ... Its architect
there was a Parian Skopas, the same one who built many statues in ancient Hellas,
Ionia and Caria. On the eastern pediment of the temple of Athena Alea in Tegea, the master
introduced the hunt for the Calydonian boar. “On the western pediment was shown
a scene from a myth, - writes G. I. Sokolov, - also far from the participation of the popular in V
century of the supreme Olympic deities, but with a complex collision and dramatic
denouement. The Greeks did not recognize the son of Hercules Teleph, who went to war with Troy, and
a battle began, ending in the death of many of its participants. Tragic not only
the subjects chosen for these pediments, but also the images themselves. Master shows
the head of one of the wounded was thrown back slightly, as if in excruciating pain.
The sharply curved lines of the eyebrows, mouth, nose convey excitement and colossal
tension of feelings. The inner corners of the eye sockets, deeply embedded in the thickness of the marble,
enhance the contrasts of chiaroscuro and create powerful dramatic
effects. Relief of the face with swollen muscles of the superciliary arches, swollen corners
mouth, uneven, bumpy, distorted by hidden suffering. The most significant of
creations of Scopas in round plastic can be considered a statue of the Bacchante (Maenad) with
kid.
Only an excellent copy of the statue, kept in the Dresden Museum, has survived. But
the 4th-century writer Callistratus left a detailed description of the statue: “Scopas
a statue of the Bacchante was created from Parian marble, she could seem alive ...
You could see how this natural hard stone, imitating the female
tenderness, he himself became as if light and conveys to us a female image ... Deprived of
the nature of the ability to move, he learned under the hands of the artist what it means to rush
in a Bacchic dance ... The insane ecstasy was so clearly expressed on the face of the Bacchante, although
for the manifestation of ecstasy is not peculiar to the stone; and all that embraces the soul,
wounded by the sting of madness, all these signs of severe mental suffering were clearly
presented here by the creative gift of the artist in a mysterious combination. Hair
as if they were given to the will of Zephyr, so that he would play with them, and the stone, as if by itself
turned into the smallest strands of magnificent hair ... The same material served
an artist to depict life and death; The Bacchae he presented before us
alive when she aspires to Kieferon, and this goat is already dead ... Thus,
Scopas, creating images of even these lifeless creatures, was an artist,
full of truth; in the bodies he was able to express the miracle of spiritual feelings ... "Many
poets wrote poems about this work. Here is one of them: Parian stone
bacchante, But the sculptor gave the stone its soul. And, like a drunk, jumping up, rushed into the dance
she is. Having created this fiada in a frenzy with a goat killed by a deifying chisel, you are a miracle
did Scopas. The famous creations of Scopas were also in Asia Minor, where he
worked in the fifties of the 4th century BC, in particular, decorated the temple
Artemis at Ephesus. And most importantly, together with other sculptors, Skopas participated in
decoration of the Mausoleum of Halicarnassus, completed in 352 and decorated with
true oriental splendor. There were statues of the gods, Mausolus, his wife,
ancestors, statues of riders, lions and three relief friezes. On one of the friezes there was
a chariot race is depicted, on the other - the struggle of the Greeks with the centaurs
(fantastic half-humans, half-horses), on the third - amazonomachia, that is, the battle
Greeks with Amazons. Of the first two reliefs, only small
fragments, from the third - seventeen plates. Scopas is believed to have been the author
amazonomachy.
Indeed, only a brilliant sculptor could create such an emotional
rich, dynamic multi-figured composition. Freeze with amazonomachy,
having a total height of 0.9 meters, with figures equal to about a third
human growth, encircled the entire structure, and if we cannot accurately
to say in which part it was placed, then all the same, you can determine its length,
approximately equal to 150-160 meters.
Probably more than 400 figures were placed on it. Legend of the Amazons -
mythical tribe of female warriors - was one of the favorite topics
Greek art. According to legend, they lived in Asia Minor on the river Thermodon and,
undertaking distant military campaigns, they even reached Athens. They entered into
battles with many Greek heroes and were distinguished by courage and dexterity. One of
such battles and is depicted on the Halicarnassian frieze. The battle is in full swing and
it's hard to say who will be the winner. The action unfolds at a brisk pace.
Amazons and Greeks on foot and on horseback attack fiercely and defend themselves bravely. faces
combatants are embraced by the pathos of battle. A feature of compositional construction
frieze was the free placement of figures against a background once painted bright blue
Colour. Comparison of the surviving slabs shows a common artistic intent,
general compositional structure of the frieze. It is very possible that the composition
belongs to one artist, but it is unlikely that the author himself arranged all the individual
figures and groups. He could outline the general arrangement of figures, give their sizes,
conceive the general nature of the action and leave it to other craftsmen to finish
relief in detail. On the slabs of this best-preserved frieze, it is quite clear
the "handwriting" of the four masters differ. Outstanding artistic
three plates with ten figures of Greeks and Amazons are distinguished by their merits,
found on the east side of the ruins; they are attributed to Scopas. on slabs,
considered the work of Leochar and Timothy, the swiftness of the movement is emphasized
not only by the poses of the fighters, but also enhanced by fluttering cloaks and
chitons. Scopas, on the contrary, depicts the Amazons only in short adjacent
clothes, and the Greeks completely naked and reaches the expression of strength and speed
movements are mainly bold and complex turns of figures and expression
gestures. One of the favorite compositional techniques of Scopas was the technique
collisions of oppositely directed movements. So, young warrior, falling on
knee, balances by touching the ground with the right hand and avoiding the blow
Amazons, defends himself by stretching forward his left hand with a shield. Amazon lunging
away from the warrior, at the same time she swung her ax at him. Chiton amazons tight
fits the body, well outlining the shape; fold lines emphasize movement
figures. Even more difficult is the location of the Amazon figure on the next plate. young
the warrior, retreating from the rapidly attacking bearded Greek, manages to do everything
strike him vigorously. The sculptor was well able to convey the dexterous
movements of the Amazon, quickly evading an attack and immediately turning into an attack.
The staging and proportions of the figure, the clothes that were thrown open so that they were exposed
half of the body of the Amazon - everything closely resembles the famous statue of the Bacchante.
Especially boldly Scopas used the technique of opposing movements in the figure
equestrian amazon. A skillful rider set off a well-trained horse to gallop,
turned her back to his head and fires at enemies with a bow. Her short tunic
swung open, showing a strong musculature. In the compositions of Scopas, the impression
the tension of the struggle, the fast pace of the battle, the lightning speed of blows and attacks
achieved not only by a different rhythm of movement, by the free placement of figures on
plane, but also plastic modeling and masterful execution of clothes.
Each figure in the composition of Scopas is clearly "read". Despite the low
relief, the depth of space is felt everywhere. Probably Scopas also worked on
scene of a chariot race. A fragment of a frieze with a figure of a charioteer has been preserved.
Expressive face, smooth curve of the body, tight to the back and hips
long clothes - everything reminds of Skopas' Amazons. Interpretation of eyes and lips is close
Tegean heads. The bright personality of Scopas, his innovative techniques in
revealing the inner world of a person, in the transfer of strong dramatic
experiences could not but affect everyone who worked next to him. especially strong
Skopas influenced young masters - Leohar and Briaxis. According to Pliny,
it was the sculptors Skopas, Timothy, Briaxis and Leochar with their works
made this building so remarkable that it became one of the Seven Wonders of the World.
“Fluent in various sculpture techniques, Scopas worked in both marble and
bronze, writes A. G. Chubova. - His knowledge of plastic anatomy was perfect.
The image of the most complex positions of the human figure did not represent
him difficulties. Scopas' fantasy was extremely rich, he created a whole
a gallery of vividly characterized images. His realistic works
imbued with high humanism. Capturing different sides of the deep
experiences, drawing sadness, suffering, passion, Bacchic ecstasy, martial ardor,
Scopas never interpreted these feelings in a naturalistic way. He poetized them
forcing the viewer to admire the spiritual beauty and strength of their characters.
"The History of the Art of Ancient Greece" - Myron the Discobolus. Who is the temple dedicated to and where is it located? Enter the name of the temple. What is shown. The art of high classics. Leochar Apollo Belvedere. Define an order. Greek theatre. Art of Ancient Greece. Polikleitos Doryphoros. Classic. In what buildings did the ancient Greeks use the order. Aphrodite de Milo.
"The Ancient Theater of Ancient Greece" - Period. Greek theatre. Ancient theatre. Drama. Theater in Ancient Greece. Tragic actor costume. The number of actors. Thespis. Athenian public. Place for performances. Cult of Dionysus. Theater of the Greeks. The birth of theater in Athens. Tragedy.
"Sculpture of Greece" - High classics. Polykleitos. Hermes with Dionysus. Athenodorus. During the archaic period, an ideal image of a Man and a Woman is created. In search of the ideal. Sculpture of Ancient Greece. Sophocles. Maenad. Myron "Discobolus" V c. BC. Roman copy after a bronze original. Discophor. Agesander. 4th century BC e. Roman copy. Early classic.
"Famous Sculptures of Ancient Greece" - Salvador Dali. The standard of beauty has constantly changed over time, but the modern version was formed in ancient times. We want to prove that the proportions that are considered ideal all over the world were formed even before our era in Ancient Greece. Venus de Milo. Sculpture of Ancient Hellas in the modern world.
"Mythology of Ancient Greece" - A child of amazing beauty, Adonis, is born from a cracked trunk. Once Hades fell in love with the nymph Mentu or Mint. Hades. One day Demeter came to the city of Eleusis. Pan inspired unreasonable, so-called panic fear in people. Rubens Peter Paul. Poseidon. William Bouguereau "The Birth of Venus" Diana. According to the myth, the goddess Demeter and Zeus had a young, beautiful daughter.
"Ancient Greek vessels" - Psykter was placed in the liquid in the crater. Oxybaphones. Mastos. Psykter. They served mainly for storing olive oil and wine. The neck is rather widened towards the rim. In Rome, amphoras with a volume of 26.03 liters were used to measure liquids. Amphora. It is possible that initially kantharos were used exclusively for cult rites.
Scopas Scopas
(Skupas), an ancient Greek sculptor and architect of the 4th century. BC e. Representative of the late classics. Born on the island of Paros, he worked in Tegea (now Piali, Greece), Halicarnassus (now Bodrum, Turkey) and other cities of Greece and Asia Minor. He took part in the construction of the temple of Athena Alei in Tegea (350-340 BC) and the mausoleum in Halicarnassus (mid-4th century BC). Among the original sculptural works of Scopas that have come down to us, the most important is the frieze of the mausoleum in Halicarnassus depicting Amazonomachia, that is, the battle of the Amazons (mid-4th century BC; together with Briaxis, Leochar and Timothy; fragments - in the British Museum). Numerous works of Scopas are known from Roman copies - the statues Pothos (Usrfitsi), Young Hercules (formerly in the Lansdowne collection, London), Meleager (Vatican Museums; Medici Villa, Rome), Maenad (Sculpture Collection, Dresden ). Rejecting the characteristic of ancient Greek art of the 5th century. BC e. harmonious calmness of images, Scopas turned to the transfer of strong emotional experiences, the dramatic struggle of passions. To implement them, Scopas used the dynamism of the composition and new methods of interpreting details: deep-set eyes, wrinkles on the forehead, a parted mouth, as well as the intense rhythm of the folds of clothes. The work of Skopas, saturated with tragic pathos, had a great influence on the sculptors of the Hellenistic era ( cm. Hellenistic art), in particular on the masters who worked in the III-II centuries. BC e. in the city of Pergamon.
"Amazonomachy". Fragment of the frieze of the Mausoleum of Halicarnassus. Marble. Around 350 BC British museum. London.
Literature: A. P. Chubova, Skopas, L.-M., 1959; Arias P. E., Skopas, Roma, 1952.
(Source: "Popular Art Encyclopedia." Edited by Polevoy V.M.; M.: Publishing House "Soviet Encyclopedia", 1986.)
Scopas(Skópas), Greek sculptor and architect of the 4th c. BC e. Possibly the son and pupil of Aristander. He worked in Tegea (now Piali), Halicarnassus (now Bodrum) and other cities of Greece and Asia Minor. He supervised the construction of the temple of Athena in Tegea (Peloponnese), which has survived only in ruins. On the east pediment the temple depicted the mythical hunt for the Calydonian boar, on the western - the duel of the hero Teleph with Achilles. The head of Hercules, warriors, hunters and a boar, as well as fragments of male statues and a female torso, probably part of the Atalanta hunt, have been preserved. In one of the fragments - the head of a wounded warrior - for the first time in Greek sculpture, pain and suffering, confusion of feelings were embodied.
Skopas, together with other outstanding sculptors of his time (Leochar, Briaxis, Timothy), worked on the decoration of the famous Mausoleum of Halicarnassus (completed c. 351 BC), which was considered one of seven wonders of the world. Plates with reliefs girded the building with a continuous ribbon frieze. Perhaps Scopas was the author of the best surviving fragments, which depict the battle of the Greeks with the Amazons. The scenes of the battle are permeated with the fury of the fight, with violent movement; they seem to hear the sound of swords, the whistle of arrows, warlike cries. Dr. the works of Scopas are known only from Roman copies ("Young Hercules", "Meleagr"). The most famous among the missing sculptures of Skopas was the "Maenad" - a figurine of a girl, a companion of the god Dionysus, rushing in a frantic dance. The body of the dancer is as if twisted into a spiral, her head is thrown back, her clothes flutter, revealing a beautiful body. In the art of Scopas, for the first time, emotion, dramatic pathos, violent movement found expression - all that Greek sculpture had not known before. The works of Scopas had a significant impact on the sculptors of the era Hellenism.
(Source: "Art. Modern Illustrated Encyclopedia." Under the editorship of Prof. A.P. Gorkin; M.: Rosmen; 2007.)
See what "Scopas" is in other dictionaries:
Scopas- Scopas. Maenad. Marble. Roman copy. sculpture collection. Dresden. SCOPAS, ancient Greek sculptor and architect (4th century BC). The art of Scopas is distinguished by the dramatic pathos of struggle, passion, expressiveness of postures and gestures. ... ... Illustrated Encyclopedic Dictionary
The Thessalian Skopas, when asked for some superfluous and useless thing from his home decoration, answered: “But it is this superfluous that makes us happy, and not what everyone needs.” (Source: "Aphorisms. Golden Fund ... ... Consolidated encyclopedia of aphorisms
SCOPAS, ancient Greek sculptor and architect (4th century BC). The art of Scopas is distinguished by the dramatic pathos of struggle, passion, expressiveness of postures and gestures. The frieze of the mausoleum in Halicarnassus depicting the battle of the Greeks with the Amazons has been preserved ... ... Modern Encyclopedia
Ancient Greek sculptor and architect of the 4th c. BC e. The frieze of the mausoleum in Halicarnassus (now Bodrum in Turkey) has been preserved depicting the battle of the Greeks with the Amazons (marble, c. 350 BC, together with Briaxis, Leochar and Timothy). The Art of Scopas... Big Encyclopedic Dictionary
- (Scopas, Σχόπας). Greek sculptor from Fr. Paros, who lived about 380 BC. He made several bas-reliefs on the Halicarnassus mausoleum. His most famous work is a group depicting the offering to Achilles of a weapon forged by Hephaestus. Encyclopedia of mythology
The ancient Greek sculptor of the so-called neo-Attic school, originally from Paros, worked in the first half of the 4th century. to R. Chr. One of his first, in terms of time, work was the renewal of the destroyed in 395. the fire of the Tegean temple of Athena Alea, for ... ... Encyclopedia of Brockhaus and Efron
This term has other meanings, see Skopas (meanings). Ares Ludovisi ... Wikipedia
- (Skopas) ancient Greek sculptor and architect of the 4th century. BC e., representative of the late classics. Born on the island of Paros, he worked in Teges (now Piali), Halicarnassus (now Bodrum) and other cities of Greece and Asia Minor. How does an architect take... Great Soviet Encyclopedia
Scopas- (Greek Skopas) (IV century BC) Greek sculptor and architect from the island of Paros. He took part in the construction of the temple of Athena in Tegea (Peloponnese) and the mausoleum in Halicarnassus; the author of a number of sculptural images, for example, Meleager, the young Hercules ... Antique world. Dictionary reference.
SCOPAS- (4th century BC) Greek architect and sculptor from the island of Paros. He supervised the construction of the temple of Athena in Tegea (Peloponnese), worked on the frieze of the mausoleum in Halicarnassus. Among the works that are attributed to him is a statuette of a dancing Bacchante, reduced ... Dictionary-reference book on Ancient Greece and Rome, on mythology
Books
- Front line scouts. “I went behind the front line”, Artem Drabkin, “I would go on reconnaissance with him” - they say about a person who can be relied on. That's just in the time that has passed since the war, the original meaning of this phrase has been erased and depreciated. What is real… Category:
