Outstanding sculptors of ancient Greece. Sculptural creations of Skopas and Praxiteles Skopas the sculptor of his works

"Maenad"

Regardless of whether the above-mentioned description of the “Maenad” by Callistratus really refers to this maenad or to another similar one, its applicability sufficient for such frequent citation gives us reason to cite it in our consideration: “Scopas created a statue of a Bacchante from Parian marble; it could seem alive: the stone, itself remaining the same stone, seemed to have violated the laws that are associated with its dead nature. What stood before our eyes was actually only a statue, but art, in its imitation, made it seem to have life. You could see how this stone, hard by nature, imitating feminine tenderness, itself became as if light, and gives us a feminine image when its feminine nature is full of sudden movements. Deprived by nature of the ability to move, he learned under the hands of the artist what it means to rush about in a Bacchic dance and be an echo of a god descended into the body of a Bacchante. Contemplating this face, we stood silently, as if deprived of the power of speech - so clearly in every detail was the manifestation of feeling, where it seemed there was no place for feeling. The insane ecstasy was so clearly expressed on the face of the Bacchante, although the manifestation of ecstasy is not characteristic of a stone; and everything 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. The hair, as it were, was given to the will of the marshmallow, so that he would play with it, and the stone itself seemed to turn into the smallest strands of magnificent hair. It was beyond all understanding, beyond anything that can be imagined: being a stone, this marble image managed to convey all the subtlety of the hair; obedient to the artist's art, he presented rings of loose curls; the lifeless stone seemed to have some kind of life force. It could be said that art has surpassed itself, so incredible was what we saw, but still we saw it with our own eyes. And the artist depicted the hand in motion: she did not shake the Bacchic thyrsus, but carried a sacrificial animal in her arms, as happens already with the cries of "Evoe", which is a sign of a stronger ecstasy. It was an image of a goat with pale skin: even the stone managed to convey the state of death to us at the will of the artist. The same material served the artist for depicting life and death; he presented the Bacchante before us alive when she aspires to Kieferon, and this goat is already dead. The Bacchante in her fury killed her - and withered her strength of vital feelings. Thus, Skopas, creating images even of these lifeless beings, was an artist full of truthfulness; in bodies he was able to express the miracle of spiritual feelings, like Demosthenes, who, creating chased images in his speeches, showed us in the abstract creations of his thought and mind an almost living image of the word itself, by the power of the magical charms of art. And you will immediately understand, imbued with the thought that this statue - the creation of Skopas - standing here for general contemplation, is itself not devoid of the ability to move outside, which is given to it by nature, but that it suppresses it, and in all its appearance in typical features preserves inherent in it, its inspiration that gave rise to it. .

B.R. Vipper considers this statue exactly as the "Maenad" of Scopas, guided by the above description, and, among other things, on its basis, draws conclusions about the characteristic features of the style of this sculptor: “With a knife in her right hand and with a torn goat on her left shoulder, Maenad rushes, throwing her Bacchic challenge to heaven. In the statue of Maenad, Skopas created an image saturated with such a spiritual impulse, such emotional dynamics, which we will not find in the entire history of Greek art. But the Maenad impresses not only with its exceptional emotional expressiveness. The strength of its expression is fully consistent with the boldness and completeness of the plastic design. Maenad's body moves simultaneously in all directions, it consists entirely of oblique planes and directions. The lower part of the body is strongly pushed forward, while the upper part is thrown back; the chest is turned to the right, the head to the left. At the hips, the body of Maenad is so bent around its axis that at the bottom we see it in front, and at the top - behind. And, despite all this abundance of contrasts and directions, the statue of Maenad is enclosed in a very small, very simple and closed mass. At the same time, no Greek statue before Scopas was as rich in points of view as Maenad. Of course, she, like every Greek statue, has a main point of view (in this case, this is undoubtedly a profile). But at the same time, the statue of Maenad is in such a strong rotational movement that only by going around it, only by getting acquainted with its face and other profile, the viewer will get a complete picture of the forms of her body, her movement and the motive of clothing. .

Rice. 5-11. "Maenad" from various angles (photo by Beryl Barr-Charrar).

It is easy to see how much in terms of dynamics the Maenad has gone ahead compared to the Amazon Sciarra. And the point here is by no means only in the plot; as mentioned above, despite the differences in emotional coloring, the expression created due to the dynamics of the posture is on a completely different level - or rather, the "Maenad" represents a natural stage in the development of the contrapposto concept. Strictly horizontal (belt) and vertical (folds) rhythms are almost unreadable, in everything one sees either soft curvilinear plasticity, or sharp, but still diagonal and therefore lighter, more rapid dynamics. The complication of the rhythm (and hence its less readability) in space is replenished, however, from the other side: breaking out of the self-sufficient frontal plane, the hostage of which was still the "Amazon" of Polykleitos, into a rich three-dimensionality, "Maenad" begins to live also in time: the motif of the dance - of course, representing something long - is revealed to the viewer as he walks around the statue (Fig. 5-11); such a spatio-temporal existence of a statue is a much more complex concept than a simple and understandable alternation of verticals or horizontals, which only set potential, unrealized “vectors”. This development of the image in space and time is considered in detail by Yu.D. Kolpinsky: “From the point of view on the left, the beauty of her almost naked body and the elasticity of the rapid upward and forward movement come out especially clearly. Full face in her outstretched arms, in the free movement of the folds of her tunic, in the impetuously thrown back head, the charm of the ecstatic rise-burst of the maenad is revealed. At the point of view on the right, in a heavy mop of falling hair, as if pulling back ... her head, one can feel the exhaustion of the maenad's impulse. The viscous flowing folds of the chiton lead the viewer's eye to the final point of view from the back. The theme of the completed jump and fatigue dominates here. But from the back, along with the flowing waterfall of hair, we see the beginning of the rapid movement of the folds of the fabric, leading us to the transition to the left point of view, and again we feel the resurgent tensely impetuous ecstasy of the maenad. .

It is noteworthy that the global "revival" is no longer limited to the body and clothing: in contrast to the heads of the 5th century. (including the "Wounded Amazon"), heads of the 4th century. (and hence the "Maenad" we are considering) and, apart from the statue, are full of internal energy and passion - although they are still unportraitful and devoid of individual character. Let us turn again to B.R. Wipper: “Scopas heads differ from earlier heads primarily in their structure. They are not round, but quadrangular, very strongly, almost roughly framed. The transverse lines are underlined in the face: hanging eyebrows and a transverse crease on the convex forehead are especially characteristic of the Skopas heads. The heads are never set straight, but are bent and bowed on a strongly turned neck. Already these features fill the heads of Scopas with some kind of passionate languor and intense pathos. Unlike classical art, Scopas appeals to the feelings of the viewer, wants to excite and shock him. He is occupied with the inner life of the characters, the complexity and passion of their emotional experiences. Therefore, it is quite natural that Scopas pays such great attention to the heads, face and especially the eyes. It can be said that Skopas was the first Greek sculptor who became interested in the problem of sight and tried to solve it with completely new means.. Of course, due to the poorly preserved details of the face, we cannot speak with full confidence about the applicability of these observations to our "Maenad", but the description of Callistratus, and the analysis of similar works, and, in principle, a look at the impetuously raised head and so truthful, not ornamental swaying strands gives us good reason.

In some ways, however, today with B.R. Wipper can not agree: so, if you are guided by the work of the professor of fine arts Beryl Barr-Sharrar, carried out after other studies of the statue and published in her essay "Dresden Maenad and Skopas from Paros", then the sculpture was not at all “small in volume, very simple and closed mass”(in accordance with the reconstruction of Trey and similar reconstructions - Fig. 12-14), but an open and even more dynamic composition (in particular, the left hand with the goat was raised above the head, and not pressed to the shoulder, and the right hand with the knife was separated from body at a strong angle). So, in contrast to the graceful roundness of the naked body - and not a rather conditional roundness, as in the "Amazon" by Poliklet, but realistically changeable - there is a rigid triangular "frame" that encompasses the entire composition - which, undoubtedly, is fundamentally different from the "square standard" of Poliklet , where a rather compact composition fit relatively easily into a parallelepiped or cylinder. G.I. also draws attention to another, similar contrast. Sokolov in "The Art of Ancient Greece": “Scopas solves the ratio of clothes and body in a new way: through the open chiton, he shows the naked thigh of Maenad, with a sharp juxtaposition of fabric and figure, breaking the usual classical harmony of clothes, perceived as an echo of the body.” .

Rice. 12-14. Options for the reconstruction of the "Maenad" (from left to right): option without a goat in the left hand 16,
variant with a goat in the left hand of Trey, a variant with a goat in the left hand of Beryl Barr-Sharrar.

Unfortunately, we cannot say anything about the original pedestal of the statue due to the lack of any data about it.

Skopas is a famous ancient Greek sculptor of the late classic period.
He was born on the island of Paros and created his works in different regions of Greece: Boeotia, Attica, Asia Minor, Arcadia between 370 and 330.
His monuments are characterized by pathos and agitation of feelings.
Ancient authors mention more than twenty works of Scopas, although much fewer of them have come down to our time.
Scopas, among other masters, decorated the relief friezes of the Halicarnassus mausoleum. The change of feelings, expressed in the Maenad by the plasticity of a round sculpture, which was felt when walking around the sculpture, unfolds here on a flat frieze ribbon.
The variety of angles in the reliefs is complemented by a masterful juxtaposition of light girlish bodies and heavy male bodies, which are depicted in a merciless and cruel struggle.
Scopas plays combinations of two or three figures, showing them from different sides and at different moments of movement. The power of emotional intensity is here incommensurably greater than in the works of the fifth century BC.
The beauty of the new world shown by Scopas in art lies in the development of drama, in flashes of human passions, in the interweaving of complex feelings. And at the same time, the loss of the monumental clarity of high classics is noticeable. After all, it was in the works of this period that the human mind won, as the highest principle, in a collision with the rampant elements.
In the reliefs of the late classic period, it is not harmonious and holistic that dominates, as in the Zophora of the Parthenon, but an agitated and sharp worldview, because they were created during the period of destruction of the ideas familiar to the time of classicism. According to these ideas, a person is called for reasonable domination in the world around him. So even on the example of one monument, we can see the weakness and strength of the possibilities inherent in late classical art.
This art discovered a lot of new things in the nature of human feelings and emotions, but this achievement was achieved at the expense of the loss of peace and harmony of the high classics.
Praxiteles is a famous ancient Greek sculptor, a younger contemporary of Scopas. Born around 390 B.C. He expressed in his works completely different moods than Scopas.
Praxitel came from a family of sculptors. His grandfather, Praxiteles the Elder, was a sculptor. Father - Kefisodot the Elder - was a famous master in Greece, the author of the statue of Eirene with Plutos.

Ticket 19.

1. The art of Byzantium of the 6th century (the era of Justinian)

The deeply peculiar culture of Byzantium began its journey, as it were, immediately from the climax: its first flowering falls on the 6th century, the "era of Justinian" (527-565). At this time, the Byzantine Empire reached its ultimate power, comparable to the greatness of Imperial Rome. It occupied a vast territory, had enormous international prestige. Foreigners were struck by the impressive appearance of the Byzantine capital, Constantinople, the splendor and luxury of the imperial court, the solemnity of church services.

The main forces on which Emperor Justinian relied were the army and the church, which found in him a zealous patron. Under Justinian, a union of spiritual and secular power, specific to Byzantium, was formed, based on the primacy of the basileus - emperors,

In the era of Justinian, Byzantine architecture reached its highest rise. Numerous fortifications are erected on the borders of the country, temples and palaces are built in cities, marked by the grandeur of scale and imperial splendor. At this time, two main shrines of Constantinople were founded - the Patriarchal Cathedral of St. Sofia and the Church of St. Apostles.

Hagia Sophia was the highest achievement of Byzantine architecture: for all subsequent centuries of the history of Byzantium, no temple was created equal to this. The gigantic building, the creation of the Asia Minor architects Anfimy from Thrall and Isidore from Miletus, became the embodiment of the power of the Byzantine state and the triumph of the Christian religion.

According to its plan, the church of St. Sophia is a three-nave basilica, that is, a rectangular building, but the rectangular space here is crowned by a huge round dome (the so-called domed basilica). This dome is supported on two sides by two lower semi-domes, each of which, in turn, is adjacent to three smaller semi-domes. Thus, the entire elongated space of the central nave forms a system of semi-domes growing upward, towards the center.

The four massive supporting pillars that carry the main dome camouflage themselves from the viewer, while the forty windows surrounding its base in an almost continuous luminous wreath create a stunning effect. It seems that the huge bowl of the dome is floating in the air like a luminiferous crown. It is not surprising that the church of St. Sophia seemed created "not by human power, but by God's permission."

External view of the Church of St. Sofia, with its smooth walls, is characterized by severe simplicity. But inside the room, the impression changes dramatically. Justinian planned to build a building not only the largest, but also the richest in interior decoration. The church is decorated with more than a hundred malachite and porphyry columns, specially brought from various ancient temples, slabs of multi-colored marble of the most valuable breeds, wonderful mosaics, with their glitter of gold background and splendor of colors, thousands of massive silver candelabra. Above the pulpit - the platform on which the sermon is delivered - was a canopy made of precious metals, crowned with a golden cross. From gold there were bowls, vessels, bindings of sacred books. The unprecedented luxury of this cathedral so amazed the ambassadors of the Kiev prince Vladimir, who visited Constantinople in the 10th century (as the main city of Byzantium in Russia was called), that they, as the chronicle tells, could not understand whether they were on earth or in heaven.

St. Sophia did not become a model for the subsequent development of Byzantine architecture, but gave it a powerful impetus: for many centuries the type of a domed church was established here.

In most Byzantine churches, the dome, symbolizing the vault of heaven, rises in the center of the building. Whatever the layout - round, square, multifaceted - all such buildings are called centric. The most common among them since the 7th century are the cross-domed churches, in their plan resembling an equal-ended (Greek) cross inscribed in a square?

The centric composition attracted Byzantine architects with its balance and a sense of peace, and the layout (cross) most of all met the requirements of Christian symbolism.

If the expressiveness of the ancient temple consisted mainly in its external appearance (since all the rituals and festivities took place outside, in the square), then the main content and beauty of the Christian church is concentrated in the interior, because the Christian temple is a place where believers gather to participate in the sacrament. The desire to create a special environment inside the church, as if separated from the outside world, caused special attention to the interior decoration associated with the needs of Christian worship.

The richness of interior decoration was created, first of all, by mosaics that adorned the vaults and the upper part of the walls. Mosaic is one of the main types of monumental art, which is an image or pattern of separate, very tightly fitting multi-colored pieces of glass, colored stones, metals, enamel, etc.

In Byzantium, mosaics were valued for their preciousness, for the ability to achieve unexpected optical effects. Small cubes of mosaic masonry, laid at slight angles to each other, reflect light in cross beams, which creates an iridescent magical shimmer. Larger smalt cubes, placed in even rows, on the contrary, create a “mirror” surface and the mosaic acquires the effect of a strong glow.

Churches and mausoleums of Ravenna, a city in northern Italy, near the Adriatic Sea, keep unique examples of Byzantine mosaics. The earliest among them is the decor of the mausoleum of the Byzantine queen Galla Placidia (mid-5th century). Inside the mausoleum, above the entrance, there is a wonderful composition representing Christ, the good shepherd in a hilly landscape. He is young and beardless: this is how Christ was depicted in the first centuries of Christianity, when ancient ideas about eternal youth as an attribute of a deity were still alive. With a solemn gesture, Jesus erects a cross, the main symbol of Christianity.

A later cycle of mosaics is found in the chancel of the Church of San Vitale (Saint Vitali) in Ravenna (6th century). Along with biblical scenes, there are two "historical" scenes, the ceremonial exit of Emperor Justinian and his wife Empress Theodora with their retinues to the temple. They captured the wealth and luxury of the Byzantine court, the superearthly grandeur of the monarch. The frontal frozen figures are arranged in a solid row on a golden background. Strict solemnity reigns, in all faces similar to each other, severe detachment and fortitude are read.

Among the most remarkable works of Byzantine monumental painting were the now lost mosaics of the Church of the Assumption in Nicaea (VII century) depicting "angels of heavenly powers." The faces of these angels are amazing, with their distinct sensual appeal. But this sensuality is incorporeal, it is associated with ecstatic inner inspiration. The desire to convey a huge spiritual concentration, to the ultimate spiritualization of the art form remained the ideal for Byzantine art for centuries.

A special place in the ensemble of the Christian church belongs to the icon. The early Christians called any image of a saint that way, contrasting it with an "idol", a pagan image. Later, the word "icon" began to be called only easel works in an effort to distinguish them from works of monumental art (mosaics, frescoes).

Unlike an ordinary easel painting, an icon is an object of prayer. She is considered by the church as a special symbol, mysteriously associated with the "divine", supersensible world. Contemplating the icon image, a person can spiritually join this world.

The origin of icons is usually associated with the ancient Egyptian mortuary pictorial portraits, intended for the "transition" of a person to the other world. According to the place of the first large discovery of these monuments in the Fayum oasis (1887), they were called Fayum (Fayum) portraits. The images, executed on wooden boards with wax paints during the life of the customer, after his death served as a funeral mask.

The oldest surviving icons, close to the Faiyum portraits, date back to the 6th century. They usually depict one saint, most often to the waist or bust, strictly in front or three-quarter turn. The look of the saint, full of spiritual depth, is directed directly at the viewer, because some kind of mystical connection should arise between him and the prayer.

Three icons from the monastery of St. Catherine at Sinai: "Christ", "Apostle Peter" and "Our Lady between St. Fedor and St. George".

The period of brilliant prosperity (VI-VII centuries) was replaced by a tragic time for Byzantine art. In the VIII - IX centuries, the iconoclastic movement raged in the country, associated with the ban on images on Christian themes. The iconoclasts, on whose side the emperor and his court, the patriarch and the highest circle of the clergy stood, rebelled against depicting God and the saints in human form, based on theological arguments about the impossibility of reproducing the divine essence of Christ in material form.

During the period of iconoclasm, icons were officially banned, and many of them were destroyed. Churches were decorated mainly with images of Christian symbols and ornamental paintings. Secular art was cultivated: picturesque landscapes, images of animals and birds, plots of ancient myths, and even competitions at the hippodrome. These murals were almost completely destroyed by the supporters of icon veneration (mainly broad sections of the common people, the lower clergy, accustomed to worshiping icons) after it was restored.

After the victory over iconoclasm, branded as a heresy in 843, the most important phenomena for its further development took place in Byzantine art. They are associated with the beginning of the formation of the iconographic canon - constant iconographic schemes, from which it was not supposed to deviate when depicting sacred subjects. The murals of the temples are brought into a coherent system, each composition acquires a strictly defined place.

Christ Pantokrator (Almighty) was depicted in the dome of the temple, surrounded by angels. Between the windows in the drum - the upper part of the building that serves as the base of the dome - were placed prophets or apostles. On the sails, at the top of the pillars supporting the dome, the evangelists, the four "pillars" of the gospel doctrine, were placed. In the apse, the altar ledge, there is an image of the Mother of God, most often in the type of Oranta, that is, praying with raised hands. Archangels Michael and Gabriel hover around it. In the upper part of the walls of the temple, episodes from the life of Christ are presented, which necessarily included images of 12 holidays (Annunciation, Christmas, Candlemas, Epiphany, and so on). In the lower part of the temple there are figures of the church fathers, high priests, holy martyrs. Once found, this painting system in its main features remained unchanged for many centuries in all countries of the Orthodox world.

In the post-iconoclastic period, especially in the 11th-12th centuries, Byzantine art finds its most perfect types and most ideal forms both in mosaics and in icons and book miniatures. Deep spirituality of faces, light “floating” figures, smooth fluidity of lines, rounded contours, the brilliance of gold, saturating the image with unearthly light, the absence of any tension - all this creates a very special figurative world full of sublime peace, harmony and divine inspiration.

XIII and XIV centuries - the era of late Byzantine culture. Despite the strongest economic and political weakening of Byzantium, which lost most of its territories, the art of this time was marked by the highest achievements, primarily in painting. Remarkable monuments of the beginning of the XIV century, when art was drawn to greater expression and freedom, to the transfer of movement, are the icon of the "12 Apostles", the mosaics of the Kahriy Dzhami Church in Constantinople, representing the life of Christ and the Mother of God.

However, the new artistic ideals were not destined to truly grow stronger on the soil of the fading Byzantium. Apparently, it was not by chance that the most talented Constantinople master of the second half of the 14th century, Theophanes the Greek, left the empire, preferring Russia to it.

In 1453, Byzantium, conquered by the Turks, ceased to exist, but its culture left a deep mark on the history of mankind. Having preserved the ancient tradition alive, the Byzantines were the first in the medieval world to develop an artistic system that corresponded to new spiritual and social ideals, and acted as a kind of teachers and mentors in relation to other peoples of medieval Europe.

Sculpture of Leohara

Leohar - an ancient Greek sculptor of the middle of the 4th century BC. e. Representative of the academic trend in the art of the late classics. Being an Athenian, he worked not only in Athens, but also in Olympia, Delphi, Halicarnassus (together with Skopas). He carved from gold and ivory several portrait statues of family members of the Macedonian king Philip (using the technique of chrysoelephantine sculpture), was, like Lysippus, the court master of his son Alexander of Macedon ("Alexander on the lion hunt", bronze). He created images of the gods ("Artemis of Versailles", a Roman marble copy, the Louvre) and mythological scenes.

The heyday of the art of Leohara dates back to 350-320 BC. e. At this time, he cast a group very popular in antiquity, depicting the beautiful young man Ganymede, who is carried away to Olympus by an eagle sent by Zeus, as well as a statue of Apollo, which became world famous by the name of "Apollo Belvedere" (name from the Belvedere Vatican Palace, where the statue is exhibited) - both works are preserved in Roman marble
copies (Pio-Clementino Museum, Vatican). In the statue of Apollo Belvedere, the best work of Leochar, which has come down to us in a Roman copy, captivates not only the perfection of the image, but also the mastery of the technique. The statue, discovered in the Renaissance, was for a long time considered the best work of antiquity and was sung in numerous poems and descriptions. The works of Leohar are made with extraordinary technical skill, his work was highly appreciated by Plato.
"Diana the Huntress" or "Diana of Versailles", a sculpture made by Leochar around 340 BC. Not preserved. Sculptures of this type are known to archaeologists from excavations in Leptis Magna and Antalya. One of the copies is in the Louvre.
Artemis is dressed in a Dorian chiton and himation. With her right hand, she is preparing to extract an arrow from her quiver, while her left hand is resting on the head of the deer accompanying her. The head is turned to the right, towards the likely prey.
"Apollo Belvedere", a bronze statue executed by Leochar around 330 BC. n. e. The statue has not survived, but has been preserved in Roman marble copies. One of the marble statues is in the Belvedere, one of the buildings of the Vatican Museum. It was found in the ruins of Nero's villa in Antia sometime in the early 16th century.
The statue depicts Apollo, the ancient Greek god of the sun and light, in the form of a beautiful young man shooting from a bow. Bronze statue of Leochar, executed c. ., at the time of the late classics, was not preserved.
Montorsoli, a student of Michelangelo, restored the hands, but he did it wrong: in his right hand, Apollo was supposed to hold a laurel wreath, in his left hand there was a bow, as indicated by the quiver behind Apollo's back. These attributes in the hands of a deity meant that Apollo punishes sinners and purifies the penitent.

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.)

(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 from 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.)

• - Scopas, Σκόπας, from Paros, a famous sculptor and architect, was busy building the temple of Athena Alea in Tegea, and in later years during the construction of the mausoleum, which means he lived approx. 380 BC To the most famous of his...

  Real Dictionary of Classical Antiquities

• - Greek. sculptor and architect of the 4th c. BC. from the island of Paros, modern. Praxiteles. Supervised the building temple of Athena in Tegea, and in the middle. worked on the frieze of the mausoleum at Halicarnassus for centuries...

  Ancient world. encyclopedic Dictionary

• - Greek. sculptor and architect of the 4th c. BC e. from the island of Paros, a contemporary of Praxiteles. He supervised the construction of the temple of Athena in Tegea, and in the middle. worked on the frieze of the mausoleum at Halicarnassus for centuries...

  Dictionary of antiquity

• -, ancient Greek sculptor and architect of the 4th century. BC e. Representative of the late classic...

  Art Encyclopedia

• Architectural Dictionary

• - Ancient Greek sculptor and architect

  Modern Encyclopedia

• - an 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 works was the renewal of the fire destroyed in 395...

  Encyclopedic Dictionary of Brockhaus and Euphron

• - Ancient Greek sculptor and architect of the 4th century. BC e., a representative of the late classics ...

  Great Soviet Encyclopedia

• - Greek sculptor and architect, born on the island of Paros c. 420 BC, possibly the son and disciple of Aristander...

  Collier Encyclopedia

• - Ancient Greek sculptor and architect of the 4th century. BC e. The frieze of the mausoleum in Halicarnassus depicting the battle of the Greeks with the Amazons has been preserved ...

  Big encyclopedic dictionary

• - Thessalian The Thessalian, 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” ...

  Consolidated encyclopedia of aphorisms

Scopas in books

Scopas (c. 395 BC - 350 BC)