Art Of Ancient Greece.

Only some of the ancient masters allowed us to approach the oeuvre of that distant era.

From the wizard, close to Critias, we got the original statue of Poseidon from Cape Artemision (c. 460 BC. E.), built at the intersection of the diagonals. Wide open arms pick up, develop, transfer to the space the momentum of movement initiated with slightly bent legs, supported by muscle tension and continued with the strength of chest. The main thing in this figure, like Critias, – is «pondus», that is, bearing the figure at one point, which is also the starting point of motion. Thus, we have no longer strictly symmetric, but a cross (usually diagonal) equilibrium: the movement of one leg is balanced by the opposite movement of the hand, the slope of the breast – by a slope in the back of the head. The anatomical structure of the body is in reality only a perfect bar mechanism that transfers the entire figure and from it to the space the initial impetus to the movement. But we talk not about simple transfer of movement, but about its strengthening, spreading outwards in all directions, and even the transfer of space by countless light reflection from the surface of the statue, as well as about various shades of colors.

In fact, the mastery of space is not always carried out due to the certain foreshortening of the figure. The original of the statue of Aphrodite (c. 465 BC) Calamis was made, perhaps, of bronze. This is a figure, completely wrapped in the coat, without any hint on the anatomy of the body. Another self-contained figure, with almost no gestures – is “Auriga from a bronze quadriga, votive figures of Sotades from Delphi. The chiton to the feet turns his body in the continuous cylindrical volume, but part of the fold leads to the alternation of light and shadow bands. Emerging reflections of light diverge in all directions. The bronze figure is ideally set in the center of the space, as if in a geometric vanishing point of light rays.

With the fastening of view in the plastic form as on the connection or synthesis of all possible points of review, the development of bronze and marble sculptures naturally converges. The searches for absolute or ideal forms are separated from the technical experiments. The aesthetic goal became the main – achieving the ideal with using all practical possibilities. Polycleitus from Argos, who worked in the second half of V in BC, developed a canon, in which tried to establish the law of proportionality of the human body, in other words, the structural principle of his image in the plastic. This principle is embodied in the statue of an athlete under the name “Doriphor.” “That very fine game of twists and turns, which initiated Critias with his boy from the Acropolis, having violated the congealed frontality of archaic, it is enriched in” Doriphor “and other statues of Polycleitus with free and harmonic rhythmic articulation, a balanced ratio of body parts, repetition of uniform elements in their strengthening or relaxation, repetition, which the Greek rhetoricians compare with the structure of entirely constructed sentences of four conjugate parts (columns), i.e. Tetragonia.

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