Insert the missing prepositions. Tell the gist of the text.
An exquisite example __ the treatment __ the female figure __ the Severe Style is the group __ low reliefs known as the Ludovisi Throne; more probably, these reliefs once formed an altar. Perhaps made __ a Greek city __ southern Italy, the reliefs nonetheless show early 5th-century sculpture __ the height __ its perfection. A relief that probably represents the Birth __ Aphrodite delineates full and graceful female figures seen __ clinging garments that seem almost transparent. As Aphrodite was born __ the sea, the device __ sheer garments (often known as ‘wet drapery’) seems appropriate; __ any case it was used consistently __ 5th-century sculpture to reveal the roundness __ female forms even when fully clothed and completely dry. Experiments __ the late great archaeologist Margarete Bieber have shown that the kinds __ cloth used __ the Greeks do not fall __ such folds when draped around the body, so these ‘wet’ folds are a convention, but a very beautiful one.
Translate the following text in Russian.
The kouroi stood in sanctuaries, occasionally as representations of divinities (at one time they were all thought to be images of Apollo). But most often they were there as votive offerings to the gods, or as commemorative markers over graves; in either of these cases they spoke for the power and social standing of the family. Towering, vibrant statues, they stood foursquare with one leg advanced and arms held straight or slightly bent by their sides, with fists clenched. The broken fragments of one such kouros were found buried in a pit in the Sanctuary of Poseidon at Cape Sunion. His massive head is larger than natural proportions would allow. Huge eyes stare determinedly ahead, again larger in proportion to the rest of the face than attire would dictate. The anatomical landscape is treated as pure pattern: ears, ribs, and knees are fixed in the surface of the original marble block, the sculptor preferring to define the human form by line rather than by mass. This Sunion Kouros was made around 580 bce. The twins found in the sanctuary of Apollo at Delphi are shown stepping forward together. They have been identified as Kleobis and Biton, who in one of Herodotus's tales took the place of the missing oxen who should have pulled their mother's carriage (a cart) some 6 miles (9.5 km) across the plain of Argos to the Sanctuary of Hera. Hence the travelers' boots they wear. Some scholars, however, on the basis of inscriptions detected on the base and on the heroes' thighs, prefer to identify them as the Dioskouroi (Castor and Pollux). Hairstyle is reminiscent of the Daedalic Style of the preceding century. Anatomy is all pattern and line. Their short, square torsos and stocky proportions are different from those of the New York Kouros or the Sunion Kouros, and are associated with a regional Argive workshop. An inscription gives, infuriatingly, only half the sculptor's signature, ‘… medes’, but says he came from Argos. He made these handsome dedications, surely a state offering, about 580 bce.
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Give the definition of the following terms.
Style; Daedalic Style; Severe Style; miniature style; peristyle; Archaic smile; slab.
Describe the following works of art.
The Discus-Thrower; the Kritios Boy; the Battle of Lapiths and Centaurs; Anavyssos Kouros; Castor and Pollux the Calfbearer; the Charioteer of Delphi; the Blond Youth.
Translate the following text in English.
Путь развития архаической скульптуры был сложным. Первые скульптурные изображения юношей – куросы, долго называли архаическими аполлонами. Фигура монументальна, руки прижаты к туловищу, одна нога выставлена вперед. Подчеркнуто атлетическое сложение: широкие плечи, узкие бедра. Глаза широко открыты, углы губ чуть приподняты, что позволило исследователям ввести термин «архаическая улыбка». Фронтальность, подчеркнутые плоскости фаса и профиля, статика позы, разработка волос напоминают древнеегипетские статуи. Но улыбка и устремленный вдаль взгляд создают впечатление жизнерадостности. Куросы посвящались богам и ставились в храмах и святилищах, изображения атлетов воздвигались на площадях городов. Материалом служили камень, дерево, мрамор, терракота, со второй половины VI века до н. э. – бронза. Камень и глину раскрашивали. Раскраска была условной: борода могла быть синей или зеленой, глаза – красными, но это лишь усиливало общую декоративность. Если в скульптурном изображении мужской фигуры решалась проблема обнаженного тела, то в женской – проблема задрапированного тела. Такие фигуры назывались «корами». Чаще всего их находят около Афин, так как коры обычно изображали жриц богини Афины. Глаза у «кор» удлиненные, «архаическая улыбка» еле намечена. Коры раскрашивались: при розовато-красных волосах брови и ресницы могли быть черными, одежда яркая, очень нарядная. Лица куросов и кор обобщались. В мужских фигурах статика позы подчеркивала мужество и силу, в корах – женственность и нежность. Все это выражало нравственный идеал греков в период архаики.
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