Write a critical review of the Text.
Draft the abstract of the text in Russian / English.
The changing appearance of kouroi through the 6th century bce is often thought of as a progression from abstraction to naturalism. By the middle of the 6th century bce other male statues in the round were being produced. In about 560 bce the Moschophoros (Calfbearer) was dedicated on the Acropolis at Athens. The bearded figure, whose hairdo finds parallels among early kouroi, wears a thin cloak and carries the calf, his offering, on his shoulders. Human and animal heads present patterned contrasts. Likewise found on the Acropolis at Athens was the Rampin Horseman, dated to around 560 bce The sculptor here wrestles with a complex group of a man and a horse, contrasting broad, flat planes of torso and face with the extravagant heavy-patterned detail of hair and head. The Acropolis at Athens is one of the major sources of Archaic statuary, since the Persians had overturned everything in their onslaught in 480 bce and the Athenians had gathered up the shattered remains and buried them tidily for archaeologists to discover at the end of the last century. The female counterpart of the kouros is the kore, the draped standing female figure. As with the kouroi, the functions of the korai were both votive and commemorative; at the same time they also operated as symbols of wealth and family prestige. The kore does not appear until a generation or so after the kouros, which is baffling. Examples continue to the end of the Archaic period, with a specially striking Late Archaic series coming from the Athenian Acropolis. It seems that rich dedications to Athena were popular at the court of Peisistratos and his sons. With korai, the changes throughout the period are measured more in terms of the rendering of the drapery than of the anatomy. Female dress apparently depended on three major garments, the peplos, the chiton, and the himation or mantle, all of which amounted to little more than rectangles of cloth, buttoned or pinned, and arranged in different ways. The peplos, often made of wool, was folded down from the neck and belted. Secured at the shoulder with pins, it was sleeveless and sometimes worn over a chiton. The chiton, often of linen, was, like the peplos, a rectangle of cloth. It was buttoned along the upper edge in two sections to allow holes for head and arms, and was sleeved and belted. The himation, or mantle, was a smaller oblong of cloth, buttoned along one long side, in such a way that it could be worn over the right shoulder and under the left arm. This was most often worn on top of the chiton. Sculptors thrived on the multiplicity of patterns offered by the drapery, and on the ornamental qualities provided by creases, folds, and tucks of different textures of cloth. Sometimes they were so carried away by the richness of the patterns that the logic of actual garments was lost.
|
|
|
Read the text for detail. Write an interview on the text.
In Attica, an early survivor is the so-called Berlin Kore, from the decade 570–560 bce. She is notable for her frontal stance, the large features of her face, her big feet and hands, the pomegranate she holds, the simple lines of her garments, and her elaborate jewelry—a bracelet, a necklace, and earrings. She wears a tasseled mantle slung symmetrically over her shoulders, the chiton, and a painted headdress (a polos). Similarly dressed, though without a mantle, and with similar jewelry, is Phrasikleia, whose name we know from the funerary epigram written on her base. It reads: ‘Marker of Phrasikleia. It shall for ever be called Kore, allotted this name from the gods in place of marriage.’ The use of the term ‘kore’ allows two interpretations. First, it can mean ‘daughter’ and therefore alludes to Phrasikleia's death before marriage; and second, since it was the familiar name for Persephone, who in myth was carried off by Hades to be queen of the underworld, it can allude to Phrasikleia's role in the afterlife as a bride of Hades. Some scholars also see these elegant funerary statues as rewards for the dead, objects of compensation or exchange. Others see them simply as symbols of family prestige: women's social status depended on their close male relatives. Phrasikleia's base bears the signature of the sculptor, Aristion of Paros. The features of the face are smaller and the figure's proportions slimmer than those of the Berlin Kore, so that, since her sculptor signs as an artist from the island of Paros, she may represent a combination of Attic and Island traits.
The Peplos Kore, a dedication on the Athenian Acropolis provides, as her name implies, an example of a kore wearing the peplos, in this instance over a chiton, the close-set folds of which appear at the bottom of the figure. Dated to around 530 bce she is among the last korai to wear the peplos. Smaller than lifesize and richly decorated with paint, of which much is still visible on hair, eyes, and clothing, her formal simplicity is modified through subtle asymmetries of slightly turned head and barely advanced foot and shoulder. The left forearm carrying the gift was worked separately. It is worth emphasizing that these marble statues were painted, and the same may be said of sculpture in limestone, terracotta, and wood. On marble figures, hair, eyes, and lips were painted, while female flesh was usually left the white color of the marble, and male flesh was painted brown. Drapery, too, was painted. Given that metal was often used for attachments (e.g. earrings), these statues offered a much livelier appearance when they were first made than they do now. With the last quarter of the century, the fashion in clothing changed, and the cross-slung himation worn over the crinkly chiton finds favor. Together with extravagantly complex hairdos, these garments offered all kinds of variety in terms of surface decorations. Moreover, at the same time as the brilliance of the drapery is stressed, anatomical forms beneath appear more forcefully. For example, korai of this period often use one hand to pull the drapery against the limbs, thus revealing the shapes of the body beneath, as in Kore from the Athenian Acropolis. With Kore, made around 500 bce a new mood is discernible. Complex patterns of coiffure, grouped folds of the chiton, and weightier textured himation folds contrast with the somber expression of the face. In the earlier part of the century, down to around 540–520 bce sculptors in different parts of the Greek world took different approaches to the same problems, and it has been possible to assume the existence of a number of regional schools, though these suppositions are based only on stylistic groupings and a small body of evidence.
|
|
|
Дата добавления: 2019-02-12; просмотров: 206; Мы поможем в написании вашей работы! |
Мы поможем в написании ваших работ!