Read the text for detail. Draft the abstract of the following text in Russian.
The Apoxyomenos shows Lysippos directly challenging the conventional Classical four-sided approach. The athlete is using a strigil to scrape the oil off his body. One arm is stretched out directly in front of the figure, with the other at right angles to it. Thus, the broad front of the torso has been broken, the visual space of the figure vastly extended, and the viewer invited, almost compelled, to contemplate views other than frontal and profile. Moreover, the torsion introduced into the lower part of the figure by the out-turned foot, bent knee, and shifting horizontal axis is continued in the upper part by the position of the arms. Structured Classical frontality is here giving way to three-dimensional movement.
Portraits of Alexander were numerous, and the sources tell of characteristics—unruly hair and a certain set of the head—by which he might be recognized. Inscribed busts and coins help. Yet there
is nothing to identify a portrait by Lysippos. The different heads
of Alexander have hair that varies in length but that is always recognizable by the characteristic off-center parting, and by plentiful curls. The set of the head also varies and does not always have the challenging upward turn, and different heads suggest different ages. Yet Alexander still appears idealized as a superhuman regent type. Individualized, physical traits do not predominate.
Expand on the following.
Praxiteles' Aphrodite of Knidos
The Marathon Boy
The Temple of Athena Alea at Tegea in the Peloponnese
The Apoxyomenos; the Meleager
A marble group of Hermes and Dionysos
The Mausoleum at Halikarnassos
S ingle out the major idea of the text. Write an essay of your own on the topic of the text.
Relief sculpture, other than architectural, is most commonly seen in grave reliefs, which were produced in great quantity in Athens throughout the century, until sumptuary laws forbade their production in around 310 bce. Quality varies greatly, from stock pieces turned out by hacks to be personalized by the addition of inscriptions and epigrams, to others that demonstrate the skills of master sculptors. Many of these stelai have an architectural framework of antae and pediment within which figures are shown. The figures are worked in relief, which gets higher and higher over the century, until by the end some figures are almost entirely in the round. Figures on the stele of Dexileos are already in high relief. An inscription identifies this gravestone as that of a young man killed in action against the Corinthians in 394 BCE. Here he lunges from horseback at a fallen enemy; spear and reins were added in bronze. The horse and horseman are reminiscent of the Parthenon frieze, and the billowing drapery echoes that of the Nike balustrade, but Classical restraint—both physical
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Make a presentation on one of the artists.
Kephisodotos; Praxiteles ; Skopas; Lysippos.
Draft the abstract of the text in English. Translate the text in Russian.
Panels with sculpted figures in relief appear on a group of marble sarcophagi (coffins) found at the other side of the Greek world in the tombs of the kings of Sidon, the famous city on the Phoenician coast. One of these, the so-called Alexander Sarcophagus, carries the only original contemporary representation of Alexander himself. The coffin is shaped like a temple, rich with architectural moldings framing the frieze panels on all four sides of the rectangular chest, and resplendent with akroteria, waterspouts, and watchful lions at the corners of the roof. The lid of the coffin, which was worked separately, had sculpted figures of Greeks fighting Persians in the pedimental gabled ends. The short sides of the chest show a hunting scene and a battle scene in full throng. One long side shows Greeks and Persians hunting together, while the other depicts Greeks and Persians fighting. Some Greeks are nude; Persians wear traditional costume. Figures were carved with great precision and painted. The colors are well preserved and include purple, blue, yellow, and various shades of red for garments. Flesh is painted in a light yellow wash for Greeks and a darker yellow for Persians, while hair is often accentuated with color, as is sometimes the iris of the eyes. The compositions are dense with crowded figures in closely interlocking groups. In the hunting scene, rearing horses, brandished weapons, and fluttering drapery all emphasize the action of the overlapping figures. In the battle scene, Alexander is on horseback and wearing the lionskin helmet of Herakles that he wears on contemporary coins. With spear poised, he attacks a Persian whose horse collapses beneath him. Alexander's face is young and smooth, his eyes painted with highlights. The intensity with which he charges is matched only by his expression. Alexander alone of the figures can be identified with certainty. The prominently placed man in the middle of the hunting scene was probably the person buried in the sarcophagus. He has been identified as Abdalonymos, who was made king of Sidon by Alexander after the Battle of Issos in 333 всE. The sarcophagus was probably made around 320 всE.
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