Three-Dimensional Sculptures

Three-Dimensional Sculptures

Sculpture art is part of the Visual art operating in three dimensions. Modeling and carving are the most common forms of three-dimensional clay, ceramic and metal sculpture formations. Stone sculptures can survive for millennia as compared to the works of art composed of perishable materials. Free standing three-dimensional sculptures played a crucial role in the religions of many ancient cultures. The cultures whose free standing sculptures have survived include the Ancient Egypt, Ancient Greece, Chinese Dynasty and the Roman Empire.

Paleolithic Venus of Willendorf

Paleolithic art utilized aesthetic and can hardly be classified as forms of artistic expressions. Bones, stones, anther, and clay were used as materials for creating sculptures and statues. The artists used amateur functional tools such as spears and lamps to chisel out the materials and to carve out images. Common themes during this era were hunting, gathering, wild animals and predators.

Venus of Willerdorf (also referred to as Woman of Willendorf is a statuette of a female 4.1 inches high. The artistic figure was made between 28000BCE-25000BCE.  Johann Veran, a workman, discovered the statuette while excavating a Paleolithic site in Willendorf, Krems Lower Austria. The artist carved it from limestone not found locally in the area. He also tinted it with red ochre.  Today, Naturhistorisches Museum in Vienna houses the figurine.

The figurine's purpose is still a speculation subject. It has no feet thus, cannot stand on its own. However, the statuette can be pegged on the ground for support. The artist emphasized body parts associated with childbearing and fertility. As such, many researchers are convinced that the image was worshiped as a fertility goddess.  It lacks a visible face. Circular horizontal bands to represent a headdress or plaited hair replace the facial features. The nudity of this statue leads to a speculation that the artist intended it for use during fertility rituals. If this is the case, the head served as a handle. The sculptors during the Paleolithic era were Homo Sapiens mostly engaging in hunting and gathering activities. They lacked mirrors. Therefore, if the image was a self-portrait, the absence of mirrors can account for the lacking facial features.

Neolithic Human figure, from Ain Ghazal, Jordan

The Neolithic era is marked by the application of technology to ease the work burden. Most artwork associated with this period demonstrates a heightened level of sophistication as compared to Paleolithic art (Drasovean et al., 2012).  Sculptors used chisels, polishing tools, and axes to create images out of the chosen materials including iron.

Two caches of plastered statues were discovered in Ain Ghazal, Jordan. They were intentionally buried on the floor of abandoned buildings. Carbon-14 dating analysis of the charred materials around the site approximate the time for the creation of statue between 6750BCE-06250BCE.  Neolithic people laid the statues in dug visible pits in an East-West orientation. Besides, the caches of the statues shared numerous stylistic similarities. All the statues are anthropomorphic either busts or full figures. They are 3.5-3.8 inches in height implying that they are relatively large as compared to contemporary stone and clay Paleolithic sculptures. Deposition of the statues in a pit guaranteed their preservation.

The sculptors utilized plaster to create Ain Ghazal figures. The same plaster covered the floors and walls of Ain Gazal’s domestic structures. Similarly, people treated the skulls of their deceased using such plaster. The figures have their heads overemphasized. In fact, they represent one-fifths of the statues’ total size. It entails a recessed feature on the forehead for hairpiece or headdress.

The manufacture of these Ain Gazal statues involved the application of reed armature.  The absence of genitalia in the figures is because of painted clothes. At times, breasts are visible in some statues. There is also an exhibition of similar focus on the eyes of all the statues. Most of the statue eyes are disproportionally oversized. Neolithic humans led a sedentary lifestyle and were food gatherers.  It is clear that the stone tools were used in carving the Ain Ghazal statues. Furthermore, agricultural activity and stock-raising were rampant at the time.

Ancient Mesopotamia    Standard of Ur

The Ancient Mesopotamia existed during the Bronze Age. Stone and clay were a common material for creating statues because of their durability. Religious beliefs and the leadership inspired most of the artwork in the ancient Mesopotamia. Later, Iron Age took over as the Mesopotamian civilization faded.

The standard of Ur was discovered in Ur, an ancient Mesopotamian city. The standard of Ur is dated between 2600BCE-2400BCE and is constructed using a hollow wooden box. It has scenes of peace and war, each side represented with inlaid mosaics. Archeologists located the historic treasure in a royal tomb next to a ritually sacrificed skeleton of a man speculated to be its bearer.

The artifact in its present form is a reconstruction of a guessed original appearance. The people tasked with its restoration interpret it as a hollow wooden box that measured 8 inches by 1.7 long by 1.7 inches wide. It is inlaid with red limestone, lapis lazuli, and a mosaic shell. The shape of the box is irregular characterized by truncated triangles for its end pieces. As such it is less wide at its bottom than at the top, especially along Toblerone bar lines.

Inlaid mosaic panels that present multiple scenes cover each side of the standard. Two of the mosaics dubbed “Peace” and “war” (reading bottom to top, left to right) represents banquet and military scenes respectively.  Sumerian army engaged in multiple wars with the neighboring communities. The standard is heavy and was designed to be carried by four men on a pole.

Egyptian Khafre Enthroned

Stylization and symbolism characterize the ancient Egyptian art and sculpture. Most of the art that still survives are obtained from monuments and tombs because life after death was important to the ancient Egyptians. Sculptors used a wide range of materials because the empire thrived for more than three millennia (Kaplan, 2014).

Egyptian statues and sculptures are mostly immobile, calm and absolutely frontal. Khafre Enthroned was created between 2520BCE-2494BCE. It is 5.6 inches tall. The sculptors used anorthosite gneiss (diorite) stone found in the Nile River. The sculpture served as a funerary statue that offers company to the dead leader. It depicts Khafre sitting rigidly in the royal throne while gazing off into the future. He has a linen nemes headdress that covers most parts of the forehead before folding over the shoulders characteristically. In addition, the headdress bears an image of a cobra. There is a false royal beard attached on the sculpted chin to symbolize pharaoh’s divinity status.

Khafre has a kilt on his waist, hence a revelation of an idealized muscle definition on the upper body. Symbolism played a bigger role in Egyptian art as represented by perfect non-aging face and a flawless body structure of the pharaoh. The Egyptian artists aimed at proclaiming the divinity of the Egyptian leadership instead of recording individualized features.

Aegean Snake Goddess

Aegean art dominated the Grecian territories and the surroundings of Aegean sea. The materials used included gold, iron, stone, and marble. The most common sculptures were discovered at shrines and royal palaces.

‘Snake Goddesses' is a name referring to female figurines that portray women holding serpents in both hands. Archeologists discovered such statues in Minoa, Crete. They date back to 1600BCE: the neo-palatal era of Minoan civilization.  There is a fierce debate regarding the identity of the figurines. Some analysts propose that the figurines are images if priestesses while others claim that the sculptures reflect a variety of distinct deities.

Arthur Evans (a British archeologist) discovered the figurines in-house sanctuaries) hence the notion that the statues served as the household goddesses. Paleolithic tradition on domesticity and women relates directly with the Aegean figurines. The material used to make the figurines is faience. It entails glazing ceramic vessels and earthenware with quartz paste. Such a material was also used in the Ancient Egypt to symbolize life renewal. Thus, in the sanctuaries, they were employed in funerary cults. Two figurines in Heraklion Museum, Crete, illustrate Manoan women’s dress fashion. They wore an undersized bodice exposing the breasts. However, the skirt was long and flounced.

Greek Peplos Kore

Ancient Greek sculptures depicted the rulers, mythology and battles. Mostly, marbles and cast bronze were used as materials. Besides, artists decorated their work with colorful paintings. Cult statues defined the style of ancient Greek art due to the extensive geometric considerations involved.

Peplos Kore is a statue of a young woman. It stands 4 inches tall and is made in 530BCE from clear white Parian marble. Originally, the sculptors painted Peplos Kore colorfully. During the time of its excavation, the statue was in a deplorable condition. The three pieces were later joined for display in Acropolis Museum, Athens.

The smiling girl wears a heavy woolen garment hence the name ‘Kore’. In 530 BC when the statue was created, Dorian Peplos was no longer a fashion outfit. Thin Chiton is visible as an undergarment. It is evident that the statue was decorated with bronze because of the holes in the shoulders and head. Many experts argue that the statue actually depicts a goddess because of the uniqueness of her clothing and the bright color paintings. Her undergarment is worn mostly by goddess figures.

Etruscan Apulu (Apollo of Veii)

Etruscans were master sculptors because of their excellence in the portrayal of human figures. They preferred the production of large and oversized art to adorn the shrines, temples and palaces. The materials used include bronze, iron, limestone, stone, earth, and iron.

Apolo of Veii statue dates between 510BCE-500BCE. It is oversized and is painted with terracotta. Archeologists discovered it at Portonaccio Sanctuary in the ancient Veii. Today, it is on display at National Etruscan Museum, Rome. It is argued that Vulcan made the statue. He is the only known Etruscan artist. The artist dressed Apollo of Veii in a short cloak and a tunic that advances to his left. His right arm is bent and outstretched. A doe is tied around his limbs. Besides, he leans forward in an attack position. His torso is violently curved and wields a bludgeon.

Over the years, the statue has deteriorated out of disrepair. Currently, a restoration work is ongoing that involves the painting of Portonaccio temple roof with bright colors. Apollo's garments are folded to emulate those of the ancient Greeks. In this statue, the artist demonstrated a high level of sophistication visible in the intricate details such as the braided hair, eyelashes and the nose.  Vulcan had an adequate knowledge on optical defamation as mirrored in the evident dissymmetry in Heracles torso and Apollo’s face.  Such a style employed in the creation of the statues is the pillar of the iconic and expressive manner characterizing Etruscan artistic nature if of the late archaic era.

Roman Augustus as General

The Roman sculpture has a striking similarity with the art of ancient Greeks. In fact, most Art is copies of Greek sculpture.  As such, historians regard roman artists as lacking imagination and creativity.  However, Roman statues exhibit strong portraiture.  Divinity in art was eliminated, thus allowing for the depiction of the real facial features of an individual.  Religion and funerals inspired Roman art and sculpture.

Prima Porta Augustus is a 6.8-inch long high marble statue dated to 20BC. It is a symbolic representation of Augustus Caesar discovered in Viva of Liva Rome in the year 1816. Archeologists and historic experts contest that the statue is a copy of an original bronze. Tiberius Caesar gifted it to Liva, his mother. Augustus stands barefooted as a divine figure. During the roman era, gods, goddesses, classical iconography heroes were barefooted to reflect their rank in the hierarchy.  Heroic cuirass and reliefs revive Crassus’ standards as captured by Parthians.

The statue is themed on Augustus role as an imperator. As such, it was intended as an addition to the commemorative monument for war victories.  He is dressed in military-style attire to reflect his power. He also carries consular baton while raising his right hand as if addressing his troops.  A small cupid at Augustus' feet and a dolphin ride symbolize him as a direct descendant of goddess Venus. He artistically claimed his divine lineage through a portrayal of ageless facial features. His head is a representation of Polykleitan youth.

Late Antique Christ as the Good Shepherd

Late antiquity fuses Medieval, Byzantine, and Roman arts in the creation of sculpture.  The images are iconic, stylized, and lays emphasis on the beauty. There is a hint of spirituality among the sculpture subjects. It reflects the sweeping Christianity across Europe and parts of Asia.

The good Shepherd statue is a depiction of Jesus laying down personal interests to save humanity as described in the Gospels and Psalms. The Christ representation is a form of early religious art found in Rome Catacombs. Later, artists represented Christian imagery explicitly. The artist borrowed the pagan style of Kriphoros to create an image of a middle-aged man with a lamb on his shoulders. Today, it is hard to conclude that the initial aim of the statue creation was tied to Christianity. Before the fourth century, Romans did not understand the image as Jesus’ portrait. However, many saw it as one of the symbolic images of Christian art (Spier, 2013).

The Good Shepherd statue is 3.2 inches high and was created between 300AD-350AD. It is carved from a marble hence the smooth, seamless and flowing lines. Its base is rounded to provide for classic contrapposto stance and support. Many Christians today regard it as a symbol of Christ’s love for mankind. While the statue is short in height, it bears a large and a resounding message to Christian converts.  It instigated wide political and cultural changes in the Roman Empire because people were in need of spiritual and emotional human experience. Christ as a Good Shepherd  statue blends a Christian subject with Greek art and influence. It reflects the retention of traditional Greco-Roman values even long after Christianity takes over.

References

Draşovean, F., Popovici, D., Alamoreanu, A., Wullschleger, M., Chamay, J., Wielen-van, O. F., & Historisches Museum Olten. (2008). Neolithic art in Romania. Italy: Arte-M. Print.

Kaplan, L. C. (2014). Art and religion in ancient Egypt. New York: PowerKids Press. Print.

Spier, J. (2013). Late Antique and Early Christian gems. Wiesbaden: Reichert.