I. Brief Overview of different sculpture styles A. Egyptian Sculpture

Egyptian inscribe is unadorned in their symbolic formality based on an ancient company of rules for three-dimensional field of studys of device and were not meant to capture or tape a certain event or point in time. Egyptian sculpture is primarily customd for religious pur annoys, mostly to guard oer the dead. It is typically hewn from stone and figures preserve the cubic form of the veritable slab.The figures argon always deliberately facing the front and a lot of the accompaniment proposition is hewn to represent characteristics of the frontal image, and is usually painted with vibrant colors.Later Graeco- roman influence new-mader transformed the detail of the breast to much nearlyly approximate a realistic representation of the human face. (Egypt) B. classical carving The most important samples of classic sculpture deal with religious themes, although civic, interior(prenominal) and sepulchral themes ar also common. When dealing with human characters, realis m anneal by idealism is the order of the day. Some were large, others small enough to nonplus on a pedestal. Subjects intromit iconic figures such as the Greek graven images and goddesses, priests, sacred animals and others of votive character.The most popular type of Greek sculpture is the bas embossment and in the round. Greek sculpture was also used to abide by civic events such as treaties and national games. These memorials atomic number 18 mythopoetic in character. In general Greek sculptures in marble, stone, terracotta, bronze or wood be distinct in its grace and beauty, its hint of action and value as a record of dress and fashion of the era. Finishing included easy applications of oil, wax and color for a much life-like sheen except for those do of marble, where color was added hardly for emphasis.(Greek sculpture part I) C. popish Sculpture Sculpture as an art form developed late in Roman society because Romans con spotred all forms of art from a serviceabl e point of view and held it in contempt as work only slaves should do. Much of the work done in sculpture in the second and 3rd Century B. C. was likely done by Etruscans. During the reign of Augustus (63 B. C. 14 A. D. ), Romans began drawing away from mostly decorative and utilitarian subjects of sculpture to more fabulous themes.The conquest of the Greeks switchinged the material of excerpt from bronze to marble, and a shift from in the round to second-stringer sculptures. Masses of Greek works of art were transported to Roman strongholds and excited much admiration but no inclination to produce their own. Wealthy Romans commissioned copies of the more famous works for march in their homes. With Augustus, there was a dawning approximation to the Greek situation towards art which did not survive his demise, but which did produce whatsoever of the more beautiful pieces of Roman sculpture such as the Altar of cessation (erected c. 12 B. C. ).(Greek and Roman Art) Only the development of relief on sarcophagi continued and outperformed Greek in this instance, and is evident in the many extant samples such as the arch at Beneventum. The distinct Roman robustness and flavor is more evident in larger pieces of work rather than individual pieces. (Roman sculpture) II. Descriptions of the selected works of art A. The Indian Triumph of Dionysus (Late 2nd Century, Marble) This relief was used as one side of a Roman sarcophagus representing the triumphal return of Dionysus, the Greek god of wine-colored after his sojourn in India and the East.Known as Bacchus in Roman mythology, he is depicted here in a reclining fashion amidst what appears to be a procession or festival celebrating his return. He is as usual envisioned with grapes almost his head, signifying wine. He is surrounded by men, women, children as well as a herald and he is app bently being carried by soldiers. Satyrs are also present, as well as panthers, which are often associated with this m ythological figure. There is at least one elephant and a horse. The whole relief is a study in movement, even dancing.Not one of the figure is in re give, and there is much going on. Each figure contributes to the richness of the representation, from the fruits in the basket, to the two children astride the elephant. All elements are on the move, even the draperies of the women. This is a classic example of the expertise developed by Roman sculptors for this particular form of art, and illustrative of the Greek influence, from the subject of the relief to the behavior of the dress. B. portraiture Figure of a Ruler (Roman c. A. D. 200225, Bronze)This bronze figure is a rare example of the period before marble became the material of choice for sculpture in-the-round. It is speculated that this was in emulation of Augustus, who in turn followed the example of horse parsley the Great who declared himself a god. Probably once contained in the temple of an Asia Minor emperor, this is mi ssing the head, the skillful leg midway to the calf and the left(p) foot. It is a muscular yet graceful figure, striking a pose of well-nigh authority and arrogance, as if declaiming to his adoring public or announcing some important news.It is also incredibly detailed, somewhat embarrassingly so in this instance as the figure is quite large and the details booth out somewhat. The head was probably cast separately from the body as the break looks clean, as if from a joint. It is a magnificent specimen of manhood, and the face was probably as beautiful. It would probably benefit from some cleaning. C. Monumental Statue of the Pharaoh Ramesses II Enthroned (Egypt, refreshed Kingdom, 1386-1349 BC and 1279-1212 BC, Grandiorite) This monument to Ramses II (c. 1290-1224 BCE), who is said to have g everyplacen over Egypt for almost 67 years, are found in Nubia, near the Sudan.There are figures of Ramses II with the prime gods of the New Kingdom, including Ptah, the Memphis creater god , Re-Harakhte, the sun god of Heliopolis and Amun Re, the great god of Thebes. Together they guard the entrance to the temple devote to these figures. The Great tabernacle of Ramses II is on the left while the Temple of Hathor/Nefertari is on the right. They were cut into natural rock, and at 20 meters high are considered colossi. (Sullivan) There are four figures in all, although the figure on the right of Ramses II is missing a torso. The rock is pinkish in tinge.The figures are sitting on thrones facing front, all the hands on their laps. The figures are rigid although the expression on the Ramsess face is placid, with even a hint of a smile. The features are well-formed, incredible considering how it has been exposed to wind and vertebral column for all these years. Inscriptions are carved in the arms. At their feet between the legs are smaller figures standing upright, perhaps representing servants or priests. In between separately colossi are women figures are dressed finel y, and are perhaps royalty. There is much vandalism, names and dates scratched into the stone as far back as 1875.The ambo is inscribed with hieroglyphics and the rightmost figure had lost the beard. There appears to be figures of baboons over the entrance of the temple. III. Comparison of the three sculptures The Roman works of art are good spokesperson examples of the two kinds of sculptures popular during that period relief in marble and sculpture in the round in bronze. The colossi Ramses II is a typical example of the three-dimensional Egyptian style. There appears to be vigour less similar than the two art types. The composition for one intimacy is completely different.In Roman sculptures, the lines are never linear. The single subject appears about to move or speak, so dynamic is the pose. In the relief, there is transparent interaction among the elements of the sculpture, and each figure tells a different story. It memorializes a bite and an occasion. The figures themse lves are idealistically and naturally constructed, celebrating the Roman idea of beauty of form and structure. In the Egyptian sculpture, the figures are stiff and formally posed. No movement is implied, and the pose is strictly linear and frontal, as traditional for Egyptian sculpture.The figures themselves are stylized, video display no definition of muscles or other details but with some emphasis on the face and the ornaments such as the headdress and the clothes, which are as stiff and immobile as the body. It memorializes the figures as immovable and permanent, and then the size of the statues and the fact that it was hewn right out of solid rock. The use of hieroglyphics is also prolific, taking the place of visual representation in heavy the story of the figures. Yet there are similarities, mostly in the theme, which is divinity.Ramses is portrayed as side by side the most important gods of the New Kingdom, while the single sculpture deified the emperor and the relief trea ted the subject of a god celebrated, Dionysus. IV. Conclusion While this paper does not include a specimen of Greek sculpture, it has been discussed earlier that the Romans near followed the Greek style of sculpture, mostly by using imported sculptures as a understructure for copies for their own sculptures. A cursory glance at extant Greek sculpture in the round will immediately reveal how closely the Roman versions mimic the Greek style, from material to posture to subject.ancient sculptures are representative of the society in which they were produced. They are lasting monuments to the great civilizations which spawned them, and while each is stylistically different, they provide valuable insights into how the ancient Romans and Egyptians lived and how they chose to be remembered. Works Cited Egypt . Ancient Arts. n. d. Detroit Institute of Arts. 24 July 2007 . Egyptian Sculpture Part 1. hoary And Sold. n. d. 24 July 2007 .Greek and Roman Art. Amazon. com. 2007. 24 July 20 07 Greek Sculpture Part 1. Old And Sold. n. d. 24 July 2007 . Roman Sculpture. Old And Sold. n. d. 24 July 2007 . Museum of Fine Arts Houston. 2007. 24 July 2007 . Sullivan, Anne. The Great Temple of Ramses II. Bluffton University. 2001. 24 July 2007 .