Can you answer the following questions?
1. What is the most reliable index to sculpture of the High Classical period?
2. What statues exemplify Polykleitos’s Kanon?
3. What is seen in many figures of the Parthenon frieze?
4. What figure represents the classical ideal? Is Doryphoros walking or standing?
5. What became the model for every male Greek?
6. What are Phidias's pupils noted for?
Give Russian equivalents for the following phrases.
Pedimental figures; flamboyant compositions; theatrical expressions; mastery of figures; great variety of pose; the standing female type; freestanding statues; overall perception; Roman copyists; illustrious sculptor; the ideal proportions; the standing male figure; the literary sources; a representation of Achilles; votive reliefs; a contemporary vase; a heavy spear; a triangular pillar; the horizontal axis; to set the torso in motion; contracted muscles; the firmly planted weight leg; the Parthenon frieze; reading the statue vertically; realism of bone and muscle, sinew and vein; athletic figure;
to integrate into a concept of the ideal; the youth binding a fillet round his hair; marble copies; original bronze; seated figures; the
cult statue.
Give English equivalents for the following phrases.
Cуровый стиль; кариатиды Эрехтейона; римские копии; разнообразные ритмы; большое разнообразие поз; отдельно стоящие статуи; балюстрада вокруг храма; общее восприятие; прославленный скульптор; парящая в полете идеальные пропорции; стоящая мужская фигура; литературные источники; изображение Ахилла; военное оружие; тяжелое копье; симметричный рисунок; фриз Парфенона; привести торс в движении; скульптуры на фронтоне; вертикально прочтение статуи; бронзовые оригиналы; реализм костной и мышечной ткани, сухожилий и вен; спортивная фигура; интегрировать в концепцию идеального; мраморные копии; система математических пропорций; культовая статуя.
Match the words and their definitions.
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| 1. sculpture | a. a general law, rule, principle, or criterion by which something is judged |
| 2. pillar | b. the art of making two- or three-dimensional representative or abstract forms, especially by carving stone or wood or by casting metal or plaster |
| 3. canon | c. a carved or cast figure of a person or animal, especially one that is life-size or larger |
| 4. balustrade | d. a tall vertical structure of stone, wood, or metal, used as a support for a building, or as an ornament or monument |
| 5. statue | e. a railing supported by balusters, especially one forming an ornamental parapet to a balcony, bridge |
Fill in the text with the words from the box. S ingle out the major idea of the text.
| Figures; sources; temple; statue; inscription; commissioned; pediment(s); information; sanctuary; chronology. |
This Alkamenes cannot be the same Alkamenes who, according to Pausanias, made the __ of the back __ of the Temple of Zeus at Olympia (completed in around 460 bce). The __ does not fit. Nor does it for Paionios of Mende who, Pausanias says, made the __ of the east __, but who was active in the 420s bce. This illustrates the difficulties presented by literary __. Perhaps there were two __ of the same name—Alkamenes—a generation or two apart. As for Paionios, an __ on the base of a __ of a Nike in the __ at Olympia says that he made the Nike and that he was __ to make akroteria for the __. This __ may of course have been misread or misunderstood, so that Pausanias, or his __, simply made a mistake. Paionios and Alkamenes may have made the akroteria for the __ long after the building came into use, perhaps sometime in the 420s bce, and this __may have become garbled enough by the time Pausanias visited Olympia, or wrote up his notes, to allow him to record that they had made the __ . __supplied by the ancient writers must be treated with caution.
Skim the text for gist. Write down the gist of the text.
Personifications of Victory (Nike), posed as if alighting, were often used as akroteria on the roofs of buildings. On relief panels, they decorate the balustrade around the Temple of Athena Nike on the Acropolis at Athens. They also appeared as independent dedications, an Archaic example of which is the Nike dedicated in the sanctuary on Delos, The Nike made by Paionios and dedicated at Olympia, though badly damaged, survives. The winged female figure stood out against the sky, about 11 yards (10 meters) up, atop a triangular pillar. She was shown at the moment of touching down, still hovering in flight and with wings (now lost) unfolded. Her bared limb and breast contrast with the covered parts of her flesh. Drapery, forced against her body by the rush of her flight, accentuates her anatomy and, billowing out behind, increases the sense of forward motion about to come to a halt. Missing are her face, part of the neck, the rest of the drapery swirling around behind, and the outspread wings. This is, nevertheless, a masterpiece, stylistically midway between the sculptures of the Parthenon and the ‘wet’ extravagance of the Nike balustrade. Paionios's Nike was dedicated around 420 всE to celebrate, as the inscription says, a victory of the Messenians and Naupaktians. The production of grave reliefs was resumed in Attica around 430 bce and may have been stimulated both by the outbreak of the Peloponnesian
War and by the decoration of the public state graves prepared for the casualties of war. The tall, single-figured stele of the Archaic period were replaced in the Early Classical phase by smaller but broader reliefs, decorated with two or more figures, sometimes including seated figures. These were to be found earlier in the islands and in Asia Minor, where architectural elements were also introduced, but not in Attica. These developments were only introduced in the latter when private grave monuments began to be made again.
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