Introduction
In this paper we are going to compare and contrast two kinds of historical sculptures which were used in accurate representation of some of the significant features which characterized the social well being of the people. These features included; childhood, old age as well as physical deformity. In the Hellenistic period, sculptural practices were very important and were symbolically used to illustrate certain meanings of certain occurrences. At one point in time, sculptures were made for various purposes and represented a wide range of occupations in which humans love. As time grew, further interests grew and the concerned individuals were involved in the exercise. This converted the exercise into an established genre in which major aspects in the Hellenistic period were defined. The marble statue of an old woman and the marble statue of the Aphrodite were concurrently used in the Hellenistic period to define the upper realm as well as the typical woman.
Both the marble statue of the old woman and that of the Aphrodite were made in the Hellenistic period. The Aphrodite statue was made in the imperial period whereas the old woman statue was made in the early imperial Julio-Claudian period. The major medium was marble and pentelic. On the other hand however, the statue of the Aphrodite was entirely made using a marble medium. The imperial and Julio-claudian period occurred during the Roman Empire. However, the Aphrodite statue preceded the statue of the old woman which occurred in the transition period between the rein of the Alexander the great and the Roman Empire. The two forms of sculptures were made in ancient day Greece. Design and meaning were made from Greek experiences, culture and their way of life (Stokstad and Cothren 132).
As earlier stated, both sculptures were symbolic and utterly significant in the social and spiritual lives of the Greek as well as the Romans. The marble statue of the Aphrodite was used to represent the goddess of love beauty and sexuality. The sculpture was made with a clear illustration of a sleeveless and an ungirt, chiton. The chiton had a clinging material which revealed every curve of the body of the Aphrodite. The sculpture was also used to show her pose which lay between a walking and a standing being. Additionally the sculpture showed her lifted himation with the hand holding the apple in the other hand. On the other hand, the sculpture of the old woman showed a typical woman ready for a special event and/or occasion. The sculpture projected an aged courtesan on the move towards the festival of Dionysos - the god of wine. It showed her delicate sandals and the draped, thin chiton which comprised of an ample material. These represented a rough garb of a peasant woman (Stokstad and Cothren 13). The woman was projected carrying gifts which were to be presented to the god. These gifts are presented using a basket of fruits in addition to two chickens. These were also meant to represent provisions of a long day of celebration. The major reasoning behind this design was to indicate some of the important occasions which characterized major events at the time. From these illustrations, mode of attire was utterly important in the major occasions both which were considered sacred as well as those which were meant for entertainment. Special gifts were also used to show appreciation and gratefulness upon those who were considered to be great in the society, mainly the gods.
The lines which were used in designing the sculptures were not straight. They artistically projected the curves which were mainly required to project the beauty in the Aphrodite. Curves were mainly smooth and exaggerated to project the foretold beauty and sexuality. The sculptures were made such that they appeared to be on motion, the one of the eels lifted and the other limb was bent to project a clear imagination of an artistic move. The sculpture of both statues was meant to give different images from different points of view (Stokstad and Cothren 213). This happened such that the sculpture gives a beauty a understanding of the fact that the image was indeed the goddess. Projections and spaces in the sculpture were relatively small to indicate the level of integral the figure would acquire in a real life situation. The statue seems to be on move since the sculpture is borne on a single leg with the other literally suspended. For the marble statue of the old woman, the curves are not smooth and there seems to be multiple wrinkles which indicate the level of the age. Similarly these curves have been clearly projected to indicate the type of attire on which the old woman was dressed. The woman was dressed on many clothes which were mainly meant to suit the occasion. Strategic curvatures were used on the projections which indicated the way on which the woman was carrying the gifts which were meant for Dionysos. From any view of the man, it is evident that the woman is old and is dressed and ready for a special occasion.
One of the major attributes of the two sculptures is that they are all designed on the basis of their functionality rather than mere decoration. According to the projections enhanced by the curves, it is evident that these curves are meant to educate. Basically from every corner of these curves one is able to acquire a picture of the ideas which the author had in mind. In the sculpture of the Aphrodite, the curves are meant to project an image of beauty. The sculpture is also designed in nudity to show fertility. Additionally one can be able to figure out the age bracket of the given sculpture. Smooth curves have been well protruded. More so the placement of the hands of the sculpture communicates utter beauty, sexuality and fertility. The sculpture is not static; basically it looks as an individual who is on motion (Stokstad and Cothren 213). This is only enhanced by the interplay between the curves and placement of the sculpture. On the other hand, the functionality of the given by the lines which tend to project shaky curves to show the wrinkles of the sculpture. The sculpture is self elaborative, thus, age can be effectively deduced from the wrinkles of the given curves. The suspensions of the hands together with the goods they are lifting are a clear indication of the functionalities of the lines which are employed by the sculptor. Another major aspect of functionality is exhibited in the posture projected from the sculptures. From the marble statue of the old woman, one identifies that the woman is on motion of a very important occasion. The attire is well projected. In a nutshell one clearly identifies with the sculptures based on the historical period, occasions and more so the ages which the given sculptures bear.
Finally, all the illustrated attributes can effectively give a clear communication of the given sculpture. One major attribute is art. This is projected such that an observer can easily see the beauty of the sculpture. In the sculpture of the Aphrodite, one easily recognizes beauty. This is well illustrated by the given curves as well as the projection. In the sculpture of the old woman, one identifies an artistic figure through the style indicated by the entirety of the sculpture. The completeness of the sculptures is well evident in the curves as well as the nature of the given curves. Additionally, the nature of the curves is also different between the two sculptures and one can easily identify the nature of the entire sculpture based on the curves. Another major aspect is that the given figures are well illustrated by the placement of the various parts of the sculptures such as the hands. Curls are well placed on the heads of the given sculptures and from these curls one can experience the beauty of the being projected. The dressing is very important because it makes the audience understand the occasion upon which that sculpture is based. This is well illustrated in the sculpture of the old woman, whereby she has well placed attire which clearly elaborates the occasion upon which the sculpture was made.
Works cited:
Linfert. "Kallimachos." In Grove Art Online. Oxford Art Online,http://www.oxfordartonline.com/subscriber/article/grove/art/T045555(accessed March 29, 2010)
Hemingway, Colette, and Seán Hemingway. "The Art of Classical Greece (ca. 480–323 B.C.)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.http://www.metmuseum.org/toah/hd/tacg/hd_tacg.htm (accessed March 29, 2010).
Stokstad M., and Cothren M., W., Art: A Brief History (Upper Saddle River: Prentice Hall, 2010), 126
