1.
Victorious Youth
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The sculpture was found in the summer of 1961 in the sea off Fano on the Adriatic coast of Italy, snagged in the nets of an Italian fishing trawler, the Ferri Ferruccio. After some furtive offering on the gray market and vigorous competition with the Metropolitan Museum of Art. The sculpture may have part of the crowd of sculptures of victorious athletes at Panhellenic Greek sanctuaries like Delphi. His right hand reaches to touch the winners olive wreath on his head, the powerful head has led viewers to see it as a portrait, the head was cast separately from the lithe body. The athletes eyes were once inlaid, probably with bone, the statue has been roughly broken off its former base, breaking away at the ankles. The Italian government has made claims for the return of the sculpture, the Getty Museum is involved in a controversy regarding proper title to some of the artwork in its collection. The Museums previous curator of antiquities, Marion True, was indicted in Italy in 2005 along with Robert E. Hecht on criminal charges relating to trafficking in stolen antiquities. The primary evidence in the case came from the 1995 raid of a Geneva, True is currently under investigation by Greek authorities over the acquisition of a 2, 500-year-old funerary wreath. On November 20,2006, the Director of the museum, Michael Brand, announced that twenty-six disputed pieces were to be returned to Italy, antonietta Viacava, L atleta di Fano, edizioni LErma di Bretschneider,1995, ISBN 88-7062-868-X. Reviewed in Bryn Mawr Classical Review www. lisippo. org - Website of the organisation who want the statue back to Fano. Www. patrimoniosos. it Victorious Youth NPR, Italy, Getty Museum at Odds over Disputed Art 20 December 2006. Rutelli, «Cultural embargoe», by Pierluigi Panza, Corriere della Sera, November 14,2006 Il Getty Museum non rende le opere richieste, Corriere della Sera, November 23,2006 Rutelli attacca il Getty. Corriere della Sera, November 26,2006 LItalie joue le bras de fer avec le Getty Museum, di Richard Heuzé, Le Figaro, December 26,2006 No Lisippo, no Bernini, La Stampa, July 11,2007
2.
Chinese ritual bronzes
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Sets of ritual bronzes are the most impressive surviving objects from the Chinese Bronze Age. On the death of the owner they would be placed in his tomb, so that he could continue to pay his respects in the afterlife, other examples were cast specifically as grave goods. The ritual bronzes were not used for normal eating and drinking, they represent larger, more elaborate versions of the types of vessels used for this. Apart from table vessels, weapons and some objects were made in special ritual forms. At least initially, the production of bronze was probably controlled by the ruler, bronzes are some of the most important pieces of ancient Chinese art, warranting an entire separate catalogue in the Imperial art collections. The majority of surviving Chinese ancient bronze artefacts are ritual forms rather than their equivalents made for practical use, weapons like daggers and axes had a sacrificial meaning, symbolizing the heavenly power of the ruler. The ritual books of old China minutely describe who was allowed to use what kinds of sacrificial vessels and her higher status would have been clear not only to her contemporaries, but also, it was believed, to her ancestors and other spirits. Many of the pieces were cast with inscriptions using the form of her name. The most highly prized are generally the sacrificial and wine vessels, often these vessels are elaborately decorated with taotie designs. Dǐng Sacrificial vessel, originally a cauldron for cooking and storing meat, the Shang prototype has a round bowl, wider than it is tall, set on three legs, there are two short handles on each side. Later examples became larger and larger and were considered a measure of power and it is considered the single most important class of Chinese bronzeware in terms of its cultural importance. There is a called a fāngdǐng which has a square bowl. There exist rare forms with lids, 西清古鑒 contains over two hundred examples, and this is the most highly regarded of all Chinese bronzes. Dòu, Sacrificial vessel that was originally a food vessel, Flat, covered bowl on a long stem. Fǔ, Rectangular dish, triangular in vertical cross-section, always with a lid shaped like the dish. Zūn, Wine vessel and sacrificial vessel, Tall cylindrical wine cup, with no handles or legs. The mouth is slightly broader than the body. In the late Zhōu dynasty, this type of vessel became exceedingly elaborate, often taking the shape of animals and these later types are distinguished from gōng by retaining a small, roughly circular mouth
3.
Ding (vessel)
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Ding were prehistoric and ancient Chinese cauldrons, standing upon legs with a lid and two facing handles. They are one of the most important shapes used in Chinese ritual bronzes and they were made in two shapes, round vessels with three legs and rectangular ones with four, the latter often called fanding. They were used for cooking, storage, and ritual offerings to the gods or to ancestors, under the Zhou, the ding and the privilege to perform the associated rituals became symbols of authority. In Chinese history and culture, possession of one or more ancient ding is often associated with power, therefore, the ding is often used as an implicit symbolism for power. The term inquiring of the ding is often used interchangeably with the quest for power, in the early Bronze Age of China, the use of wine and food vessels served a religious purpose. While ding were the most important food vessels, wine vessels were the more prominent ritual bronzes of this time, likely due to the belief in Shamanism, Ding were used to make ritual sacrifices, both human and animal, to ancestors. They varied in size, but were quite large, indicating that whole animals were likely sacrificed. The sacrifices were meant to appease ancestors due to the Shang belief that spirits had the capability to affect the world of the living, if the ancestors were happy, the living would be blessed with good fortune. During the Early Western Zhou Dynasty, the people underwent a political and cultural change, King Wu of Zhou believed that the Shang people were drunkards. He believed that their over-consumption of wine led their king to lose the Mandate of Heaven, because of this belief, food vessels replaced wine vessels in importance. Bronze vessels underwent what has been the Ritual Revolution and this theory suggests that because there was a change in decor as well as the types and variations of vessels found in tombs, their function shifted from solely religious to a more secular one. Instead of sacrificing food to ancestors, the Zhou used ding to show off the status of the deceased to both the living and spirits. For example, emperors were buried with nine ding, feudal lords with seven, ministers with five, the vessels served as symbols of authority for the elite far into the Warring States period. This is the period to which the oldest examples of bronze dings date, inscriptions found on dings and zhongs are used to study bronzeware script. The most commonly believed bronze vessel casting process of ancient Chinese vessels is the mold process. The model would then be shaved down to form the core, when the bronze had cooled, the clay would be broken away from the vessel, and the process was complete. A newer variation on the mold process was put forth as a way to explain asymmetrical faces on vessels which, as a rule. It was proposed that décor was not made on a model and then transferred to the outer mold layer, décor was added in a variety of ways
4.
Benin Bronzes
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The Benin Bronzes are a group of more than a thousand commemorative metal plaques and sculptures that decorated the royal palace of the Benin Kingdom in modern-day Nigeria. In 1897, most of the plaques and other objects were removed by the British during an expedition to the area as imperial control was being consolidated in Southern Nigeria. Two hundred of the pieces were taken to the British Museum, London, today, a large number are held by the British Museum. Other notable collections are in Germany and the United States, the Benin Bronzes led to a greater appreciation in Europe of African culture and art. Initially and naively, it appeared incredible to the discoverers that people supposedly so primitive, some even concluded that Benin knowledge of metallurgy came from the Portuguese traders who were in contact with Benin in the early modern period. Today, it is clear that the bronzes were made in Benin from an indigenous culture, many of these dramatic sculptures date to the thirteenth century, centuries before contact with Portuguese traders, and a large part of the collection dates to the fifteenth and sixteenth centuries. It is believed that two golden ages in Benin metal workmanship occurred during the reigns of Esigie and of Eresoyen, while the collection is known as the Benin Bronzes, like most West African bronzes the pieces are mostly made of brass of variable composition. There are also made of mixtures of bronze and brass, of wood, of ceramic. The metal pieces were made using lost-wax casting and are considered among the best sculptures made using this technique, bronze and ivory objects had a variety of functions in the ritual and courtly life of the Kingdom of Benin. They were used principally to decorate the palace, which contained many bronze works. They were hung on the pillars of the palace by nails punched directly through them, as a courtly art, their principal objective was to glorify the Oba—the divine king—and the history of his imperial power or to honor the queen mother. Art in the Kingdom of Benin took many forms, of bronze and brass reliefs. In tropical Africa of the center, the technique of lost-wax casting was developed early. When a king died, his successor would order that a head be made of his predecessor. Approximately 170 of these sculptures exist, and the oldest date from the twelfth century, the Oba, or king, monopolized the materials that were most difficult to obtain, such as gold, elephant tusks, and bronze. These kings made possible the creation of the splendid Benin bronzes, thus, in 1939, heads very similar to those of the Benin Empire were discovered in Ife, the holy city of the Yoruba, which dated to the fourteenth and fifteenth centuries. This discovery supported an earlier tradition holding that it was artists from Ife who had taught Benin the techniques of bronze metalworking, recognition of the antiquity of the technology in Benin advanced when these sculptures were dated definitively to that era. Few examples of African art had been collected by Europeans in the eighteenth century and this attitude changed after the Benin Expedition of 1897
5.
Florence Baptistery
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The Florence Baptistery, also known as the Baptistery of Saint John, is a religious building in Florence, Italy, and has the status of a minor basilica. The octagonal baptistery stands in both the Piazza del Duomo and the Piazza San Giovanni, across from Florence Cathedral and the Campanile di Giotto, the Baptistery is one of the oldest buildings in the city, constructed between 1059 and 1128 in the Florentine Romanesque style. The Baptistry is renowned for its three sets of artistically important bronze doors with relief sculptures, the south doors were created by Andrea Pisano and the north and east doors by Lorenzo Ghiberti. The east doors were dubbed by Michelangelo the Gates of Paradise, the Italian poet Dante and many other notable Renaissance figures, including members of the Medici family, were baptized in this baptistry. It was long believed that the Baptistry was originally a Roman temple dedicated to Mars, the chronicler Giovanni Villani reported this medieval Florentine legend in his fourteenth-century Nuova Cronica on the history of Florence. It is, however, certain that a first octagonal baptistry was erected here in the fourth or early fifth century. It was replaced or altered by another early Christian baptistry in the sixth century and its construction is attributed to Theodolinda, queen of the Lombards to seal the conversion of her husband, King Authari. The octagon had been a common shape for baptisteries for many centuries since early Christian times, the number eight is a symbol of regeneration in Christianity, signifying the six days of creation, the Day of Rest, and a day of re-creation through the Sacrament of Baptism. The earlier baptistry was the second basilica after San Lorenzo, outside the northern city wall. It was first recorded as such on 4 March 897, when the Count Palatine, the granite pilasters were probably taken from the Roman forum sited at the location of the present Piazza della Repubblica. At that time, the baptistry was surrounded by a cemetery with Roman sarcophagi, the present much larger Baptistry was built in Romanesque style around 1059, evidence of the growing economic and political importance of Florence. It was reconsecrated on 6 November 1059 by Pope Nicholas II, according to legend, the marbles were brought from Fiesole, conquered by Florence in 1078. Other marble came from ancient structures, the construction was finished in 1128. An octagonal lantern was added to the roof around 1150. On the corners, under the roof, are monstrous lion heads with a head under their claws. Between the fourteenth and sixteenth centuries, three double doors were added, with bronze and marble statues above them. This gives an indication that the Baptistry, at time, was at least equal to the neighbouring cathedral in importance. The Baptistry has eight sides with a rectangular addition on the west side
6.
Lorenzo Ghiberti
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Trained as a goldsmith and sculptor, he established an important workshop for sculpture in metal. His book of Commentari contains important writing on art, as well as what may be the earliest surviving autobiography by any artist, Ghiberti was born in Pelago,20 km from Florence. His father was Bartoluccio Ghiberti, an artist and goldsmith, who trained his son in goldsmithing and he then went to work in the Florence workshop of Bartoluccio di Michele, where Antonio del Pollaiolo also received his training. When the bubonic plague struck Florence in 1400, Ghiberti emigrated to Rimini, Ghibertis career was dominated by his two successive commissions for pairs of bronze doors to the Florence Baptistery. They are recognized as a masterpiece of the Early Renaissance. Ghiberti first became famous when as a 23-year-old he won the 1401 competition for the first set of bronze doors, the original plan was for the doors to depict scenes from the Old Testament, but the plan was changed to depict scenes from the New Testament instead. However, the piece made was of the sacrifice of Isaac. To carry out this commission, he set up a workshop in which many artists trained, including Donatello, Masolino, Michelozzo, Uccello. Instead of twenty-eight scenes, he produced ten rectangular scenes in a different style. These were more naturalistic, with perspective and a greater idealization of the subject, dubbed The Gates of Paradise by Michelangelo, this second set remains a major monument of the age of Renaissance humanism. As recommended by Giotto, Andrea Pisano was awarded the commission to design the first set of doors at the Florence Baptistery in 1329, the south doors were originally installed on the east side facing the Duomo, and were transferred to their present location in 1452. These proto-Renaissance doors consist of 28 quatrefoil panels, with the twenty top panels depicting scenes from the life of St. John the Baptist, the eight lower panels depict the eight virtues of hope, faith, charity, humility, fortitude, temperance, justice and prudence. Pisano took six years to them, finishing in 1336. In 1453, Ghiberti and his son Vittorio were commissioned to add a door case to Pisanos existing panels, Ghiberti died in 1455, eight years before the frame was finished leaving a majority of the work to Vitorrio and other members of his workshop. There is a Latin inscription on top of the door, Andreas Ugolini Nini de Pisis me fecit A. D. MCCCXXX, the South Doors were undergoing restoration during September,2016. In 1401, the Arte di Calimala announced a competition to design doors which would eventually be placed on the side of the baptistry. These new doors would serve as an offering to celebrate Florence being spared from relatively recent scourges such as the Black Death in 1348. Many artists competed for this commission and a jury selected seven semifinalists which included Ghiberti, Filippo Brunelleschi, Donatello, at the time of judging, only Ghiberti and Brunelleschi were finalists, and when the judges could not decide, they were assigned to work together on them
7.
Archaeology of Igbo-Ukwu
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They are the oldest bronze artifacts known in West African and were manufactured centuries before the emergence of other known bronze producing centers such as those of Ife and Benin. The bronzes include numerous ritual vessels, pendants, crowns, breastplates, staff ornaments, swords, the Igbo-Ukwu bronzes amazed the world with a very high level of technical and artistic proficiency and sophistication which was at this time distinctly more advanced than bronze casting in Europe. Frank Willett says that the Igbo-Ukwu bronzes portray a standard that is comparable to that established by Benvenuto Cellini five hundred years later in Europe, denis Williams calls them an exquisite explosion without antecedent or issue. One of the objects found, a pot set in a mesh of simulated rope is described by Hugh Honour. Its elegant design and refined detailing are matched by a level of accomplishment that is notably more advanced than European bronze casting of this period. Some of the glass and carnelian beads have been found to be produced in Old Cairo at the workshops of Fustat thus establishing that trade contacts did exist between Igbo-Ukwu and ancient Egypt. Archaeological sites containing iron smelting furnaces and slag have been excavated dating to 2000BC in Lejja, the initial finds were made by Isiah Anozie while digging in his compound in 1939. He was not aware of the significance of the objects he had found and gave some of them to friends and neighbors. Field, the British colonial district officer of the area learned of the finds and was able to purchase many of them. He later handed over the artefacts to the Nigerian department of antiquity, the Igbo people are not themselves metal workers, and as far as is known they never have been it is improbable that it has lain buried for more than a century at the most. Subsequent research was to prove him wrong, the archaeological digs revealed hundreds of copper and bronze ritual vessels as well as iron swords, iron spear heads, iron razors and other artifacts dated a millennium earlier. It is therefore perplexing that they were able to create objects with such fine detail that they depict. Though these appear to have been riveted or soldered on to the artifacts, the Grove Encyclopedia of Materials and Techniques in Art describes them as being among the most inventive and technically accomplished bronzes ever made. The origin of the ore used to produce the bronze has been located to old mines in Abakiliki about 100 kilometers from Igbo-Ukwu
8.
Bronze
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These additions produce a range of alloys that may be harder than copper alone, or have other useful properties, such as stiffness, ductility, or machinability. The archeological period where bronze was the hardest metal in use is known as the Bronze Age. In the ancient Near East this began with the rise of Sumer in the 4th millennium BC, with India and China starting to use bronze around the same time, everywhere it gradually spread across regions. The Bronze Age was followed by the Iron Age starting from about 1300 BC and reaching most of Eurasia by about 500 BC, the discovery of bronze enabled people to create metal objects which were harder and more durable than previously possible. Bronze tools, weapons, armor, and building such as decorative tiles were harder and more durable than their stone. It was only later that tin was used, becoming the major ingredient of bronze in the late 3rd millennium BC. Tin bronze was superior to arsenic bronze in that the process could be more easily controlled. Also, unlike arsenic, metallic tin and fumes from tin refining are not toxic, the earliest tin-alloy bronze dates to 4500 BCE in a Vinča culture site in Pločnik. Other early examples date to the late 4th millennium BC in Africa, Susa and some ancient sites in China, Luristan, ores of copper and the far rarer tin are not often found together, so serious bronze work has always involved trade. Tin sources and trade in ancient times had a influence on the development of cultures. In Europe, a source of tin was the British deposits of ore in Cornwall. In many parts of the world, large hoards of bronze artefacts are found, suggesting that bronze also represented a store of value, in Europe, large hoards of bronze tools, typically socketed axes, are found, which mostly show no signs of wear. With Chinese ritual bronzes, which are documented in the inscriptions they carry and from other sources and these were made in enormous quantities for elite burials, and also used by the living for ritual offerings. Pure iron is soft, and the process of beating and folding sponge iron to wrought iron removes from the metal carbon. Careful control of the alloying and tempering eventually allowed for wrought iron with properties comparable to modern steel, Bronze was still used during the Iron Age, and has continued in use for many purposes to the modern day. Among other advantages, it does not rust, the weaker wrought iron was found to be sufficiently strong for many uses. Archaeologists suspect that a disruption of the tin trade precipitated the transition. The population migrations around 1200–1100 BC reduced the shipping of tin around the Mediterranean, limiting supplies, there are many different bronze alloys, but typically modern bronze is 88% copper and 12% tin
9.
Casting (metalworking)
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In metalworking, casting means a process, in which liquid metal is poured into a mold, that contains a hollow cavity of the desired shape, and is then allowed to cool and solidify. The solidified part is known as a casting, which is ejected or broken out of the mold to complete the process. Casting is most often used for making complex shapes that would be difficult or uneconomical to make by other methods, Casting processes have been known for thousands of years, and widely used for sculpture, especially in bronze, jewellery in precious metals, and weapons and tools. Traditional techniques include casting, plaster mold casting and sand casting. The modern casting process is subdivided into two categories, expendable and non-expendable casting. It is further broken down by the material, such as sand or metal. Expendable mold casting is a classification that includes sand, plastic, shell, plaster. This method of mold casting involves the use of temporary, non-reusable molds, sand casting is one of the most popular and simplest types of casting, and has been used for centuries. Sand casting allows for smaller batches than permanent mold casting and at a reasonable cost. Not only does this method allow manufacturers to create products at a low cost, from castings that fit in the palm of your hand to train beds, it can all be done with sand casting. Sand casting also allows most metals to be cast depending on the type of sand used for the molds, sand casting requires a lead time of days, or even weeks sometimes, for production at high output rates and is unsurpassed for large-part production. Green sand has almost no weight limit, whereas dry sand has a practical part mass limit of 2. Minimum part weight ranges from 0. 075–0.1 kg, the sand is bonded together using clays, chemical binders, or polymerized oils. Sand can be recycled many times in most operations and requires little maintenance, plaster casting is similar to sand casting except that plaster of paris is substituted for sand as a mold material. Plaster casting is an alternative to other molding processes for complex parts due to the low cost of the plaster. The biggest disadvantage is that it can only be used with low melting point non-ferrous materials, such as aluminium, copper, magnesium, and zinc. Shell molding is similar to casting, but the molding cavity is formed by a hardened shell of sand instead of a flask filled with sand. The sand used is finer than sand casting sand and is mixed with a resin so that it can be heated by the pattern, because of the resin and finer sand, it gives a much finer surface finish
10.
Sculpture
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Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts, a wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast. However, most ancient sculpture was painted, and this has been lost. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, the Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith, the revival of classical models in the Renaissance produced famous sculptures such as Michelangelos David. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, sunk-relief is a technique restricted to ancient Egypt. Relief sculpture may also decorate steles, upright slabs, usually of stone, techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work, many of these allow the production of several copies. The term sculpture is used mainly to describe large works. The very large or colossal statue has had an enduring appeal since antiquity, another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the head, showing just that, or the bust, small forms of sculpture include the figurine, normally a statue that is no more than 18 inches tall, and for reliefs the plaquette, medal or coin. Sculpture is an important form of public art, a collection of sculpture in a garden setting can be called a sculpture garden. One of the most common purposes of sculpture is in form of association with religion. Cult images are common in cultures, though they are often not the colossal statues of deities which characterized ancient Greek art. The actual cult images in the innermost sanctuaries of Egyptian temples, of which none have survived, were rather small. The same is true in Hinduism, where the very simple. Some undoubtedly advanced cultures, such as the Indus Valley civilization, appear to have had no monumental sculpture at all, though producing very sophisticated figurines, the Mississippian culture seems to have been progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as ancient Egypt and the Easter Island culture, from the 20th century the relatively restricted range of subjects found in large sculpture expanded greatly, with abstract subjects and the use or representation of any type of subject now common. Today much sculpture is made for intermittent display in galleries and museums, small sculpted fittings for furniture and other objects go well back into antiquity, as in the Nimrud ivories, Begram ivories and finds from the tomb of Tutankhamun
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