Since the existence of human society, art has always been an indispensable part of human life. The primitive ancestors could not correctly interpret the natural phenomena, so they produced primitive religions, and they expressed their worship of nature and the gods in various ways. With the development of primitive religion, the original sculpture art was developed as a manifestation or expression of the concept of worship and worship. The original rock paintings and sculptures in the caves initially reveal the original features of relief as an art form. The material life of mankind often affects the spiritual performance. In ancient times, primitive humans used colors and lines to represent the natural objects that hunter-gatherers touched, portraying them as flat paintings to express people's concerns about them. When people invented lines and intended to fix and preserve these images with hard materials such as rocks, the initial reliefs were created. With the accumulation of practical experience, people have discovered the shadow representation method, gradually drawing from the plane phase to the attention of the object volume. This kind of attention and the practice of using various materials to achieve volumetric performance have promoted the initial development of the round sculpture.
Primitive age
Rock paintings and line engravings of the primitive era, whether it is to simulate natural realistic objects or decorative patterns, the description methods or modeling patterns are similar. In the Nile River Basin and the eastern Mediterranean, the lines found in each cave are outlined in the outline of the outside, and then described and carved into a line. With the development of the production tools, the rock carvings of the bas-relief nature have also been promoted accordingly. The original nomadic peoples of northern China have left a large number of rock carvings (or rock paintings) that record their life history in the volcanic mountains of thousands of miles. The rock carvings in this area are characterized by strong realism, mostly with beasts, horses, goats, deer, tigers, leopards and other beasts and livestock. The original artists painted the pictures on the dense and clean black stone, and then used them to grind them out. The sharp hard rock carved out the graphics and became an early expression of the stone relief art.
Neolithic
In the Neolithic Age, humans invented pottery. The molding techniques and decorative techniques related to ceramics further promote the development of sculpture forms. In addition to the painted line paintings, the constantly advancing pottery decoration has also developed a sculptural decorative form, with three-dimensional prints, scratches, engravings and piles, and even ceramic sculptures with relative independence. Embossed or openwork. Archaeological data show that the pottery sculptures that together with the stone sculptures constitute the rich features of the original sculptures, including clay sculptures, have been developed to varying degrees in the Nile Valley, the two rivers, the Mediterranean, the western part of Europe, and China.
After the disintegration of the primitive society, the art of relief gradually became prosperous. In many ancient civilizations, the mausoleums built for praying for eternal life after death, the temples built for the sacrifice of ancestral gods, and the monuments built to celebrate the merits of the emperors are all magnificent and magnificent. The embossed nature of the sculpture and the narrative expression of the painting are largely adapted to the ancient social life and spiritual orientation. It represents the sacred world or the Eden-like heavenly ideal of people's imagination, and records the reality. The major events in life provide a powerful way and a vast world.
25th century BC
In the 25th century BC, Egypt has become a powerful centralized slave country, where
The reliefs of the Naram Xinqin monument are used to decorate mausoleums, temples and monuments. The Egyptians creatively used three typical poses (1 all front; 2 absolute sides; 3 tops) to shape the embossed characters and strive to create a calm, mysterious and majestic atmosphere. The embossed style of the "Nano slate" marks the formation of a long-lasting Egyptian art program. Its simple and concise curve shape and geometric factors have been perfected in the ancient kingdom of Egypt. The powerful linear shaping makes the relief have the same meaning as the title and the inscription. Here, the hard and inscribed lines emphasize the “moving momentum†with spiritual symbolism, and are no longer limited to reproducing a realistic image and scene.
The two river basins of West Asia gave birth to the ancient Mesopotamian civilization. The art of embossing presents different styles in the various kingdoms of the two rivers, and the relief of the Assyrian kingdom undoubtedly reached its peak. The Assyrian embossing follows the principle of narrative, with great composition and delicate portrayal, bearing in mind the great merits of the king and the rise and fall of the kingdoms of the past. The realistic style of "Naram Xin Jigong" is simple and solemn, its composition is clever, the characters are well arranged, and the king, the attendants and the enemies are excellently portrayed; the emphasis on volume and the exaggerated performance of the muscles are given to the relief form. The tension that comes from the enthusiasm. The "Injured Lion" is also the masterpiece of the Assyrian relief. It vividly and accurately grasps the moving moments of the touching, and fully demonstrates the high talents of the Assyrian artists in scribing the image and rendering the atmosphere. The glazed pottery relief of the New Babylonian period also achieved great artistic achievements. Different from the flat processing method of the Assyrian kingdom, it shapes the image in the form of high relief, and then embossed with glaze, which makes the body more vivid and realistic. The glazed pottery relief of New Babylon has greatly enriched and developed the artistic tradition of Assyria.
Greek classical sculpture
Greek classical sculpture is a model of Western sculpture art. Ancient Greece was a pantheistic country. The construction of large-scale temples was based on the worship of God, which became the main carrier of relief. In the 5th century BC, ancient Greece, which entered its heyday, began to use embossing to decorate cities and buildings. The relief art on the Parthenon, including the triangular wall carvings, the embossed panels and the embossed reliefs, is undoubtedly the greatest work of the Greek classical sculptures. The high reliefs carved on the wall are almost round, and the rectangular space that occupies the rectangle is a large number of relief panels depicting the battle scenes of the Lepus and the Kanto, the gods and the giants, the Greeks and the Amazan. . These embossed panels, which are apparently from the hands of different school artists, can be arranged in a specific plane space in a subtle and decent manner, despite the different styles and techniques. The embossed embossed elephant-like embossed slabs stretch across the building and are large in scale. "The Riders in the Parade" is more perfect in understanding the perspective shortening, and the performance technique has reached a new depth, such as properly narrowing the farthest part of the image, while the protruding part maintains a high degree of consistency; The depth of the relief is continuously conveyed by means of interpenetrating, nesting, and overlapping to create a human illusion. This constantly mature illusion of depth performance skills, in Pergamon's Zeus and Athena altar embossed sash "Shenzhen Wars Giant" played to the extreme. The high relief of the approximate round sculpture and the size of the distant shape are staggered to maximize the depth of the space. The whole composition form gives the viewer a strong sense of movement and impact. The Greek relief art is based on excellent realism. Its character structure is rigorous and anatomically accurate, showing the Greek's superb skills in realistic modeling. The Greeks have a tradition of focusing on "logic" and "seeking truth", and their artists have gradually found a way to describe nature through observation of nature. In the early Greek sculptures, clothes were usually represented by concave lines. As the development progressed, these patterns became convex lines, and the traditional second-degree space was replaced by three dimensions. The ancient Greek relief created a beautiful example for Western art and reached an unattainable height in the history of Western art.
slave society
After Chinese society entered the slave society, the relief art achieved outstanding achievements in ceremonial artifacts in decorative form. Especially worth mentioning is the embossed decorative pattern on the bronze ware of the Shang and Zhou Dynasties. It is "with the strange lines of the majestic image, the deep and convex casting carvings, just embodying an infinite, primitive, and can not be used in the concept language. The expression of the original religious feelings, concepts and ideals." (Li Zehou language) "饕餮" pattern is the most characteristic embossed decoration style on ancient Chinese bronze ware. As a flat animal face, it is centered on the nose and spread out to the sides. The image is very patterned. The use of sculptural techniques makes it a thick, dignified three-dimensional effect on the plane of the instrument. The prosperity of ancient Chinese relief art is concentrated in the Han Dynasty portrait stone, portrait bricks and Buddhist statues and mausoleum buildings after the Wei and Jin Dynasties. In the Han Dynasty, there were a large number of portrait bricks, which were unique to Chinese relief art. It unifies narrative and expressive, and vividly depicts the social customs, production and life scenes and mythological stories of the time with vivid plots and vivid shapes. Its styling technique is realistic, but its composition and spatial processing adopts the scatter perspective method of Chinese painting, so it shows a high degree of freedom in grasping objects. The most commonly used technique and expression in portrait bricks is “flat bas-reliefâ€. The general practice is to add a negative line on the embossed but delicate and flat picture of the impression, to outline the details of the image, and to intersperse the surface. And the line makes the styling image rich and vivid. For Chinese embossed art, the extensive use of the "line" of modeling language is characterized by its aesthetic expression and national temperament. In addition to Chinese painting bricks, the stone carving art of the Western Han Dynasty, such as the stone carving of the tomb of Huo to disease in Shaanxi, also presents an important feature of linear performance. Here, the line has greater agility and fluidity than the three-dimensional block surface. Through the use of engraving lines, the combination of relief and round carving gives people a great sense of power, movement and expansion. The art of stone carving in the tomb of the Eastern Han Dynasty highlights the basic features of Chinese relief art during this period. Although it has no obvious changes in the content, its engraving techniques or techniques have changed a lot, or the embossed embossed embossed, or the embossed embossed yang line, pays great attention to the linear concave and convex treatment, reflecting the unique aesthetics of the Chinese. And smart intelligence.
Ancient india
In ancient India, the most important and influential art form was sculpture. The embossed form becomes the main decorative means of temple carving. The fenced relief of Balhut Zaibo, the early Buddhist art of India, is an important work of this period. The bas-relief based on the line engraving, the image of rich content is packed with pictures, showing a unique sense of fullness and unique composition. The dense and compact filled composition and the continuous composition of a picture and several scenes have broken through the limitations of real time and space to a certain extent, and obtained artistic freedom of expression. As a symbol of sacredness, the ideal human body shape is recognized by India and the ancient Greeks. The difference is that the Indians emphasize the human flesh and accept and praise the existence of the flesh. "York West", with its beautiful s-shaped curve, embodies the feminine beauty of India's aesthetic norms and artistic standards. Like all the idols representing Hindu or Buddhist beliefs, the work also reveals striking features. . All of this constitutes and gives the Indian relief a unique artistic charm.
In general, Cambodian relief art emphasizes abstraction more than its Indian archetype. It prefers symmetry and does not like organic lines. The shape is characterized by a nearly geometric pair. This trait seems to imply the mystery and mystery of the ideological beliefs that are different from other religious systems. The relief art of Cambodia is less Indian-like physical reality, and it seems to pay more attention to the divine power beyond the dust. In Southeast Asia, the superb skills and artistic inclinations displayed by the reliefs of Angkor can be said to be unique.
The Mayan culture, which is centered around Mexico in Central America, has long been known, where reliefs are decorated in a unique form with huge temple buildings. Mayan's decorative reliefs showcase political changes, religious events and complex scenes of everyday life in wall panels, stairs, sills and square columns. Different from the classical art in other parts of the world, these relief works of the Mayan culture have a square sense of blockiness and solemnity, and the shape of the cuts makes the Maya art unique.
The introduction of Buddhist art has injected fresh blood into Chinese relief art. The rise of grotto statues provides a broad stage for the development of relief art on the Chinese mainland. The emergence and evolution of the image of Feitian shows the creative acceptance of Chinese artists' foreign culture. Its flowing momentum and the rhythmic and rhythmic streamers reflect the style of Chinese embossed lines. The volume and weight of the three-dimensional space show the advantages of increasing the depth of expression and creating a dignified atmosphere during the relief of this period. The flying relief form of the Wei and Jin Dynasties initially showed an exploration of depth. The most important breakthrough made by the Wei and Jin bas-relief art is that it develops the almost linear shape of the past into a plump relief of the main body. The interest in “volumeâ€, which is revealed here to show the majesty of the ruler and the solemnity of the Buddha, makes the statues of the king and the priests greatly
Glorious. The shape of the Lux, which is placed on the outer wall of the grotto, is always in the change of light and shadow, so the bas-relief is obviously not as suitable as the high-relief decoration of the round sculpture.
The Trajan Memorial Column in Europe, echoing the Chinese Qin and Han dynasties, is a powerful Roman Empire. With their political and military genius, the Romans created a huge empire. As successors and communicators of Greek civilization, they are practical, take their best from Greek civilization, and then use it as they please. The bas-relief art of the Romans continues the classical laws of the East and Greece. They celebrated the victory and performed the Arc de Triomphe and the monuments and made them embossed. For the Romans, such as the "Altar of Peace" and "The Trajan's Commemorative Column", the most famous Roman relief sculptures, for the Romans, undoubtedly fully satisfied their hobbies and enthusiasm for describing the story of the Empire. The Trajan's Tower, built to commemorate the achievements of Emperor Trajan, is 27 meters high and 23 meters wide with a 1 meter wide embossed band. It completely describes Trajan's conquest of the Dacia. Battle story. The sculptors used the techniques and achievements of Greek art for centuries in the works of these martial arts, but the Romans emphasized the clear narrative and the accurate expression of all the details in order to make future generations remember their merits. There has been some change in the nature of art, and its main goal is no longer a harmonious, beautiful and dramatic expression. The "Altar of Peace", also known as the Memorial Column, has a slight breakthrough in the technique of relief. Roman artists have improved their space and depth compared to Greek classical artists, such as altar reliefs, they deal with the softness of the planar character background, technically more in place, and almost the treatment of the behind characters disappearing into the background. , the front of the character embossed level is higher.
4th to 14th century AD
From the 4th to the 14th century AD, the prevalence of Christianity cast a strong religious color on European medieval art. In France, Gothic sculptures, mostly architecturally decorated, have achieved considerable success. With the change of religious concept from "sacred" to "humanized", architectural carvings also developed from bas-relief to high relief, and gradually separated from the wall, which led to the formation of a new sculpture style. This style is highlighted by the relief on the main entrance of the French Chartres. The proportion of the portrait is adapted to the shape of the pillar shape of the building, and the shape is extremely elongated, forming a slim and delicate style. The figure wrapped around the column is embossed, and the head is out of the column, round and real. They are no longer bas-reliefs, but high reliefs that are almost independent of the stigma. This attempt to get rid of the constraints of the architectural framework has led to the engraving of the French and the real life in the next two or three hundred years.
The same situation appeared in the Sui and Tang Dynasties in China, where the creation and layout of the grotto statues provided an important opportunity for the development of relief art, making this period an unprecedented period of embossed art after the Shang and Zhou and the Qin and Han Dynasties. Its biggest breakthrough is that the shallow flat line in the former form is a three-dimensional and full-bodied high relief.
middle Ages
The relief art of medieval tropical Africa can be compared with the contemporary relief art of the world. They usually come in the form of carved doors and windows, bas-reliefs and copper plaques. They maintain a certain degree of independence for religious life and are not products or annotations of the concept of worship. Although they do not have architectural features, they maintain a certain connection with the building or with the palace and temple buildings. "Paneling" is a work in which a female figure in the center is carved in a nearly round-shaped manner. The sexual features are highlighted. The geometrical patterns engraved on the backboard may represent such symbolic meanings: triangles Representing the Triune God, the prism represents the feminine character. Here, although the meaning is concrete, its symbolic form is abstract. Benin's bronze plaque "General and Soldier" strictly follows the principle of symmetry to compose the picture. The change factor lies in the difference of decorative patterns. The main part of the sculpture adopts a technique similar to the high relief, which highlights the central figure to be emphasized. The delicate decoration of the fascia with the combination of points, lines and faces will give full play to the exquisiteness of bronze casting, and its exquisiteness is breathtaking.
Renaissance era
In the Renaissance era, under the guidance of the new era spirit, humanistic thought, a new art style different from medieval expressive art came into being. The artist began to reflect life and social life in his works, and strive to science. Art is combined. The sculptors use the sensibility of science to understand the world. On the basis of affirming the realistic sculptures of Greece and Rome, they pay attention to the scientific research of science such as perspective and anatomy, and promote the development and prosperity of the art of relief. The Gibberti Baptistry bronze door "The Gate of Heaven" uses the principle of scientific perspective to subtly combine the perspective of painting with the main space effect of sculpture. The building in the background is almost a single painter. Constructed by viewpoint perspective. The characters in the lower part of the relief are in the form of high relief, and the heads of some of the characters are even processed as round sculptures. This form of transition from high relief to bas-relief is used by the artist to be natural, appropriate and pleasing. During this period, the discovery of the embossed linear perspective technique made the Western relief realistic technique enter a new stage of development. In the relief of Herod's Banquet, Donatello made a striking experiment on the background by using the linear approach of painting, that is, in the plane of two-dimensional space, using the illusion of manufacturing space depth. Replace the flat decorative effect of medieval paintings or reliefs. This background processing method became a major feature of Western art during the Renaissance.
In the 16th century, France’s outstanding representative of reliefs was the first to give Jean Gu. His embossed "The Fountain of Innocence" is deeply influenced by Italian humanistic thoughts, both classical and human. The image of youthful vitality in the works is an impact on medieval asceticism and a praise of man and nature.
Embossed.
Artists baptized by the Renaissance movement have to try to transcend with formal innovation in the face of the great achievements created by the predecessors. In the middle of the 18th century, the expansion of the European industrial revolution and the development of the capital economy promoted the further prosperity of Western urban civilization and promoted the continuous development of relief art in architecture, gardens, squares and streets.
The Departure of 1792 is a high relief created by the sculptor Rüder for the Arc de Triomphe of the Star Square in Paris. Compared with the other three themed reliefs on the Arc de Triomphe, it is more solemn and majestic. The sculptor skillfully used the treatment method of association and sensation, and through the side moving forward, the hand of the free goddess and the man who was summoned to the back, let people naturally feel the flow of people following it; The technique divides the crowd into two layers, and the more people feel that their forward movement is fast and powerful, and even the feeling that the statue figure seems to go out of the wall. "Departure" is a model of French romanticism in this period. The works using similar techniques and the dance of Lüder's student Karbo, their common feature is that they are not only good at dealing with the dynamics of sculpture. Rhythm and ups and downs, and can adapt well to the overall wall of the building. All of this breaks through the stable and rigid format of the classical relief, which makes the relief have unlimited vitality and vitality in a limited space.
Since the end of the 19th century
Since the end of the 19th century, the entire Western world has undergone profound changes due to the influence of industrial civilization. Different cultural thoughts are surging, traditional aesthetic values ​​and
The concept of relief is challenged. Under the changing situation, the reliefs of various themes have moved away from the main body of decoration and tend to develop independently, and the style forms are increasingly diversified.
The French sculptor Rodin, with its remarkable sense of innovation and practice, launched the engine of sculpture transformation, making him a landmark for the transformation of Western sculpture art from classical to modern. Rodin’s genius in the field of relief is the door to hell that he devoted his life to. He almost subconsciously reflected his self-experience and insights on characters and society in his works, which made him have profound humanity and great charm. The Gate of Hell is different from the architectural reliefs of the past. In the past, similar reliefs were mostly composed according to the storyline. The layout of the divisions seemed to be reasonable and consistent with the logic of plot development. Although this work only shows one theme, its composition is irregular. It certainly contains meticulous ideas and layouts, but as a whole, everything seems to be overwhelming, and every corner of the door is engraved with people who have been laid to hell. Due to the undulating high reliefs and bas-reliefs on the plane, complex and unpredictable shadows are formed, and the entire gate looks gloomy and full of movement, and seems to resound through the noisy sounds of hell. When the work was first erected in the public square of Paris with an independent plaster substitute, it was attacked by the students of the Paris Academy of Fine Arts, and even hundreds of pieces. Today, when people sincerely appreciate Rodin's work, it is hard to imagine what kind of cold reception and accusation the author received in the past. But history has finally chosen Rodin, which is really ridiculous.
In the field of relief, Rodin's student Buder showed a more challenging form of exploration and practice than Mr. He absorbed the decorative features of Egyptian, Indian, and especially medieval, Gothic sculptures, emphasizing the pursuit of architectural embossing, and paying attention to the constituent elements of the building to the relief. His embossed works always carry out the geometric processing of the background, and the simplicity, generalization, and straightforward shaping techniques and styles form the uniqueness of Buddle's sculpture language.
20th Century
The reliefs have been developed in an unprecedented way throughout the 20th century. With the revolutionary changes in the development of round sculptures, the reliefs began to show their unique artistic charm in an independent manner, conveying the spiritual meaning of more independent meaning. Like paintings and sculptures, the embossed art of this period is influenced by many genre styles, symbolism, cubism, futurism, constructivism, surrealism, Dadaism, pop art, etc., all in the field of relief. Performance. On the whole, the relief art in the last 100 years has shown two major trends. A kind of progress along the route of Rodin, which is generally in the realm of realism. A group of highly effective and influential sculptors such as Buddle, Mayor, Kohler, Magnier, Jacques Mohman, Augustus Bickey, and later George R. . In different historical periods and social atmospheres, they always adhere to the volume and figurative form of the sculpture tradition, and at the same time, according to their own feelings and new ideas they touch, they carry out various forms of modern style exploration. One is another way to go against it. This is a huge team from modernism to postmodernism that brings together many schools or lines. They explore in various forms that tend to be diversified and extreme, and triumph on the anti-traditional path. A group of sculptors such as Gauguin, Matisse, and Alp introduced the innovative experiments in painting into the field of sculpture in the early 20th century, which took the first step in the expansion of modern relief to break through the traditional concept of volume.
Looking back at the evolution of the world's relief art, it can be said that relief art is constantly evolving in inheritance, reference and transformation. Artists from all civilizations, ethnic groups and historical periods have made worthy contributions to the construction and exploration of relief art. There is no doubt that all historical achievements and practical experiences from all human beings are the future of relief art. Advance laid a solid foundation.
In the continuous space breakthrough, the modern sculpture movement entered the era of pluralism, often referred to as postmodernism, in the 1980s. In this period, it is difficult to distinguish the relationship between styles as before. Art norms that support people to make definitive judgments, whether traditional or innovative, no longer exist or reproduce. In fact, diversification itself has invisibly become an anti-normative "norm" - any kind of thing, no matter how extreme it lacks its identity, as long as it is considered "art" it is art. In this case, art has only the form of the word “artâ€, and there is no substantive connotation to define it. The concept of integrated relief is also in a difficult to standardize and define the situation, and in the diversified trend of postmodernism gradually towards the complete resolution of the relief itself and even the art itself.
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