E.H. Gombrich The Story of Art
#4 #5 #6 #7 #8
#4 The realm of beauty
The Partheonon had been build in the Doric style, but in the later buildings on the Acropolis the forms of the so-called Ionic style were introduced. The principle of these temples is the same as that of the Doric ones, but the whole apperance and character are different.
The columns of the Ionic temple are much less robust and strong. They are like slender shafts, and the capital or headpiece is no longer a simple unadorned cushion, but is richly decorated with volutes on the sides; ... The whole impression of these buildings with their finely wrought details is one of infinite grace and ease.
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People often think that what the artists did was to look at many models and to leave out any feature they did not like: They started by carefully copying the apperance of a real man, and then beautified it by omitting any irregularities or traits which did not conform to their idea of a perfect body. They say that Greek artists 'idealized' nature, and they think of it in terms of a photographer who touches up a portait by deleting small blemishs. But a touched-up phtograph and an idealized statue usually lack character and vigour. So much has been left out and deleted that little remaints but a pale and insipid ghost of the model. The Greek approach was really exactly the opposite.
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Greek artists in the works we have seen have avoided giving the heads a particular expression.
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because they sensed that the play of features would distort and destroy the simple regularity of the head.
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We usually refer to this art of the later period not as Greek, but as Helenistic art, because that is the name commonly given to the empires founded by Alexander's successors on estern soil.
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In the Corinthian style, foliage was added to the Ionic spiral volutes to decorate the capital, and there are generally more and richer ornaments all over the building.
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The period of Hellenism, art had largely lost its old connection with magic and religion. Artists became interested in the problems of their craft for its own sake, and the problem of howw to represent such a dramatic contest with all its movement.
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Hellenistic artists did not know what we call the laws of perspective.
1. 이집트 vs 그리스 차이
2. 그리스 vs 헬레니즘 차이
3. Doric style => Ionic style => Corinthian style 차이
#5 World conquerors
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The most important feature in Roman architecture, however, is the use of arches.
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They portray the people who witnessed, and finally accepted, the rise of Christianity, which meant the end of the ancient world.
1. 콜로세움의 특징 : 1층 Doric, 2층 Ionic, 3층 Corinthian half-columns
2. 내러티브의 역할과 종교로의 귀의
#6. A parting of ways
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Gregory's purpose was to be served, the story had to be told as clearly and simply as possible, and anything that might divert attention from this main and sacred aim should be omiited. At first, artists still used the methods of story-telling that had been developed by Roman art, but gradually they came to concentrate more and more on what was strictly essential.
The power of observation of nature, which we saw awakening in Greece about 500 BC, was put to sleep again about 500 AD. Artists no longer checked their fomulae against reality. They no longer set out to make dicovereies about how to represent a body or how to create the illusion of depth. But the discoveries which had been made were never lost. Greek and Roman art provided an immense stock of figures standing, sitting, bending down or falling. All these types could prove useful in the telling of a story, and so they were assiduously copied and adopted to ever-new contexts. But the purpose for which they were used was now so radically different that we cannot be surprised that, superficially, the pictures betray little of their classical origion.
1. Rome vs Byzantium
2. 바실리카 형태 및 변화
3. Religious -> Real life -> Religious 로의 변화
#7. looking easwards
The standards of painting remained very high throughout the subsequent centuries both in China and in Japan, but art became more and more like a graceful and elaborate game which has lost much of its interest as so many of its moves anre known. It was only after a new contact with the achivements of Western art in the eighteenth centrury that Japnese artists dared to apply the Eastern methods to new subjects.
1. Chinese conceptions 은 ?
2. 고착화 정형화 되었다는 것이 어떤 의미인지?
3. 왜 동양 서양 마찬가지로 현실을 있는 그대로 그리지 않는 것인가?
#8. Western art in the melting pot
Epytions had largely drawn what they knew to exist, the Greeks what they saw; in the Middle Ages the artist also learned to express in his picture what he felt
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Painting ca do for the illiterate what writing does for those who can read.
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We need not imagine, though, that all art in this period existed exclusively to religious ideas.
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1. 로마 붕괴후의 Dark Ages의 특징은?
