Aphrodite de Milos (Venus De Milo) - Greek

                               

   

             Venus De Milo is one of the most famous pieces of ancient Greek sculpture. The statue of Aphrodite de Milos is regarded as the most beautiful model of a woman’s body. It was created between 130 and 100 BC, it is believed to depict Aphrodite (called Venus by the Romans), the Greek goddess of love and beauty. It is a marble sculpture and slightly larger than life size at 203 cm (6.7 ft) high. Its composition is a mixture of earlier styles from the Classical period of Greek sculpture. The statue is a variation on an older theme of the half nude Aphrodite originally shown admiring her reflection inside the reflective inner surface of Ares' shield while it is balanced on her raised left knee.

               Firstly, for the proportion 

Venus De Milo lost classical mathematical proportions and the provocative drape held up by her pubis was decadent.

The pursuit of the kind of beauty of human body proportion and, the proportion of almost all contains statue the golden section.The Venus represents a mixture of Classical and Hellenistic traits, which create a unique and alluring visual experience befitting the goddess of beauty and grace. The body’s twisting pose and jagged, deeply carved drapery is indicative of Hellenistic styles, but the soft, flowing musculature is similar to the Praxitelean S-curve associated with Late Classical art. The proportions of the body are also Classical, and the face is sculpted with the restrained and idealized Classical demeanor. 

                Second, for the balance Venus Her lifted left leg, withholding the slipping drapery, suggests at the same time an energetic movement to secure balance. It energizes the whole attitude and enhances the grace of the daintier body.The statue of Aphrodite de Milos is regarded as the most beautiful model of a woman’s body.The proportion of almost all contains statue the golden section. Venus de Milo shows elegant with plump attractive amazing harmonic. Show from her full in the chest extending to the abdomen curve, or her back. The statue permeated with the symmetry of the charm, people never lost their appeal. Also, and these part in comparison, people will suddenly become aware of, that lost arms is thick with a mysterious atmosphere is difficult to accurately depict, or it can be said, are deeply breeds with various possibility of dream of life. In other words, Milos Venus although lost two made of marble into beautiful arms, but exceeding one's expectations for an unbelievable abstract artistic effect, to indicate that there may be countless pairs of beautiful arm.

                 Lastly, for the unity Venus De Milo organic unity of line in sculpture. The predominance of a single type of line, the union of many lines to form a single continuous line, balance and symmetry of line, proportion of length and parallelism, are all to be found in sculpture. Especially important is rhythm–the harmonious, balanced movement of lines.the plane of the lower limbs from the feet to the knees moves to the left; there is an opposite and balancing movement from the right knee to the waist; the first movement is repeated in the parallel line from the right hip to the top of the head; this, in turn, is balanced by a line in the opposite direction running from the left hip to the right shoulder, parallel to the second line; but the equilibrium of line is not a rigid one, for the body as a whole moves in an undulating line to the left, imparting grace and a total unity.

Karomama - Egypt.

                 

                                                     

             The casting of large-scale bronze figures achieved its highest point in the late New Kingdom down to the 25th dynasty. The outstanding example from this period is the figure of Karomama. The exceptionally elegant modeling of the female form is greatly enriched by inlays of gold and silver reproducing the feathered pattern of the gown and an elaborate collar of floral motifs.

              The statue of Karomama  is one of the masterpieces of the Department of Egyptian Antiquities .She was a Divine Adoratrice, a virgin and earthly spouse of the god Amun, who was worshiped at Karnak. She held the status of a queen, and is portrayed in a robe encircled by vulture wings.

              Firstly,proportion the statue of Karomama is depicted in a walking pose.The slender proportions of the figure embody a charming femininity. The face, however, has a severe expression, with inlaid eyes, aquiline noise, and small, delicately shaped mouth. These priestesses  amassed great power,held porporty and maintained their own courtshaking sistrums. Karomama shakes two sistra beore a seated statue of Amen-Re who is depicted with a Ram’s head and two double plumes. Karomama wears a long pleated dress. She wears a short Nubian style wig with a uraeus on her brow. Her modius is by a fairly large vulture whose outstretched wings seem to protect a crowned cobra.A tall crown once fitted into the round headdress adorned with a uraeus. A uraeus must have decorated the front of the wig, but was broken off. Her hands are held out in front of her and it looks as though they would have grasped something. She wears an elaborate dress which is made to resemble wings encircling her body. This statue was dedicated by her treasurer Ahentefnakhte.Champollion was responsible for purchasing this exceptional bronze object with multiple inlays.

               For the pattern of Karomama the main body of this statue was cast in bronze and subsequently covered with a thin sheathing of bronze,which was then exquisitely engraved with patterns inlaid with gold,silver,and electrum.She is clad in a close-fitting, pleated dress with wide sleeves. It reaches to mid-calf and is encircled by the feathered wings of a vulture, which wrap around her thighs. A short wig frame her face. The coiled uraeus emerges from the modius, a small cap that originally held a crown. A lavish, jeweled collar extends from the top of her shoulders to her bust.Much of the  inlay has disappeared,but we can still make out the elaborately incised drawing of the bird wings that surround Karomama and accentuate the fullness of her figure,conceived to embody a new female ideal.Her slender limbs,ample hips,and more prominent breasts contrast with the uniformly slender female figures of the late New Kingdom.

                Lastly,emphasis in the past of statue of Karomama have drawing of the bird wings thay surround Karomama and  accentuate the fullness of her figure. This statue of Karomama is famous for the sophisticated production technique used. The statue was created with the lost-wax bronze casting process and features complicated metal inlays. These created colorful effects, although some are now missing. Gold leaf was also used to highlight different sections of the body, such as the wig with finely incised curls. A magnificent eight-tiered collar remains; it includes alternating rows of geometric and plant designs: rosettes, lotus petals, checkerboards, and spirals. The alloys used for the different inlays created nuances and various surface patina, which are no longer visible, given the condition of the work.

Venus of willedoft -Prehistory

          

                 Venus is a term that has long been associated with artwork, most specifically the classical forms of beautiful women.  Venus has also come to represent female sculptures of the Paleolithic era. The most notable of these female sculptures is the Venus of Willendorf. This Venus is exposed without a face, or feet, but is presented with the most detail in her torso and pelvis.

                 First, for the proportion I'm thinking about the proportion Venus is female figure . This figurine is made of limestone, stands about 4 ¼ inches high. This Venus resulted from perfect observation of the human body, but she was also arranged to make her curves more harmonious.The figure is so small it can fit in the palm of a hand. Her arms are very small and tiny and are placed on top of her breasts. It like this the viewer almost source the sculpture. Because of the shape it’s complete lack of facial features it is possible that it was made to mother goddess. Not designed to be small enough to fit perfectly in the palm of a hand. This almost implies that it is a fertility idol.

                 Second, the pattern around the head It looks like her hair is braided in one continuous long braid and wrapped around her head.There is evidence for woven textiles from that time. It could also be basketry.But in reality it is 7 concentric horizontal bands that encircle her head, with two more half bands below the bottom of her neck. 7 in later times being regarded as a magic number used to bring about good luck. Hair also has a long history as a source of erotic attraction giving more evidence to this figurine being a form of fertility.

                 Lastly, balance the significance of 'Venus of Willendorf' could possibly be that of a symbol of fertility. Similar figurines which show similar characteristics, such as the exaggerated proportions of the breasts and body. For the balance figure of Venus have one for the head, two for the breasts or arms, and two for the thighs or legs. Carved from oolitic limestone, she is a round woman, standing with her arms resting on her breasts and belly, her bowed head hiding her face but showing off elaborate hair. The round shape is disproportional to the rest of the body - the arms, legs and head. The breasts are full and round. A head totally covered with basketry, and the similar full figure with the head almost covered in a similar texture.