مجسمه

[♘امیرحسین♞]

Jade figure of a horse

This impressive horse belongs to a small group of carved jade animals, mainly horses and buffaloes, carved on a much larger scale than usual, and all in the same range of green opaque stones. There is no direct evidence to help us define precisely when and for what purpose these large creatures were carved.

The slender and elegantly smooth carving shows the horse lying down, its hind legs tucked under its body. The mane and tail are carefully worked to represent the hair, with the other features - eyes, jaw, limbs, muscles and sinews - shown in fine grooves.​

 

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Head of the horse of Selene from the east pediment of the Parthenon

This marble head of the horse of Selene, goddess of the moon, was carved around 438-432 BC. It is one of the sculptures from the east pediment, or gable, of the Parthenon, a temple set on the flat-topped rock known as the Acropolis in Athens.

The sculpted group of figures that once filled the very centre of the east pediment showed the birth of the goddess Athena from the head of her father Zeus. The figures that represented Athena and Zeus are now lost, but some of those who witnessed the birth are preserved. In one corner of the triangle, the time of day was set by the chariot of Helios, god of the sun, rising at dawn, and in the other corner, by the chariot of Selene, the Moon goddess, sinking beneath the horizon. One of Selene's horses' heads is shown here. Others are preserved in Athens. This is perhaps the most famous and best loved of all the sculptures of the Parthenon.

The horse's head is just over 80 centimetres long, about life-sized, ending just at the level of the jaw-line, and is carved from white marble. The jaw would have hung over the edge of the pediment floor. The sculptor has captured the very essence of a beast at the utmost limits of its physical endurance. A long night spent drawing the chariot of the Moon through the sky has left it exhausted and gasping for breath. The skin seems to be stretched over its bones, taut against the great flat plate of the cheekbones. The nostrils are distended, the round, pupil-less eyes bulge with effort, the veins and sinews stand out, and what remains of the ears lie almost flat against the head. The tongue lolls in the gaping mouth.

The horse's mane has been cropped into an elaborate style, and stands erect, like the bristles of a brush. The back of the horse's head is carved in detail, which is surprising, because once fixed on a pediment, the back would not be seen. Creases in the skin as the horse turns its head outward follow the curve of the jaw-line. The sculptor has used the natural veining in the marble to echo the angle of the line from ear to jaw. The grey veining cuts through the eye, and runs down towards the muzzle.

The surface of the marble is a creamy-yellow in places, and veined with streaks of grey. The head is not completely intact. The nostrils have been chipped, and a chunk is missing from the top of its head, destroying his left ear almost entirely. The right ear is badly chipped, and a section of the nose is pitted and scarred. Small holes in the centre of the face, and beside what remains of the left ear, indicate where a bronze bridle, long since lost, would have been attached. Even with this damage, the creature remains remarkably expressive.​

 

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Terracotta plaque with a chariot-racing scene

The scene shows a quadriga (four-horse chariot) thundering towards the three cones of the meta (turning post). The charioteer wears a cap, leggings, and a short tunic with fasciae (protective leather straps). The reins are passed tightly around his waist. Disappearing behind the meta is a hortator, a horsemen who rode among the chariots to encourage the contestants during the race. The turns were the point of maximum danger, where the charioteer and the inside lead -horse played a critical role.

In every race the chariots made seven laps of the circus. A good charioteer who kept close to the central island (i) and took the turns as tightly as possible, would drive around 5,200 metres from start to finish. Modern racetracks (for mounted horses) are usually 2,000 -3,000 metres.

The name of the maker of the panel, Anniae Arescusa, appears in a panel above the horses. Plaques of this type were originally used to decorate the upper parts of the walls of porticoes and shrines, and occasionally private houses.​

 

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Horsemen from the Parthenon

The children looked at the horses and riders on the Parthenon freize, then touched them on the touch-wall.

Angelica: 'We touched the man's foot and the horse's tummy.'
Lene: 'It felt hard to touch.'
Debowrah: 'They are going along fast. The riders are talking to each other. They're got no reins.'
Yonas: 'They've got no clothes on - it's not very comfy. He's wearing a coat though.'​

 

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Bronze model of a biga (2-horse chariot)

Alhough the figure of the charioteer and one of the horses are missing, this model is probably the best representation we have of a Roman racing chariot (currus circensis). Built for speed, the biga had a light but strong frame made of bent pieces of wood strapped together. The small wheels and low centre-of-gravity meant that it was both manoeuvrable and stable.

It has been estimated that the weight of a Roman racing chariot was 25-30 kg. Racing straight along the long side of the track, they may have reached speeds of up to 75 kph, but they had to slow down around the turning posts (metae), probably to around 25-30 kph, to avoid overturning. It has been estimated that the overall duration of a race would have been around 8 to 9 minutes.​

 

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Bronze horse

While the Islamic art is remarkable in its own right, the Near East has had an exceptional artistic tradition long before the advent of Islam. This bronze horse was made in Ghayman, southwestern Yemen, in the 3rd or 2nd century BCE.​

 

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Yanjun Zhuang

Yanjun Zhuang & Yanhong Jing, Zhejiang​

 

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A Horse With No Name

In 1849 archaeologists working in a small Trastevere street called Vicolo delle Palme (now called Vicolo dell’Atleta) pulled some extraordinary ancient sculptures out of the ground. Among those artworks was a bronze horse that is thought to be a Greek original dating to either the fifth or the fourth century BC.

For the past 30 years, the horse has been in restoration and has not been on public view. But now, fully groomed and ready to show, the steed has returned to its luxurious stable in the Capitoline Museums. Leaning on its hind legs with its head held back, as if preparing to break into a wild gallop, the horse is one of the few surviving bronze equestrian statues from the ancient Greek world. Its rider was not recovered, though some propose it might have been Alexander the Great.

How did a Greek equestrian statue make its way to Rome? Almost certainly the sculpture was a prize taken from Greece by the ancient Romans - the first antiquers - who knew the value of Classical bronzes. And written records tell us that Rome was full of private and public collections of Greek art that would eclispe even the Met’s newly designed antiquities wing.

While 2500 years is a respectable age for any pony, we should be particularly surprised that this work of art managed to survive Rome’s Middle Ages when it was perfectly common to melt bronze antiquities in order that their metals might be reused. While it is impossible to know what fortunate series of events spared this steed from the melting pot, Rodolfo Lanciani - one of Rome’s most esteemed nineteenth-century archaeologists - proposed that the horse and the other antiquities found alongside it on Vicolo delle Palme had been moved riverside to Trastevere in the late antique period (5th-6th centuries AD) in anticipation of being shipped to the Eastern Empire as the city was being systematically looted. He further suggested that a late antique art lover thwarted the relocation program by hiding the hoard - and that it remained hidden until its rediscovery in 1849.

In his book, Ancient Rome in Light of Recent Discoveries (1898), Lanciani wrote:

In 1849, a few weeks before the storming of Rome by the French army of General Oudinot, under the house No. 17 in the above-mentioned passage, a most remarkable collection of works of art was discovered by mere accident. It included the Apoxyomenos of Lysippus, now in the Braccio Nuovo [of the Vatican], — a marble copy of the bronze original, which stood in front of the baths of Agrippa; the bronze Horse, now in the Palazzo de’ Conservatori [of the Capitoline Museums];… a bronze foot, with a beautifully ornamented shoe, which may possibly have belonged to the rider of the Horse; a bronze Bull, and many other fragments of less importance. Here we have the evidence of a collection of works in metal, stolen from different places, and concealed in that remote corner of Trastevere, in readiness for shipment from the quay of the Tiber, close by.

It’s a romantic point of view - but we like it.​

 

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Fragments of colossal horses from the quadriga of the Mausoleum at Halikarnassos

Fragments of colossal horses from the quadriga of the Mausoleum at Halikarnassos

From one of the Seven Wonders of the Ancient World

Greek, around 350 BC
Bodrum, modern Turkey

A four-horse chariot group (quadriga) was positioned on the top of the stepped pyramid that crowned the Mausoleum. The entire group would have been about 6.5 metres in length and around 5 metres in height. These two fragments are the largest that survive. They form the head and fore-part of a horse with its original bronze bridle, and the hind-quarters probably of another horse.

Charles Newton, the first excavator of the Mausoleum, describes the sensation caused among the people of Bodrum by the finding of the hind-quarters of one of the horses:

'After being duly hauled out, he was placed on a sledge and dragged to the shore by 80 Turkish workmen. On the walls and house-tops as we went along sat the veiled ladies of Bodrum. They had never seen anything so big before, and the sight overcame the reserve imposed upon them by Turkish etiquette. The ladies of Troy gazing at the wooden horse as he entered the breach, could not have been more astonished.'

C.T. Newton, Travels and Discoveries in the Levant (London, 1865), volume II, p. 110

The exact significance of this chariot group is uncertain. The quiet and dignified composition may reflect a funerary function. If the chariot was empty, it may have been an offering to the dead king. Though not common in ancient Greece, the practice of offering an empty chariot and horses was more frequent among the dynasts who ruled the outer limits of the ancient Greek world.

It is perhaps more likely that the chariot was occupied, certainly by a charioteer and maybe even by Maussollos himself. If this were the case, the whole group would have represented the apotheosis (becoming a god) of Maussollos. The king is shown accompanied by Nike, the goddess of victory, rising up to the heavens. Alternatively, the chariot may have been driven by Apollo, or Helios, the god with whom some scholars believe Maussollos associated himself.​

 

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An elegant horse and an epic scene

Greek, Geometric type, probably made in Sparta about 700 BC
Said to be from Phigaleia (Bassae) in Arcadia, Greece

Small bronze horses were frequently dedications in the shrines and sanctuaries of Geometric Greece, perhaps indicating the wealth or status of the donor. Those produced in Sparta, which was famous for its bronzes, are stylized in a distinctive way.

There is an interesting intaglio design under the base of this horse, showing a pair of twinned warriors arranged back-to-back. They have been identified as a pair of Siamese twins referred to in the writings of Homer (where it is implied that they are Siamese twins but not stated) and Hesiod. The twins were known as the Aktorione, or sometimes the Molione, and belonged to a time before the Trojan War. Their combat with the young King Nestor of Pylos is mentioned in Homer's Iliad, and they were said to have been killed by the hero Herakles. The twins feature prominently in Geometric art, at a time when the representation of heroic stories was only just beginning. It has been suggested that the Neleids, an Athenian family of the eighth century BC, claimed descent from the heroic kings of Pylos and may therefore have used the twins as a distinctive family crest.​

 

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Painted clay and wood figure of a horse

Furnishing from a tomb

From Astana, China
Tang Dynasty, mid-8th century AD

Astana was a cemetery site along the Northern Silk Route explored by Sir Aurel Stein during his third Central Asian expedition (1913-16). It is thought that residents of the walled city of Gaochang nearby were buried there. Until its destruction by Tibetans in AD 791, Gaochang was the administrative seat for the Western District (Xizhou) of the Tang Empire and the convergence point of roads from the north and south-west that ultimately led to the capital of Chang'an.

This figure formed part of the furnishings from a tomb, together with other figurines of horses and a camel. Although made from clay and wood, it was based on sancai-glazed ceramic examples placed in tombs of metropolitan China at this time. Painted markings on its body indicate that this is a bay-coated horse. There are petal-shaped pieces of silk on the body. Its wooden legs could be fixed to the floor of a niche in the tomb. The saddle-blanket is shown as magnificently embroidered and remnants of silk indicate where stirrups would have hung.

Documents recovered from these tombs indicate just how important horses were to daily life in the region. The whole network of communications relied largely on horses. Detailed registers were kept of the journeys horses made, penalties prescribed for injuries from neglect or overloading, and enquiries carried out when an animal had died en route.
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[♘امیرحسین♞]

بزرگترین مجسمه اسب دنیا نصب شد

زیباست,بزرگه و از برنز ساخته شد.
ال پاسو شهری که در داستانها و فیلمهای زیادی از آن نامبرده شده محل نصب بزرگترین مجسمه اسب دنیاست.
این مجسمه عظیم که بلندی آن 12 متر,و از 400 تکه مجزا ساخته شده 10 تن برنز و بیشتر از 4.5 تن آهن در آن استفاده شده است.
این مجسمه که نام آن اسب سوار است, نشان دهنده دون خوان د اونات مکزیکیست که سوار بر یک اسب نزاد اندولسی است.

این مجسمه در فرودگاه بیت المللی ال پاسو نصب شده و ساخته هنرمدی بنام جان هوسر, هوسر برای این مجسمه حدود ده سال زمان صرف کرده.
هوسر برای ساخت این مجسمه به اسپانیا محل پرورش نژاد اندولوسی سفر کرده تا برای ساخت اطلاعات جمع اوری کند.

 

[DADAR]

nazaretoon dar morede in aks chi hast?1

 

[♘امیرحسین♞]

nazaretoon dar morede in aks chi hast?1

جالب و زیبا
ایشان سازنده تندیس هستند؟

 

[DADAR]

درسته ايشان سازنده اثر هستند
از هنرمندان شيراز که علاقه زيادی هم به کارهاي اسبی دارند

 

[♘امیرحسین♞]

درسته ايشان سازنده اثر هستند
از هنرمندان شيراز که علاقه زيادی هم به کارهاي اسبی دارند

نامشون؟
آیا کارهای دیگر اسبی هم دارند؟

 

[DADAR]

esmeshoon hast
REZA NAZARI
karhaye digehee ham dar zamineyeh asb azashoon didam albateh 3 ya 4 sale pish
ta alan bayad karhaye bishtari dar in zamineh anjam dadeh bashand
kash akshaye behtari azash dashtam vali shayad betoonam addreseh sitesh ro peyda konam

اسمشون رضا نظری هست
کارهای ديگر هم در زمينه اسب ازشون ديدم البته 3 يا 4 ساله پيش
تا الان بايد کارهاي بيشتری در اين زمينه انجام داده باشند
کاش عکسهای بهتری ازش داشتم ولی شايد بتونم ادّرسه سايتش رو پيدا کنم

 

[DADAR]

inham chand ta akseh digeh

 

[DADAR]

in asar dar andazeyeh taghriban vagheaei sakhteh shodeh

 

[DADAR]

3