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초록· 키워드
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There have been constant controversy about the value of “Originality” in art during the last century. However, as the concept of a ‘work of art’ itself is a modem notion presupposing originality and artists, such debates can easily be led into a circuit of equivalent. The meaning and significance of the words ‘original’ and ‘copy’ is context-sensitive subject, especially in ancient Greek and Roman societies.
The major impediment to the study of Classical sculpture is that the already-established criteria of the style, authorship, and date are derived from these ‘copies.’ For instance, what we consider as personal styles of fourth century Greek masters which are regarded as ‘Classic’ in the tradition of Western history of art since the Renaissance are affected by Roman copies of various levels and reflect the styles of copyists as well. Also most of the Classical sculptures may have been heavily reconstructed in accordance with the taste of the later period, rather than restored to their original states.
It is well-known that because of the popularity of Greek sculptures, various replicas, adaptations, and even new creations of followers were generated in Roman world. However, Greek artists reproduced their own statues to an wide extent as well. Archaic sculptors produced same types of stone-carving kouroi and korai according to the standard prototypes, and such a method of reproduction became more refilled as the Greeks developed indirect lost-wax casting process during the fifth century BC. Adding details to a simple model of molding, sculptors were able to endow their works with individuality. The formal norms of well-known Classical sculptures like Doryphoros allude the repetitious tendency of Greek artists standardized free-standing sculpture types with various adaptations. Although the main object of Roman copyists was the works of famous Classical and Hellenistic masters, there also found a few cases of Archaic style. The Piraeus Apollo and similar bronze statuettes produced in the late Republican period are examples to show that the range of the taste and demand of Roman aristocracy was wide and various.
Modem surveying of Classical sculpture has been influenced by the limits of materials and data, and it is inevitable to depend on the preserved copies and adaptations in order to reconstruct the disappeared original masterworks. Still it is crucial to understand that the modem concept of ‘originals’ and ‘copies’ should not be applied literally to Greek and Roman Sculpture, because copying itself was a main part of artists’ method in Classical Antiquity.
The major impediment to the study of Classical sculpture is that the already-established criteria of the style, authorship, and date are derived from these ‘copies.’ For instance, what we consider as personal styles of fourth century Greek masters which are regarded as ‘Classic’ in the tradition of Western history of art since the Renaissance are affected by Roman copies of various levels and reflect the styles of copyists as well. Also most of the Classical sculptures may have been heavily reconstructed in accordance with the taste of the later period, rather than restored to their original states.
It is well-known that because of the popularity of Greek sculptures, various replicas, adaptations, and even new creations of followers were generated in Roman world. However, Greek artists reproduced their own statues to an wide extent as well. Archaic sculptors produced same types of stone-carving kouroi and korai according to the standard prototypes, and such a method of reproduction became more refilled as the Greeks developed indirect lost-wax casting process during the fifth century BC. Adding details to a simple model of molding, sculptors were able to endow their works with individuality. The formal norms of well-known Classical sculptures like Doryphoros allude the repetitious tendency of Greek artists standardized free-standing sculpture types with various adaptations. Although the main object of Roman copyists was the works of famous Classical and Hellenistic masters, there also found a few cases of Archaic style. The Piraeus Apollo and similar bronze statuettes produced in the late Republican period are examples to show that the range of the taste and demand of Roman aristocracy was wide and various.
Modem surveying of Classical sculpture has been influenced by the limits of materials and data, and it is inevitable to depend on the preserved copies and adaptations in order to reconstruct the disappeared original masterworks. Still it is crucial to understand that the modem concept of ‘originals’ and ‘copies’ should not be applied literally to Greek and Roman Sculpture, because copying itself was a main part of artists’ method in Classical Antiquity.
목차
Ⅰ. 서론
Ⅱ. 그리스 ‘원본’과 로마 ‘복제품’
Ⅲ. 그리스 청동상 제작 기법
Ⅳ. 결론
참고문헌
Abstract
「서양고전조각에서의 원본과 복제」에 대한 질의
전선자 선생님의 질의에 대한 답변
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