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古埃及和希臘的社會結構與藝術形式

Although early Greek sculpture highly resembled Egyptian cult statues, distinct differences in design made Greek sculpture remarkably unique, and in consequence showed a major difference in the Greek social structure, and their view of man. The first and probably most important difference of the Greek sculptural design was that the figures were mainly shown as nude. This variation on the basic Egyptian sculpture shows a definite separation from the rigid class system of Egypt. By removing clothes from the human figure, the pure and true identity of the subject is revealed. The subject is no longer seen as a product of society, but as a creation of nature. This view of man was further explored as Greek thought continued to progress. This progress is best shown by examining the change in style from the Kouros, form Attica to the Kritios Boy, from Acropolis. The Kouros showed a definite attempt to reveal the true human form. Although the sculpture put great effort into portraying the real muscle and bone structure of the subject, he still uses the transcendental stare that was so popular in Egyptian relief.

For the first time in ancient art, the figure is no longer looking or walking straight ahead. His head and shoulders are shifted to one side while his hips are shifted to the opposite side, and his weight is placed on one leg. This was the most advanced and realistic portrait of a human figure in the history of ancient art, and is a direct reflection of the Greek interest in the true nature of man. The changes in art from the beginning of Egyptian civilization to the early stages of Greek civilization reflect the evolution of human thought and social structure. The Egyptian art of the Old Kingdom portrayed a ridged and powerful Theocracy that gave little room for personal interpretation of art. In the Middle Kingdom Akhenaton lead the first artistic revolution by introducing a new religious system. But after his death, religion and art both returned to the traditional style of the Old Kingdom. The Greeks, however, took on a new view of the heavens in which they put less emphasis on the Gods and more emphasis on the human spirit. This new belief system allowed the Greeks to break away from a rigid social structure and explore the human form in its most pure state.

希臘文明與藝術形式

Greek civilization placed much more importance on individuals, rather than on a single king or God. Greece was broken up into City States and ruled by a number of politicians, much like our present concept of democracy. The religion of the time was polytheistic, but because of the separation of the City States, it never developed the structure of the proceeding Egyptian religion. The Greeks used their religion to illuminate their own lives, rather than to give them divine guidance. They turned to art and literature, rather than prayer, as a means of trying to discover themselves. This emphasis on self spawned new beliefs about man’s order in the universe. Contrary to Egyptian beliefs, the Greeks did not see their Gods as the center universe, and believed that they as humans had some control over their own destiny. The freedom to explore the self allowed the Greeks to make advances in mathematics, philosophy, and art. The advances in philosophy and mathematics had direct influence on the art of the time. This is first seen in the Protogeometric and Geometric art of the first three centuries of Greek civilizations. These unique styles show a meticulous order and precision that was not seen in any proceeding period. As the dominant style changed from Protogeometric to Geometric, this order and precision was amplified. The popular circle and semicircle patterns were replaced by linear designs, zigzags, triangles, diamonds, and meanders. The increased interest in order seems to have been a reflection of the Greek fascination with nature, and man’s relationship to nature. This interest in the order of nature eventually evolved into a fascination with the human form and the idea of human perfection.

藝術評論

Art criticism is the discussion or evaluation of visual art. Art critics usually criticize art in the context of aesthetics or the theory of beauty. One of criticism’s goals is the pursuit of a rational basis for art appreciation.

The variety of artistic movements has resulted in a division of art criticism into different disciplines, each using vastly different criteria for their judgments. The most common division in the field of criticism is between historical criticism and evaluation, a form of art history, and contemporary criticism of work by living artists.

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