The relief of the "Augustus" in the Vatican Museums in Rome is a representative work of the period. On this bronze relief, the Roman "chief citizen" who admires the elegant Greek art style is shaped into a god-like sculpture of a god-like sculpture.
This bronze sculpture reflects a new trend in the development of Roman sculpture in the Augustus period. That is to show the extraordinary humanity while embodying the human nature of the emperor. In fact. In the Roman society of this period, the status of the emperor was supreme, and his identity was regarded as the double recurrence of man and God. On this copper relief, the image of Augustus is clearly idealized. The posture and shape of the Greek classical copper relief was applied to this copper relief. Augustus's stance is clearly similar to Pori Crete's "The Spearman." This reflects the imitation of the classical Greek sculpture style by the sculptures of the early Roman Emperor.
However, fundamentally, the overall appearance and style of this bronze embossed woman in the 90-100-year-old dream horse still belongs to Rome rather than Greece. On the one hand, the face of the copper relief has the appearance and personality of Augustus himself. The portrayal of the image clearly emphasizes the treatment of specificity and individuality, unlike the purely general and general expression of the Greek copper relief. On the other hand, the expressions of the characters on the copper reliefs, the sunlight, the posture, etc., all show the connection with the specific space environment, instead of the lack of focus and direction like the "The Spearman", as if walking a dream in a non-specific way Abstract space. it's here. Augustus seems to be talking to the ten people. His head was slightly lifted, his eyes were forward-looking, his right hand was raised, and he seemed to be issuing an army order. It can be seen that the Roman sculpture at this time, while emulating the Greek sculpture and emphasizing the idealization, did not abandon the national tradition. There is no loss of the spirit of realism that emphasizes clarity and reality.
This bronze relief also reflects the artistic forcing of Luo sculpture symbolism during this period. Some details on the copper relief have specific symbolic meanings. E.g. The image of the little love god riding on the back of the dolphin at the foot of Augustus is related to an ancient legend that "Augus is the descendant of Venus, the god of love." The ancient Roman poet, Ville, traces the ancestors of Augustus to the legendary Roman founder Arnes. And Ennis is the son of Venus, the goddess of the mortal Ancisis. In addition, the embossing on the copper relief breastplate is also symbolic, and the middle part depicts the army of Augustus from Patty. The performance of the flag in the hands of the people, around the scene, is around the image of the gods. This monumental relief, framed by celestial bodies, actually implies God's divine blessing to Luo Yi.
For more information about bronze sculptures and bronze Buddha statues, please pay attention to China Copper Sculpture Industry Network http://
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