2/5 Mr. Victorious Jaffar W. 9 months ago on Google • 93 reviews
Trajan’s
Column,
monument
that
was
erected
in
106–113
CE
by
the
Roman
emperor
Trajan
and
survives
intact
in
the
ruins
of
Trajan’s
Forum
in
Rome.
The
marble
column
is
of
the
Roman
Doric
order,
and
it
measures
125
feet
(38
metres)
high
together
with
the
pedestal,
or
base,
which
contains
a
chamber
that
served
as
Trajan’s
tomb.
Originally
the
column
stood
in
the
middle
of
a
courtyard
surrounded
by
galleries
from
which
one
could
view
at
various
levels
the
spiral
band
(over
800
feet
[240
metres]
long
and
about
4
feet
[1.2
metres]
wide)
covered
with
low-relief
sculpture
that
forms
a
continuous
narrative
of
the
emperor’s
two
campaigns
in
Dacia.
A
spiral
staircase
is
contained
within
the
shaft’s
interior,
which
measures
12
feet
2
inches
(3.7
metres)
in
diameter.
At
first
a
bronze
eagle
had
been
placed
on
top
of
the
column
and
then
after
Trajan’s
death
a
bronze
statue
of
the
deceased
emperor,
which
was
replaced
in
1588
by
a
statue
of
St.
Peter.
bas-relief,
also
called
low
relief
or
basso-relievo,
in
sculpture,
any
work
where
the
projection
from
a
supporting
background
is
shallow.
Bas-relief
contrasts
with
high
relief
(alto-relievo),
another
type
of
relief
sculpture
in
which
projections
are
deep
and
may
in
parts
be
completely
disengaged
from
the
ground,
thus
approximating
sculpture
in
the
round.
The
bas-relief
technique
can
be
used
on
its
own
or
with
high
relief
and
middle
relief
(mezzo-relievo)
to
create
different
effects.
Relief
sculpture
is
a
complex
art
form
that
combines
many
features
of
the
two-dimensional
pictorial
arts
and
the
three-dimensional
sculptural
arts.
Similar
to
a
painting
or
drawing,
a
relief
is
dependent
on
a
supporting
surface,
and
the
composition
must
be
extended
in
a
plane
in
order
to
be
visible.
Yet
its
three-dimensional
properties
do
not
have
to
be
suggested
but
are
in
some
degree
actual,
like
those
of
fully
developed
sculpture.
Among
the
various
types
of
relief,
bas-relief
is
perhaps
the
one
that
approaches
most
closely
the
pictorial
arts.
It
requires
the
artist
to
translate
the
three-dimensional
world
into
a
two-dimensional
one
using
systems
of
conventions
or
illusions.
One
of
the
most
difficult
tasks
in
carving
any
relief
sculpture
is
to
depict
within
the
limits
of
a
slab
of
wood
or
stone
the
relationship
between
forms
occupying
a
deep
space.
Sculptors
can
solve
the
problem
mainly
by
paying
attention
to
the
planes,
or
imaginary
layers,
of
the
relief.
In
a
carved
relief
the
highest,
or
front,
plane
is
defined
by
the
original
surface
of
the
material.
Many
sculptors
respect
this
front
plane
by
keeping
their
highest
projections
at
that
level.
The
back
plane
is
the
deepest
level
from
which
the
forms
project.
The
space
between
these
two
planes
can
be
thought
of
as
divided
into
a
series
of
planes,
one
behind
the
other.
The
relationship
of
forms
in
deep
space
can
then
be
thought
of
as
the
relationship
between
forms
lying
in
different
planes.
Technically,
the
simplest
kind
of
low
relief
is
the
two-plane
relief.
For
this,
the
sculptor
draws
an
outline
and
then
cuts
away
the
surrounding
surface,
leaving
the
figure
raised
as
a
flat
silhouette
above
the
background
plane.
This
procedure
is
often
used
for
the
first
stages
of
a
full
relief
carving,
in
which
case
the
sculptor
will
proceed
to
carve
into
the
raised
silhouette,
rounding
the
forms
and
giving
an
impression
of
three-dimensional
structure.
In
a
two-plane
relief,
however,
the
silhouette
is
left
flat
and
substantially
unaltered
except
for
the
addition
of
surface
detail.
Assyrian
sculptors
used
this
method
of
relief
carving
to
create
bold
figurative
and
abstract
reliefs.
The
forms
of
low
relief
usually
make
contact
with
the
background
all
around
their
contours.
If
there
is
a
slight
amount
of
undercutting,
its
purpose
is
to
give
emphasis,
by
means
of
cast
shadow,
to
a
contour
rather
than
to
give
any
impression
that
the
forms
are
independent
of
their
background.
Donatello
used
this
technique
in
his
marble
sculpture
Madonna
of
the
Clouds
(c.
1425–35).
The
deep
carving
around
Mary’s
profile
is
used
to
draw
the
viewer’s
eyes
to
her
face,
rather
than
to
suggest
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