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Proportion Sculpture: These significant pti poses have generally been served by proportion sculpture ( considerable size, and there is no doubt that largi ness promotes an effect of impressiveness i proportion sculpture as it does in architecture. This i borne out by the observation that most sculptur which has been made merely to embellish or t delight is definitely under life-size or even of th statuette category. A notable exception to thi rule is found in fountain proportion sculpture from the 16t! century on, where the architectural or arborea setting often requires commensurate scale in tb proportion sculpture.
proportion sculpture, unlike painting, may be appreciated by touch as well as by seeing. Even if one does not actually touch it when contemplating a particular work of proportion sculpture, the appreciation of the smoothness of surface and the modulation of one mass into another may be so strong that the mind receives the sensation of touching. This is commonly referred to as tactile quality, and oftentimes the kind of proportion sculpture which produces a strong tactile expression is called plastic. Small works of proportion sculpture, such as some of the Chinese jade carvings, invite one to take them in the hand.
This proportion sculpture, while bold in its outlines and undercuttings, was generally coarse in execution (because it was not to be seen close by), and of little merit when taken from its original setting.
Sculptors of today can learn something from the great architectural proportion sculpture of the past, but they must remember that a new style of architecture requires a new relationship of proportion sculpture to architecture. From the past both sculptor architect can learn effects of placement and lig ing. They can learn the value of contrasts color and material, and the telling power of li and shade and silhouette. Also they should able to discern in what ways proportion sculpture will hance and give aesthetic accent to architectun. |
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