Institution affiliation
 
 
 
Contrast and Comparison; Indian and Greeks Sculptures
Just like the Greeks, Indians showed their gods and human figure forms on their sculptures and pottery, but in different styles. Greeks were accustomed to the red-figure pottery style, bearing dark backgrounds and the statues were shown, only after drying in the kiln. Indians sculptures were modest but painted beautifully. Unlike the Greeks, Indians also did not emphasize much in making sculptures used in sports. But there was also a resemblance in the making, for instance, they all made nude statues neither representing human nor their god’s forms. This paper seeks to discuss the similarities and drifts in modeling and design of this stunning sculptures between two ancient dynasties and also insight on how the arts reflected in each setting.
During the Archaic period in ancient Greece, there was a rampant increase in the modeling of the human figure statues, at this period, sculptors began to carve more significant figures of women and men sculptures which had upright postures. Most astonishingly was the male portrayed in nude sculptures. Adopting some styles from the Egyptian statues their leg was to some extent forward and their arms to the side. engraved were the minor smaller features like the eyes, breasts, and the figures were painted to look different from their original forms. Elaborately clothed and depicted in numerous colors were the female sculptures. These earlier styles were trendy and influential, for instance, the Hellenistic statues portrayed not only healthy adults but children and the old in their physical forms. In places of plays and theatre performes, sculptures were stark practically next to entrance door. For example, a sculpture of a boxer battered would be seated on a rock at the entrance of the theatres (Olson, & Statuary, 2015). On the hand, the Indian Sculptures were the favored medium of artistic expression on the Indian subcontinent. Indian buildings were profusely adorned with it and indeed are often inseparable from it.
 
Most of the Indian sculptures existed in human forms, and they were used to teach the society about the religion: Buddhist, Hindu, or Jain faith. The nude statues were used to signify the body as a sign of spiritual and to disclose the illusion the people had about the god’s shapes.
The figure of the goddess of love, Lakshmi.
Though Indians had a long tradition of art and a mastery of visual arts, Buddha was never represented in human form for quite some time, but only through some of his symbols. But later statues became clearer, serving Buddha’s life and training (Pal, Huyler, Cort, Luczanits, & Banerji, 2016). They would then start making sculptures of Buddha expressed in human form. One of the reasons is said to have been contributed by Persian and Greek influence. Artistically, a school of sculpture called Gandharan is said to have influenced how Buddha’s wavy hair, sandals, the covering of both shoulders and acanthus foliage decorations.
The most significant drift between this two ancient dynasties comes in when we look at their subject for artistic endeavor. For instance, unlike the Greece sculptures, there is complete ignorance of individuality in Indian statues; the reason is that the gods are perceived to be of forms more perfect than anything that was in the human models. Manifested were many diverse attributes of Hindu divinities power by the many arms and heads of the god. Looking at Greeks sculptures one won’t stark trying to differentiate between their subjects of artistic endeavors, their gods had human form, a tiny distinction between the sacred and the secular in art. The human body was as scared as well as secular.  During the years of Patroclus when Pygmachia (Deahner, & Lapatin, 2015) “the Ancient Olympic boxing” was very popular, the sculptures of a nude male Heracles or Apollo were almost treated with the same weight. During the Archaic Era, statues of a standing nude male, for example, Kleibos and one of a clothed female figure were very popular, during that time it was forbidden to display women nakedness.
 
 
The Sculpture of the famous female Kore, Athens, 530 BC.
But by the end of the 4th century just like the in India, architectural sculpture on places of worship was becoming crucial in Greece. Sculptures were significant in Greek, they not only made them just for art exhibitions, but were commissioned either by the wealthy individuals or by the state and then used for public monuments, sanctuaries and as an oblation to temples. During the Archaic period, statues were not wholly intended to characterize certain individuals but were used to represent beauty, honor, and power.
Today most of the world has maintained continuity through the art of the twentieth century seems to be varnishing. Painters and sculptors are also giving way to those who feel have a personal expression at heart; it’s so unfortunate that this new world order of painters and artist are changing styles according to one desire and what seems pretty. Therefore it will be impossible to analyze actual events of this modern world of technology using arts and sculptures because most of them don’t reflect cultural values but they are work of personal motive. Artists of today get motivation in work that has some ideas. The push behind this is the expanding art market, which has been as a result of the booming market and increased number of commercial galleries and foreign buyers. The most significant challenge has been much cultural exchange which rapidly is changing the nature of the artists who find it difficult presenting their personalities. They have had been influenced by the ‘west’ and surprisingly, enough their culture is questionable, and no young artist or sculptors wish to inherit or link art to their traditions.
 
 
Reference
Olson, C., & Statuary, H. B. (2015). The Hellenistic Period, (Berkeley: University of California Press 2004), 3.
Pal, P., Huyler, S. P., Cort, J. E., Luczanits, C., & Banerji, D. (2016). Puja and Piety: Hindu, Jain, and Buddhist Art from the Indian Subcontinent. Univ of California Press.
Dehner, J. M., & Lapatin, K. (Eds.). (2015). Power and Pathos: Bronze Sculpture of the Hellenistic World. Getty Publications.