A Complete Morphological Study of the Right Hand of Bronzo “A” Di Riace

Muzzupappa, Maurizio; Gallo, Alessandro; Mattanò, R. M.; Ruggiero, Carmen; Bruno, Fabio

doi:10.1260/2047-4970.1.0.55

Cited by 4 publications

(2 citation statements)

References 13 publications

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“…The relatively small head of Hercules, and of the remains of the lion where he supports his armpit, in comparision with the rest of his body, probably also contribute to the perception of a body of exagerated size. This case, of the use of exageration of size in ancient Greek art, goes in the line of the reference of Spivey (2006) to the so called "Riace Bronzes", by , that represent two man with harmonious but evidently exagerated bodies (for a reference on this work see: Muzzupappa et al (2012)). …”

Section: The Use Of Cues For Attention In Ancient Greek Antonio Mamentioning

confidence: 88%

The use of cues for attention in ancient Greek art: aspects that influence concentration in the work of art and its elements

Duarte¹,

Stefanakis

2015

Arte Individ. Soc.

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El uso de señales para la atención en el arte Griego antiguo: aspectos que influencian la concentración en la obra de arte y sus elementos AbstractThe goal of this study is to identify cues for the cognitive process of attention in ancient Greek art, aiming to find confirmation of its possible use by ancient Greek audiences and artists. Evidence of cues that trigger attention's psychological dispositions was searched through content analysis of image reproductions of ancient Greek sculpture and fine vase painting from the archaic to the Hellenistic period -ca. 7th -1st cent. BC.Through this analysis, it was possible to observe the presence of cues that trigger orientation to the work of art (i.e. amplification, contrast, emotional salience, simplification, symmetry), of a cue that triggers a disseminate attention to the parts of the work (i.e. distribution of elements) and of cues that activate selective attention to specific elements in the work of art (i.e. contrast of elements, salient color, central positioning of elements, composition regarding the flow of elements and significant objects).Results support the universality of those dispositions, probably connected with basic competencies that are hard-wired in the nervous system and in the cognitive processes. Keywords: attention, ancient Greek art, selective attention, psychology of art. ResumenEl objetivo de este estudio es identificar las señales para el proceso cognitivo de la atención en el arte Griego antiguo, con la intención de detectar su posible uso por los antiguos griegos (público y artistas). La evidencia de señales que desencadenan las disposiciones psicológicas de la atención se buscó mediante el análisis de contenido de reproducciones de imágenes de arte Griego antiguo (escultura y pintura de vasos desde el período arcaico hasta el período Helenístico -ca. 7º-1º siglo AC).Por medio de este análisis fue posible observar la presencia de señales que condicionan la orientación para la obra de arte (i.e. amplificación, contraste, énfasis emocional, simplificación, simetría), de una señal que provoca una atención diseminada a las partes de la obra (i.e. distribución de los elementos) y de señales que activan una atención selectiva a las partes de la obra (i.e. contraste de los elementos, color saliente, posicionamiento central de los elementos, composición con respecto al fluir de los elementos y objetos significativos).Los resultados apoyan la universalidad de esas disposiciones, probablemente relacionado con competencias básicas del sistema nervioso y de los procesos cognitivos. Palabras clave: atención, atención selectiva, arte Griego antiguo, psicología del arte.

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Section: The Use Of Cues For Attention In Ancient Greek Antonio Mamentioning

confidence: 88%

The use of cues for attention in ancient Greek art: aspects that influence concentration in the work of art and its elements

Duarte¹,

Stefanakis

2015

Arte Individ. Soc.

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“…Muzzupappa et al . [MGM*12] address the interpretation problem related to the ‘Riace Bronzes’ statues. In particular they exploit 3D scanning techniques to study the right hand of the ‘Bronzo A’.…”

Section: Macro Geometrymentioning

confidence: 99%

A Survey of Geometric Analysis in Cultural Heritage

Pintus

Pal

Yang

et al. 2015

Computer Graphics Forum

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We present a review of recent techniques for performing geometric analysis in cultural heritage applications. The survey is aimed at researchers in the areas of computer graphics, computer vision, and cultural heritage computing, as well as to scholars and practitioners in the cultural heritage field. The problems considered include shape perception enhancement, restoration and preservation support, monitoring over time, object interpretation, and collection analysis. All of these problems typically rely on an understanding of the structure of the shapes in question at both a local and global level. In this survey, we discuss the different problem forms and review the main solution methods, aided by classification criteria based on the geometric scale at which the analysis is performed and the cardinality of the relationships among object parts exploited during the analysis. We finalize the report by discussing open problems and future perspectives.

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The golden section in the art of ancient Greece: an anthropometric study of the young warrior of Riace

Putrino,

Raso,

Marinelli

et al. 2024

Humanit Soc Sci Commun

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More than half a century after their discovery in the Ionian Sea near Riace Marina (Italy, 1972 CE), the Riace Bronzes continue to fascinate and interest. They are a pair of statues most likely sculpted in Greece in the mid-5th century and are considered masterpieces of Classical Greek sculpture. Many studies have been conducted, yet there are no morphometric studies that delve into their facial features. The aim of this study is to determine dentofacial characteristics and the presence of golden ratios in the so-called “young-man” warrior statue, equipped with a silver foil to represent the upper teeth. The interpupillar, interalar, intercanthal distances and mesio-distal diameter of the upper central incisors were subjected to virtual photogrammetry (GIMP-GNU Image Manipulation Programme). The presence of vertical and horizontal golden ratios between different landmarks (intercanthal distance: centre of the nose; centre of pupils: base of nose: base of upper incisors; centre of pupil-base of nose: base of upper incisors-base of chin; centre of pupils- base of upper incisors: base of the chin) were analysed using a dedicated software (PhiMatrix). The face and teeth satisfy most of golden canons, as also corroborated by the one-way ANOVA-statistic test (p < 0.05) for repeated measurements by independent expert operators. The virtual golden facial grid should confirm an ovoid face, which should match the same dental shape. The statue design stems from the search for beauty as divine proportion, and a relatively small detail such as teeth seems to have been carefully programmed.

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A Complete Morphological Study of the Right Hand of Bronzo “A” Di Riace

Cited by 4 publications

References 13 publications

The use of cues for attention in ancient Greek art: aspects that influence concentration in the work of art and its elements

The use of cues for attention in ancient Greek art: aspects that influence concentration in the work of art and its elements

A Survey of Geometric Analysis in Cultural Heritage

The golden section in the art of ancient Greece: an anthropometric study of the young warrior of Riace

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