The Equestrian statue- a study of its history and the problems associated with its creation

[摘要] Through the ages the portrayal of man on horseback has provided thesculptor with the chall~nge to solve one of the most bafflingcompositional problems in Art. The problem involves the balancing ofa vertical mass on a large horizontal one, which in its turn rests onslender supports. To add to the complexity, the natural gait of thehorse is unsuitable for artistic reproduction and must be skilfullymodified so as to look natural and be aesthetically acceptable.Further, horse and rider must form a unity, which reflects thecharacter of the rider.In spite of the formidable technical, compositional and aestheticproblems associated with this type of sculpture, the monumentalequestrian statue has always been a popular form for honouringheroes and sovereigns. The representation of man controlling thepowerful majestic horse and at the same time looking down on hisfellow men from his elevated position on the back of the horse,appealed to the depostic ruler as well as to the man on the street.The monumental equestrian statue had its origin in the sixth centuryB.C. in ancient Greece. Since then it has flourished in times ofautocracy. The ancient Greeks solved most of the technical,compositional and aesthetic problems of the equestrian statue.The Romans inherited the tradition of erecting equestrian statues fromthe Greeks and made it the sole privilege of sovereigns. Solutions totechnical and compositional problems were taken over directly from theGreeks. The Romans, however, preferred bronze as a mediuminstead of marble. In spite of the compositional freedom which theuse of bronze gave the sculptors, the Romans preferred a rest furfigure showing a rider as triumphator.During the Middle Ages most of the Roman equestrian statues weredestroyed, with the exception of a few. The Marcus Aurelius inRome was mistaken for a statue of Emperor Constantine, the firstChristian emperor, and it was spared. Since it showed a barbarianbeneath the forelegs of the horse, the statue became symbolic ofChristianity overcoming paganism. In this sense the equestrianstatue acquired symbolic funerary implications. Stone was thefavourite medium and the sculptors of the Middle Ages solvednumerous problems associated with the creation of an equestrianstatue in this medium. Bronze equestrian figures were neglectedbecause the technical know-how of the Greeks and Romans had beenlost.The Renaissance once more focussed the attention on the individual,thereby reviving the truly secular commemorative equestrian statue ofClassic Antiquity. Technical, compositional and aesthetic secrets ofAntiquity were gleaned from surviving equestrian statues and antiquesources. Donatello revived the Roman tradition of monumental bronzeequestrian statues with his Gattamelata, while Verrocchio created thefirst secular equestrian monument since Antiquity with his Colleoniequestrian monument. Although Leonardo's Sforza and Trivulzioequestrian statues have not survived, the solutions which he found totechnical, compositional and aesthetic problems while working on them,were to have a profound influence on all later equestrian statutes. Acomplete revisal of the commentaries on his notes connected with thesemonuments have proved that he not only renewed the entire technicalapproach to this sculptural form, but he also found new compositionaland aesthetic solutioDuring the period from the Baroque to the end of the nineteenthcentury, Leonardo's innovations were implemented. The Giambolognastudio in Italy established the proto-types for all Baroque equestrianstatues. The French inherited this tradition. A complete history ofall the French equestrian statues before the French Revolution isgiven. During the nineteenth century technical improvementsresulted in the mass production of equestrian statues throughout theworld.A complete history of all the equestrian monuments in South Africa isgiven and it is indicated how this form was adapted to South Africanconditions. Modern technical and compositional methods are discussedand evaluated.ns which completely revolutionised the creation ofequestrian statues.

[发布机构] University of Pretoria