Gothic sculptures and their relationship with architecture
In sculpture, the transition from Romanesque to Gothic occurred slightly later than in architecture, but over time its growth continued at an incredibly fast pace. Ancient Gothic sculpture in just one century reached its peak. Sculpture at this time served as an integral part of the architecture of cathedrals.
In Gothic were observed the principle of unity and subordination of all the arts architecture. The development of plastics has also been inextricably linked with the Gothic architecture. In the visual arts of those times it is the sculpture belonged to the leading place. Although masters often used the relief, the main Gothic plastics was still a statue. Basically, the formation of sculpture in the Gothic epoch was connected with the construction of Amiens, Chartres and Reims cathedrals, in which was used over two thousand various sculptures.
Gothic was the period of this flourishing of monumental sculpture, in which the value of the statuesque plasticity was increased, and appeared to thrust the so-called “high relief”. The Gothic figures were seen as the main elements of the giant decorative and monumental compositional unity. A separate group of statuary or statues associated with the columns of the portal or from the front wall and serve as a parts blogosearching relief. However, when a person came close to the portal, the integrity of the decorative sculptural composition disappeared, and his attention was attracted to the psychological and plastic expressiveness of some of the statues, telling about a specific gospel or biblical event. Gothic sculptural compositions used in the interior, most often mounted on the poles of the console where they were foreseeable from several sides.
Ideological and compositional intent decorative sculpture were subordinate to the program. The sculptural composition was concentrated around portals, where large statues of prophets, apostles and saints have followed a kind of strings, greeting the visitors of the temples. Portals, arches, niches of the towers, the tympanum, the upper tiers of galleries, and galleries vimpeli top tier was decorated with statues and reliefs. Many small figures and sculpted scenes were placed on pedestals, in the transepts and the archivolt, on consoles, roofs, plinths and buttresses. The sashes of the Windows were decorated with carved openwork patterns.
In the sculpture of Gothic churches artists sought to embody the concept of human history from its sordid and sublime parties. The Cathedral, in turn, as a whole constituted a religious display transfigured world, in which religious subjects was insensibly filled with topics of interest to reality sculptures.