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Τετάρτη 26 Νοεμβρίου 2014

Ethiopia • 360° Aerial Panorama


Ethiopia • 360° Aerial Panorama





Ethiopia is located in East Africa. It is the second most populated nation on the African continent after Nigeria. Since 1993, Ethiopia has been a landlocked country due to the separation of Eritrea, which was not to their benefit.

Ethiopia is situated in an equatorial and subequatorial region, but thanks to its terrain Ethiopia has a more moderate and humid climate than its neighbors, which are at the same latitudes. There is a significant amount of rainfall; rivers are flowing; there is no water shortage for irrigation. It is also the most mountainous country in Africa. Travelers described Ethiopia as the African Tibet. Mountains occupy about half of its territory, the rest are plains: The Ogaden plateau in the South-East, the Afar Depression in the North-East and the lowland of the Baro River basin in the far West.



However, an encyclopedic description of the country even in the smallest degree cannot fully describe the uniqueness of Ethiopia. Take volcanoes, for example. Many countries have them, yet only the Ethiopian volcano, Dallol, is known for its extraterrestrial landscapes that resemble the surface of Jupiter's moon, Io. In the 60s the record mid-annual temperature of +34° C was established here, which has given the Dallol area the distinction of being "the hottest place on Earth." The last time the volcano erupted was in 1926.

On the contrary, Erta-Ale is the most active volcano in Ethiopia. It lies below the sea level and is an integral part of the so-called the Afar Triangle, a zone of intense volcanic activity.

Its name translates as "Smoking Mountain", which is not surprising because Erta-Ale is one of the five volcanoes in the world that has a lava lake in the crater. The patterns of the fire strips and lava level are continuously changing; the "superfluous" lava unceasingly flows from the crater and sometimes creates a unique second lava lake (there are no similar examples among volcanoes). From February 2010, the lake level has risen by more than 30 meters. Its unearthly beauty is the reason our photographer, Dmitry Moiseenko, went to a photo expedition. This is how it went, according to him...





In January, when I was getting ready for the photo tour to Ethiopia, I thought that everything would be typical: we would get some sun and some cold weather; we would shoot and get to know the tribes. Oh, did I mention cold weather? That's because the instructions for the tour said: "Addis Ababa sits high enough above the sea level, and tourists need to stock up on warm clothes for the +10° C weather"... When we arrived there, the weather was chilly.We were then supposed to fly to the small town of Mekelle, located in the North-East of the country. It was freezing, even when we transferred from the international to the local terminals. Once we landed in Mekelle, we loaded up in the blazing heat. We were completely soaking by the time we got to the cars.

Driving our Jeep down endless hills, I thought, "Oh well, it's day time, so there will be sun and heat, but it must certainly be cold in the evening." Eight hours later at night, we pulled up to the three sheds built of planks and roofing material in the middle of a suspiciously deserted area. I realized it wouldn't cool down, not even in the evening. The temperature was fluctuating around +36° C, and the breeze was blowing either salt or alkaline dust in the air.

I asked the guides if we were going to travel to the volcano tomorrow and if the temperature would cool down. I was informed that we would stay 4 nights here, that Dallol is located 40 meters below the sea level, and that the temperature would be +50° C or +60° for certain. And, all this information was indicated in the tour program. I should have read the Tour Package program in advance!



The volcano itself is a crater filled with yellow-green-brown-red lakes containing acid or lye, which bubble and evaporate into sulfurous vapors. You have to watch out to not fall through, and you'd better wear disposable shoes. You have to breathe cautiously. A tripod can't be put just anywhere because although the carbon will survive, the metal parts will be oxidized. Not to mention, you have to really try hard to survive in the mind-boggling heat.

After that, it was like a dream. I made timid attempts to struggle for life: I would get my t-shirt wet in 40-degree water, so that 20 minutes later I would naturally cool down. I searched in vain for shade under the vertical African sun. I would run to the neighboring village to buy a frosted bottle of Coca-Cola from an old-fashioned refrigerator and then hold it in my hands (I had nothing better to drink in my whole life). Every day I had only two liters of water to wash myself. At the same time I was shooting and then shooting again.



Our group was guarded by a myriad of local military, because the neighboring Eritrea established a reputation of raiding tourists. Eritrea is much poorer than Ethiopia, and we were no more than four kilometers from the border. Our bodyguards were friendly and posed willingly. At my request they would even carry my tripod and pole meant for shooting circular panoramas. It turned out that in addition to Dallol Volcano, our so-called hotel wasn't far from the salt lake Assal, which is very similar to the Bolivian lake Salar de Uyuni, but is smaller in size.

We went to the salt fields where the local people, called Afars, have extracted valuable products for thousands of years, and where every day for a thousand years camel caravans have come and then carried away salt chunks into the horizon.

We are finally leaving to see the volcano Erta-Ale. After a ten-hour road trip on salt, sand, dust, and lava deserts in a car with closed windows, we arrive at the foot of the mountain that we need to climb before nightfall. Finally it's getting cooler. For the first time, I pull out my sleeping bag! A couple of hours up and we see the huts made of stone, where we will spend the night. The horror of the day disappears as soon as we are able to see the scarlet glow nearby. This is the volcano crater with an open lava lake. Grabbing our tripods, forgetting about our fatigue, we run towards the scorching heat of the fiery volcano...



At the edge of the volcano, just about 10 meters down, I can see the molten hot lava as it cools down, forms a crust, and then breaks apart continuously. And, if it wasn't for the intense heat, I would have stayed there indefinitely shooting pictures!

At nightfall I gladly climb into my warm sleeping bag, breathing the fresh cool African air (luckily the wind blew the smoke and ashes from the volcano in the opposite direction!). One thought kept coming to my mind: what if all of a sudden the volcano decides to erupt? Fortunately, the volcano did not comply.

The second part of the trip was in the Omo River Valley and the tribes, which inhabit it. First, it took three days to cross the country from north to south, to the lost lands at the border of Sudan and Congo, where the three tribes Hamar, Mursi and Daasanach are struggling to survive and preserve their authenticity. Surviving is more important than keeping their uniqueness. The expansion of civilization and the thirst for profit is gradually destroying the life and subsistence farming of these people. It seems to me that some villages prefer making money from photographers and tourists rather than doing their traditional cattle herding.

There are two types of payment the photographers must negotiate in order to obtain the right to shoot. The first type is cut and dry: you negotiate with each photo model individually. The second type looks like this: a caravan of jeeps enter the village, the head leader comes forward, and then the real bargaining commences. At the end the guide passes a fat stack of bills to the tribe leader and tells the group that everything is included. This "all inclusive" privilege gives you a whopping five minutes of shooting time, after which the ‘collective farm' splits, and you are then again required to bargain for every new pose with each individual model.



Despite the fact that to Europeans all African tribes resemble each other, I can say for sure that they are different. We could recognize Hamars by the corn rolls in their hair; their skin, which was covered with clay and egg mixture (for sun protection); and their neck collars, which told us whether the girl was married or single, and whether she's the first wife. Two customs surprised us: to show that a boy is ready for adult life, he has to run naked across the backs of several adjacent cows, and then return without falling. If he fails, there will be no wedding for him that year. The second custom made me wince: tribal girls, having drunk a suspicious concoction, start to dance to rhythmic tunes, running in circles, asking the tribal men to whip them. This leaves them with multiple bloody scars on their backs. The girls seem to be joyful despite the brutality. Subsequently, the scars heal, and each girl earns the right to ask the man who whipped her for some services and favors. Most likely they are not asking them to beat a nail. This explains why the men are very selective about the mutilation of the ladies.



The Mursi are quite different: they are thinner and with more prominent cheekbones. They also love to mutilate their bodies. Before, the ultimate beauty custom among older women was to have a plate inserted in the lower lip. Over time, the standards have changed, and now young girls make only neat scarification that even looks beautiful, especially when the scars are neatly arranged around their beautiful chest. We were warned about the frightening hostility of the tribe, but things worked out fine.

The Daasanach take care of their bodies and do not damage or injure them. They also protect nature. They collect metal caps from the coke bottles from tourists and hang them on their heads as garland. I have to admit, I was charmed by some of the young girls from the tribe. I even considered staying here for the rest of my life herding goats. I then was told some very unpleasant news: the first being that the Omo Valley is infested with fatally-dangerous Tsetse flies, and Europeans rarely survive their bites. And, second, the Daasanch girls I admired were all under-aged, even by the standards of the tribe. If they were not under-aged, they would already be pregnant or with their baby.



I came back to Russia during the winter with relief. Moscow's cold struck me as nice, kind and familiar. I didn't have to restrict myself to two liters of water a day, and if I was cold I could put warm clothes on or start the fireplace. I still can't understand how anyone can survive in +40 - +45° C. The heat is unbearable and there are no clothes left that you can take off, and there is no refrigerator.

http://www.airpano.com/360Degree-VirtualTour.php?3D=Ethiopia&set_language=2

Turkey's remaining Assyrian Christians dream of better times


Turkey's remaining Assyrian Christians dream of better times




A general view of Mardin in southeastern Turkey, pictured on November 19, 2014
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Mardin (Turkey) (AFP) - In a small village in the southeast of Turkey stand two Assyrian churches, one a thousand years old, the other modern, signs of both the region's Christian past and the determination of those who remain to bring it to life again.
Seyde Bozdemir was born in the village of Elbegendi in Turkey's southeastern province of Mardin. Like many of its inhabitants she decided to leave, in her case to Germany. But now she is determined to return.
"Here is our home. It is here that we want to finish our lives and be buried," said Seyde on a visit back to her home village.
"In the 1980s, we left without a way back. It had become very difficult, almost impossible. But when we dream, we still dream of here. It is for this that we want to live here."
The Christian Assyrian community in Turkey, which now numbers no more than a few thousand, has been hit by wave after wave of emigration since the foundation of the modern Turkish state in 1923 out of the ruins of the multi-ethnic Ottoman Empire.
But hope has not been lost that there will be a presence in the future, with some expecting a small boost from the first visit of Pope Francis to Turkey, which begins on Friday.
The mayor of Elbegendi returned to the land of his childhood after 23 years in Switzerland.
Aziz Demir still remembers the worst years of the conflict between the army and the separatist Kurdistan Workers Party (PKK) in the late 1980s, which turned the settlement into a phantom village.
"In the daytime, the army was in the streets, in the night it was the PKK," he said.
"During this period, 50 to 60 Christians were assassinated in the region. We wanted to stay neutral but it was not possible. We left."
"But now we want to return. To protect our religion and our culture."
He is expecting great things of the visit of Pope Francis. "The Vatican has to act. The Christians of the east were always sacrificed. They should be able to live on their own lands at last."
- 'Keeping our culture alive' -
These last years, 17 new houses have been built in Elbegendi to host the handful of families who, like him, have returned to their origins.
And others are ready to join them, if the current peace talks between Ankara and the PKK end a 30-year insurgency.
The exodus of Christians from Turkey began with the notorious population exchanges with Greece in 1923 under which they -- like most of Greece's Muslims -- were sent across the border to make the two new states viable.
The trend accelerated again with the civil unrest of the 1950s and the Turkish invasion of Greek Orthodox-majority Cyprus in 1974.
In recent years, the Kurdish conflict and the economic crises of the 1990s prompted many of those who had defied hardship to remain, to pack their bags.
Now no more than 80,000 members of various Christian communities -- including Armenians, Assyrians, Catholics, Chaldeans and Greek Orthodox -- are estimated to live in Turkey, a country of some 75 million Muslims.
Of these less than 20,000 are Assyrians, a Semitic people speaking one of the world's oldest languages who in Turkey largely adhere either to the Syriac Orthodox Church or the Chaldean Catholic Church.
The Syriac Orthodox Church proudly traces its origins back to the early period of the Byzantine Empire in 450 AD.
The Chaldeans -- by far the smaller of the two Assyrian communities in Turkey -- acknowledge the pope as head of the church after a schism in the 16th century.
Chaldean Christian Adnan Saglamoglu, a jeweller, has decided to stay in the provincial capital of Mardin, where, he admits, he sometimes feels a little alone.
"There are no more than four families in our community," he said.
"Without the help of those living abroad, we would already have disappeared. But we are trying to keep our culture alive," he said, proudly opening the door of a church in the city centre.
He said he can feel tensions climb "each time something happens to a Muslim" but insists he does not feel threatened and can practise his faith freely.
- 'Give us back our history' -
The ruling Islamic-rooted Justice and Development Party (AKP) co-founded by President Recep Tayyip Erdogan makes much of being a defender of all religions.
But Christian communities still have no legal status as official minorities. Like the Armenians, they also want official recognition of the scale of the slaughter their community was subjected to at the hands of the Ottoman security forces from 1915.
"Today we still cannot build a church in Turkey, its shameful," said Ayhan Gurkan, who gives -- unofficial -- religious courses in a small church.
"We want to be able to teach in our mother tongue and that all our assets, lands, churches and monasteries are returned to us. We want to be full citizens and for our history to be returned to us."
The Syriac church in Mardin, which dates back to the third century, has been entirely restored at a cost of around one million Turkish lira ($450,000).
"We survive thanks to the money our community has gathered," says its priest Gabriel Aktas. "We receive no aid from the Turkish state or European funding," he said.
"But as we neither have enough worshippers or priests we organise mass every Sunday in a different church. Then we provide religious teaching. It is not official but the Turkish authorities let us do this," he said.

Search IconCommander U.S. THIRD Fleet, Public Affairs Office



An in-depth look at Rim of the Pacific (RIMPAC) Exercise 2014. Twenty-two nations, 49 ships, six submarines, more than 200 aircraft and 25,000 personnel participated in RIMPAC, which is a multinational maritime exercise held biennially in and around the Hawaiian Islands and Southern California. RIMPAC 2014 is the 24th exercise in the series that began in 1971. (U.S. Navy Video by Mass Communication Specialist 2nd Class Corey T. Jones/Released)

Τρίτη 25 Νοεμβρίου 2014

NINTH ANNIVESSARY OF THE ENTHRONEMENT OF PATRIARCH THEOPHILOS OF JERUSALEM

In category : Current News — @ 16:00


On the 9th/22nd of November 2014, the feast day of our Father, Nektarios of Aegina, the Patriarchate of Jerusalem celebrated the ninth anniversary of the election and enthronement of its Leader, His Beatitude Theophilos, our Father and Patriarch of Jerusalem.
To commemorate the event, Doxology was made at the katholikon  of the Church of the Resurrection, led by His Beatitude, with co-officiating Hagiotaphite Primates and Hieromonks, deacons, priests and concelebrants from our Arab-speaking flock, as well as pilgrims from Greece and Russia, in the presence of the Consul-General to Jerusalem, Mr Georgios Zacharoudiakis, his esteemed wife, and Consulate personnel.
On the conclusion of Doxology, guests proceeded to the Patriarchates, where His Beatitude was addressed, on behalf of the Holy and Sacred Synod, by the Elder Secretary-General, Archbishop Aristarchos of Constantina.
Archbishop Aristarchos was followed by the Consul-General of Greece to Jerusalem, His Excellency Mr Georgios Zacharoudiakis.
On behalf of Patriarch Kirill of the Russian Church and the Russian Spiritual Mission (MISSIA) in Jerusalem, spoke the Very Reverend Archimandrite Theophanes.  Presbyter Daniel spoke on behalf of Patriarch Daniel of the Romanian Church, whereas the Most Reverend Kyriakos, Metropolitan of Nazareth, spoke on behalf of the flock in Nazareth. On behalf of the flock in Joppa spoke His Eminence Damascene, Archbishop of Joppa. On behalf of the flock in Northern Jordan spoke His Eminence Philoumenos, Archbishop of Pella. Archimandrite Philotheos spoke on behalf of the flock in Accra-Ptolemais. Addresses were also delivered by: the vicar of the Cathedral of St James the Brother of God, f. Issa Touma; the Principal of the Patriarchal School of Sion, monk Nikolaos; professors Haled and Komodiki on behalf of the Patriarchal School of St Demetrius and its Principal; and Mrs Im Omar on behalf of the Jordan Prime Minister.
His Beatitude delivered a reply speech in Greek, before guests were hosted to a reception at the Patriarchate.
From the Secretariat-General

Greek Sculpture

Illustration


The bronze Boxer of Quirinal, also known as the Terme Boxer, is a Hellenistic Greek sculpture dated around 330 B.C. of a sitting boxer with Caestus, a type of leather hand-wrap, in the collection of the National Museum of Rome. It is one of the two unrelated bronzes (the other being the unidentified Hellenistic Ruler) discovered on the slopes of the Quirinal within a month of each other in 1885, possibly from the remains of the Baths of Constantine. It appears that both had been carefully buried in antiquity. The statue is a masterpiece of Hellenistic athletic professionalism, with a top-heavy over-muscled torso and scarred face, cauliflower ears, broken nose, and a mouth suggesting broken teeth. R.R.R. Smith believes that the statue does not show a true portrait: this is genre realism, individuality removed in favour of a generic character of "boxer."

Definition

The Diskobolos (Discus Thrower) (Mary Harrsch (Photographed at the Portland Art Museum))
Greek sculpture from 800 to 300 BCE took early inspiration from Egyptian and Near Eastern monumental art, and over centuries evolved into a uniquely Greek vision of the art form. Greek artists would reach a peak of artistic excellence which captured the human form in a way never before seen and which was much copied. Greek sculptors were particularly concerned with proportion, poise, and the idealised perfection of the human body, and their figures in stone and bronze have become some of the most recognisable pieces of art ever produced by any civilization.

INFLUENCES & EVOLUTION

From the 8th century BCE, Archaic Greece saw a rise in the production of small solid figures in clay, ivory, and bronze. No doubt, wood too was a commonly used medium but its susceptibility to erosion has meant few examples have survived. Bronze figures, human heads and, in particular, griffins were used as attachments to bronze vessels such as cauldrons. In style, the human figures resemble those in contemporary Geometricpottery designs, having elongated limbs and a triangular torso. Animal figures were also produced in large numbers, especially the horse, and many have been found across Greece at sanctuary sites such as Olympia and Delphi, indicating their common function as votive offerings.
The oldest Greek stone sculptures (of limestone) date from the mid-7th century BCE and were found at Thera. In this period, bronze free-standing figures with their own base became more common, and more ambitious subjects were attempted such as warriors, charioteers, and musicians. Marble sculpture appears from the early 6th century BCE and the first monumental, life-size statues began to be produced. These had a commemorative function, either offered at sanctuaries in symbolic service to the gods or used as grave markers.
Kouroi of Argos

The earliest large stone figures (kouroi - nude male youths and kore - clothed female figures) were rigid as in Egyptian monumental statues with the arms held straight at the sides, the feet are almost together and the eyes stare blankly ahead without any particular facial expression. These rather static figures slowly evolved though and with ever greater details added to hair and muscles, the figures began to come to life. Slowly, arms become slightly bent giving them muscular tension and one leg (usually the right) is placed slightly more forward, giving a sense of dynamic movement to the statue. Excellent examples of this style of figure are the kouroi of Argos, dedicated at Delphi (c. 580 BCE). Around 480 BCE, the last kouroi become ever more life-like, the weight is carried on the left leg, the right hip is lower, the buttocks and shoulders more relaxed, the head is not quite so rigid, and there is a hint of a smile. Female korefollowed a similar evolution, particularly in the sculpting of their clothes which were rendered in an ever-more realistic and complex way. A more natural proportion of the figure was also established where the head became 1:7 with the body, irrespective of the actual size of the statue. By 500 BCE Greek sculptors were finally breaking away from the rigid rules of Archaic conceptual art and beginning to re-produce what they actually observed in real life.
GREEK SCULPTORS WOULD STRIVE TO GLORIFY THE HUMAN BODY IN MARBLE AND BRONZE.
In the Classical period, Greek sculptors would break off the shackles of convention and achieve what no-one else had ever before attempted. They created life-size and life-like sculpture which glorified the human and especially nude male form. Even more was achieved than this though. Marble turned out to be a wonderful medium for rendering what all sculptors strive for: that is to make the piece seem carved from the inside rather than chiselled from the outside. Figures become sensuous and appear frozen in action; it seems that only a second ago they were actually alive. Faces are given more expression and whole figures strike a particular mood. Clothes too become more subtle in their rendering and cling to the contours of the body in what has been described as ‘wind-blown’ or the ‘wet-look’. Quite simply, the sculptures no longer seemed to be sculptures but were figures instilled with life and verve.

MATERIALS & METHODS

To see how such realism was achieved we must return again to the beginning and examine more closely the materials and tools at the disposal of the artist and the techniques employed to transform raw materials into art.
Early Greek sculpture was most often in bronze and porous limestone, but whilst bronze seems never to have gone out of fashion, the stone of choice would become marble. The best was from Naxos - close-grained and sparkling, Parian (from Paros) - with a rougher grain and more translucent, and Pentelic (near Athens) - more opaque and which turned a soft honey colour with age (due to its iron content). However, stone was chosen for its workability rather than its decoration as the majority of Greek sculpture was not polished but painted, often rather garishly for modern tastes.
Gigantomachy of Delphi

Marble was quarried using bow drills and wooden wedges soaked in water to break away workable blocks. Generally, larger figures were not produced from a single piece of marble, but important additions such as arms were sculpted separately and fixed to the main body with dowels. Using iron tools, the sculptor would work the block from all directions (perhaps with an eye on a small-scale model to guide proportions), first using a pointed tool to remove more substantial pieces of marble. Next, a combination of a five-claw chisel, flat chisels of various sizes, and small hand drills were used to sculpt the fine details. The surface of the stone was then finished off with an abrasive powder (usually emery from Naxos) but rarely polished. The statue was then attached to a plinth using a lead fixture or sometimes placed on a single column (e.g. the Naxiansphinx at Delphi, c. 560 BCE). The finishing touches to statues were added using paint. Skin, hair, eyebrows, lips, and patterns on clothing were added in bright colours. Eyes were often inlaid using bone, crystal, or glass. Finally, additions in bronze might be added such as spears, swords, helmets, jewellery, and diadems, and some statues even had a small bronze disc (meniskoi) suspended over the head to prevent birds from defacing the figure.     
The other favoured material in Greek sculpture was bronze. Unfortunately, this material was always in demand for re-use in later periods, whereas broken marble is not much use to anyone, and so marble sculpture has better survived for posterity. Consequently, the quantity of surviving examples of bronze sculpture (no more than twelve) is not perhaps indicative of the fact that more bronze sculpture may well have been produced than in marble and the quality of the few surviving bronzes demonstrates the excellence we have lost. Very often at archaeological sites we may see rows of bare stone plinths, silent witnesses to art’s loss.
Youth from Antikythera

The early solid bronze sculptures made way for larger pieces with a non-bronze core which was sometimes removed to leave a hollow figure. The most common production of bronze statues used the lost-wax technique. This involved making a core almost the size of the desired figure (or body part if not creating a whole figure) which was then coated in wax and the details sculpted. The whole was then covered in clay fixed to the core at certain points using rods. The wax was then melted out and molten bronze poured into the space once occupied by the wax. When set, the clay was removed and the surface finished off by scraping, fine engraving and polishing. Sometimes copper or silver additions were used for lips, nipples and teeth. Eyes were inlaid as in marble sculpture.

SCULPTORS

Many statues are signed so that we know the names of the most successful artists who became famous in their own lifetimes. Naming a few, we may start with the most famous of all, Phidias, the artist who created the gigantic chryselephantine statues of Athena(c. 438 BCE) and Zeus (c. 456 BCE) which resided, respectively, in the Parthenon of Athens and the Temple of Zeus at Olympia. The latter sculpture was considered one of the seven wonders of the ancient world. Polykleitos, who besides creating great sculpture such as the Doryphoros (Spearbearer), also wrote a treatise, the Kanon, on techniques of sculpture where he emphasised the importance of correct proportion. Other important sculptors were Kresilas, who made the much copied portrait ofPericles (c. 425 BCE), Praxiteles, whose Aphrodite (c. 340 BCE) was the first full female nude, and Kallimachos, who is credited with creating the Corinthian capital and whose distinctive dancing figures were much copied in Roman times.
Sculptors often found permanent employment in the great sanctuary sites andarchaeology has revealed the workshop of Phidias at Olympia. Various broken clay moulds were found in the workshop and also the master’s own personal clay mug, inscribed ‘I belong to Phidias’. Another feature of sanctuary sites was the cleaners and polishers who maintained the shiny reddish-brass colour of bronze figures as the Greeks did not appreciate the dark-green patina which occurs from weathering (and which surviving statues have gained).
Dying Niobid

THE MASTERPIECES

Greek sculpture is, however, not limited to standing figures. Portrait busts, relief panels, grave monuments, and objects in stone such as perirrhanteria (basins supported by three or four standing female figures) also tested the skills of the Greek sculptor. Another important branch of the art form was architectural sculpture, prevalent from the late 6th century BCE on the pediments, friezes, and metopes of temples and treasury buildings. However, it is in figure sculpture that one may find some of the great masterpieces of Classical antiquity, and testimony to their class and popularity is that copies were very often made, particularly in the Roman period. Indeed, it is fortunate that the Romans loved Greek sculpture and copied it so widely because it is often these copies which survive rather than the Greek originals. The copies, however, present their own problems as they obviously lack the original master’s touch, may swap medium from bronze to marble, and even mix body parts, particularly heads.
Although words will rarely ever do justice to the visual arts, we may list here a few examples of some of the most celebrated pieces of Greek sculpture. In bronze, three pieces stand out, all saved from the sea (a better custodian of fine bronzes than people have been): the Zeus or Poseidon of Artemesium and the two warriors of Riace (all three: 460-450 BCE). The former could be Zeus (the posture is more common for that deity) or Poseidon and is a transitional piece between Archaic and Classical art as the figure is extremely life-like, but in fact the proportions are not exact (e.g. the limbs are extended). However, as Boardman eloquently describes, ‘(it) manages to be both vigorously threatening and static in its perfect balance’; the onlooker is left in no doubt at all that this is a great god. The Riace warriors are also magnificent with the added detail of finely sculpted hair and beards. More Classical in style, they are perfectly proportioned and their poise is rendered in such a way as to suggest that they may well step off of the plinth at any moment.   
Zeus

In marble, two standout pieces are the Diskobolos or discus thrower attributed to Myron (c. 450 BCE) and the Nike of Paionios at Olympia (c. 420 BCE). The discus thrower is one of the most copied statues from antiquity and it suggests powerful muscular motion caught for a split second, as in a photo. The piece is also interesting because it is carved in such a way (in a single plain) as to be seen from one viewpoint (like a relief carving with its background removed). The Nike is an excellent example of the ‘wet-look’ where the light material of the clothing is pressed against the contours of the body, and the figure seems semi-suspended in the air and only just to have landed her toes on the plinth. 

CONCLUSION

Greek sculpture then, broke free from the artistic conventions which had held sway for centuries across many civilizations, and instead of reproducing figures according to a prescribed formula, they were free to pursue the idealised form of the human body. Hard, lifeless material was somehow magically transformed into such intangible qualities as poise, mood, and grace to create some of the great masterpieces of world art and inspire and influence the artists who were to follow in Hellenistic and Roman times who would go on to produce more masterpieces such as the Venus de Milo. Further, the perfection in proportions of the human body achieved by Greek sculptors continues to inspire artists even today. The great Greek works are even consulted by 3D artists to create accurate virtual images and by sporting governing bodies who have compared athletes bodies with Greek sculpture to check abnormal muscle development achieved through the use of banned substances such as steroids.