“The Riace warriors" consist of sculptures moulded from bronze illustrating components of observation similar to the Doryphoros by Polykleitos which are nudity, harmonious proportion, balance in pose and the attribute of being natural. By portraying the warriors in a contrapposto form, the Riace Warriors defy the conventions of symmetry. A feature distinctive of the Riace warriors and one that lacks in the Doryphoros is that they exhibit extra in the forms of a beard and a cap.
A close examination of the Doryphoros sculpture by Polykleitos reveals the characteristic element of a man in his nature. The nudist attribute and that of being humanistic are two primary observations that can be interpreted in this piece. The marble composition gives the part a monochromatic hue. The aspect of proportionality places the artwork at the confines of impasse and harmony. Moreover, it portrays chiasmus in the sense of a return to balance between opposite and equal forces cancelling each other out by contrapposto.
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The use of the canon formulae allows the sculpture to form the image of the man in his nature, and this is otherwise known as a beautiful man. The equations remain reusable among high Athenian sculptures of the classical period. The sculpture illustrates the utilization of mimesis at the point in which it becomes close to the physical manifestation of the world. The model attempts to encompass Adam in his natural form.
Viewers can create a connection between sculptures of the High Athenian Classical Period and the period of the making of Plato’s “Republic”.
According to Plato, everything that exists in the physical world must first manifest in the divine and insensible world. Both the Greeks and the Romans subscribe to this quote. Both cultures create a sculpture that embodies mimetic representations. These minimalistic representations conveyed the barest forms of simplicity. The incorporation of mimesis into the work allowed the artists to create pieces as close to the physical manifestations of the model of divine conception in the physical world as possible.
Both works of art were created during the classical period with beliefs in a culture that included rationalism, idealism, and humanism. The culture of Athens surpassed the classic nature of the Riace in the way it was more natural. In the creation of man in his natural form, the Athenian culture was more abstract. The Doryphoros defeats the Riace in terms of the artwork with the universal model in the way it lacks universal physical characteristics. Artworks must be void of comprehensive features to become the ideal masterpiece.
The inclusion of beards and caps disqualifies the Riace from being exclusive to Adam and from becoming completely universal pieces. The entire idea behind the sculptures was to make creative and ideal pieces. The classical period defines a particular moment of transition in ancient Greek art before the realization of the integration of the self was discovered in the form of the Doryphoros. Previous years experienced the severe style of Greek literature which established a fertile imagination of the austere nobility. This kind of art was set in robust forms of high organic cohesion that included the random naturalism of the late archaic period and turned it into a more restricted one (Briiliant, 1977).
The integration of classicism of the Athenian Republican makes room for the creation of a new form of art. Although this kind of artwork lacked harmony, it comprised of various types of classical style and imagery. The new work incorporated the impassive nature of the old work by the full integration of the human body in the performance of its representation and meaning as well as the discrepancy between them (Briiliant, 1977). Polykleitos was one of the earliest artists of the classical period, and he created the Doryphoros, which was also known as a spear-carrier.
Doryphoros' sensitive modelling represents a complete comprehension of the working of the human body. However, the precise representation of the muscles, veins, skeletons, and sinews constitutes subservience to full integration of the human body as well as implicit movement. This gave rise to a model that can be replicated several times over via the practice of canon. The representations of Polykleitos were more humanistic, harmoniously proportioned, impassive and natural. The decision to compose using red, blue and yellow colours can be categorized as a form of abstraction in the same way as the Doryphoros.
The composition by Mandarin is nonrepresentational, and it lacks narrative, organic pieces, geometry, figuration, and depth. It envelopes the basic blocks of building colours by the fact that it has been created using generic colours which are otherwise known as primary colours. The artist creates a new form of the building using a generic model. All the above elements show the similitudes between the Doryphoros and the composition by Mandarin. They are both created generically and abstract calls.
