A workshop style for the bronze nuragica.
Marcello Cabriolu
After discussing the event re-appropriation by the Cultural Heritage Unit, a bronze sculpture Sardinian kept in a museum in the States, it seemed appropriate to deal with new topic. Passing over
pitiful question about it obviously works related to the historical context of Sardinia, and circulating the Web for auction, a subject on which the bodies seem to show weakness, I mean once again handles the specification of a typical Sardinian bronze. This work is described on the Web as belonging to Wladimir Rosenbaum (1894-1984), who lived in Ascona, Switzerland and bought by the RG collection, Calodyne, Mauritius, in 1977-85. The piece sold as
n.173 symbol GR0805 sold for a sum is not well specified in a figurative bronze statue of an archer of 11.5 cm. The warrior played for equipment and uniform, it is framed in heavy type of warriors, soldiers, that is, with restricted movement caused by armor (Cabriolu 2009 - Bronzetti: allocation difficult Lacanas No. 41 V/2009 Ed Domusdejanaseditore p.36 a) a deadly offensive potential due to arms supplied. The soldier standing, analyzed stylistically, seems to belong to the group figured on the production di Teti, raggruppamento già conosciuto e descritto sin dagli anni ’60 dal Prof. Giovanni Lilliu. Le caratteristiche principali che identificano tale “corrente stilistica” sono individuabili nel viso di forma semiconica dove un copricapo fornito di un vistoso paranaso interviene a formare il tipico schema a T rinvenuto in pezzi provenienti da diverse località quali ad esempio Urzulei oppure Alà dei Sardi.
La riproduzione degli occhi riflette con precisione le caratteristiche del gruppo d’appartenenza mostrando una forma circolare netta e precisa. La riproduzione presenta una rigidità consueta per le figure sarde dove appunto si può notare una testa alta con una figura quasi arcuata spavaldamente backwards, schematic esternante pride and impassive typical of the various figures of military command or reproduced in bronze in Sardinia. The individual shows clear-cut and splayed legs ending in bare feet, a sign of respect led to the Deity, while the upper limbs are positioned in the classic posture of the soldier to rest with his right arm almost 45 ° while the left holds the long period.
The headgear of the warrior has ogival shape topped by a double row of studs and marked prior to a decorative "plume" and after the inevitable has fringed bands, to assemble the heavy helmet to the neck of the soldier, which mark the back of the head with a deep parting to "fish bone".
The bust of the soldier is covered by a corsair sleeved ribbed finish on the space where the front plate is assembled as unicuum points to a quiver, placed after the figure, combined with triple bands of tissue. The abdomen of the figure is covered by the end of the corsair from which depart the upper leg protected by "stringer" then as you descend toward the feet marked by greaves and leggings studded ankles.
It must be acknowledged that even this piece, a concentration of particular deliberately represented by the artist eleven inches, is a masterpiece of metallurgy. Now the number of statuettes than half a thousand pieces, and as announced previously this quantity allows comparisons, comparisons and reflections.
Almost style to accompany this figure, discussed above, I propose that the comparison with the piece in bronze, depicting a horned archer, barely redeemed by the core TPC and tempered at the Cleveland Museum of Art - USA. The horned archer, perhaps a bit 'in a hurry, was placed in the Archaeological Museum of S. Antioco and is still kept there without any sort of appreciation. The combination of the two pieces, even instantaneously tra le semplici immagini, genera un immagine straordinariamente speculare dove la precisa similitudine è interrotta unicamente dalla diversa tipologia di copricapo. Viso, arti, postura, armamento e uniforme: non un solo particolare differisce nel confronto frontale. L’eccezionalità della constatazione, almeno per chi scrive, rappresenta una grossa scoperta.
In un contesto - quello in cui vennero create le due opere - risalente all’Età del Bronzo e collocabile nel centro Sardegna verosimilmente agiva un fabbro, a cui vennero commissionate tutte e due le opere. Forte della tradizione metallurgica plurimillenaria, quel “frau”(fabbro) riuscì a creare le due opere ricalcando fedelmente the contemporary figures and imprinting their own style in the rendering of natural reproduction. That finding comes from the fact that the pieces were not mass-produced, probably because the matrix was destroyed to extract the works, but the artistic skill of the craftsman that is still preserved and remains uniquely can be considered as coming from a single studio .
Source: gianfrancopintore.blogspot.com
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