Question: What does counter-relief imply?

Answer: where the form is cut into the field or background rather than rising from it

The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. <hl> The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it ; this is very rare in monumental sculpture. <hl> Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".

The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, <hl> where the form is cut into the field or background rather than rising from it <hl>; this is very rare in monumental sculpture. Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".

The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, <hl> where the form is cut into the field or background rather than rising from it <hl> ; this is very rare in monumental sculpture.


Question: What are works in the technique refered to?

The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions.  The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture. Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".

Answer: Works in the technique are described as "in relief

The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture. Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". <hl> Works in the technique are described as "in relief ", and, especially in monumental sculpture, the work itself is "a relief". <hl>

The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture. Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". <hl> Works in the technique are described as "in relief <hl>", and, especially in monumental sculpture, the work itself is "a relief".

<hl> Works in the technique are described as "in relief <hl> ", and, especially in monumental sculpture, the work itself is "a relief".


Question: Should we use hyphens for these vocabularies?

Answer: Hyphens may or may not be used in all these terms

The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture. <hl> Hyphens may or may not be used in all these terms , though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". <hl> Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".

The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture. <hl> Hyphens may or may not be used in all these terms <hl>, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".

<hl> Hyphens may or may not be used in all these terms <hl> , though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief".


Question: What is an especially monumental sculpture called?

Answer: the work itself is "a relief".

The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture. Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". <hl> Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief". <hl>

The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture. Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, <hl> the work itself is "a relief". <hl>


Question: Where can we find reliefs around the world?

Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative.  Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round".  Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.

Answer: throughout the world on the walls of buildings and a variety of smaller settings,

<hl> Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. <hl> Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.

Reliefs are common <hl> throughout the world on the walls of buildings and a variety of smaller settings, <hl> and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.


Question: What are reliefs most suitably used for?

Answer: Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round

Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. <hl> Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round ". <hl> Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.

Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. <hl> Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round <hl>". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.

<hl> Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round <hl> ".


Question: What helped define the forms of the reliefs?

Answer: Most ancient architectural reliefs were originally painted, which helped to define forms in low relief.

Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". <hl> Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject. <hl>

Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". <hl> Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. <hl> The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.


Question: Can reliefs be diverse in their presentation?

Answer: reference assumed in this article to be usually figures, but sculpture in relief often depicts

Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. <hl> The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject. <hl>

Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient <hl> reference assumed in this article to be usually figures, but sculpture in relief often depicts <hl> decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.


Question: Are reliefs included in Islam?

Answer: in the arabesques of Islamic art,

Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. <hl> The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject. <hl>

Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as <hl> in the arabesques of Islamic art, <hl> and may be of any subject.


Question: Is it objectively possible to differentiate high and low reliefs?

The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery).  As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery).

Answer: The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work

<hl> The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work . <hl> In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery).

<hl> The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work <hl>. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery).

<hl> The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work <hl> .


Question: Many figures keep heads in what type of relief?

Answer: many single figures have heads in high relief

The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. <hl> From the Parthenon Frieze onwards, many single figures have heads in high relief , but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). <hl> As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery).

The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, <hl> many single figures have heads in high relief <hl>, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery).

From the Parthenon Frieze onwards, <hl> many single figures have heads in high relief <hl> , but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery).


Question: What reliefs were normally "blocked out"?

Answer: raised reliefs, whether high or low, were normally "blocked out"

The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). <hl> As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery). <hl>

The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, <hl> raised reliefs, whether high or low, were normally "blocked out" <hl> by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery).


Question: Where do high reliefs contain sections of low relief?

Answer: usually in the background

The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. <hl> In particular, most later "high reliefs" contain sections in low relief, usually in the background . <hl> From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery).

The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, <hl> usually in the background <hl>. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery).

In particular, most later "high reliefs" contain sections in low relief, <hl> usually in the background <hl> .


Question: What is a bas-relief?

A bas-relief ("low relief", French pronunciation: [baʁəljɛf], from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less.  It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition.  These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.

Answer: a projecting image with a shallow overall depth

<hl> A bas-relief ("low relief", French pronunciation: [baʁəljɛf], from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth , for example used on coins, on which all images are in low relief. <hl> In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.

A bas-relief ("low relief", French pronunciation: [baʁəljɛf], from the Italian basso rilievo) or low relief is <hl> a projecting image with a shallow overall depth <hl>, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.

A bas-relief ("low relief", French pronunciation: [baʁəljɛf], from the Italian basso rilievo) or low relief is <hl> a projecting image with a shallow overall depth <hl> , for example used on coins, on which all images are in low relief.


Question: A bas-relief is also known as what?

Answer: low relief

<hl> A bas-relief (" low relief ", French pronunciation: [baʁəljɛf], from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. <hl> In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.

A bas-relief ("<hl> low relief <hl>", French pronunciation: [baʁəljɛf], from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.

A bas-relief (" <hl> low relief <hl> ", French pronunciation: [baʁəljɛf], from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief.


Question: Where was bas-relief commonly used?

Answer: In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America

A bas-relief ("low relief", French pronunciation: [baʁəljɛf], from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. <hl> In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America , a very low relief was commonly used for the whole composition. <hl> These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.

A bas-relief ("low relief", French pronunciation: [baʁəljɛf], from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. <hl> In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America <hl>, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.

<hl> In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America <hl> , a very low relief was commonly used for the whole composition.


Question: What occurs during low reliefs?

Answer: relative depth of the elements shown is completely distorted

A bas-relief ("low relief", French pronunciation: [baʁəljɛf], from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. <hl> In the lowest reliefs the relative depth of the elements shown is completely distorted , and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. <hl> Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.

A bas-relief ("low relief", French pronunciation: [baʁəljɛf], from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the <hl> relative depth of the elements shown is completely distorted <hl>, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.

In the lowest reliefs the <hl> relative depth of the elements shown is completely distorted <hl> , and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image.


Question: Where is the Ishtar Gate of Babylon located today?

The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster, which made the technique far easier, was widely used in Egypt and the Near East from antiquity into Islamic times (latterly for architectural decoration, as at the Alhambra), Rome, and Europe from at least the Renaissance, as well as probably elsewhere.  However, it needs very good conditions to survive long in unmaintained buildings – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius.  Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.

Answer: Berlin

<hl> The Ishtar Gate of Babylon, now in Berlin , has low reliefs of large animals formed from moulded bricks, glazed in colour. <hl> Plaster, which made the technique far easier, was widely used in Egypt and the Near East from antiquity into Islamic times (latterly for architectural decoration, as at the Alhambra), Rome, and Europe from at least the Renaissance, as well as probably elsewhere. However, it needs very good conditions to survive long in unmaintained buildings – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.

The Ishtar Gate of Babylon, now in <hl> Berlin <hl>, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster, which made the technique far easier, was widely used in Egypt and the Near East from antiquity into Islamic times (latterly for architectural decoration, as at the Alhambra), Rome, and Europe from at least the Renaissance, as well as probably elsewhere. However, it needs very good conditions to survive long in unmaintained buildings – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.

The Ishtar Gate of Babylon, now in <hl> Berlin <hl> , has low reliefs of large animals formed from moulded bricks, glazed in colour.


Question: What type of art was featured in Pompeii?

Answer: Roman decorative plasterwork

The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster, which made the technique far easier, was widely used in Egypt and the Near East from antiquity into Islamic times (latterly for architectural decoration, as at the Alhambra), Rome, and Europe from at least the Renaissance, as well as probably elsewhere. <hl> However, it needs very good conditions to survive long in unmaintained buildings – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. <hl> Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.

The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster, which made the technique far easier, was widely used in Egypt and the Near East from antiquity into Islamic times (latterly for architectural decoration, as at the Alhambra), Rome, and Europe from at least the Renaissance, as well as probably elsewhere. However, it needs very good conditions to survive long in unmaintained buildings – <hl> Roman decorative plasterwork <hl> is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.


Question: What kind of low reliefs does the Ishtar Gate of Babylon contain?

Answer: large animals formed from moulded bricks, glazed in colour

<hl> The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour . <hl> Plaster, which made the technique far easier, was widely used in Egypt and the Near East from antiquity into Islamic times (latterly for architectural decoration, as at the Alhambra), Rome, and Europe from at least the Renaissance, as well as probably elsewhere. However, it needs very good conditions to survive long in unmaintained buildings – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.

The Ishtar Gate of Babylon, now in Berlin, has low reliefs of <hl> large animals formed from moulded bricks, glazed in colour <hl>. Plaster, which made the technique far easier, was widely used in Egypt and the Near East from antiquity into Islamic times (latterly for architectural decoration, as at the Alhambra), Rome, and Europe from at least the Renaissance, as well as probably elsewhere. However, it needs very good conditions to survive long in unmaintained buildings – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.

The Ishtar Gate of Babylon, now in Berlin, has low reliefs of <hl> large animals formed from moulded bricks, glazed in colour <hl> .


Question: Did Western medieval art contain bas-reliefs?

Answer: relatively rare

The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster, which made the technique far easier, was widely used in Egypt and the Near East from antiquity into Islamic times (latterly for architectural decoration, as at the Alhambra), Rome, and Europe from at least the Renaissance, as well as probably elsewhere. However, it needs very good conditions to survive long in unmaintained buildings – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. <hl> Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces. <hl>

The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster, which made the technique far easier, was widely used in Egypt and the Near East from antiquity into Islamic times (latterly for architectural decoration, as at the Alhambra), Rome, and Europe from at least the Renaissance, as well as probably elsewhere. However, it needs very good conditions to survive long in unmaintained buildings – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was <hl> relatively rare <hl> in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.


Question: What style is low relief considered to be?

The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls.  Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.

Answer: classical style

<hl> The revival of low relief, which was seen as a classical style , begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. <hl> Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.

The revival of low relief, which was seen as a <hl> classical style <hl>, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.

The revival of low relief, which was seen as a <hl> classical style <hl> , begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls.


Question: When did the revival low relief occur?

Answer: Renaissance

<hl> The revival of low relief, which was seen as a classical style, begins early in the Renaissance ; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. <hl> Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.

The revival of low relief, which was seen as a classical style, begins early in the <hl> Renaissance <hl>; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.

The revival of low relief, which was seen as a classical style, begins early in the <hl> Renaissance <hl> ; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls.


Question: What is the Tempio Malatestiano in Rimini?

Answer: pioneering classicist building

<hl> The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building , designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. <hl> Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.

The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a <hl> pioneering classicist building <hl>, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.

The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a <hl> pioneering classicist building <hl> , designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls.


Question: Who designed the Tempio Malatestiano?

Answer: Leon Battista Alberti

<hl> The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. <hl> Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.

The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by <hl> Leon Battista Alberti <hl> around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.


Question: What material is commonly used to feature low relief?

In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.

Answer: any medium or technique of sculpture, stone carving and metal casting

In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. <hl> Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. <hl> Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.

In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use <hl> any medium or technique of sculpture, stone carving and metal casting <hl> being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.


Question: When did the revival of low reliefs occur in Western art?

Answer: 20th-century

<hl> In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. <hl> Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.

In later Western art, until a <hl> 20th-century <hl> revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.


Question: What type of relief are objects placed in the background?

Answer: low-relief

In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. <hl> Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief . <hl> Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.

In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in <hl> low-relief <hl>. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.

Thus figures in the foreground are sculpted in high-relief, those in the background in <hl> low-relief <hl> .


Question: What type of relief are objects placed in the foreground?

Answer: high-relief

In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. <hl> Thus figures in the foreground are sculpted in high-relief , those in the background in low-relief. <hl> Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.

In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in <hl> high-relief <hl>, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.

Thus figures in the foreground are sculpted in <hl> high-relief <hl> , those in the background in low-relief.


Question: What is mid-relief?

Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead.  The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field.  The depth of the elements shown is normally somewhat distorted.  Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.

Answer: only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field

Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. <hl> The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field . <hl> The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.

Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that <hl> only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field <hl>. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.

The typical traditional definition is that <hl> only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field <hl> .


Question: Mid-relief is also known as what?

Answer: half-relief

<hl> Mid-relief, " half-relief " or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. <hl> The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.

Mid-relief, "<hl> half-relief <hl>" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.

Mid-relief, " <hl> half-relief <hl> " or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead.


Question: What type of depth is showcased in mid-relief?

Answer: normally somewhat distorted

Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. <hl> The depth of the elements shown is normally somewhat distorted . <hl> Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.

Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is <hl> normally somewhat distorted <hl>. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.

The depth of the elements shown is <hl> normally somewhat distorted <hl> .


Question: What is shallow-relief used for?

Answer: background areas of compositions

Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. <hl> Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. <hl> It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.

Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the <hl> background areas of compositions <hl> with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.


Question: Which artist utilized shallow-relief?

Answer: Italian Renaissance sculptor Donatello

Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. <hl> Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello . <hl> It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.

Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the <hl> Italian Renaissance sculptor Donatello <hl>. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.

Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the <hl> Italian Renaissance sculptor Donatello <hl> .


Question: What is the most popular type of relief found in Hindu and Buddhist art?

Mid-relief is probably the most common type of relief found in the Hindu and Buddhist art art of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are rock reliefs. Most of these reliefs are used to narrate sacred scriptures, such as the 1,460 panels of the 9th-century Borobudur temple in Central Java, Indonesia, narrating the Jataka tales or lives of the Buddha. Other examples are low reliefs narrating the Ramayana Hindu epic in Prambanan temple, also in Java, in Cambodia, the temples of Angkor, with scenes including the Samudra manthan or "Churning the Ocean of Milk" at the 12th-century Angkor Wat, and reliefs of apsaras. At Bayon temple in Angkor Thom there are scenes of daily life in the Khmer Empire.

Answer: Mid-relief

<hl> Mid-relief is probably the most common type of relief found in the Hindu and Buddhist art art of India and Southeast Asia. <hl> The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are rock reliefs. Most of these reliefs are used to narrate sacred scriptures, such as the 1,460 panels of the 9th-century Borobudur temple in Central Java, Indonesia, narrating the Jataka tales or lives of the Buddha. Other examples are low reliefs narrating the Ramayana Hindu epic in Prambanan temple, also in Java, in Cambodia, the temples of Angkor, with scenes including the Samudra manthan or "Churning the Ocean of Milk" at the 12th-century Angkor Wat, and reliefs of apsaras. At Bayon temple in Angkor Thom there are scenes of daily life in the Khmer Empire.

<hl> Mid-relief <hl> is probably the most common type of relief found in the Hindu and Buddhist art art of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are rock reliefs. Most of these reliefs are used to narrate sacred scriptures, such as the 1,460 panels of the 9th-century Borobudur temple in Central Java, Indonesia, narrating the Jataka tales or lives of the Buddha. Other examples are low reliefs narrating the Ramayana Hindu epic in Prambanan temple, also in Java, in Cambodia, the temples of Angkor, with scenes including the Samudra manthan or "Churning the Ocean of Milk" at the 12th-century Angkor Wat, and reliefs of apsaras. At Bayon temple in Angkor Thom there are scenes of daily life in the Khmer Empire.


Question: What are the low reliefs in caves and India from BCE o the 10th century?

Answer: rock reliefs

Mid-relief is probably the most common type of relief found in the Hindu and Buddhist art art of India and Southeast Asia. <hl> The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are rock reliefs . <hl> Most of these reliefs are used to narrate sacred scriptures, such as the 1,460 panels of the 9th-century Borobudur temple in Central Java, Indonesia, narrating the Jataka tales or lives of the Buddha. Other examples are low reliefs narrating the Ramayana Hindu epic in Prambanan temple, also in Java, in Cambodia, the temples of Angkor, with scenes including the Samudra manthan or "Churning the Ocean of Milk" at the 12th-century Angkor Wat, and reliefs of apsaras. At Bayon temple in Angkor Thom there are scenes of daily life in the Khmer Empire.

Mid-relief is probably the most common type of relief found in the Hindu and Buddhist art art of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are <hl> rock reliefs <hl>. Most of these reliefs are used to narrate sacred scriptures, such as the 1,460 panels of the 9th-century Borobudur temple in Central Java, Indonesia, narrating the Jataka tales or lives of the Buddha. Other examples are low reliefs narrating the Ramayana Hindu epic in Prambanan temple, also in Java, in Cambodia, the temples of Angkor, with scenes including the Samudra manthan or "Churning the Ocean of Milk" at the 12th-century Angkor Wat, and reliefs of apsaras. At Bayon temple in Angkor Thom there are scenes of daily life in the Khmer Empire.

The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are <hl> rock reliefs <hl> .


Question: What are the reliefs used for?

Answer: narrate sacred scriptures

Mid-relief is probably the most common type of relief found in the Hindu and Buddhist art art of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are rock reliefs. <hl> Most of these reliefs are used to narrate sacred scriptures , such as the 1,460 panels of the 9th-century Borobudur temple in Central Java, Indonesia, narrating the Jataka tales or lives of the Buddha. <hl> Other examples are low reliefs narrating the Ramayana Hindu epic in Prambanan temple, also in Java, in Cambodia, the temples of Angkor, with scenes including the Samudra manthan or "Churning the Ocean of Milk" at the 12th-century Angkor Wat, and reliefs of apsaras. At Bayon temple in Angkor Thom there are scenes of daily life in the Khmer Empire.

Mid-relief is probably the most common type of relief found in the Hindu and Buddhist art art of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are rock reliefs. Most of these reliefs are used to <hl> narrate sacred scriptures <hl>, such as the 1,460 panels of the 9th-century Borobudur temple in Central Java, Indonesia, narrating the Jataka tales or lives of the Buddha. Other examples are low reliefs narrating the Ramayana Hindu epic in Prambanan temple, also in Java, in Cambodia, the temples of Angkor, with scenes including the Samudra manthan or "Churning the Ocean of Milk" at the 12th-century Angkor Wat, and reliefs of apsaras. At Bayon temple in Angkor Thom there are scenes of daily life in the Khmer Empire.

Most of these reliefs are used to <hl> narrate sacred scriptures <hl> , such as the 1,460 panels of the 9th-century Borobudur temple in Central Java, Indonesia, narrating the Jataka tales or lives of the Buddha.


Question: What is relief example in Central Java?

Answer: 1,460 panels of the 9th-century Borobudur temple

Mid-relief is probably the most common type of relief found in the Hindu and Buddhist art art of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are rock reliefs. <hl> Most of these reliefs are used to narrate sacred scriptures, such as the 1,460 panels of the 9th-century Borobudur temple in Central Java, Indonesia, narrating the Jataka tales or lives of the Buddha. <hl> Other examples are low reliefs narrating the Ramayana Hindu epic in Prambanan temple, also in Java, in Cambodia, the temples of Angkor, with scenes including the Samudra manthan or "Churning the Ocean of Milk" at the 12th-century Angkor Wat, and reliefs of apsaras. At Bayon temple in Angkor Thom there are scenes of daily life in the Khmer Empire.

Mid-relief is probably the most common type of relief found in the Hindu and Buddhist art art of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are rock reliefs. Most of these reliefs are used to narrate sacred scriptures, such as the <hl> 1,460 panels of the 9th-century Borobudur temple <hl> in Central Java, Indonesia, narrating the Jataka tales or lives of the Buddha. Other examples are low reliefs narrating the Ramayana Hindu epic in Prambanan temple, also in Java, in Cambodia, the temples of Angkor, with scenes including the Samudra manthan or "Churning the Ocean of Milk" at the 12th-century Angkor Wat, and reliefs of apsaras. At Bayon temple in Angkor Thom there are scenes of daily life in the Khmer Empire.


Question: What is at the Bayon temple?

Answer: scenes of daily life in the Khmer Empire

Mid-relief is probably the most common type of relief found in the Hindu and Buddhist art art of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are rock reliefs. Most of these reliefs are used to narrate sacred scriptures, such as the 1,460 panels of the 9th-century Borobudur temple in Central Java, Indonesia, narrating the Jataka tales or lives of the Buddha. Other examples are low reliefs narrating the Ramayana Hindu epic in Prambanan temple, also in Java, in Cambodia, the temples of Angkor, with scenes including the Samudra manthan or "Churning the Ocean of Milk" at the 12th-century Angkor Wat, and reliefs of apsaras. <hl> At Bayon temple in Angkor Thom there are scenes of daily life in the Khmer Empire . <hl>

Mid-relief is probably the most common type of relief found in the Hindu and Buddhist art art of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are rock reliefs. Most of these reliefs are used to narrate sacred scriptures, such as the 1,460 panels of the 9th-century Borobudur temple in Central Java, Indonesia, narrating the Jataka tales or lives of the Buddha. Other examples are low reliefs narrating the Ramayana Hindu epic in Prambanan temple, also in Java, in Cambodia, the temples of Angkor, with scenes including the Samudra manthan or "Churning the Ocean of Milk" at the 12th-century Angkor Wat, and reliefs of apsaras. At Bayon temple in Angkor Thom there are <hl> scenes of daily life in the Khmer Empire <hl>.

At Bayon temple in Angkor Thom there are <hl> scenes of daily life in the Khmer Empire <hl> .


Question: What is another word for high relief?

High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.

Answer: altorilievo

<hl> High relief (or altorilievo , from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. <hl> The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.

High relief (or <hl> altorilievo <hl>, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.

High relief (or <hl> altorilievo <hl> , from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field.


Question: What are examples of common undercut elements?

Answer: heads and limbs

<hl> High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs , are often completely undercut, detaching them from the field. <hl> The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.

High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially <hl> heads and limbs <hl>, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.

High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially <hl> heads and limbs <hl> , are often completely undercut, detaching them from the field.


Question: How are parts of the subject depicted?

Answer: at their full depth

High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. <hl> The parts of the subject that are seen are normally depicted at their full depth , unlike low relief where the elements seen are "squashed" flatter. <hl> High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.

High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted <hl> at their full depth <hl>, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.

The parts of the subject that are seen are normally depicted <hl> at their full depth <hl> , unlike low relief where the elements seen are "squashed" flatter.


Question: How is the element depiction in low relief subjects seen?

Answer: seen are "squashed" flatter

High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. <hl> The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter . <hl> High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.

High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements <hl> seen are "squashed" flatter <hl>. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.

The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements <hl> seen are "squashed" flatter <hl> .


Question: What style and techniques is high relief similar to?

Answer: free-standing sculpture

High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. <hl> High-relief thus uses essentially the same style and techniques as free-standing sculpture , and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. <hl> All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.

High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as <hl> free-standing sculpture <hl>, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.

High-relief thus uses essentially the same style and techniques as <hl> free-standing sculpture <hl> , and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have.


Question: What is a characteristic of many grad figure reliefs in Ancient Greek sculpture?

Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.

Answer: very "high" version of high-relief

<hl> Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief , with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. <hl> The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.

Most of the many grand figure reliefs in Ancient Greek sculpture used a <hl> very "high" version of high-relief <hl>, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.

Most of the many grand figure reliefs in Ancient Greek sculpture used a <hl> very "high" version of high-relief <hl> , with elements often fully free of the background, and parts of figures crossing over each other to indicate depth.


Question: How are elements positioned often in Ancient Greek sculpture?

Answer: fully free of the background, and parts of figures crossing over each other to indicate depth

<hl> Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth . <hl> The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.

Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often <hl> fully free of the background, and parts of figures crossing over each other to indicate depth <hl>. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.

Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often <hl> fully free of the background, and parts of figures crossing over each other to indicate depth <hl> .


Question: How does Parthenon show advantages of relief?

Answer: in terms of durability

Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. <hl> The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability . <hl> High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.

Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief <hl> in terms of durability <hl>. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.

The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief <hl> in terms of durability <hl> .


Question: Where did high relief also remain common?

Answer: Western sculpture, also being common in Indian temple sculpture

Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. <hl> High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture . <hl> Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.

Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in <hl> Western sculpture, also being common in Indian temple sculpture <hl>. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.

High relief has remained the dominant form for reliefs with figures in <hl> Western sculpture, also being common in Indian temple sculpture <hl> .


Question: What types of work use more low-relief sculpture?

Answer: private tombs, and smaller decorative areas such as friezes on large buildings

Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. <hl> Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings , more often used low relief. <hl>

Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as <hl> private tombs, and smaller decorative areas such as friezes on large buildings <hl>, more often used low relief.

Smaller Greek sculptures such as <hl> private tombs, and smaller decorative areas such as friezes on large buildings <hl> , more often used low relief.


Question: What are Hellenstic reliefs cut with?

Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece. Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.

Answer: a drill

<hl> Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). <hl> These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece. Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.

Hellenistic and Roman sarcophagus reliefs were cut with <hl> a drill <hl> rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece. Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.