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788:) 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
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963:. The image is made by cutting the relief sculpture itself into a flat surface to enhance the impression of three-dimensionality. In a simpler form, the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to the original surface. This method minimizes the work removing the background, while allowing normal relief modelling.
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95:), the field is actually lowered, leaving the unsculpted areas seeming higher. The approach requires a lot of chiselling away of the background, which takes a long time. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, particularly in stone. In other materials such as metal, clay, plaster
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Rome and later
Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.
463:("squashed relief"), is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs. It is often used for the background areas of compositions with the main elements in low-relief, but its use over a whole (usually rather small) piece was effectively invented and perfected by the Italian Renaissance sculptor
233:
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
1687:
470:
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
232:
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
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A 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
966:
The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient
803:
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
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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
285:
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, and reflect that the heads of figures are usually of more interest to both artist and viewer than the legs or feet. As unfinished
352:
and Asian cultures, a consistent very low relief was commonly used for the whole composition. These images would usually be painted after carving, which helped define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can
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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).
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The definition of these terms is somewhat variable, and many works combine areas in more than one of them, rarely sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is
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1485:
1209:
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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
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1607:
588:
1279:
1707:
1136:, in the United States. Originally they were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced
471:
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,
394:), 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 â Roman decorative plasterwork is mainly known from
114:
There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the
Italian and French terms are still sometimes used in English. The full range includes
1525:
259:
are those carved into solid rock in the open air (if inside caves, whether natural or human-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the
1331:
999:â where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in
2352:
885:
In the
Buddhist and Hindu art of India and Southeast Asia, high relief can also be found, although it is not as common as low to mid-reliefs. Famous examples of Indian high reliefs can be found at the
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1263:
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monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional
Egyptian conventions.
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1681:
In particular low reliefs were often used in the 20th century on the outsides of buildings, where they are relatively easy to incorporate into the architecture as decorative highlights.
1768:
1509:
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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
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and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to the final relief. In stone, as well as engraved gems, larger
386:, 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
1089:
reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example
1745:
939:
and daughters. The main background has not been removed, merely that in the immediate vicinity of the sculpted form. Note how strong shadows are needed to define the image.
175:). However, the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work.
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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
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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
1447:
2330:
87:, to raise (lit. to lift back). To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background
2239:
surprisingly found a niche, restricted to archaeological writing, in recent decades after it was used in under-translated French texts about prehistoric
871:, their reliefs were typically not as high as in Ancient Greece. Very high relief re-emerged in the Renaissance, and was especially used in wall-mounted
2570:
1614:
1343:
758:
2527:
824:
2478:
1980:
1063:("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image.
1056:, which may be set in furniture or framed, or just kept as they are, a popular form for European collectors, especially in the Renaissance.
3156:
2745:
2563:
604:
573:
919:, which was cut 42 feet deep into the mountain, and measures 90 feet in height, 190 feet in width, and lies 400 feet above the ground.
479:
being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in
297:
3318:
2508:
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may be much larger; this form of architectural decoration is found in many styles of interiors in the post-Renaissance West, and in
955:
the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for
690:
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
2357:
2026:
1869:
837:
1571:
819:
2211:
1052:; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or
309:
variations in depth register as a three-dimensional image. Other versions distort depth much less. The term comes from the
3371:
1984:, and many South Indian temples, Unakoti group of sculptures (bas-relief) at Kailashahar, Unakoti District, Tripura, India
2137:
228:
in London. Most of the heads and many feet are completely undercut, but the torsos are "engaged" with the surface behind.
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1971:
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These were often round mirror-cases, combs, handles, and other small items, but included a few larger caskets like the
214:
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1381:
856:
613:
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and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including
201:. Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "
356:
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2096:
1931:
876:
560:
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in semi-precious stones have been highly prestigious since ancient times in many
Eurasian cultures. Reliefs in
800:
438:
406:, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel
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and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the
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method in which the sculpted pieces remain attached to a solid background of the same material. The term
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1959:
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inside and on the external walls. Since the
Renaissance plaster has been very widely used for indoor
413:
The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the
341:
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208:
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tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.
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2273:, whose long article on "Relief sculpture" barely mentions or defines them, except for sunk relief.
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1531:
Robert Gould Shaw Memorial, 1897, Boston, combining free-standing elements with high and low relief
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207:" and "counter-relief". Works in the technique are described as "in relief", and, especially in
100:
333:), both meaning "low relief". The former is now a very old-fashioned term in English, and the
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859:(250â260 CE). These are also seen in the enormous strips of reliefs that wound around Roman
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487:, have adopted the "squashed" depth of low relief in works that are actually free-standing.
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163:), where the plane is only very slightly lower than the sculpted elements. There is also
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Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on
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996:
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507:; unfinished Greek and Persian high-reliefs show the same method of beginning a work.
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from antiquity into Islamic times (latterly for architectural decoration, as at the
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770:. Some front limbs are actually detached from the background completely, while the
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91:. When a relief is carved into a flat surface of stone (relief sculpture) or wood (
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828:
855:, enabling and encouraging compositions extremely crowded with figures, like the
64:, Italy, combining high-relief main figures with backgrounds mostly in low relief
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50:
2417:"A framework for digital sunken relief generation based on 3D geometric models"
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1996:
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520:
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131:), where more than 50% of the depth is shown and there may be undercut areas,
2440:
2321:"What Will Happen to Stone Mountain, America's Largest Confederate Memorial?"
441:, which were imitated more crudely elsewhere, for example in the Elizabethan
103:
the form can be simply added to or raised up from the background. Monumental
3114:
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temples, with voluptuous, twisting figures that often illustrate the erotic
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represent a large proportion of the survivals of portable secular art from
17:
2386:"The world's largest Confederate Monument faces renewed calls for removal"
1720:, 8 x 9.8 cm, inscribed "1914·VERTRIEBEN·1915" = "Refugees 1914â1915"
296:
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2007:
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Roman funerary relief with frame at original level, but not sunk relief
1321:, which might also be described as two stages of low relief. This is a
1289:. The temple has 1,460 panels of reliefs narrating Buddhist scriptures.
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108:
2499:(12th ed.). Belmont, California, US: Thomson Wadsworth. pp.
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3006:
3001:
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2843:
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2415:
Wang, Meili; Chang, Jian; Kerber, Jens; Zhang, Jian J. (2012-11-01).
1955:
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Small-scale reliefs have been carved in various materials, notably
666:
Mid-relief is probably the most common type of relief found in the
3077:
3062:
3027:
2976:
2920:
2848:
2622:
2495:
Gardner's Art Through the Ages: The Western Perspective â Volume 1
2243:, and copied even by English writers. Its use is to be deprecated.
2011:
1626:
1220:
1121:, secular objects, usually in a lower relief, were also produced.
1106:
1017:
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818:
806:
757:
739:
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536:
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40:
2459:
The Translatability of cultures: figurations of the space between
2457:, pp. 39â43 in Budick, Stanford & Iser, Wolfgang, eds.,
3180:
2996:
2981:
2971:
2941:
2910:
1992:
1318:
1186:
898:
372:
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1026:, 25 cm (9.8 in) high, with crowded scenes from the
682:. The low to mid-reliefs of 2nd-century BCE to 6th-century CE
540:
30:
This article is about the sculptural method. For emotion, see
1944:
Medieval Europe: Many cathedrals and other churches, such as
2723:
1543:
A relatively modern high relief (depicting shipbuilding) in
1269:
Low relief within a sunk outline, linear sunk relief in the
663:
depth of the elements shown is normally somewhat distorted.
1441:
Abbey moves between low and high relief in a single figure.
1250:
Sunk relief as low relief within a sunk outline, from the
908:, the guardians of deities of the directions, are found.
268:
is a single standing stone; many of these carry reliefs.
2353:"50 things you might not know about Stone Mountain Park"
2235:
was used in the 18th century and a little beyond, while
1117:
with densely packed religious scenes, usually from the
603:
or shallow relief of the "Assumption of the Virgin" on
2260:
remained common in English until the mid 20th century.
911:
The largest high relief sculpture in the world is the
252:, placed to be seen from below. Low relief background.
248:
A common mixture of high and low relief, in the Roman
2135:
1415:(on horseback) with Roman emperors submitting to him
730:
or "Churning the Ocean of Milk" at the 12th-century
582:
cutting the thread of life. Modern Greek low relief.
3091:
3020:
2934:
2903:
2857:
2761:
1223:, a very early survival works of narrative relief,
1101:the carving of ivory reliefs became a considerable
943:Sunk or sunken relief is largely restricted to the
2492:
1551:. Some elements jut out of the frame of the image.
1850:Notable examples of monumental reliefs include:
421:, a pioneering classicist building, designed by
1499:were hugely influential. Low-relief decorative
970:It is also used for carving letters (typically
710:. Other examples are low reliefs narrating the
2491:Kleiner, Fred S.; Mamiya, Christin J. (2006).
1126:Casket with Scenes of Romances (Walters 71264)
353:usually be discovered through chemical means.
2739:
2571:
1642:Many modern and contemporary artists such as
1040:, wood, and wax. Reliefs are often found in
779:
657:
458:
449:
313:
192:
184:
158:
146:
136:
120:
8:
1059:Various modelling techniques are used, such
947:where it is very common, becoming after the
402:. Low relief was relatively rare in Western
319:
202:
152:
126:
1799:, main portal with bronze door, 1958â1960,
1739:, 1933, Saint Mary parish church in GĂŒstrow
1635:, 2000, the entrance room of amphitheatre,
1137:
82:
2746:
2732:
2724:
2578:
2564:
2556:
2319:Boissoneault, Lorraine (August 22, 2017).
1479:/1510 by an unknown north Italian sculptor
851:reliefs were cut with a drill rather than
795:Most of the many grand figure reliefs in
2231:In modern English, just "high relief";
2199:
2142:
1864:Assyria: A famous collection is in the
1683:
1167:
499:"Blocked-out" unfinished low relief of
489:
825:Monument to the Independence of Brazil
746:there are scenes of daily life in the
281:onwards, many single figures in large
27:Sculptural technique of embossed depth
1617:. Many details are detached entirely.
1273:, and high relief (right), from Luxor
328:
7:
3157:Equestrian Statue of Marcus Aurelius
1109:and other centres. As well as small
535:the power of the bull (personifying
2544:Heilbrunn Timeline of Art History,
2252:Murray, Peter & Linda, Penguin
931:A sunk-relief depiction of Pharaoh
913:Stone Mountain Confederate Memorial
398:and other sites buried by ash from
2172:â English exterior plaster reliefs
774:'s left rear leg is in low relief.
25:
1495:(plaster) reliefs decorating the
425:around 1450, uses low reliefs by
211:, the work itself is "a relief".
167:, which was mainly restricted to
3341:
3340:
2358:The Atlanta Journal-Constitution
2256:, London, 1989. p. 348, Relief;
2145:
2027:Mount Rushmore National Memorial
1870:Black Obelisk of Shalmaneser III
1826:
1807:
1789:
1767:
1744:
1725:
1706:
1686:
1606:
1582:
1556:
1536:
1524:
1508:
1484:
1461:
1446:
1420:
1393:
1362:
1342:
1330:
1294:
1285:Low to mid-relief, 9th century,
1278:
1262:
1243:
1208:
1170:
1079:were produced at least from the
612:
587:
572:
548:
512:
492:
3183:, Easter Islands (1250â1500 CE)
2455:Visual Syncretism: A Case Study
2361:. July 10, 2018. Archived from
2254:Dictionary of Art & Artists
2214:from the original on 2012-05-31
1572:Toronto Metropolitan University
831:; derivative representation of
157:), and shallow-relief (Italian
3319:Genghis Khan Equestrian Statue
3232:Liberty Enlightening the World
2548:, Metropolitan Museum of Art,
1515:Baroque marble high-relief by
1254:in Egypt, carved in very hard
893:positions. In the 9th-century
619:French 20th-century low relief
1:
1473:
1224:
1198:
1067:has also been widely used in
656:Mid-relief, "half-relief" or
539:) and lion (personifying the
361:
241:, and may be of any subject.
3128:Winged Victory of Samothrace
2384:McKay, Rich (July 3, 2020).
2050:from much of the Near East,
726:, with scenes including the
2546:"American Relief Sculpture"
1881:, and rock-face reliefs at
857:Ludovisi Battle sarcophagus
448:Shallow-relief, in Italian
264:and Buddhist countries. A
3403:
2534:. Retrieved April 7, 2011.
2184:â a metalworking technique
1185:, believed to represent a
218:A face of the high-relief
29:
3336:
2708:
2593:
2463:Stanford University Press
2433:10.1007/s00371-011-0663-y
2097:Missorium of Theodosius I
2006:and other reliefs of the
1932:Column of Marcus Aurelius
1623:Reliefs by modern artists
1468:Side view of mid-relief:
766:from the Classical Greek
718:temple, also in Java, in
686:and 5th- to 10th-century
561:Lion Hunt of Ashurbanipal
203:
185:
2101:Lomellini Ewer and Basin
1801:St Lambertus, DĂŒsseldorf
1497:Chateau de Fontainebleau
1148:. Decorative reliefs in
823:Very high relief at the
801:metopes of the Parthenon
439:Chateau of Fontainebleau
292:Low relief or bas-relief
2804:Environmental sculpture
2769:Architectural sculpture
2042:Smaller-scale reliefs:
1940:Portonaccio sarcophagus
1901:Great Altar of Pergamon
1758:, 1959, Bronze, at the
1695:Woman with Mango Fruits
1236:National Museum of Iraq
1181:archaeological site of
869:Ancient Roman sculpture
811:High-relief deities at
797:Ancient Greek sculpture
531:Nowruz â at the spring
360:A low-relief dating to
346:Assyrian palace reliefs
81:is from the Latin verb
36:Relief (disambiguation)
2713:List of artistic media
2116:Panagyurishte Treasure
1699:Ny Carlsberg Glyptotek
1678:have created reliefs.
1639:
1138:
1033:
940:
882:and public monuments.
841:
816:
780:
775:
658:
653:
459:
450:
375:
367:, from the kingdom of
320:
314:
305:
253:
229:
224:round the base of the
193:
159:
153:
147:
137:
127:
121:
83:
65:
34:. For other uses, see
3211:Kamagaya Great Buddha
2935:Traditional materials
2904:Elements in sculpture
2282:Murray, 1989, op.cit.
2269:For example Avery in
2188:Dongyang wood carving
2178:â a different concept
2093:Berthouville Treasure
1981:Descent of the Ganges
1960:Lion Capital of Asoka
1697:, 1889, painted oak,
1652:Ernst Ludwig Kirchner
1630:
1615:Demetria and Pamphile
1179:Pre-Pottery Neolithic
1146:Ancient Roman pottery
1021:
930:
915:in the U.S. state of
838:Independence or Death
822:
810:
761:
632:
423:Leon Battista Alberti
359:
326:French pronunciation:
299:
247:
217:
44:
3372:Sculpture techniques
3296:The Motherland Calls
3145:(c. 200 BCE â 70 CE)
3142:Laocoön and His Sons
3131:(c. 2nd century BCE)
3099:Great Sphinx of Giza
2526:Avery, Charles, in "
2365:on November 11, 2020
2326:Smithsonian Magazine
2182:Repoussé and chasing
2165:Multidimensional art
1891:Ancient Greece: The
1854:Ancient Egypt: Most
1775:William Henry Hudson
1384:ritual performed by
1325:carved into a cliff.
1177:Low relief from the
1158:Islamic architecture
945:art of Ancient Egypt
790:monumental sculpture
350:ancient Near Eastern
342:art of Ancient Egypt
300:Low-relief on Roman
283:monumental sculpture
209:monumental sculpture
199:monumental sculpture
107:reliefs are made by
3288:Christ the Redeemer
3280:Shrine of Democracy
3234:, Statue of Liberty
2858:Styles of sculpture
2421:The Visual Computer
2210:. Merriam-Webster.
2190:â A Chinese example
2089:Mildenhall Treasure
2085:Gundestrup cauldron
2059:Harbaville Triptych
2037:Frieze of Parnassus
2031:UK: Base panels of
1836:, bronze relief by
1454:Harbaville Triptych
1032:, c. 1350â1365
901:, high reliefs of
556:Assyrian low relief
415:Tempio Malatestiano
221:Frieze of Parnassus
160:rilievo schiacciato
58:Florence Baptistery
3382:Types of sculpture
3264:Jules Verne's tomb
3163:Buddhas of Bamiyan
3121:Colossus of Rhodes
3105:Abu Simbel temples
3101:(c. 2558â2532 BCE)
3092:Notable sculptures
2762:Types of sculpture
2333:on August 22, 2017
2025:Memorial, Boston,
1946:Chartres Cathedral
1834:Boat in moving sea
1815:Table at the Cliff
1640:
1633:The Creation story
1564:Elizabeth Wyn Wood
1073:hardstone carvings
1034:
1003:or normal relief.
941:
842:
817:
792:and architecture.
776:
654:
600:rilievo stiacciato
460:rilievo schicciato
427:Agostino di Duccio
376:
330:[baÊÉljÉf]
306:
254:
230:
66:
3359:
3358:
3249:The Golden Virgin
3241:The Gates of Hell
3175:Konark Sun Temple
3171:(c. 1194â1250 CE)
3169:Chartes Cathedral
2819:Kinetic sculpture
2721:
2720:
2695:Site-specific art
2479:978-0-8047-2561-3
2427:(11): 1127â1137.
2309:Avery, ii and iii
2055:Consular diptychs
2023:Robert Gould Shaw
1987:South-East Asia:
1972:Khajuraho temples
1950:Bourges Cathedral
1893:Parthenon Marbles
1779:Hyde Park, London
1517:Francesco Grassia
1470:Madonna and Child
1456:, Byzantine ivory
1434:Christ in Majesty
1427:The 12th century
1091:consular diptychs
973:om mani padme hum
861:triumphal columns
835:'s 1888 painting
768:Parthenon Marbles
734:, and reliefs of
722:, the temples of
262:Ancient Near East
54:Gates of Paradise
16:(Redirected from
3394:
3344:
3343:
3304:Fallen Astronaut
3021:Modern materials
2885:Modern sculpture
2814:Installation art
2748:
2741:
2734:
2725:
2580:
2573:
2566:
2557:
2532:Grove Art Online
2528:Relief sculpture
2515:
2514:
2498:
2488:
2482:
2453:Barasch, Moshe,
2451:
2445:
2444:
2412:
2406:
2405:
2403:
2401:
2392:. Archived from
2381:
2375:
2374:
2372:
2370:
2349:
2343:
2342:
2340:
2338:
2329:. Archived from
2316:
2310:
2307:
2301:
2298:
2292:
2289:
2283:
2280:
2274:
2271:Grove Art Online
2267:
2261:
2250:
2244:
2229:
2223:
2222:
2220:
2219:
2204:
2150:
2149:
2141:
2057:, the Byzantine
1936:triumphal arches
1860:Temple of Karnak
1856:Egyptian temples
1830:
1811:
1793:
1771:
1748:
1729:
1710:
1690:
1631:Mohsen Semnani,
1610:
1586:
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1200:
1174:
1143:
1006:A few very late
982:Tibetan Buddhism
897:temple, Central
783:
778:High relief (or
706:or lives of the
702:, narrating the
661:
616:
591:
576:
564:, North Palace,
552:
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496:
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337:is becoming so.
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279:Parthenon Frieze
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47:Lorenzo Ghiberti
32:Relief (emotion)
21:
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3397:
3396:
3395:
3393:
3392:
3391:
3377:Sculpture terms
3362:
3361:
3360:
3355:
3332:
3326:Statue of Unity
3278:Mount Rushmore
3271:Abraham Lincoln
3224:Lion of Belfort
3217:Nelson's Column
3135:Terracotta Army
3087:
3016:
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2757:
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2717:
2704:
2635:Decorative arts
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2399:
2397:
2396:on July 3, 2020
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2176:Relief printing
2156:
2144:
2136:
2134:
2108:Berlin Gold Hat
2074:Cloisters Cross
2033:Nelson's Column
2017:United States:
1964:Elephanta Caves
1962:, the rock-cut
1928:Trajan's Column
1905:Ludovisi Throne
1848:
1846:Notable reliefs
1841:
1831:
1822:
1812:
1803:
1794:
1785:
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1749:
1740:
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1691:
1672:Claudia Cobizev
1625:
1618:
1613:High relief of
1611:
1602:
1589:Colossal Hindu
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1380:. It depicts a
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1213:
1204:
1202: 9,000 BC
1201:
1175:
1166:
1140:terra sigillata
1042:decorative arts
1016:
990:
925:
756:
728:Samudra manthan
649:, the Abode of
627:
620:
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608:
592:
583:
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568:
553:
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519:Persian low or
517:
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318:via the French
294:
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226:Albert Memorial
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3312:Mother Ukraine
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2916:Negative space
2913:
2907:
2905:
2901:
2900:
2898:
2897:
2892:
2887:
2882:
2880:Jain sculpture
2877:
2872:
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2861:
2859:
2855:
2854:
2852:
2851:
2846:
2841:
2839:Soft sculpture
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2539:External links
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2112:Bimaran casket
2104:
2077:
2048:Nimrud ivories
2040:
2039:
2029:
2019:Stone Mountain
2015:
2000:
1985:
1958:, base of the
1952:
1942:
1922:Ancient Rome:
1920:
1907:
1889:
1883:Naqsh-e Rustam
1875:Ancient Persia
1872:
1866:British Museum
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1693:Paul Gauguin,
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1407:; the Persian
1405:Naqsh-e Rustam
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1315:Tangeh Savashi
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1095:Late Antiquity
1029:Life of Christ
1022:French Gothic
1015:
1012:
989:
988:Counter-relief
986:
935:with his wife
924:
921:
755:
752:
714:Hindu epic in
680:Southeast Asia
645:shaking Mount
626:
623:
622:
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527:â a symbol of
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400:Mount Vesuvius
365: 2000 BC
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181:counter-relief
99:, ceramics or
93:relief carving
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3150:Venus de Milo
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3137:(246â210 BCE)
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3111:Elgin Marbles
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2070:Franks Casket
2068:
2064:
2063:Veroli Casket
2060:
2056:
2053:
2049:
2045:
2044:
2043:
2038:
2034:
2030:
2028:
2024:
2020:
2016:
2014:civilizations
2013:
2009:
2005:
2001:
1998:
1994:
1990:
1986:
1983:
1982:
1977:
1976:Mahabalipuram
1973:
1969:
1965:
1961:
1957:
1953:
1951:
1947:
1943:
1941:
1937:
1933:
1929:
1925:
1921:
1919:
1915:
1911:
1908:
1906:
1902:
1898:
1897:Bassae Frieze
1894:
1890:
1888:
1887:Naqsh-e Rajab
1884:
1880:
1876:
1873:
1871:
1867:
1863:
1861:
1857:
1853:
1852:
1851:
1845:
1839:
1835:
1829:
1824:
1820:
1816:
1810:
1805:
1802:
1798:
1792:
1787:
1784:
1783:Jacob Epstein
1780:
1776:
1770:
1765:
1761:
1760:Israel Museum
1757:
1753:
1747:
1742:
1738:
1737:Angel of Hope
1734:
1733:Ernst Barlach
1728:
1723:
1719:
1715:
1709:
1704:
1700:
1696:
1689:
1684:
1682:
1679:
1677:
1673:
1669:
1665:
1664:Jacob Epstein
1661:
1657:
1656:Pablo Picasso
1653:
1649:
1648:Ernst Barlach
1645:
1638:
1634:
1629:
1622:
1616:
1609:
1604:
1600:
1596:
1592:
1585:
1580:
1577:
1573:
1569:
1565:
1559:
1554:
1550:
1546:
1539:
1534:
1527:
1522:
1518:
1511:
1506:
1502:
1498:
1494:
1487:
1482:
1471:
1464:
1459:
1455:
1449:
1444:
1440:
1436:
1435:
1430:
1423:
1418:
1414:
1413:Shapur I
1410:
1406:
1402:
1396:
1391:
1387:
1383:
1379:
1375:
1371:
1365:
1360:
1356:
1352:
1345:
1340:
1333:
1328:
1324:
1320:
1316:
1312:
1308:
1307:mezzo-rilievo
1304:
1297:
1292:
1288:
1281:
1276:
1272:
1265:
1260:
1257:
1253:
1246:
1241:
1237:
1233:
1222:
1218:
1211:
1206:
1196:
1192:
1188:
1184:
1180:
1173:
1168:
1163:
1161:
1159:
1155:
1151:
1147:
1142:
1141:
1135:
1131:
1127:
1122:
1120:
1119:New Testament
1116:
1112:
1108:
1104:
1100:
1099:Gothic period
1096:
1092:
1088:
1084:
1082:
1078:
1074:
1070:
1066:
1062:
1057:
1055:
1051:
1047:
1043:
1039:
1031:
1030:
1025:
1020:
1014:Small objects
1013:
1011:
1009:
1004:
1002:
998:
995:
987:
985:
983:
979:
975:
974:
968:
964:
962:
958:
954:
950:
949:Amarna period
946:
938:
934:
929:
922:
920:
918:
914:
909:
907:
904:
900:
896:
892:
888:
883:
881:
878:
875:and later on
874:
870:
866:
862:
858:
854:
850:
846:
840:
839:
834:
833:Pedro Américo
830:
826:
821:
814:
809:
805:
802:
798:
793:
791:
787:
782:
773:
769:
765:
760:
753:
751:
749:
745:
741:
737:
733:
729:
725:
721:
717:
713:
709:
705:
701:
697:
693:
689:
685:
681:
677:
673:
669:
664:
660:
659:mezzo-rilievo
652:
648:
644:
640:
636:
631:
624:
615:
610:
606:
602:
601:
596:
590:
585:
581:
575:
570:
567:
563:
562:
557:
551:
546:
542:
538:
534:
530:
526:
522:
515:
510:
506:
502:
495:
490:
488:
486:
482:
478:
477:metal casting
474:
473:stone carving
468:
466:
461:
455:
454:
446:
444:
443:Hardwick Hall
440:
436:
433:work such as
432:
428:
424:
420:
416:
411:
409:
405:
401:
397:
393:
389:
385:
381:
374:
370:
358:
354:
351:
347:
343:
338:
331:
322:
316:
315:basso rilievo
312:
304:, 238 AD
303:
298:
291:
289:
287:
284:
280:
271:
269:
267:
263:
258:
251:
246:
242:
240:
236:
227:
223:
222:
216:
212:
210:
200:
195:
188:
182:
176:
174:
170:
169:Ancient Egypt
166:
161:
155:
149:
148:basso-rilievo
144:
139:
138:mezzo-rilievo
134:
129:
123:
118:
112:
110:
106:
102:
98:
94:
90:
85:
80:
79:
74:
70:
63:
59:
55:
52:
48:
45:Side view of
43:
37:
33:
19:
3324:
3310:
3302:
3294:
3286:
3279:
3269:
3255:
3247:
3239:
3231:
3222:
3202:
3194:
3186:
3165:(507â554 CE)
3148:
3140:
3126:
3123:(c. 292 BCE)
3083:Found object
2889:
2875:Detonography
2618:Computer art
2598:Architecture
2494:
2486:
2458:
2454:
2449:
2424:
2420:
2410:
2398:. Retrieved
2394:the original
2379:
2367:. Retrieved
2363:the original
2356:
2347:
2335:. Retrieved
2331:the original
2324:
2314:
2305:
2296:
2287:
2278:
2265:
2257:
2253:
2248:
2236:
2233:alto-rilievo
2232:
2227:
2216:. Retrieved
2202:
2126:Lycurgus Cup
2052:Late Antique
2041:
2004:Mayan stelae
1999:in Cambodia,
1979:
1968:Ellora Caves
1849:
1833:
1821:, Sylt, 2019
1814:
1797:Ewald Matare
1756:Relief No. 1
1755:
1736:
1716:, cast iron
1701:, Kopenhagen
1694:
1680:
1676:Ewald Matare
1644:Paul Gauguin
1641:
1632:
1591:rock reliefs
1519:, 1670, Rome
1472:, marble of
1469:
1432:
1382:bloodletting
1309:) from the
1306:
1305:mid-relief (
1252:Luxor Temple
1183:Göbekli Tepe
1123:
1105:industry in
1087:Carved ivory
1085:
1058:
1035:
1027:
1005:
994:engraved gem
991:
971:
969:
965:
942:
910:
884:
877:Neoclassical
873:funerary art
843:
836:
794:
777:
762:High relief
748:Khmer Empire
704:Jataka tales
696:Central Java
688:Ellora Caves
684:Ajanta Caves
672:Buddhist art
665:
655:
635:Banteay Srei
633:Low relief,
598:
559:
543:) are equal.
469:
447:
412:
404:medieval art
377:
348:, and other
339:
307:
288:
275:
257:Rock reliefs
255:
231:
219:
194:cavo-rilievo
180:
177:
172:
164:
142:
132:
122:alto-rilievo
116:
113:
101:papier-mùché
76:
68:
67:
53:
3291:(1927â1931)
3283:(1927â1941)
3257:The Thinker
3244:(1890â1917)
3199:(1501â1504)
3191:(1498â1499)
2895:Renaissance
2675:Printmaking
2670:Photography
2650:Digital art
2587:Visual arts
2237:haut-relief
2160:Rock relief
2067:Anglo-Saxon
1914:Ishtar Gate
1910:Mesopotamia
1858:, e.g. the
1762:, Jerusalem
1752:Henry Moore
1714:Ludwig Gies
1668:Henry Moore
1545:Bishopsgate
1477: 1500
1401:Rock relief
1323:rock relief
1271:hieroglyphs
1228: 3200
1081:Renaissance
1008:Hellenistic
978:mani stones
957:hieroglyphs
923:Sunk relief
849:sarcophagus
845:Hellenistic
781:altorilievo
754:High relief
744:Angkor Thom
529:Zoroastrian
408:altarpieces
380:Ishtar Gate
239:Islamic art
165:sunk relief
128:haut-relief
117:high relief
51:gilt-bronze
18:Bas reliefs
3366:Categories
3058:Fiberglass
2987:Terracotta
2834:Pedimental
2829:Monumental
2779:Bas relief
2774:Assemblage
2700:Street art
2680:Public art
2655:Filmmaking
2521:References
2300:Avery, vii
2258:bas-relief
2218:2012-05-31
2170:Pargetting
2081:Warren Cup
1997:Angkor Wat
1879:Persepolis
1777:memorial,
1568:Bas-relief
1431:portal of
1429:Romanesque
1351:Warren Cup
1349:The Roman
1230:â3000 BC.
1217:Warka Vase
1054:plaquettes
961:cartouches
865:sarcophagi
847:and Roman
742:temple in
732:Angkor Wat
694:temple in
625:Mid-relief
525:Persepolis
521:bas-relief
453:stiacciato
431:ornamental
321:bas-relief
302:sestertius
235:arabesques
204:bas-relief
154:bas-relief
151:, French:
143:low relief
133:mid-relief
73:sculptural
3177:(1250 CE)
3117:(438 BCE)
3115:Parthenon
3113:from the
3068:Aluminium
3038:Jesmonite
3012:Soapstone
2952:Limestone
2870:Classical
2799:Earth art
2755:Sculpture
2690:Sculpture
2660:Light art
2441:1432-2315
2291:Avery, vi
1989:Borobodur
1978:with the
1924:Ara Pacis
1838:Ingo KĂŒhl
1718:plaquette
1660:Eric Gill
1409:Sassanian
1378:Yaxchilan
1372:from the
1370:Lintel 24
1353:, silver
1287:Borobudur
1232:Alabaster
1130:Baltimore
1115:triptychs
1097:. In the
1050:metalwork
976:) in the
953:Ahkenaten
937:Nefertiti
933:Akhenaten
895:Prambanan
891:Kamasutra
887:Khajuraho
880:pediments
829:SĂŁo Paulo
813:Khajuraho
716:Prambanan
700:Indonesia
692:Borobudur
595:Donatello
505:Nefertiti
501:Ahkenaten
485:Eric Gill
465:Donatello
388:Near East
371:, modern
250:Ara Pacis
173:see below
145:(Italian
135:(Italian
125:, French
119:(Italian
3346:Category
3159:(175 CE)
3048:Concrete
2962:Porphyry
2809:Figurine
2685:Rock art
2665:Painting
2613:Ceramics
2465:, 1996,
2241:cave art
2212:Archived
2208:"Relief"
2132:See also
2079:Silver:
2002:Glyphs,
1674:, up to
1411:emperor
1386:Lady Xoc
1376:site of
1355:repoussé
1313:era, at
1193:, and a
1134:Maryland
1111:diptychs
1061:repoussé
1046:ceramics
1044:such as
903:Lokapala
720:Cambodia
712:Ramayana
639:Cambodia
481:Art Deco
451:rilievo
435:cornices
392:Alhambra
369:Simurrum
187:intaglio
84:relevare
62:Florence
49:'s cast
3387:Reliefs
3351:Outline
3053:Plastic
3043:Acrylic
2967:Diorite
2957:Granite
2865:Baroque
2645:Drawing
2608:Cartoon
2400:May 26,
2390:Reuters
2369:May 26,
2337:May 26,
2120:Glass:
2046:Ivory:
1954:India:
1918:Babylon
1637:Isfahan
1601:, India
1599:Tripura
1595:Unakoti
1576:Toronto
1439:Moissac
1303:Persian
1256:granite
1164:Gallery
1150:plaster
1065:Casting
1024:diptych
917:Georgia
906:devatas
853:chisels
815:, India
786:Italian
784:, from
772:centaur
736:apsaras
647:Kailasa
607:, 1420s
580:Atropos
566:Nineveh
533:equinox
396:Pompeii
384:Babylon
311:Italian
109:casting
56:at the
3329:(2018)
3321:(2008)
3315:(1981)
3307:(1971)
3299:(1967)
3274:(1920)
3266:(1907)
3260:(1904)
3252:(1897)
3236:(1886)
3227:(1880)
3219:(1843)
3213:(1776)
3207:(1753)
3073:Fabric
3007:Butter
3002:Silver
2992:Bronze
2947:Marble
2926:Volume
2890:Relief
2844:Statue
2824:Mobile
2789:Effigy
2640:Design
2507:
2477:
2469:
2439:
2138:Portal
2106:Gold:
2065:, the
1956:Sanchi
1840:, 2019
1819:Keitum
1549:London
1503:above.
1501:frieze
1493:stucco
1154:stucco
1103:luxury
1069:bronze
863:. The
764:metope
724:Angkor
708:Buddha
643:Ravana
605:a tomb
419:Rimini
335:latter
105:bronze
97:stucco
78:relief
69:Relief
3196:David
3188:PietĂ
3078:Paper
3063:Glass
3028:Steel
2977:Ivory
2921:Space
2849:Stele
2623:Craft
2501:20â21
2195:Notes
2012:Aztec
1311:Qajar
1221:Sumer
1195:crane
1107:Paris
1038:ivory
1001:cameo
997:seals
740:Bayon
738:. At
676:India
668:Hindu
537:Earth
272:Types
266:stele
191:, or
89:plane
71:is a
3181:Moai
2997:Gold
2982:Clay
2972:Jade
2942:Wood
2911:Mass
2784:Bust
2505:ISBN
2475:ISBN
2467:ISBN
2437:ISSN
2402:2021
2371:2021
2339:2021
2061:and
2010:and
2008:Maya
1993:Java
1966:and
1948:and
1885:and
1374:Maya
1357:work
1319:Iran
1215:The
1189:, a
1187:bull
1113:and
1048:and
959:and
899:Java
678:and
670:and
651:Siva
503:and
475:and
378:The
373:Iraq
3033:Ice
2603:Art
2530:".
2429:doi
2152:Art
1991:in
1916:of
1593:at
1574:in
1570:at
1566:'s
1437:at
1403:at
1317:in
1219:of
1191:fox
1152:or
1144:of
1128:in
1077:wax
980:of
951:of
827:in
674:of
597:'s
541:Sun
523:in
457:or
417:in
382:of
237:of
141:),
60:in
3368::
2503:.
2481:).
2461:,
2435:.
2425:28
2423:.
2419:.
2388:.
2355:.
2323:.
2124:,
2114:,
2110:,
2099:,
2095:,
2091:,
2087:,
2083:,
2072:,
2035:,
2021:,
1995:,
1974:,
1970:,
1938:,
1934:,
1930:,
1926:,
1912::
1903:,
1899:,
1895:,
1877::
1868:,
1817:,
1781:,
1754:,
1735:,
1670:,
1666:,
1662:,
1658:,
1654:,
1650:,
1646:,
1597:,
1547:,
1474:c.
1301:A
1234:.
1225:c.
1199:c.
1197:,
1160:.
1132:,
1083:.
984:.
750:.
698:,
641:;
637:,
558:,
467:.
445:.
410:.
362:c.
344:,
183:,
111:.
2747:e
2740:t
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2572:t
2565:v
2552:.
2513:.
2473:(
2443:.
2431::
2404:.
2373:.
2341:.
2221:.
2140::
2103:.
2076:.
1388:.
1238:.
324:(
171:(
38:.
20:)
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