Пракситель: ежелгі грек мүсіншісінің өнері

4th century BC Athenian sculptor

Praxiteles (/p//r//æ//k/'/s//ɪ//t//ᵻ//l//iː//z/; Πραξιτέλης) of Athens, the son of Cephisodotus the Elder, was the most renowned of the Attica sculptors of the 4th century BC. He was the first to sculpt the nude female form in a life size statue. While no indubitably attributable sculpture by Praxiteles is extant, numerous copies of his works have survived; several authors, including Pliny the Elder, wrote of his works; and coins engraved with silhouettes of his various famous statuary types from the period still exist. A supposed relationship between Praxiteles and his beautiful model, the Thespian courtesan Phryne, has inspired speculation and interpretation in works of art ranging from painting (Gérôme) to comic opera (Saint Saëns) to shadow play (Donnay). Some writers have maintained that there were two sculptors of the name Praxiteles. One was a contemporary of Pheidias, and the other his more celebrated grandson. Though the repetition of the same name in every other generation is common in Greece, there is no certain evidence for either position.

Accurate dates for Praxiteles are elusive, but it is likely that he was no longer working in the time of Alexander the Great, in the absence of evidence that Alexander employed Praxiteles, as he probably would have done. Pliny's date, 364 BC, is probably that of one of his most noted works. The subjects chosen by Praxiteles were either human beings or the dignified and less elderly deities such as Apollo, Hermes and Aphrodite rather than Zeus, Poseidon or Themis. He probably invented the S curve. Praxiteles and his school worked almost entirely in Parian marble. At the time the marble quarries of Paros were at their best; nor could any marble be finer for the purposes of the sculptor than that of which the Hermes from Olympia was fashioned. Some of the statues of Praxiteles were coloured by the painter Nicias, and in the opinion of the sculptor they gained greatly by this treatment.

Other works that appear to be copies of Praxiteles' sculpture express the same gracefulness in repose and indefinable charm as the Hermes and the Infant Dionysus. Among the most notable of these are the Apollo Sauroktonos, or the lizard slayer, which portrays a youth leaning against a tree and idly striking with an arrow at a lizard. Several Roman copies from the 1st century are known including those at the Louvre Museum, the Vatican Museums, and the National Museums Liverpool. On June 22, 2004, the Cleveland Museum of Art (CMA), announced the acquisition of an ancient bronze sculpture of Apollo Sauroktonos. The work is alleged to be the only near complete original work by Praxiteles, though the dating and attribution of the sculpture will continue to be studied. The work was to be included in the 2007 Praxiteles exhibition organized by the Louvre Museum in Paris, but pressure from Greece, which disputes the work's provenance and legal ownership, caused the French to exclude it from the show.

The Apollo Lykeios or Lycian Apollo, another Apollo type reclining on a tree, is usually attributed to Praxiteles. It shows the god resting on a support (a tree trunk or tripod), his right arm touching the top of his head, and his hair fixed in braids on the top of a head in a haircut typical of childhood. It is called "Lycian" not after Lycia itself, but after its identification with a lost work described by Lucian as being on show in the Lykeion, one of the gymnasia of Athens.

The Resting Satyr of the Capitol at Rome has commonly been regarded as a copy of one of the Satyrs of Praxiteles, but it cannot be identified in the list of his works. Moreover, the style is hard and poor; a far superior replica exists in a torso in the Louvre. The attitude and character of the work are certainly of Praxitelean school.

Excavations at Mantineia in Arcadia have brought to light the base of a group of Leto, Apollo, and Artemis by Praxiteles. This base was doubtless not the work of the great sculptor himself, but of one of his assistants. Nevertheless, it is pleasing and historically valuable. Pausanias (viii. 9, I) thus describes the base, "on the base which supports the statues there are sculptured the Muses and Marsyas playing the flutes (auloi)." Three slabs which have survived represent Apollo; Marsyas; a slave, and six of the Muses, the slab which held the other three having disappeared.

The Leconfield Head (a head of the Aphrodite of Cnidus type, included in the 2007 exhibition at the Louvre) in the Red Room, Petworth House, West Sussex, UK, was claimed by Adolf Furtwängler to be an actual work of Praxiteles, based on its style and its intrinsic quality. The Leconfield Head, the keystone of the Greek antiquities at Petworth was probably bought from Gavin Hamilton in Rome in 1755.

The Aberdeen Head, whether of Hermes or of a youthful Heracles, in the British Museum, is linked to Praxiteles by its striking resemblance to the Hermes of Olympia.

According to Pausanias there was a statue of Artemis made by Praxiteles in her temple in Anticyra of Phokis. The appearance of the statue, which represented the goddess with a torch and an arch in her hands and a dog at her feet, is known from a 2nd century BC bronze coin of the city. A recently discovered dedicatory inscription of the 3rd 2nd century identifies the goddess at Antikya as Artemis Eleithyia.

Vitruvius (vii, 13) lists Praxiteles as an artist on the Mausoleum of Maussollos and Strabo (xiv, 23, 51) attributes to him the whole sculpted decoration of the Temple of Artemis at Ephesus. These mentions are widely considered as dubious.

Besides these works, associated with Praxiteles by reference to notices in ancient writers, there are numerous copies from the Roman age, statues of Hermes, Dionysus, Aphrodite, Satyrs and Nymphs, and the like, in which a varied expression of Praxitelean style may be discerned.