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By Holly Pittman

Исследования искусства Ирана IV-II тыс. до н.э. по материалам коллекции музея Метрополитен и коллекции Черкаски.

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Extra info for Ancient Art in Miniature. Near Eastern Seals from the Collection of Martin and Sarah Cherkasky

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VI On the leg, the curve of the thigh neck to the the cylinder of the neck similar seesaw balance oc- curs with other forms. drawn top balances the front back. -if When the figure movement of one is active, the form must movement Remember that for be balanced by the of another. every action, there is a coun- teraction. FIND THE The body RHYTHM AND BALANCE is always balanced on points of support. Can you find the points of support here? These curves set up a rhythm. Can you see how they braid into each other?

Different postures create different relationships between the main lines and the forms. REMEMBER: Every line of the figure must relate to other lines of the figure. /Y^er^yv^aJL -&W7^*^. Lij^ -M**sy+p*jA JrtstJ' -/*-Ux*lA*L DRAWING 33 Action and Balance Check the pivot points moving from: how the figure is balanced, look for the points of support. sure they're lined up or the figure will fall over. To determine Make to see — Figure balanced over Figure balanced between Points of support points of support.

The male female is usually broader and bulkier. -AtsmajLtLs Differences between the male /WA&- JUwedbis and female are especially apparent in forms like the buttocks or breasts. DRAWING 29 The Importance of Relationships Every line, to another. every form relates Follow the curves from one arm to the opposite leg. < #5K" Make sure you understand the action before you draw. Individual forms mean nothing if the action is wrong. Remember the string of pearls. That will how 30 LESS< >NS I ROM REILLY to tell you connect the forms.

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