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60-400: Alexey Dushkin , the station's architect, has long wished to utilise stained glass in decoration of a metro station, and the first drawings date to pre–World War II times. In 1948, with the aid of a young architect Alexander Strelkov , Dushkin came across the artist Pavel Korin , who agreed to compose the artworks for the panels. The rest of the station was designed around the glass panels. It

120-538: A lightning rod of Nikita Khrushchev 's famous decree "On liquidation of excesses in construction...", which spelled the end of Stalinist architecture. Khrushchev asserted that costs and volume of these buildings were inflated three times above reasonable estimates. Work of Dushkin's junior architects was ostracized too. Dushkin lost his chair of Chief Railway Architect. He remained a professor at Moscow Architectural Institute until 1974, but had not built anything significant since 1955. His granddaughter, Natalya Dushkina,

180-463: 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. It is also used for carving letters (typically om mani padme hum ) in the mani stones of Tibetan Buddhism . Sunk relief technique

240-565: A college building in Kharkiv in 1932. Dushkin associated himself with VOPRA , a left-wing artistic association led by Arkady Mordvinov and Karo Alabyan . In 1932, Dushkin applied for the Palace of Soviets contest. His draft did not win the main prize, but earned an invitation to Moscow to join the Palace design team, and later Ivan Fomin 's Workshop No.3 . His greatest chance came with

300-676: 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 around 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 re-emerged in

360-647: A few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore , Maryland , 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 terra sigillata of Ancient Roman pottery . Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration

420-547: A gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions. Small-scale reliefs have been carved in various materials, notably ivory , wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork ; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes , which may be set in furniture or framed, or just kept as they are,

480-640: A large proportion of the survivals of portable secular art from Late Antiquity . In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament , secular objects, usually in a lower relief, were also produced. These were often round mirror-cases, combs, handles, and other small items, but included

540-492: A popular form for European collectors, especially in the Renaissance. Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to

600-419: A relief is carved into a flat surface of stone (relief sculpture) or wood ( relief carving ), 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

660-527: 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. Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English,

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720-400: A row of palm trees. In 1935, when the station was opened, its hall was lined up with live palm trees in wooden vats. This deep alignment station required heavy pylons to support the vaults. In 1930s, architects were obsessed with relieving passengers' anxiety of being underground, so one of the objectives was to make these pylons look slimmer. Dushkin proposed an interesting solution - decorate

780-453: 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

840-413: A standing figure where the ankles are a potential weak point, particularly in stone. In other materials such as metal, clay, plaster stucco , ceramics or papier-mâché the form can be simply added to or raised up from the background. Monumental bronze reliefs are made by casting . There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which

900-633: Is a mosaic by Pavel Korin entitled "Peace Throughout the World." From this station it is possible to transfer to Mendeleyevskaya station on the Serpukhovsko-Timiryazevskaya Line . [REDACTED] Media related to Novoslobodskaya (Moscow Metro) at Wikimedia Commons Alexey Dushkin Alexey Nikolayevich Dushkin ( Russian : Алексей Николаевич Душкин; 24 December 1904 – 8 October 1977)

960-472: Is an architect and a vocal preservation advocate. Bas relief Relief is a sculptural method in which the sculpted pieces remain attached to a solid background of the same material. The term relief is from the Latin verb relevare , 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 plane . When

1020-400: Is best known for its 32 stained glass panels, which are the work of Latvian artists E. Veylandan, E. Krests, and M. Ryskin. Each panel, surrounded by an elaborate brass border, is set into one of the station's pylons and illuminated from within. Both the pylons and the pointed arches between them are faced with pinkish Ural marble and edged with brass molding. At the end of the platform

1080-525: Is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture . Many modern and contemporary artists such as Paul Gauguin , Ernst Barlach , Ernst Ludwig Kirchner , Pablo Picasso , Eric Gill , Jacob Epstein , Henry Moore , Claudia Cobizev , up to Ewald Matare have created reliefs. In particular low reliefs were often used in the 20th century on the outsides of buildings, where they are relatively easy to incorporate into

1140-682: Is music and polyphony. While going down by the escalator, the columns appear one by one and then as if combine in common sounding - as the finale of the cadence brought to key" This station on the Ring Line , 40 meters deep, was Moscow's first employment of stained glass , a technology previously associated with Roman Catholic church and thus deemed unacceptable in Soviet architecture. These glass panes were produced in Latvia to drafts by Pavel Korin . Panels, integrated into white marble pylons, relieve

1200-475: Is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals – 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 cameo or normal relief. A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on

1260-487: 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 Donatello . 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

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1320-598: Is the most vital structural element that livens up materials and underscores shapes... My creed is Kropotkinskaya. We referred to the Egyptian subterranean legacy, where column tops were lit by oil lamps. This choice is the best answer for the underground reality". This work earned him a Stalin Prize in 1941 and Grand Prix awards at expositions in Paris (1937) and Brussels (1958). Trivia: The columns of Kropotkinskaya look like

1380-424: 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 , Assyrian palace reliefs , and other ancient Near Eastern 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

1440-878: The 1939 New York World's Fair . In 1941, it was used as a bomb shelter. November 6, 1941 it housed the Mossovet meeting were Joseph Stalin delivered his Brothers and Sisters... patriotic speech. On January 1, 1943, in the middle of Battle of Stalingrad , Moscow Metro opened a new station, extending the Gorkovsko-Zamoskvoretskaya (now Zamoskvoretskaya ) Line from Ploshchad Sverdlova (now Teatralnaya ) to Zavod imeni Stalina (now Avtozavodskaya ). (Two intermediate stations, Novokuznetskaya and Paveletskaya , were opened on November 20, 1943.) Planners chose Dushkin's simple columnar concept, proven by prewar practice. The columns of Avtozavodskaya are narrower than earlier (and later) examples of this type, giving

1500-520: 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

1560-480: The Khmer Empire . 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

1620-460: The tower in 1951. Construction was complicated by the need for a tunnel connection to Krasniye Vorota metro station, and required ingenious cryo technology for drilling the tunnels and levelling the foundation slab. It is not surprising that later the building housed the Ministry of Railways. He returned to Metro once, for Novoslobodskaya . In November 1955, Dushkin's railroad terminals became

1680-450: The war losses ; unlike Mayakovskaya, these are true examples of heavyweight Stalinist architecture . In 1947, Dushkin received a highest credit, second class - the right to design one of Stalin's Seven sisters . Second class , because the original 8 drafts were pre-arranged into four major and four minor projects; Dushkin qualified for a minor one. He earned Stalin Prize for a conceptual draft in 1949 (with Boris Mezentsev) and completed

1740-1044: 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

1800-602: 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 . Shallow-relief, in Italian rilievo stiacciato or rilievo schicciato ("squashed relief"), is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs. It

1860-407: The Italian and French terms are still sometimes used in English. The full range includes high relief (Italian alto-rilievo , French haut-relief ), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (Italian mezzo-rilievo ), low relief (Italian basso-rilievo , French: bas-relief ), and shallow-relief (Italian rilievo schiacciato ), where

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1920-534: The Palace of Soviets contest, or even earlier, in Kharkiv (when Kaganovich headed Ukrainian branch of the Communist Party). Basic triple-span, columnar layout was fixed by the Metro master planners. Dushkin worked within this framework and very tight construction schedule (half a year from earth pit to completion). Later, in 1973, he summarized the experience: "Optical illusion is worthless. Under ground, light

1980-525: The Renaissance, and was especially used in wall-mounted funerary art and later on Neoclassical pediments and public monuments. 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 Khajuraho temples, with voluptuous, twisting figures that often illustrate

2040-484: The Soviet Sky". These mosaics are sometimes criticized as being inadequately small for this station and awkwardly placed in recessed soffits. Dushkin recalled later, "Mayakovskaya could have been more impressive. [We] failed to materialize all design plans". Dushkin's wife remembered that when he projected the station in 1936-1937, he asked her to play him Bach or Prokofiev . The station was awarded Grand Prize of

2100-579: The background. From the Parthenon Frieze onwards, many single figures in large monumental sculpture 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 examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking

2160-447: 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

2220-411: 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. Most of

2280-522: The erotic Kamasutra positions. In the 9th-century Prambanan temple, Central Java , high reliefs of Lokapala devatas , the guardians of deities of the directions, are found. The largest high relief sculpture in the world is the Stone Mountain Confederate Memorial in the U.S. state of Georgia , which was cut 42 feet deep into the mountain, and measures 90 feet in height, 190 feet in width, and lies 400 feet above

2340-524: The final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance . Carved ivory 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 consular diptychs represent

2400-414: The first stage of Moscow Metro . Dushkin and Yakov Lichtenberg, two junior architects, were awarded the honorable task of designing the Palace of Soviets metro station (now Kropotkinskaya ). The choice of young, unknown architects for the most important station is a mystery. Authors of Moscow Metro. 70 years speculate that Dushkin was spotted by Lazar Kaganovich , project manager for the Metro, during

2460-539: The front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. The term comes from the Italian basso rilievo via the French bas-relief ( French pronunciation: [baʁəljɛf] ), both meaning "low relief". The former is now a very old-fashioned term in English, and the latter term is becoming so. Low relief is a technique which requires less work, and

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2520-541: The glass. However, Gosplan management rejected his request for uranium , saying "you'd have better chances asking for gold, don't even dream of uranium". Dushkin and Strelkov followed the advice, requested and secured real gold for Pavel Korin's artwork. In 1943-1955 Dushkin dedicated himself to mainline railroads and chaired the Architectural Department and Workshop of Ministry of Railways. Dushkin and his workshop designed railway stations to replace

2580-538: The great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means. 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

2640-467: The ground. Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches . The image is made by cutting the relief sculpture itself into a flat surface to enhance

2700-472: 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

2760-605: The insides of the folding wings of multi-panel altarpieces . 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

2820-504: The look of an otherwise heavy structure. According to Dushkin's wife, the architect proposed stained glass and actually travelled to Riga to inspect Latvian workshops before the war (i.e. between August, 1940 and June, 1941). These plans materialized a decade later. According to Alexander Strelkov, junior architect on this project, Dushkin originally settled for uranium glass , as he once saw in London , and picked Vera Mukhina to shape

2880-881: 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. Hellenistic and Roman sarcophagus reliefs were cut with

2940-559: 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 Ancient Near East and Buddhist countries. A stele is a single standing stone; many of these carry 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

3000-453: The original surface. This method minimizes the work removing the background, while allowing normal relief modelling. 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 Rome and later Western art, leave

3060-428: The outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery). 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

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3120-463: The plane is only very slightly lower than the sculpted elements. There is also sunk relief , which was mainly restricted to Ancient Egypt ( see below ). 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. The definition of these terms is somewhat variable, and many works combine areas in more than one of them, rarely sliding between them in

3180-588: The plinth. As a result, the station became heavyweight and dark. Mayakovskaya , 33 meters under ground, was the first deep alignment station of columnar type (numerous columnar stations of the first stage, including Kropotkinskaya, were shallow alignment type, built by open pit methode). Dushkin's design, although a Stalinist classic, is within the lines of Art deco . Columns are faced with stainless steel and pink rhodonite , floors and walls are finished in four different shades of granite and marble. 35 (33 visible) ) ceiling mosaics by Alexander Deineka "A day in

3240-496: The pylons with wider arches, filling the gap between the fake and real arch with sculpture. This, he presumed, would narrow the perceived width of pylons. His original draft called for bas relief sculptures of life-size standing figures on the corners and lace-like Gothic ornaments on the main vault. This, however, did not materialize. Instead, Matvey Manizer , a sculptor with a political backing, preferred classical, larger-than-life bronze sculptures, crouched between fake arches and

3300-417: 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. Rock reliefs are those carved into solid rock in

3360-431: The station an "airy" feel. Dushkin expressed his opinion on the project: "I like this station because it is made with one breath. It clearly manifests the constructive essence and, as with Russian temples, the clearness of the working shape" As Dushkin's wife revived, the design of the station required considerable creative efforts from the author: "I remember well how the project of station «ZIS» [Zavod imeni Stalina]

3420-463: The technique are described as "in relief", and, especially in monumental sculpture , the work itself is "a 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

3480-725: 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. Mid-relief is probably the most common type of relief found in the Hindu and Buddhist art of India and Southeast Asia . The low to mid-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

3540-725: Was a Soviet architect, best known for his 1930s designs of the Kropotkinskaya and Mayakovskaya stations of the Moscow Metro . He worked primarily for subway and railroads and is also noted for his Red Gate Building , one of the Seven Sisters . Alexey Dushkin studied chemistry in Kharkiv for three years since 1921, then transferred to architectural college and graduated in 1930. Dushkin worked in city planning, setting up zoning plans for Donbas towns; he co-designed

3600-402: Was developed. My husband made some drafts, which did not satisfy him, he put off the work and was deep in the book of Timiryazev «Life of plants». He ignored my questions why he needed that and only asked to play Bach 's fugue. When finished the book, he sat down at the drawing-board. He made eleven drafts of the station but chose only one, which was realized. For me the character of the station

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