The antique Greek dance, after sculptured and painted figures . rapidity, but an examination of the Tan-agra figurines will show the student thatthat period is characterized by a dreamy immobility. It is a gestureat once noble and familiar, which allows great elegance in the gather-ing and holding of the drapery (Fig. 5). The dancer takes a gestureof utility and imparts to it a high degree ofbeauty; the hand on the hip lifts the tunic, holdsthe dress, and, by the tension of the material, re-veals the feminine form through its veils (). 47. Gesture of the Athlete Pouring Oil Over HisBody
The antique Greek dance, after sculptured and painted figures . rapidity, but an examination of the Tan-agra figurines will show the student thatthat period is characterized by a dreamy immobility. It is a gestureat once noble and familiar, which allows great elegance in the gather-ing and holding of the drapery (Fig. 5). The dancer takes a gestureof utility and imparts to it a high degree ofbeauty; the hand on the hip lifts the tunic, holdsthe dress, and, by the tension of the material, re-veals the feminine form through its veils (). 47. Gesture of the Athlete Pouring Oil Over HisBody.—One arm is raised and curved above theshoulder; the hand holds a vase containing oil;the other hand, close to the body, is held as thoughto prevent the escape of the liquid (Fig. 6). Thisgesture is not to be confused with that of thePourer (52). This being wholly realistic intreatment, the Pourer being more decorative in effect, 48. Gesture of the Athlete Who Rubs His Body with a with the dust and perspiration of the conflict, and the oil. Fig. 6. TRADITIONAL GESTURES SHOWN BY PAINTINGS AND SCULPTURES 29 used to make the body supple, the athlete, who has just come from the exercises of the palestra, rubs his skin with a strigil. This gesture, which Lysippus appears to have introduced into art in the fourth century B. C, is not easy to recognize; the fact that the small scraper cannot be seen, and that this instrument is the only thing that explains the movement to modern eyes causes uncertainty. 49. Gesture of the Athlete Who Bindsa Fillet About His Head.—Here the ges-ture is also made without the accessory that explains it. Fig. 7 hasall the air of a dancer.
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
