What is Relief

Raised Sculpture Making on Flat and Vertical Surfaces
Meaning of Wall Sculpture Relief

Relief is a fascinating discipline that showcases the dance of art with the surface in its most concrete form, as one of the oldest modes of expression in human history. The term, which originates from the French word "relief" and is translated as "kabartma" in Turkish, is based on the principle of bringing figures or patterns to the forefront by creating a certain depth on a flat surface. Not only does relief offer a visual feast, but it also appeals to the sense of touch, creating a perception of depth that draws the art lover into the work. Although considered a sub-branch of the art of sculpture, relief's unique rules, techniques, and areas of application make it a vast world in its own right. Today, this art, which we encounter in a wide range from the walls of ancient temples to the decoration of modern homes, continues to immortalize the stories of the past in stone while shaping the aesthetic understanding of the future.

The Historical Journey of Relief Art

The story of relief begins with the first sparks of the human desire to express oneself. This journey, extending from simple figures carved into cave walls to the magnificent palaces of ancient civilizations, actually symbolizes the development of civilization. In the Ancient Egypt period, relief was the most powerful tool for storytelling, especially on temple and tomb walls. The Egyptians masterfully used the "sunken relief" technique to immortalize the lives of pharaohs and their devotion to the gods. The details in these works provide us with priceless information about the social structure and belief systems of that period.

In the Mesopotamian geography, Assyrian and Babylonian artists displayed their power by carving battle scenes and hunting parties onto massive stone panels. The reliefs of this period are works that carry the quality of a documentary, where anatomical details and a sense of movement come to the fore. When it came to the Ancient Greek and Roman periods, relief art experienced its golden age. The friezes of the Parthenon Temple or the carvings on Trajan's Column are masterpieces where the human figure was idealized and the perception of perspective was perfected. In the Middle Ages, relief, an inseparable part of church architecture, evolved into a point where depth and shadow plays reached their peak with the Renaissance. Masters like Donatello and Ghiberti made relief as detailed and deep as a painting with the scenes they carved onto bronze doors.

What are the Types of Relief?

Relief art is divided into three main categories depending on how much it rises from the surface or how it is processed onto the surface. This diversity determines the intensity of the message the artist wants to convey and the characteristics of the area where the work will be exhibited.

Low Relief (Bas-Relief): A technique where figures rise very little from the surface. The perception of depth is quite limited and is generally preferred for coins, medallions, or wide wall surfaces. Light and shadow plays are of vital importance in this technique; because the depth is low, the clarification of forms depends on the angle of the light.

High Relief (Haut-Relief): A technique where figures protrude significantly from the surface, sometimes even appearing as if they are about to break away from it. In such works, more than half of the figures are outside the surface. High relief evokes a strong sense of three-dimensionality in the viewer and is generally used in monumental structures and exterior decorations.

Sunken Relief: Unlike other techniques, it is created by carving the figures into the surface instead of raising them from it. This technique, frequently encountered especially in Ancient Egyptian art, ensures that figures are seen very clearly thanks to the harsh shadows created by sunlight in outdoor spaces.

Materials and Techniques Used

The applicability of relief art is directly proportional to the variety of materials used. Traditionally, stone, marble, and wood are the most commonly used materials. While stone reliefs are preferred for outdoor spaces due to their durability, wood reliefs find a place in interior decoration thanks to the warmth of the material. Especially trees like walnut, oak, and linden are very suitable for detailed carvings.

In the modern period, materials such as plaster, clay, metal, and even paper have added new dimensions to relief art. Plaster reliefs are frequently used in ceiling and wall decorations due to their suitability for mass production through the molding technique and their lightness. Metal reliefs, on the other hand, are generally prepared with forging or casting techniques and provide an aesthetic touch in industrial designs. The material chosen by the artist also determines the tools they will use. Chisels, hammers, carving knives, and modeling pens are a relief artist's most faithful friends.

Paper Relief and Architectural Applications

Paper relief, which has attracted great interest in the hobby world in recent years, is a modern interpretation of traditional relief art. This technique is based on the principle of pasting multiple copies of the same image on top of each other with a certain order and understanding of perspective. Thanks to the elevating materials placed between the layers, the image transforms from a two-dimensional piece of paper into a three-dimensional painting. The most important element in paper relief is patience and attention to detail.

Relief has been the most faithful complement to architecture throughout history. The geometric patterns and floral motifs we see in Seljuk and Ottoman architecture are the most beautiful examples of how stone can be processed like lace. The muqarnas and reliefs on the portal gates increase the magnificence of the structure while also reflecting the aesthetic understanding of the period. Today, relief is frequently preferred for creating "accent walls" in interior design. Textured walls made using relief paste techniques add movement to modern decorations.

In Conclusion: Relief

Relief art is an ageless passion extending from the dusty pages of the past to the modern workshops of today. This art, which gives life to the hardness of stone, the warmth of wood, or the elegance of paper, pushes the limits of human creativity. Adding depth to a surface is actually loading a story onto that surface. Whether you watch a thousands-of-years-old legend on the wall of an ancient temple or touch a modern carving on the wall of your home, relief always offers you an experience beyond dimensions. Dealing with or appreciating this art teaches one to see the world not just as a two-dimen

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Bugra YURDAKUL
Added by Bugra YURDAKUL
Profession Univ. Student
Role Molding and Casting
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What is Relief SSS

Relief is a word of French origin meaning "embossing" in Turkish. It is an art form based on raising or sinking figures or patterns on a flat surface by giving them a certain depth. This art creates a perception of depth in the viewer by transforming a two-dimensional plane into a three-dimensional appearance. Throughout history, it has been used for aesthetic and storytelling purposes in many different areas, from the decoration of architectural structures to coins.

A full sculpture is a completely independent three-dimensional form that can be seen from all sides and walked around. Relief, on the other hand, is attached to a background or a flat surface; meaning the figures protrude outward from a base. While the figure stands freely in space in full sculpture, at least one side of the figure is attached to the ground in relief. This makes relief a bridge between sculpture and painting. While volume is fully processed in sculpture, the illusion of volume and the use of perspective are more prominent in relief.

Relief art can be applied on a wide range of surfaces depending on the workability of the material. Traditionally, hard surfaces such as stone, marble, wood, and ivory are the most common. In modern art, relief works are made on plaster panels, metal sheets, clay surfaces, and even special papers. Exterior walls in architectural structures, and ceilings and fireplace tops in interiors are frequently preferred areas. The important thing is that the chosen surface is durable enough to carry the weight and depth of the embossing process.

Low relief is a technique where figures rise very little from the ground and the depth difference is minimal; coins are the best example of this. In high relief, figures protrude significantly from the surface, sometimes appearing as if more than half of the body is detached from the ground. While details are processed more superficially in low relief, a strong sense of three-dimensionality and volume prevails in high relief. Both techniques add character to the work by using light and shadow plays in different ways and change the perception of depth according to the viewer's perspective.

The materials used in making relief vary according to the chosen technique. For stone or wood reliefs, chisels with different tips, carving knives, and mallets are the basic tools. In plaster or clay works, modeling pens, spatulas, and molds are used. In paper relief, a craft knife for cutting, tweezers, shaping pads, and silicone adhesives to create depth between layers are required. Additionally, various varnishes, paints, and brushes are indispensable parts of the list to protect the surface and highlight the details in the final stage of the work.

Lighting is the most critical element that reveals the soul of relief art because this art form relies directly on light and shadow plays. Light coming from the right angle strengthens the perception of depth and clarifies the form of the figures by casting the shadow of the embossed parts onto the ground. When the light is insufficient or too vertical, the details in the work may be lost and the three-dimensional effect may weaken, making the surface appear flat. Especially in museums and architectural structures, specially directed spotlights are preferred to increase the dramatic effect of the relief and emphasize the volume processed by the artist.

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