Bronze Quotes - page 3
One [nymph], the naiad of the spring, was just emerging from the limpid water as Hylas drew near. And there, with the full moon shining on him from a clear sky, she saw him in all his radiant beauty and alluring grace. Her heart was flooded by desire; she had a struggle to regain her scattered wits. But Hylas now leant over to one side to dip his ewer in; and as soon as the water was gurgling loudly round the ringing bronze she threw her left arm round his neck in her eagerness to kiss his gentle lips. Then with her right hand she drew his elbow down and plunged him in midstream.
Apollonius of Rhodes
"Three days after this, the king entered Jhain at midday and occupied the private apartment of the rai... He then visited the temples, which were ornamented with elaborate work in gold and silver. Next day he went again to the temples, and ordered their destruction, as well as of the fort, and set fire to the palace, and ‘thus made hell of paradise'... While the soldiers sought every opportunity of plundering, the Shah was engaged in burning the temples, and destroying the idols. There were two bronze idols of Brahma each of which weighed more than a thousand mans. These were broken into pieces and the fragments distributed amongst the officers, with orders to throw them down at the gates of the Masjid on their return.”65.
Amir Khusrow
The linga he raised was the stone of Somnath, for soma means the moon and natha means master, so that the whole word means master of the moon. The image was destroyed by the Prince Mahmud, may God be merciful to him! - AH 416. He ordered the upper part to be broken and the remainder to be transported to his residence, Ghaznin, with all its coverings and trappings of gold, jewels, and embroidered garments. Part of it has been thrown into the hippodrome of the town, together with the Cakrasvamin, an idol of bronze, that had been brought from Taneshar. Another part of the idol from Somanath lies before the door of the mosque of Ghaznin, on which people rub their feet to clean them from dirt and wet.
Mahmud of Ghazni
The city of Taneshar is highly venerated by Hindus. The idol of that place is called Cakrasvamin, i. e. the owner of the cakra, a weapon which we have already described. It is of bronze, and is nearly the size of a man. It is now lying in the hippodrome in Ghazna, together with the Lord of Somanath, which is a representation of the penis of Mahadeva, called Linga.
Mahmud of Ghazni
Alau'd-din at this time held the territory of Karra, and with the permission of the Sultan he marched to Bhailsan (Bhilsa). He captured some bronze idols which the Hindus worshipped and sent them on carts with a variety of rich booty as presents to the Sultan. The idols were laid before the Badaun gate for true believers to tread upon...
Ziauddin Barani
![At first, I thought I had found in this second figure [a bronze Orpheus, Zadkine made shortly after his return from New York to Paris, in 1944] the perfect solution, but a surprise awaited me. One day my coal merchant delivered to me, here in my studio, some wood for heating; among these logs I found a rudimentary but completely mysterious wooden figure of a man. He seemed to be walking in great strides, his torso suggested by only two simple boards which, in their structure, were very much like an ancient lyre. I immediately began working on a new 'Orpheus', in which the [music-]instrument had truly become part of the man. (Ossip Zadkine)](https://cdn.quotesdtb.com/img/quotes_images_webp/43/ossip-zadkine-ancient-begin-964943.webp)
In my own researches and findings I have always insisted on plastic and sculptural values, and also on what I call a poetic climate. The object, whether it is a book, a bottle, or a human body, once it is visualized and expressed by means of clay, stone, or wood, ceases to be a document and becomes an animated object in stone, wood, or bronze and lives its independent life..
Ossip Zadkine
If we look at the parpens piled up on the building site or at the block of bronze, nothing about them manifests that they are suited to being a house or a statue. ... Aristotle speaks of the materials considered as such in terms of "the buildable" (I, 201a 16, b Bf), coining an adjective whose suffix expresses capacity (what he calls dunamis). This capacity, as we have seen, cannot be grasped after the manner of that with which perception provides us (color, hardness, etc.); it requires a gaze capable of probing more deeply, of proceeding from the real to the possible-as when Michelangelo "sees" a David in the formless block abandoned by other sculptors.
Rémi Brague
The Chinese early learned to work in metals; bronze occurs in the 11th-10th centuries B. C., useful iron from about 500 B. C. At a later period they made brass... True porcelain was first made about A. D. 600. They were probably in possession of mercury at an early date, and learnt how to decompose cinnabar into mercury and sulphur, and recompose it from these materials.
J. R. Partington
It seems ironic that for most of my career I have been trying to perfect smooth and life-like animation action, but for Talos (which was the longest animation section of the film), it was necessary to create a deliberately stiff and mechanical movement in keeping with a bronze statue that had sprung to life.
Ray Harryhausen
Winning is great, but being able to finish my last Olympic Games on American soil was very important. Even though I was injured, I didn't let my psyche get the best of me and cause me to doubt myself, so I was willing to pull every muscle in my body in '96 in order to get the job done and I came away with the bronze medal.
Jackie Joyner-Kersee
In a world filled with weapons of war and all too often words of war, the Nobel Committee has become a vital agent for peace. Sadly, a prize for peace is a rarity in this world. Most nations have monuments or memorials to war, bronze salutations to heroic battles, archways of triumph. But peace has no parade, no pantheon of victory.
What it does have is the Nobel Prize - a statement of hope and courage with unique resonance and authority.
Kofi Annan
Our characteristic response to the mutilated statue, the bronze dug up from the earth, is revealing. It is not that we prefer time-worn bas-reliefs, or rusted statuettes as such, nor is it the vestiges of death that grip us in them, but those of life. Mutilation is the scar left by the struggle with Time, and a reminder of it - Time which is as much a part of ancient works of art as the material they are made of, and thrusts up through the fissures, from a dark underworld, where all is at once chaos and determinism.
André Malraux
