Introduction
The house represents a unique environment filled with different intimate objects important for all family members. Every family member values certain objects and but disregard the others. Thus, there are unique objects important for all family members because they symbolize past experiences and memoires, trips and travels. A statue of Nike is a symbol of glory and memories, emotions and experiences. This is a copy of well-known sculpture from ancient Greece.
Main body
The uniqueness is that a statue is an inanimate object thus it reflects personalized features and symbols. The statue of Nike shows a woman in every one of dimensions, in thickness as well as in height, and even in solid weight if that were desired. In a painting, people cannot see both the back and the face of a man.
They can only have one view of him, and that the view which the painter has chosen. A painter or a sculptor in relief sets out with a clear admission of the limits imposed on him in this respect, and he has the consolation that viewers do not in general desire to see the backs of his figures. So far a picture of a man, or a bas-relief of him, fascinates viewers more readily than a statue; and doubtless it was for this among other reasons that in antiquity the sculpture of statues was comparatively late in coming into the field.
The statue of Nike is located in the left right corner in the hall. Statue of Nikè is represented as moving sidewards, but with the face and upper part of the body turned to the front. The workmanship is delicate and refined, but for the most part the delicacy and refinement are limited by formality and conventionalism, as may best be seen by the treatment of the hair with its fine formal curls.
Doubtless it was the fashion then for ladies to wear their hair in some such artificial arrangement; but still it is possible for an artist to render artificial fashions of that kind in an artistically free manner, if it is in his power to work with freedom at all. It is not, however, only in the hair but also in the movement and drapery of the Victory that all people see the formal restraint under which the sculptors were laboring. In particular it is to be noted that in the movement of the Victory which is to the left with the right leg advanced, the left leg comes forward so as to form a nearer plane and gives the statue the aspect as of a relief with two planes.
The right cheek is pushed back a little, and the effect of this is increased by the interruption of the otherwise long line of the jaw caused by the lowering of the head, which also in the circumstances was an action produced by a feeling of tenderness. The eyes are turned inwards a little, as if looking at a near object, and the pupils, instead of standing vertically, slope forward in the upper part. Such a thing may not be precisely possible in nature, but it was not uncommon in Greek sculpture, when a face was to be seen from below. In this instance the purpose appears to have been to express the full and kindly gaze of Hermes.
It would seem also that this placing of the eye so as to fill up the socket more than usual, and thus destroy the mass of shadow which would otherwise be there, helps materially to brighten the face and add tenderness to the expression. The face is not a portrait, but a type. The hair is rendered in an idealized manner.. A sculptor must reckon with a light which changes steadily all day long. In the hall, the statue of Nike create a unique environment and unique atmosphere of ancient Greece and remind everyone about ancient times and true art, the sense of beauty and gorgeousness.
Conclusion
This unique object reflects a sense of art which surpassed all others in beauty. That is the force of idealism. It began to be seen that there was an inner as well as an outer life in man which had to be taken into account. This is a unique object because it symbolizes glory and reflects universal standards of beauty and art. The problem then took the complex form of reconciling an artistic ideal with the actual realities of bodily form and natural passions.
It would not be difficult to select a number of examples from Greek sculpture, to illustrate these leading stages in its development. But while this will be our main purpose in the following sketch, people have also to bear in mind the necessity of explaining the changes in technical and other matters on which much depended for the retarding or forwarding of new principles and new impulses. That which makes it attractive is only the general type derived from the ancient source.