A stone sculpture is an object made of stone which has been shaped, usually by carving, or assembled to form a visually interesting three-dimensional shape. Stone is more durable than most alternative materials, making it especially important in architectural sculpture on the outside of buildings. Stone carving includes a number of techniques where pieces of rough natural stone are shaped by the controlled removal of stone. Owing to the permanence of the material, evidence can be found that even the earliest societies indulged in some form of stonework, though not all areas of the world have such abundance of good stone for carving as Egypt, Persia(Iran), Greece, Central America, India and most of Europe. Often, as in Indian sculpture, stone is the only material in which ancient monumental sculpture has survived (along with smaller terracottas), although there was almost certainly more wooden sculpture created at the time.
Petroglyphs (also called rock engravings) are perhaps the earliest form: images created by removing part of a rock surface which remains in situ, by incising, pecking, carving, and abrading. Rock reliefs, carved into "living" rock, are a more advanced stage of this. Monumental sculpture covers large works, and architectural sculpture, which is attached to buildings. Historically, much of these types were painted, usually after a thin coat of plaster was applied. Hardstone carving is the carving for artistic purposes of semi-precious stones such as jade, agate, onyx, rock crystal, sard or carnelian, and a general term for an object made in this way. Alabaster or mineral gypsum is a soft mineral that is easy to carve for smaller works and still relatively durable. Engraved gems are small carved gems, including cameos, originally used as seal rings.
Carving stone into sculpture is an activity older than civilization itself, beginning perhaps with incised images on cave walls. Prehistoric sculptures were usually human forms, such as the Venus of Willendorf and the faceless statues of the Cycladic cultures of ancient Greece. Later cultures devised animal, human-animal and abstract forms in stone. The earliest cultures used abrasive techniques, and modern technology employs pneumatic hammers and other devices. But for most of human history, sculptors used a hammer and chisel as the basic tools for carving stone.
Types of stone used in carved sculptures Soapstone, with a Mohs hardness of about 2, is an easily worked stone, commonly used by beginning students of stone carving. Alabaster and softer kinds of serpentine, all about 3 on the Mohs scale, are more durable than soapstone. Alabaster, in particular, has long been cherished for its translucence. Verdite is a stone that can range from dark-greyish to a deep green. It is a 3-4 on the Mohs scale. It's an uncommon variation of serpentine and its mostly found in Zimbabwe. Limestone and sandstone, at about 4 on the Mohs scale, are the only sedimentary stones commonly carved. Limestone comes in a popular oolitic variety, about twice as hard as alabaster, that is excellent for carving. The harder serpentines can also reach 4 on the Mohs scale. Volcanic rock is also used. It's around a 5-6 on the Mohs hardness scale. Marble, travertine, and onyx are at about 6 on the Mohs scale. Marble has been the preferred stone for sculptors in the European tradition ever since the time of classical Greece. It is available in a wide variety of colors, from white through pink and red to grey and black. The hardest stone frequently carved is granite, at about 8 on the Mohs scale. It is the most durable of sculptural stones and, correspondingly, an extremely difficult stone to work. Basalt columns, being even harder than the granite, are less frequently carved. This stone takes on a beautiful black appearance when polished.
Rough and unfinished statues Rough block forms of unfinished statuary are known and are in museums. Notable are the Akhenaten, Amarna Period statuary found at Akhetaten. One known sculptor, Thutmose (sculptor), has his entire shop excavated at Akhetaten, with many unfinished block forms.
The process of stone sculpture
In the direct method of stone carving, the work usually begins with the selection of stone for carving, the qualities of which will influence the artist's choices in the design process. The artist using the direct method may use sketches but eschews the use of a physical model. The fully dimensional form or figure is created for the first time in the stone itself, as the artist removes material, sketches on the block of stone, and develops the work along the way. On the other hand, is the indirect method, when the sculptor begins with a clearly defined model to be copied in stone. The models, usually made of plaster or modeling clay, may be fully the size of the intended sculpture and fully detailed. Once the model is complete, a suitable stone must be found to fit the intended design. The model is then copied in stone by measuring with calipers or a pointing machine. This method is frequently used when the carving is done by other sculptors, such as artisans or employees of the sculptor. Some artists use the stone itself as inspiration; the Renaissance artist Michelangelo claimed that his job was to free the human form hidden inside the block.
Copying by "pointing" The copying of an original statue in stone, which was very important for Ancient Greek statues, which are nearly all known from copies, was traditionally achieved by "pointing", along with more freehand methods. Pointing involved setting up a grid of string squares on a wooden frame surrounding the original, and then measuring the position on the grid and the distance between grid and statue of a series of individual points, and then using this information to carve into the block from which the copy is made. Robert Manuel Cook notes that Ancient Greek copyists seem to have used many fewer points than some later ones, and copies often vary considerably in the composition as well as the finish.
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