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Wrestlers (sculpture)
''The Wrestlers'' (also known as ''The Two Wrestlers'', ''The Uffizi Wrestlers'' or ''The Pancrastinae'') is a Roman marble sculpture after a lost Greek original of the third century BCE. It is now in the Uffizi collection in Florence, Italy.
==Description, style and authorship==
The two young men are engaged in the ''pankration'', a kind of wrestling similar to the present-day sport of mixed martial arts. The two figures are wrestling in a position now known as a "cross-body ride" in modern freestyle wrestling. The upper wrestler has his left leg entwined with his opponent's left leg, with his body across the opponent's body, lifting the opponent's right arm.〔(Techniques of the Ancient Wrestlers ), Milt Sherman, Amateur Wrestling, January, 2000. Accessed September 13, 2011. 〕 In a well-known modern series of wrestling moves, the upper wrestler would now try to lift his opponent's arm above his head to force a pinning move called the "Guillotine."〔See, e.g. pp. 124-128 in 〕 Their muscular structure is very defined and exaggerated due to their physical and sustained effort.
Neither of the two heads are original to the group, though that of the lower figure is older and is as advanced sylistically as the sons in the "Niobe Group".〔The head of the lower youth is antique, though not belonging to this sculpture; the other youth's head has been modelled to complement it. (Haskell and Penny 1981:337).〕 The heads were added after the sculpture was rediscovered.
The group are considered to be finest quality Roman copies of a lost bronze. Not every 20th-century viewer admired "a work once famous and now unfairly neglected", as art historian Kenneth Clark said of it: "If we can bring our eyes to rest on the unpleasant surface of a somewhat lifeless replica, we discover that the original must have been a Lysippic bronze of masterly complexity and condensation."〔Kenneth Clark, ''The Nude: A Study in Ideal Form'' 1956:245.〕 The sculpture has been attributed variously to Myron, Cephisodotus the Younger or Heliodorus. The last two are mentioned by Pliny as creators of a sculptural format called ''symplegmata'', signifying sculptures of figures closed in struggle, whether purely physical or amatory.〔''Pliny's Natural History'' 36.35, described the much-admired ''symplegma'' of Pan and Plympos in the Portico of Octavia; see Jerome Jordan Politt, ''Art in the Hellenistic Age'' 1986:130f.〕 Currently the sculpture is considered to be the best-quality Roman copy from a lost original Hellenistic bronze of the third century BCE, either of the Pergamene school or the circle of Lysippus.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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