Category History

The Thiruvalluvar Statue, or the Valluvar Statue, is a 41-metre-tall (133 ft) stone sculpture of the Tamil poet and philosopher Valluvar, author of the Tirukkural, an ancient Tamil work on Dharmic and morality. It is located atop a small island near the town of Kanyakumari on the southernmost point of the Indian peninsula on the Coromandel Coast, where two seas (the Bay of Bengal and the Arabian Sea) and an ocean (the Indian Ocean) meet. The statue was sculpted by the Indian sculptor V. Ganapati Sthapati, who also created the Iraivan Temple, and was unveiled on the millennium day of 1 January 2000 by the then Chief Minister M. Karunanidhi. It is currently the 25th tallest statue in India.

The combined height of the statue and pedestal is 133 feet (41 metres), denoting the 133 chapters of the Tirukkural. This includes 95 feet (29 metres) sculpture of Valluvar standing upon a 38 feet (12 metres) pedestal that represents the 38 chapters of Virtue, the first of the three books of the Kural text. The statue itself represents the second and third books of the Kural text, namely, Wealth and Love. The whole design signifies that wealth and love be earned and enjoyed on the foundation of solid virtue. The right hand of the statue with three fingers pointing skywards signifies the three cantos of the Kural text, namely, Aram, Porul, and Inbam (Virtue, Wealth, and Love, respectively), combined. The head of the statue stands at a height of 61 metres (200 ft) above the sea level.

To prevent the statue from corrosion due to sea breeze, the statue is chemically treated once in four years. The salty deposits in every joint are removed and replaced with new cement mixture. Paper pulp is then applied on the whole of the statue. As the paper pulp coating dries, it absorbs the salty deposits completely, after which it is removed.

The statue has been thus treated three times since its unveiling. The fourth treatment began on 17 April 2017 and is completed by 15 October 2017.

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The Thinker, French Le Penseur, sculpture of a pensive nude male by French artist Auguste Rodin, one of his most well-known works. Many marble and bronze editions in several sizes were executed in Rodin’s lifetime and after, but the most famous version is the 6-foot (1.8-metre) bronze statue (commonly called a monumental) cast in 1904 that sits in the gardens of the Rodin Museum in Paris. The large muscular figure has captivated audiences for decades in his moment of concentrated introspection.

The Thinker has been cast in multiple versions and is found around the world, but the history of the progression from models to castings is still not entirely clear. About 28 monumental-sized bronze casts are in museums and public places. In addition, there are sculptures of different study-sized scales and plaster versions (often painted bronze) in both monumental and study sizes. Some newer castings have been produced posthumously and are not considered part of the original production.

Rodin made the first small plaster version around 1881. The first full-scale model was presented at the Salon des Beaux-Arts in Paris in 1904. A public subscription financed a bronze casting in 1906, which became the property of the City of Paris, and was put in front of the Panthéon. In 1922, it was moved to the Hôtel Biron, which had been transformed into the Rodin Museum.

A bronze cast of the sculpture can be found in front of Grawemeyer Hall on the University of Louisville Belknap Campus in Louisville, Kentucky. It was made in Paris and was first displayed at the St. Louis World’s Fair in 1904, then given to the city. This sculpture was the only cast created by the lost-wax casting method.

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Easter Island is famous for its stone statues of human figures, known as moai (meaning “statue”). The island is known to its inhabitants as Rapa Nui. The moai were probably carved to commemorate important ancestors and were made from around 1000 C.E. until the second half of the seventeenth century. Over a few hundred years the inhabitants of this remote island quarried, carved and erected around 887 moai. The size and complexity of the moai increased over time, and it is believed that Hoa Hakananai’a (below) dates to around 1200 C.E. It is one of only fourteen moai made from basalt, the rest are carved from the island’s softer volcanic tuff. With the adoption of Christianity in the 1860s, the remaining standing moai were toppled.

The production and transportation of the more than 900 statues is considered a remarkable creative and physical feat. The tallest mo?ai erected, called Paro, was almost 10 metres (33 ft) high and weighed 82 tonnes (80.7 tons). The heaviest mo?ai erected was a shorter but squatter mo?ai at Ahu Tongariki, weighing 86 tonnes (84.6 tons). One unfinished sculpture, if completed, would have been approximately 21 m (69 ft) tall, with a weight of about 145–165 tons. The mo?ai were toppled in the late 18th and early 19th centuries, possibly as a result of European contact or internecine tribal wars.

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One of the most mysterious and powerful women in ancient Egypt, Nefertiti was queen alongside Pharaoh Akhenaten from 1353 to 1336 B.C. and may have ruled the New Kingdom outright after her husband’s death. Her reign was a time of tremendous cultural upheaval, as Akhenaten reoriented Egypt’s religious and political structure around the worship of the sun god Aten. Nefertiti is best known for her painted sandstone bust, which was rediscovered in 1913 and became a global icon of feminine beauty and power.

Nefertiti may have been the daughter of Ay, a top adviser who would go on to become pharaoh after King Tut’s death in 1323 B.C. On the walls of tombs and temples built during Akhenaten’s reign Nefertiti is depicted alongside her husband with a frequency seen for no other Egyptian queen. In many cases she is shown in positions of power and authority—leading worship of Aten, driving a chariot or smiting an enemy.

After Nefertiti had given birth to six daughters, her husband began taking other wives, including his own sister, with whom he fathered the future King Tut (Tutankhamen). Nefertiti’s third daughter Ankhesenpaaten would eventually become her half-brother Tutankhamen’s queen.

On December 6, 1913, a team led by German archaeologist Ludwig Borchardt discovered a sculpture buried upside-down in the sandy rubble on the floor of the excavated workshop of the royal sculptor Thutmose in Amarna. The painted figure featured a slender neck, gracefully proportioned face and a curious blue cylindrical headpiece of a style only seen in images of Nefertiti. Borchardt’s team had an agreement to split its artifacts with the Egyptian government, so the bust was shipped as part of Germany’s portion. A single, poor photograph was published in an archaeological journal and the bust was given to the expedition’s funder, Jacques Simon, who displayed it for the next 11 years in his private residence.

In 1922 British Egyptologist Howard Carter discovered King Tut’s tomb. A flurry of international attention followed, and the image of Tut’s solid gold funerary mask was soon a global symbol of beauty, wealth and power.

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The Statue of Liberty was a gift from the French people commemorating the alliance of France and the United States during the American Revolution. Yet, it represented much more to those individuals who proposed the gift.

Apart from being the most famous monument in the world and not just in the United States, the statue also represents the friendship between France and the United States, who were allies when the Americans were fighting for freedom against the British. The statue is said to be America’s most prized gift even today because of the message that it echoes across the world and helps portray the US as a beacon of freedom and liberty. The 134-year-old statue was a gift from the people of France to the United States and was designed by French sculptor Frédéric Auguste Bartholdi and engineer Gustave Eiffel, the maker of the Eiffel tower in Paris.

The project was announced by French political thinker Laboulaye following the war with Prussia in order to cement deeper ties with the US. At the start, the statue was given the name Liberty Enlightening the World, and a fundraising arm was set up in order to raise funds for the completion of the statue. The project faced a lot of setbacks but after several fundraising efforts, including one by Joseph Pulitzer, whose name is best known for the Pulitzer Prizes, the statue was completed and was installed at Liberty Island Manhattan, where it stands tall even today.  

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Venus of Willendorf, also called Woman of Willendorf or Nude Woman, Upper Paleolithic female figurine found in 1908 at Willendorf, Austria, that is perhaps the most familiar of some 40 small portable human figures (mostly female) that had been found intact or nearly so by the early 21st century. 

Very little is known about the Venus’ origin, method of creation, or cultural significance; however, it is one of numerous “Venus figurines” surviving from Paleolithic Europe. The purpose of the carving is the subject of much speculation. Like other similar sculptures, it probably never had feet, and would not have stood on its own, although it might have been pegged into soft ground. Parts of the body associated with fertility and childbearing have been emphasized, leading some researchers to believe that the Venus of Willendorf and similar figurines may have been used as fertility fetishes. The figure has no visible face, her head being covered with circular horizontal bands of what might be rows of plaited hair, or perhaps a type of headdress.

Catherine McCoid and LeRoy McDermott hypothesize that the figurines may have been created as self-portraits by women. This theory stems from the correlation of the proportions of the statues to how the proportions of women’s bodies would seem if they were looking down at themselves, which would have been the only way to view their bodies during this period. They speculate that the complete lack of facial features could be accounted for by the fact that sculptors did not own mirrors. This reasoning has been criticized by Michael S. Bisson, who notes that water pools and puddles would have been readily available natural mirrors for Paleolithic humans.

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