Abstract
In this paper, the realism of equine reliefs on 539 fine arts in the world were analyzed in comparison with actual equine surface structures and organic constitutions. Selected were 20 reference points on the surface of the actual equine body. In the various actions of the actual horse, the deformation, or, variation of those reference points was observed on cinematography. Reference pattern lists were made for analysis using those kinematic data. Based on those patterns, the percentage of realism was calculated, using 100 to describe art drawn in the true likeness of an actual horse, by counting the number of reference points represented on drawn horses of each art. The percentage values were named the "Coefficient of Utillization of Anatomical Structures" (CUAS). The mean value of the CUAS of all samples was 62%. In Ancient Greece? Roma, Renaissance and Occident in 17-19C, many equine representations generally indicated a high value of CUAS. In the Stone Age, Early Greece, Middle Ages, the Byzantine Period, and Occident from the Middle Ages to the Renaissance, horses in the arts were drawn on a lower value of CUAS. In Japan for all ages, the Ancient Orient, from Shing to Tang in China and Occident of the 20C, no fixed trend was observed in the value of CUAS. Futhermore, among the 20 reference structures, the frequency in which the medial thigh region, the crus region, the pectoralis superficialis and the triceps brachii muscles, and the tuber coxae were drawn, was over 70% in all of the samples.
[Correction] JJES Vol.3 No.2 (1992) pp.e6-e6
