Laocoon.
Laocoon, the priest of Troy, warned people not to bring Trojan horses left by the Greeks into the city to avoid death. But God had decided to destroy Troy and hated laocoon for ruining his plan, so God sent a python to kill laocoon and his son. This tragic statue of the conflict between man and god shows the extreme physical pain of the victim. Father stood in the middle, his expression was very painful and fearful. The son on the left is dying, and the son on the right is entangled with the snake, but it is possible to escape. The composition is pyramid-shaped, which can not only express the theme, but also make the image full, powerful, steady and changeable. In the winding and twisting of the giant snake, they are closely connected with each other to form a moving whole.
Comparing laocoon with the Greek sculpture in its heyday more than 3,000 years ago, it can be clearly seen that the Greek culture at this time was influenced by foreign countries, and the sculpture also changed from focusing on idealized gods to focusing on secular life. In order to show the ideal heroism of the Greeks and the elegance of the goddess, the works in the heyday of Greece always maintain the overall quiet harmony and symmetry, and pursue its simple aesthetic feeling. Sculptors always weaken the physiological characteristics of expressions, fail to see clear emotions and physical expressions, and even the characters still lack excitement in times of sadness or tension. Laocoon, on the other hand, played up the victim's last struggle on the verge of death with superb anatomical knowledge. In addition to facial and body expressions, even hand and foot gestures have broken through the traditional norms, and they are as vivid as the tragedy Hannah Quinlivan, which is worthy of being a vivid classic.