The Warrior: A Brief Review
Dasavant is a Valhallan sculptor, painter, and architect and key figure of the Valhallan Renaissance, who exerted an unparalleled influence on the development of Valhallan art. Considered by many the greatest artist of his lifetime, and by some the greatest artist of all time, his artistic versatility was of such a high order that he is often considered a contender for the title of the archetypal Versatile artist, along with his rival, the fellow Valhallan, Ramdas.
Dasavant was born in a small town situated in Valhalla. For several generations, his family had been respected Army officers in the Valhallan Army; he and his family were survivors of the Last Demon attack in Valhalla. He was saved by Primarch Himself, this incident greatly impacted him. He became greatly enamored with Primarch. He seems to have developed an obsessive need to express his creativity through his Art and show his gratitude towards the Primarch. At that point of time, there seems to be no Artistic Tradition Present in the Planet, But Dasavant refused to be discouraged. Through countless hours of self-study and Effort, he himself kick-started Valhallan Renaissance.
In painting, he is the greatest ever painter of depicting War and its aftermath. No artist who has followed him in this area has remained uninfluenced by his figures. Also, his figurative expressiveness remains unequaled. These achievements - exemplified by his iconic fresco The Birth of Humanity on the ceiling of the Imperial Palace - had a lasting impact on the theory and practice of fine art as taught by the great academies of Imperium. In sculpture - his main forte - his understanding of space, form, and appearance remains unmatched, as does his ability to express a wide variety of different emotions in three-dimensional marble, all of which makes him one of the greatest sculptors we have seen. In architecture, he is the equal of any of his contemporaries. His greatest designs are those for the First Temple of Golden Path and the Valhallan Capital.
He aspired to beauty, and harmony more than realism. His works may have been based on nature but he had no interest in mere replication of Ancient Artworks. Instead, he looked for ultimate truth in a study of the classical world of Ancient Greek and Eastern culture. It was this that provided him with an ideal of perfection: their aesthetics. Thus, Greek philosophy provided the secret of the perfect human type with its proportions, muscular structure, oval face, triangular forehead, straight nose, and balance - with the weight on one hip - all of which can be seen in his paintings or his immensely expressive sculptures, while eastern philosophy provided him the secret of symbolism which further elevated his works. He is never afraid to bend the realistic rules of anatomy and proportion, in order to increase his power of expression which is the direct influence of Eastern philosophy over his Artwork.
It has been customary to consider only four sculptures as representing his activity before The Warrior: the two reliefs for Sigilite Order, the Buddha Statue and the Battle of the Valhalla; the three small figures for the Tomb of his father. However, we will focus more on one of his most famous work which is "The Warrior" where 11th Primarch is depicted as tense and combat ready before his first battle with Daemons. According to Fulgrim, instead of being shown victorious over a foe much larger than he seems to contemplate his future actions. He transmits exceptional self-confidence and concentration, both values of the "thinking man".
The statue appears to show him after he has made the decision to fight Daemons but before the battle has actually taken place, a moment between conscious choice and action. His brow is drawn, his neck tense and the veins bulge out of his lowered right hand. His left hand holds an undecorated sword and his right hand, which remain empty. The twist of his body effectively conveys to the viewer the feeling that he is in motion, an impression heightened with contrapposto. According to Imperial scholars, contrapposto poses were a distinctive feature of antique sculpture. This is typified in "The Warrior", as the figure stands with one leg holding its full weight and the other leg forward. This classic pose causes the figure's hips and shoulders to rest at opposing angles, giving a slight s-curve to the entire torso. The contrapposto is emphasized by the turn of the head to the left, and by the contrasting positions of the arms.
It is known from documents that he worked at the statue in utmost secrecy, hiding his masterpiece until it is completed. Since he worked in the open courtyard when it rained he worked soaked. Maybe from this, he got his inspiration for his method of work: it is said he created a wax model of his design and submerged it in water. As he worked, he would let the level of the water drop, and using different chisels, sculpted what he could see emerging. He slept sporadically, and when he did he slept with his clothes and even in his boots still on, and rarely ate.
When we see it we are amazed that a man of 30 could have achieved so immediately what Greek and Eastern sculpture of antiquity had attempted in vain: a statue much bigger than life which does not oppress as a monstrous abnormality. Dasavant overcame this problem of size by portraying his "The Warrior", as the traditional figure of an adolescent, in such a way that we feel his inherent potential of further growth. It was no part of the artist's intention to emulate classical proportions, but rather to replace them with a new beauty of expressive suggestion, and there are many disproportionate elements in the figure which are precisely those of adolescence. The huge head, its mass increased by the curly hair, the long arms and heavy hands, the slender flanks and the excessively long legs, somehow combine to give this giant a feeling of spontaneous harmony. Fulgrim rightfully praise this Artwork by saying "For in it may be seen most beautiful contours of legs, with attachments of limbs and slender outlines of flanks that are divine; nor has there ever been seen a pose so easy, or any grace to equal that in this work, or feet, hands and head so well in accord, one member with another, in harmony, design, and excellence of artistry".