Bas Relief, High Relief and Sunk Relief Explained

Bas relief, high relief and sunk relief are three ways of carving or modelling figures so that they stay attached to a flat background. In bas relief, or low relief, the design projects only slightly from the surface. In high relief, the forms stand out at least half their natural depth and parts may come completely free of the background. In sunk relief, the design is cut below the surface, so it sits within the wall rather than in front of it. This guide gives the definitions, famous examples of each, how relief is made in plaster today, and how to choose the right one for a wall.

What is relief art

Britannica defines relief as any work in which the figures project from a supporting background, usually a flat surface. It sits between painting and sculpture in the round. You see it from the front, like a picture, but it has real depth that catches light and casts shadow. Relief is grouped by how far the forms project, and Britannica names the main kinds below.

Bas relief, or low relief

In bas relief the design projects only slightly from the ground, and there is little or no undercutting of the outlines. Because nothing stands far out, bas relief is subtle, suits long friezes and is forgiving in a busy space.

• The Parthenon frieze. The British Museum describes the frieze as carved in low relief. It ran around all four sides of the temple in Athens and shows the procession of the Panathenaic festival in honour of Athena. The temple was built between 447 and 438 BC, with sculpture continuing until 432 BC. About 75 metres of the original 160 metres of frieze are in the British Museum.
• Donatello's squashed relief. Donatello developed rilievo schiacciato, literally squashed relief, an extremely shallow carving that still allows remarkable detail. The V&A in London displays his marble Ascension with Christ giving the Keys to St Peter, made around 1428 to 1430.

High relief

In high relief, Britannica says, the forms project at least half or more of their natural circumference from the background and may in parts be completely free of it, coming close to sculpture in the round. Middle relief falls roughly between the two. High relief gives the strongest shadows and the most drama.

• The Parthenon metopes. On the same building, the metopes were rectangular slabs carved in high relief and set high on the outside of the temple above the columns. Their subjects included battles between gods and giants and between Lapiths and centaurs. The British Museum holds 15 of the original 92.
• The Gates of Paradise. Lorenzo Ghiberti's gilded bronze doors for the Baptistery in Florence, completed in 1452 after around 27 years of work, carry ten large relief panels of Old Testament scenes. Britannica counts them among the greatest works of Early Renaissance sculpture for their command of perspective. The originals are now in the Museo dell'Opera del Duomo.

Sunk relief

In sunk relief, also called incised relief, the carving is cut below the level of the surrounding surface and contained within a sharply incised outline. Britannica notes that this outline frames the image with a strong line of light and shade. Intaglio is related but carved as a negative image, like a mould.

Sunk relief is closely linked with ancient Egypt. The Metropolitan Museum of Art explains, in describing its limestone relief of Akhenaten Sacrificing a Duck, that the technique suited the outside walls of temples because the outlines cast shadows in strong sunlight. In the Amarna period, almost all relief was carved this way.

How relief is made in plaster today

Stone and bronze reliefs are carved or cast in a workshop. Plaster gives another option, because it can be modelled directly onto the wall. Zavoré sculpts bas relief by hand in plaster on site. The design is agreed first, then the relief is built up and shaped in place, so it follows the wall exactly and has no joins or frame. The finished relief can be left white, painted or lit, and its depth can be chosen for the wall and the room.

The alternative is a cast relief, where a panel is moulded from a model and fixed to the wall. Casting suits repeats and patterns, while sculpting on site suits one off designs and anything that needs to wrap around a corner, an alcove or a curve.

Choosing which relief for a wall

• Bas relief suits most homes. It works in hallways, on stairs and behind beds, where people pass close by and deep projections would be knocked. It also suits soft botanical designs, landscapes and patterns.
• High relief suits a focal point seen from a distance, such as a chimney breast, a double height wall or a reception area. It needs more depth, so plan the furniture and lighting around it.
• Sunk relief keeps the wall face flush, which suits narrow spaces, lettering and designs where you want a crisp line rather than a raised form.
• Light decides how any relief looks. Light from one side at a low angle brings out the shape. Flat light from the front can make even deep relief look flat.

Questions we get asked

What is bas relief?

Bas relief, or low relief, is carving or modelling in which the design projects only slightly from a flat background, with little or no undercutting.

What is the difference between bas relief and high relief?

Depth. Bas relief stays close to the surface, while high relief projects at least half the natural depth of the forms and may stand partly free of the background.

Where can I see famous reliefs in London?

The British Museum holds part of the Parthenon frieze and metopes, and the V&A displays Donatello's shallow marble Ascension relief.

Can you sculpt a relief on a wall in my home?

Yes. Zavoré sculpts bas relief by hand in plaster on site, across the UK, and it can be left white, painted or lit.

Where to go next. See our 3D Wall Art and Bas Relief page, read about sculptural wall art in all its forms, or browse sculptural plaster walls and panels. To talk through a design, contact us, call or WhatsApp 07592 929191, or email support@zavore.co.uk.