{"results":[{"id":"doaj_%E2%80%9ETesat+do+kamene%E2%80%A6%E2%80%9C+%C5%BDeny%2C+mu%C5%BEi+a+d%C4%9Bti+na+sv%C4%9Btsk%C3%BDch+n%C3%A1hrobc%C3%ADch+%C4%8Desk%C3%A9ho+ran%C3%A9ho+novov%C4%9Bku+%281500%E2%80%931650%29+na+p%C5%99%C3%ADkladu+Prahy","title":"„Tesat do kamene…“ Ženy, muži a děti na světských náhrobcích českého raného novověku (1500–1650) na příkladu Prahy","authors":[{"name":"Eva Jarošová"}],"abstract":"The paper discusses the sepulchral art produced in 1500–1650 in Bohemia, especially in Prague, analysing the iconography of secular nobles and burghers in the context of early modern funerary sculpture. It explores the changes in funerary iconography, which depended on the deceased’s social status and profession. It also pays special attention to the depiction of women and children on tombstones, which reflected not only aesthetic norms but also religious and social conventions. It shows that tomb sculpture functioned not only as a memorial artefact, but also as a medium for self-presentation and visual communication that provided legitimacy to family claims and reflected contemporary conceptions of virtue, power, and eschatology.","source":"DOAJ","year":2025,"language":"","subjects":["History of Central Europe"],"url":"https://historieotazkyproblemy.ff.cuni.cz/wp-content/uploads/sites/11/2025/06/Eva_Jarosova_118-142.pdf","is_open_access":true,"published_at":"","score":69},{"id":"arxiv_2501.18786","title":"Multispectral 3D mapping on a Roman sculpture to study ancient polychromy","authors":[{"name":"Francesca Uccheddu"},{"name":"Umair Shafqat Malik"},{"name":"Emanuela Massa"},{"name":"Anna Pelagotti"},{"name":"Maria Emilia Masci"},{"name":"Gabriele Guidi"}],"abstract":"Research into the polychromy of Greek and Roman sculptures has surged to explore the hypothesis that ancient sculptures were originally not pristine white but adorned with colors. Multispectral and multimodal imaging techniques have been crucial in studying painted surfaces, revealing polychromies even in traces. In fact, imaging techniques, such as reflectance and fluorescence, can identify different materials and map inhomogeneities, guiding further investigations such as Raman, XRays Fluorescence, and Fourier Transform InfraRed Spectroscopy (FTIR) to investigate residual colors. However, this approach may underestimate the original polychromies' extent over the complex articulation of a sculptured surface. This study proposes a methodology to analyze the original appearance of ancient sculptures using reality-based 3D models with textures not limited to those visible to the naked eye. We employ Visible Reflected Imaging (VIS) and Ultraviolet-induced Fluorescence Imaging (UVF). From the UVF and VIS datasets, the underlying 3D model is built by means of photogrammetry. Through raw data processing, images taken with different illuminating sources are successfully aligned and processed, creating a single 3D model with multiple textures mapped onto the same bi-dimensional space. The pixel-to-pixel correspondence of different textures allows for the implementation of a classification algorithm that can directly map its outcome onto the 3D model surface. This enables conservators to deepen their understanding of artifact preservation, observe mate-rial distribution in detail, and correlate this with 3D geometrical data. In this study, we experiment with this approach on an ancient Roman sculpture of Artemis, conserved at the Archeological and Art Museum of Maremma (MAAM) in Grosseto, Italy.","source":"arXiv","year":2025,"language":"en","subjects":["cs.CV","eess.IV"],"url":"https://arxiv.org/abs/2501.18786","pdf_url":"https://arxiv.org/pdf/2501.18786","is_open_access":true,"published_at":"2025-01-30T22:25:18Z","score":69},{"id":"arxiv_2506.07628","title":"HuSc3D: Human Sculpture dataset for 3D object reconstruction","authors":[{"name":"Weronika Smolak-Dyżewska"},{"name":"Dawid Malarz"},{"name":"Grzegorz Wilczyński"},{"name":"Rafał Tobiasz"},{"name":"Joanna Waczyńska"},{"name":"Piotr Borycki"},{"name":"Przemysław Spurek"}],"abstract":"3D scene reconstruction from 2D images is one of the most important tasks in computer graphics. Unfortunately, existing datasets and benchmarks concentrate on idealized synthetic or meticulously captured realistic data. Such benchmarks fail to convey the inherent complexities encountered in newly acquired real-world scenes. In such scenes especially those acquired outside, the background is often dynamic, and by popular usage of cell phone cameras, there might be discrepancies in, e.g., white balance. To address this gap, we present HuSc3D, a novel dataset specifically designed for rigorous benchmarking of 3D reconstruction models under realistic acquisition challenges. Our dataset uniquely features six highly detailed, fully white sculptures characterized by intricate perforations and minimal textural and color variation. Furthermore, the number of images per scene varies significantly, introducing the additional challenge of limited training data for some instances alongside scenes with a standard number of views. By evaluating popular 3D reconstruction methods on this diverse dataset, we demonstrate the distinctiveness of HuSc3D in effectively differentiating model performance, particularly highlighting the sensitivity of methods to fine geometric details, color ambiguity, and varying data availability--limitations often masked by more conventional datasets.","source":"arXiv","year":2025,"language":"en","subjects":["cs.CV"],"url":"https://arxiv.org/abs/2506.07628","pdf_url":"https://arxiv.org/pdf/2506.07628","is_open_access":true,"published_at":"2025-06-09T10:47:02Z","score":69},{"id":"ss_257f2a0856d802389f5376de4300a31540c9c4d9","title":"Sculpture in the Expanded Field","authors":[{"name":"C. Farrell"}],"abstract":"Conceived as an educational publication to complement exhibitions by artists producing site-specific public art, the catalogue introduces viewers to the concepts of site works and land art. The works of 15 international artists who pioneered these forms are discussed. 6 bibl. ref.","source":"Semantic Scholar","year":2020,"language":"en","subjects":["Art"],"doi":"10.1017/9781108579322.018","url":"https://www.semanticscholar.org/paper/257f2a0856d802389f5376de4300a31540c9c4d9","is_open_access":true,"citations":156,"published_at":"","score":68.68},{"id":"doaj_10.3390/arts13010021","title":"To Touch Time: U.S. Black Feminist Modernist Sculpture in the 1970s and 1980s","authors":[{"name":"Sarah Louise Cowan"}],"abstract":"Modernist propositions long have been understood as atemporal—somehow outside of time—or insistently hailing the future. This temporal framework suppresses the contributions of those excluded from modernist canons, particularly Black women. In this article, visual and material analysis of sculptural works produced in the 1970s and 1980s by U.S. Black women artists Beverly Buchanan, Senga Nengudi, and Betye Saar reveal how Black feminists have engaged with modernist protocols in order to redress cultural erasures of Black women. These practices exemplify \u003ci\u003eBlack feminist modernisms\u003c/i\u003e, or creative practices that unsettle the racist and sexist logics of dominant cultural institutions. Each of these artists utilizes haptic surfaces as a method for defying institutional modernism’s obfuscation of the past. The analysis focuses on Buchanan’s defiance of memorial erasures, Nengudi’s reenactment of labor, including in its historical forms, and Saar’s adaptation of generational memory-making processes. Ultimately, these artists’ rejection of a “timeless” modernism demands that viewers understand the present moment in relationship to a still-evolving past. In this way, Buchanan, Nengudi, and Saar position the present as an accumulation, rather than transcendence, of historical occurrences.","source":"DOAJ","year":2024,"language":"","subjects":["Arts in general"],"doi":"10.3390/arts13010021","url":"https://www.mdpi.com/2076-0752/13/1/21","is_open_access":true,"published_at":"","score":68},{"id":"doaj_10.46748/ARTEURAS.2024.04.019","title":"Выставка «Совершенство традиции: произведения буддийского бурятского искусства из коллекции Государственного Эрмитажа (XIII – начала XX века)»","authors":[{"name":"Елихина, Ю.И."}],"abstract":"Автор рассматривает концепцию и экспонаты выставки буддийского бурятского искусства из коллекции Государственного Эрмитажа» (XIII – начала XX века), призванной показать преемственность монгольской буддийской культуры начиная со времени Чингис-хана на основе богатой коллекции Государственного Эрмитажа. В экспозиции 2024 года соединились археологические артефакты и буддийские произведения скульптуры и живописи. Целью исследования является анализ концепции выставки и рассмотрение некоторых экспонатов. Выставка, впервые объединившая артефакты буддийского искусства, археологические находки и исторические фотографии, посвященные Бурятии, из Эрмитажа, значима в исследовании региональной истории и культуры. Ее новаторство заключается не только в уникальном сочетании экспонатов, но и в комплексном подходе к изучению культуры и искусства населявших эту территорию этносов. Выставка способствовала изучению круга предметов, связанных с историей, археологией и буддизмом Бурятии, помогла изучить культы, бытовавшие в XVIII – начале XX века. Материалом исследования стали экспонаты — находки С.В. Киселёва из средневековых городищ Бурятии и Забайкалья, входивших в состав Великого монгольского государства, предметы из коллекций Э.Э. Ухтомского, П.К. Козлова, А.К. Фаберже, Б.И. Панкратова. Буддийская серебряная скульптура происходит из личных комнат Николая Второго в Зимнем дворце. Фотографии нерчинского фотографа А.К. Кузнецова были поднесены цесаревичу во время его путешествия по Сибири и Забайкалью в 1891 году. Они отражали быт и культуры разных народов, населявших этот регион в конце XIX века. Исследование проведено с использованием проблемно-хронологического, историко-генетического, историко-сравнительного методов, а также метода исследования индивидуального явления в рамках поликонтекстуального подхода. В результате археологические находки и предметы буддийской традиции описаны во временной последовательности;выявлены процессы формирования иконографии и композиции. На основании анализа археологических артефактов, оригинальных текстов, предметов буддийского культа, архивных материалов, опубликованных источников и научных трудов раскрыт ряд вопросов становления и развития буддийской традиции как части духовной культуры регионов Бурятии и Забайкалья.","source":"DOAJ","year":2024,"language":"","subjects":["Fine Arts"],"doi":"10.46748/ARTEURAS.2024.04.019","url":"https://eurasia-art.ru/art/article/view/1148","is_open_access":true,"published_at":"","score":68},{"id":"arxiv_2404.08065","title":"Ephemeral Myographic Motion: Repurposing the Myo Armband to Control Disposable Pneumatic Sculptures","authors":[{"name":"Celia Chen"},{"name":"Alex Leitch"}],"abstract":"This paper details the development of an interactive sculpture built from deprecated hardware technology and intentionally decomposable, transient materials. We detail a case study of \"Strain\" - an emotive prototype that reclaims two orphaned digital artifacts to power a kinetic sculpture made of common disposable objects. We use the Myo, an abandoned myoelectric armband, in concert with the Programmable Air, a soft-robotics prototyping project, to manipulate a pneumatic bladder array constructed from condoms, bamboo skewers, and a small library of 3D printed PLA plastic connectors designed to work with these generic parts. The resulting sculpture achieves surprisingly organic actuation. The goal of this project is to produce several reusable components: software to resuscitate the Myo Armband, homeostasis software for the Programmable Air or equivalent pneumatic projects, and a library of easily-printed parts that will work with generic bamboo disposables for sculptural prototyping. This project works to develop usable, repeatable engineering by applying it to a slightly whimsical object that promotes a strong emotional response in its audience. Through this, we transform the disposable into the sustainable. In this paper, we reflect on project-based insights into rescuing and revitalizing abandoned consumer electronics for future works.","source":"arXiv","year":2024,"language":"en","subjects":["cs.HC","cs.ET","cs.RO"],"url":"https://arxiv.org/abs/2404.08065","pdf_url":"https://arxiv.org/pdf/2404.08065","is_open_access":true,"published_at":"2024-04-11T18:09:00Z","score":68},{"id":"arxiv_2405.10139","title":"Mental Well-being Opportunities in Interacting and Reflecting with Personal Data Sculptures of EEG","authors":[{"name":"Maria Teresa Ortoleva"},{"name":"Rita Borgo"},{"name":"Alfie Abdul-Rahman"}],"abstract":"Data physicalization is a research area in quick expansion whose necessity and popularity are motivated by the pervasiveness of data in our everyday. While the reflective ability of personal data physicalization has been vastly documented, their mental health and emotional well-being benefits remain largely unexplored. We present a qualitative study where we create personal data sculptures of electroencephalograms (EEG) and mental activity, observe users' interactions with them, and analyze their reflections for hints of self-discovery and intended behavioral change. We argue that there is a ground for using personal data sculptures as prompts for reflection on mental well-being and motivators for self-caring, and that data sculptures for mental well-being are a finalized use of data physicalization worth exploring further.","source":"arXiv","year":2024,"language":"en","subjects":["cs.HC"],"url":"https://arxiv.org/abs/2405.10139","pdf_url":"https://arxiv.org/pdf/2405.10139","is_open_access":true,"published_at":"2024-05-16T14:34:04Z","score":68},{"id":"ss_9cd51fd6649e54d24ebeb41895f22aa04231cd1c","title":"Liquid sculpture and curing of bio-inspired polyelectrolyte aqueous two-phase systems","authors":[{"name":"Chongrui Zhang"},{"name":"Xufei Liu"},{"name":"Jiang Gong"},{"name":"Qiang Zhao"}],"abstract":"Aqueous two-phase systems form interfaces and compartments, but converting the liquid structures to functional solids is challenging. Here, the authors use poly(ionic liquids) to form such systems, which can then be converted to gels and used for desalination. Aqueous two-phase systems (ATPS) provide imperative interfaces and compartments in biology, but the sculpture and conversion of liquid structures to functional solids is challenging. Here, inspired by phase evolution of mussel foot proteins ATPS, we tackle this problem by designing poly(ionic liquids) capable of responsive condensation and phase-dependent curing. When mixed with poly(dimethyl diallyl ammonium chloride), the poly(ionic liquids) formed liquid condensates and ATPS, which were tuned into bicontinuous liquid phases under stirring. Selective, rapid curing of the poly(ionic liquids)-rich phase was facilitated under basic conditions (pH 11), leading to the liquid-to-gel conversion and structure sculpture, i.e., the evolution from ATPS to macroporous sponges featuring bead-and-string networks. This mechanism enabled the selective embedment of carbon nanotubes in the poly(ionic liquids)-rich phase, which showed exceptional stability in harsh conditions (10 wt% NaCl, 80 ^oC, 3 days) and high (2.5 kg/m^2h) solar thermal desalination of concentrated salty water under 1-sun irradiation.","source":"Semantic Scholar","year":2023,"language":"en","subjects":["Medicine"],"doi":"10.1038/s41467-023-38236-8","url":"https://www.semanticscholar.org/paper/9cd51fd6649e54d24ebeb41895f22aa04231cd1c","pdf_url":"https://www.nature.com/articles/s41467-023-38236-8.pdf","is_open_access":true,"citations":19,"published_at":"","score":67.57},{"id":"ss_e8d8c3666df47f0b3d20927400b4bde3488737ef","title":"Research on the Analysis and Application of Polymer Materials in Contemporary Sculpture Art Creation","authors":[{"name":"Chao Gao"},{"name":"Feng Wang"},{"name":"Xiaobing Hu"},{"name":"Ming Zhang"}],"abstract":"The application of polymer materials in sculpture art creation is extensive and plays a significant role in the development of sculpture art. This article aims to systematically explore the application of polymer materials in contemporary sculpture art creation. The research comprehensively applies various techniques such as literature research, data comparison, and case analysis to explore in detail the ways, methods, and paths of polymer materials employed in the shaping, decoration, and protection of sculptural artworks. First, the article analyzes three methods of shaping sculpture artworks with polymer materials (casting, printing, and constructing). Secondly, it explores two techniques of using polymer materials to adorn sculpture artworks (coloring and imitating texture); then it discusses the significant approach of using polymer materials to protect sculptural artworks (protective spray film). Finally, the research identifies the merits and demerits of using polymer materials in contemporary sculpture art creation. The findings of this study are expected to enrich the effective application of polymer materials in contemporary sculpture art creation and offer novel techniques and ideas for contemporary sculpture art creators.","source":"Semantic Scholar","year":2023,"language":"en","subjects":["Medicine"],"doi":"10.3390/polym15122727","url":"https://www.semanticscholar.org/paper/e8d8c3666df47f0b3d20927400b4bde3488737ef","pdf_url":"https://www.mdpi.com/2073-4360/15/12/2727/pdf?version=1687081629","is_open_access":true,"citations":10,"published_at":"","score":67.3},{"id":"ss_edb65a1a633ba7ba170a4a6c317554b550e4a4a8","title":"Liquid Film Sculpture via Droplet Impacting on Microstructured Heterowettable Surfaces (Adv. Funct. Mater. 26/2022)","authors":[{"name":"F. Chu"},{"name":"Zhongyuan Ni"},{"name":"Dongshen Wen"},{"name":"Yanhui Feng"},{"name":"Shaokang Li"},{"name":"Lei Jiang"},{"name":"Z. Dong"}],"abstract":"Liquid manipulation plays an increasingly critical role in daily life and future technological processes. Although intensive attention is paid on control-ling droplets, how to manipulate the behavior of larger scale liquid film still remains mysterious. Here, a droplet-impact-induced liquid film sculpture strategy is demonstrated on a microstructured heterowettable surface that can precisely sculpt a liquid film into any graphic pattern. The fundamental principles of the liquid film sculpture are elucidate and a phase diagram is drawn to distinguish three liquid film states upon droplet impacting including dewetting, rupture, and nonrupture. To precisely guide the film sculpture, the microstructured heterowettable surface is designed so that water film will naturally rupture at the top of the microstructure after the droplet impact and subsequently dewet into desired pattern. Liquid film sculpture is accompanied by self-propulsion and high construction speed, both of which are preferred in no-spray printing, painting, cleaning, and drawing, inspiring future artistic and engineering applications. to dewets, the surrounding liquid will finally out-line the designed graphic pattern and this pattern is enduring unless the liquid evaporates to dryness. Moreover, we reveal the physical mechanisms of liquid film rupture and dewetting dynamics by theoretical analysis and numerical simulation and establish the liquid film sculpture conditions. We expect that this work could provide an innovative route for precise liquid film sculpture and promote its application in future artistic and engineering fields. the experimental","source":"Semantic Scholar","year":2022,"language":"en","subjects":null,"doi":"10.1002/adfm.202203222","url":"https://www.semanticscholar.org/paper/edb65a1a633ba7ba170a4a6c317554b550e4a4a8","is_open_access":true,"citations":28,"published_at":"","score":66.84},{"id":"ss_79e49ff2f90e18b78dccc980c7dba538c0f02cae","title":"The Interaction between Public Environmental Art Sculpture and Environment Based on the Analysis of Spatial Environment Characteristics","authors":[{"name":"Yuhong Wang"}],"abstract":"The interaction with the public and the coordinated change with the environment are more important in public environmental art sculpture. To be more accessible to the public, public environmental art sculptures should be integrated with the environment and interact with the public. Paying close attention to the scale and volume design of sculpture is one of the elements that embody and express the connotation of works, as well as one of the objects that sculpture, as a member of environmental elements, must study and analyze thoroughly. Based on this, this paper investigates the relationship between sculpture and environment in public environmental art through an examination of space environment characteristics, with the goal of creating a public space environment in which public art sculpture, the environment, and people are all in sync. The improved AFSA (artificial fish swarms algorithm) model is used to optimize the landscape ecological pattern. The landscape index can be predicted and analyzed more accurately using a dynamic model of landscape pattern from remote sensing and a geographic information system. Experiments show that this algorithm's prediction accuracy has significantly improved, providing a solid foundation for landscape ecological management and planning.","source":"Semantic Scholar","year":2022,"language":"en","subjects":null,"doi":"10.1155/2022/5168975","url":"https://www.semanticscholar.org/paper/79e49ff2f90e18b78dccc980c7dba538c0f02cae","pdf_url":"https://downloads.hindawi.com/journals/sp/2022/5168975.pdf","is_open_access":true,"citations":16,"published_at":"","score":66.47999999999999},{"id":"ss_548c18a48182a34a0919c871d44dbe5cecad681c","title":"Application and Development of Digital Enhancement of Traditional Sculpture Art","authors":[{"name":"Zeyin Yang"}],"abstract":"Sculpture art, as an important carrier of spiritual civilization, also portrays a prosperous scene as an industry with urban and cultural development. Three-dimensional technology offers a new platform for sculpture creation, allowing for the digitization of sculpture works via electronic information technology, and the display of sculpture works in front of people via displays, facilitating the exchange and dissemination of information and promoting the growth and progress of the entire sculpture creation industry. We plan to use digital enhancement technology to conduct small-scale creation experiments on traditional sculpture works, discuss the method of GA (Genetic Algorithm) in image restoration processing, investigate the method of image segmentation processing based on the genetic algorithm, and propose the method of image segmentation processing based on the fuzzy membership surface genetic algorithm, in order to verify and solve the creation difficulties of traditional sculpture works.","source":"Semantic Scholar","year":2022,"language":"en","subjects":null,"doi":"10.1155/2022/9095577","url":"https://www.semanticscholar.org/paper/548c18a48182a34a0919c871d44dbe5cecad681c","pdf_url":"https://downloads.hindawi.com/journals/sp/2022/9095577.pdf","is_open_access":true,"citations":13,"published_at":"","score":66.39},{"id":"doaj_10.21494/ISTE.OP.2022.0802","title":"Une sculpture sur la lune, l’alliance de l’Art et de la Science","authors":[{"name":"Anilore Banon"}],"abstract":"","source":"DOAJ","year":2022,"language":"","subjects":["Arts in general"],"doi":"10.21494/ISTE.OP.2022.0802","url":"https://www.openscience.fr/Une-sculpture-sur-la-lune-L-alliance-de-l-Art-et-de-la-Science","is_open_access":true,"published_at":"","score":66},{"id":"arxiv_2210.04265","title":"3D Reconstruction of Sculptures from Single Images via Unsupervised Domain Adaptation on Implicit Models","authors":[{"name":"Ziyi Chang"},{"name":"George Alex Koulieris"},{"name":"Hubert P. H. Shum"}],"abstract":"Acquiring the virtual equivalent of exhibits, such as sculptures, in virtual reality (VR) museums, can be labour-intensive and sometimes infeasible. Deep learning based 3D reconstruction approaches allow us to recover 3D shapes from 2D observations, among which single-view-based approaches can reduce the need for human intervention and specialised equipment in acquiring 3D sculptures for VR museums. However, there exist two challenges when attempting to use the well-researched human reconstruction methods: limited data availability and domain shift. Considering sculptures are usually related to humans, we propose our unsupervised 3D domain adaptation method for adapting a single-view 3D implicit reconstruction model from the source (real-world humans) to the target (sculptures) domain. We have compared the generated shapes with other methods and conducted ablation studies as well as a user study to demonstrate the effectiveness of our adaptation method. We also deploy our results in a VR application.","source":"arXiv","year":2022,"language":"en","subjects":["cs.CV"],"url":"https://arxiv.org/abs/2210.04265","pdf_url":"https://arxiv.org/pdf/2210.04265","is_open_access":true,"published_at":"2022-10-09T13:48:00Z","score":66},{"id":"ss_5d36be3e00780cd23c3366b605559db139d4abfd","title":"Econundrum: Visualizing the Climate Impact of Dietary Choice through a Shared Data Sculpture","authors":[{"name":"Kim Sauvé"},{"name":"Saskia Bakker"},{"name":"Steven Houben"}],"abstract":"While there is a strong relationship between climate change and human food consumption, it is challenging to understand the implications and impact from an individual perspective. The lack of a shared frame of reference, that allows people to compare their impact to others, limits awareness on this complex topic. To support group reflections and social comparison of the impact of people's food consumption on climate change, we designed Econundrum, a shared physical data sculpture that visualizes carbon emissions resulting from dietary choices of a small community. Our three-week field study demonstrates how Econundrum helped people (i) understand the climate impact of various food types, (ii) reflect on the environmental impact of their food choices; and (iii) discuss the relation between climate impact and food consumption with others. Our study shows how a shared physical data sculpture mediates a complex topic to a community by facilitating the social dynamics in context.","source":"Semantic Scholar","year":2020,"language":"en","subjects":["Geography","Computer Science"],"doi":"10.1145/3357236.3395509","url":"https://www.semanticscholar.org/paper/5d36be3e00780cd23c3366b605559db139d4abfd","is_open_access":true,"citations":62,"published_at":"","score":65.86},{"id":"ss_d9b6388e0076284015fcbdc8cf256e5a06d5917c","title":"Dating and provenancing the Woman with lantern sculpture – A contribution towards attribution of Netherlandish art","authors":[{"name":"M. Domínguez‐Delmás"},{"name":"F. Bossema"},{"name":"Bieke van der Mark"},{"name":"A. Kostenko"},{"name":"S. Coban"},{"name":"S. van Daalen"},{"name":"P. van Duin"},{"name":"K. Batenburg"}],"abstract":"Abstract Studying the wood of art objects such as sculptures, panel paintings and furniture can be crucial to elucidate their chronology and production centre. Here we present an approach that considers the provenance of the wood and its potential availability in different areas as a means to identify the provenance of wooden art objects. We illustrate this approach with an interdisciplinary study aimed to determine the date and provenance of the Woman with lantern, a carved altar fragment from the Rijksmuseum's collections (Amsterdam, The Netherlands). The origin of this object is undocumented, but based on stylistic and iconographic features its provenance was proposed to be the altarpiece of Rennes cathedral (France), carved in Antwerp (Belgium) around 1520 C.E.. However, doubts arose when curators tested the potential fit of the sculpture in that altarpiece and could not find a neat match. Dating and provenancing the wood of the sculpture by standard dendrochronological means failed to produce a date, and comparison of the tree-ring pattern from the sculpture with those of the sculptures from Rennes altarpiece delivered no results either, supporting the suspicion that the Woman with lantern belonged elsewhere. In 2019, X-ray computed tomography (CT) provided digital cross-sections throughout the sculpture and a longer tree-ring series was obtained. This time, the outermost ring was dated to the year 1487 C.E.. The tree was estimated to have been cut after 1495 C.E., indicating a likely production in the first quarter of the 16th century. The origin of the timber in the eastern Netherlands/northwest Germany, combined with empirical evidence about timber availability in various regions of the Low Countries at that time, suggests that the sculpture was made in a workshop located north of the Rhine in the (current) Netherlands, rather than Antwerp. This research has led to the hypothesis that workshops north and south of the Rhine river branches in the Low Countries were supplied by forests located in different areas. If proven correct, establishing the wood provenance will assist in determining the origin of Netherlandish works of art from the late-Gothic and Northern Renaissance periods.","source":"Semantic Scholar","year":2021,"language":"en","subjects":["Art"],"doi":"10.1016/J.CULHER.2021.04.005","url":"https://www.semanticscholar.org/paper/d9b6388e0076284015fcbdc8cf256e5a06d5917c","pdf_url":"https://doi.org/10.1016/j.culher.2021.04.005","is_open_access":true,"citations":16,"published_at":"","score":65.47999999999999},{"id":"ss_10ca67b43bc84ce9bdc770fe3279d8981464be44","title":"Optimization of Daylighting Pattern of Museum Sculpture Exhibition Hall","authors":[{"name":"Xianfeng Huang"},{"name":"Shangyue Zhu"}],"abstract":"In this study, based on the current daylighting situation of a museum sculpture exhibition hall, the exhibition space is classified according to the daylighting requirements of the sculptures. Additionally, the daylighting pattern for the sculpture exhibition hall and the display layout of the exhibits are summarized. The daylighting parameters of the exhibition space under different scenarios are calculated. The exhibition space is simulated and analyzed under three daylighting conditions (flat skylights, flat skylights with side windows, and flat skylights with high side windows), and the daylighting parameters are optimized based on the daylighting patterns and components. It is discovered that with the combination of flat skylights and high side windows, the daylight factor (DF) and uniformity of daylighting (UD) of the sculpture exhibition as well as glare rating of the windows are the most favorable. Therefore, the appropriate daylighting pattern and components are determined, and the corresponding optimization strategy for daylighting is proposed. The results show that the daylighting optimization strategy proposed herein can improve the daylighting quality of the museum sculpture exhibition space and yield a suitable light environment.","source":"Semantic Scholar","year":2021,"language":"en","subjects":["Engineering"],"doi":"10.3390/SU13041918","url":"https://www.semanticscholar.org/paper/10ca67b43bc84ce9bdc770fe3279d8981464be44","pdf_url":"https://www.mdpi.com/2071-1050/13/4/1918/pdf?version=1614303091","is_open_access":true,"citations":13,"published_at":"","score":65.39},{"id":"doaj_10.1080/23311886.2021.1928979","title":"“Secularism” or “no-secularism”? A complex case of Bangladesh","authors":[{"name":"Abdul Wohab"}],"abstract":"The incidents (in 2017) of changing the secular content of textbooks and removing a sculpture from the Supreme Court premises in Bangladesh raise a question among people who are sympathetic to secularism that Bangladesh is moving towards a theological state like Pakistan or becoming an Islamic country. They also refer to the remark that the current Prime Minister (Sheikh Hasina) made in 2014 that Bangladesh’s state administration would run under the rule of the Medina Charter (an Islamic constitution based on the Holy Quran and Sunnah, which aims to establish peace and unity by creating universal rules), as an indication of the religious characteristic that would remain at the centre of the state political activities in Bangladesh. By examining the historical and social context of Bangladesh since 1971 and reviewing the relevant contents of four newspapers—the Daily Inqilab (Bengali), the Prothom Alo (Bengali), the Daily Naya Diganta (Bengali) and the Daily Star (English)—from 2014 to 2017, this article rejects the claim made by the people who are sympathetic to secularism. This article, however, argues that Islam was traditionally/historically integrated in Bangladeshi society and culture as a unique (syncretistic) tradition in which political parties were forced to apply religious symbols and language in the political environments to stay in the government’s power. The article concludes by raising a question with the current integration of secular political party and Islamist force (Hefazat-e-Islam), being although there is a functional relationship remaining between secularism and Islam at the state level, is Bangladesh stepping into a “no secularism” era?","source":"DOAJ","year":2021,"language":"","subjects":["Social Sciences"],"doi":"10.1080/23311886.2021.1928979","url":"http://dx.doi.org/10.1080/23311886.2021.1928979","pdf_url":"http://dx.doi.org/10.1080/23311886.2021.1928979","is_open_access":true,"published_at":"","score":65},{"id":"doaj_10.4000/crcv.19167","title":"Le rôle de la sculpture dans l’architecture des résidences de magnats au xviiie siècle","authors":[{"name":"Tomasz Dziubecki"}],"abstract":"The paper discusses two eighteenth-century magnates’ residences, the architecture of which functioned as a political statement, drawing on cultural codes rooted in the ancient tradition and borrowing from the model of Versailles. The palaces of Jan Klemens Branicki (1689–1771) in Białystok and of Eustachy Potocki (1720–1768) in Radzyń were built in the mid-eighteenth century. The analysis of their forms, spatial design and sculptures sheds light on their function as a ceremonial space serving political purposes. Our study focuses on the examination of the entrance gates, façade decoration and the sculptures located in the vestibules, which play a key role in the symbolic structures of the residences, as well as the gardens with their pavilions and sculptures. Together these elements constituted the Gesamtkunstwerk (total work of art) of these magnates dreaming of being elected king.","source":"DOAJ","year":2021,"language":"","subjects":["Fine Arts","History of the arts","History of France"],"doi":"10.4000/crcv.19167","url":"http://journals.openedition.org/crcv/19167","is_open_access":true,"published_at":"","score":65}],"total":91528,"page":1,"page_size":20,"sources":["DOAJ","arXiv","Semantic Scholar","CrossRef"],"query":"Sculpture"}