Armiyaw Sulemana, Ebenezer Fiifi Mensah, Samuel Nii Adamah Sampah
et al.
This study looks at the development of figurative sculpture in ancient Chinese and traditional West African sculpture, aiming to preserve insights for future generations. While there has been a burgeoning corpus of scholarly inquiry exploring China-Africa relations, much of the research remains siloed, focusing exclusively on one region’s artistic traditions. The absence of comparative studies examining the intersections of symbolism, and form in the sculptural practices of these regions presents a significant scholarly gap. Addressing this, the study employs qualitative research methods, utilizing stylistic and iconographic analysis to compare the development of selected traditional figurative sculptures. The analysis emphasizes formal aesthetics, including visual elements, posture, defining characteristics, and production principles. Findings reveal that both traditions serve as profound expressions of cultural identity and spiritual beliefs, employing distinct stylistic and iconographic frameworks. Ancient Chinese sculptures emphasize spiritual similitude and symbolic adherence, while West African works often prioritize generic physiognomy and cultural symbolism. By bridging these artistic traditions, the study enhances appreciation for their unique contributions and provides valuable insights into their historical and societal contexts, enriching global art history discourse and fostering a deeper understanding of transcontinental artistic heritage.
The slogan is of great importance, as it is a message with significance related to a specific goal that refers to the viewer, and its structure may be a form, letter, word, or brief free linear elements, or a mixture between them, as the slogan has symbolic connotations that excite the recipient and affect his sensory perception this research sought to present sculptural proposals for the slogans of the faculties of the university of Basrah, and this study included four chapters. To him: the importance of this study is evident from the importance of designing the sculptural logo and its pivotal role in achieving the visual identity of the faculties of the university of Basrah. As for the limits of the research: the spatial limits: (Iraq - Basrah - Basrah university) the temporal limits (2022).
Among the results reached by the researcher:
1. The researcher focused on the topic of simplicity and shorthand in the models of sculptural slogans proposed for the faculties of the university of Basrah, which work to attract the concept of diversity, unity, and symmetry because of the absolute methods they contain that depict the data of the geometric perception, and its dominant aesthetic action in the form of sculptural slogans.
Vadim Parfenov, Sergei Igoshin, Dmitriy Masaylo
et al.
Three-dimensional laser scanning is a novel measurement technique that is frequently used for the documentation of cultural heritage (CH) objects. In the process of 3D scanning, one can obtain computing 3D models of artworks to be documented. It allows one to produce detailed digitized archives of important CH objects. Moreover, the use of 3D scanning enables the digital reconstruction of architectural fragments, sculptures, and other artworks. One more important application of this technique relates to the creation of molds and replicas for replacements of outdoor CH objects in case their preservation requirements do not allow them to remain in their original place due to the influence of environmental factors. One of the most effective ways of creating replicas is the use of laser additive technologies. Therefore, the combination of 3D scanning and additive technologies is a very promising way of preservation of CH. This paper describes several case studies concerned with the combined usage of 3D laser scanning and additive technologies for digital reconstruction and replication and of outdoor sculptures in St. Petersburg city. One of them is the reconstruction of the zinc sculpture “Eva at the fountain” (XIX century, England), which was destroyed during WWII. Its replica was created by means of laser stereolithography. Eventually, one more project is related to the reconstruction of the fragment of the sufficiently damaged cast-iron XIX century monument. This object was reconstructed using two laser technologies: direct metal laser sintering (DMLS), and laser cladding (LC).
Verena Laschinger, Annemarie Mönch, and Sophia Klefisch
At first glance, “A Marble Woman” (1865) seems to offer but a trite marriage plot, assuaging Louisa May Alcott’s contemporary readers while containing the heroine’s scandalous abilities. On a second and read through a new materialist critical lens, it becomes apparent how cunningly the female sculptor Cecil negotiates her creativity with the societal demands on the true woman and the marriage doctrine of her time. The sensational story’s twist reveals the female protagonist’s masterful manipulation of her guardian-husband Yorke who was, just as the reader, under the assumption that he was the one molding her to his needs. The protagonist’s true artistry, we realize, is not static sculpture but vibrant performance which renders her simultaneously as woman and marble, artist and an artwork.
Even if it is a tangible, symbol belongs to the domain of the image because we experience it with sight. It is precisely this original domain that is the link that completes communication, because after all, before language there was an image provided to us by the organ of sight, the eye. We first saw, and only later adopted the language which proves the analogy of the connection of these two forms of communication. What we cannot say with language, we try to convey with a picture. Every culture complemented this communication problem with a symbol that sought to touch the sacred, the unspeakable. At first glance sometimes by a different form, but with a common essence.
The course of the development of the symbolic form, what it represented and how man used it in the past and how it is used now, seeks to show within the opinions and research of individual authors who have dealt with the problem of symbolic form.
This is also the introductory part of the doctoral thesis “Sculpture as a symbolic form in the artistic-ritual act - Nexus” which sought to prove the universality of the individual creative process as a form that allows man to self-knowledge.
Communication. Mass media, Philosophy. Psychology. Religion
Like any other south Asian city, Delhi had grown organically through migrants of different communities and classes. Many working-class people develop their site of work and residence through a network of social relationships. Most of the time, these sites are illegal or quasi-legal. They often suffer the blow of violence of demolition due to the beautification of the city or through the logic of hygiene. These migrant working-class people are seen as trace-passers in the city. One such site is Meena Bazar. It is a makeshift market outside the main gate of Jama Masjid, a Mughal time famous mosque in old Delhi. This mosque stands just opposite the side of another spectacular Mughal site, Red Fort. Every year these two Mughal monuments attract millions of tourists.
The images of animals or their (more or less) stylised motifs once depicted in the form of painting and sculpture, and nowadays through various media, have many stories to tell. Their ancient images point to the undeniably great role that animals played in human life. The rich material culture, as well as the written sources we have today, enables us to examine – both in physical and spiritual terms – the coexistence and co-creation of the worlds of people and animals in the region that we now call China. General animal research, especially within Europe, usually concerns spatial and physical differences; animals from ancient, medieval and early modern times are researched in the context of their utilitarian role, as well as their exoticism, discovering new species and deepening knowledge about those already known to man. Creating a picture of the animal images in Chinese Neolithic art, I hope to present various social and political practices that have influenced the acquisition of knowledge about animals, and thus to discover their role in human life. Chinese animal studies to date in pre-dynastic and dynastic eras regularly focus on animals as spiritual beings and sources of nutrition. It is worth looking at the significance of animals from a different angle – from the perspective of art, which can inform us about animals and people in the context of religion, magic, symbols, aesthetics and the spiritual life of both. My article focuses particularly on the decorative motifs appearing in ceramics of three Neolithic cultures: Yangshao 4000–3000 BC, Hemudu 5500-3300 BC and Longshan 2500-1900 BC.
History of scholarship and learning. The humanities, Fine Arts
Problem Definition: The usage of inscriptions in the Safavid monuments has been expanded and diverse, and the initial study of these works shows that the Safavid artists often used Thuluth and Kufic inscriptions to write religious themes and Nastaliq for non-religious inscriptions. However, this is not certain as Nastaliq inscriptions that contain religious themes exist.Objective: The present research has been carried out with the aim of identifying and categorizing the religious themes used in Safavid Nastaliq inscriptions. In other words, the main question of this research is that what is the status of religious themes in the Nastaliq inscriptions during the Safavid dynasty?Research Method: This research follows a descriptive and analytical method. The research data are based on library studies and field findings. The case studies are belonging to the Safavid era in Iran, with all historical monuments being considered in this period. In this research, all available samples were studied and after collecting data, the religious themes used in the samples were classified.Results: The results of this investigation, based on the study of the contents of about 250 Nastaliq inscriptions in 140 Safavid monument, indicate that 33 of them contain religious themes (about 13%). In other words, about 87% of Nastaliq inscriptions contain non-religious themes. In addition, the results indicate that the religious themes used are as follows: praying phrases (14 items in 19 works), Quranic verses (4 verses in 9 cases), and Hadith (2 hadiths in 5 inscriptions). Also, among the Nastaliq religious inscriptions in Safavid era, the most frequent is the prayer of "Nad Ali" (4 items) and the Hadith "Madinat al-Ilm" (I am the city of the knowledge and Ali is its entranceway) (3 items), which confirms and emphasizes the existence of Shiite tendencies in the formation of the mentioned works.
Markazi province is one of the long-standing centers of Iranian carpet weaving. Farahan is a large area of Markazi province that includes more than 200 villages and weaving centers. Sarough, as a prominent Iranian carpet brand, is one of the most important centers of carpet weaving in Farahan. Farahan carpet, which has been the origination and the first carpet of Markazi province, began to grow, develop, and flourish in the middle of the Qajar period due to the presence of Tabriz merchants and then the establishment of foreign companies in Sultanabad. It was at this time that Farahan Carpet found its true identity with the help of a coherent and coordinated management and exemplary quality of production.Currently, Farahan and Sarough carpets are presented in the most prestigious museums, collections, and galleries around the world. The quality of weaving, brightness and sparkle of colors, and beautiful and varied patterns (which are the result of the attitude, taste, talent, and imagination of Iranian designer artists) have made them unique. As a result, during the ups and downs of economics and art caused by global challenges, they have always been interesting, as components of identity and quality, for the manufacturers in all eras, especially the recent decades. Farahan Carpet Company is one of the most prominent manufacturers of Farahan carpet, which has been working in this field for almost six decades. This company is based on indigenous, national, and transnational standards and consciously follows a purpose. It examines the needs of the market and the customers in order to offer coherent products with two traditional and modern approaches. The destination and target markets of most of these products include the United States, Europe, and the Far East. In Farahan Carpet, all the steps and production processes from the beginning to the end are performed under the supervision of the company's managers and experts. The lack of resources in the field of Farahan carpets highlights the need for this research. In sources which briefly refer the carpets of Markazi province and its subordinate cities and villages, such as "Persian carpet" (Edwards, 1989), "Persian carpets" (Hangeldin, 1996), "Ghalin” (Sabahi, 2014), “Study of Persian Carpet” (Jouleh, 2011), and “Golden Sunset of Sarough Carpet” (Sooresrafil, 1993), there have also been some brief and general references to Farahan carpet and its villages, such as Sarough. In addition, in recent years, studies have been conducted on the carpets of Markazi province (Arak, Farahan, Sarough and Jirya), namely "review, analysis, and introduction of native and original designs and patterns of Arak Carpet weaving school (Sultanabad)" (Afroogh, 2017) and "Study, analysis, and introduction of new and imported (adapted) designs and patterns in the contemporary carpets of Arak (Sultanabad)” (Afrough, 2018). The present study aimed to introduce the Farahan carpet-weaving school and the design and patterns of its carpets in order to study, investigate, and introduce the Farahan Carpet company and its products.
<p><strong>Resumen</strong></p><p>Se analiza desde el punto de vista histórico-artístico un interesante monumento funerario de la década de 1480, obra que atribuimos al taller del notable escultor flamenco <em>Egas Cueman</em>, uno de los mejores en tiempo de los Reyes Católicos. Es un sepulcro de inspiración hispano-flamenca y, pese a los deterioros, de gran calidad, pues destaca entre los conservados en Extremadura.</p><p><strong><em>Palabras clave</em>:</strong> Nieva, Zúñiga, escultura gótica, hispano-flamenco, <em>Cueman</em>, Monasterio de Guadalupe..</p><p> </p><p><strong>Abstract</strong></p><p> </p><p>An interesting funerary monument from the decade of 1480 is analyzed from the historical-artistic point of view, a work that we attribute to the workshop of the remarkable flemish sculptor <em>Egas Cueman</em>, one of the bests in the days of the Catholic Monarchs. It is a sepulcher of hispanic-flemish inspiration and, despite the deteriorations, of great quality, as it stands out among those preserved in Extremadura..</p><p><strong><em>Keywords</em>:</strong> Nieva, Zúñiga, gothic sculpture, hispanic-flemish, <em>Cueman</em>, Guadalupe Monastery.</p><p> </p>
In this research, an activity based on 5E model for STEAM education was implemented. The activity plan was designed by researchers for the “Reflection in the Mirror and Absorption of Light” in the 7th grade science class. The research was implemented in a 7th grade group of 30 students in 2017-2018 academic year. Five STEAM focused activities were completed over 5 weeks (20 hours in total). The students performed the activities by applying the engineering design process with group work. Kaleidoscope, reflective sculpture, solar oven, spectroscope, and vehicle of light show designs were generated in the activities. As a result of the observations and interviews made in the research, positive results have been obtained that students made creative designs as much as possible and liked to work with the activities. The activities shared in the article are concrete examples of STEAM education in classroom for teachers and researchers.
Although in the wake of the Modern Movement tradition, Álvaro Siza Vieira’s architectural research moves along the thin red line between abstraction and representation. The apparent arbitrariness of some of his compositions, widely analyzed in typological and social key, is primarily an expression of his attention to the moving subject that never translates into illusory devices. Yet, in the last two decades of the 20th century, anthropomorphic and zoomorphic presences began to haunt his architectures, addressing to new meanings. The keys to understanding this phase of Siza’s creative trajectory reside in his hypertrophic graphic activity, in his production as a designer and, most of all, as a sculptor. On one hand, his sketches reveal the tension and negotiation between architecture body and human body, which to some extent constitute the extremes of his formal investigation. On the other hand, his objects and sculptures result as intermediate moments of experimentation and clarification by responding the ergonomic demands through the semantic economy of objet trouvée. Through them, Siza’s architectural anthropomorphism can be interpreted as a moment of transition towards an architecture parlant, which relies on the connotative participation of people to put in scene no longer figures or characters but interactions and feelings: the opportunity of a meeting.
Focusing on the Capitoline Red Faun, this paper concerns the 3-dimensional digital model (3DDM) and its potential utility in creating accurate conservation condition reports. Tradition condition reports verbally express information about the state of a work of art, such as its preservation or past restorations, and are often supplemented with photographs or drawings. The various historical catalogues that have appraised the condition of the Capitoline Red Faun, more aptly referred to as “scholarly catalogues” demonstrate the potential for ambiguity within this practice; of the five accounts appraising the state of the Red Faun, no two agree on which parts are ancient and which belong to the eighteenth-century restorations of Bartolomeo Cavaceppi and Clemente Bianchi. Given that this sculpture is included within the art historical canon of Hellenistic sculpture, a new condition report is timely. This paper undertakes an exhaustive analysis of the various joins and offers another condition report, this one illustrated with an interactive, annotated 3DDM. When served to the public and scholars alike, these interactive condition reports can act as a critical tool, garnering interest in and facilitating re-appraisals of status such as the Capitoline Red Faun.
This retrospective look at the 1979 British Council travelling exhibition to Paris, Un Certain Regard Anglais, considers whether it was an accurate picture of English art practices at the end of the decade. I examine the aims of its English and French curators, and its reception by art critics and audiences. I find that the exhibition raises timely questions about how national characteristics might be reflected in art practice, and how, despite the cultural and societal shifts of the 1970s, omissions on the grounds of colour and gender prevail. With this in mind, my short essay finds that the radical objectives which are often attributed to this period of English art practice were not so widespread as history would have us believe.
Asphinctites tenuiplicatus [M] and Polysphinctites secundus [m] from the Asphinctites tenuiplicatus Zone (Early Bathonian), are usually considered as a sexual dimorphic pair, although authors describe them as separate species. We used statistical methods to test the sexual dimorphic correspondence between those morphospecies, based on a rather large sample of well-preserved macro- and microconchs derived from a single horizon of calcareous concretions in the Polish Jura. Our results indicate that both dimorphs or sexes have identical ontogeny up to a critical diameter, from which they diverge towards the characteristic morphology and sculpture of each dimorph. Thus, both dimorphs are described as a single species: Polysphinctites tenuiplicatus [M and m]. After review of the several nominal species usually assigned to the genera Asphinctites and Polysphinctites throughout their stratigraphic and biogeographic range in the Early Bathonian of the Tethys, it is concluded that they actually correspond to only two species of a single lineage. The corresponding name for the lineage should be Polysphinctites (= Asphinctites as a junior synonym).
Thehistorical andiconographicstudy allowed to highlightthe historical significance ofthe sculpturewhilethe detailedobservations of the implementation revealthat materialsand techniques usedare typical ofthesculptureGerman of this period.The proposedtreatment includes animportant workofremoval of the overpaints recovering the originalpolychromy layer on the Christ who allows to appreciate better the qualityof execution of thesculpture.
A new species of the ponerine ant genus Myopias Roger, 1861 collected from southwestern China is described based on morphological features. M. daia sp. nov. is allied to M. luoba Xu & Liu, 2012, but differs from the latter by the shape of the posterior head margin, eye facet number, petiolar node shape, head sculpture, body color, and total length. The new species is also allied to M. nops Willey & Brown, 1983 and M. menba Xu & Liu, 2012, but differs from the latter two species by petiolar node shape, eye facet number, and body sculpture and color. A key based on the worker caste is provided to the eleven known Oriental species of the genus for the first time.
Among various styles and approaches to illustration, creating opti-cal illusion and deceptive images has attracted the attention of avant-garde illustrators. The approach thus has had a significant influence on contemporary illustrations. The present study seeks to examine and analyze characteristics of 50 selected works of illustration by 5 distin-guished avant-garde illustrators who attempted to use optical illusion and deceptive images in their works. In this study, a qualitative and de-scriptive method was used to present analyses and comparisons of the illustrations. In doing so, the works of Rene Magritte, M. C. Escher, Rob Gonzalvez, Octavio Ocampo and Jos De Mey were analyzed with re-spect to form, content, composition, color, light, style, structure, lines, etc. Also, common characteristics of these works were presented based on frequency of occurrences; and, consequently, theoretical and prac-tical conclusions were drawn.