" Epulium Jovis " took place. There is an ancient sculpture ?the fill of Mithias?pictured in Forlong's " Rivers of Life," where Great Taurus, symbol of the sun, is no v struck down, pierced through by a Phrygian youth, who had long loved and worshipped him. All the powers of Brumel, the wintry solstice, have combined to emasculate the sun. The storms and winds of winter are keen and hard. The fruits have
Rut Cavero-Luján, Itahisa Pérez-Conesa, Fátima Felisa Acosta-Hernández
et al.
The dewaxing process in the artistic lost wax casting technique faces significant problems when using the conventional gas-fired combustion method. This approach generates gas emissions, operational risks and limited material recovery, which underlines the need to explore more sustainable and efficient alternatives. In this study, a comparative analysis is made between the conventional method and an innovative microwave (MW) based technique, evaluating variables such as processing time, temperatures reached, gas emissions, wax recovery and the properties of the recycled wax by X-ray diffraction.The results show that the use of microwaves reduces the processing time by 73 %, while maintaining temperatures below 100 °C. This avoids pyrolysis and combustion of the wax, achieving a 91 % recovery of the material compared to 16 % using the conventional method. In addition, the microwave process emits only 58.48 g of CO₂ equivalent, compared to 11.2 kg of CO₂ equivalent generated by the traditional method, reducing CO2 emissions by 99.48 %. Furthermore, the energy efficiency of the microwave reduces energy costs by 99.26 %.This study determines that microwave technology is a sustainable and efficient alternative for the dewaxing of ceramic scale moulds in artistic casting. It also opens new possibilities in the industry by offering a cleaner, more cost-effective and environmentally friendly method. Its advantages include increased material recovery efficiency, a significant reduction of the carbon footprint and precise control of the thermal process, positioning it as a promising solution for modernising traditional casting techniques and incorporating this technology into the sector.
Статья посвящена анализу стилистических и технико-технологических особенностей скульптуры Майтреи из собрания Государственного музея Востока, которые позволяют отнести это произведение к тибетской художественной традиции XV века. Ранее этот экспонат был опубликован в работе «Пять семей Будды. Металлическая скульптура северного буддизма IX–XIX веков из собрания Государственного музея Востока» с его первоначальной атрибуцией: Западный Тибет, XVIII век. Эта версия была основана на характере сплава. Благодаря многочисленным аналогиям можно выявить характерные особенности западнотибетских произведений, например, тяготение к архаичным моделировкам и декоративным деталям, свойственным индийской пластике, а также отсутствие строгой пропорциональности. Однако в ходе исследования скульптуры Майтреи обнаружен ряд признаков, которые не встречаются в западнотибетской пластике. Среди них — следование иконометрическому канону, который обеспечивает баланс постановки фигуры в пространстве и композиционный «ритм» произведения; высокий уровень детализации всех внутриконтурных объемов; использование таких техник, как гравировка и инкрустация кабошонами полудрагоценных камней и минералов, инкрустация металлами разных цветов (серебром и медью); характер моделировок лика и частей тела бодхисаттвы. Еще одной особенностью исследуемой скульптуры является обращение к стилю Пала-Сена, который развивался в северо-восточной Индии с VIII по XII век. Тибетские мастера обращались к художественным решениям предыдущих эпох, и поэтому до нас дошли многочисленные подражания стилю Пала-Сена. Тибетские образцы XIV–XV веков представляют собой переосмысление пропорций и форм, которые воспроизводили северо-индийские мастера. На базе этой школы формировался расцвет искусства тибетской металлической скульптуры, обусловленный благополучием социально-политической обстановки того времени, которая позволяла концентрировать трудовые и материальные ресурсы в монастырях.
Twelve Slovak travertines were used for decorative purposes among thousands freshwater limestones, mainly in the 20th century. The history of block extraction and use of the travertines was reconstructed based on written sources, historical and contemporary topographic maps, geological maps, aerial and LiDAR images, field research of travertine facies, forms in old quarries and on buildings. Unmatched the most important Spiš travertine with 3/5 (673) of all found uses (1098) is a high-quality decorative stone, which is characterized by strength, fine layers and almost white color in outdoor conditions. The travertine has been quarried for 8 centuries from Dreveník hill, the largest travertine mound in Slovakia of the Pliocene age, which is located south of the Spiš Castle. The high production was from the late 1920s to the early 1970s. Spiš travertine as a national stone has become an integral part of Slovak modern architecture in over 80 cities and towns. The second in the ranking with 1/5 realizations on public buildings (210) is the gray-beige fine-layered Ružbachy travertine, which was used mainly for large-scale sculptures from the 1960s to 1980s. The attractive orange Bešeňová travertine and similar Vrbie travertine (72) were widely exported abroad in the 1930s. They were extracted from 1928 to the beginning of the 1960s. The even more attractive Levice golden onyx (47) has no analogue in Europe. The onyx marble has been used for smaller highly decorative plastic products and interior cladding since the 1920s. Yellow Levice travertine (23) from the same area was uses for outdoor cladding. In other places there are beige Ludrová travertine (21), which replaced Ružbachy travertine for cladding in 1970s and 1980s, Gánovce travertine (18), which was quickly exhausted after intensive extraction in the 2nd half of the 19th century to the beginning of the 20th century, and Lúčky travertine (16), which began to be mined only in the 1920s. Ružomberok travertine of whitish color (9) was extracted in the 19th and in the 1st half of the 20th century. Only a few realizations have been identified for the Klíž travertine, an unusual Miocene fresh water limestone with brown shades, and the Hradište travertine, a rather solid tufa stone. Slovak travertines were widely used in the Czech Republic from 1928 to 1939 and from 1965 to 1976. Mainly Spiš travertine (722), less Ružbachy travertine (139) and Gánovce travertine (60) was utilized for private tombstones, with a peak from the 1920s to 1940s. At present, the Spiš travertine is used for buildings, rarely in the Czech Republic.
For some time now, researchers from various academic disciplines have been engaged in the study of green guerrilla gardening, a grassroots activity involving the planting of vegetation in public spaces. In essence, they view it as a social movement with the objective of reclaiming control of public space and modifying its functionality. However, Author identifies a greater diversity within this movement, which he categorises into four basic types of activity: gardening, activism, art and farming. Each of these categories can be further subdivided into distinct areas of focus, including the beautification of urban spaces, the promotion of social change, the provision of food sources, the advancement of education, and the fostering of community building. The diverse nature of guerrilla gardening allows it to fulfil a multitude of roles and objectives. It can therefore be concluded that the phenomenon is heterogeneous, and that the term used to describe it should be understood more broadly in order to encompass this range of activities. Empirical research is increasingly indicating a discrepancy between the practice of gardeners and the expectations of theorists. For example, the use of military terminology, while humorous, can be seen as an overly optimistic expectation of the actions of these often humble gardeners, while emphasising an activist (political) stance. Furthermore, the author notes that research on guerrilla gardening lacks in-depth aesthetic reflection.
This article studies the composition of the altar and retablo of Saint Anthony of Padua in the church of San Francisco in Priego de Córdoba (Spain), and its primitive foundation, as well as the existing sculpture of this saint in the church of San Pedro in this same town, venturing the hypothesis that its author was Alonso Cano, as it shows similar features to the one in the Museum of Fine Arts in Granada.
There are many overlapping principles, between archisculpture architecture and sculpture. Architects should understand the vital role of the sculptor’s contribution to archisculpture architecture team; Nowadays, the idea of designing buildings with a shape became scattered and well-liked because of their aesthetic effects on cities and viewers. Whatever we face many difficulties and challenges between the two disciplines' academics. We have to insist to create a deepening dialogue between architects, sculptors, and researchers, put into real practice, create integrated and organic interrelationships. Cooperation will help to create an objective environment and conditions for the creation instead of depending on the individualization in creating of archisculpture architecture. This article concerns raise awareness, reconsidering, of interrelationships of modern sculpture's role within the architectural system in creating Archisculpture design. To make the common relationships academically more integrated according to the contemporary concept of form. The interrelated Qualities between sculpture and Archisculpture phenomenon analyzed and compared. The result shows; - They both share forms, space, and aesthetics expression. Archisculpture design approaches where the form is dominant and strongly appreciated primarily for its beauty and emotional power on visitors as a sculpture piece. Engineering constraints can limit the architect from art emotion that motivates of creating unique forms harmonized with spiritual needs. On the contrary, the sculptor completely unhindered by functional limitations and his expression is direct of aesthetical form. Consideration of principles -interrelated relation, between sculpture and architecture is necessary to convergence the new borders between the two disciplines' academic extension. Sculptor's presence within the architectural system when creating archisculpture is needed to put into real practice.
The paper presents an interdisciplinary approach to the treatment of the FormaViva collection of wooden sculptures exhibited outdoors in a natural environment near the Božidar Jakac Art Museum in Kostanjevica na Krki in Slovenia. The study focuses on 3D graphic representations of sculptures created with photogrammetry and 3D modelling. The results are photorealistic renderings, interactive presentations, 3D printed reproductions, jewellery, and interpretive animations. The research results show that graphic documentation techniques on 3D models allow for a more detailed investigation of the original structural identity of the sculpture. By incorporating 3D and interactive technologies, we are expanding the usability of cultural heritage objects. By using interpretive techniques that have led to jewellery and interpretive animations in our research, we not only breathe new life into the sculptures, but also enrich the stories of the sculptures with our own experiences of the sculptural work.
Piotr Łabędź, Krzysztof Skabek, Paweł Ozimek
et al.
The creation of accurate three-dimensional models has been radically simplified in recent years by developing photogrammetric methods. However, the photogrammetric procedure requires complex data processing and does not provide an immediate 3D model, so its use during field (in situ) surveys is infeasible. This paper presents the mapping of fragments of built structures at different scales (finest detail, garden sculpture, architectural interior, building facade) by using a LiDAR sensor from the Apple iPad Pro mobile device. The resulting iPad LiDAR and photogrammetric models were compared with reference models derived from laser scanning and point measurements. For small objects with complex geometries acquired by iPad LiDAR, up to 50% of points were unaligned with the reference models, which is much more than for photogrammetric models. This was primarily due to much less frequent sampling and, consequently, a sparser grid. This simplification of object surfaces is highly beneficial in the case of walls and building facades as it smooths out their surfaces. The application potential of the IPad LiDAR Pro is severely constrained by its range cap being 5 m, which greatly limits the size of objects that can be recorded, and excludes most buildings.
Problem Definition: The structure of commercial advertising messaging is determined according to the type of reception and acceptance of the social culture of each country. The culture of society can play a decisive role in commercial advertising style, production methods, and metaphors. In this research, the commercial advertising style in the two cities of Tehran and Baghdad from Iran and Iraq, as two different societies, is investigated, and the relationship between the forms, the method of selection, and composition of some of the advertising works of these two cities are investigated. Moreover, this study seeks to answer the following questions: «What is the distinctive feature of the visual elements that comprise the commercial advertisements of Tehran and Baghdad?» and «Considering the common cultural background in calligraphy and writing, and the common religion, what characteristics in these two societies are reflected in the differences and similarities of commercial advertisements in Tehran and Baghdad?»Objective: By examining the elements of commercial advertising, the present research seeks to know the effect of culture on the output of advertising forms in Tehran and Baghdad.Research Method: The approach of this research is qualitative and its presentation method is descriptive and analytical, relying on field data and library sources.Results: The findings of this research show that the text in the advertisements of Tehran has played a significant aesthetic role in the advertisements and the letters are a kind of unity in the fonts used. While in the advertising of Baghdad, the emphasis is on the dominance of the image in commercial advertising, and this issue has a significant effect in creating attraction toward the practical and aesthetic goals of advertising. Also, both cities are visually and culturally influenced by modern advertising and its trends.
This study engages with a marble head of Ares, currently on exhibition at the Old Archaeological Museum of Chalkis in Euboea, Greece. The head has been executed according to the finest tradition of Classical-Hellenistic Greek sculpture, creating a figure with theatrical and pathetic expressions, recalling the Skopadic trend. The lack of pupils may indicate that the head of the god is a pre-Hadrianic Roman copy of a Greek original from the 4th-2nd centuries BCE.
These thoughts on terminology are part of our studies of sculpture in Germany, the Early Netherlands and Northern France of the XVe and XVIe centuries.The term polychromy now refers to that which covers the material of the sculpture. It concerns all of the layers, including metal leaves (gold, silver, Zwischgold leaf, tin…) and applied decoration. In place of the German terms Pressbrokat or Pressbrokat-Applikationen (« applied brocade »), created in the XXe century in reference to textiles improperly called brocades, we propose décors moulés et appliqués, « cast and applied decorations », more correct and explicit. These relief decorations often evoke Italian silk velvets with gold threads and small curls.
Pseudechiniscus is a morphologically homogeneous genus of tardigrades. The morphological features commonly used for species discrimination in this genus are the dorsal sculpture, the shape and number of dorsal plates and trunk appendages. Species of the Pseudechiniscus suillus–facettalis complex are one of the most challenging tardigrades to identify. All species are similar in their general appearance and all lack trunk appendages. Moreover, not only the nominal Pseudechiniscus suillus, but also other members of the suillus–facettalis complex have been insufficiently described. In our study, we examined several populations from the Northern and the Southern Hemispheres that could be traditionally attributed to Pse. suillus. These populations were analysed using integrative taxonomy – a combination of classical morphology and morphometry with molecular data. Besides the differences in the dorsal sculpture and morphometry, we also found species-specific differences in ventral sculpture, which were originally used for discrimination of Pseudechiniscus species. Moreover, we provide an extensive discussion on all morphological and morphometric differences used in Pseudechiniscus taxonomy and indicate main taxonomic problems with this genus. Finally, we redescribe the nominal Pse. suillus from Italy.