Hasil untuk "Sculpture"

Olga Sergeevna Sapanzha

This article presents an analysis of the activities of the Leningrad art industry enterprises of the 1950s, which produced a range of interior porcelain products. The advent of a network of such industries was enabled by a shift in the function and position of small-scale plastic art forms within the domestic sphere, marking the inception of the process of establishing a conventional residential environment. The initial phase of the process entailed the incorporation of minute details within the domestic setting, including artefacts and creations produced through factory or artisanal methods. These elements were to assume a significant role within the interior. From 1952–1954, there was a notable increase in the assortment and circulation of smaller porcelain plastic pieces. The network of porcelain enterprises was expanding, each of which solved the problems of design and manufacture of small sculpture. The analysis of the enterprises of Leningrad in the 1950s allowed us to identify four types of production, in the structure of which were shops for the production of artistic porcelain. The first category was comprised of enterprises engaged exclusively in the production of artistic porcelain, including limited-edition and unique author’s samples (in Leningrad, Lomonosov Leningrad Porcelain Factory). The second type was enterprises of the porcelain industry focused on the production of technical porcelain, and having in their structure a workshop to produce artistic porcelain (in Leningrad, Leningrad Factory of Porcelain). The third type included enterprises that produced sanitary porcelain and a small amount of artistic porcelain (in Leningrad, Stroyfayans Factory). The fourth type was cooperative production that along with artistic porcelain, sold a wide range of household goods made of various materials (in Leningrad, Progress Artel).

Davide Tramarin

Much scholarly attention has been paid to <i>The Visitation</i> group housed at The Metropolitan Museum of Art. The sculpture, dated between 1310 and 1320 and attributed to Master Heinrich of Constance, comes from the Dominican convent of St. Katherinental, in present-day Switzerland, and is notable for its two rock crystal cabochons embedded in the wombs of the Virgin Mary and Elizabeth. In this paper, I support and substantiate the original inclusion of the two stones in the artwork, arguing that it was conceived in close connection with the mystical doctrine on inner vision and the Eternal Birth of God within the soul, as theorized by the Dominican theologian Meister Eckhart (1260–1328). Considering the role of vision in medieval spirituality, the rock crystals, as symbols of purity and divine illumination, functioned as pivotal tools in the mystical experience of Katherinental nuns, fostering their profound spiritual connection with the divine. This article provides a fresh and in-depth analysis of the iconological essence of <i>The Visitation</i> in the Met, incorporating notions established in the field of sensory studies together with methods developed in visual and material culture studies.

Maria S. Frolova

In 2021-2023 In Yekaterinburg, 3 volumes of author's essays were published on the development of the cultural sphere of the capital of the Urals. The release of review texts was initiated by the Department of Culture of the Yekaterinburg Administration. On 864 pages, using archival materials, unique historical and contemporary photographs, the “spirit of the development of the arts” is presented - music, theater and cinema in Volume 1, sculpture, painting and architecture in Volume 2, literature, art education and the educational system in Volume 3. The chosen genre - essays - is original and productive. Texts are a form of summing up, recording successes in the development of the Yekaterinburg/Sverdlovsk sphere of culture. The tercentenary anniversary of Yekaterinburg (the city can be scientifically categorized as a regional or peripheral capital), which took place in 2023, is an occasion for reflection and further planning. Richly illustrated, gift-type books are deep and original from the point of view of analytics of the development of the cultural sphere. The authors were leading academic researchers and employees of the largest cultural institutions of Yekaterinburg - the Sverdlovsk Regional Museum of Local Lore, UrFU named after the first President of Russia B. N. Yeltsin, the Museum of the History of Yekaterinburg, the Sverdlovsk Music School named after P. I. Tchaikovsky. Using the general scientific critical method, methods of synthesis and analysis, the text of the review provides a brief overview of all three volumes of essays, characterizes the merits of the publication, and provides criticism.

Школина, Е.В.

Статья посвящена изучению современной русской православной резьбы на примере храмового убранства городской церкви Барнаула: деревянного резного иконостаса внутри и скульптурного образа Богоматери «Прибавление ума» в портале снаружи. В исследовании рассматривается весь процесс создания интерьера: от составления иконографической программы, поисков сюжетов, орнаментального декора до технического воплощения художественного образа по законам православного канона. В настоящее время возрождается интерес именно к резным иконам, имеющим древнюю историю на Руси. Подобные решения в храмовом искусстве пока встречаются нечасто, так как резьба по дереву требует от специалистов высокого профессионального мастерства и непременного знания иконографического канона. Подробный искусствоведческий анализ резных икон и скульптур в рассматриваемой церкви с использованием иконологического, историко-сравнительного и стилистического методов изучения православного искусства позволяет высоко оценить оформление храма, которое гармонично сочетается с внешним обликом строения и дает отсылку к русской традиции храмовой православной резьбы. Также на его основе стало возможным оценить воплощение задуманной иконографической программы декора и понять ее концепцию.

Ellen Handy

The Harrison Horblit Collection at the Harvard University’s Houghton Library contains a remarkable daguerreotype plate by the Boston firm Southworth & Hawes. It reproduces an engraving after Raphael’s Transfiguration. Whereas reproductive printmaking normally seeks to produce multiples of a unique original, daguerreotype reproductions open a space of ambiguity between the categories of original and reproduction since daguerreotypes are unique objects. Much is lost in this translation, but what is gained? If reproduction of paintings normally renders the singular multiple, what happens when a painting is reproduced as a unique image? Why was this daguerreotype created? Southworth & Hawes specialized in portraits of celebrities and considered themselves artists. Why then did they make a daguerreotype of an engraving of a painting? And why this painting?Their image of an image of an image is at once simply duplicative and a meditation on photography itself – an expanded conception of photography that figures it as spiritual and conceptual practice, as is suggested in other conflations of image reproduction and transfiguration within Southworth & Hawes’ oeuvre as well. The logic of the Southworth & Hawes’ Transfiguration becomes less a conundrum when considered in relation to two of their other images, one of the branded hand of abolitionist Jonathan Walker, the other a self-portrait representing Southworth’s torso as a classical sculpture. Translation, transfiguration, body, soul and image are closely imbricated in all three of these daguerreotypes, each produced during the height of New England Transcendentalism. While Raphael’s Transfiguration epitomizes the intersection of the human and a divine being as Scriptural drama, The Branded Hand and Southworth as a Classical Bust allude to the spiritual realm through representation of the soul’s transcendence of the suffering body rather than direct reference to scripture. The Branded Hand detaches subject from the context of the body as a whole; Walker’s wound appears in the image as the silvery trace of the price paid for his abolitionist conviction. The portrait of Southworth separates an individual man’s identity from the more allegorical presence, while presenting suggestions of sorrow as emblems of spiritual elevation. But beyond this, the transmedial daguerreotype of the print of the Raphael announces itself as visual metonymy; the transfiguration of Christ in the painting also conveys the transfigurative power of the photographic medium itself.

José Heitzmann Fontenelle, Luiz Ricardo L. Simone, Daniel Caracanhas Cavallari

Abstract Megalobulimus dryades sp. nov. is described from the Atlantic Forest in the Vale do Ribeira region, in the states of Paraná and São Paulo, S-SE Brazil, based on morphology. Representatives of the new species with white peristome and glossy periostracum have been misidentified as Megalobulimus gummatus (Hidalgo, 1870) since the 19th Century. The true M. gummatus is revised and redescribed, and its distribution is here restricted to Rio de Janeiro state. Externally, the new species differs from M. gummatus in having distinct protoconch color and sculpture, teleoconch sculpture marked by strong anastomosing rugosities and malleations, and lighter colored white-greyish head-foot. Internally, it presents distinct jaw and radular features, a talon, and a long convoluted penis bearing two flagella. Additional comparisons with other Brazilian congeneric species are also provided.

Бардалеева, С.Б.

В статье впервые рассматривается собранная Национальным музеем Республики Бурятия коллекция буддийской скульптуры Монголии, связанной с именем Г. Дзанабадзара (1635–1723), основоположника монгольской школы в буддийском искусстве. В ходе изучения коллекции использовалась визуальная и сравнительная методика, а также знакомство с авторскими работами Мастера в музеях Монголии. В результате были выявлены три группы буддийских скульптур с характерными особенностями этой школы: цельное толстостенное литье, блестящая позолота, комбинированное золочение, особая техника освящения скульптур. Ярким украшением коллекции является авторская работа самого Дзанабадзара — скульптура Будды долголетия Амитаюса. Кроме того, около тридцати скульптур XVIII–XIX вв. представляют его школу. Третья группа скульптур состоит из поздних работ монгольских мастеров в виде реплик и подражаний. О коллекции монгольской скульптуры музея упоминалось в сообщении автора статьи на научной конференции в Монголии, посвященной 370-летию Дзанабадзара. Целью данной статьи является возможность ознакомить читателей с «эталонными» работами Великого Дзанабадзара и его школы, создавших базу для творчества следующих поколений художников.

Wendy Bellion

On July 5, 1770, South Carolina raised its first public sculpture. Representing the English statesman William Pitt the Elder in the mode of a classical orator, the marble statue stood on a pedestal at the intersection of Meeting and Broad Streets, in Charleston’s historic Civic Square. This essay reconstructs the significance of its location and its competing meanings within the colonial slave city. It examines how the statue functioned to reflect the racial politics of elite Charlestonians while illuminating the cultures of surveillance, discipline, and display that linked black and white bodies. At the symbolic center of the urban landscape, the figure of Pitt exposed the implicated nature of neoclassical sculpture and transatlantic slavery.

Suhartina Suhartina, Faris Jumawan, Meldawati Artayani

Abstrak_Pelataran pantai losari dalam perkembangannya sebagai ruang terbuka binaan publik (RTBPU) dirancang untuk memberikan kenyamanan bagi pengunjungnya, namun salah satu faktor penyebab munculnya ketidak nyamanan pengunjung adalah kebisingan. Berdasarkan hal tersebut, maka dipandang perlu untuk melakukan perhitungan tingkat kebisingan jalan raya pada Pelataran Pantai Losari guna mengetahui apakah tingkat kebisingan yang terjadi masih dapat ditolerir atau sudah melampaui ambang batas sehingga perlu dilakukan mitigasi untuk menurunkan tingkat kebisingan. Tujuan dari penelitian ini yaitu (1) mengidentifikasi tingkat kebisingan yang disebabkan oleh lalu lintas pada RTBP Pelataran Pantai Losari, (2) Menganalisis pengaruh instrument mitigasi kebisingan lalu lintas terhadap tingkat kenyamanan pengunjung pada RTBPU Pelataran Pantai Losari. Lokasi pengambilan data penelitian dilaksanakan di Pelataran Pantai Losari jalan Penghibur Kota Makassar, penelitian dilaksanakan pada 5 titik pengukuran selama 3 minggu, waktu pengukuran: pukul 07.00 s/d 24.00 WITA. Jenis penelitian menggunakan survey bersifat analitik dengan metode cross sectional. Penelitian kebisingan Pelataran Pantai Losari menunjukkan bahwa rata-rata tingkat kebisingan dari aktivitas lalu lintas pada siang-malam hari sebesar 68,01 – 74,97 dB (A), dan tingkat kebisingan campuran dari aktivitas dari pengunjung dan aktivitas lalu lintas sebesar 68,02 – 73,86 dB (A). Instrument mitigasi yang berfungsi dengan baik dalam mereduksi kebisingan lalu lintas berada pada kawasan Pelataran bahari/pantai losari, hal ini dipengaruhi oleh banyaknya jenis dan jumlah instrument mitigasi yang terdapat pada daerah ukur seperti pohon, taman, tugu, sculpture/patung, disertai dengan jarak ukur yang besar. Kata kunci: Mitigasi Kebisingan; Lalu Lintas; Pelataran Pantai Losari.   Abstract_ The Yard of Losari Beach in its development as a public of open space built (RTBPU) is designed to provide comfort for its visitors, but one of the factors causing visitor inconvenience is noise. Based on this, it is necessary to calculate the road noise level at the Losari Beach Yard in order to determine whether the noise level that occurs can still be tolerated or has exceeded the threshold so that mitigation is needed to reduce the noise level. The objectives of this study were (1) Identifying the noise level caused by traffic at the RTBP Losari Beach Yard, (2) Analyzing the effect of traffic noise mitigation instruments on the comfort level of visitors at RTBPU Losari Beach Yard. The location of the data collection was carried out at the Losari Beach Yard on the Penghibur street in Makassar City, the study was conducted in 5 measurement points for 3 weeks, measurement time: 07.00 - 24.00 WITA. The type of research that used was an analytical survey with a cross sectional method. Noise research of Losari Beach Court showed that the average noise level of day-night traffic activity is 68.01 - 74.97 dB(A), and the mixed noise level of visitor activity and traffic activity is 68.02 - 73, 86 dB(A). Mitigation instruments that are function well in reducing traffic noise are in the maritime / beach area of Losari, this is influenced by the number and type of mitigation instruments found in measuring areas such as trees, parks, monuments, sculptures, accompanied by large distances Keywords: Noise Mitigation; Traffic; Losari Beach Yard.

Sonia Santos Rocha

O objetivo deste artigo é analisar a forma como a primeira obra de arte vencedora do VIArtes – programa de Arte Pública do ViaCatarinaShopping - intersectou o património desse Centro comercial. Apresentam-se resultados de entrevistas e de um laboratório de ideias à volta do tema da Arte Pública. Procura-se uma análise mais social do processo patrimonial e artístico que inclui simultaneamente o olhar do público, do poder político e dos artistas. A questão a que se procura responder é em que medida a Arte Pública poderá tomar a forma de uma lupa que amplie os aspetos patrimoniais dos edifícios dedicados ao comércio, quer através da sua arquitetura (património material), quer através dos seus usos (património imaterial), com vista a uma patrimonialização sustentável dos grandes edifícios dedicados ao comércio integrado.  

Ilaria Cattabriga

The book wants to introduce plural urbanism as the largest among the building arts. The author’s aim is to write a “measured manifesto” of plural urbanism to declare its independence from architecture, landscape, sculpture and land art, that has always existed, through the description of its dimensions and qualities. The book suggests a new theoretical and practical understanding of the discipline and its difficulty both in its conception and possible realizations; it describes plural urbanism’s present and future challenges to foster further and useful applications.

Trish Van Katwyk, Denise Soueidan Oleary

While the rural youth identity is an intersectional experience that creates a heterogeneous group of young people, a close exploration of a specific rural location can illuminate an experience that is both unique and shared. In this participatory action research study, a group of youth participated in one-on-one interviews and focus group discussions to describe their experience of their rural location. Reports, statistics, and youth counsellors also provided information about the local youth experience. What emerged was a consideration of the unique divide between public and private social realms that can create a dilemma for youth who are simultaneously encouraged to succeed in public life while provided with limited access to opportunities in that public life. The research project culminated in a sculpture created by a team of youth artists that incorporated the final analysis about the public/private divide. The sculpture is now a permanent display in the region.

Alain Schnapp, Jesper Svenbro

V. Emmanuel, Barrès Odile, Roque Céline

J. Lee, Jiwon Ahn, Jieun Kim et al.

ABSTRACT This study focuses on the decisive role played by the digital design environment in the cognitive design process and design thinking. To analyse the cognitive role of digital design tools, we carried out a protocol analysis of conventional design sketching and a 3D sculpture tool. Cognitive evaluation was a differentiating factor when considering the contextual role of the 3D sculpture tool in subsequent evaluations, non-sequential evaluations for conversion, and passive approaches within the design process. Cognitive evaluation played the following roles: validation, extension, navigation, exploration, and confirmation. The navigation, exploration, and extension roles played by non-sequential evaluation were mainly related to inductive design thinking. Finally, the types of cognitive evaluation and their roles when using the 3D sculpture tool were different, according to the design thinking type. This study explored the multidimensional roles of cognitive evaluation using a 3D sculpture tool and its relationship with design thinking types.

Tom Flint, L. Hall, Fiona Stewart et al.

ABSTRACT This paper discusses a virtual reality experience for a contemporary sculpture park, Jupiter Artland, developed in Minecraft targeting 9–11-year-old children. Issues of fidelity, realism and authenticity are considered, examining the use of Minecraft to create visual representations loosely coupled with reality that generate affective responses. We discuss the build of our virtual sculpture park outlining our approach to creating a facsimile of the sculpture park through adopting practices from the Minecraft community and refining and improving the artworks and experience informed by a class of 9–10 year old children. Using the real and virtual sculpture parks we explore the impact of engaging with the real before the virtual Jupiter Artland and vice versa, with the results from a three class study outlined in this paper.

Rosemary Barrow, Mitchell A. Silk

Gender and the Body in Greek and Roman Sculpture offers incisive analysis of selected works of ancient art through a critical use of cutting-edge theory from gender studies, body studies, art history and other related fields. The book raises important questions about ancient sculpture and the contrasting responses that the individual works can be shown to evoke. Rosemary Barrow gives close attention to both original context and modern experience, while directly addressing the question of continuity in gender and body issues from antiquity to the early modern period through a discussion of the sculpture of Bernini. Accessible and fully illustrated, her book features new translations of ancient sources and a glossary of Greek and Latin terms. It will be an invaluable resource and focus for debate for a wide range of readers interested in ancient art, gender and sexuality in antiquity, and art history and gender and body studies more broadly.

Florencio-Javier García Mogollón

<p><strong>Resumen</strong></p><p>Con motivo de cumplirse el V Centenario del nacimiento de Santa Teresa de Ávila (1515-2015), quien conoció muy bien al santo extremeño, hemos elaborado una síntesis sobre los aspectos fundamentales de la iconografía alcantarina y su vertiente artística, destacando algunas de las imágenes más importantes desde el punto de vista estético o devocional. Y ello sin olvidar que el arte alcantarino fue, por lo general, modesto, como la humildad y espíritu de pobreza que se desprenden de los escritos y fundaciones del gran santo y como imponían sus “Ordenaciones Provinciales”.</p><p><strong><em>Palabras clave</em>:</strong><em> </em>Escultura, pintura, arquitectura, barroco, iconografía, Franciscanos, Carmelitas, Reforma</p><p> </p><p><strong>Abstract</strong></p><p>On the occasion of celebrating the V Centenary of the birth of Saint Teresa of Avila (1515-2015), who knew the Saint of Extremadura very well, we have prepared a synthesis on the fundamental aspects of the alcantarina iconography and its artistic side, highlighting some of the images most important from the aesthetic or devotional point of view. And this without forgetting that alcantarine art was, in general, modest, like the humility and spirit of poverty that are detached from the writings and foundations of the great saint and as imposed by his “Provincial Ordinations”.</p><p><strong><em>Keywords</em>:</strong> Sculpture, painting, architecture, baroque, iconography, Franciscans, Carmelites, Reform.</p><p><strong>DOI:</strong> <a href="https://doi.org/10.17398/2340-4256.13.395">https://doi.org/10.17398/2340-4256.13.395</a></p>

R. Livingston

Abstract A major concern motivating research in acid rain materials effects has been the potential for damage to cultural heritage, particularly outdoor marble and bronze sculpture. However, a combination of field and laboratory studies has failed to show a correlation between rain pH and loss of materials. In order to understand this counterintuitive lack of acid rain effect, an aqueous geochemical modeling approach was used to analyze rain runoff chemistry for the relative importance of acid rain neutralization, dry deposition, and in the case of marble, natural carbonate dissolution. This approach involved the development of pH – SO 4 2− phase diagrams for marble (calcium carbonate) and bronze (copper) under ambient environmental conditions. This then enabled reaction path modeling of the acid neutralization process using the pH range typically found in wet deposition (3.5–6). The results were for marble that the theoretical maximum amount of Ca 2+ ion that could be lost due acid rain neutralization would be 0.158 mmol/l compared to 10.5 mmol/l by dry deposition, and for bronze, the Cu 2+ ion losses would be 0.21 mmol/l and 47.3 mmol/l respectively. Consequently dry deposition effects on these materials have the potential to dominate over wet deposition effects. To test these predictions the geochemical models were applied to examples of data sets from mass balance (runoff vs rainfall) studies on a marble statue in New York City and some bronze memorial plaques at Gettysburg PA. Although these data sets were collected in the early 1980s they remain valid for demonstrating the mass balance method. For the marble statue, the mean Ca 2+ losses by dry deposition was about 69% of the total compared 0.3% for acid rain neutralization, which was less than the natural carbonate dissolution losses of 0.8%. For the bronze, the mean Cu 2+ losses were 70.6% by SO 4 2− dry deposition and 23% by NO 3 − dry deposition compared to 6.4% by acid rain neutralization. Thus for both cases the wet deposition component was less than the variability of the dry deposition components, which explains the observed lack of correlation between the rain pH and the material losses. In addition, for the marble case, there was evidence for HCl acid vapor attack resulting from nitric acid/sea salt interactions and for bronze, ammonium ion may be important. In both cases, significant imbalances suggested that unmeasured organic acids may have a significant effect.

Natasha Adamou