As artificial intelligence-generated content (AIGC) becomes increasingly integrated into creative practices, its application in public art-particularly in urban sculpture-raises fundamental questions regarding aesthetic cognition, emotional engagement, and artistic acceptance. This study proposes and empirically tests a conceptual model to explain how general audiences perceive and evaluate AIGC-generated urban sculptures. Drawing upon Leder et al.'s aesthetic appreciation framework and theories of human-AI trust, we develop a structural equation model (SEM) comprising seven latent constructs: visual aesthetic features, cognitive mastery, emotional arousal, perceived artistic value, trust in AIGC, artistic acceptance intention, and familiarity control. A total of 24 AI-generated sculpture stimuli were produced using Midjourney v6 and evaluated along five aesthetic dimensions through expert visual content analysis. Questionnaire data were collected from 326 respondents across sculpture parks, art plazas, and university campuses in China. SEM results reveal that both cognitive mastery and emotional arousal significantly mediate the relationship between aesthetic features and perceived artistic value. Moreover, trust in AIGC and perceived artistic value jointly predict acceptance intentions, highlighting the intertwined roles of perceptual, affective, and attitudinal factors in the legitimation of AI-generated art. This research extends classical aesthetic theory to non-human creative contexts and provides practical implications for the design, deployment, and public communication of algorithmically generated urban artworks. By demonstrating that audiences can cognitively and emotionally resonate with AI-generated sculptures-contingent on visual coherence, symbolic richness, and technological trust-this study offers a novel empirical foundation for future investigations into the cultural and spatial integration of artificial creativity. However, the ecological validity of the study is inherently limited, as the stimuli consisted of digital renderings rather than physical public sculptures. Therefore, the findings represent preliminary insights into audience responses to conceptual AIGC artworks.
Soraia Azeredo, Renan Oliveira, Elaine Gusmão
et al.
The X-ray radiography technique is highly efficient in investigating the manufacturing techniques employed by an artisan when creating a sculpture, as well as assessing the state of conservation and restoration processes. For instance, it allows the determination of whether the artist carved the sculpture from a single piece of massive wood or if it was sculpted in multiple parts, subsequently assembled using nails, hooks, or metal spikes. It also provides insights into whether the artwork underwent certain restoration processes and reveals its current state of preservation or degradation. This information can offer insights into the artist preferred creation technique, potentially the most popular technique of the time. It can also help estimate the period when the artwork underwent restoration and aid in choosing the appropriate restoration technique. In this study, we present the results of an investigative analysis of the internal structure, using digital X-ray radiography, of two wooden sacred sculptures representing biblical characters King David and his wife Bathsheba, dating back to the 18th century and housed in the Church of Our Lady of Pilar in Duque de Caxias, RJ, Brazil. Both sculptures are covered with layers of stain, with a prevailing golden hue on the garments. The obtained radiographic images show that the artist carved various parts of the sculptures and later assembled them using metal pegs. Additionally, recent nails were visible, indicating that the sculptures underwent a restoration process. All digital radiographic images were captured in high resolution using a flat-panel detector.
Medical physics. Medical radiology. Nuclear medicine, Radioactivity and radioactive substances
This contribution illustrates the research focused on the process of securing and the transportation prior to the conservation treatment of a wooden Crucifix—severely damaged in 2016 during the earthquake of Central Italy—through the application of menthyl lactate. The preparatory and paint layers of the polychrome sculpture are extremely fragile due to decohesion issues and the presence of unstable cleavages and losses linked to severe thermo-hygrometric variations. Many scientific and application tests were carried out in the laboratory and then, later, on a fragment of the Crucifix in order to identify the volatile binder best-suited to this case study: menthyl lactate was selected among six binders as the most appropriate compound due to its effective consolidation, lower sublimation rate, negligible residue, and non-hazardousness. Lastly, a very specific transportation system was designed and realised to move the work, without further loss and damage, from the storage building where it was kept in Spoleto to the conservation department of the Opificio delle Pietre Dure in Florence. The volatile binder will continue to be locally applied to allow the mechanical cleaning, in order to remove the thick deposits of debris without damaging the colour. The conservation treatment will be carried out in the future, in parallel with further scientific tests.
The paper addresses the work of Ukrainian artist Maria Kulikovska, who resorts to military equipment as artistic materials and to destruction as an artistic method. In the first section, I contextualize Kulikovska’s performative sculpture within art history, claiming that it can be regarded as Destruction Art. In the second section, I turn to Catherine Malabou’s concept of “destructive plasticity” as a philosophical tool of an aesthetics of war, which offers a sound theoretical framework to further understand the implications of Kulikovska’s artistic activity. In the third section, I focus on the main material adopted by Kulikovska, ballistic soap, showing how the artist materially deconstructs inherited dichotomies that keep informing our understanding of wars. By considering the artistic practice of a feminist artist (M. Kulikovska) through the lens of feminist scholarship (K. Stiles, C. Malabou, J. Butler), the paper investigates the relations between war and the arts from a situated perspective.
Problem Definition: The child's painting is a subset of his various activities in children's art. The central taste of this type of activity, which has always been associated with children's games, has challenged the artistry of this activity. While considering the mentioned challenge, painting is an activity aimed at improving children's thinking and creativity, and in this regard, it is necessary to be studied educationally. Therefore, in the present study, an attempt is made to use Vygotsky's «theory of development» to answer the question of «How to teach drawing to children so that their creative activities are not harmed in the natural path of development»?Objective: From the above-mentioned point of view, children's tasteful and creative activities in painting may be exposed to educational damages with incorrect training. Having the aim of preventing possible damages, one of the effective theories on the development and achievement of children is the evaluation index of this educational activity to witness favorable exploitation in this field.Research Method: The present study is based on fundamental theoretical research (Vygotsky's socio-cultural theory of «Zone of Proximal Development») and is of a descriptive-analytical type. The research is included in the group of qualitative investigations. The painting will be taught, and after analyzing and presenting 33 painting samples selected from over three thousand works, a suitable educational solution will be suggested.Results: The findings of this research show that children who, according to the mentioned theory, have faced the mediation and proper training of parents and trainers in teaching painting. Accordingly, they have presented painting works beyond their current level in a social process in line with the natural process of development.
Problem Definition: Stylistic terms are concepts that are constantly used in art discussions. The similarity and semantic uniformity of these concepts, as well as the lack of a clear demarcation between them, have paved the way for a kind of conceptual clutter and confusion. Therefore, determining the position of each of them and their relationship helps to read artistic texts and understand the position of works and artists.Objective: This study focuses on the concept of style, based on the relationship of other stylistic concepts with it, it has also sought to explain the semantic boundaries of stylistic concepts that are constantly confused with each other and are used interchangeably.Research Method: This research is library source-based, and the presentation method is descriptive and analytical. Using library resources, concepts similar to that of style were examined, and the relationship between them and the concept of style was determined.Results: This study concluded that concepts such as school, movement, artistic method, visual style, form, content, mode, technique, and genre are constantly misused instead of each other. Therefore, by explaining the exact meaning of each of these terms and examining their relationship with the concept of style, we conclude that style, genre, and mode are different artistic methods. Moreover, depending on its approach, each is influenced by components and sub-categories such as techniques, forms, content, etc. In addition, it was found that although school and movement have close conceptual boundaries, the main root of their difference is in their location.
Problem Definition: Shikasta Nastaliq is the last written development in Iranian calligraphy, the peak of its use should be found in the Qajar period. The variety of Shikasta writing methods in the Qajar period can be categorized and reported according to that period's social developments and artistic needs.Objective: This study pursues two main objectives; First, it will search on the foundations of the formation of Shikasta Nastaliq, and then it will present a classification of the conventional methods of Shikasta writing in the Qajar period.Research Method: This research is done using a descriptive-analytical method based on library and field studies. The method of data analysis is based on the structural analysis of samples. Also, the judged examples are from the range of Shikasta writing available in the Qajar period.Results: The origin of the Shikasta script has been considered in Nastaliq. However, digging into this script's morphology reveals the Taliq script's effect on the Shikasta one. Also, based on the formal and structural findings in the Shikasta writing of this period, the Shikasta writing of the Qajar period can be divided into three main methods: First, the method of Darvish followers who wrote in the same way. Second is the method that leads to the relative independence of the text and poetry. In this category, creating a tableau by the method of Jali scripting is very common. Third, the method of scribal and clerical writings, a type of fast writing in scribal script, becomes common.
The clay and dry-lacquer sculptures form the central theme of the present article which introduces the readers to the creations of the Nara, Heian and other periods that survive today in the temples of the ancient capitals. The statues in many ways symbolize the aesthetic achievement of the age which produced a number of Buddhist images of such astonishing beauty and technical perfection that they rightly stand among the sculptural masterpieces of the world.
محمد علي إبراهيم البلقاسي, Mohamed Mohamed Ali Shahen, Tarek Mostafa Sobhy
et al.
The global reality in recent decades has witnessed more technological development in several fields in an integrated manner, and the landscaping field was not far from this development in the various stages of design and implementation. Starting with raising the project details and dimensions, laser imaging and 3D Scanner techniques came to monitor the smallest details of the topography of the earth, or those programs for drawing the contour of the earth and its levels using the satellite, integrated with them are the ladybug, honey blowguns programs inside the Grasshopper blowgun (which work to link the structural details of the site to the factors The different climatic conditions, and monitoring their impact on it, such as: (rain - wind - sun directions - humidity - temperature) throughout the year. In the design stage, parametric design techniques come to help develop the design by making design motifs using natural logarithms, in the form of equations , as a source of inspiration, away from colors and external decorations only, but extended to the structural composition of living organisms, or monitoring the formation of groups or swarms, and other techniques that measure the suitability of design to environmental factors have also been integrated with it.
In this study, two busts and a relief fragment, which are preserved in the Stone Artifacts Warehouse of Aydın Archaeological Museum and brought to the museum through purchase, are discussed. The study aims to bring these artifacts into discussion and thereby contribute to the sculpture literature of the Hellenistic and Roman Imperial Periods of the Caria Region. To this end, the researchers determined the typology and style features of the plastic works found in Antioch on the Maeander, as well as the period features and sculpture centers of the finds. The originality of the study is reified by the fact that no studies on sculptural works have been published, except for a sarcophagus fragment depicting the Heracles Herme as the bearer of the garland, which was previously preserved in the Aydın Archaeological Museum related to the ancient city of Antioch on the Maeander and evaluated by the researchers in the group of sarcophagi with garland of the ancient city of Aphrodisias. Since the artifacts are not excavated materials and there is no information in the inventory records about the find context, they were dated by analogy with the Hellenistic and Roman Imperial Period sculpture works in the Caria Region and the nearby geography. The first example of the two bust fragments that make up the research content reflects the fashion of the second half of the 1st century AD in the Roman Imperial Period, and the second example reflects the style characteristics of the end of the 2nd century AD. The first half of the 2nd century BC, under the influence of the Hellenistic Period Pergamon School, is suggested for the relief fragment, which constitutes the third and final example. As a result of the comparisons, it is seen that the finds reflect the stylistic features of the works in nearby centers such as Pergamon, Aphrodisias, Tralleis and Stratonikeia.
The 2016 Sculptural Presences Workshop had the common theme of investigating the relationship between architecture and art, and was organized by the University of Parma (coordinated by Carlo Quintelli), the IUAV University of Venice, the University of Bologna, the Polytechnic Institute of Milan, and the La Sapienza University of Rome.
Of that theoretical-practical experience – the workshop had as its purpose the design of new museum spaces of the CSAC in relation to specific works of art – this article is a precise account of all the contributions made in various ways by the numerous speakers who attended.
Abstract
This essay discusses how to conduct artistic practice and ‘remote collaboration’ during COVID-19 to contribute to an active space for public art dialogue and social exchanges. This working paper reviews the multi-layered collaboration model of the 2nd Huaniao Island International Public Art Festival (Hereinafter referred to as Huaniao Art Festival) in China. It proposes to combine "remote collaboration" with public art production, field visits and local community participation to enhance the sustainability of cultural and artistic exchanges between China and Australia.
Keywords
remote collaboration; artistic dialogue; Huaniao Island International Public Art Festival; common construction; cultural exchanges
Abstract Bertoldo di Giovanni (ca. 1440–1491) was the primary sculptor and medal worker for Lorenzo the Magnificent (1449–1492). Despite being one of the most prominent Italian Renaissance artists working in Florence, little is known about his workshop and practice. The Frick Collection, New York, owns a Shield Bearer, one of a small number of bronze statuettes attributed to Bertoldo predominantly based on stylistic grounds. This article presents the results obtained from the scientific analysis of The Frick statuette, including a detailed technical characterization of the casting alloy, gilding, solder, organic coatings, and other later alterations. An array of analytical techniques was employed, including X-radiography, micro- and portable X-ray fluorescence (μXRF and pXRF) spectroscopies, scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM/EDS), Raman and Fourier-transform infrared (FTIR) spectroscopies, and pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS). This work supported a larger technical study of Bertoldo’s statuettes and reliefs related to an exhibition organized by The Frick, which brought together a select group of medals, as well as eleven bronzes ascribed to the artist, including the museum’s statuette. Close collaboration between conservators, curators, and scientists was critical throughout the study of the Shield Bearer, which also included extensive visual examination of the object in order to understand details of manufacture, identify sampling sites, and interpret the collected data. This study confirmed that The Frick figure was cast from the same brass alloy as a second very similar Shield Bearer in the Liechtenstein Collection, Vienna, suggesting that the two are a pendant pair that was likely cast simultaneously. In addition, analysis supported the assertion that the copper base on The Frick sculpture is original and assisted in identifying later alterations in both works. This focused research has expanded the current knowledge of the sculptor’s materials and methods, enabling scholars to better contextualize his artistic production within the framework of Italian Renaissance sculpture.
Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.
The creations of the architectural sculpture, represent a clear, and explicit reflection of the identity of the society, and the environment that contains it. This identity, which includes the designer's identity itself, and his belonging to his environment and society. Therefore, the designer must be keen to support his identity and emphasize it through the development of his visual culture. The visual culture system plays an important role in asserting the identity of the designer through its three axes: visual perception, culture, and emotion. Each axis represents a step towards the development of the designer's visual culture. At the same time that the visual perception plays its role By making the designer more capable of reading the visual sentences provided by the surrounding environment, and thus becoming more creative and capable of solving the design problems, culture also plays an important role helping the designer perceive the visual shapes in general, and identify the features of his environment in particular. And finally the emotion that reflects the designer's response to visual stimuli, so the combination of these three axes with each other explains- in one way or another -the response of the designer to specific visual stimuli, but also determines how the designer receive the visuals, analyze, and express them. In the end, it is possible to say that the designer's distinctive architectural sculptures creations, reflect his awareness of the distinctive features of his community, his environment, and his ability to express them through his works, these works that can be realized by the identity owners, or identified by others, which Can be summarized that the designer has his own visual culture.
В 1960—1970 гг. Н.И. Сокольский отнес две группы боспорских надгробий – статуи-полуфигуры и рельефы с поясным или поколенным изображениями человеческой фигуры к числу памятников «синдской скульптуры». Новейшие исследования дают основания сомневаться в столь однозначной этнической атрибуции. Статуи-полуфигуры являются общим для Боспора и всего античного мира явлением, отражающим стремление древних скульпторов к портретным изображениям. Рельефные надгробия в рамках без архитектурного оформления следует связывать с деятельностью одной из мастерских расположенного в Синдике боспорского полиса Горгиппия: изображенные на них персонажи облачены в эллинские одеяния и совсем не обязательно являются синдами. Единственную специфическую, несущую этнографические черты костюма меотских или меото-сарматских племен, группу статуй-полуфигур воинов, следует считать скульптурными изображениями аспургиан — народа, поселенного в I в. до н. э. боспорскими царями в восточных районах Боспора для защиты от внешних и внутренних врагов.
In 1960—1970 N.I. Sokolsky included two groups of Bosporan tombstones — statues-half-figure and reliefs with hip-or knee-images of the human figure to the monuments of the "sind sculpture". Recent studies give reason to doubt that straightforward ethnic attribution. Statues of half-figure are common to the Bosporus and the whole of the ancient world phenomenon, reflecting the desire of the ancient sculptors to portrait images. Relief gravestones in part without architectural design should be associated with the activities of one of the workshops of the Bosporus city Gorgippia located in the Syndica: they depict the characters dressed in Greek robes and not necessarily portray the Sinds. The only specific group of statues-half-figure soldiers, carrier ethnographic features of the costume Meotian or Meoto-Sarmatian tribes, should be considered sculptural images of Aspurgians — people, settle by Bosporan kings in the I century B.C. in the Eastern Bosphorus to protect against external and internal enemies.
In order to understand the visual artworks, one needs to appreciate two key aspects; structure (form) and content. The former represents the overall base of the picture and the latter deals with identity of the work including the atti-tude of its creator. A viewer can communicate with an artwork effectively only when she or he is able to understand the visual language. On this basis, in the present investigation, the examination of the structure has been given priority over the content. Accordingly, the visual elements (point, line, surface, etc) of the forms of Shush goblet were comparatively analyzed and various features of each were clearly described. Recognition of the function of these elements paves the way to understand the content of the work, conceptual implications as well as the creator's feelings. The aim of this investigation was to examine the visual patterns of the goblet comparatively and to discover the concepts of patterns. Given the approximate date of the goblet, 4000 years ago, its creator, through making use of visual elements and qualities in an intuitive manner, has successfully managed to convey his (or her) intention.
Two new species of shallow water Tornidae are found in Espírito Santo state, Brazil, formally described herein. They belong to a complex group of tiny gastropods, in such the taxonomy is very confused. Cyclostremiscus mohicanus sp. n. is characterized by three well-developed spiral, equidistant carinas, working as base of three series of tall, aligned periostracal rods. Episcinia itanhuna sp. n. has as single sculpture a series of pustules in periphery, but the periostracum bears three series of peripheral fringes with irregular rods. The new species are compared with the allies, showing a close relation with Caribbean fauna, but possessing worthy differences. These similarities have raised misidentifications.