Hasil untuk "Sculpture"

Mohammad Ebrahim Mazhary, Vida Taghvaei, Sahar Borhanifar

Introduction: Understanding fundamental concepts in architecture is not possible without considering the cultural and social values of humans. Since humans are social beings, they require four types of relationships for interaction: «God», «Self», «World», and «Fellow Beings». The nature of these interactions shapes the relationship with others. In this context, solitude, as one of the fundamental concepts related to the existential dimensions of human beings and one of the most important qualitative features of the environment, can provide a suitable ground for these interactions. This research has been conducted to examine the concept of solitude in Rumi's thought and answer the question, «What are the instances of solitude in Rumi's architectural elements and decorations?»Research Method: The present study is fundamental and qualitative research, utilizing meta-analysis and comparative analysis methods. In addition to investigating documents, the data collection method involves exploring theories and viewpoints, interviews, and open-ended questionnaires. For the analysis of qualitative data, coding, and examining the frequency of codes extracted from the interviews, the NVivo software is used.Findings: Based on the theoretical model of the concept of solitude in Rumi's poetry and the logical reasoning strategy derived from the research findings, the fourfold interaction in Rumi's thought emphasizes four states of solitude: «Solitude with Oneself», «Solitude with God», «solitude with a confidant», and «solitude in the company».Conclusion: Based on the results of this research, the common concepts of solitude in the thought of Rumi and architectural elements and decorations include components such as «imagination», «the coexistence of light and darkness», «void» and «empty space», «the vertical axis of the universe», and «the property of reflection» as concepts related to «solitude with God», and the components of «inner and outer» and «loneliness» in relation to «solitude with oneself» and «intimacy» in relation to solitude with others and the community.

Somayye sadat Tabatabaei, SeyedHosein Tabatabaei

Introduction: Among the historical periods of Iran, the Safavid era is precious from the point of view of dealing with the cultural anthropology of the Iranian people. Due to familiarity with the Western world, in this era, the foundations of social criticism and a critical look at social problems and sufferings were formed, and at the same time, the unpleasant and pleasant elements that make up Iranian society were presented to Europe. The opinions of European tourists about the cultural aspects of Iranian society are integral representations, the explanation and analysis of which can lead to the recognition of the main elements of Iranian culture and civilization at that time. The amazing attention of the travelogues of the Safavid period to Iranian carpets and the explanation of its beauty and elegance are among the issues that foreign travelers have mentioned in their writings, and accordingly, they have pointed to one of the cultural foundations of Iran and one of the essentials of the ecosystem of the Iranian society. In the present study, the following questions will be answered: “Which anthropological, artistic, and commercial dimensions have been explained in the European (Farangi) travelogues of the Safavid period in connection with Iranian carpets?” and “How these dimensions have influenced the attitude of the Westerners towards Iranians?”Research Method: This research is descriptive-analytical. The data was explained and analyzed using library sources after extracting the desired content from the examined texts. Considering that this research is based on the historical data contained in the travelogues, the historical research method is also among the research methods.Findings: Based on what is inferred from the analysis of Iranian carpets and their belongings in European (Farangi) travelogues of the Safavid era, Iranian carpets were one of the best and most attractive cultural leaders of Iran in the eyes of Europeans in the 17th century and after, which has been able to draw a favorable image of Safavid Iran in the minds of Europeans with its unique visual appeal. In addition to their material value, Iranian carpets have been able to arouse the artistic admiration of Europeans and improve their attitude towards many Iranian ethnic groups. Also, part of the cultural identity of the Iranian people has been revealed to the Europeans through the patterns and designs of carpets.Conclusion: In European (Farangi) travelogues, there are many mentions of carpet weaving centers, local knowledge of carpet weaving, and associated customs. A significant part of the cultural components of Iranian peoples, such as the connection of carpet designs with mythological stories and Iranian history, the use of carpets in religious ceremonies, and the like, have been introduced to European observers through the texture of this carpet. Most travelogues pay attention to plurality, dispersion, and variety of designs and patterns of Iranian carpets, and their minimum is related to Iranian customs and traditions in connection with carpets.

Andrea De Haro, Milagros Córdova, Carlos Rua Landa et al.

Painting materials used in Spanish American Colonial art comprised pigments and binders from European origin as well as those that were already known in pre-Hispanic times. In recent years, we have identified for the first time the mineral atacamite, a basic copper chloride (Cu₂Cl(OH)₃), in Andean Colonial art pieces (Viceroyalty of Peru, 16th–18th centuries). This work proposes a methodology based on a multitechnical approach to identify and establish the origin (natural or synthetic) of the atacamite pigment in Andean cultural heritage objects. Optical microscopy (OM), scanning electron microscopy with energy-dispersive spectroscopy (SEM-EDS), portable X-ray fluorescence spectroscopy (pXRF), attenuated total reflection infrared spectroscopy (FTIR-ATR), micro-Raman spectroscopy, and wide-angle X-ray scattering (WAXS) were applied to analyse green pigments from the altarpiece of the Church of Ancoraimes, atacamite mineral samples from Chile, and atacamite obtained as a secondary product from traditional recipes used to produce verdigris, a copper acetate. <i>Viride salsum</i> by Teófilo Presbítero (SXII) and the Spanish translation by Andrés de Laguna (1566) of “De Materia Médica” from Dioscorides are both texts that include recipes involving the use of metallic copper as a starting material. These studies will contribute to the history of Spanish American Colonial art and to the knowledge on technological capacities and skills in the Andean region during this period.

Rabia Özgül Kılınçarslan

In the 1980s, one of the most important debates in the arts and culture scene in Turkey is the commercialization of art. One of the results of the commercialization of art is the transformation of the work of art into a decorative object. As a solution to this problem, instead of a work of art produced by traditional mediums, an artistic practice outside the demands of the art market has been proposed. The question of how and with which mediums to create this artistic practice has brought out alternative artistic tendencies. Held in 1986 at the Izmir German Cultural Center, Another Art Collective Exhibition in the Memory of Joseph Beuys exhibition is an important example to understand these discussions. Joseph Beuys, one of the important artists who determined the language of contemporary art with his artistic practice, blurred the border between art and life and expanded the field of art disciplines with the concept of social sculpture. The fact that it is the first group exhibition in the Izmir culture and arts environment where alternative art practices are exhibited determines the place of the exhibition in the art history chronology. The aim of this study is to convey the previously unwritten content of the exhibition, which shows an extremely important historical shift in visual art practices, and to reveal its art-historical importance.

Charlene Vella, Jamie Farrugia

This paper identifies an early sixteenth-century Renaissance marble pedestal that was in a Maltese private collection which has since been donated to the church it was originally commissioned for. The pedestal portrays three scenes in relief relating to the iconography of St Mary Magdalene. Executed in Carrara marble, it is here being associated with a full-length Carrara marble sculpture portraying St Mary Magdalene in the Franciscan Minor’s church of Santa Maria di Gesù in Rabat, Malta. The sculpture has been linked with the oeuvre of followers of the Sicilian school of the Palermitan sculptor Antonello Gagini who was active in Messina for a decade between 1497 and 1507, but it has recently been identified as a work by the Carrarese sculptor who was active in Messina, Giovan Battista Mazzolo. This paper therefore discusses the sculpture and pedestal together as a whole work of art as well as the attribution to Mazzolo.

Marco Romano, FABIO MANUCCI, MATTEO ANTONELLI et al.

In this contribution we present an in vivo reconstruction and volumetric body mass estimate for the mounted skeleton of Mammuthus meridionalis on exhibit at the east bastion of the Spanish Fortress at L’Aquila (Abruzzo, Central Italy). The reconstruction has been obtained starting from a 3D photogrammetric model of the skeleton acquired via a micro-drones and by digitally adding a percentage of soft tissues according to the conditions observed in wild specimens. By applying to the volume the density range proposed in literature for extant proboscideans we obtain an estimate of the body mass in the adult male specimen ranging from 11.3 t to 11.5 t, with average body mass equal to 11.43 t. In addition, we compare the volumetric BM estimate with the BM predictive values obtained by means of traditional regression equations based on long bones linear dimension and shoulder height. The results confirm that the volumetric method is always preferable if sufficiently complete mounted skeletons are available, since application of regression formulas to single bony element can lead to an underestimation or overestimation up to 130%. As a general indication, weight estimates in extinct tetrapods based on single measures and single bones should be totally avoided, especially in groups morphologically and phylogenetically distant from extant reference taxa.

Enrico Prandi

This essay is a re-elaboration of a lesson held at the “Sculptural Presences” Workshop of the CSAC of Parma on 23 July 2016. The lesson entitled "Architectural sculpture" started from the hypothesis that certain 20th-century architecture had an architectural design attitude that tended towards sculpture, without actually reaching it. Architectural examples have been identified since Rationalism and throughout the 20th century which can be considered "architectural sculpture" for various characters. The thesis subsequently opened the field to more in-depth reflection on the relationship between architecture and sculpture, and above all on some common composition elements in architecture and sculpture as well as on some tendencies of architecture to present itself as a pure formal act.

Vlasova Irina

The article discusses the possibilities of infocommunications in the educational process, which promote the social consciousness of art specialty students. The analysis of scientific works showed that, despite the intensive development of information technology in higher education, there is an unsystematic use of the emotional sphere of students, which affects the formation of social consciousness. The purpose of the research is to determine the educational potential of digital technologies for the optimal use of new methods in the formation of value orientations and social attitudes of young people while learning to draw. The method of communicative design in the information and educational environment of a university is interpreted as a way of actualizing traditional values that influence the formation of students' social consciousness. In this article we consider the effectiveness of the organizational and pedagogical conditions determined by the objective factors of organizing cooperative social activities in an innovative educational environment. The orientation towards the skills and abilities of innovative critical thinking, combining science and art in the national cultural space are also considered. This contributes to the adaptation of students to professional activities as citizens of Russia and allows them to build their life and professional priorities based on value orientation. The organizational and pedagogical conditions, the method of communicative design of the formation of social consciousness of art department students described in the article can be applied to the process of training specialists in the field of architecture, design, reconstruction, and restoration, as well as painting, graphics, and sculpture.

Bruno Henrique Fernandes Gontijo

O presente artigo pretende correlacionar os fundamentos do movimento filosófico do existencialismo das décadas de 40 e 50, com as obras artísticas de Alberto Giacometti, Eugène Ionesco e Albert Camus. A análise será ancorada pela escultura Nariz (1947), de Giacometti, pela peça teatral O Rinoceronte (1959), de Ionesco, e pelo livro O estrangeiro (1942), de Camus. Todas as obras serão interpretadas à luz do existencialismo e seu contraponto com a pandemia de Covid-19 que assola o planeta desde 2020. Palavras Chaves: Existencialismo, Artes, Filosofia da Artes, Pandemia Recebido em: 20/01/2021 – Aceito em 06/04/2021 Existentialism, arts and the pandemic: the work of Alberto Giacometti, Eugène Ionesco and Albert Camus This article aims to correlate the foundations of the philosophical movement of existentialism in the 40s and 50s, with the artistic works of Alberto Giacometti, Eugène Ionesco and Albert Camus. The analysis will be anchored by the sculpture Nose (1947), by Giacometti, by the play Rhinoceros (1959), by Ionesco, and by the book The foreigner (1942), by Camus. All works will be interpreted in the light of existentialism and its counterpoint to the Covid-19 pandemic that has been plaguing the planet since 2020. Keywords: Existentialism, Arts, Philosophy of Arts, Pandemic Recebido em: 20/01/2021 – Aceito em 06/04/2021

S. Burkov

The recent years have witnessed a growing number of scientific publications related to the study of funeral and memorial ceremonies, which acquired a new semantic content in the late Bronze age. It can be largly preconditioned by the growth of the status of the horse in these ceremonies. At the same time, the social importance of military burials was growing, along with the increase of the number and variability of the weapons items. At the same time, there were records of the noticeable changes in the conduct of military operations, which became a permanent source of income for the emerging military class. The processes were reflected in the objects of religious sculpture. Those included images of chariots, horses, horsemen and horses. There exist extensive scientific studies devoted to these topics. However, there are no consolidated studies with data analysis of this complex phenomenon in the Russian historiography. It signiicantly hinders the study of the events of the inal phase of the late bronze age of Caucasus. The formulation of this thesis is a new approach in the study of the zoomor-phic and anthropomorphic forms. The present article is the author's contribution to the study of this subject, which is intended to some extent fill the existing gap. It presents the basic positions of researchers studying the problem, provided with a number of author's comments. We conclude that the topic related to the study of the role of horses and offensive weapons in the funeral rites of the Caucasian tribes in the late II - first centuries of the I Millennium BC has a signiicant scientiic potential. This is especially relevant for the study of the role of such objects as bows and arrows, which are actively used by the mobile-pastoral and the sedentary agricultural population of the Central Caucasus. The study of the subject can be in demand to establish the cause-and-effect relationships between changes in the production cycles and the development of new elements of ritual norms peculiar to the local ethno-community in the era of the widespread transformation of the production and the economic models.

Véronique Chance

<i>The Great Orbital Run</i> was a solitary run/artwork that took place over nine days around the inside boundary of the M25 London Orbital. The journey was mapped through a stream of photographs and GPS coordinates relayed live from a mobile phone to a web interface and shown as a projected artwork at the University of Greenwich, London. It was later re-configured as the <i>M25 in 4000 images</i>, a unique concertina bookwork/sculpture produced from digital data into tangible, printed paper form. Cut, folded, and constructed by hand, it makes visible the mass of images that embody the running activity and the terrain it represents. This essay considers this artwork and its status as a document and artist&#8217;s book, reflecting on (1) the original running activity, (2) the mapping of the boundary of Greater London, (3) the performance of technology in relaying the run, and (4) the transformation of digital images into material form. The document is considered in relation to the run as a performance and in relation to its performative potential. This is extended to the documentary properties of the artists&#8217; book as &#8216;a form of three-dimensional representation&#8217; that, through its &#8216;agency&#8217;, aligns itself with spatial practice.

John D. Taylor, Emily A. Glover

Species identified as Pillucina are paraphyletic in molecular analyses and a new generic name, Rugalucina, is introduced for a complex of three similar species Rugalucina angela from the northern Indian Ocean and Red Sea, R. vietnamica from South East Asia, and R. munda from northern and north eastern Australia. Lucina concinna from the Red Sea, previously synonymised with P. vietnamica/angela is recognised as a Rugalucina-like species but with a very short anterior adductor scar. Divaricella cypselis from Karachi is similarly now recognised as a distinct species, probably related to Rugalucina but with oblique commarginal sculpture and a short adductor scar. A group of minute Indo-West Pacific lucinids with highly unusual multi-cuspate lateral teeth and previously classified as Pillucina are separated under a new genus Pusillolucina gen. nov., with the description of three new species P. arabica, P. africana, and P. biritika from the Arabian Gulf, Mozambique, and Madagascar. Finally, a new genus, Notocina, is introduced for the small southern Atlantic species, Epicodakia falklandica, shown in molecular analyses to be misplaced at subfamily level and now classified in Lucininae and not Codakiinae with Epicodakia.

G. O. Hutchinson

Lyric after Pindar should be seen not as declining and petering out, but as developing in ways which radically question or play with the fundamentals of the genre (or “super-genre”). The stanza is a crucial feature of lyric up to Pindar, especially when seen textually; “modernist” expansion into huge astrophic entities (Timotheus, etc.) and “postmodern” reduction into stichic lines (Callimachus, etc.) both involve radical rethinking of the super-genre, and one is a reaction to the other. However, the most innovative postmodernists are the poets somewhat earlier than Callimachus and Theocritus (Simmias, Philicus, etc.); Callimachus and Theocritus continue their ideas with new twists and new point. And the stanza is not really dead: within Timotheus’ and Callimachus’ poems stanza-like structures are built up. The late-classical and Hellenistic development of lyric is as dynamic and thought-provoking as that of sculpture.

Jennifer Fortuna

Mary Block, MS, OTR/L, an occupational therapist and artist based in Illinois, provided the cover art for the Summer 2017 issue of The Open Journal of Occupational Therapy (OJOT). Generations is a sculpture made from concrete that measures 240 x100 in. (6.096 x 2.54 m). The piece was commissioned by Mary’s home town, the Village of Deerfield, IL. Mary always knew she wanted to be an artist. When competing paradigms altered Mary’s career path, the field of occupational therapy helped her to shape a new worldview. In uncertain times, meaningful occupation empowered Mary to start over again where she originally began

Florin Sovaila, Claudiu Sovaila, Nicusor Baroiu

3D printing is a very used process in industry, the generic name being “rapid prototyping”. The essential advantage of a 3D printer is that it allows the designers to produce a prototype in a very short time, which is tested and quickly remodeled, considerably reducing the required time to get from the prototype phase to the final product. At the same time, through this technique we can achieve components with very precise forms, complex pieces that, through classical methods, could have been accomplished only in a large amount of time. In this paper, there are presented the stages of a 3D model execution, also the physical achievement after of a Delta 3D printer after the model.

Ehab Ahmed Abd AlReda

This research includes interested in studying art contemporary, by studying the experiences of sculpture for the formation of post-modernism, assuming the existence of trends in public art can be classified, in spite of the multiplicity of styles and methods of work since the second half of the twentieth century to the present day, and this shenanigans knowledge on how to the Technical that is the art is not restricted, It is art refuses laws and fixed values and traditional styles, and always aspires to diversity and innovation.Search contains three chapters and an introduction containing information about the research problem and the importance of research and the goal of the research, the goal of research is: Detection of artistic trends in the formation of post-modernism, as well as the limits of search time between 1950 2010 AD, and the limits of search spatial are in Europe and the United States, due to the fact that Search one of the research-based analytical cash to draw conclusions from the study of the experiences of general, the survey method was used in the study of descriptive research sample, according to the models included in the chapters : first and second.The first chapter provided information on techniques to show the formation of post-modernism, in order to identify the modes of these techniques and methods of formation. While the second chapter included the modalities of supply in the formation of post-modernism, which is an important aspect of this trend for the disclosure of those methods and exit information and data derived it .The third chapter is devoted to the search results, by showing that there are five key trends for the formation of post-modernism:1)body art , includes the arts which focused on the representation of the human body, such as: the realistic Art Pop art and performance art2) environmental art , includes arts which focused on taking the natural environment the subject of works of art , with or without human intervention .3) Kinetic Art : Includes Arts which focused on the element of movement in the sculptural works .4) materials of non-traditional art : the arts that includes premium materials used in artwork: light, sound, water, and chemical industrial materials, electronic screen.5 ) Constructivist art: Includes arts, which focused on the establishment of artwork through traditional materials: Diversified Metals and stone and wood, appeared in abstract art and assembly art , or through the ready-made materials through installed or displayed

Javier DeFelipe

A commentary on The evolution of the brain, the human nature of cortical circuits, and intellectual creativity by DeFelipe, J. In the scale bar of Figure 10, there is an error. Instead of 10 cm it should be 20 mm. In addition, in the text and in the legend of Figure 1, there is a reference to a sculpture of Don Quixote present at the Museum of Modern Art in Mexico, a picture taken by the author of the present article. However, the author intended to say that this sculpture reminds him of a typical Don Quixote.

J. Ostapkowicz, C. Ramsey, F. Brock et al.

Mushtaq Ahmad, Abida Bano, M. Zafar et al.

Qingming Qu, Min Zhu, Wei Wang

Recent discoveries of early bony fishes from the Silurian and earliest Devonian of South China (e.g. Psarolepis, Achoania, Meemannia, Styloichthys and Guiyu) have been crucial in understanding the origin and early diversification of the osteichthyans (bony fishes and tetrapods). All these early fishes, except Guiyu, have their dermal skeletal surface punctured by relatively large pore openings. However, among these early fishes little is known about scale morphology and dermal skeletal histology. Here we report new data about the scales and dermal skeletal histology of Psarolepis romeri, a taxon with important implications for studying the phylogeny of early gnathostomes and early osteichthyans. Seven subtypes of rhombic scales with similar histological composition and surface sculpture are referred to Psarolepis romeri. They are generally thick and show a faint antero-dorsal process and a broad peg-and-socket structure. In contrast to previously reported rhombic scales of osteichthyans, these scales bear a neck between crown and base as in acanthodian scales. Histologically, the crown is composed of several generations of odontodes and an irregular canal system connecting cylindrical pore cavities. Younger odontodes are deposited on older ones both superpositionally and areally. The bony tissues forming the keel of the scale are shown to be lamellar bone with plywood-like structure, whereas the other parts of the base are composed of pseudo-lamellar bone with parallel collagen fibers. The unique tissue combination in the keel (i.e., extrinsic Sharpey's fibers orthogonal to the intrinsic orthogonal sets of collagen fibers) has rarely been reported in the keel of other rhombic scales. The new data provide insights into the early evolution of rhombic (ganoid and cosmoid) scales in osteichthyans, and add to our knowledge of hard tissues of early vertebrates.