Hasil untuk "Sculpture"

Mansour Kolahkaj

Introduction: Within the province of Khuzestan, situated amidst the Zagros Mountains, in two distinct regions approximately 250 kilometers apart, two cemeteries of the Bakhtiari people, despite sharing a common cultural foundation, exhibit significant differences in the structural form of the graves and their symbolic visual elements. These cemeteries, located in Izeh and Dezful, are known as «Shahsavar» and «Qaleh Shadab», respectively, and their similarities are primarily influenced by their proximity to each other. This research aims to understand the cultural foundations of these two cemeteries, as well as the nature and manner of their similarities and differences. The current research question is to explore the nature and reasons for these differences and similarities, and how they manifest from the perspective of cultural anthropology, drawing on Stewart's cultural ecology theory.Research Method: This study, which falls under the ethnographic branches of qualitative research, is described and analyzed using a comparative method, leveraging semiotic knowledge and relying on visual evidence. The data for this study are derived from both field and library sources.Findings: The cemetery of Shahsavar reflects the commemoration of significant figures and benevolents, warriors, and heroes with memorial environmental elements in the form of gravestones; whereas in the cemetery of Qaleh Shadab, these elements are somewhat ritualistic and related to mourning itself or the representation of the virtues of the deceased's life period in the form of more coherent visual narrative elements.Conclusion: Based on what was derived from Steward's theory, the impact of the three concepts of Steward's bioregionalism theory—namely, adaptation, bidirectional causality, and the mutable cores of culture—was observed in the mourning rituals of these two locations. The environmental cultural elements manifested more prominently and distinctly in the symbolic aspects of both regions, which in turn led to a clear differentiation of the visual and symbolic aspects of these two areas. This reproduction of meanings occurs where, in the Shahsavar cemetery, the grand narrative of bravery, combined with the commemoration of the greats, is highlighted by the stony lion monument, while in the Qaleh Shadab cemeteries, life and its elements appear more pronounced.

Mohammad Madhoushian Nejad, Hojjatollah Askari alamouti

Introduction: From the early Islamic centuries, the mihrab gradually became an essential and indispensable element of mosques. The mihrab is a recess on the qibla side, constructed with various materials, and has been a focus of poets in describing the highest levels of mysticism. Wood is one of the rarest materials Islamic architects used to construct mihrabs. Studies show that 12 wooden mihrabs have been identified across the Islamic world. Through comparison and technical analysis of the quality of wooden mihrab construction, this paper seeks to answer this question: “How have the distinctions and similarities of wooden mihrabs in terms of decoration, overall form, and construction and decoration techniques been”?Research Method: The research takes a fundamental and qualitative approach, with the data examined through a descriptive-comparative method. The purposeful selection of samples was based on wooden materials. The time frame of the research spans from the 4th to the 10th century A.H.Findings: A noteworthy point regarding wooden mihrabs is their construction date or period, which spans continuously from the 5th to the 8th centuries A.H. Technically, two main construction approaches can be identified. In the first type, decorations and motifs are carved directly on the frames, in addition to the spaces between the frames, and the frame is not hidden from the viewer's eye. In the second type, the main frame is hidden behind separate decorative pieces and panels that form the decorative and visual structure of the mihrab. In their decoration, calligraphic and geometric motifs are also dominant over plant motifs.Conclusion: As mihrabs move further away from the geographical core of Islamic lands, larger portions of their surfaces are occupied by Quranic inscriptions, which serve as the most tangible element of the representation of Islam. In regions like Egypt or Syria, which were among the first lands conquered by Muslims, in addition to the increasing abstraction of motifs, Quranic verses play a lesser role in the overall decoration of the mihrab compared to plant and geometric patterns. Another evidence for this claim is the walls covered with Quranic verses in the Great Mosque of Xi'an, China, and the exclusive use of Surah Al-Fath for the mihrabs of mosques in China.

Samira Royan, Nilofar Jalili

Introduction: In postmodern art, the body has been a focal point as a subject, medium, and tool for artistic creation, as well as a site for experiencing and perceiving art. Scholars in the humanities have challenged conventional definitions of the body, and artists have visually depicted these new interpretations. One postmodern approach to body representation in painting is the depiction of fragmented bodies and disembodied limbs. This study aims to explain the theoretical origins of the emergence of disembodied limbs in Iranian paintings of the late 14th century A.H. and the semantic implications of this visual fragmentation. The research seeks to answer the question: “What is the reference for depicting disembodied limbs in 1990s Iranian paintings, and what themes do these visual representations convey”?Methodology: This qualitative research employs a descriptive-analytical method based on documentary data. From the statistical population, which includes paintings by Iranian artists featuring fragmented bodies or disembodied limbs from the 1990s, samples that primarily depict disembodied limbs were selected and analyzed based on the theoretical foundations of the study.Findings: The decentralization of the body’s unity in the research samples does not refer to disability, physical suffering, or death. Instead, it signifies abstract concepts such as transformation and metamorphosis, challenging classical definitions of the body, social critique, expressions of mental and metaphysical states, and recollecting a lost past that exists only in memory.Conclusion: The emergence of disembodied limbs in 1990s Iranian paintings is influenced by postmodern rationality and a shift in human perspectives towards the external and internal worlds. By defamiliarizing conventional methods of body representation, painters create a space for critiquing and challenging predetermined thought patterns and generating new concepts that reflect the human condition in the contemporary era.

Orsolya Milián

Within literary studies, the interaction of ekphrastic poetry and painting constitutes a frequently examined topic, but the intermedial relationships between poetry and sculpture have been more rarely explored. Contributing to the scholarship on literary ekphrasis and on the interrelations between poetry and sculpture, the paper focuses on strategies of description and narrativization, paying homage and developing a rivalry, and the account of the viewer’s activity and their aesthetic evaluation. The essay examines these issues via the case study of the ekphrastic lyrical tradition of the Venus de Milo. Firstly, it lays out a sketch of nineteenth-century art historical and lyrical approaches to the Venus de Milo. Secondly and predominantly, it analyses some examples of twentieth-century ekphrasis (such as the Hungarian Gyula Juhász’s “Milói Vénus,” the Romanian Alfred Moşoiu’s “Venus din Milo,” the British Alfred Noyes’s “The Venus of Milo,” and the Hungarian György Rónay’s “A milói Vénusz”), which all respond to the statue of Venus de Milo, and either continue or break the art historical and lyrical traditions developed during the 1800s. Therefore, on the one hand, the study demonstrates how ekphrastic literary traditions, while participating in the canonization of visual works of art, show the traces of the changing approaches and appreciations of their artistic object (in this case study, the Venus de Milo) over a long period of time, and, on the other hand, it sheds light on how the ekphrastic literary tradition itself is shaped.

رحاب محمد أبو زيد, طه مسعد الغباشي, محمود محمد صالح et al.

يشهد الفن الحديث ثورات هائلة وكبيرة ومحاولات مستمرة دائمة تظهر فيها روح التجديد في مواكبة العصر الذي نعيشه حيث تنوعت أساليب الأداء والمضمون والخامات المستخدمة في تشكيل العمل الفني مما أدى بالفنان المعاصر الجيد للبحث وراء الخامة المختلفة لمواكبة ركب التطور الذي أثر بدوره على الفنون التشكيلية بصفة عامة والنحت بصفة خاصة كأحد مجالات الفنون التي ترتبط متغيرات العصر سواء المتغيرات الفكرية أو الفلسفية أو التقنية فهي وعاء يحوي كل ماسبق من مفاهيم ليعطي لنا فكراً وفلسفة خاصة بذاتها ، لذا يجب على الفنان توسيع افاقه والنظر إلى الخامات بصورة مختلفة . فقامت الباحثة بمحاولة مواكبة هذا التطور عن طريق استخدام البقايا المعدنية فى محاولة الوصول الى حلول تقنية لاستحداث مجسمات نحتية وتوصلت الباحثة إلى مجموعة من التطبيقات الذاتية وهي عبارة عن ( تكوينات نحتية ) من خامات معاد تدويرها . ولقد اظهر لنا الفن الحديث دروساً واضحة ومباشرة في التحرر من تحكم الخامة الواحدة و التقليدية والتوجه لخامات جديدة يمكن للعين المبتكرة أن تصوغها في أعمال فنية تتسم بالإبداع والتجدد. لذلك فأنه على الفنان قبل تشكيل أي خامة دراسة خصائصها ومميزاتها حتى يمكن من خلالها الوصول الى أفكار وطرق جديدة ومختلفة في التشكيل وتكون مختلفة عن الطرق التشكيلية المعروفة . Modern art is witnessing huge and great revolutions and constant continuous attempts in which the spirit of innovation appears to keep pace with the era in which we live, as the methods of performance, content and materials used in forming the artistic work have varied, which has led the good contemporary artist to search behind the different materials to keep pace with the pace of development, which in turn has affected the plastic arts in general and sculpture. Especially as one of the fields of arts that is linked to the variables of the era, whether intellectual, philosophical, or technical variables , it is a container that contains all the previous concepts to give us a thought and philosophy of its own, so the artist must expand his horizons and look at materials differently. So the researcher tried to keep up with this development by using metal remains in an attempt to reach technical solutions to create sculptural objects. The researcher came up with a set of self-made applications, which are (sculptural formations) made from recycled materials. Modern art has shown us clear and direct lessons about liberation from the control of a single, traditional material and turning to new materials that the innovative eye can formulate into works of art characterized by creativity and renewal. Therefore, before forming any material, the artist must study its characteristics and features so that through it he can arrive at new and different ideas and methods of formation that are different from the known plastic methods.

International Journal of Analytical Chemistry

Stefanović Đorđe

This paper discusses the body of an athlete (sport), ancient Greek sculpture (history of art), digital environment (digital devices - new technologies) and sports marketing (new information systems in business) thus enabling support to different approaches to the system of knowledge in each of the given disciplines. The interdisciplinary (pluralistic) approach opens a possibility to expand not only knowledge, but the scientific awareness as well. The subject of the paper focuses on the phenomenon of the 'permanent record' of sculptures whose theme refers to the events related to an athlete's body in the period of Ancient Greece. Owing to its values, the contents of these masterpieces have had a beneficial effect as they influenced the art of each subsequent period of civilization and are preserved for the future. In the course of a more detailed research and analysis of the history of heritage, new knowledge has been gained that can contribute to the general benefit of the society that we live in. In the digital world, 3D computer animation takes up a very important place within the mass and popular media thus becoming not only the guardian of the heritage of ancient Greece sculptural art depicting the bodies of athletes, but also one of the integral parts of today's general culture, which is mostly used in the promotion of marketing in sports. It is thought that this paper can be inspiring for others in generating new original ideas towards further research.

Louisa Campbell, Margaret Smith

Abstract The Antonine Wall was commissioned by the Roman Emperor Antoninus Pius around 142 CE and stretches for c. 60 km across the central belt of Scotland, marking the Empire’s most north-western frontier. This vanguard research reports on the materials referred to by Antiquarian sources as having been applied during the sixteenth century for the redecoration of an iconic Distance Sculpture that was once embedded into the mural barrier. Portable non-invasive technologies, including pXRF and in-situ microphotography were deployed. These techniques were further supplemented by micro-sampling for SEM/EDS, FTIR–ATR and microscopy of embedded cross-sections. The validity of applying these complementary techniques has been confirmed. They provide a comprehensive account of the polychromy present, including pigments that could have been applied during the Roman period and others that were only available from the fifteenth or sixteenth Centuries. The work has confirmed stratigraphic sequencing of the pigments which will, in due course, permit the digital reconstruction of how this Classical relief sculpture would have been adorned during the Renaissance.

Pierre-Yves Le Pogam

Since the sculptures of Late Antiquity and the Early Middle Ages were discovered during the modern period, they have given rise to contradictory judgements. Considered crude, they were also looked upon with pride, as witnesses to the antiquity of a territory. This view was pursued throughout the nineteenth century and well into the twentieth, with all the nationalistic and sectarian pitfalls that it could entail. Then the works benefited from a re-evaluation of their aesthetics, largely due to the influence of the artistic revolutions of the 1900s. In the second half of the twentieth century, the epistemological framework was overturned by the contribution of archaeological and archaeometric methods. However, our field of study requires a new approach, especially in the form of complete corpuses linked to architecture.

Ponimin, Guntur

This paper reports on the production of a ceramic installation artwork that explores the story of the COVID-19 pandemic experienced by people throughout the world. The work is a symbolic expression in the form of a set of ceramic art models that portray the story of the battle between positive and negative values, expressed through a 3-dimensional visual ceramic installation consisting of an arrangement of statues that portray an imaginary battle between COVID-19 troops and Lord Krishna. The method used in the process of creating this work was a creative approach that combined appreciation and interpretation of the object of the creative idea. The artwork was made of plastic clay taken from the southern area of Malang regency, East Java, Indonesia, which was formed using a manual technique of direct hand massage and fired at a temperature of 900 °C. The COVID-19 phenomenon is imagined and visualized as a ceramic installation sculpture consisting of the imaginative figures of COVID-19 troops, led by the king of COVID-19 who is shown fighting with Lord Krishna. The result is a visual expression of the COVID-19 troops and their king, in several imaginative forms, carrying various weapons of war, in combat with the imaginary figure of Lord Krishna. The distinction of this work is its portrayal of a battle between positive and negative forces that have become a part of human life during the COVID-19 pandemic, expressed in a symbolic visual narrative through the arrangement of a set of ceramic sculptures.

Vasić Miloje R.

During the excavation in 2002, in trench 24A in Mediana, a head fragment of a sculpture was discovered, belonging to a life-sized, or possibly slightly larger, sculpture. Analysis of this head indicates that it is of Aesculapius. According to its stylistic features, it can be dated into the very end of the 2nd and the early 3rd century. This find raised the question as to whether there could have been a sanctuary dedicated to Aesculapius or Hygieia in Mediana. In this paper, statuettes of these two deities have been reconsidered, all of them unearthed within the “villa with peristyle”. New dating has been suggested and it was concluded that the audience hall (triclinium), being the largest room within the villa, was turned into a sanctuary. Its apsis was turned into the most sacred place, separated from the rest of the hall with a bronze railing. The rest of the villa could have been used for the reception of the sick, just as in any other Asclepaion. At the same time, questions regarding other sculptures discovered within the villa were posed. The appearance of mythological sculptures in other villas throughout the Roman Empire was analysed in detail and it was concluded that the sculptures in Mediana were exclusively regarded as villa decoration and not as part of any cult. All of them were brought here from different places and they are dated differently. One should not discard the possibility that, for a short period of time, some of them, especially those representing deities with possible healing features, were in a sanctuary of Aesculapius. The sanctuary could have been opened during the reign of Julian the Apostate and it operated until his death.

Bogordayeva A.A.

The article is aimed to study images of a female guardian spirit in the form of a cuckoo. It existed in one of the settlements of the Ob Mansi in the XIX — early XX century. The image had been considered lost for a long time, and it was discovered by the author in a museum archive. The article provides its detailed description to determine features of the costume. Based on the comparative typological method, the material, cut, ornaments and other specific features are analyzed. It was found out that the costume of Cuckoo maiden guardian spirit consists of a traditional clothing set of the Ob Mansi. It usually includes a gown shirt, a robe and a kerchief. In the case under consideration, a wooden sculpture in the form of a bird is dressed in two shirts, five robes and three kerchiefs. The robes and shirts are sewn by hand and have a traditional Mansi cut. The composition and the cut of the costume set of Cuckoo maiden image reflects the features of the women's clothing of the Ob Mansi, of the Middle Ob and Northern (Berezovo and Kazym) Khanty of the late XIX and XX centuries. At the same time, such adornments typical of the women's clothes of these Mansi and Khanty groups as embroidery with beads, coloured threads and applied ornaments are not represented on the robes and shirts of Cuckoo maiden. But the clothes have another inherent characteristic which is a coin attached to them in some way. It is assumed that these two features of the clothes, the lack of ornamentation and the presence of coins, are sacred symbols which aim at emphasizing a special status of this image.

Hala Bahmim

The concept of reciprocity in ceramic art besides the method and technique of the clay material and the conversion of its sculpture properties, as ideas for designs that are employed in the production of ceramic sculptures through building ceramic piece of art owing interactive elements that makes its 3D structure compatible and formally balanced, revealing new features that opens advanced horizons to develop the artistic vision of the contemporary ceramics. This could be achieved through its use by the method of fitting the elements of the art form to create new artistic variable capable to be used as ceramic sculptures in a way showing the intellectual, technical, formulation and constructivism aspects of the ceramic art and to be an initiative for its concepts and contents understanding. Due to the scarcity of studies in this field, the scientific research problem assured that the beneficiary from the reciprocity between the ceramic form elements in implementation of ceramic sculpture is low , which has made our research aims to reach the most important structural foundations for interactive shape elements to produce a contemporary ceramic sculptures, That is why this research came in four chapters, chapter I of which illustrate the problem, the research importance, the need for its results and how to achieve the research goal and then the terms that are directly related to the title and purpose of the research. Chapter II dealt with the theoretical framework, it came in two parts to prove in the first part of it "reciprocity between arts" in the second part dealing with "The evolution and characteristics of porcelain". Chapter III, monitored related research and information to our results through several samples that were our research borders that relied on the descriptive, analytical curriculum. Finally the conclusion came assuring the research goal, chapter IV included the research results besides several recommendations and suggestions followed by the Arabic and foreign references list.

Mary Frances Dondelinger

Discovered 12 metres (40 feet) below the surface in the Santa Rosa Island region, this rare and unprecedented archaeological cache of pottery and sculpture has flummoxed the archaeological community. Some scientists debate the authenticity of this newly-discovered society because of the apparent gender equality. But former native-Californian artist M F Dondelinger says sometimes it's hard to get our minds around new concepts and images to understand their meanings. ‘What we need now is to be open to interpreting this unusual society. I think it requires a whole paradigm shift on how some early communities are interpreted.’

Iswahyudi Iswahyudi

This study aim to describe the development of carved art motifs in Jepara. The target population of artworks carving is some distribution of works that represent the period, so that the selection of data sources is also tight and considered representative. In this study it is required to produce a qualitative descriptive development study so that it approaches synchronic diachronik. The research step is done through the stages of observation, interviewing, making documentation, comparing historical information and see some works that have never been used by other researchers. The results: (1) Associated with the motive of the Queen of Sima money is considered the earliest is estimated in the VII century by physical evidence has not been found but on the myth is still attached to society carver Jepara. (2) The motifs that are representative of the era is Kalinyamat motif is believed to have existed at the beginning of the XVI century is still intact until now in the Mantingan Mosque Jepara. (3) Some artworks carved R.A. Kartini called Kartini motif by approach with her family can be presented in this research. (4) Various discoveries of masterpiece maestro Jepara artists can still be saved and are in Jepara carving museum. Followed by various colonial works both in the museum and in the home entrepreneur meubelair called the pre booming motif. (5) Contemporary sculpture art works can be found in groups called booming and post booming motifs that mostly reside and are displayed in some show rooms center meubelair Jepara city. Keywords: Jepara, development, carving motifs

Seshananda Sanjel, Sanjay N. Khanal, Steven M. Thygerson et al.

Abstract Background Bricks have been manufactured in Nepal for hundreds of years and are seen as a component of Nepalese sculpture and architecture. Large quantities of hazardous materials including high concentrations of particulate matter are emitted on a daily basis from brick kilns. Exposure to these hazardous materials can lead to adverse consequences on the environment and human health. This study was conducted to  estimate the prevalence of respiratory symptoms/illnesses and the magnitude of respirable and total dust exposures among Nepalese brick kiln workers. Methods Respiratory symptoms/illnesses were evaluated by questionnaire among brickfield workers (n = 400) and a referent group of grocery workers (n = 400) in Kathmandu valley. Work zones (WZs): green brick molding (GBM), green brick stacking/carrying (GBS/C), red brick loading/carrying (RBL/C), coal preparation (CP) and firemen (FM) were the similar exposure groups (SEGs) from where personal air samples and interviews were taken. Among brickfield workers, personal monitoring was conducted across SEGs for total (n = 89) and respirable (n = 72) dust during February–March 2015 and March–April 2016. Applying multi-stage probability proportionate to size sampling technique, 16 kilns and 400 brick workers for interview were selected. Proportions, means, medians and ranges were calculated for the demographics, samples and respiratory symptoms/illnesses. One-way ANOVA was applied to compare the significance differences of the level of particulate matter among SEGs. Bivariate and multivariate logistic regression analysis were performed to evaluate association between respiratory symptoms/illnesses and participants groups, and SEGs among brick kiln workers at 0.05 level. Statistical analyses were performed using IBM SPSS Statistics 21. Results Chronic cough (14.3%), phlegm (16.6%) and bronchitis (19.0%) were higher (P < 0.05) among brickfield compared with grocery workers (6.8, 5.8 and 10.8%). Mean respirable (5.888 mg/m3) and total (20.657 mg/m3) dust exposures were highest for red brick loading tasks. The prevalence of chronic cough, chronic phlegm, chronic bronchitis, wheezing and asthma were significantly higher for other WZs workers (p < 0.05) compared with CP; for GBM: 22.9, 34.6, 15.0 and 7.5%; for GBS/C: 13.5, 15.8, 10.0, 8.8 and 7.5%; for RBL/C: 11.1, 17.1, 27.4, 19.0 and 11.9%; for FM: 18.4, 12.5, 28.4, 4.9 and 0.0%; and for CP: 4.9, 6.3, 13.3, 9.3 and 4.0% respectively. Conclusion High dust exposures identified in this study may explain the increased prevalence of respiratory symptoms/illnesses among Nepalese brickfield workers, warranting action to reduce exposures.

E. Angelini, S. Grassini, M. Parvis et al.

C. Janis, K. Devlin, Daniel E. Warren et al.

Marina Tkacheva

François Queyrel

It is often thought that the representation of physical pain flourished in Hellenistic sculpture, with the whole “pathetic” trend often associated with the Pergamene school. The spectator’s perception of physical pain is first linked to the staging, which may be confusing. Such is the case of the “Dying Seneca” – a statue restored in the xvith c. ; the philosopher is supposed to be cutting his veins, whereas it is actually the statue of an old, prematurely worn-up fisherman, but who was not perceived as suffering by spectators from the Antiquity. However, the invention of conventional expressions of pain dates back to classical art with centaur figures grimacing on Parthenon’s metopes. Such grimaces are not to be seen on the Galates’faces in the « great Attalid ex-voto » : the physical pain that is expected does not show at all. Such an indifference to pain gives an inhuman side to the Barbarian figure. The study of Marsyas’and Laocoon’s expression also leads to the ironic conclusion that the expression of physical pain resides more in the staging than in the expression of pain felt by the character.