Hasil untuk "Sculpture"

Michał Gontarz, Piotr Idzi, Katarzyna Egelhoff et al.

<i>Background and Objectives</i>: Orbital exenteration performed for advanced malignancies often results in complex defects that are difficult to reconstruct, particularly in patients treated with adjuvant radiotherapy who subsequently develop osteoradionecrosis. This study describes the preliminary results of a surgical technique for secondary orbital reconstruction using a combined scalp flap and temporalis muscle flap (TMF), referred to as the “Pacman flap with tongue,” performed prior to prosthetic rehabilitation. <i>Materials and Methods</i>: Five elderly patients with multiple comorbidities and osteoradionecrosis following orbital exenteration and radiotherapy underwent secondary orbital reconstruction using the “Pacman flap with tongue” technique. The clinical outcomes, flap viability, complications, and feasibility of subsequent prosthetic rehabilitation were assessed. After stabilization of healing, digitally planned ocular epitheses were fabricated using cone-beam computed tomography (CBCT), computer-aided design, and three-dimensional printing. <i>Results</i>: Healing was uneventful in all patients. No flap necrosis, wound dehiscence, or recurrent bone exposure was observed. The reconstructed orbital sockets provided a stable, well-vascularized prosthetic bed, enabling satisfactory prosthetic rehabilitation. <i>Conclusions</i>: The “Pacman flap with tongue” may be considered a feasible option for secondary orbital reconstruction in selected high-risk patients, particularly in the setting of osteoradionecrosis.

Somayeh Rasoulipour, Nezamuddin Emami far, Somayeh Arezofar

Introduction: Mythological motifs in the design of messenger logos can facilitate user interaction and comprehension due to shared experiences among different societies. One of these motifs is the use of bird imagery, which is frequently observed in messenger logos. This research seeks to answer two main questions: “What symbolic values are reflected in the iconography of mythological birds in logos”? and “Why are images of mythological birds used in the design of these logos”? This study aims to analyze the icons present in the logos of six messengers: Hodhod, Soroush, Dorna, Twitter, Cubie, and Bat.Research Method: This study employs a descriptive-analytical approach, with data collected through library research. A purposive sampling method was used to select bird icons in six logos, and the data were analyzed using Panofsky’s iconographic method.Findings: The iconography of mythological birds in logo design can reveal various symbolic values linked to each brand's cultural identity. In different global myths, mythological birds are commonly associated with freedom, communication, speed, efficiency, and spiritual connection. These symbols have been integrated into logo designs based on the meanings and values they convey.Conclusion: The analysis of six logos shows that, despite their unique iconographic characteristics, they do not display significant visual differences; rather, secondary elements help distinguish them. However, all these logos convey a shared message, facilitating a universal understanding of them. Overall, using mythological birds in logos conveys symbolic values such as messaging, enlightenment, trust, and a connection to cultural identity, enhancing the emotional bond between the brand and its audience.

J. Warguła, P. Kayastha, A. Polishchuk et al.

The terrestrial genera Barbaria (13 taxa) and Pseudechiniscus (54 taxa) belong to the family Echiniscidae (Heterotardigrada). In two samples collected in the Cotachi-Caypas Ecological Reserve, specimens of both genera were found. Pseudechiniscus (Pseudechiniscus) goldyni sp. nov. belongs to the suillus-facettalis complex and it is characterised by a unique ventral sculpture, which distinguishes it from all other species described so far. A large population of the species Bar. ganczareki, previously known only from Costa Rica, was also found, which made it possible to delineate this species more precisely. Both species were analysed using integrative taxonomy – a combination of classical morphology and morphometry, as well as genetic data (mitochondrial and nuclear DNA fragments; CO1, 28S RNA).http://www.zoobank.org/urn:lsid:zoobank.org:pub:2CF2569F-EEB0-4518-8F30-C4D6821BA2D9

Ronald Osei Mensah, Evans Kwadwo Donkor, Fredrick Boakye-Yiadom et al.

Abstract This research explores the knotty relationship between sculpture creations and crime, focusing on the perceptions of Ghanaian sculpture users through the lens of the labelling theory. The labelling theory, a sociological perspective, posits that individuals become deviant when labelled as such by society, influencing their self-identity and behaviour. In the context of Ghana, where sculpture is a significant cultural and artistic expression, this study investigates how sculptures are perceived about criminal activities and societal norms. The research employs a qualitative approach, combining interpretivist’s phenomenological research philosophy and descriptive research design with face-to-face interviews with sculpture users, artists, and community members, alongside direct observation to gather comprehensive data. The findings reveal that sculptures, often seen as cultural artifacts, can be misinterpreted or labelled as symbols of deviance due to societal prejudices and misconceptions. This mislabelling led to the stigmatization of both the art form and its creators, impacting their social standing and economic opportunities. In conclusion, the study calls for policy interventions and community engagement to promote a more inclusive and informed appreciation of sculpture as a vital component of Ghanaian heritage and identity.

Ameena M. Hasan, Saleem E. Shahbaz, Shamiran S. Abdulrahman

This investigation was aimed to study pollen grains of subgenera Prunus and Cerasus. The polleniferous materials were collected from different places of Kurdistan region of Iraq living specimens. Pollen grains of all investigated taxa of subgenera Prunus and Cerasus were isopolar, monad, symmetric, tricolporate, dicolporate and tetracolporate pollens also observed, but very rarely. The pollen grains shape of taxa of subgenera Prunus and Cecasus divided in two groups subprolate and prolate depending on P/E value.  While, the size were medium with the exception of P. domestica subsp. italica grains were found to be small in size. The percentage of repeat morphological shape of pollen grains in polar view showed that the triangular outlines shapes of pollen grains were the most repeated, while, in the equatorial view the elliptic outline shapes was dominant in all taxa. Pollen grains surface of studied taxa was showed stri­ate pattern with perforations in the grooves except P. domestica subsp. insititia which appeared striate-reticulate type of exine sculpture. Principal component analysis can recognize 67.7 % of the total variability thus can help prediction of taxa.

Vladimir F. Zaykov, Alexander P. Shalimov, Alexey V. Vaganov et al.

The genus Pulsatilla Mill. represents a taxonomically complex group, with its systematic classification having undergone numerous revisions. Pollen grain morphology plays a crucial role in the intrageneric taxonomy of Pulsatilla; however, it remains unexamined for several species within the genus. This study presents the results of a comprehensive palynological analysis of 18 Pulsatilla species, including nine species investigated for the first time. The majority of species exhibited a 3-colpate aperture, including P. astragalifolia, P. bungeana, P. ajanensis, P. cernua, P. ambigua, P. taurica, P. kryloviana, P. herba-somnii, P. turczaninovii, P. multifida, and P. archarensis. A pantocolpate aperture was characteristic of P. herbertii and P. neobungeana, while P. campanella, P. andina, and P. neobungeana displayed a pantoporate aperture. The exine sculpture of all examined pasqueflowers was consistently microspinate, with predominantly smooth surfaces, except for occasional tuberculate textures. Pollen grain shapes varied from elongated ellipsoidal to spheroidal forms.

Maryam Askari Raini, Farnoush Shamili, Abdullah Mirzaei

Introduction: Bahman Mohassess is one of the greatest leading artists in Iran's modernist art, who lived in politically, socially, and culturally tense periods. Expressing issues such as «condemnation of existence», «passivity», and «isolation» are among the most important themes of his works of art. In this research, by adopting a sociological approach and theoretically expanding the basic concepts of «Habitus», «Field», «Capital» and «Theory of Practice», an attempt was made to shed light on one aspect of the reasons for the distinction in the works of this artist. Therefore, the current research, focusing on the authentic and recent opinions of the famous French sociologist, Pierre Bourdieu, seeks to answer two fundamental questions: «What were the social contexts affecting the formation of Bahman Mohassess's artistic habitus» and «What were the social contexts affecting the level of acceptance of Bahman Mohassess's artworks by the audience of his works?» The current research aims to find social factors influencing the distinction of specific works using the concept of Bourdieu's Practice. Accordingly, this study is fundamental and qualitative.Research Method: This research is qualitative and fundamental. Its method is descriptive-analytical, and the data was collected using a library-based technique.Findings: According to Bourdieu, people's habitus is built over time and based on social conditions. Thus, Mohassess's specific personal, social, and family experiences have formed his artistic character. On the other hand, the social contexts of the period in question had caused the formation of cultural fields that were different from the artistic capital of the artist, and this caused a low level of acceptance of his works by society.Conclusion: According to the research conducted, it can be concluded that individual, social, and family experiences played a role in forming Mohassess's artistic character. On the other hand, the social contexts of the period in question had caused the formation of cultural fields that were different from the artistic capital of the artist, and this caused a low level of acceptance of his works by society.

hatem ahmed

Egypt is characterized by a unique and variation of culture heritage that distinguishes it from the rest of the world. Heritage has an important role in preserving human memory and the continuation of the expression inherited from ancestors, which makes sculpture playing an important role in preservation of cultural heritage and human creativity. Through the relationship between sculpture and architecture throughout history, we find a complementary relationship that represents each of them as a basis for the other. The research aims to benefit from the aesthetics of the Egyptian heritage arts in creating sculptural murals to decorate the internal and external airports walls, as well development and activating tourist sector to achieve sustainable tourism development. International airports, in particular, are one of the most important entrances for any country, as well as being modern buildings with functional privacy, which tourists or visitors from all over the world pass through. These considerations require attention to airports in their architectural style and functional performance. The study relied on design and implement a number of reliefs, inspired by some scenes of the ancient Egyptian, Islamic and popular heritage arts to be employed in the walls of internal and external airports and some service places that could pass through or be used by arrivals or travelers, to contribute to emphasizing The national identity and to emphasizing of the architectural construction vision of the facility as a whole. Photoshop programs were used as a Hypothetical in the recruitment of sculptural murals indoor and airport faced.

Mohammad Samii, Mohamad Reza Hassani, Marziyeh Rezaei

Problem Definition: The issue of form and meaning has always been an integral part of the foundations of art forming an artwork. Also, Rumi has discussed the subtle relationship between form and meaning in the story of «Romans and Chinese» from a mystical point of view. On the other hand, Anish Kapoor's «Mirror of the Sky», which has a special place in contemporary art as a large-scale work, has common points compared to Rumi's point of view. The present research tries to address these points and investigate the significance of how and with what common language, form and meaning are studied in these works, which are in many historical contrasts?Objective: Rumi attended to the subject of meaning far beyond his time. This feature has made it very close to the language of contemporary art. Therefore, the current research is trying to achieve a new concept by comparing the value of meaning in the story «the Romans and Chinese Argument on the Painting Science» by Rumi and «The Mirror of the Sky» by Anish Kapoor, in a way that is also related to the language of contemporary art.Research Method: The current research has been conducted in a descriptive-analytical method and, by referring to library sources, it has expressed the concepts of form and meaning in contemporary art and their place and relationship in Islamic thought and mysticism.Results: The results showed that the story of «the Romans and Chinese Argument on the Painting Science» and the work of «Mirror of the Sky» have tried to highlight the importance of meaning so much that it has even led to the removal of form. These two works are very close to each other in terms of form, but their semantic language differs from each other according to the context of the time in which they are placed

Isabell Stein, Helen Jossberger, Hans Gruber

Research on visual expertise has progressed significantly due to the availability of eye tracking tools. However, attempts to bring together research on expertise and eye tracking methodology provoke several challenges, because visual information processes should be studied in authentic and domain-specific environments. Among the barriers to designing appropriate research are the proper definition of levels of expertise, the tension between internal (experimental control) and external (authentic environments) validity, and the appropriate methodology to study eye movements in a three-dimensional environment. This exploratory study aims to address these challenges and to provide an adequate research setting by investigating visual expertise in sculpting. Eye movements and gaze patterns of 20 participants were investigated while looking at two sculptures in a museum. The participants were assigned to four different groups based on their level of expertise (laypersons, novices, semi-experts, experts). Using mobile eye tracking, the following parameters were measured: number of fixations, duration of fixation, dwell time in relevant areas, and revisits in relevant areas. Moreover, scan paths were analysed using the eyenalysis approach. Conclusions are drawn on both the nature of visual expertise in sculpting and the potential (and limitations) of empirical designs that aim to investigate expertise in authentic environments.

Stefania Mylona

In this paper, I aim to argue about the potential of dance as movement that creates total dance in the sense of E. T. Kirby’s concept of total theater or Wagner’s Gesamtkunstwerk, total artwork. Movement creates moving images, moving sculptures, and moving sounds, allowing bodies to reach their full performance potential in what I term total dance. By total dance, I refer to a moving sculptural assemblage that entails moving images and creates moving sounds. Through this analysis of total dance, I aim to propose that both movement analyses and corporeality are inherently interdisciplinary.

Ramazan Alper Kuçak, Serdar Erol, Bihter Erol

Light detection and ranging (LiDAR) data systems mounted on a moving or stationary platform provide 3D point cloud data for various purposes. In applications where the interested area or object needs to be measured twice or more with a shift, precise registration of the obtained point clouds is crucial for generating a healthy model with the combination of the overlapped point clouds. Automatic registration of the point clouds in the common coordinate system using the iterative closest point (ICP) algorithm or its variants is one of the frequently applied methods in the literature, and a number of studies focus on improving the registration process algorithms for achieving better results. This study proposed and tested a different approach for automatic keypoint detecting and matching in coarse registration of the point clouds before fine registration using the ICP algorithm. In the suggested algorithm, the keypoints were matched considering their geometrical relations expressed by means of the angles and distances among them. Hence, contributing the quality improvement of the 3D model obtained through the fine registration process, which is carried out using the ICP method, was our aim. The performance of the new algorithm was assessed using the root mean square error (RMSE) of the 3D transformation in the rough alignment stage as well as a-prior and a-posterior RMSE values of the ICP algorithm. The new algorithm was also compared with the point feature histogram (PFH) descriptor and matching algorithm, accompanying two commonly used detectors. In result of the comparisons, the superiorities and disadvantages of the suggested algorithm were discussed. The measurements for the datasets employed in the experiments were carried out using scanned data of a 6 cm × 6 cm × 10 cm Aristotle sculpture in the laboratory environment, and a building facade in the outdoor as well as using the publically available Stanford bunny sculpture data. In each case study, the proposed algorithm provided satisfying performance with superior accuracy and less iteration number in the ICP process compared to the other coarse registration methods. From the point clouds where coarse registration has been made with the proposed method, the fine registration accuracies in terms of RMSE values with ICP iterations are calculated as ~0.29 cm for Aristotle and Stanford bunny sculptures, ~2.0 cm for the building facade, respectively.

Anne-Laure Goron

In our age of ‘dematerialisation’, the field of conservation is also affected by the emergence of digital tools, among which 3D modelling is now becoming easily accessible for everybody. In addition to its promising use for the restitution of elements of sculpture or of buildings, 3D modelling also seemed interesting to us in the case of the engraved stones of Carapa, at Kourou in French Guiana. This site, classified as a historic monument in 1993, has been subjected to a full study and to digital condition reports since 2013. The size of the site, the numerous folds of the rock and the presence of a roof made the creation of an overall view from above very difficult. The now ‘classic’ method involving the annotation of a digital picture proved time-consuming and even inappropriate. This gave rise to the experimentation of a new 3D surveying and annotation system, developed by the CNRS-MAP laboratory (CNRS/MC). Thanks to funding from French Guiana’s DAC (Direction of Cultural Affairs) and the collaboration of the CNP (National Centre of Prehistory), we had the chance to test and evaluate the ‘Aïoli’ platform during our conservation work on the site. This article is an account of that experimentation, highlighting the limitations of the 2D survey undertaken on Photoshop® Elements, then detailing how and to what extent Aïoli® can solve these problems.

D. S. Feoktistov, I. I. Gureyeva

<p>Ultrastructure of epidermal surface of stems and branches internodes of 5 species and 3 interspecific hybrids were studied using scanning electron microscopy, as well as spore surface of 5 species of horsetail subgenus <em>Equisetum </em>(<em>Equisetum</em>, Equisetaceae): <em>E. arvense </em>L., <em>E. fluviatile </em>L., <em>E. palustre </em>L., <em>E. pratense </em>Ehrh., <em>E. sylvaticum </em>L., <em>E. × mildeanum </em>Rothm. (<em>E. pratense × E. sylvaticum</em>), <em>E. × sergijevskianum </em>C. N. Page et Gureeva (<em>E. pratense × E. palustre</em>), <em>E. × lofotense </em>Lubienski (<em>E. arvense × E. sylvaticum</em>). Sculptural elements from silica differ in shape, size and location on the ridges and furrows of stem and branches internodes. There are: the thin longitudinal some­times anastomosing thread-like structures (ribs), cylindrical, rounded on the tip, or conical mamillae, tubercles and spines. The thin longitudinal ribs, tubercles and spines are situated on the ridges of stem and branches; separate mamillae and groups of fused mamillae occupy the furrows. The fine surface sculpturing consists of hemispherical, globose or slightly elongate pilulae covering mamillae, surface in furrows, and especially stomata. <em>Equisetum palustre </em>has specific club-shaped rods arranged into regular ranks along either side of the stomatal slit. A detailed description of silica sculpture, shape, disposition and ornamentation of stomata area are presented for all studied species and hybrids. Such features as the presence, shape and arrangement of sculpture elements, ornamentation, shape and arrangement of sto­mata can be used in the taxonomy and phylogenetics of horsetails. Spores of the members of subgenus <em>Equisetum </em>are spherical in shape. They have not specific ornamentation, their features may not be used in systematics of horsetails.</p>

Renata Suzano Candido, Ana Carolina da Silva Fourny, Vania Gonçalves-Esteves et al.

The order Asparagales comprises 14 families, five of which occur in Brazil. Amaryllidaceae is a family of economic relevance and includes numerous ornamental genera. The genus Hippeastrum is widely distributed in Brazil and comprises 34 species, 11 of which occur in areas of restinga (coastal woodland) and Atlantic Forest in the state of Rio de Janeiro. The morphology of Hippeastrum has not been extensively studied in Brazil, where only a few systematic floristic surveys have been carried out with native species. In field studies and reviews of herbarium collections, we identified five Hippeastrum species occurring in areas of restinga in the state of Rio de Janeiro. The five species identified could be distinguished according to the following palynological characteristics: pollen grain size, polarity, pollen units, shape, aperture (number and type), exine sculpture, colpus length and pattern of sexine ornamentation. Of the five species identified, Hippeastrum aulicum Herb. and H. glaucescens (Ker Gawl.) Herb. were not identified in the field. Among the three species that were found in the field, H. striatum had the widest distribution in the study area, whereas the distribution of H. reticulatum was restricted to a single area of restinga, in the Jaconé district of the municipality of Saquarema. Through palynological examinations of specimens from herbaria in the state of Rio de Janeiro, we were able to confirm the identity of all five species of Hippeastrum studied. Our data represent a relevant contribution to increasing knowledge of this plant group in the region and will aid in future conservation efforts.

O. G. Ultsiferov

The article examines one of the main questions of intercommunications between main religious and cultural systems in India: Hinduism, Buddhism, Islam and Christianity in literature and art. The article, using the actual material, focuses the similarities and differences between those systems, results the basic data on the interaction of these systems in literature and art and shows the mutual influence and interaction of such different systems.

Pietro Conte

Adopting a morphological paradigm based on the equidistance of any art form from the concept of beauty, Herder explicitly subverts normative aesthetics and its claim to impose an everlasting canon and to measure all cultural products by the very same yardstick. Focusing on Herder’s early writings about ancient sculpture, poetry and mythology, I point out how they will later influence his philosophy of history, as it developed in works such as <em>This too a Philosophy of History for the Formation of Humanity </em>and <em>Ideas for the Philosophy of History of Humanity</em>.

Adrian-Silvan Ionescu

Born on 4th of July 1862 in Bucharest, of a former 1848 Hungarian revolutionist father, and a Romanian mother, George Julian Zolnay was a graduate of the School of Fine Arts and a good violin player too. While following the sculpture classes of the Vienna Fine Arts Academy his professor recommended him to go to the United States to give a helping hand to the completion of the 1893 Chicago Columbian Exhibition. He settled there and in 1897 received his American citizenship. Zolnay eventually became a reputed American sculptor but he had never forgotten his native country. On the contrary, he kept a constant correspondence with former friends, colleagues and army comrades. As a tribute to his native country, in 1899, he offered to the Art Museum in Bucharest a gesso model of his most recent sculpture. Called Grief, his work was a funerary monument for Winnie Davis’s tomb in Hollywood Cemetery in Richmond, Virginia. His gift was gratefully received and King Carol I awarded him the Bene Merenti Medal. This distinction made a great sensation among his American colleagues from the Arts Club in New York who offered a dinner in his honor. In 1902, while paying a visit to Romania, he was received by King Carol in a private audience at the Peleș Castle in Sinaia. Years later, in 1929, Zolnay wrote a comprehensive autobiography for his two daughters in which he described this important event in his life. King Carol seemed interested in everything American and asked him a lot of questions on various topics thus prolonging the meeting to more than an hour, a fact which was unheard at the Romanian Court where stern rules where duly observed.In 1911 he planned another visit to Romania, to show it to his wife and introduce her to his family. The young lady prepared a Romanian folk costume, precious wedding gift from her mother-in-low, to wear at the audience to the Royal Court. But a cholera epidemic prevented the Zolnays to travel down the Danube and all hopes to come to Bucharest were given up.Zolnay’s following trip to Romania was in the spring of 1923. At that time, the sculptor was in Italy supervising the founding of his latest monument for Nashville, Tennessee, the War Memorial also called the Fallen Warrior, or the Soldier’s Mother or the Gold Star Monument. Taking a leave from the foundry, he undertook an exhausting and perilous train voyage to his native country, via Yugoslavia. He spent a few weeks in Bucharest where life was quite cheap. Consequently, the sculptor enjoyed luxury accommodation and lavishly meals in the Capital City. He was kindly received by Queen Marie who firstly chided him for having made America his home instead of devoting his life to the artistic and intellectual development of his country. Their conversation was undertaken in three languages because Zolnay was an accomplished polyglot. The artist showed the pictures of his monument to the Queen who expressed her wish to have the War Memorial placed in one of the central plazas. Afterwards, they talked about the United States for Queen Marie’s great desire was to visit that faraway country – a dream which was accomplished three years later in the triumphal journey from coast to coast. Queen Marie enjoyed their talking and asked him to visit her again but that opportunity was lost due to Her Majesty’s unexpected voyage to Belgrade, to see her daughter, young Queen Marioara of Yugoslavia.Back to Italy, Zolnay wrote a letter to his friend, the diplomat Vasile Stoica, asking his counsel and help for rising funds from the Romanian community in the United States. The money was needed for founding a bronze replica of the War Memorial. Unfortunately, neither money nor monument was rose in Bucharest. In spite of this failure, Zolnay kept good memories for his meeting with Queen Marie and her brilliant conversation.

Sonia Caballero Escamilla

<p>The convent of Santa María la Real of Nieva (Segovia) was founded by Queen Catherine of Lancaster. The gate of the church and the cloister are two of the greatest exponents of the Spanish Gothic sculpture in the fifteenth century. In this paper we analyze some of the images of the capitals of the cloister in relation with its uses and meanings, among which stand out some allegories of the liberal arts and a cycle of the months of the year.</p>

Elena PARASCHIV, Victor PĂUNESCU, Cristina RĂDUCAN

The paper portrays some aspects that show how nature is implemented into the graphic values domain by confronting the physical image of the artistic subject. The article presents some rules that have marked over time the representation of the human body in sculpture, based on the subtle game of proportion. There are also presented brief studies of works of art based on an analysis of framing surfaces the sides of which are in the golden section ratio.