Hasil untuk "Sculpture"

G. Stiny, J. Gips

R. Martinez-Sala, J. Sancho, J. V. Sánchez et al.

Ciro Lo Muzio

This paper provides a concise overview of the current state of research on Khotanese painting. Early documentation from the first archaeological expeditions in the early twentieth century, together with Joanna Williams’ seminal study of 1973, laid the foundations for the discipline. In recent decades, however, both renewed scholarly attention and archaeological investigations conducted in China have substantially expanded our knowledge of Khotanese pictorial traditions. These studies have refined our understanding of iconography, stylistic development, and thematic repertoire, while also offering new perspectives on the sources and dissemination of local artistic forms. This contribution will also consider the persistent uncertainties surrounding the chronological framework—a common challenge in the study of the region’s artistic production, particularly evident in the case of Khotan. Such problems arise from the uneven and often unsystematic nature of the documentation produced since the late nineteenth century, compounded by the fragmentary state of preservation of the material and its dispersal across multiple museum collections worldwide. These circumstances continue to pose significant challenges to the reconstruction and interpretation of Khotanese painting within its broader historical and cultural context.

David Leatherbarrow

Ground in this study is described as a basic premise for the emergence and retreat of images, in architecture, sculpture, painting, and landscape. Examples from different places and periods are examined, the latter ranging from the recent past, to the time of early modernism, the baroque and renaissance periods, remote antiquity, and the beginnings of human art in paleolithic times. The relationships between images and their grounds are variously described as confrontational, congenial, alternating, and ambiguous, in the positive sense of excessive or saturated content. Physical and environmental conditions are described, as are practical and cultural situations, as they have been disclosed in the arts. Ground, remembered and envisaged, is shown to be as much an outcome of creative work as its basic resource.

Daria A. Avdanina, Alexander A. Zhgun

Abstract The vast majority of cultural heritage objects consist of materials that can be subjected to biodeterioration. Currently, there is significant number of publications showing which materials are capable of destroying certain organisms, and what conservation and restoration procedures are required. However, there is neither a clear classification of these diverse events nor their visual representation. In our review, for the first time, an attempt is made to compare the type of biodeterioration, based on the destruction of a particular material, with a specific color of the rainbow. In this regard, a cultural heritage objects made of a single material are designated as one color icon; and those made of composite materials are designated as pictogram consisting of several icons of corresponding colors. For example, a stone sculpture, in accordance with the rainbow code, is assigned a gray color, which was introduced to visualize stone materials. The drum corresponds to a pictogram consisting of violet (corresponds to leather) and brown (corresponds to wood). A work of easel painting on canvas corresponds to a pictogram consisting of a red color icon (corresponds to canvas) and a gold color icon (corresponds to painting materials). We used cold color shades to denote basic inorganic materials, and cold color shades to denote organic materials. The proposed rainbow code for biodetermination is an open platform that can be expanded by adding new colors for new materials introduced, and allows to translate potentially any cultural heritage object into a pictogram with colors that correspond to the materials used in its manufacture. Such a graphical interpretation can help both systematize the storage conditions of museum exhibits and facilitate understanding of the processes of biodeterioration of composite materials. Graphical Abstract

Diogo Nunes

Uma Flor da Vida Para o Recordar’ é um projeto artístico que resultou numa obra de arte que ficará instalada em permanência na Assembleia da Républica Portuguesa. Procurando uma abordagem consciente em relação ao seu lugar de implementação, considera de forma crítica as obras artísticas presentes no edifício no contexto do Pós-Colonialismo Português, especialmente o mural do pintor Domingos Rebelo, que mostra o “descobridor” Vasco da Gama a ser recebido pelos “emissários” de Samorim. Esta, faz o upcycling através da arte de sete modelos de cinzeiros cerâmicos cedidos pelo Parlamento português após deixarem de servir a sua função de ofertas institucionais. Para isto propomos o conceito de object-specific como ideia orientadora para subverter o papel anterior dos cinzeiros como lugares do apagar, do descartar e do esquecer de histórias normalmente ignoradas sob o sistema de sedução que envolve a comudidade capitalista. A fim de contrariar ontologias do capitaloceno, procurou-se desvendar um vislumbre do seu Kainos no Rizhoma representando momentos históricos da relação da sociedade ocidental com o tabaco através da primeira pintura cerâmica que representa uma folha de tabaco, momentos cruciais na sua disseminação na cultura e mercados ocidentais assim como os seus impactos socio-ambientais atuais. Finalmente será partilhado brevemente o processo de aprovisionamento para e produção do projeto. Esta contou com a elaboração quer de uma estrutura em perfis de plástico reciclado na mesma zona metropolitana da sua produção quer a pintura pós-vidrado dos cinzeiros.

Alexandra Burnusuz, Mariia Moshchenskaia, Veronika Prizova et al.

Abstract Humans constantly interact with their environment, with other humans, as well as natural and artificial non-human agents. Nevertheless, our somatosensory system limits the diversity of our ways of communicating. Such organisms as plants thus escape our notice, blending into the landscape. This phenomenon is called Plant blindness. This leads not only to indifference and lack of empathy towards plants among ordinary people but also to a deficit in funding plant conservation. We believe that it is important to develop connections and also rethink the relationship between humans and flora. This paper examines the Plant turn in the context of an art-science project titled Plantoverse. The scientific part of the project is based on a study of plant epidermis cells, which possess optical properties and function as a “lens”. The data acquired via confocal microscopy was used to construct a mathematical model of these lenses which in turn formed the basis of the artistic work. It is a representation of the plant epidermis in a digital environment. The work allows us to look at ourselves through “plant optics'' and find new tools for interacting with the vegetal world. This interdisciplinary approach can help transfer knowledge about flora from the professional environment to lay society and form a new, more empathetic view toward plants.

Matić Milan, Radenović Sandra

From 1912 to 1948, eighteen hundred artists participated in art competitions within the Olympic Games. Art competitions were held at the following Olympic Games during the period from 1912 to 1948: Stockholm (1912), Antwerp (1920), Paris (1924), Amsterdam (1928), Los Angeles (1932), Berlin (1936), and London (1948). The introduction of art competitions at the Olympic Games was intended to integrate sport and art, spirit and body, and at the same time as a reminder of the cultural values and ideals represented in Ancient Greece. Prominent artists of that era served as judges for the artworks. The aim of this study is to present artistic disciplines from 1912 to 1948, to determine how many works of art, from which field of art, were inspired by sports events, primarily those related to the disciplines of athletic competitions of the analyzed period. At the Cultural Olympiad, from 1912 to 1948, the largest number of medals were awarded for paintings and graphic art (a total of 38 (applied graphics 5, drawings and watercolors 8, other graphic arts 9, paintings 16 medals)), sculpture (a total of 34 (10 medals awarded for medals, 3 for reliefs, and 21 for sculptures)), followed by literature (a total of 29 (dramatic works 1, epic works 9, literature - all kinds 11, lyrics 8 medals)), architecture (a total of 28 (architectural designs 12, designs for town planning 16)), music (a total of 17 (compositions for one instrument 2, compositions for orchestra of all kinds 7, compositions of songs for soloists or choir with or without instrumental accompaniment 4, music - all kinds 4)). When the number of medals awarded for artistic works inspired by athletic events is separated, the most are those from sculpture (7 medals), architecture (4 medals), painting and graphics (3 medals), literature (3 medals), music (1 medal).

Anna LAZAROU, Ioannis LIRITZIS

<p>Our paper aims at a critical reviewing of the research that has dealt with the Gorgon-Medusa and Gorgoneion (decapitated head) apotropaic feminine beast, as recorded in various artifacts and monuments of the ancient Greek World, from early 19th century until today. Multiple works by ancient sources provide a wide-ranging and diverse picture of the fabled creature and her fateful encounter with the Greek hero Perseus. The use of ancient written historical sources is particularly emphasized and eastern influences on texts and iconography is discussed. As a natural consequence of the interactions, the association of Gorgons with other deities and the <em>Potnia theron (Mistress of Animals)</em> has been variously assessed by scholars with predominant its apotropaic property. Medusa appears in a variety of mythological stories and is depicted in a variety of ways in ancient art. The source of the artistic creation in painting and sculpture is founded on the legends and myths from the remote past, with a sudden appearance and apex in the Greek Archaic period. The review covers the period from prehistory to Late antiquity, whereas, the earliest form of a scarecrow is transformed to the known image of Gorgon/Medusa, and eventually from an ugly to beautiful, a metamorphosis which has been attaching various interpretations. The uniqueness of this “beast” form has emerged through its multifaced representations and mythological reports in the known ancient Greek World of the southeastern Mediterranean and its neighbor areas. Gorgon/Medusa-Gorgoneion in art as witnessed in archaeological remains has been shown to persist in all everyday activities of the ancient World and has been subjected to wide social, cultural, ideological considerations.</p>

Ricardo De Mambro Santos

This essay analyses Leonardo da Vinci’s innovative iconography in the making of the panel known as the <i>Virgin of the Rocks</i> (Paris, Louvre) in relation to his considerations on the important Renaissance debate of <i>Paragone</i>, or comparison among the arts, namely, Painting, Sculpture, Music, and Poetry. It will be argued that this work, as a depiction of a complex religious theme, may be interpreted as a laboratory for <i>Paragone</i>-related demonstrations, especially in regards to five points: the optical tangibility of the image; the temporalities involved in the representation; the variety of subjects; and, finally, its iconic stability and semiotic openness as vehicles to further stimulate the devotional value of the painting.

Salvatore Fadda

Roman sculpture has often given the impression that it provides such a precise simulacrum of the bodies of ancient Romans that their portraits can be studied autoptically as if they were a patient. Specialists in medicine and art-history have studied Roman sculptures to the point of producing real medical diagnoses, generating a research niche which, while controversial, has led to some interesting discoveries. However, scholars had sometimes misunderstood certain elements of ancient sculptures, interpreting aesthetic choices as clinical signs. In this article several portraits from the Republican period to the Tetrarchic age will be observed, to assess if the diagnoses made on them are due to actual physical features of the individuals portrayed or not. This article analyses the strengths and weaknesses of the study of ancient pathologies through Roman sculpture to delineate the limits and the possibilities of such an approach.

Parnaz Goodarzparvari

Problem definition: The strengths, weaknesses, opportunities and threats (SWOT) analysis is one of the strategic planning approaches used to evaluate the status of a plan or strategy. The strengths describe which aspects of a topic or part of an organization are superior and what distinguishes it apart from the competitors. The weaknesses stop the effectiveness of a strategy at its desired level. Moreover, the opportunities indicate the desirable external factors which can provide the target strategy with a competitive advantage, while threats point out to the factors that are likely to harm the organization or its strategies. It should be noted that this method, in addition to the strategic planning, is generally employed in the situation analysis. In fact, this analysis is considered as an effective tool for identifying the environmental conditions and internal capabilities of a system. Objective: The present research is based on the collected experiences of online education in the field of art, especially with practical content, which has been proposed and employed as an effective strategy in the field of education along with in-person training on the basis of the coronavirus pandemic conditions and its limitations. Research method: The current study has been conducted by collecting a questionnaire and analyzing the data in an indirect manner with the aim of avoiding the inclusion of tastes in the research findings. The SWOT analysis las been also performed using a quadruple standard worksheet. Resulte: The research has been mainly focused on the use of creative methods by the teacher to induce the spirit of active participation and collaboration in order to enhance the learning experience of the students. It is known that the practical skills training is not possible except through the synergistic interactions resulting from active participation. The results illustrate the importance of evaluating the strengths and weaknesses of the strategy in achieving the desired results for the novel techniques.

Pablo General-Toro, Rui Bordalo, Patrícia Raquel Moreira et al.

The outdoor sculpture of the first Portuguese king, D. Afonso Henriques (c. 1109–1185 AD), placed in Guimarães (North Portugal), is one of the most emblematic national sculptures. Created in 1887 by António Soares dos Reis, it possesses a remarkable symbolic value in the presumed birthplace of the king. In addition to the artistic and heritage importance of the monument, it is one of the few sculptures cast by a Portuguese industrial foundry in the 19th century. This study obtained data on the sculpture’s elemental composition and corrosion products, gathering important historical and technical information. For this purpose, a multi-analytical approach consisting of X-ray fluorescence (XRF), X-ray diffraction (XRD), optical microscopy (OM) and scanning electron microscopy (SEM-EDS) was carried out to characterise the bulk metal and corrosion layers. The data revealed a ternary alloy of Cu, Sn and Zn, with Pb, Fe, As, Bi and Mn as minor elements. The alloy matches that of other sculptures cast in that period. In terms of corrosion, it is characterised by the presence of oxides. These results represent the first step for applying an appropriate conservation strategy for bronze sculptures with similar characteristics.

Florencio-Javier García Mogollón

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

N. Zhukovskaya

The article presents the history of three sacral objects of culture of Buryatia (an architectural complex of Tamchinsky datsan, a Buddhist sculpture made by outstanding master Sanzhi-Tsybik Tsybikov and also Sandal wood statue of Buddha which was stored since 1901 in Egitujsky datsan and saved for descendants in the years of the atheistic policy).

Ada Savin

Tania Bruguera ranks among the foremost contemporary conceptual artists. Both in her life and in her art, she has defied and crossed borders and boundaries. This article intends to demonstrate the paradoxical nature of Bruguera's artistic enterprise: even as she adopts a post-modern stance, mostly through live performances, her work is deeply rooted in Cuba's indigenous traditions and painful past, as well as in its present-day life and politics. Breaking traditional boundaries between artistic media – painting, sculpture and body performance – Bruguera’s installations combine solid structures with ephemeral ones, while others are performances with the artist performing in front of an audience, requested to actively participate in the artwork. This article also discusses the changes introduced by the artist in the performances that took place in the US and in Europe, and concludes by discussing the impact of militant practices in contemporary performance art on audiences in our age of globalization.

Lesley Fosh, S. Benford, Stuart Reeves et al.

Dwipen Bezbaruah, Geetanjali Devi

Evidences of rock engravings and sculptures, in Assam, are predominantly found to occur in the vicinity of the temples. Incidence of images of Gods and Goddesses, faunal and floral motif are invariably more. Apart from these, some geometric designs are also perceived. Such tangible archaeological heritages are considered important evidences for understanding the past in a more meaningful way. Therefore, it is pertinent to systematically document these sites and the remains before natural and anthropogenic obliteration. The objective of the present paper is to record and document the rock engravings and sculptures observed in the archaeological sites, namely Dirgheswari, Aswakranta, Manikarneswar, Rudreswar and Kanai Boroshi bowa of North Guwahati in Kamrup district, Assam, which are protected and preserved by the Directorate of Archaeology, Assam and to understand the archaeological context of the sites and their remains. The data for the present paper have been collected through field visit and Exploration was conducted in dry and winter season. The findings of the present work comprises of some sculptures of Ganesa, Yama, Sage, Kali, deities, bull without head, human figures, broken piece of a tiger, remains of door frame or pillar and shrines. Series of dot marks, cut marks, inscription, image of Shiva, foot impression, chess board, square, bow, signs, female figurine, and elephant engravings constitute the rock engravings observed in the area.

Tõnno Jonuks

More than a century ago, a small human sculpture made of elk antler was recovered as a stray find from the bottom of River Pärnu in south-west Estonia. It was originally widely used and interpreted in connection with Neolithic figurines from south-east Europe and considered a Mother-God. Later on the figurine was almost forgotten and mentioned only randomly in association with the Stone Age art of the eastern Baltic region. By now the sculpture has been dated to the Mesolithic by direct AMS-sample, thus being one of the oldest dated figurines found in the region. A new interpretation has been given that the sculpture represents a wrapped corpse.

Fan Zhang, Xianfeng Huang, Wei Fang et al.