Hasil untuk "Sculpture"

P. Kayastha, M. M. Bartylak, T. Bartylak et al.

Using integrative taxonomy, we describe a new species from Ribeira Brava, Madeira (Portugal), belonging to the genus Pseudechiniscus and subgenus Meridioniscus. The new species, Pseudechiniscus (Meridioniscus) goldsteini sp. nov. is described based on morphological and morphometric data obtained through both Phase Contrast Light Microscopy (PCM) and Scanning Electron Microscopy (SEM). In addition, genetic distinctiveness was assessed by calculating p-distances between Pse. (Mer.) goldsteini sp. nov. and other species within the genus Pseudechiniscus using two DNA markers: one nuclear marker (28S rRNA) and one mitochondrial marker (COI). Morphologically, the new species most closely resembles Pse. (Mer.) angelusalas, Pse. (Mer.) dastychi, Pse. (Mer.) dreyeri, Pse. (Mer.) indistinctus, Pse. (Mer.) mascarenensis, and Pse. (Mer.) wallacei. However, it can be distinguished from these species primarily by differences in the details of its ventral sculpture, configuration of granulation patches and the length of head appendages.http://zoobank.org/urn:lsid:zoobank.org:pub:E7FB8100C210-4850-89CA-AB8561A8FE1B

Samaneh Ahmadi, Amir Farid

Introduction: The visual elements and the writing system in the stamps of the Pahlavi dynasty reflect cultural-ideological symbols and signal the political, economic, and social relations of that era. This study aims to analyze the writing system (language-structure) in the stamps of the Pahlavi period and to evaluate the factors that influence it. In line with this aim, the study seeks to answer the following questions: «Into how many categories can the writing system of the stamps of Pahlavi I and Pahlavi II be divided? What structural features of the writing system (script and typography) appear in Pahlavi stamps?»Research Method: This study employs a descriptive–analytical approach, focusing on the structural system of writing in Pahlavi-era stamps. The sample is purposefully and selectively chosen, consisting of 5 stamps from Pahlavi I and 21 stamps from Pahlavi II. Data were collected from library resources and a targeted selection of stamps from this period.Findings: In these stamps, Nastaʿlīq, Shikasta Nastaʿlīq, Iranian Naskh, Thuluth, and Kufic scripts were used for Persian phrases, while Times and Helvetica fonts were applied for Latin inscriptions. In some cases, Latin letters and phrases were placed before Persian text, particularly in international contexts, where the main structural diversity is expressed through the use of Latin fonts. In the Pahlavi II period, asymmetrical composition in the structure of writing dominated over symmetrical layouts; consequently, in some stamps, the imbalance between visual and textual elements disrupted the relationship of positive and negative space, equilibrium, and smooth eye movement.Conclusion: Stamps of the Pahlavi I period were designed based on simple aesthetic principles and showed little structural variety in writing design. By contrast, in the Pahlavi II period, the design of writing received particular attention, and the visual qualities of script were enhanced. The full utilization of the stamp space by writing signaled the recognition of writing as a visual element, a feature observable in part of the corpus of this period. Furthermore, the use of Iranian scripts such as Shikasta Nastaʿlīq was a distinctive feature of stamp design in this era. These developments produced diverse and prominent writing styles in terms of structure, letter usage, and grid-based layout in stamp design.

Mansour Kolahkaj, Homeyra Salehi farsani

Introduction: In the field of visual artworks, being Iranian has always been the concern of some artists. It is sometimes depicted with symbolic Iranian elements or elements attributed to Iran that have explicit or implicit implications. In addition to visual elements, color has also played a role as an independent element in representing the concept of being Iranian. However, the problem of this research is: «From an Iranian artist's point of view, what color is a sign of being Iranian, or is it mostly used for this purpose, or do the painters agree on it as an Iranian color?» This issue has been the focus of discussion in other disciplines; however, this research was conducted aiming at identifying the most frequent colors in paintings whose subject was Iran and presenting the answer to the questions «What are the colors used for the concept of Iran in the works of some Iranian painters from 1991 to 2020 (1370s-1390s S.H.)» and «How these colors are used?»Research Method: This research data was collected using library sources, databases, and articles from reliable scientific journals. The data analysis was done using visual content analysis by collecting the works of Iranian painters from 1991 to 2020 (1370s-1390s S.H.). Accordingly, with the help of color separation software, these works were analyzed, and the most frequently used colors related to Iran were determined and then interpreted.Findings: In the works they created in the name of Iran or for this concept, according to their technique and method of work, Iranian painters used color in addition to shape to represent the concept of Iran. Considering the three colors used the most in this field, first, the Yellow (Pale Goldenrod-Khaki) range; second, the dark and light Blue range; and third, the Lacquer Red (Crimson-Maroon) range were applied. Also, among the works of 10 examined painters, seven painters, along with color, have used visual elements related to Iran, mainly with a clear implication, which is often a representation of Iran's architectural works.Conclusion: Green, Red, and White are the three colors of the Iranian flag, and they have a symbolic expression to represent the concept of Iran. As the color of Iran, they have been used less by painters and designers. Therefore, in addition to the colors of the Iranian flag, there are other colors in the color palette of Iranian painters, which are referred to as the colors of Iran. Hence, in addition to symbolic elements, the painters implicitly used the color associated with Iran for their visual expression. Also, a type of color correlation has been seen in the works of painters whose visual and symbolic elements of architectural landscapes were the basis of their work.

Dr. Asmaa Ali Abd Alhamed khlifa

Advantages of the Egyptian contemporary art include experimentation and innovation. Like life, art is subject to the inevitability of development. Art has become individual and autonomous because it is a combination of creativity and ideology, and translation of what is inside the artist himself. Herbert Read finds that "The origin of modernism in art is the innovation of style and search for new approaches of expression that reflect the freedom and have dimensions that extend as roots that take and benefit from all previous approaches". When we refer to the heritage should be seen innovatively, and we can not take without deepening the understanding of the cultural content and philosophy and its own belief, and the Egyptian heritage is formed in its general fabric of multiple cultures have overlapped and combined and merged to make the total unity of that heritage, in our heritage meet the tributaries of the ancient Pharaonic, Coptic and Islamic uniquely makes them a strong current of aesthetics and distinct domes. With its philosophy, Islamic Art was a source of inspiration of modern arts. Islamic art was able to have a positive effect. This research tries to establish a relation between the external form and the ideology adopted by the artist in the Islamic ages… through abstraction, modification and use of (plant, geometric and scripture) ornaments, perforation, overlay, plating, etching, miniature and filling, and how it has become inspiring in the contemporary relief works in terms of abstraction, summarization, simplification, slabbing, avoidance of details, structure of form, balance of masses and relations of surfaces with each other, and repetition which is named later visual and dynamic art (optical illusion art). For this purpose, this research is conducted to determine some artistic features and formal relations that were inspired by artist from the Islamic heritage, such as repetition of its formations and how to use them by analysis of some examples of contemporary relief works and their affection by Islamic art. Research problem: The research can be formulated in the following questions 1-To what extent does repetition as a distinctive feature of Islamic art affect the affirmation of expressive values in contemporary works of bas-relief? 2-Possible utilization of the items of Islamic art and inspiration of its forms in contemporary formations of repetition- based relief sculpture?

محمد اسحق قطب, سامح محمد السيد حريت, محمود محمد صالح et al.

The research aims to reveal the intellectual and scientific variables that led to the emergence of interactive sculpture. The study provided an overview of the intellectual variables that affected the emergence of interactive sculpture, theories, scientific discoveries, and technological development in the manufacture of raw materials and tools, which contributed to the availability of raw materials and techniques that helped the sculptor achieve his unconventional artistic ideas in expression and formation. This research follows the descriptive analytical approach, and the study addressed the artistic schools and modern trends. The schools of modern art are part of a series that tracks the potential of sculptural work and its ability to embrace new aesthetic and formation concepts, because the emergence of schools of modern art was part of an attempt to reconcile Western society with urban industrial society. Industrial revolution, openness and development of electronic media, and sculptors used it as a modern material in addition to traditional materials, and it is considered a new state that society has not reached before what is called modernity, and the arts of modernity relied on the idea in general and focused on addressing the mind and made the recipient the focus and goal of it at the same time as he is the bearer of the idea in the first place and its recipient and participant in it, and the study recommends the necessity of paying attention to applying modern theories and artistic schools that care about technological progress within the Department of Art Education as one of the fertile fields that have not yet had their share of application and benefit from it to enrich this field يهدف البحث الى الكشف عن المتغيرات الفكرية والعلمية التي ادت لظهور النحت التفاعلى حيث قدمت الدارسة نبذة عن المتغيرات الفكرية اثرت على ظهور النحت التفاعلى والنظريات الاكتشافات العلمية والتطور التكنولوجي لصناعة الخامات والأدوات مما ساهم فى توفر الخامات والتقنيات التي ساعدت النحات على تحقيق أفكاره الفنية الغير تقليدية تعبيرياً وتشكيلياً، يتبع هذا البحث المنهج الوصفي التحليلي، وقد تطرقت الدارسة الى المدراس الفنية والاتجاهات الحديثة، تعد مدارس الفن الحديث جزءًا من سلسلة تتتبع إمكانات العمل النحت وقدرته على احتضان مفاهيم جمالية وتشكيلية جديدة، لأن ظهور مدارس الفن الحديث كان جزءًا من محاولة للتوفيق بين المجتمع الغربي والمجتمع الصناعي الحضري. ثورة صناعية، حدث انفتاح وتطور للوسائط الإلكترونية، واستخدمها النحاتون كمادة حديثة بالإضافة إلى المواد التقليدية، وتعتبر حالة جديدة لم يصل إليها المجتمع من قبل ما تسمى الحداثة، واعتمدت فنون الحداثة على الفكرة بشكل عام وركزت على مخاطبة العقل وجعلت من المتلقي محور وهدف لها في ذات الوقت بكونه حاملاً للفكرة بالاساس ومستقبلاً لها ومشاركاً بها، وتوصي الدراسة بضرورة الاهتمام بتطبيق النظريات الحديثة والمدارس الفنية التى تهتم بالتقدم التكنولوجى داخل قسم التربية الفنية كأحد المجالات الخصبة التى لم تنل حظها حتى الان من التطبيق و الاستفادة منها لاثراء هذا المجال

C. Emilia

Introduction Considering the development of this study, we selected cases where art therapy played a central role in the educational/therapeutic process. Studied 130-150 cases per year on average, for 25 years (1996-2021), including children and adolescents aged between 2 and 18 years of both sexes, different social backgrounds in terms of housing, culture, and education: education/ clinical art therapy ( Mental Health Center for Children and Adolescents ward of the Cluj-Napoca Children’s Emergency Hospital) and non-clinical education/art-therapy. The activities also have components of artistic creation, research, and teaching with students, within the disciplines “Art therapy in institutional contexts” and “Artistic play and experiment in group dynamics”, within the University of Art and Design section Pedagogy of Plastic and Decorative Arts from Cluj-Napoca Romania. The results are published at the international and world congresses to which we were invited together with the practitioners under supervision. Objectives The aims of occupational therapy, which include art therapy and play therapy, are to facilitate the use of creative process and symbolic communication, associated with narrative and imitation, to develop new ways of communication, self-expression and seeing things. Methods We use materials and techniques that are specific to visual arts (painting, sculpture, graphic, multimedia, photography, film, animation, and digital media), but also traditional ones, specific to tridimensional arts, such as pottery wheels and sculptural modeling. Activities are structured according to the following dimensions: • The making of art or the production of other crafts resembles a situation test • The analysis of the products allows the beneficiaries to attain a certain level of introspection and to “work through” their problems in constructive manner • The execution of an operation requires sensory, cognitive, and affective intervention; • Psychological dimensions, which include the individual’s intrinsic need for self-improvement, for obtaining competence and self-knowledge; • The socio-cultural and symbolic dimension of the act; • The spiritual dimension, related to the meaning of the occupation for the individual; • The temporal dimensions of the occupation (referring to the time or period of time required for recovery). Results By interacting with these factors, the individual gets to know his own potential and limits, but also those of the environment in which he lives. Image: Image 2: Conclusions An equidistant trialogue and circular relations between art, religion and science, without any specific supremacy, is created, which can offer from the start the possibility of lasting harmonizations, of informational transfers and professional enhancements that support developments, ennobling the human being through positive reorientations and beneficial recoveries. Disclosure of Interest None Declared

Miao Zhang, Jiayin Yuan

The engraving technique has grown in parallel with our human civilization, along with the targeted materials evolving from stone and metals to wood. Benefiting from the blossom of nanotechnology, the bulky nicking tools have downsized themselves to a micro-/nanoscale, such as laser beams, and the materials have been extended from traditional hard ones to soft functional nanomaterials. When ancient sculpture art meets modern advanced micro-/nano fabrication techniques and low-dimensional materials, impossible materials are born, which will redefine the functional scope of well-developed materials. Recently, a team from Tsinghua University reported such fascinating materials, graphene-based meta-aerogels, that process excellent elasticity, ultralight specific weight (down to 0.1 mg·cm−3), and superwide Poisson's ratio range (−0.95 vpeak

Karl Johns

A brief life of Georg Sobotka, the doctoral student of Julius Schlosser afterwards employed at the Berlin museums mentioned in Karl Johns’ article on ‘The young Hans Sedlmayr’. In addition: a bibliography and translations of three reviews: Wilhelm Rolfs, Geschichte der Malerei Neapels; Giuseppe Ceci, Saggio di una bibliografia per la storia delle arti figurative nell’Italia meridionale; Henry Rousseau, La Sculpture aux XVIIe et XVIIIe siècles.

Victoria Vladimirovna Demenova

This article is devoted to the concept of “style” and the possibility of its application in the attribution of works of Buddhist metal sculpture. This aspect, which, as a rule, is peripheral for classical Oriental studies, Buddhology, and history, where it is interpreted quite freely, is one of the key ones for art history and museum attribution activities. The author notes the terminological and factual diversity of the designation of the “Sino-Tibetan style” in the circle of researchers of the art of Buddhism. The author poses the question of what exactly the concept of “Sino-Tibetan style” means and whether it is an indication of the body of technical and plastic features of sculptures, or just a designation of the geography of the origin of Buddhist sculptures of the eighteenth and nineteenth centuries made in the western provinces of China. The author refers to three sculptures which are the most controversial ones from the point of view of attribution (Maitreya Buddha from the private collection of A. V. Glazyrin (Ekaterinburg), Shakyamuni Buddha, and Begtse from the collection of the Sverdlovsk Regional Museum of Local Lore), which have several similar stylistic features, and which could presumably be attributed to the “Sino-Tibetan style” of the eighteenth century. Also, the article presents the results of the study of the metal composition of these sculptures using an X-ray fluorescence analyser (spectrometer). Based on the data obtained on the content of substances in the alloy and considering the general artistic and stylistic features of metal images, the author makes a conclusion as to when the attribution designation “Tibeto-Chinese style” is the most accurate one and when it can be applied to Buddhist gilded sculptures created on the territory of China (Manchu Qin dynasty) between the eighteenth and nineteenth centuries.

B. L. Yadav, Mukesh K. Meghvansi, Kanta Meena et al.

Abstract Eusporangiate fern genus Ophioglossum L. is commonly known as Adder’s tongue fern as its fertile frond gives the appearance of snake tongue. A new species in this fern genus, O. trilokinathii belonging to Ophioglossaceae family has been discovered from the plateau region of Rajasthan State of northwestern India. The new species can be distinguished from other taxa of this genus by its smaller habit, subglobose-tuberous rhizome, basipetal emergence of young roots, aggregation of old decaying roots on rhizome apex, fertile stalk as well as spike short and thick, trophophylls in rosette, ovate or orbicular and a unique sporoderm sculpture pattern under SEM having broad reticulations with thick and raised muri enclosing large hexagonal or irregular areas on the distal and proximal faces of the spores hitherto unreported in any of the presently known taxa of Ophioglossum. In addition, comparative study of stomatal structure, foliar anatomy and nucleotide sequence data of its three chloroplast DNA markers (trnL-F, rbcL and psbA-trnH) was carried out. In view of all the attributes including habitat, ecology, morphology, foliar anatomy, stomatal features, palynology and molecular phylogenetic data, the present study suggests that the Ophioglossum specimen collected from plateau region of Rajasthan represents a hitherto undescribed species thereby warranting its establishment as O. trilokinathii sp. nov. A detailed comparative account of the new taxon with its allied species has also been provided.

Tijen Tunali

Art is a defining element of urban culture through creative dynamics that reflect territorially embedded mechanisms but also particular social and cultural processes. Public art presents us with the possibility of unmediated social interaction that leads to  greater access over the production and use of urban public space. Public art’s presence in the urban space is dynamic and interactive that communicates the complex forms of globalization, cultural hybridity, and plurality in contemporary daily life—where we experience politics. Through a multi-disciplinary lens, that combines urban studies, visual studies, sociology, artistic research, art history and political philosophy, this issue maps the contemporary landscape of public art to capture art’s critical place in the reified politics of the urban space. The aim is not to provide an exhaustive description of politics of arts in the public spaces but rather to provisionally reconcile the lack of a dialectical perspective in the critical discursive tools of the scholarship on urban public art.   

Muh Zuhri, Ahmad Rafiq, Ahmad Mustofa

Normatively, Islamic doctrine prohibits figurative art in the form of sculpture or painting. The prohibition actually comes not from the Koran but from various narrations of the Prophet's hadith. However, it has been transformed into an orthodox doctrine for its adherents. This research does not aim to find the essential meaning of the hadith text which prohibits figurative art, but to find out how the Moslem sculptors, who live at Prumpung Magelang area, respond and negotiate toward it, so in the end they decided to compromise with their profession as a sculptor. Reception theory is used in this study to map the creative reasoning model of Moslem sculptors when negotiating with texts. Through the reception approach, and field data collection through in-depth interviews with several informants consisting of Muslim sculptors at Prumpung Magelang, this research concludes that the existence of the statue, according to the perspective of the Moslem sculptors at Prumpung Magelang is merely works of art so that in existence there are no theological problems.

Marinella Pigozzi

Jacopo Sansovino, born Jacopo Tatti known as Sansovino (Florence, July 2, 1486 – Venice, November 27, 1570), was a Tuscan architect and sculptor active for a long time in several locations, where he has always been worthy of positions of great responsibility. On this occasion I will focus on the commission for the statue of Hercules requested from him in 1550 by Duke Ercole II d’Este through his ambassador to Venice, Girolamo Faruffini. The giant in Istrian stone will reach Brescello, the «nova Cittade Erculea», its definitive seat, in 1553. So far, the model for the head of Hercules is unpublished, and in a private collection, on this occasion he presents and confronts himself with the sculpture created.

Mechtild Widrich

Monument debates in the second decade of the twenty-first century, turning almost entirely on questions of who is represented and by whom, might benefit from considering questions of how and with what material resources first raised in the context of post-WWII commemoration of the Holocaust and other traumatic events. The involvement of audiences in the memorial’s physical substance, entering its spaces and otherwise performing acts of commemoration rather than just looking upon public art meant to broadcast an ideal official history, has been central to the most durable memorials of the last half century, and is given a particularly radical turn by artist interested in justice and restitution. In Colombia, Doris Salcedo has taken the very fabrication of a memorial space—made from surrendered FARC firearms by women who had suffered in the war in cathartic acts of hammering sheet metal—as a performative process making commemoration physical. The same phenomena can be observed spontaneously in acts of public imagination directed at more conventional memorial objects, such as the Korean Statue for Peace, whose bronze girl commemorates the victims of sexual exploitation during WWII is clothed by anonymous contemporary Koreans. The task for theorists of monumentality today, as much as for monument-makers, is to understand how an ethics of care can meet and interact forcefully with a politics of taking responsibility.

Eustathios Raptou

The marble statue of Aphrodite we are presenting in the following study originates from the Soloi area, in the northwestern occupied part of the island, and apart from brief references in old publications, is absent from more recent research on the island’s sculpture. The limited number of marble sculptures from Cyprus, as well as the iconographic type of Aphrodite, that of Pudica half‑draped, which does not often appear on the island, has prompted us to study the sculpture and to elevate it in Cypriot archaeological literature. Our aim is also to contribute to the study of the iconography of Aphrodite in Cyprus during the Hellenistic and Roman periods, but equally serves as a reminder that the occupied area of Soloi remains alive in modern research.

Laura Margarita Fernández-Martínez

<p class="Resumen">Presently article is approached important relating theoretical the in artistic education, that facilitate the formation integral in university students, the educational process their different contents, singularities to the sculpture artistic manifestation, with which one works methodologically. However, it is necessary to establish a methodological theoretical position in this respect to be able to evidence the relationship education-culture the understanding of the artistic education in that relationship and their contribution to the formation integral. From the didactic point of view, it is sustained in the basics of the teaching-learning process, related with the Didactics of the Superior Education and in the analysis and valuation of the components of the process of teaching learning where the dynamics of the relationships is revealed among these that it is constituted in a dialectical process where starting from the created conditions the fellow appropriates of the necessary tools for interaction with the reality.</p>

Astrid Nielsen

After four years of renovation, the Albertinum of Dresden reopened its doors in 2010. With a completely new layout of the sculpture collection and the gallery of new masters of the Dresden state collections, the building exhibits works of art from the Romantic period to the present. The development of this new concept is largely the result of the decision to install the classical collection, which had been kept in the Albertinum since 1894, in the west hall of the building of the galleries of Gottfried Semper in the Zwinger in Dresden beginning in 2018. This contribution provides a brief look at the history of the sculpture collection in the Albertinum and details the development of the conception of the exposition for the works in the sculpture collection and envisages the future prospects of the museum.

Ivan Josipović

U članku se u jedinstvenu likovno-morfološku cjelinu okupljaju reljefi pronađeni u Galovcu, Biogradu i Zadru, ali i u Novalji na otoku Pagu. Prepoznati su kao produkti iste klesarske radionice za koju se, po njezinim najkvalitetnijim i najreprezentativnijim djelima pronađenima u zadarskoj katedrali, predlaže naziv Radionica plutejâ zadarske katedrale. Okupljena grupa reljefa pokazuje osobine rane predromaničke skulpture, a to se podjednako iščitava iz načina njihove izvedbe (meka modelacija, rahlije postavljeni motivi), kao i u prevladavajućoj motivici ranokršćanske provenijencije. Uzimajući u obzir veličinu raspravljanih reljefa i lokalitete na kojima su pronalaženi, autor dolazi do zaključka da se radi o dijelovima liturgijskih instalacija većih ranokršćanskih crkava koje su obnovljene u kasnome 8. ili ranom 9. stoljeću.

Malcolm Baker, Hans Körner, Erika Naginski et al.

A. Smith

Glass has a long tradition as a medium for art and sculptural design. Yet, with a few notable exceptions, these items remain small and studio based. Over the last six years, the author has developed a number of larger scale projects which bridge the gap between architecture and sculpture. These projects incorporate predominantly annealed glass and rely on gravity and mass for stability, yet their simplicity of form belies a complexity of construction. This paper explains the typologies of mass glass structures and explores the geometrical, engineering, manufacturing and installation challenges which have been encountered and overcome in their realization.