Academic literature on the topic 'Ancient Figure sculpture'
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Journal articles on the topic "Ancient Figure sculpture"
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Mosz, Jakub. "Ancient Patterns of the Sporting Body." Physical Culture and Sport. Studies and Research 47, no. 1 (December 1, 2009): 137–43. http://dx.doi.org/10.2478/v10141-009-0041-x.
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Ancient Patterns of the Sporting BodyIn the world of ancient culture you can find images of corporeality which may be recognised as patterns of the sporting body. They come from Greek sculpture and vase painting. Among the preserved Greek cultural artefacts there can be pointed out three examples of patterns of male corporeality and one example of female corporeality connected with the world of sport. These are Polyclitus's sculptures "Doryphorus" and "Diadoumenos", Myron's sculpture "Discus Thrower", Lysippus's sculpture of "Heracles Farnese" and painting presenting Atalanta. They constitute ancient patterns of the sporting body, which are recognisable in the world of the European culture from the age of Renaissance to the 20th century. Each of those cultural artefacts points out to separate aspects of the world of sport: Polyclitus's sculptures are pictures of beauty of the body, Myron's sculpture expresses sporting movement, Lysippus's sculpture symbolises power and the figure of Atalanta is the first gender pattern in the world of sport. Ancient patterns of the sporting body perform functions of cultural archetypes in the contemporary world of sport. The contemporary sporting body is a corporeal form which is perceived and interpreted through the prism of the symbolic layer of ancient images of corporeal forms. A part of those corporeal patters has lost in European culture their sporting references, which were visible for Greek civilization. It refers to Polyclitus's sculptures and the figure of Atalanta, which was provided by Renaissance and Baroque art with a different semantic context. Research into cultural aspects of sport requires reconstruction of their sporting genealogy making it possible to construct wider interpretative contexts of contemporary corporeality. The notion of the "archetype of the sporting body" in European culture is enriched with a differentiated objective layer, which is composed of ancient patters of the sporting body encountered in social consciousness of the world of European art.
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Raja, A. "தமிழ்ப் பல்கலைக்கழக அருங்காட்சியகத்தில் பல்லவர் கால மூத்ததேவி சிற்பம்." Shanlax International Journal of Tamil Research 5, no. 3 (January 1, 2021): 99–106. http://dx.doi.org/10.34293/tamil.v5i3.3646.
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Humans, who worshiped nature in ancient times, began to worship deities on the basis of images in historical times. Excavations at Harappa have uncovered a standing image of a mother goddess that is a testament to the existence of mother worship in the Indus Valley Civilization. An old woman with a female figure was found in the Adichanallur excavation in Tirunelveli district in Tamil Nadu. Similarly, the Sangam literature Manimegalai and Silappathikaram give us references to the worship of the goddess. It is noteworthy that sculptures of this deity have been found in the northern and southern parts of Tamil Nadu. However, the evidence we have found shows that there are numerous sculptures of the Goddess in the northern districts. However, the evidence we have found shows that there are numerous sculptures of the Goddess in the northern districts. Most of the places of worship where the statue of the Goddess is located are very ancient. Thus this article explores and explains the sculpture of Moothadevi (Jeshtadevi) in the Tamil University Museum.
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Xiao, Wei. "The Technique of Creating Buddhist Polychrome Sculpture." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 2019): 55–74. http://dx.doi.org/10.36340/2071-6818-2019-15-3-55-74.
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This work focuses on the origin, development, evolution of the Chinese art of polychrome sculpture, as well as philosophical ideas, national specificities, cultural content, a religious concept, artistic specificity and aesthetic ideas manifested in this context. The study provides a picture of how the cultural specificities of China are expressed in art and how spirituality is reflected in works of art. An objective description and complete historical research of the mentioned historical sites increase the available information on them and are meant to strengthen measures intended for their protection. The first comprehensive and detailed analysis of the technology for creating Chinese traditional Buddhist polychrome sculpture is presented in the article.The subject-matter of the artworks, the characteristics of the material used to create them, and the sculpting methods are fully analyzed through the method of a thorough study of the current state of the preserved polychrome sculpture in the Shuanglin Monastery. Two thousand and fifty-four statues of polychrome sculpture, the main of which are Buddha (佛祖), Bodhisattva (菩萨), Heavenly Kings (天王) and Arhat (罗汉) are preserved in the monastery. They are divided into two large groups: circular form sculptures and bas-reliefs. Clay, wood, water, straw, and mineral pigments are the main materials used for the creation of Buddhist polychrome sculptures. Modeling and polychrome painting are two main technologies in the process of making sculptures. Modeling consisted of creating a frame, applying coarse clay and sculpting a large-scale figure, applying medium density clay, applying thin layers of clay and creating details, whitening, bas-relief painting with the chalk-glue mixture, gilding, painting, etc. From the point of view of form, the ancient Chinese Buddhist polychrome sculpture as a work of religious art had to correspond to Buddhist canons. Before starting the process of creating a statue, a craftsman had to make a sketch. During modeling, an artist was guided by the secrets of the craft passed down orally from a teacher to his student and summarized as a technical guide by his predecessors. Statue of Skanda. Dynasty Min. Shuanglin Buddhist polychrome sculpture as a form of fine art with an elaborated form and rich spiritual content perfectly combines technology and artistry.
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Kolbiarz, Artur. "From Świdnica to Bratislava: The sculpture of Christ the Saviour from the collection of the Slovak National Gallery." Muzeológia a kultúrne dedičstvo 8, no. 3 (September 2020): 75–93. http://dx.doi.org/10.46284/mkd.2020.8.3.4.
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Among the works that stand out in the Baroque sculpture collection of the Slovak National Gallery (SNG) is the figure of the Saviour by Georg Leonhard Weber of Świdnica. Surveys conducted in Slovak, Czech and Polish museums, combined with field studies, have made it possible to provide hitherto unexplored artistic context of the work. They have made it possible to trace the formal origins of the Bratislava Saviour as well as its later imitations. The sculpture is carved with virtuosic precision; it develops a concept derived from ancient art and is the finest example of Weber’s early oeuvre. Also, it constitutes a link between works made in his workshop over four decades. The present study demonstrates the advantages of an interdisciplinary and international analysis of museum collections. It highlights the significance of the sculpture in question to Central European cultural heritage, expanding the knowledge of museum collections in three different countries.
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Burroughs, Charles. "Boundary Stones and the Rebellion of Nature." Paragone Past and Present 2, no. 1 (July 16, 2021): 30–70. http://dx.doi.org/10.1163/24761168-00201002.
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Abstract Boundaries demarcate property throughout European history, though the utopian dream of terrain without boundaries recurs, not least in association with the figure of the free-roaming god Pan. Ancient Rome had a god of boundaries, Terminus, associated by Horace with venerable, quasi-natural landscapes of human occupation. In Renaissance culture, Terminus is represented as a hybrid figure—part human; part lithic; often incorporated into architecture. This essay identifies a composite object in a Roman sculpture collection, noted for figures of Pan, as a model for Erasmus’s widely divulged emblem of Terminus, featured in images by major artists. Initially identifying himself with Terminus’s resistance to divine authority, Erasmus met with criticism for arrogance. In response, he drew on Horace’s ethically colored evocation of Terminus, now in connection with the ultimate boundary, that between life and death, as appears in Hans Holbein’s moving design for a monument to the humanist.
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Smith, R. R. R. "The Public Image of Licinius I: Portrait Sculpture and Imperial Ideology in the Early Fourth Century." Journal of Roman Studies 87 (November 1997): 170–202. http://dx.doi.org/10.2307/301374.
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Ancient history, it could be said, is composed of long and broad bands of unchanging social and political culture, punctuated in the upper levels by periods of upheaval and re-orientation. Ancient art works document and make visible both aspects: numbing continuity and static production on the one hand and sudden shifts and sharp turns in representation on the other. This paper takes as an example one of those periods of highly-charged visual re-orientation, the early fourth century A.D., and is intended as an alternative to the discussion and explanation of ancient images in this period in terms of artistic and formal processes. It aims to set an unusual and fat-faced late antique portrait (Pl. I) in its proper context alongside the thin-faced portraits of a better known figure (Pl. XII), and looks at the wider implications of this for the interpretation of imperial portrait sculpture as a significant expression of political ideology. The leanfaced man is Constantine, the other it will be argued is Licinius.
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Susetyo, Sukawati. "Makara of Adan-Adan Temple: The Art Style During The Kaḍiri Period." Berkala Arkeologi 40, no. 1 (May 26, 2020): 101–20. http://dx.doi.org/10.30883/jba.v40i1.514.
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This paper discusses the makara found at Adan-Adan Temple, Kediri. So far, it is the largest makara in Indonesia and, in terms of iconography, has distinctive features. The data was collected through detailed observations both directly in the field or through photographs. This study employed a comparative analysis, i.e. comparing the collected data to the makaras from different periods (the Ancient Matarām, the Srīwijaya, and the Siŋhasāri). From these comparisons, it is known that the makara at Adan-Adan Temple has special characteristics, i.e. different depictions between the makara on the left and the right as can be seen from the figure of a mythical creature inside the makara’s mouth, from the sculpture on the front of the makara, and on the back of the makara. This particularity may be included as an art style of the Kaḍiri period (the transitional period of from Ancient Matarām to Siŋhasāri).
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Spivey, Nigel. "Art and Archaeology." Greece and Rome 62, no. 2 (September 10, 2015): 241–43. http://dx.doi.org/10.1017/s0017383515000121.
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Poiesis is the simple title of the first book under review, and its front cover carries a view of that well-known Attic red-figure kylix in Berlin, ‘the Foundry Cup’, showing bronze sculptors at work. But librarians may wonder where exactly to classify Peter Acton's monograph on craftsmanship in classical Athens. The author himself is categorically unusual: a Classics graduate who became vice-president of a major global management consultancy firm before undertaking his doctoral dissertation, he clearly enjoys the transfer of intellectual property from academia to the world of commerce, and vice versa. ‘The ancient economy’ is probably where this belongs, though its most substantial case study is focused upon pottery production. Some of Acton's opening declarations are made over-confidently: that ‘craftsmen were well-regarded’ (7) is debatable, given the various literary instances of patent disregard for those engaged in ‘banausic’ activity (both concept and reality of the banausos are conspicuously avoided throughout). And there is carelessness in the presentation of details: the potter Cachrylion becomes ‘Cachsilion’ (281), for example, and the account of bronze and stone sculpture (215–25) is somewhat muddled. Nonetheless, Acton does well to insist upon a city of creators, not consumers. A famous passage in Plutarch concerning the multiple trades involved in building the Parthenon (Vit. Per. 12) implies as much, but our stereotypical image of Athens tends to exclude all workshop smoke and grime.
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Sparkes, Brian A. "IV Luxury Items." New Surveys in the Classics 40 (2010): 75–94. http://dx.doi.org/10.1017/s0017383510000732.
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The uneven survival of material evidence from Greek antiquity has tended to guide interest and research towards the diferent forms and functions of sculpture (Chapters II and III) and of vase-painting (Chapters V and VI). They have been preserved in such numbers that, although we have only a fraction of the total output, we can study the ways in which they developed over the centuries against the social, economic, and political background and in the diferent parts of the Greek world. This has encouraged a tendency towards positivism and has had the unfortunate outcome of considering them as the exclusive elements of Greek art, with a concomitant emphasis on the aspects of restraint, simplicity, and so forth that were highlighted by the Neoclassical attitudes to Greek art that emerged in the eighteenth century. This approach has led scholars to demean the more lavish products that, by the very nature of their intrinsic value, have failed to survive in any numbers – gold, silver, ivory, and the like. Recent excavations, particularly those in cemeteries situated in the outlying areas of the Greek world and in the regions bordering on ancient Greece, have brought to light some of those expensive objects that are now missing from the Greek heartlands. Meanwhile, investigations into the more flamboyant aspects of Greek art have shown that buildings and architectural and freestanding sculpture were lavishly coloured. A nineteenth-century drawing by Donaldson shows coloured glass beads set into a column capital of the Erechtheion (Figure 21).
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Mills, Victoria. "Charles Kingsley’s Hypatia, Visual Culture and Late-Victorian Gender Politics." Journal of Victorian Culture 25, no. 2 (January 10, 2020): 240–63. http://dx.doi.org/10.1093/jvcult/vcz059.
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Abstract Charles Kingsley’s Hypatia or New Foes with an Old Face was first published in Fraser’s Magazine in 1852, but was reissued in numerous book editions in the late nineteenth century. Though often viewed as a novel depicting the religious controversies of the 1850s, Kingsley’s portrayal of the life and brutal death of a strong female figure from late antiquity also sheds light on the way in which the Victorians remodelled ancient histories to explore shifting gender roles at the fin de siècle. As the book gained in popularity towards the end of the century, it was reimagined in many different cultural forms. This article demonstrates how Kingsley’s Hypatia became a global, multi-media fiction of antiquity, how it was revisioned and consumed in different written, visual and material forms (book illustrations, a play, painting and sculpture) and how this reimagining functioned within the gender politics of the 1880s and 1890s. Kingsley’s novel retained a strong hold on the late-Victorian imagination, I argue, because the perpetual restaging of Hypatia’s story through different media facilitated the circulation of pressing fin-de-siècle debates about women’s education, women’s rights, and female consumerism.
Dissertations / Theses on the topic "Ancient Figure sculpture"
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Atac, Mehmet Ali. "The standing female figure in its ancient Mediterranean context: an investigation into the origins and significance of the Kore type in Archaic Greek sculpture." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371827160.
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Pack, Crista Anne. "Ancient West Mexican Sculpture: A Formal and Stylistic Analysis of Eleven Figures in the Virginia Museum of Fine Arts." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1338.
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The Virginia Museum of Fine Arts (VMFA) has in its collection eleven ancient West Mexican ceramic sculptures. Given that the VMFA's West Mexican Ceramic figure collection has not been included in any extensive study, this thesis serves to provide a critical analysis of these figures through a formal and stylistic approach. These analyses are preceded by a brief history of the West Mexican cultures and highlight the artistic similarities and differences between each region. The primary regions under discussion are Colima, Nayarit, and Jalisco which correspond to modern geopolitical boundaries. Primary sources for these discussions are the figures themselves, while various published catalogues serve as comparative sources. Where applicable, iconographical theories are introduced and discussed in conjunction with the formal and stylistic analysis.
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Maraszak, Emilie. "Figures et motifs des croisades : étude des manuscrits de l'Histoire ancienne jusqu'à César, Saint-Jean-d'Acre, 1260-1291." Thesis, Dijon, 2013. http://www.theses.fr/2013DIJOL014.
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Les États latins d’Orient ont vu la création d’une société en Terre sainte développant un art syncrétique au carrefour des mondes latin, byzantin et arabe. Outre l’architecture religieuse et militaire, les manuscrits sont également les témoignages d’une culture levantine aux multiples influences. L’étude des œuvres croisées nous a montré une très nette augmentation de la production de manuscrits après le séjour de Louis IX au Proche Orient, ainsi qu’un changement dans la nature même des textes copiés. Les manuscrits liturgiques sont ainsi délaissés au profit de la littérature historique, telle l’Histoire Ancienne jusqu’à César. À partir d’un texte venu de Flandre, les nobles francs de Terre sainte et les enlumineurs à leur service ont recréé un cycle de miniatures pour inscrire leurs images dans la tradition multiculturelle croisée. Des partis-pris artistiques ont ainsi été mis au jour et définis comme des choix conscients visant à personnaliser les copies levantines et les inscrire dans une tradition de près de deux siècles : l’emprunt à différentes traditions artistiques, occidentales et orientales, pour la création des miniatures, la mise en lumière de héros liés à la Terre sainte ou aux Francs, et parfois la figuration de leur environnement oriental. Ces processus de personnalisation des images, replacés dans le contexte de la vie culturelle de Saint Jean d’Acre de la fin du XIIIe siècle, nous amènent à dépasser la constatation de phénomènes d’acculturation à leur milieu oriental pour évoquer, de la part des nobles francs de Terre sainte, une volonté d’affirmer visiblement leur identité sociale collective et leur double culture, entre Orient et OccidentThe Crusader States have created a society in the Holy Land developing a syncretic art at the crossroads of Latin, Byzantine and Arabic worlds. In addition to religious and military architecture, manuscripts are also evidences of a cosmopolitan Levantine culture. The study of Crusader Art has shown that the painting of manuscripts was revived at Acre in the early 1250’s, after Louis XI’s stay in the Middle East. Secular manuscripts written mostly in Old French became popular, as well as new historical literature. The most popular examples were the Histoire d’Outremer by William of Tyre and the Histoire Ancienne jusqu’à César. This illustrated text was first composed in France for Roger de Lille and brought to the Crusader East in the mid-thirteenth century. Frankish aristocracy and crusader illuminators have created a cycle of miniatures in order to integrate their images in the cosmopolitan Crusader Art. Artistic choices have then come to light and been defined as conscious choices to offer works that represent the best of the Frankish culture of Acre and integrate them in an almost two centuries old artistic tradition : the borrowing from Western and Oriental artistic traditions in order to create their miniatures, the revelation of heroes linked to the Holy Land and the Franks, and sometimes the representation of their Oriental environment. This process of personalization and multicultural content, set within the context of the cultural society of Saint Jean d’Acre at the end of the thirteenth century, are the evidences of the remarkable artistic acculturation of Frankish society in the Holy Land, at the crossroads of the West and the Near East
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Pack, Crista Anne. "Ancient West Mexican sculpture : a formalistic and stylistic analysis of eleven figures in the Virginia Museum of Fine Arts /." 2006. http://hdl.handle.net/10156/1998.
Full textBooks on the topic "Ancient Figure sculpture"
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Kontrapost und Kanon: Studien zur Entwicklung der Skulptur in Antike und Renaissance. München: Deutscher Kunstverlag, 2002.
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Zimmer, William. Ancient inspirations: Six figurative sculptors : Magdalena Abakanowicz, Reuben Kadish, Diana Moore, Linda Peer, Italo Scanga, James Surls. Edited by Independent Curators Incorporated and Stedman Art Gallery (Rutgers University). New York: Independent Curators, 1987.
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Schneider, Ellen. Untersuchungen zum Körperbild attischer Kuroi. Möhnesee: Bibliopolis, 1999.
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Dwyer, Eugene J. Pompeii's living statues: Ancient Roman lives stolen from death. Ann Arbor: University of Michigan Press, 2010.
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Pompeii's living statues: Ancient Roman lives stolen from death. Ann Arbor: University of Michigan Press, 2010.
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Dillon, Sheila. The female portrait statue in the Greek world. Cambridge: Cambridge University Press, 2010.
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The female portrait statue in the Greek world. Cambridge: Cambridge University Press, 2010.
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Koch, Luise. Weibliche Sitzstatuen der Klassik und des Hellenismus und ihre kaiserzeitliche Rezeption: Die bekleideten Figuren. Münster: Lit, 1994.
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Guida, Paola Càssola. I bronzetti friulani a figura umana tra protostoria ed età della romanizzazione. Roma: "L'Erma" di Bretschneider, 1989.
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Little people of the earth: Ceramic figures from ancient America. Denver, Colo: The Museum, 1990.
Find full textBook chapters on the topic "Ancient Figure sculpture"
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Hung, Wu. "Thinking Through Scale: The First Emperor’s Sculptural Enterprise." In Figurines, 88–129. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198861096.003.0004.
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This chapter confronts the problems of the terminology of “figurine” and that of “yong,” the ancient Chinese word always used to translate “figurine.” Yong does not imply miniature size necessarily and is defined by funerary functions. The issues are exemplified through discussion of the sculptural projects of the First Emperor, including his larger-than-life golden statues in bronze and the famous terracotta army and other sculptures of his mausoleum, including scaled miniatures. The chapter simultaneously confronts the issue of the figurine in the specific context of the third century BCE and explores the problems in using this European concept for the study of non-European art.
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Occhinegro, Ubaldo. "Muqarnas: Geometrical and Stereotomic Techniques in Ancient Islamic Architectures." In Advances in Media, Entertainment, and the Arts, 549–74. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0029-2.ch023.
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The topic of this chapter is the geometry and the construction of vaulted and decorative systems called ‘muqarnas', one of the most typical elements of Islamic architecture. This way of ‘vaulting spaces' or building roof and decorations with a system of regular staircase-elements that break down the surface covering it with simple geometrical figures, so as to make up complex patterns, spreads throughout Arabic countries, leading to the development of several styles, deriving from different generative geometries, and from building techniques and used materials. The reason which accounts for the widespread development of this type of decoration is to be found in the prohibition of the Moslem religion to portray idols or anthropomorphic figures of God, in contrast with the decorative techniques of sculpture and painting characterizing Christian art. The geometrical study which is at the basis of the Islamic art of decorating is arousing new interest and attention as regards the new systems of parametric modeling in computer art, besides opening new perspectives in standardized building techniques with new materials.
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"Metal in the Recuay Culture of Ancient Peru." In Archaeological Interpretations, edited by George Lau, 145–79. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066448.003.0007.
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Of the major media in the Recuay culture (AD 1–700, Peru), metalwork is perhaps the least understood. This chapter reviews the major forms of Recuay metalwork (personal adornments, weapons) and focuses on their imagery, technology, and contexts of use at three sites: Pashash, Pomakayán, and Chinchawas. Metals were not used for everyday objects. Rather, as signs of wealth and distinction, they served to affix people’s “social skin”—that frontier that mediates self and others. Metal objects were complements to textiles and therefore essential in making Recuay persons, namely chiefly lords and noble women, especially during times of social display and funerary cult. The imagery of metals repeats key designs in ceramics and stone sculpture, namely powerful mythical creatures and human figures seen as crucial in life and death transitions. Major changes in metal use occurred during the time of the Middle Horizon, when foreign cultural influence, especially Wari, transformed local practices.
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Charney, Maurice. "Shakespeare’s Villains1." In The Supervillain Reader, 106–13. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496826466.003.0010.
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Supervillains have been stock characters in popular culture for decades, and, just as we can trace the roots of modern superheroes to ancient hero tales, we can find precursors to supervillains in myths as well. In this paper I examine a “proto-supervillain” from ancient India: Aṅgulimāla, a vicious murderer who, subdued by Buddha, renounces his outlaw ways for monastic life and eventually attains nirvana, the supreme goal in early Buddhism. Aṅgulimāla is well-known in Buddhist tradition, and over the years his story has been the focus of various paintings, sculptures, folktales, popular rites, and movies. More interestingly, though, like many modern supervillains, Aṅgulimāla is deeply complex and compelling – an undeniably evil figure who is also a “victim,” and who turns out to be rather heroic. I maintain that Aṅgulimāla’s redemption reveals something important about the relationship between heroes and villains that we do well to heed.
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Thorsen, Thea S. "Sappho: Transparency and Obstruction." In Roman Receptions of Sappho, 27–44. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198829430.003.0002.
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A number of issues obstruct our vision of Sappho and her ancient reception. This chapter revisits such obstructions as the loss of Sappho’s poetry, the difficulty of accessing information regarding e.g. Chamaeleon’s treatise on Sappho, the attestation of the Athenian sculptor Silanion’s portrait of Sappho at Rome, and the significance of the poem variously known as Ovid’s Heroides 15 and Epistula Sapphus, as well as most of the testimonies for Sappho’s alleged ugliness and association with prostitution. Finally, conflicting images of Sappho are measured against the consistently erotic depiction of her figure and poetry at Rome, where she becomes particularly closely linked with a Roman brand of the metapoetics of love poetry, dubbed erotopoetics in this volume.