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Relevant bibliographies by topics / Ceramic sculpture Ceramic sculpture

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Academic literature on the topic 'Ceramic sculpture Ceramic sculpture'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Ceramic sculpture Ceramic sculpture"

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Thompson, Lauri McInnis, and Fred Valdez. "POTBELLY SCULPTURE." Ancient Mesoamerica 19, no. 1 (2008): 13–27. http://dx.doi.org/10.1017/s0956536108000278.

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AbstractPrehistoric potbelly (boulder) sculpture has been of great interest for many decades. Most such sculptures occur in the highlands and piedmont of the Pacific Coast in Guatemala and El Salvador. The specific function and dating of the monuments has been of particular concern to researchers. This paper presents a summary of data in an attempt to place potbelly sculptures into recognizable stylistic groups that may in turn allow scholars to hypothesize their general function or functions. The excavation of a ceramic potbelly figure in northern Belize may provide hard evidence for the dating of certain potbelly styles and demonstrate the use of this style/manifestation in a mode beyond stone sculpture.

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MUDRA, I. Wayan. "Image Brayut on The Creation of Ceramic Sculpture." Cultura 16, no. 1 (January 1, 2019): 75–90. http://dx.doi.org/10.3726/cul012019.0005.

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Men Brayut is one of the interesting stories of Balinese people since ancient times until present that acts as a source of inspiration in art. This study aimed creating and describing the ceramic sculptures inspired by the Men Brayut story. This research uses qualitative descriptive approach in which the researcher becomes the main instrument. Data collection by observation and documentation. This statue was made using SP Gustami’s creation method namely exploration, improvisation and embodiment. The results show that the creation process of ceramic sculpture featuring Brayut image can be separated into two, they are the process of making the main character of Men Brayut and the process of making Brayut’s children as an ornamental media that can show the image of Brayut on the sculpture. The creation this sculpture was started from the bottom using the combined technique of slab, pinching, and coil. Based on its function, the creation of this statue is functioned as the ornamentation and the practice as well as the ornamentation. This work implemented the green, blue and brown glazes with the combustion temperature was 1200°C. Some of the created works were titled to Joy, Fatigue, Affection, and Affection 2.

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Nadelman, Cynthia. "Pot People Recent Figurative Ceramic Sculpture." Sculpture Review 59, no. 3 (September 2010): 18–23. http://dx.doi.org/10.1177/074752841005900303.

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Cutler, Ellen B. "Figures from the Earth Ceramic Sculpture." Sculpture Review 59, no. 3 (September 2010): 30–35. http://dx.doi.org/10.1177/074752841005900305.

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Sugito, Sugito, and Wahyu Tri Atmojo. "The Paramaters of Visual Art Assessment as a Measurement Instrument for Learning Products of Art Painting, Sculpture, Ceramic and Batik." Lakhomi Journal Scientific Journal of Culture 2, no. 1 (March 31, 2021): 17–34. http://dx.doi.org/10.33258/lakhomi.v2i1.421.

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Assessing learning products of visual art was unlike evaluating other learning products. Due to its relation to visual outcomes, the first assessment required proper sensitiveness and measurable references. The research was intended to be the effort to acquire parameters of visual art assessment, especially of art painting, sculpture, ceramic, and batik assessments. The findings could be used as instruments in various visual art learning activities. Data were collected by distributing a list, interviewing the informants, and having Focus Group Discussion. The respondents were visual art lectures in the Faculty of Arts and Literature in one of the state universities in norther island of Sumatera, Indonesia. They were excellent at visual art and equipped with required sensitiveness. Besides, they also had relevant education with art painting, sculpture, ceramic, and batik. The findings, in the form of assessment parameters, were first, parameters of visual art assessment were form similarity, proportion, spatial depth, technique, composition, content, ambiance, brightness, color harmony, and texture. Secondly, parameters of non-figurative sculpture assessment were technique mastery, proportion, smoothness, expression, volume, space, and idea authenticity. Thirdly, parameters of figurative sculpture assessment were visual anatomy, proportion, motion effect, and drapery. Fourthly, parameters of ceramic assessment were technique mastery/finishing, innovation creativity, novelty, smoothness, expression, harmony, and need (market need). Last, parameters of batik assessment were technique, authenticity, modernity, color harmony, innovativeness, need finishing, and affordability.

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Cruise, Wilma. "On curating Earthworks/Claybodies: an exhibition of ceramic sculpture." de arte 38, no. 68 (January 2003): 57–58. http://dx.doi.org/10.1080/00043389.2003.11877015.

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Hu, Zhengjuan. "Research on the Application of Computer in the Design of Arts and Crafts." E3S Web of Conferences 290 (2021): 02025. http://dx.doi.org/10.1051/e3sconf/202129002025.

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Firstly, this paper expounds the design methods of traditional arts and crafts, including the traditional design methods of sculpture crafts, glass crafts and ceramic crafts. Then it analyzes the advantages of computer technology in the design of arts and crafts, including improving the product performance of arts and crafts, improving the design interest of arts and crafts designers and improving the modern flavor of arts and crafts; then it expounds the application of computer technology in different stages of arts and crafts design in detail, including the early preparation, concrete implementation, design scheme optimization and in-depth design stage; Finally, it analyzes the specific application of computer technology in arts and crafts design, including the application of computer technology in sculpture crafts design, glass crafts design and ceramic tea set modeling design.

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Grygorowicz-Kosakowska, Klaudia, and Anna Sygulska. "The Acoustic Ceramic Module." Leonardo 53, no. 3 (May 2020): 268–73. http://dx.doi.org/10.1162/leon_a_01742.

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This paper discusses issues common to architecture, sculpture and acoustics and presents the authors' design of an acoustic ceramic module, currently in the prototype stage. The project was conceived to create a system of ceramic tiles that can create a space as well as enhance the acoustics of its interior. Modularity ensures that through numerous combinations many patterns can be produced from one tile design. The ceramic materials used may vary, from porous chamotte to the smooth surfaces of casting slips to glazing. The key issue, apart from shaping an interior architecture, was to focus on the acoustic function of the tiles. The creative process was of a two-fold nature: Its visual aspect focused on individualization of the space, while its functional one was to ensure acoustically comfortable interiors.

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Ponimin and Guntur. "The COVID-19 War in Ceramic Arts: Navigating Aesthetic and Symbolic Expressions." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 14, no. 1 (July 20, 2021): 81–99. http://dx.doi.org/10.36253/aisthesis-12056.

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

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Lee, Wei-Hao, Yi-Fong Wu, Yung-Chin Ding, and Ta-Wui Cheng. "Fabrication of Ceramic Moulds Using Recycled Shell Powder and Sand with Geopolymer Technology in Investment Casting." Applied Sciences 10, no. 13 (July 1, 2020): 4577. http://dx.doi.org/10.3390/app10134577.

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Lost-wax casting, also called precision casting, is the process of casting a duplicate metal sculpture cast an original sculpture. The ceramic shell mould used in lost-wax casting usually consists of several layers formed with fine zircon and granular mullite particles using silica gel as a binder. However, it is a complicated and time-consuming process. Large amounts of waste moulds that need to be disposed and recycled become an environmental concern. In this study, waste shell sand from the recycled mould and calcium carbonate/metakaolin were used as raw materials to prepare geopolymer slurry and coating. The influence of mixing ratio and the SiO2/K2O modulus of the alkali solution on the setting time and green/fired strength were evaluated. Ceramic shells with one to four layers of geopolymer slurry and waste sand sprinkling were fabricated and tested for their permeability and green/fired strength. It was found that geopolymer shells had higher green/fired strength and better permeability than the original zircon/mullite shell. For foundry practice, metal casts were fabricated using recycled ceramic shell moulds with one to four layers of geopolymer coating. All cast results have their dimensions all within tolerance limitation and up to 13 h can be saved for the preparation of shell moulds.

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Dissertations / Theses on the topic "Ceramic sculpture Ceramic sculpture"

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Liao, Jui-chang. "Sculpture in space /." Online version of thesis, 1992. http://hdl.handle.net/1850/11680.

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Cravenho, David M. "Conscious/Unconscious /." Online version of thesis, 1989. http://hdl.handle.net/1850/11514.

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Commanday, Clifford M. "Ascension /." Online version of thesis, 1995. http://hdl.handle.net/1850/12244.

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Clark, Tim. "Absence & presence /." Electronic version of thesis, 2006. https://ritdml.rit.edu/dspace/handle/1850/2677.

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Chang, Ching-Yuan. "Metamorphosis /." Online version of thesis, 1991. http://hdl.handle.net/1850/11626.

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Silapasathitwongs, Khontaporn. "Beyond the appearance /." Online version of thesis, 1995. http://hdl.handle.net/1850/12091.

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Wallert, Lisa. "Embodied : A bodily investigation through ceramic sculpture." Thesis, Konstfack, Keramik & Glas, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5553.

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Abstract Embodied evolves around the tactility of the present body, in relation to the eternal absence and the perishability of itself end the world that surrounds it. I work with ceramic sculpture, where the body in relation to the material and the world is both my theme and my method. The body is always present and a basic condition to experience and make objects; it is the subject, the objectand the execution in my work. The written part of my examwork is based on my process and studiowork.

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Adam, Mazin Siraj. "Responses to significant personal experiences /." Online version of thesis, 2007. http://hdl.handle.net/1850/4919.

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Levaque, Nicole. "generic of." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5893.

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generic of is a creative text paralleling the creation of my thesis exhibition. I use fragmented layers of narrative, description and prose in the same way each handbuilt ceramic is fired multiple times, allowing the glazes to build upon themselves. This is a close study of the still life, the intimacy of consuming, and how trauma is passed through the gut.

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Lee, Minkyu. "Hidden structure revealed /." Online version of thesis, 2008. http://hdl.handle.net/1850/7789.

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Thesis (M.F.A.)--Rochester Institute of Technology, 2008.
Typescript. Accompanying CD-RW contains a PDF of the images referred to in the thesis, including images of sculptures from the artist's thesis exhibition. Includes bibliographical references (leaves 25-26).

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Books on the topic "Ceramic sculpture Ceramic sculpture"

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Carbo, Emilia. Beings: Ceramic sculpture. London: Dash Gallery, 1992.

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Irish ceramics: The best of Irish ceramic sculpture. Castletownbere: Mill Cove Books, 2011.

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Takamori, Akio. Akio Takamori: Ceramic sculpture. New York, N.Y: Garth Clark Gallery, 2000.

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Burke, Vincent, and Kate Bonansinga. Multiplicity: Contemporary ceramic sculpture. El Paso: University of Texas at El Paso, 2006.

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Turner, Anderson. Ceramic sculpture: Inspiring techniques. Westerville, Ohio: American Ceramic Society, 2009.

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Cornel, Bierens, Hefting Paul, and Amsterdam (Netherlands) Stedelijk Museum, eds. Guido Geelen: Sculptuur = sculpture 1986/2000. Rotterdam: NAi Uitg., 2000.

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Marks, Graham. Graham Marks, sculpture. Pittsburgh, PA: Pittsburgh Center for the Arts, 1990.

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King, Phillip. Phillip King: Ceramic vessels = [Firippu Kingu : tōgei sakuhin]. Wakefield, West Yorkshire: Yorkshire Sculpture Park, 1996.

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Walgrave, Jan. Ars ceramica: Céramique contemporaine en Belgique = Ars ceramica : contemporary ceramics in Belgium. Liège: P. Mardaga, 1992.

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Ci zhi hun: Dang dai Jingdezhen diao su ming jia. Shanghai: Shanghai da xue chu ban she, 2005.

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Book chapters on the topic "Ceramic sculpture Ceramic sculpture"

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Faltermeier, Robert B. "Ceramics." In An Easy Guide to Care for Sculpture and Antique Art Collections, 1–16. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-08897-6_1.

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Kemske, Bonnie. "Understanding the Haptic Experience through Bodily Engagement with Sculptural Ceramics." In Haptics: Generating and Perceiving Tangible Sensations, 303–8. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-14075-4_44.

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"Ceramic Sculpture." In Art and Architecture of Ireland Volume III: Sculpture 1600-2000. Royal Irish Academy, 2014. http://dx.doi.org/10.3318/978-1-908996-64-0.ceramic.

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"Ceramic sculpture." In Vally Wieselthier/Vally Wieselthier, 218. Wien: Böhlau Verlag, 1999. http://dx.doi.org/10.7767/9783205126928-016.

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Jensen, Martine Hoff. "Touching the Unknown: On Marte Johnslien’s Ceramic Presences." In Ung Uro, 99–106. Cappelen Damm Akademisk/NOASP, 2021. http://dx.doi.org/10.23865/noasp.127.ch9.

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Touching is never a unidirectional event; what you touch will always touch you back. ‘How can the way we relate to the world around us take shape as sculpture?’ Norwegian artist Marte Johnslien asks. In the 2018 exhibition A Square on a Sphere at Lillehammer Kunstmuseum (Art Museum), Johnslien showed, amongst other works, a sculpture consisting of ceramic shapes stacked on top of each other with glass plates between. In this work, Johnslien explored a new technique of reinforcing ceramics in which she put steel mesh underneath the clay. By strengthening the thin ceramic shapes with iron, Johnslien changed the material and thus changed the texture. This chapter elaborates on how artistic presence can provide a way to access the glitch between the visible and the invisible, by exploring the ceramic works by Johnslien in light of Barad’s essay on touching, esotericist Pyotr Demianovich Ouspensky’s view on the fourth dimension, Eastern philosophy, and relativity theory.

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Chattopadhyay, Rupendra Kumar. "Assemblage Analysis." In The Archaeology of Coastal Bengal, 143–91. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199481682.003.0005.

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Abundant explored and excavated archaeological findings found from innumerable sites along the littoral, along with those presently in the collections of different museums or individuals, portray a definite picture of the coastal life. This chapter explores a meagre part of this repertoire of archaeological findings under the following sub-sections: structural remains, ceramics, bone tools, stone tools, beads, stuccos, stone sculptures, metal images, metal objects, terracotta crafts, coins, seals and sealings and other inscribed objects, ivory objects, wooden objects, glass objects, and miscellaneous objects. This chapter essentially acts as a corollary to the previous chapter.

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Gray, Laura. "Becoming Partners?" In Contemporary British Ceramics and the Influence of Sculpture, 1–11. Routledge, 2018. http://dx.doi.org/10.4324/9781315114132-1.

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Gray, Laura. "Monumental Matters." In Contemporary British Ceramics and the Influence of Sculpture, 12–40. Routledge, 2018. http://dx.doi.org/10.4324/9781315114132-2.

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Gray, Laura. "The Numbers Game." In Contemporary British Ceramics and the Influence of Sculpture, 41–59. Routledge, 2018. http://dx.doi.org/10.4324/9781315114132-3.

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Gray, Laura. "The Art of Destruction." In Contemporary British Ceramics and the Influence of Sculpture, 60–88. Routledge, 2018. http://dx.doi.org/10.4324/9781315114132-4.

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Conference papers on the topic "Ceramic sculpture Ceramic sculpture"

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Zhang, Lijuan. "Application of Ceramic Sculpture in Public Environment." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.99.

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Liu, Maomao. "Application of Ceramic Materials in Modern Urban Sculpture." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.348.

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Liu, Xiaofei. "Research on Chinese Traditional Sculpture and Modern Sculpture of Ceramic Pottery of Artistic Expression." In 2016 International Conference on Economy, Management and Education Technology. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemet-16.2016.400.

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Xiang, Jin. "Analysis of Public Environment in Ceramic Sculpture and Installation Art." In 2016 International Conference on Education, Sports, Arts and Management Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icesame-16.2016.183.

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Shi, Linlin. "An Analysis of the Line Art of Traditional Chinese Ceramic Sculpture." In Proceedings of the 2019 International Conference on Economic Management and Cultural Industry (ICEMCI 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/aebmr.k.191217.133.

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Xu, Han, Zhicheng Huang, Wen Han, and Shouyi Chen. "Optimization of 3D Printing Model Data of Complex Sculpture Ceramic Mold." In 2017 2nd International Conference on Modelling, Simulation and Applied Mathematics (MSAM2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/msam-17.2017.7.

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Siang See, Zi, Una Rey, Faye Neilson, Michael Cuneo, Alexander Barnes-Keoghan, Luke O'Donnell, Donovan Jones, Lizbeth Goodman, and Sarah Johnson. "Sodeisha Sculptural Ceramics: Digitalization and VR Interaction." In VRCAI '19: The 17th International Conference on Virtual-Reality Continuum and its Applications in Industry. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3359997.3365741.

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Liu, Haiying. "Jingdezhen Export Ceramic Colored Drawing Sculptures in Ming and Qing Dynasties." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.142.

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Allameh, Seyed M., and Roger Miller. "On the Application of Biomimicked Composites in 3D Printed Artifacts." In ASME 2017 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/imece2017-70770.

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Application of 3D printing to works of art is not new. However, with the advent of larger and more affordable 3D printers, it is possible to fabricate works of art including statues, sculptures, and architectural structures from biomimicked composites. Made of hard ceramic and soft polymer with or without reinforcement, these composites have shown to be much tougher than their monolithic counterparts. The use of biomimicking will increase the durability and strength of such artifacts. In this study, a newly developed architectural 3D printer is used to create works of art using concrete, with and without reinforcement fibers. The challenge that face creating tough artistic display structures include durability, hardness and resistance to impact. To determine the right combination of hard ceramic and soft polymer, a series of experiments were conducted. These included the fabrication of biomimicked composites with different materials and testing them for fracture energy as well as maximum strength. Earlier published works demonstrate the effect of various parameters such as type of ceramic layer, layering, fiber reinforcement type, fiber length, and fiber loading. In this paper, the effect of hard layer thickness and the type of polymer on the mechanical properties of the biomimicked composites was investigated. Preliminary results show the highest fracture energy for composites made with concrete bonding adhesive (CBA) and Quikrete™ concrete, with a spacing of 5mm. The application of 3D printing to the educational activities of a museum in Newport KY will be explained and its implication in relation with civic engagement activities of Northern Kentucky University will be elucidated.

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Ebenstein, Sam E., Vijitha S. Kiridena, Yelena M. Rodin, and Gregory H. Smith. "A Method for Qualifying High Density Data Acquisition Systems for Free Form Metrology." In ASME 1999 Design Engineering Technical Conferences. American Society of Mechanical Engineers, 1999. http://dx.doi.org/10.1115/detc99/cie-9102.

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Abstract The Vehicle Perception Safety Research Team of the Ford Manufacturing & Vehicle Design Research Laboratory has developed artifacts, procedures and data analysis techniques to assist in evaluating systems used for the high-speed collection of geometric data. These systems are usually comprised of a non-contact sensor and a means of positioning the sensor relative to the part being inspected. They are usually used to collect data from sculptured or “free form” surfaces for reverse engineering or for applications in the emerging field of free form metrology. The evaluation procedure consists of acquiring data from three ceramic balls nominally 44.45 mm in diameter held by depressions in a flat plate. The data are then first analyzed using least square techniques to obtain observed radii of the balls and the location of their centers. Then free form metrology techniques are used to compare the data from each ball to an ideal sphere of the observed radius and center location. By combining the observed location and radii with a high resolution graphical representation of the quality of fit between the data and an ideal sphere, a good assessment of the system’s capability for collection of data for reverse engineering or for free form metrology is obtained. At the same time the technique graphically reveals any troublesome systematic or shape-related sources of error.

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