Dissertations / Theses on the topic 'Metal sculpture Metal sculpture Copperwork'

The objective of this creative project was to create a series of cast bronze sculptures that would provide a ground for the exploration of metal patination, a chemical coloration of a metal surface. These bronzes were created using a ceramic shell investment mold and lost-wax cast in the Department of Art foundry facilities. Some of the pieces were cast in parts and either welded together or cold connected by drilling and pinning. Using recipes for hot and cold patinas, chemicals were applied to the bronze surface using a variety of application techniques, resulting in a subtle variation of warm and cool, transparent and opaque colors and tones.
Department of Art

The focus of this research was to investigate methods of combining two materials, metal and glass, specifically concentrating on the application of a variety of metals in glass, with different glass techniques, for creative use. Metal inclusions in glass constitute an element in the further development of my artistic practice. However, it was found that the palette of metals used by artists was restricted. This is because the present methods available for artists have demonstrated many limitations and uncertainty of results. Therefore, this research aims to explore the solutions to combining metal and glass in artistic practice. The study also covers the history of inclusions in glass, and their aesthetic function in craft and art, as well as the perception of inner space occupied by inclusions. The nature of this perception is an important element in understanding why artists are intrigued by inclusions. Current practice in this field is illustrated through an evaluation of the works of a number of artists who employ glass and inclusions (especially metal). These artists were chosen because they have connections with industry or interests in technology which they apply in their artistic practice. The research also investigated these artists’ personal technical procedures and the specific reasons for the development of their procedures. The artists were asked, wherever possible, to provide a statement relating to their technical and creative practice, and the difficulties they encountered. The collected data was partly used to determine directions for research. Following this, the application of metals in glass as a distinctive method of creating shape and internal structure along with issues relating to transparency, clearness and texture to glass were explored. Studio based experiments to identify creative parameters for combining glass and metal, especially in the hot state, and process routes that allow the combining of these two materials in the hot state were developed and tested. This testing was further extended by compatibility studies and developing applications of metal in glass that would avoid problems arising from incompatibility issues. In particular, experiments were concentrated on nickel, nickel alloys, lead and tin alloys in hot poured glass formed in moulds. The results of these investigations were explored in the context of the application of metals with glass in various industries, the scientific developments in these fields and the possibility of applying these materials and techniques for creative use by an artist in a studio environment. The original contribution to knowledge is mainly to be found in the techniques for applying metals, particularly nickel, lead and tin alloys, in glass in a hot stage to creative practice. These techniques especially relate to: ▪ building high temperature resistant moulds with a very fine textured surface ▪ developing a method for the application of nickel (up to 3mm = 118.11mil thickness) and lead/tin (up to 5mm = 196.85mil thickness) alloys with hot pouring glass using the mould method ▪ developing appropriate firing cycles to control the application of inclusions ▪ identifying lubricants and appropriate methods for applying them to prevent reaction and incompatibility problems between different materials. A further original contribution of this research relates to the assemblage and interpretation of views concerning the perception of inner space in glass sculpture occupied by inclusions. The subject of this research may be a stimulus to increase cooperation between scientists and artists, as well as promoting understanding of inclusions through a different approach to this subject.

"Barriers to Closure" was a series of narratives specifically focusing on reoccurring thoughts, fears and anxieties within the artist's life. Instilled when he was younger, these anxieties were never resolved, thus creating additional fears as he grew into adolescence. Eventually they transformed into an intricate obstacle causing resolution to be a difficult task.These narratives are presented in thick bronze frames which constrain the content into a limited space. The pieces are purposefully small due to the artist's personal restriction of revealing what needs to be seen. Therefore, the viewer must draw closer to the piece in order to view the information presented and relate the body of work to their own hidden fears.This exhibition provided an outlet for the artist to deal with feelings that are difficult to explain/express. Communicating these anxieties through this series of visual narratives, assisted the artist in resolving many personal conflicts.
Department of Art

The objective of this creative project was to see if inspiration from historical and literal references could be integrated with an expressionistic approach to sculpture in the form of a memorial. This study involved creating a series of electroformed models or maquettes (seven final pieces) that examined this three-dimensional dilemma based on the concept of building a larger memorial sculpture for an abandoned cemetery near Oxford, Ohio, where my ancestors are buried (there are no monuments left in this wooded location). The cemetery, called the Freeman Cemetery, is named in honor of my Great Great Great Grandfather John Freeman, a Revolutionary War Soldier, who is buried there. This site was of particular concern as it is threatened to be disturbed and possibly built on as part of a nearby expanding housing development (it may not be protected by Ohio law). This study included looking at the site, the natural flora and fauna of the Midwest, the historical precedence in memorials, and the utilization of background in architecture to help generate the forms. It also involved learning the techniques of electroforming, sculptural construction and fabrication, and patina processes.
Department of Art

This creative project consisted of the artist creating various box forms that were to house treasures that were considered special to the artist or the viewer. His childhood memories and his appreciation of streamline design heavily influenced him. Metal is one of the hardest materials to form and shape but the artist was able to create soft edges and curved forms by using his past experience with the material. He experimented with various surface techniques from patinas to sandblasting and polishing to create the appearance he desired in each piece. By combining wood and metal he created successful works that worked well together forming relationships between the two and were visually stimulating. He was able to create boxes within boxes with hidden compartments that could hide special treasures. This project proved to be a success for the artist, not only did he learn more about the building techniques and develop new surface treatments, but he designed and created the pieces he had envisioned at the beginning artistic career.
Department of Art

I see the moment of creation as a threshold, a fertile ground where anything is possible. My work combines an interest in science, mythology, cosmologies, and a childlike sense of wonderment to seek the unknowable. I create formless floating worlds that have a seducing, enlightening, and ultimately deceiving presence. Vibrant lusty clusters of candied opulence emphasize the wetness at the beginning of life. Dry folds give way to woozy nests and frenzied organisms while dripping crystalline structures puncture soft unknowable terrains. Through the process of making I indulge my desire to create an otherworld, one that bubbles, garishly drips, and slips slowly into lavish amalgamations. By combining artificial and organic materials with the rich traditions of metalsmithing, I am able to explore the infinity of tiny connections that make up the complex whole of the natural world. I make as a result of my own curiosity, drawing and building an imaginary world, from one layer to the next.

Dans un contexte artistique où les formes plastiques se démultiplient, cette thèse propose un retour à uneapproche matérielle et concrète de ces dernières, et plus spécifiquement de la sculpture métallique telle queproposée par les artistes depuis le début du XXe siècle. L’examen de la matière métal qui substantialise cesoeuvres modernes et contemporaines se fera, tout au long de cette recherche, au travers du prisme desimaginaires qui l’habitent et la traversent. Ces imaginaires, pouvant provenir d’horizons aussi variés queles mythologies antiques gréco-romaines et scandinaves, les mythes populaires de l’époque industrielle ouencore la littérature et le cinéma de science-fiction, seront ainsi envisagés comme autant de vecteurspermettant de mettre en exergue les différentes caractéristiques et les multiples usages qui peuvent être faitaujourd’hui des métaux dans le monde de l’art. Le rapport intrinsèque qui lie les attributs physiques dumétal, l’onirisme que cette matière véhicule et la manière dont il ressurgit dans les sculptures sera d’ailleursau coeur de cette étude.L’analyse des imaginaires des matières métalliques et de leurs survivances artistiques est menée au traversd’une recherche scientifique pluridisciplinaire. Elle sera impulsée par une démarche historique surl’apparition et l’évolution de la métallurgie, des mythes que cette pratique a fait naître et des créationssculpturales associées (I). Avec l’arrivée de la révolution industrielle, ces rêveries matérielles évoluent etentrainent une métamorphose profonde de la plasticité et de la sémantique des créations artistiques en métal(II). Enfin, au sortir de l’époque postmoderne, de nombreuses songeries utopiques autant que dystopiquesapparaissent quant au rapport entre l’être humain et les métaux, et c’est sur ces interrogations ultracontemporainesque cette thèse se clôturera (III).Tout au long de la recherche, et dans l’aspiration à mettre en avant le rapport essentiel entre les matières,la question transversale de l’intermatérialité, prenant modèle sur celle de l’intermédialité, seraanalogiquement développée, questionnée et illustrée
In a context of artistic production where the diversity of plastic form is widely increasing, this thesis offersto go back to a material and practical approach of the latter, and more specifically of metal sculpturespresented by artists from the beginning of the 20th century. The analysis of the metallic matter whichcomposes these modern and contemporary works will, throughout this research, be operated through thelens of the different imaginaries animating and pervading it. Those imaginaries, coming from such variedhorizons as Ancient Greek, Roman or Scandinavian mythologies, the popular mythology of the IndustrialRevolution or even literature and Science Fiction cinema, will serve as vectors allowing to bring forwardthe different characteristics and various uses of metals in the contemporary art world. The intrinsic linkbetween the physical attributes of metal, the oneirism it conveys, and the way it re-surfaces in sculptureswill be at the core of the present study.The analysis of metal imaginaries and their artistic legacy calls for a pluri-disciplinary scientific research.It starts with a historical approach of the birth and evolution of metallurgy, the myths and the consequentcreations it has generated (I). With the industrial revolution, these metallic dreams have evolved and causeda deep metamorphosis of plastic and semantic qualities of metallic artworks (II). Finally, in the last days ofpost-modernism, either utopian or dystopian vistas are emerging to question the relations between man andthe metallic matter, and these contemporary enquiries will be this work’s last point of focus (III).Throughout the research, the running question of intermateriality (owing to the pre-existing model ofintermediality) – meant to reveal the essential relationship between matters – will be developed, questionedand illustrated simultaneously

INTENT OF BINARY TALES EXHIBITION "Binary Tales", my MFA exhibition offers an alternative point of view of diversity and immigration to provoke thought in the audience. I'm gifted with the ability to express myself through the visual arts in the medium of metal. I also have the experiences to carry a message of hope and exploration through the tale of my immigration and assimilation in the great American culture. Using my abilities and experience, I seized the opportunity of excitement and hope generated by the President's leadership to further breakdown cultural barriers. "Binary Tales" guided the viewer in a vicarious journey through my life story as an immigrant trying to fit into American society and provide chances to understand and consider issues of culture; with particular attention to the effects of war and immigration. Perhaps the audience can then take that understanding and apply it to current issues of war and immigration. INTENT OF BINARY TALES THESIS This thesis paper is intended to supplement Binary Tales the Exhibition in two ways. First, by way of Chapter I and II, this thesis shall serve as a conceptual guide and contextual supplement to the artworks in the exhibition. Second, the rest of this thesis will supplement the exhibition by further detailing the philosophy that produced the work from the philosophy's development, to its current definition, and to its application.

Este trabalho tem como foco central a investigação de possibilidades de obtenção de peças metálicas, na forma de esculturas, por fundição, com vazamento por gravidade e que tenham como característica formal uma geometria complexa. Na interface interdisciplinar entre Arte e Engenharia, o estudo aborda a técnica de fundição por cera perdida e suas características, os materiais envolvidos nos processos de construção do modelo e do molde, e a realização prática de peças fundidas. Através do fazer, da aplicação das técnicas de fundição, da construção de um relato de experiências e das reflexões geradas a partir da análise dos resultados, o texto procura estabelecer a viabilidade da aplicação das técnicas de fundição por cera perdida, em atelier de escultura, com propósitos artísticos.
The following work has as its central focus the investigation of possibilities in the attainment of metallic pieces, in the form of sculptures, through foundry with filling by gravity and a complex geometry as their formal characteristic. In the interdisciplinary interface between Art and Engineering, the study approaches the lost wax foundry technique and its characteristics, as well as the materials involved in the processes of construction of the model and the mold and the practical accomplishment of the foundry pieces. The text attempts to establish the viability of the employment of the foundry techniques of lost wax through the execution, the application of the foundry techniques, the elaboration of a report of experiences and the thoughts generated from the analysis of the results in a sculpture studio with artistic purposes.

Very few stone sculptures conserve their original polychromy nowadays so the exceptional condition presented by the oil paint film of the Tomb of Chancellor Villaespesa in the Cathedral of Tudela (Spain) here presented as case study suggested that both the chemical-mineral composition of the oil paint films and of the lithotypes chosen for the artists to be in contact with the polichromy, could be responsible for their unexpected durability. When the mechanisms governing these painted structures stability are not understood properly, conservation materials and methods and even environmental conditions can have a dramatic effect in their performance and compromise their stability in the long term. In this study, mock-ups simulating different oil paint layers on the sandstone of the case study have been prepared. Mock-ups with the same oil paint films on other substrates have been made for comparison purpose. After four years of natural ageing, the aggregation of lead and calcium carboxylates have been identified and characterized on some mock-ups by means of the combined use of UV-VIS light microscopy, SEM-EDX and micro FT-IR spectroscopy. pH and conductivity have been measured and monitorized both in the mock-ups and the case study. Saponification reactions, ionomer formation and carboxylate aggregation in lead white or minium oil paint films contributed to make them less acidic, less ionized, less hydrolyzed and less soluble after ageing sandstone or on pine wood at room environmental conditions for four years. The same given paint films became more acid and more ionized after ageing on a glass slide. Understanding the properties of such films, the chemical-physical mechanisms governing their adhesive and cohesive forces, and their surface pH is not easy. Mineral assemblages as well as the availability of ions in the substrate of a given oil paint film containing lead white or minium play a fundamental role in the eventual formation, migration and aggregation of lead and calcium carboxylates not only at their surface but also within the substrate-film interface. Furthermore, monitoring surface pH and conductivity as well as understanding solubility issues and the adhesion forces existing between soils, the paint layer and the substrate is needed when designing any conservation strategy to minimize risks and to preserve the balance acquired by these artworks in time.
Muy pocas esculturas pétreas conservan su policromía original. El excepcional estado en el se mantienen las películas pictóricas al óleo del caso de estudio de esta tesis doctoral (el Sepulcro de Villaespesa de la catedral de Tudela, Navarra, España) sugiere que tanto la composición químico-mineral de la roca seleccionada por sus escultores como la composición de las películas pictóricas al óleo con las que se policromó dicha piedra, podrían ser responsables de su inesperada durabilidad. En el transcurso de esta tesis doctoral se prepararon probetas con distintas películas pictóricas al óleo sobre la arenisca del caso de estudio. Para hacer un análisis comparativo también se prepararon probetas con las mismas películas sobre otros soportes. Se monitorizó el pH y la conductividad el caso de estudio así como de todas probetas. A través del uso combinado de microscopía óptica, SEM-EDX y micro espectroscopía FT-IR se estudió la formación y envejecimiento de las películas al óleo identificó y se caracterizó la agregación de carboxilatos de calcio y plomo en algunas de las películas pictóricas al óleo con pigmentos de plomo. En aquellas películas al óleo con albayalde o minio que envejecieron durante cuatro años sobre substratos de arenisca y madera de pino, las reacciones de saponificación, la formación de ionómeros y la agregación de carboxilatos contribuyeron a generar estratos pictóricos menos ácidos, menos ionizados, menos hidrolizados y menos solubles. Dichas películas pictóricas se tornaron más ácidas e ionizadas tras envejecer, en las mismas condiciones medioambientales, sobre vidrio de microscopio. La comprensión de los mecanismos físico-químicos que gobiernan no solo el pH y la conductividad sino también las fuerzas adhesivas y cohesivas de estas películas a lo largo del tiempo, no es sencilla. Tanto los agregados minerales como la disponibilidad de iones que presentan sus substratos juegan un papel fundamental en la eventual formación, migración y agregación de carboxilatos de calcio y plomo no solo en su superficie, sino también en la interfase substrato-película pictórica. Cuando los mecanismos que gobiernan los equilibrios físico-químicos de estos sistemas pictóricos no se comprenden adecuadamente, los materiales y métodos empleados en su conservación así como las condiciones medioambientales en las que se mantienen pueden tener un efecto dramático en el comportamiento de estos sistemas pictóricos y comprometer su estabilidad a largo plazo.
Molt poques escultures pètries conserven la seua policromia original. L'excepcional estat de conservación en que es conserven les policromies del cas d'estudi d'aquesta Tesi Doctoral (el Sepulcre de Villaespesa de la catedral de Tudela, Navarra, Espanya) sugereix que tant la composició química-mineral i la porositat de les roques seleccionades pels artistes com la composició de les pel·lícules pictòriques a l'oli que van preparar per a policromar la pedra, podrien ser responsables de la seua inesperada durabilitat. Quan els mecanismes que governen els seus equilibris fisicoquímics no han estat compresos adequadament, els materials i mètodes emprats en la seua conservació així com les condicions mediambientals en què es mantenen poden tinder un efecte dramatic al comportament d'aquests sistemes pictòrics i comprometre la seua estabilitat a llarg termini. En aquesta tesi es van preparar provetes amb diferents pel·lícules pictòriques a l'oli sobre l'arenisca emprada en el cas d'estudi. També es van preparar provetes amb les mateixes pel·lícules sobre altres suports per fer una anàlisi comparatiu. Després de quatre anys d'envelliment natural, es va identificar i caracteritzar l'agregació de carboxilats de calci i plom en algunes de les provetes a través de l'ús combinat de microscòpia òptica, SEM-EDX i micro espectroscòpia FT-IR. També es monitarizaren el pH i la conductivitat de les provetes així com del cas d'estudi. En aquelles pel·lícules a l'oli amb blanc de plom o mini que van envellir durant quatre anys sobre substrats de gres i fusta de pi, les reaccions de saponificació, la formació de ionómeros i l'agregació de carboxilats van contribuir a generar estrats pictòrics menys àcids, menys ionitzats, menys hidrolitzats i menys solubles. Aquestes pel·lícules pictòriques es van tornar més àcides i ionitzades després envellir, en les mateixes condicions mediambientals, sobre vidre de microscopi. La comprensió dels mecanismes fisicoquímics que governen el seu pH i la seua conductivitat així com les forces adhesives i cohesives d'aquestes pel·lícules al llarg del temps no és senzilla. Tant els agregats minerals com la disponibilitat de ions que presenten els seus substrats juguen un paper fonamental en l'eventual formació, migració i agregació de carboxilats de calci i plom no només en la seua superfície, sinó també en la interfase substrat-pel·lícula pictòrica.
Aguado Guardiola, E. (2017). Estudio del rol de los agregados minerales en la formación, envejecimiento y conservación de películas pictóricas al óleo [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90462
TESIS

I've always considered myself a serious person who understood the meaning of labor. I am determined to labor over my ideas, and to labor seriously. The problem, and by "problem," I mean, "best thing" about this is that no one takes me seriously. Ever. They seem to like my work anyway. Apparently, I'm more funny than I am serious. But that's okay, because, secretly, I think I've always tried to be serious because I never thought I was smart enough to be funny. I often misunderstand things. Sometimes I mishear or wrongly attribute or think that facts are a metaphors or that metaphors are facts. Then I take this (mis)information back to my studio and playing Cosmic Matchmaker, yoking together seeming disparate elements to create a visual vocabulary. And then I labor over it. Very seriously.

Reconfigured found objects shape scenes of everyday life, questioning the structural histories that go into defining an identity. Engaging in a multidisciplinary approach of making, my work reimagines the function of ornamentation and its relationship to the body. I approach new materials and found objects with the eye of a jeweler, highlighting and exploiting the subtle, and often invisible, links between material histories and their connection to identity. Material debris patinated with age like skillets, baseballs, and furniture are used to penetrate normative structures around identity, gender, and sexual desire. Using adornment as a support in my installations I propose a new lens for viewing function through the use of ornamentation. In doing so I highlight the bodie’s impact on objects, and call into to question the role these objects play in shaping our understanding of identity—An identity that is never singular, constantly evolving, and more often than not contradictory and confusing.

Working through methods of abstraction and comedic mimicry I choreograph awkwardly balanced sculpture with objects of adornment as a means to defuse personal sensitivities surrounding my experiences of gender, desire, and home. The research that follows is concerned with the adjacent, the in between, above and underneath, because I feel that this kind of looking means that you are, to some degree, aware of what lies at the edges. Maybe this is what Gertrude Stein means to act as though there is no use in a center—because this concerns a way of relating, though there are many things in the room. ‘A spectacle and nothing strange’ is an arrangement of gestures, of made difference, of kinships, of orientations and possible futures, sustained tension, coded adornment, big dyke energy, shifts in hardness, leaning softness, much more than flowers, ...and in any case there is sweetness and some of that.

Thesis (M.F.A.)--East Tennessee State University, 2003.
Title from electronic submission form. ETSU ETD database URN: etd-0330103-135724. Includes bibliographical references. Also available via Internet at the UMI web site.

碩士
國立臺北藝術大學
造形研究所碩士班雕塑組
100
This creative discourse proposition for the "Dear XXX-metal sculpture of the creative process, from 2006 to 2012 at the Institute during the thinking on the creative process and context of the metal material and personal thoughts and feelings in the course. "Honey" is my fascination and love of physical desire "work" while others close call. XXX represents a variety of meaning, perhaps a person name or erotic website code, or curse words, is the meaning of the works of the Code. The practice of the desire to uphold the principle of hands-on, personally touching experience and experience counts. The first chapter of the past works, including the college to the Institute during the work to its context and personal language to make a unified whole and analysis. And put forward as the creation of the media, I think the appearance at this moment to the metal. The second chapter of the creative skills, detail engineering methods and technology of the production of the work, thinking about self-creation proposition and direction again. And discusses the main points of this technology as an integral part of the personal creative. Chapter III works in a stage performance of the Institute for six years to explain the desire to shape the kind of inner self, a form of physical, functional feel. Conclusion, telling the future of creative development, and Institute of works of this period as a very valuable research phase, but also expand the creative to do next.

碩士
輔仁大學
織品服裝學系
94
The thesis aimed at the transformation of the three dimension of the sculptural artwork by Henry Moore into the creation of textiles. Henry Moore’s sculpture could be classified into five themes as described in the literature review（Chapter II）. They were “Mother and Child/ Family”， “Organic Shape”, “Hollow”, “Reclining Figure”, “String Create”. The thesis adopted “Mother and Child” as the source of design inspiration. In the concept of Moore’s sculpture, there was a paragraph illustrated his viewpoint to word hand 「Hands, after the face, are the most obvious part of the human body for expressing emotion.」,The idea of textiles creation was derived from the combination of two concepts “Hands” and “Mother and Child ”. The metal wires such as stainless steel, copper and aluminum were applied as materials of creation in this research. In addition, different sizes of the metal wires ranged from 0.05 to 0.4mm were knitted by using the 6G Brother knitting machine for various trials of the design “feasibility”.At last, combining different types of metal materials, knitting constructions, and knitting technology could create various kinds of exciting textile artworks.

碩士
東海大學
工業設計學系碩士在職專班
105
Sculpture process is a far-reaching cultural techniques, although with the times and technological progress has been modest, but can not hinder its inheritance and innovation breakthrough; because the sculpture creation process is often time-consuming and requires a lot of physical exertion, work The environment is not comfortable, can not attract more new blood in the creation and production, therefore, this study will seek more convenient and rapid sculpture process model, in addition to solve time and labor problems, but also look forward to play an effective role in inheritance, and new products Of research and development. In this study, the mature CNC manufacturing technology into a new technology of sculpture technology, a long cultural process value, integration of digital technology efficiency and convenience, so that sculpture can be more effective play and profit, but also for the manufacture of foundry industry A new way out. Will be the collection of information, expert interviews, the implementation of cases, by - "Yuyue Longmen pen town" as the direction of comparison of sculpture techniques, technology and the relationship between the digital, to explore the traditional sculpture technology and multi-axis processing technology Status and development, from the traditional process and modern manufacturing technology to seek complementary benefits. The use of CNC multi-axis processing machine manufacturing, so that the sculpture through modern manufacturing technology, and to retain the essence of the premise of the sculpture process, effectively enhance the production capacity and the number of creation, not only the number of multi-axis processing and traditional sculpture technology Greatly shorten the creative development time, more quickly fine-tuning to modify the creative details.

博士
中原大學
設計學博士學位學程
104
Tibetan Buddhist sculptural arts began developing alongside Tibetan Buddhism starting in the early seventh century. This art was influenced by Buddhist culture in such peripheral areas as India, Nepal, and China, and constantly absorbing indigenous Tibetan beliefs and popular aesthetic concepts, which caused it to evolve into a unique form of Buddhist craftsmanship. Many kinds of Tibetan Buddhist statues were made, and were often very complex and elaborate in form. As a result, both Tibetan Buddhist painting and sculpture became spectacular art forms. While early Tibetan Buddhist images tended to be carved from stone or made from clay, the production of copper-gold alloy statues gradually entered Tibet from other areas. The making of copper-gold alloy Buddha statues gradually developed in Tibet through the 12th and 13th centuries, which was the Later Propagation Period of Tibetan Buddhism, and copper-gold alloy Buddha statues eventually occupied an important status in Tibetan temple culture. These statues combined exquisite metalworking skill with a unique aesthetic outlook, and this art became one of Tibet''s most representative traditional crafts and a key element of the Tibetan cultural heritage. While the ten-year Cultural Revolution caused the making of Buddhist statues within Tibet to be interrupted, the Tibetan government in exile, after fleeing to India in 1959, established the Norbulingka Institute, which included thangka, wood carving, metal forging, hammering, and casting, and embroidery workshops. The craftsmen who had followed the Dalai Lama into exile, and thus avoided persecution during the Cultural Revolution, maintained the transmission of traditional Tibetan crafts outside of Tibet, and trained new generations of Tibetans in traditional skills that had once faced extinction. The production of fine copper-gold alloy Buddha statues depends on the proficiency of the craftsmen with the characteristics of copper metal and forging and casting techniques, and is also inseparably connected with painstaking attention to the Buddha statues'' dimensions, proportions, and expression. Research on the making of copper-gold alloy Buddha statues must present the essential nature of this craft from a technical perspective, and also analyze its evolution and influences in light of their cultural and historical background. At present, most studies of Tibetan Buddhist copper-gold alloy Buddha statues have been limited to research on the literature, or consisted of technical inferences and stylistic analysis concerning this art in India and Nepal, etc. Unfortunately, has been a lack of research specifically addressing production techniques used is this richly-expressive form of craftsmanship. Taking folklore theory as its foundation, this study uses historical research methods to investigate the development and evolution of Tibetan Buddhist statue craftsmanship, Buddhist statue production under the Tibetan government in exile, and the skills transmission system among craftsmen making copper-gold alloy Buddha statues. At the same time, this study also discusses developmental changes in statue dimensions and proportions. A field investigation is further employed to observe the production of copper-gold alloy Buddha statues in a workshop run by the government in exile, including the taking of on-site photographs and records of tools, materials, techniques, and procedures. Apart from making a detailed record on actual operations and performing analysis, the study also discusses the scope of sales and the transmission of skills. Interviews with senior craftsmen and their apprentices provide an in-depth understanding of how the skills used in the production of copper-gold alloy Buddha statues are passed on. The information gained in this way can fill gaps in the literature and confirm the results of field surveys and other research, and can shed light on the historical background of senior craftsmen and their lines of transmission. Apart from performing a thorough overview of this traditional Tibetan craft, this study can also make a significant contribution to the protection of intangible cultural assets. It was found that in the process of passing on traditional craftsmanship in the copper-gold alloy Buddha statue workshop at the Norbulingka Institute, apart from transmitting crafts techniques, the transmission of the spirit of craftsmanship has been a key factor. The masters and their apprentices work together like fathers and sons, and the spirit of craftsmanship is transmitted imperceptibly and intangibly. This spirit of craftsmanship is something that modern education cannot effectively impart, and the sense of responsibility for the transmission of culture that accompanies the spirit of craftsmanship is the key to the continued propagation of traditional crafts. This line of reasoning can provide us with insights concerning the transmission of traditional crafts.

碩士
國立臺南藝術大學
博物館學與古物維護研究所
101
Sculpture was blooming and a lot of theme parks were built in Taiwan. Among all the Taiwan’s museums, Ju- Ming Museum in northeastern Taiwan collects a large of metal sculptures, especially the brass-based arts. Sculptures in Taiwan were suffering serious corrosions because the weather in Taiwan was always raining and hot. For preserving and conserving these sculptures, we chose the accelerated corrosion’s test and control the length of time to observe color and weight on the sculptures in kinds of environments about high humidity, salt spray, wet sulfur dioxide and sulfur dioxide, etc. For studying methodically，we took advantage of Scientific Instruments such as microscopy, XRD analysis and surface 3D-scans to evaluate the results of accelerated corrosions test and organized basic data of climate reasons from different areas in Taiwan. Finally, the analytic results had told us the truths, the chief reason of metal sculptures’ corrosion in Taiwan was high humidity. We should dry the water on the metal’s surface diligently.

碩士
國立臺南大學
視覺藝術與設計學系視覺藝術教學碩士班
105
Traditional metal technology, roughly divided into forging and casting. Casting for it`s reproducible, and forging is the metal embryo directly to the tool after the completion of the production of objects. The traces of the processing process become the texture of the metal creation of the material. The forging process in the metal uses a combination of a hammer and a drill to shape the metal into a desired shape. The hammering marks are formed on the metal surface during the beat process, while the drill or the support is against the metal to form a raised trace. Traditional metal forging because of the majority of the use of metal drill auxiliary hammer forging, so the finished work to single-sided metal plate showing the texture changes. In this study, a variety of forging tools and various materials, drilling tools, supporting the combination of the use of samples to record their interaction under the use of changes in metal expression, the texture can be found at the same time in the metal plate inside and outside the hammer way, and the sample production .The process of highlighting the changes in the physical properties of the metal used in the actual creation of a variety of processes based on the adjustment. So that when the metal forging creation can make the hammer forging the purpose of forming metal objects, while leaving the texture of the sculptures such as clay. This paper studies the creation of metal forging by means of textual materials such as material science books, metal craft, artist creation research, paper journals and network information to explore the characteristics of copper metal materials and the existing metalworking technology. Micro-sculpture and tea utensils, coffee objects as an extension of the study of texture forging, the experimental record and practical experience for the integration of use.

Text in English
The destructive nature of conventional analytical techniques, coupled with the finite nature of ancient/historical artefacts, has long restricted technical examinations of museum collections, mainly due to ethical constraints. However, over the past few decades, the application of Non-Destructive Evaluation (NDE) techniques has become increasingly popular within the fields of archaeology and cultural heritage diagnostics. The application of such techniques has facilitated the examination of objects that have long remained uninvestigated. However, this positive development also held a slight drawback, in that researchers tend to now focus on technical analyses alone, while excluding more traditional means of analyses, such as comparative stylistic analysis and surface investigation. By employing a combination of stylistic analysis, visual surface investigation (by means of SLR photography and digital microscopy) and nuclear imaging (by means of Microfocus X-Ray Computed Tomography), the thesis sets out to justify the application of mixed methodologies as part of a more holistic integrated authentication approach. Thus stated, the thesis presents a mixed-methodological approach towards the analysis of selected metal objects from the Ditsong National Museum of Cultural History in Pretoria, South Africa. The objects under investigation include a small collection of ancient Egyptian bronze statuettes, a Samurai helmet (kabuto) and mask (menpó), a European gauntlet, and an Arabian dagger (jambiya/khanjar). While all the objects are curated as part of the museum‘s archaeology and military history collections, the exact production dates, manufacturing techniques and areas of origin remain a mystery. By using a combination of techniques, the thesis aims to identify diagnostic features that can be used to shed light on their relative age, culturo-chronological framework and, by extension, their authenticity.
Old Testament and Ancient Near Eastern Studies
D. Litt. et Phil.(Ancient Near Eastern Studies)

The Passing Show, examines the interface between contemplative practices and the destabilizing effect of the carnivalesque. A repurposed early 20th century merry-go- round is reconfigured as a conceptual vehicle for renewing our attention to removing hindrances. The site-specific installation, titled Vimoksha, is viewed through the lens of the radical imaginary, investigating notions of karmic inheritance through a heuristic approach to material processes, personal history, kinetics and sound.

Between 1960 and 1992, American artist George Tsutakawa (1910 – 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa's fountains present a major intervention in North America's urban fabric that is not well-documented and remains almost completely untheorized. In addition to playing a key role in Seattle's development as an internationally recognized leader in public art, my dissertation argues that these works provide early evidence of a linked concern with nature and spirituality that has come to be understood as characteristic of the Pacific Northwest. Tsutakawa was born in Seattle, but raised and educated primarily in Japan prior to training as an artist at the University of Washington, then teaching in UW's Schools of Art and Architecture. His complicated personal history, which in World War II included being drafted into the U.S. army, while family members were interned and their property confiscated, led art historian Gervais Reed to declare that Tsutakawa was aligned with neither Japan nor America – that he and his art existed somewhere in-between. There is much truth in Reed's statement; however, artistically, such dualistic assessments deny the rich interplay of cultural allusions in Tsutakawa's fountains. Major inspirations included the Cubist sculpture of Alexander Archipenko, Himalayan stone cairns, Japanese heraldic emblems, First Nations carvings, and Bauhaus theory. Focusing on the early commissions, completed during the 1960s, my study examines the artist's debts to intercultural networks of artistic exchange – between North America, Asia, and Europe – operative in the early and mid-twentieth century, and in some cases before. I argue that, with his fountain sculptures, this Japanese American artist sought to integrate and balance such binaries as nature/culture, intuition/reason, and spiritual/material, which have long served to support the construction of East and West as opposed conceptual categories.
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