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Kratina, Radoslav. "Variable Forms in Metal Sculpture: Real Motion as a Possibility." Leonardo 25, no. 2 (1992): 153. http://dx.doi.org/10.2307/1575704.
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Pannell, William C. "Hand Made: Photosynthesis—A Sculpture of Life Made From Metal." Journal of Hand Surgery 39, no. 12 (December 2014): 2496. http://dx.doi.org/10.1016/j.jhsa.2014.09.030.
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Whiteley, Gillian. "Metal, Fire and Magic: Welded Sculpture of the Twentieth Century." Sculpture Journal 6, no. 1 (January 1, 2001): 108–12. http://dx.doi.org/10.3828/sj.2001.6.1.12.
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Plante, Michael. "Sculpture's Autre: Falkenstein's Direct Metal Sculpture and the Art Autre Aesthetic." Art Journal 53, no. 4 (1994): 66. http://dx.doi.org/10.2307/777565.
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Lu, JinRong, LiTing Yi, Lei Wang, SiCong Tan, Han Gui, and Jing Liu. "Liquid metal corrosion sculpture to fabricate quickly complex patterns on aluminum." Science China Technological Sciences 60, no. 1 (November 11, 2016): 65–70. http://dx.doi.org/10.1007/s11431-016-0433-9.
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Talesara, Priyank, and Aniruddh Bahuguna. "Decoding of the Story Superimposed of Buddhist Sculpture unearth from Bharja and testifying its relation to this Silk-route area of Sirohi District, India." Technium Social Sciences Journal 7 (April 25, 2020): 302–11. http://dx.doi.org/10.47577/tssj.v7i1.410.
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Rohida police station recovered an old sculpture, accidentally discovered from the cemetery of Bharja/Bhaja village. It is a broken bronze Buddhist Idol and very rare sculpture. It has exquisite Antique beauty with rust in red and corrosion in green. Sculpture of Buddha seated in Padma Asana (lotus posture) and his hand in Dhyan Mudra (meditation posture). Buddha is wearing the robe; the robe is decorated with the scene of Buddhacharita story, superimposed on the visible crust. This Sirohi district has the history of Jainism and Hinduism only, till the date there is no evidence regarding Buddhism practices in Sirohi district of Rajasthan. Sirohi is famous from its silk route in the valley, ancient Chandrawati city and Mount Abu, where thousands of temples of Jainism and Shivanism were built. Objective: what were the technique and technology used to manufacture sculpture? Where this artefact came from? What are the main characteristics & features of this sculpture? What carving scene depicted in this sculpture? Research analysis: For analysis of this sculpture we carefully look sculpture and magnify scene to compare with the stories of Buddhacharita. Moreover, check out that this sculpture is indigenous work of ancestral craftsmen or not. Also compare superimposed stories of Buddha and his life. Scientific method: Buddha sculpture is hollow in nature but very heavy in weight; Craftsman used the lost wax method to manufacture it. In ancient time the science behind manufacturing sculpture is very time consuming, first sculptors need to imagine about the subject, draft and then mould through melting, condensing, chiselling, hammering and exquisite carving. One of the oldest methods of metal casting according to Archaeo-metallurgy is bee wax method; this technique is now termed as the lost wax method. Conclusion: In the end, we like to conclude that in the history of Sirohi exploration, first time unearths the Buddhist sculpture but we have certain doubts that it mustn’t belong to Sirohi district. This idol is required for further critical research like dating and detailed mould-casting technique used in the manufacturing of this sculpture.
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Walker, Stefanie. "Gold, Silver, and Bronze: Metal Sculpture of the Roman Baroque. Jennifer Montagu." Studies in the Decorative Arts 4, no. 2 (April 1997): 112–15. http://dx.doi.org/10.1086/studdecoarts.4.2.40662586.
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Riyanto, Sugeng. "KAJIAN IKONOMETRI ARCA LOGAM PRODUK PERAJIN TROWULAN." Berkala Arkeologi 28, no. 2 (November 30, 2008): 52–62. http://dx.doi.org/10.30883/jba.v28i2.363.
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A question often raised on metal sculpture made by Trowulan artists is: do iconometric aspects of the sculptures follow the iconometric order? Studies on iconology, including iconographic and iconometric studies, are important in Indonesian archaeology. Iconometric study on metal sculptures made by Trowulan artists is an example for iconometric study in Indonesia.
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Zaluhi, Nor Zafharina, Ramlan Abdullah, and Khairi Shamsudin. "Reflection of the Mystical Element through the Form of Sape’ Using Metal in Modern Sculpture." Environment-Behaviour Proceedings Journal 6, SI5 (September 1, 2021): 131–35. http://dx.doi.org/10.21834/ebpj.v6isi5.2938.
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The work of art construes the state of the pontoon during the semester to be adjusted by the Sape. He created Sape's current state after awaking from his rest in the vessel. As a result, the arrangement and standing model were created, as well as the Sape' theme. Porpion and engkerabang blossom themes enhance Pua Kumbu. Aims of the study: So that the guidelines and goals are met, they must be stated. They are incorporating a mystical element into Sape's instrument through free-standing sculptures. Create a sculpture using plate metal and a plasma cut machine—a series of free-standing sculptures reflecting mystical elements. Keywords: Forms, Mystical, Sculpture, Sape’ eISSN: 2398-4287 © 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI5.2938
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Kakovkin, A. Y. "Little Known Piece of Metal Sculpture From the Coptic Collection in the Hermitage Museum." Ancient Civilizations from Scythia to Siberia 6, no. 1-2 (2000): 71–76. http://dx.doi.org/10.1163/157005700x00078.
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Son, Jong jun. "Defensive Measure Serise and Study on the Directionality of Contemporary Metal Sculpture in Korea." Journal of Basic Design & Art 22, no. 1 (February 28, 2021): 185–96. http://dx.doi.org/10.47294/ksbda.22.1.15.
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Ko, Seung-Geun. "Metal Sculpture Research Applying Aesthetic Factor of 'Counting Stars at Night' by Yoon Dong Ju." Journal of Digital Convergence 14, no. 2 (February 28, 2016): 345–50. http://dx.doi.org/10.14400/jdc.2016.14.2.345.
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Crespo Ibañez, Ana, Blanca Ramírez Barat, Iván Díaz Ocaña, and Emilio Cano. "Electrochemical evaluation of the patina of the weathering steel sculpture Once Módulo." Ge-conservacion 17 (June 25, 2020): 153–59. http://dx.doi.org/10.37558/gec.v17i1.761.
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Weathering steels (WS) have been widely used due to the protective rust formed on the surface of the bare metal exposed to the atmosphere. They have been studied attending to specifications and characteristics in engineering, but in cultural heritage the use of this material does not follow the same criteria and has different needs which must be addressed. Among them, the design and the location of the sculpture may have an impact on the rust formed and may not be as protective as it was supposed to be.
This work presents the study of the weathering steel sculpture Once Módulo which shows areas with different exposure to rainwater and different surface heterogeneities. The results obtained by Electrochemical Impedance Spectroscopy (EIS) have shown that the protective ability of the rust depends on the previous differences and that design and location of the artwork play an important role for its conservation.
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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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Gnatiuk, Liliia, and Hanna Novik. "Metal in the design of public transport stops." MATEC Web of Conferences 170 (2018): 03008. http://dx.doi.org/10.1051/matecconf/201817003008.
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Public transport stops as special architectural forms in the urban environment are reviewed. Based on the analysis of foreign analogues, in accordance with the expressive means, the existing projects of stops are classified into subspecies as artistic, thematic, ecological and futuristic. As a result of the research, the conclusion is made about the influence of certain factors on the formation of pavilions: 1) the need to implement the priority requirements of different level users to the spatial planning structure of the stop complex, such as: transparency, control, protection, safety, accessibility, information, rational use of space, comfort and services; 2) the character of the building; 3) ecology requirements; 4) used structural and decoration materials; 5) national traditions; 6) aesthetic tastes and preferences of citizens and city administration; 7) climate conditions. The use of metal (steel, aluminum,) and constructive principles of collection require corresponding design approaches. It is necessary to find a specific stylistic solution, which, being repeated many times, will create a system of visual accents along the urban transport route. The appropriate design would turn public transport stops into potential accents of the urban environment, the analogues of urban sculpture, which not only fulfil their daily necessary function and contain the most modern electronic means of information and control, but also contribute to the emotional comfort of passengers.
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Oh, Seung Jun, and Koang Chul Wi. ""A Study on the Manufacturing and Applicability of Liquid Wax for Surface Preservation of Outdoor Metal Sculpture Works"." Journal of Basic Design & Art 21, no. 6 (December 31, 2020): 299–310. http://dx.doi.org/10.47294/ksbda.21.6.23.
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Żmuda–Trzebiatowska, Iwona, Anna Fietkiewicz, and G. Sliwinski. "Indoor Atmospheric Degradation of Historical Metal Objects Studied by Spectroscopic Techniques." Solid State Phenomena 183 (December 2011): 233–40. http://dx.doi.org/10.4028/www.scientific.net/ssp.183.233.
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The surface layers resulting from prolonged exposure to the indoor environment and the bulk material of metal artifacts from the collection of National Museum in Gdansk are studied by means of spectroscopic techniques. The composition of the surface layers of the forged iron box lid covered with polychrome (XVI c.), and of the bronze female nude sculpture (antiquity) is obtained from the XRF and µ-Raman spectra. The elemental composition is confirmed by the LIP (Laser Induced Plasma) spectroscopic measurements. The quasi-nondestructive LIP technique applied for stratigraphic sampling performed with an accuracy of ca 2 µm across the multilayer surface coverage reveals such elements as C, Ba and Na in the uppermost layer. From coincidence of the XRF, Raman and LIP data the presence of surface contaminant CaCO3, the corrosion product FeO(OH) and patina Cu2 (OH)3Cl are concluded. It is shown that the complementary spectroscopic analysis allows for the in-depth study of the environmental impact on historical objects and delivers indications for the appropriate strategy of the planned conservation activities. Moreover, from the data collected from the technologies applied in the past, origin, provenance and routing of the artifacts can be concluded.
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Mitchell, W. J. T. "Reframing Landscape." ARTMargins 10, no. 1 (February 2021): 14–19. http://dx.doi.org/10.1162/artm_a_00281.
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Abstract “Reframing Landscape” explores three distinct landscapes that have been decisively impacted by conquest and colonization, reframed by three artistic interventions: painting, photography, and sculpture. August Earle shows us the de-forested landscape of 19th century New Zealand, still guarded by a Maori totem; Miki Kratsman photographs a wall mural in occupied Palestine that erases the presence of indigeneous people; and Antony Gormley anticipates the clearing of Manhattan by a pandemic in whirlwind of metal. Real spaces and places are converted into landscapes of attention into what has been lost and what is to come.
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Duda, Vasile. "Armonia spațialității pozitive și negative în sculptura artistului Ingo Glass." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 185–220. http://dx.doi.org/10.24193/subbhistart.2020.10.
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"Harmony of Positive and Negative Spaciousness in Ingo Glass sculpture. The aim of this article is to discuss issues regarding the ways spaciousness and harmony of positive and negative surfaces in Inglo Glass sculpture are valorized. The artist was born in 1941 in Timișoara, he studied at the Traditional School of Arts from Lugoj and then he attended the university in Cluj. Between 1967-71 he worked as curator at the Museum of Contemporary Arts from Galați and he established connections with visual artists from all over the country. Later on, between 1972-73 he worked as teaching assistant at the Architecture University from Bucharest and then he became cultural consultant at the German Culture House Friedrich Schiller. During this period, Ingo Glass created a Constructivist Art with metal structures developed vertically following the spatial pattern specific to the great Gothic cathedrals– the most famous work Septenarius was built in 1976 on the Danube boardwalk from Galați. Being forced by the political circumstances from the Socialist Republic of Romania, he emigrated to the Federal Republic of Germany in 1979, he moved to München where he worked for the Municipal Art Gallery and where he was integrated in the group of Concrete-Constuctivist Art artists. After 1989 he came back to Romania with different exhibitions and he created public monuments in Galați, Timișoara, Moinești and Lugoj. Then, in 1992 he presented his PhD thesis about the influence of Constantin Brâncuși Art over the 20th century sculpture. Between 1989-1998 the artist crystallized an original visual concept based on the usage of the basic geometric shapes in conjunction with the primary colours. Ingo Glass upgraded Bauhaus theory and he associated the square with blue, the triangle with yellow and the circle with red. By using shapes and primary colours the artists creates Concrete Art, a new symbolic universe, purely geometrical, the harmony of his entire work being given by the proportion and link between full and empty spaces. Expanded spaciousness specific to the Constructivst Art phase experiments the architecture-sculpture link and the monumentality of the metallic structures encourages the entrance to the central core of works. The open, non-material dimension forms the main volume of the sculpture, the empty space dominates the full shape and it outlines the effects of an unrated and irrational spaciousness. Balanced spaciousness specific to the Concrete Art phase experiments geometrical combinations, based on the basic shapes in positive and negative intersections, by the spaciousness and non-spaciousness link, the pace between full and empty spaces. The usage of the three basic geometrical shapes also influenced the combining vocabulary of these elements, and it even ensured the ordering and deduction of the empty space. The utopia of basic forms expresses tendencies towards positive irreductible forms of energy or negative forms through non-materiality, where the concepts of mass, weight, space and time are added. In each of his works, the artist used a proportion between the elements of the composition through a rational interpretation stimulated by the achievement of a geometrical order as the essential basis of tasks. The relation between positive and negative spaciousness appears constantly in the sculpture of the last century and the rhytm and sequence of its spatial effects are determined by a sense of proportion that involves an aesthetic of proportion. Thus, we can definitely say that the work of the artist Ingo Glass originally captures all these aspects of Contemporary Art. Keywords: sculpture, spaciousness, Ingo Glass, constructivism, Concrete Art. "
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Voroniatov, Sergey. "About Metal Rings of the “Zubovsky-Vozdvizhenskaya Type” Adorned with Sculptured Anthropomorphic and Zoomorphic Images." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (December 2019): 145–55. http://dx.doi.org/10.15688/nav.jvolsu.2019.2.9.
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Metallic rings with sculpture images of anthropomorphic and zoomorphic types are known from the turn of the 19th and 20th centuries amongst findings in Sarmatian burials of “Golden Cemetery” burial ground in the region of the Kuban river. These days they present a distinctive feature of the material culture of the Zubovsky-Vozdvizhenskaya group sites. Some analogous artifacts were found in mounds of the Volga river and Don river regions. There is no single definition for the functional use of such rings. The main reason for that is the fact that they had been found mostly in graves plundered in ancient times. The researchers assume them to be finials for some wooden structure, supports for vessels or elements of horsey harness. The hypothesis concerning harness seems to be better justified. In his first reports about findings of the rings with sculptured images N.I. Veselovskiy mentioned some fragments of leather remaining around the rings. Since in many cases those findings form pairs, it seems reasonable to assume them to be some symmetrical distributors of the belts for the horsey head harness.
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Lyons, Daniel M., Davorin Medaković, Željko Skoko, Stanko Popović, Sanda Rončević, Lovorka Pitarević Svedružić, and Iskra Karniš. "Biomineralization on an Ancient Sculpture of the Apoxyomenos: Effects of a Metal-Rich Environment on Crystal Growth in Living Organisms." Crystal Growth & Design 9, no. 8 (August 5, 2009): 3671–75. http://dx.doi.org/10.1021/cg900402b.
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Green, Alexandra. "Koleksi Raffles Dari Jawa: Bukti Dari Eropa Tentang Sebuah Peradaban." PURBAWIDYA: Jurnal Penelitian dan Pengembangan Arkeologi 9, no. 2 (December 10, 2020): 165–82. http://dx.doi.org/10.24164/pw.v9i2.376.
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Stamford Raffles was promoted to Lieutenant Governor of Java when the island was taken from the Dutch by the British East India Company in 1811 as part of the Napoleonic warsin Europe. During Raffles’ years on Java, he collected substantial cultural materials,among others are; theatrical objects, musical instruments, coins and amulets, metal sculpture, and drawings of Hindu- Buddhist buildings and sculpture. European interest inantiquities explains the ancient Hindu- Buddhist material in Raffles’s collection, but thetheatrical objects were less understood easily. This essay explored Raffles’ s collecting practices, addressing the key questions of what he collected and why, as well as what were the shape of the collection can tell us about him, his ideas and beliefs, his contemporaries, and Java, including interactions between colonizers and locals. I compared the types of objects in the collections with Raffles’ writings, as well as the writings of his contemporaries on Java and Sumatra in the British Library and the Royal Asiatic Society. Raffles was one of the first people to apply the enlightenment notion of systematic collecting to cultural material, but his collections were not systematized by Javanese standards, indicating his incomplete understanding of the local culture. Instead, the objects demonstrated that Raffles chose items considered indicative of civilization according to European ideas, assembling objects to support his argument in favor of Java as a remaining of a British colony, as well as to promote his own image as a scholar- official.
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Lloyd, John, and Philip Kenrick. "Excavations at Sidi Khrebish, Benghazi, 1971–75: the small finds." Libyan Studies 45 (November 2014): 97–150. http://dx.doi.org/10.1017/lis.2014.1.
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AbstractThe ‘small finds’ (miscellaneous objects of bone, metal and stone; ceramic objects other than vessels, lamps or sculpture) from the excavations carried out at Sidi Khrebish, Benghazi (1971–75), constitute a neglected category which was ready for publication ten years ago, in the projected final volume of the excavation reports. Since other reports which should have accompanied it in that volume are still far from being submitted, it has been decided to present the small finds in the form of a journal article instead.The conclusions which may be drawn from the 462 catalogued items in terms of trade connections, or of patterns of activity in the places where they were found, are generally limited, but have been noted where possible.
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Anisimov, K. V. "The “Living Statues” at Times of Mausoleums and Unknown Soldiers: New Commemorative Practices in the Mirror of Russian 20th Century Poetry." Critique and Semiotics 38, no. 1 (2020): 186–206. http://dx.doi.org/10.25205/2307-1737-2020-1-186-206.
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The article traces the alterations of the “harmful statue” motif as it was conceptualized by Roman Jakobson. In the present research the author draws upon a number of representative verses by Russian 20 th century poets – V. Bryusov, I. Selvinsky, B. Slutsky. The theoretical juxtaposition of the metaphoric nature of a monument and strategies of overcoming this nature has been put in focus of this work. These strategies are represented in the convergence of sculpture and body (the reinforcement of iconicity), in implicating the metonymic, substitutional character in new monuments. The author shows how the practice of establishing the new “political” tombs (unknown soldiers, mausoleums) proliferating since 1920s was reflected in verses’ rhetoric and affected these texts’ genre poetics. As a first collection of examples the “Pompeian” plots of Russian “ekphrastic” poetry are studied. Here Russian poets rethink the technology invented by mid-nineteenth century Italian archaeologists who were the first to introduce the sculptural reconstruction of human bodies preserved by volcanic soil in area of 79 a.d. Vesuvius eruption. The first step on this way of rethinking the “living statue” motif was the intrinsic to modernism and openly exposed problematizing of the relationships between body and its representations in stone or metal. Having begun its “own” life, the sculpture is currently observed as a direct, “drawn on a contour” replica of an organism, unprecedented in unicity of its physical existence. This semiotic discovery has formed the receptive “niches” of expectations – prior to the emergence of the next commemorative practice, the creation in 1924 Vladimir Lenin’s “living sculpture” (A. Yurchak) or “self-icon” (J. B. Platt). However one difference here was of specific significance: the “Pompeian” plaster reconstructions were anonymous whereas the Bolshevik leader’s name was in contrast not just commonly known but also as strongly mythologized as his remains kept in mausoleum were. The semiosis taking place within a triangle body – monument – name had formed a perspective for the forthcoming of a new social commemorative practice, memory place and poetic image – the tomb of an Unknown Soldier. The author illustrates the interaction of the two political and memory cults on the level of official rhetoric and in the sphere of literary motifs.
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Kuo, Michelle. "Divinations." Programmer, no. 13 (June 29, 2010): 38–55. http://dx.doi.org/10.7202/044039ar.
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The essay “Divinations” focuses on Robert Rauschenberg’s Oracle (1962-1965), a work whose making and display entailed close collaboration between the artist and the engineers Billy Klüver and Harold Hodges, both of Bell Laboratories. The piece stemmed from Rauschenberg’s interest in sound, sculptural form, and radio networks: it housed ten radios and speakers in various sculptural elements constructed from found metal objects, including ducts, window frames, a bathtub, and a car door. Audience members could turn dials that indirectly modified the volume and tuning of the radios. Walking through the sculptural installation, one experienced shifting acoustic, spatial, and visual effects. This text seeks to understand how the interactions between artist and engineers—and between sound sculpture and viewers—engaged systems of industrial and postindustrial production, broadcast radio, and audiovisual reception.
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Whitmire, Heather, and Mary Haque. "INCORPORATING CREATIVE LEARNING INTO HORTICULTURE CLASSES." HortScience 40, no. 3 (June 2005): 883d—883. http://dx.doi.org/10.21273/hortsci.40.3.883d.
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The Clemson University Communication Across The Curriculum program is coordinating a creative response for learning (CRL) project to provide students with creative learning and critical thinking opportunities relevant to course content while creating a learning community. Faculty representing numerous disciplines asked their students to respond with creative projects (e.g., drawings, poems, posters, multimedia, sculpture, music, etc.) to the subject matter of the course. Students in Horticulture courses responded by writing poems in a Landscape Appreciation class, designing creative solutions to environmental problems in a Landscape Design Class, and installing an Ethnobotany Garden in a landscape implementation class. The landscape design and implementation classes used a service learning methodology to identify and solve problems in local communities. Following a four-part process of preparation, action, reflection, and celebration, students in the design class completed plans for thirteen theme gardens constituting a Children's garden in the South Carolina Botanical Garden. The following semester, landscape implementation students built the first of the series, an Ethnobotany Garden, using teamwork and university/community partnerships. They also practiced individual creative thinking and building skills through the design and installation of creative projects including a bat house, a stained glass and a broken tile birdhouse, four container gardens, artistic stepping-stones, and a dramatic metal sculpture of a butterfly representing the sustainable wildlife habitat aspect of the Children's garden. College students and faculty working on the Ethnobotany Garden project alone contributed over 1,000 hours to their community while learning more about both the art and the science of landscape design and implementation.
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McKiernan, M. "Sir Jacob Epstein, Torso in Metal from Rock Drill (1913-1914).: Sculpture Bronze object: 705 x 584 x 445 mm. Tate Britain, London." Occupational Medicine 58, no. 6 (August 26, 2008): 386–87. http://dx.doi.org/10.1093/occmed/kqn055.
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Saffaie, Waleed Mohamed. "The Inscribed Metal Pots in the West of the Arab Gulf (Mleiha and Al- Fueda), Mesopotamia and Ancient Egypt: A Comparative Study." Asian Social Science 14, no. 10 (September 28, 2018): 102. http://dx.doi.org/10.5539/ass.v14n10p102.
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The current study seeks to analyze some themes and ornaments that appeared on metal pots in the west of Arab Gulf (Mleiha in the United Arab Emirates and Al- Fueda in the Sultana of Oman). The study also makes a comparison between the metal pots of previous regions and their counterparts in Mesopotamia and Ancient Egypt. The Arab Gulf is of great importance because it represents an important center for commercial convoys and associates with ancient civilizations in Mesopotamia, ancient Egypt and other civilizations. The Arab Gulf produced a varied and splendid art with artistic output. On the other hand, Mesopotamia transferred the ancient Egyptian artistic influences to the Arab Gulf. The study highlights the two regions of Mlieha and Al- Fueda in the west of the Arab Gulf, Mesopotamia and Ancient Egypt. Also, it shows the artistic influences on these pots. To describe and analyze such metal pots, the study adopts the descriptive analytical approach. The researcher has faced several difficulties, which are: 1) Finding a few of inscribed metal pots led to the difficulty of the local comparison where some sites did not reveal a rich metal product. 2) The scarcity of references and books specialized in metal arts in the Arab library. 3) Numerous metal sculpture works have been lost due to re- using and re- shaping these metals again. The study has reached many conclusions, the most important of which are: 1) The pots and plates were decorated with splendid inscriptions and ornaments, and their themes were quoted from neighboring countries. 2) The Study has noted that some metal inscriptions represented the pure local environment of the art at the time. Also, some of them were affected by the arts of neighboring civilizations in Mesopotamia, Syria and ancient Egypt.
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Österlund, Lise-Lotte, and Margareta Ekborg. "Students’ Understanding of Redox Reactions in Three Situations." Nordic Studies in Science Education 5, no. 2 (June 29, 2012): 115–27. http://dx.doi.org/10.5617/nordina.345.
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Redox models that explain electrochemical issues have been found to be difficult to teach and to learn. The aim of this study was to investigate students’ reasoning about redox reactions in three situations, how they used the activity series of metals and if they transferred knowledge between domains. Semi-structured interviews were carried out with ten students on two different occasions and dealt with three situations 1) a laboratory practical on corrosion; 2) a demonstration of zinc and copper sulphate solution; and 3) a corroded sculpture. The results indicated that the electron model was fundamental and reinforced. The identification of the reducing agent in the situations was unproblematic. The students’ conceptions regarding the oxidizing agent varied and diverged from the scientific model in some situations. Depending on the situation, the activity series of metal became a tool as well as an obstacle. Some transfer of knowledge between the classroom and the outdoor situation was indicated.
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Oh, Seung-Jun, and Koang-Chul Wi. "A Study on the Development and Application of Perilla Oil Based Compound Wax Agent for Preserving Outdoor Metal Sculpture: A Case Study on Iron Sculptures." Journal of Conservation Science 33, no. 2 (April 30, 2017): 121–30. http://dx.doi.org/10.12654/jcs.2017.33.2.06.
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Matteini, Mauro, José Delgado Rodrigues, Rute Fontinha, and A. Elena Charola. "Conservation and Restoration of the Don José I Monument in Lisbon, Portugal. Part II: Metal Components." Restoration of Buildings and Monuments 22, no. 2-3 (December 1, 2016): 81–87. http://dx.doi.org/10.1515/rbm-2016-5678.
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Abstract The equestrian statue of D. José I, in Lisbon, is a masterpiece of the sculptor Joaquim Machado de Castro. It weights over thirty eight tons and was made in a single casting by Bartolomeu da Costa in a copper alloy (brass). After over two centuries exposure, the statue presented an unappealing heterogeneous appearance and showed some deterioration features that required attention. Preliminary studies showed that the deterioration phenomena were typical of copper alloys exposed to outdoor urban environments. The proximity of the seacoast also contributed to some specific decay mechanisms. The highly contrasting patterns of the superficial patinas consisted of black dense deposits covering an original cuprite layer side by side with the common green deposits of basic copper sulfates, hydroxides and chlorides. The highly corrosive nantokite was present in sheltered areas, where chlorides are able to accumulate. The conservation intervention included cleaning, mostly carried out with low pressure jets of round glass beads. Onsite tests were made to select the cleaning levels required to match the areas of black and green patinas. A reddish brown cuprite layer was found underneath most of the areas with black dense deposits, while it could only be perceived by transparency on the green covered areas. When a high contrast remained between the two areas, these were mitigated with the application of water colors during the final protection phase. Nantokite active areas were passivated with sodium oxalate after the entire statue was first washed with clean water and treated with lime water to leave an alkaline reserve to slow down the eventual corrosion process, and the sculpture rinsed with ethanol to accelerate its drying. The final protection was made with Paraloid B44 and microcrystalline waxes.
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Pouyet, Emeline, Monica Ganio, Aisha Motlani, Abhinav Saboo, Francesca Casadio, and Marc Walton. "Casting Light on 20th-Century Parisian Artistic Bronze: Insights from Compositional Studies of Sculptures Using Hand-Held X-ray Fluorescence Spectroscopy." Heritage 2, no. 1 (February 21, 2019): 732–48. http://dx.doi.org/10.3390/heritage2010047.
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In the 19th and early 20th centuries, Paris was home to scores of bronze foundries making it the primary European center for the production of artistic bronzes, or bronzes d’art. These foundries were competitive, employing different casting methods—either lost-wax or sand casting—as well as closely guarded alloy and patina recipes. Recent studies have demonstrated that accurate measurements of the metal composition of these casts can provide art historians of early 20th-century bronze sculpture with a richer understanding of an object’s biography, and help answer questions about provenance and authenticity. In this paper, data from 171 20th-century bronzes from Parisian foundries are presented revealing diachronic aspects of foundry production, such as varying compositional ranges for sand casting and lost-wax casting. This new detailed knowledge of alloy composition is most illuminating when the interpretation of the data focuses on casts by a single artist and is embedded within a specific historical context. As a case study, compositional analyses were undertaken on a group of 20th-century posthumous bronze casts of painted, unbaked clay caricature portrait busts by Honoré-Victorin Daumier (1808–1879).
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Jaworski, Adam. "Word cities and language objects." Linguistic Landscape. An international journal 1, no. 1-2 (June 19, 2015): 75–94. http://dx.doi.org/10.1075/ll.1.1-2.05jaw.
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The focus of this paper is on language objects in contemporary ‘word cities’, or urban landscapes, shaped by art and consumer culture. I define ‘language objects’ as two- or three-dimensional pieces of writing (e.g. needlework samplers, fridge magnets, wooden or metal sculptures, etc.) that do not serve any apparent informational or utilitarian purpose, i.e. they are not ‘attached’ to or displayed on any objects with identifiable practical functions, e.g. buildings, t-shirts, mugs, paper weights, and so on. Two specific language objects considered here are Robert Indiana’s LOVE sculpture and a Marks & Spencer ‘love letters decoration’. It is suggested that such language objects perform largely Jakobson’s (1960) poetic function with its key focus on form. Yet, they are also instances of linguistic performances with complex trajectories of appropriation and recontextualization of prior cultural and linguistic material (Bauman, 2001; Bauman & Briggs, 1990), while their appropriation for specific ‘personal’ uses is best explained by treating them as ‘shifters’ — referential indexes, or signs constituted by the combination of their symbolic value and the communicative act itself (or ‘rules of use’) (Jakobson, 1971; Silverstein, 1976).
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Zhilina, Natalya V. "Volga Bulgaria and Old Rus’. Comparative Characteristics of Attire of Adornments in Reconstructions of the 11th – 13th Centuries." Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 4, no. 34 (December 15, 2020): 125–44. http://dx.doi.org/10.24852/pa2020.4.34.125.144.
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On the base of typical hypothetical reconstructions according to the stages of the development of the attire upon archaeological material the comparative history of attires of two states is restored. At the end of the 11th – in the beginning of the 12th century and later, the features of heavy metal attire were preserved, in Volga Bulgaria – of Finno-Ugric and nomadic, in Old Rus’ – mainly of Slavic one. At the end of the 11th – the first half of the 12th century noisy attires of different designs were formed. In the first half – the middle of the 12th century filigree, niello, openwork weaving were combined in Bulgarian jewelry. Adornments were complemented with bead pendants of new shapes. In Rus’, enamel attire of the sacred-ascetic style created innovations, the niello one was distinguished with a variety of ornamentation (wide bracelets), the filigree retained Slavic traditions. At the end of the 12th – the first third of the 13th century the best jewelry was created. In Bulgaria the temporal rings were complemented by a miniature filigree sculpture, necklaces and chains with pendants presented. Original filigree bracelets with oval endings were famous. In Rus’, enamel and black attires were made in exaggerated and lush styles; luxurious frames of jewelry with filigree technique were used. Filigree attire changed constructively, moving away from folk traditions. In Bulgarian attire the traditions of local and eastern jewelry combined; in Russian attire – of local and Byzantine jewelry.
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Delgado Rodrigues, José, A. Elena Charola, and Fernando M. A. Henriques. "Conservation and Restoration of the Don José I Monument in Lisbon, Portugal. Part I: Stone Components." Restoration of Buildings and Monuments 22, no. 2-3 (December 1, 2016): 75–80. http://dx.doi.org/10.1515/rbm-2016-1234.
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Abstract The equestrian statue of D. José I, in Lisbon, Portugal, stands on an elegant and decorated plinth fashioned in a very dense limestone. The sculptor, Joaquim Machado de Castro, designed the pedestal with colossal stone pieces and selected one of the best Portuguese stones for this purpose, the Lioz limestone. The same stone was also used for the flanking sculpture groups and the base This stone is a very pure reef limestone, rich in fossils and a low porosity <1 %. It is extremely compact and highly resistant, even in the harsh environment of a busy metropolis and within the impact of marine winds. The generalized deterioration is surface erosion caused by direct runoff water, with some incipient black crusts and soiling incrustations occurring in sheltered places. In some areas copper stains originating from the metal statue were also found. An extensive network of cracks was found, mostly at or near the top of the plinth, which could be ascribed to the presence of iron rods and clamps left inside the structure to hold the stone pieces together. During the intervention, these cracks were sealed with a multi-barrier system, given the impossibility to access the interior to remove or directly passivate the iron inclusions. Inoperative joints were cleaned out and repointed. Black deposits could be eliminated by nebulized water and soft brushing while the copper stains required the application of poultices with ammonium carbonate, in some cases requiring the addition of a complexing agent.
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Maza, Carlos. "Ccopacatty: perfil de un creador relámpago." Illapa Mana Tukukuq, no. 16 (December 28, 2019): 98–111. http://dx.doi.org/10.31381/illapa.v0i16.2588.
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ResumenPeruko Ccopacatty es un escultor egresado de la Escuela Nacional Superior Autónoma de Bellas Artes del Perú (Ensabap) a principios de la década de 1980 emigró a los Estados Unidos, donde ha realizado una incansable labor de producción escultórica y mural especialmente en espacios públicos. Reconocida por instituciones públicas y privadas de su país de residencia, e incluso por la misma Organización de las Naciones Unidas, su obra ha pasado injustamente inadvertida en el Perú. Este artículo describe su proceso a la luz de las escasas fuentes disponibles y a partir de la exposición homenaje, realizada en mayo y junio del 2019 en el Centro Cultural de Bellas Artes como parte de las actividades de conmemoración del Centenario de la Ensabap. Se revisan su estilo, su simbolismo y su trayectoria, y se proponen líneas de investigación hacia el rescate de un corpus disperso y el reconocimiento de su sorprendente trayectoria.Palabras clave: tradición aymara, arte en espacios públicos, Ensabap, escultura en metal, multiculturalidad, muralismo, Pedro Peruko Ccopacatty.
AbstractPeruko Ccopacatty is a sculptor who graduated from the Ensabap, who emigrated to the United States in the early '80s, where he has carried out a tireless work of sculptural and mural production, especially in public spaces. Recognized by public and private institutions in his country of residence, and even by the United Nations itself, his work has gone unjustly unnoticed in Peru. This article describes his process in light of the scarce sources available and the homage exhibition held in May and June 2019 at the Centro Cultural de Bellas Artes as part of the activities to commemorate the Centennial of Ensabap. Its style, symbolism, and trajectory are reviewed, and lines of investigation are proposed towards the rescue of a dispersed corpus and the recognition of its amazing trajectory.Keywords: art in public spaces, aymara tradition, Ensabap, metal sculpture, monumental art, multiculturality, mural painting, Pedro Peruko Ccopacatty.
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Borodovsky, Andrew P. "An Eastern Toreutics Item from Novosibirsk." Archaeology and Ethnography 20, no. 5 (2021): 96–104. http://dx.doi.org/10.25205/1818-7919-2021-20-5-96-104.
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Purpose. The article dwells upon the description and interpretation of a unique anthropomorphic Eastern toreutics item that was discovered by accident on the territory of Novosibirsk. This item comes from the traditional Ob river crossing site where a cult place with References to the Early Iron Age has already been identified. The study is aimed at attributing the imported item in terms of historical and cultural as well as material science aspects and establishing its relative chronology and possible intended purpose. Results. The functional purpose of the artifact is considered in terms of both its initial origin and possible use in the local environment. The structure and origin of the clothes depicted on the toreutics item are analyzed as being one of the most insightful elements of the cultural background of the product. Based on these data, an assumption concerning an image of silk clothes on the figure was made. Special attention was given to characteristics of a dynamic nature evoked by a volumetric depiction of the tiny sculpture that is likely to correspond to a ritual dance. The established direct and indirect analogies for the toreutics item from Novosibirsk allow state its Eastern origin related to the consequences of the impact of the ancient culture on the vast Eurasian territories. The anthropomorphic product has obvious features of a Buddhistic background represented by an image of the point on the figure's forehead. The energy-dispersive analysis of the metal product allowed determine an alloy composition. It comprised of 62.1 % copper, 15.3 % tin, 15.2 % lead, and 7.4 % zinc. Conclusion. The share of tin in the alloy allows it to be identified as a ‘classic’ bronze piece. An extensive share of copper in the metal product brings it closer to the formula of ancient bronze. The item dates back to the turn of the epoch and is likely to be related to the Indian and Greek cultural tradition.
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Slaczka, Anna, Sara Creange, and Joosje Van Bennekom. "Nataraja Informed through Text and Technique." Rijksmuseum Bulletin 67, no. 1 (March 15, 2019): 5–29. http://dx.doi.org/10.52476/trb.9714.
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The imposing Chola-period bronze Shiva Nataraja at the Rijksmuseum is a product of the living tradition of metal casting established over a thousand years ago in the region of Tamil Nadu. Purchased in 1935 from a Parisian dealer, it is one of the highlights of the collection belonging to the Royal Asian Art Society in the Netherlands, which is exhibited at the Rijksmuseum. The interdisciplinary study presented here links an art historical investigation of ancient texts and scholarly literature with scientific analysis in an attempt to refine the art historical context and at the same time flesh out what is known about the fabrication and provenance of the Nataraja in the Rijksmuseum. The Nataraja was cast by the lost-wax method; x-ray images confirm that the Shiva is solid-cast together with the halo. X-ray fluorescence reveals an alloy consistent with other Chola-period bronzes but not necessarily a pañcaloha alloy (five metals), which seems to be a modern tradition; the front hands were apparently cast on separately as a repair, probably during casting or not long after. Further evidence gathered from the sculpture and its soil encrustations (ICP-MS lead and neodymium isotope ratios, SEM-EDX and XRD) is briefly presented, and supports earlier assumptions about the Nataraja. It appears to date from the twelfth century and was under worship for a relatively short time before it was buried at an unknown location in India. The presence of Indian earth and corrosion products typical of burial imply that it did not re-enter a temple context for worship and was not subject to major restoration before entering the art market in the early twentieth century.
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Sparkes, B. A. "Myth, Man and Metal. Bronze Sculpture of Ancient Greece and Rome. By Carol C. Mattusch. Institute for Mediterranean Studies, Video Lecture Series, Volume III, Cincinnati, 1996. Length: 31 min. 819.95 (VHS-American format) or $26.95 (VHSEuropean format)." Greece and Rome 44, no. 2 (October 1997): 215–16. http://dx.doi.org/10.1017/s0017383500025043.
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Schuhmann, Leslie, and Christine Chagnon. "Collections Support Services (CSS) - 25 Years of Improving Access and Care to our Nation’s Collections." Biodiversity Information Science and Standards 2 (June 13, 2018): e25889. http://dx.doi.org/10.3897/biss.2.25889.
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Originally formed in the early 1980s as the Move Crew to move museum collections to the newly opened state of the art Smithsonian Institution’s Museum Support Center, Collections Support Services has evolved into a team of highly skilled museum professionals recognized as trusted experts, innovators, project managers, and problem solvers in all aspects of collections stewardship. We have packed, moved, and stored MILLIONS of objects across Smithsonian museums including the National Museum of Natural History and several of our art museums; the Freer Sackler Gallery, Hirshhorn Museum and Sculpture Garden, and National Museum of African Art. Our vast experience with Natural History collections has been with objects ranging from microscopic invertebrates, fragile bird eggs, 40’ war canoes, whale skulls, giant squids and EVERYTHING in between! Many of these collections came from overcrowded and dusty attics, basements, and warehouses prone to flooding, pest infestation, and poor climate control. We have spent the last 25 years moving these collections into our climate controlled storage pods furnished with new metal cabinets designed for long term preservation. Some of the unique packing and transportation methods we will highlight in this presentation are “airbags” that encompass fragile bird skeletons and uniform shipping containers made of ethafoam planks and old wooden drawers. In addition, we have designed and constructed aluminum pallets for oversized collections, specialized elephant skull pallets, and plaster jackets for paleo fossil specimens. These storage solutions have greatly improved access to collections by allowing researchers to study specimens with minimal handling necessary. This presentation will specifically demonstrate these and other dramatic improvements that we have made as well as highlight innovative solutions we developed to safely transport, store, and provide better access to our Natural History collections for future generations.
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Purik, Elsa E., Marina G. Shakirova, Mars L. Akhmadullin, and Vilur R. Shakirov. "The Melody of Form and Space: Music as a Source of Inspiration." ICONI, no. 2 (2020): 97–107. http://dx.doi.org/10.33779/2658-4824.2020.2.097-107.
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The article is devoted to the artistic legacy of Bashkir sculptor Ruslan Nigmatullin, one of the leading masters of contemporary visual arts in the republic. The relatedness of artistic expressive means of music with those in the plastic arts, their expressive elements become more apparent in the comparison of music and abstract art in the process of generation of the artistic image. The authors examine the artist’s oeuvres in the context of the particularity of sculpture as a peculiar art which requires from the viewer the knowledge of the laws of artistic form-generation and an understanding of their language, based on such elements as mass and space. The article presents an analysis of the artist’s works made of stone, metal or wood, while the artist himself sees their source as being connected with music. During the course of his entire artistic path Ruslan Nigmatullin has created sculptures in different directions: realism, decorative plastic and abstract art. The master’s art works, according to the authors of the article, are all unified by an inner figurative idea: when looking at the sculptor’s works it is possible to observe their inherent qualities: contemplation, abstraction and pure sound — natural, ethnic and sometimes purely songrelated, enhancing their relatedness to music. The artist considers one of the sources of his inspiration to be the historical Asian melodies, which share common roots with the ethnic music of the Bashkirs, Kazakhs and Tuvans. The authors provide an analogy between the folk songs of these peoples and their instrumental tunes, the latter being marked with a concise, measured rhythmic structure, and the artist’s works, his ability to create new forms, frequently just as abstract as the melodies with which it is associated.
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Darr, Alan Phipps. "Jennifer Montagu. Gold, Silver and Bronze: Metal Sculpture of the Roman Baroque. The A.W. Mellon Lectures in the Fine Arts, 1990. The National Gallery of Art, Washington, DC. Bollingen Series 35, 39. Princeton: Princeton University Press, 1996. 267 illus. + 12 pls. + xvii + 262 pp. $59.50. ISBN: 0-691-02736-6." Renaissance Quarterly 51, no. 2 (1998): 630–31. http://dx.doi.org/10.2307/2901602.
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Wujewski, Tomasz. "Kolos rodyjski: gdzie stał i jak był wykonany." Artium Quaestiones, no. 29 (May 7, 2019): 289–320. http://dx.doi.org/10.14746/aq.2018.29.11.
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Colossus of Rhodes: Where It Stood and How It Was Made The author, just as Ursula Vedder, who has expressed the same opinion recently, has been long sure that the place where the Colossus of Rhodes was located was the acropolis of the town of Rhodes. The paper includes also some arguments that have not been presented by the German scholar. At first, some source information concerning the Colossus has been briefly summarized. For instance, the expression in APV, 171 (Overbeck 1543), ou gar hyper pelagos monon anthesan alla kai en ga, may be understood as confirming its location in the acropolis: “it stood not only close to the sea, but also on the earth.” In fact, there it would have loomed over the land and the sea, and, as big as it was, it could be seen from a distance. The text by Philo of Byzantium is not credible, as it was written quite late. Then the problem has been analyzed critically. As regards the legend of Colossus bestriding the entrance to the harbor, one may add to the already listed counterarguments that for static reasons a piece of sculpture shaped that way would have needed a third footing attached to the sea bottom at the harbor entrance, which would have made the ships’ access to the harbor difficult. Besides, such a pose of a god would have seemed a little indecent. A hypothesis that situates the Colossus at the end of a pier in the Mandraki Bay, preferred by many scholars, also has its weak points. Placed there, the construction site would have been too small, particularly that construction took at least twelve years, and it would have been difficult to move building materials along the narrow and long pier which under such circumstances could not be used as part of the harbor. According to Strabo (XIV, 2, 5) the harbor was accessible only to authorized personnel. Was it then a good location for a work of art intended to glorify the people of Rhodes? Even if the Colossus had been accessible there, it would have been visible only in a shortened perspective, in frog’s eye view. Still, the most important was the problem of proper display of the statue. Placed on the pier, it would have to turn its back either to the town, or to the sea, and in both cases connotations would have been unwelcome. Such details were essential for ancient Greeks. For static and constructional reasons, one must also reject a hypothesis that the Colossus put his palm over the eyes, as if examining the horizon. If it is true that the relics of the statue remained for several hundred years intact, they would have blocked access to the harbor since most probably they would have fallen into the sea. Besides, would the iron elements have resisted corrosion well enough to be recognizable? Placed on the pier, the Colossus would have been invisible to the crews of ships approaching the town from the west and the same would have been true had it been situated at the present location of the palace of the Great Masters of the Knights Hospitaller. The placement of the statue in the sanctuary of Helios at the present corner of Sofouli and Khimaras streets is also improbable, since the area is really small and the Colossus would not have made a prominent component of the town skyline. Hence, the acropolis must have been the most convenient place, just as in other Greek towns, particularly in Athens where it was the site of the city patron’s worship. Some scholars argue that the temple in the acropolis was dedicated to Apollo, but when the Colossus was constructed Apollo was commonly identified with Helios who was the most important patron of the island. The statue, with his face turned to the east – the town and the sea – might have stood near that temple (ill. 1-2), towering over it. From the west, the steep rock of the acropolis practically made it impossible to watch the Colossus from the western shore, while from the sea it was visible only as a silhouette, an orientation point for the approaching ships (ill. 3), particularly if it was gilded like the statue of Athena Promachos in Athens. This can actually be the origin of the legend that the Colossus of Rhodes was also a lighthouse. Situated in the acropolis, the statue would have been visible both from the town and the sea on both sides of the island. If the damaged Colossus remained intact for centuries, it was because removing it from the acropolis was much more difficult than removing from the wharf. The noun “colossus” originally meant “something towering” (cf. Colossae and Colophon, towns upon hills). The other part of the paper focuses on the technology of construction. Some scholars were too eager to draw from Philo’s description conclusions about the Colossus’ structure and the building methods applied. If the statue had stood at the end of the pier, most likely it would not have been hilled up since the area was too small. Due to the pressure of dirt, boarding such an embankment (A. Gabriel’s claim) would have required 40-45 meter long struts for which there was no room. Moreover, with each subsequent raising of the embankment the struts would have to be multiplied and made much longer, which would have been both costly and technologically challenging. With each new layer of dirt, founding furnaces would have to be removed (as, according to Gabriel, they were located on the embankment) and then put back. A high embankment would have required the use of gigantic ladders, unstable and dangerous. What is more, it would have made it impossible to control the form of the work in progress. All that would have been irrational, while ancient Greeks do not really deserve such a charge. In the author’s opinion, the Colossus was erected within a wooden scaffolding. Founding particular elements of the statue on site was rather unlikely. An external dirt coat would not have helped since there was no clay core inside it, which would have made the alloy’s cooling speed radically unequal. Partial casting is also unlikely as it would have required a 1:1 model (30-35 meters high). Had the model been smaller, errors in calculating detailed measurements would have been inevitable. The author believes that the Colossus of Rhodes was made of hammered bronze sheets riveted to the inner metal skeleton. Such a technique made vertical transportation easier and allowed the constructors to correct the process of montage by bending the sheets whenever necessary. It cannot be excluded that the heads of the rivets and lines of contact between the sheets were masked with solders that did not require much alloy, although in higher sections of the statue the wind would have cooled it quite rapidly. The noun “colossus” did not originally imply a gigantic size but only a slightly archaic look of the sculpture so that the Colossus of Rhodes might have been somewhat similar to very ancient and artistically primitive stiff statues of Helios. On the other hand, it might have alluded to the mythic Telchins who were the first to make statues of gods. (For static reasons, contrapposto was out of the question in the statues of that size, besides it would have been impossible to fill its interior with stones.) Another aspect of making the Colossus look archaic was the use of a modified technique of sphyrelaton. In the author’s opinion, the base of the statue and maybe its higher parts as well, up to the level of ankles, contained carefully sized and braced blocks of stone. They were drilled through to hold the lower ends of the metal internal skeleton made according to the schema of a spatial grid, perhaps used on that occasion for the first time in history. Such a fixture protected the Colossus from the wind pressure so effectively that it remained standing for dozens of years, being vulnerable to earthquakes. The fallen Colossus must have looked like a debris of rods and tin, while the stones from the fixture could be seen in the “abyss” (Plinius), below the level of the ankles, where the structure was actually bent (it must have been bent there rather than at the level of the knees, since looking inside the ruin was easy: the ankles were situated about two meters above the base.) The third footing point might have been camouflaged with some attribute (a spear or a torch). It cannot be excluded that originally Chares had been planning a statue half the final size, similar to the previously known colossal pieces of sculpture, but the pride of the people of Rhodes, emulating Athenians, made them want a Colossus twice as big (Sextus Empiricus, pros mathem., VII, 107 n.). Making the statue look archaic and using an old technology plus some innovations allowed Chares to make their extravagant wish come true. The archaic look might have been achieved thanks to a reference to some old statue of Helios, which perhaps could be found in the neighboring temple. The torso might have been topped with the head, cast separately, although the trouble with placing it so high makes one doubt it.
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., Alfan Hisbullah, Drs I. Nyoman Sila,M Hum ., and I. Nyoman Rediasa, S. Sn ,. M. Si . "KERAJINAN COR KUNINGAN DI DESA CINDOGO, KABUPATEN BONDOWOSO." Jurnal Pendidikan Seni Rupa Undiksha 7, no. 2 (July 26, 2017): 97. http://dx.doi.org/10.23887/jjpsp.v7i2.11409.
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Penelitian ini bertujuan untuk mendeskripsikan (1) keberadaan kerajinan cor kuningan di Desa Cindogo, Kabupaten Bondowoso, (2) alat dan bahan yang digunakan dalam pembuatan kerajinan cor kuningan di Desa Cindogo, Kabupaten Bondowoso, (3 proses pembuatan kerajinan cor kuningan di Desa Cindogo, Kabupaten Bondowoso. (4) Jenis kerajinan yang dihasilkan dari kerajinan cor kuningan di Desa Cindogo, Kabupaten Bondowoso. Penelitian ini adalah penelitian deskriptif kualitatif. Teknik pengumpulan data yang digunakan adalah observasi, wawancara, dokumentasi dan kepustakaan.
Hasil penelitian ini menujukkan (1) Keberadaan kerajinan cor kuningan yang merupakan kerajinan turun – temurun. Awal pembuatan kerajinan masih sangat sederhana dan pengerjaanya menggunakan alat tradisional. Pada tahun 1990 hingga sekarang perajin kuningan di Desa Cindogo Bondowoso mengalami kemajuan, alat yang digunakan sudah mengalami perubahan (modern), barang-barang yang dihasilkan semakin bervariasi.(2) alat dan bahan yang digunakan dalam pembuatan kerajinan cor kuningan antara lain: cetakan, penjepit, pengasah, saringan, tungku api, palu, gerinda, kowi, blower, kikir, pahat kuningan, spidol, mesin las listrik, mesin poles, mesin bor tangan, kompresor, kuas lukis, blender, tang, gunting kuningan, ampelas, lem kuning, batu hijau, gelput dan bahan yang digunakan adalah logam kuningan, malan, tanah liat, pasir halus, cat minyak, arang halus, serbuk brown, thinner, dan clear. (3) proses pembuatan kerajinan kuningan meliputi pembentukan cetakan, pelapisan, pemopokan, penjemuran, pembakaran dan peleburan, pengecoran, perbaikan, pengikiran, pembuatan motif (sketsa), mengukir, pemolesan, pewarnaan, dan finisihing. (4) jenis kerajinan kuningan yang dihasilkan antara lain: (fungsional) cetakan kue, nampan, kinangan (tempat menyirih), pot bunga, lampu tidur. (non fungsional), miniature kereta kencana, guci jumbo, vas india, garuda pancasila, hiasan dinding kepala kuda, patung ayam jago, patung angsa, patung harimau, patung bebek, patung burung merak dan patung rusa.
Kata Kunci : Kerajinan cor kuningan, jenis produk, fungsi. This study aims to describe (1) the presence of brass casting in Cindogo Village, Bondowoso Regency, (2) tools and materials used in the manufacture of brass casting in Cindogo Village, Bondowoso Regency, (3 processes of brass casting in Cindogo Village, Regency of Bondowoso (4) The type of craft produced from the brass casting in Cindogo Village, Bondowoso Regency This research is descriptive qualitative research The data collection technique used is observation, interview, documentation and bibliography.
The results of this study indicate (1) The existence of brass casting craft which is a handicraft hereditary. Early crafting is still very simple and the pengerjaanya using traditional tools. In 1990 until now the brass craftsmen in Cindogo Bondowoso Village progressed, the tools used have undergone a change (modern), the goods produced more varied, (2) tools and materials used in the manufacture of brass casting crafts, among others: mold, Clamps, sharpener, strainer, fireplace, hammer, grinder, kowi, blower, miser, brass chisel, marker, electric welding machine, polishing machine, hand drill machine, compressor, paintbrush, blender, pliers, brass scissors, Yellow, green stone, gelput and materials used are brass metal, malan, clay, fine sand, oil paint, fine charcoal, brown powder, thinner, and clear. (3) the process of making brass handicrafts including mold formation, coating, pitting, drying, burning and smelting, casting, repairing, thinking, making motifs (sketches), carving, polishing, coloring, and finisihing. (4) types of brass handicrafts produced, among others: (functional) cookie cake, tray, kinangan (place menyirih), flower pots, sleeping lights. (Non functional), miniature carriage, jumbo jar, vase india, garuda pancasila, horse head wall decoration, statue of rooster, goose statue, tiger statue, duck statue, peacock sculpture and deer statue.
keyword : Brass casting, product type, function.
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"Gold, silver and bronze: metal sculpture of the Roman Baroque." Choice Reviews Online 34, no. 02 (October 1, 1996): 34–0721. http://dx.doi.org/10.5860/choice.34-0721.
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Rantung, R. "The Utilization Of Sawdust Waste As A Media For Sculpture." Journal of Educational Method and Technology 2, no. 2 (February 16, 2021). http://dx.doi.org/10.36412/jemtec.v2i2.1015.
Full textAbstract:
Technology has penetrated into the community as a necessity for the sake of acceleration, while art is an inseparable part of the needs of every human being's life, both fine art and applied art. Technology and art cannot be separated at every step forward but the residual waste of technology can used into works of art without using technological aids. Some sculpture works made of wood, cement, fiberglass, metal (brass). This research will look at the extent to which sawdust can used as a medium for making sculptures. Sawdust waste is found in many furniture industries and stage home industries. With sawdust for creative people can used as material for art work. Keywords: Sawdust; Waste; Sculpture
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"Mathematical Lens: Starry Night." Mathematics Teacher 102, no. 6 (February 2009): 408–12. http://dx.doi.org/10.5951/mt.102.6.0408.
Full textAbstract:
At first glance, James Yamada's Our Starry Night, on view at the Doris C. Freedman Plaza in New York City from April to October 2008, is a black, twelve-foot-tall sculpture with 1900 unlit colored LED lights on its two flat surfaces (see photograph 1). When one passes through the sculpture's rectangular passageway, however, patterns of light appear. The explanation, on a nearby plaque and the Public Art Fund Project Web site, states: “When visitors walk through the portal in the piece, they trigger a metal detector hidden inside the structure's casing. This activates the LED lights that perforate the exterior of the sculpture. Common everyday metal objects such as cell phones, keys, belts, jewelry, cameras, computers, and the like will trigger the lights; the luminosity and the light patterns seen in the piece will correspond to the quantity of metal detected. Our Starry Night is literally activated by the public, reinforcing the notion that art—and particularly public art—is dependent on the people around it.” Watching the colored patterns appear led Brigitte Bentele to consider some mathematical questions. She asked a friend to help by walking through the passageway numerous times.
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"Mathematical Lens: Starry Night." Mathematics Teacher 102, no. 6 (February 2009): 408–12. http://dx.doi.org/10.5951/mt.102.6.0408.
Full textAbstract:
At first glance, James Yamada's Our Starry Night, on view at the Doris C. Freedman Plaza in New York City from April to October 2008, is a black, twelve-foot-tall sculpture with 1900 unlit colored LED lights on its two flat surfaces (see photograph 1). When one passes through the sculpture's rectangular passageway, however, patterns of light appear. The explanation, on a nearby plaque and the Public Art Fund Project Web site, states: “When visitors walk through the portal in the piece, they trigger a metal detector hidden inside the structure's casing. This activates the LED lights that perforate the exterior of the sculpture. Common everyday metal objects such as cell phones, keys, belts, jewelry, cameras, computers, and the like will trigger the lights; the luminosity and the light patterns seen in the piece will correspond to the quantity of metal detected. Our Starry Night is literally activated by the public, reinforcing the notion that art—and particularly public art—is dependent on the people around it.” Watching the colored patterns appear led Brigitte Bentele to consider some mathematical questions. She asked a friend to help by walking through the passageway numerous times.
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"THE UTILIZATION OF SAWDUST WASTE AS A MEDIA FOR SCULPTURE." Journal of Educational Method and Technology Volume 2 Nomor 2 (August 1, 2019). http://dx.doi.org/10.36412/jemtec/001035e1/agustus2019010.
Full textAbstract:
Technology has penetrated into the community as a necessity for the sake of acceleration, while art is an inseparable part of the needs of every human being's life, both fine art and applied art. Technology and art cannot be separated at every step forward but the residual waste of technology can used into works of art without using technological aids. Some sculpture works made of wood, cement, fiberglass, metal (brass). This research will look at the extent to which sawdust can used as a medium for making sculptures. Sawdust waste is found in many furniture industries and stage home industries. With sawdust for creative people can used as material for art work.
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Tilki, Ramazan, and Özlem Ayvaz Tunç. "THE CONTRIBUTION OF SCULPTURE COURSES IN DRAWING METHODS TO THE PERCEPTION OF THREE-DIMENSIONAL (3D) OBJECTS AND TO THE PROCESS OF APPLYING THE OBJECTS ON TWO-DIMENSIONAL (2D) SURFACES." Arts and Music in Cultural Discourse. Proceedings of the International Scientific and Practical Conference, November 29, 2016, 193. http://dx.doi.org/10.17770/amcd2016.2200.
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It is established that drawing courses have an important place in the ateliers in the Department of Painting in Fine Arts Education, and that drawing is taught with different methods. The reason why great importance is attached to the ways drawing is handled is because it provides a basis for the departments that constitute plastic arts. The instruction of drawing in terms of its purpose, principles, in other words how it can be taught, reveals the problem of method in drawing instruction. Although it is quite difficult to solve this problem due to the features of this field, the solution to this problem can be achieved by identifying the visual elements of a design, an object or a subject, determining certain specific methods and applying these methods on students. The methods and the techniques applied during the drawing process and the identification of visual elements are determining factors in achieving the expected results. The aim of the sculpture and elective sculpture courses is to enable students to make connections between the surfaces that make up a whole by developing their ability to comprehend 3D forms. Sculpture Design courses, which are mainly based on modelling with clay, deal with making of busts, reliefs and figures. Sculpture courses aim to provide opportunities for students to make their own designs and enable them to reach to a level where they can perform their designed works by supporting them with plaster, polyester, cast, metal, stone, workshops where they can work with various materials. Consequently, by using a living model, any student who takes sculpture courses can identify: - the analysis of organic and geometrical forms of human body;- surface and form composition;- geometric and organic composition;- the differences on a person’s face in terms of age, gender, and character.In drawings that are aimed at the use 3D geometrical objects, the use and identification of surfaces, the drawing or painting area or the objects that falls into the painting area are an important part of the process as well as the relationship between the objects themselves and their area. In this regard, the partition of drawing area according to the purpose, designing and planning the placing of the surfaces that make up the anatomical features of the 3D object show the importance of the sculpture and elective sculpture courses. This study aims to offer a new perspective to the needs of drawing courses and contribute to the drawing courses conducted in related departments. It is assumed that this study will gain importance since it will provide new insight for the students and the instructor.