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Journal articles on the topic 'Modern sculptures'
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Bzinkowski, Michał, and Rita Winiarska. "Images of Sculptures in the Poetry of Giorgis Manousakis." Classica Cracoviensia 19 (December 31, 2016): 5–14. http://dx.doi.org/10.12797/cc.19.2016.01.
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The imagery of fragmentary sculptures, statues and stones appears often in Modern Greek Poetry in connection with the question of Modern Greeks’ relation to ancient Greek past and legacy. Many famous poets such as the first Nobel Prize winner in literature, George Seferis (1900-1971), as well as Yannis Ritsos (1909-1990) frequently use sculptural imagery in order to allude to, among other things, though in different approaches, the classical past and its existence in modern conscience as a part of cultural identity. In the present paper we focus on some selected poems by a well-known Cretan poet Giorgis Manousakis (1933-2008) from his collection “Broken Sculptures and Bitter Plants” (Σπασμένα αγάλματα και πικροβότανα, 2005), trying to shed some light on his very peculiar usage of sculpture imagery in comparison with the earlier Greek poets. We attempt to categorize Manousakis’ metaphors and allusions regarding the symbolism of sculptures in correlation with existential motives of his poetry and the poet’s attitude to the classical legacy.
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Curtis, Penelope. "The Modern eye-catcher: Mies van der Rohe and sculpture." Architectural Research Quarterly 7, no. 3-4 (September 2003): 361–70. http://dx.doi.org/10.1017/s135913550300229x.
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There are many striking examples of Modernist buildings that house sculptures that are much more traditional than the architecture that surrounds them. To some extent these disparities can be explained by the uncontrolled installation of sculpture, the result either of a lack of concern on the part of the architect or of ignorance of what was to come. Of more interest here, however, is the deliberate positioning of ‘non-Modernist’ sculpture in Modernist buildings. To some extent such juxtapositions require that we reconsider our definition of Modern sculpture. Beyond this, we can ask what figurative sculpture gave abstract architects, and why they used it.
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Wang, He. "The Status, Causes, Problems and Prospects of Application of Stainless Steel Materials in Chinese Urban Sculptures." Applied Mechanics and Materials 357-360 (August 2013): 641–45. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.641.
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From 1980s, stainless steel has been widely used as a kind of sculpture material in China, because there is a large need of quickly constructed, huge-sized modern sculptures during rapid urbanization. But the problems of excessive popularization of art crafts and disappreciation of art emerged. Only through the comprehensive function of improving supervision, promoting art and technique level as well as popularizing social art education, will stainless steel development be ensured in future Chinese urban sculptures.
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Pereira, Diana. "Healing Touch: Clothed Images of the Virgin in Early Modern Portugal." Ikonotheka, no. 29 (September 16, 2020): 51–78. http://dx.doi.org/10.31338/2657-6015ik.29.7.
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Over the last decades there was a growing interest in religious materiality, miraculous images, votive practices, and how the faithful engaged with devotional art, as well as a renewed impetus to discuss the long-recognized association between sculpture and touch, after the predominance of the visuality approach. Additionally, the neglected phenomenon of clothing statues has also been increasingly explored. Based on the reading of Santuario Mariano (1707–1723), written by Friar Agostinho de Santa Maria (1642–1728), this paper will closely examine those topics. Besides producing a monumental catalogue of Marian shrines and pilgrimage sites, this source offers a unique insight into the religious experience and the reciprocal relationship between image and devotee in Early Modern Portugal, and is a particularly rich source when describing the believers’ pursuit of physical contact with sculptures. This yearning for proximity is partly explained by the belief in the healing power of Marian sculptures, which in turn seemed to be conveniently transferred to a myriad of objects. When contact with the images themselves was not possible, devotees sought out their clothes, crowns, rosary beads, metric relics, and so forth. Items of clothing such as mantles and veils were particularly used and so it seems obvious they were not mere adornments or donations, but also mediums and extensions of the sculptures’ presence and power. By focusing on the thaumaturgic role of the statues’ clothes and jewels, I will argue how the practice of dressing sculptures was due to much more than stylistic desires or processional needs and draw attention to the many ways believers engaged with religious art in Early Modern Portugal.
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Шипицин, Антон, and Anton Shipitsin. "Urban sculpture and cultural code of Volgograd in the context of branding the territory." Universities for Tourism and Service Association Bulletin 10, no. 4 (December 19, 2016): 89–97. http://dx.doi.org/10.12737/23656.
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The sculpture and monuments of Volgograd are discussed in the article as cultural and symbolic objects expressing the local identity and the defining image of the city, and also as resources for branding areas. Field studies and analysis of publications in print and electronic media showed that in the period from 2006 to 2016. in Volgograd, it was installed about 50 different sculptural forms and art objects – sculptures, memorials, monuments, small architectural forms. The author carried out a content analysis of the sculptural text and made the classification of monuments installed over the last 10 years. There were identified dominant themes and motifs, proving the irreducibility of the identity of Volgograd to a common denominator with a predominance of heroic discourse of the Soviet past. Specific examples show that the development of object environment of Volgograd clarifies three main trends: the assertion of the identity of the city-hero, stream professional-corporate symbols, representation of the images of the pre-Soviet past, first of all, an appeal to the history and culture of Tsaritsyn. The empirical material of Volgograd highlights the key functions of modern urban sculptures and monuments: monumental, memorial, axiological, aesthetic, social, advertising, entertainment, cultural and educational. It’s stated that creation and promotion of a positive image of Volgograd as a modern city of cultural innovations is difficult in the absence of a developed strategy of cultural policy aimed at the use of intelligent, creative, real assets and the search for alterna- tive symbolic models.
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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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Bonfante, Larissa. "Ancient Sculptures in a Modern Setting." Etruscan Studies 6, no. 1 (January 1999): 1. http://dx.doi.org/10.1515/etst.1999.6.1.1.
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Yi, Boyoun. "‘Citizens’ and Sculptures of Modern China : Focusing on Monumental and Propaganda Sculptures." Art History Forum 51 (December 31, 2020): 183–216. http://dx.doi.org/10.14380/ahf.2020.51.183.
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Comas, Carlos Eduardo. "Parallel Lives: Transparent Sculptures, Porous Architectures." Art and Architecture, no. 42 (2010): 56–65. http://dx.doi.org/10.52200/42.a.tf7z3lre.
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The text registers and discusses the affinities between the transparency of a branch of modern sculpture and the characteristic porosity of Brazilian modern architecture, placed in the broader context of the exchange between architecture, painting, sculpture and construction in the twentieth century.
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Sakhno, Irina. "Alexander Burganov’s Alternative Worlds and Visual Ideograms." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (March 10, 2020): 38–55. http://dx.doi.org/10.36340/2071-6818-2020-16-1-38-55.
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Summary: The creative work of famous Russian sculptor Alexander Nikolayevich Burganov in the context of a system of copyright signs and conventional symbols, the artist’s relationship with the world and himself from the standpoint of symbolic valency which combines two forms of sculptural expressiveness – figurative and abstract art, are analyzed in the article. Considering hidden comparisons in Burganov’s work, the author analyzes the mythological and metaphorical thinking of the artist who appeals to invariable ancient images and surreal poetics that ultimately form an organic constellation of images and their harmonious completeness. Alexander Burganov’s sculptures are a productive space for an ambivalent play of many meanings and visual tautologies. The artist’s original reflections involve visual patterns that the sculptor articulates in his works: tradition and antiquity, cultural memory and modern philosophical contexts, semiotics of drapery/folds, a cage as a special sign, a symbol. The sculptor’s image paradigm also develops at the intersection of visual and verbal contexts, although the word as such is absent; however, the narrative discourse is obvious. The use of diverse semantics of sculpture-gestures plays an important role. Alexander Burganov’s sculptures, establishing a movable border between tradition and the historical avant-garde, reduce and reproduce new cultural meanings. Overcoming the boundaries of artistic optics and recreating new polystylism, he models a special lightness of sculpture and mobility of images in his sculptural works. The author draws attention to the sculptor’s ability to combine the most diverse layers of culture thus translating the artist’s original semantics based on allusions and allegories giving the viewer the right to independently navigate through the mazes of visual memory. The author emphasizes that the dialogue between the artist and the audience through symbolically abstract signs begins to model new forms of artistic matter and affect the human ordering of the world. Burganov’s artistic practice recreates the space of another reality – the world behind the looking glass of everyday life. The sculptor’s alchemy is such that the viewer immerses into the space of spiritual worlds, comprehends the sculptural plasticity and its expressiveness using the language of allegories and symbols. The observer establishes the inner essence of things, hidden conceptual impulses, tries to discover the spiritual in the material.
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Chau, Christina. "Kinetic Systems: Jack Burnham and Hans Haacke." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 62–76. http://dx.doi.org/10.5195/contemp.2014.57.
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The following paper argues that Jack Burnham’s antipathy for kineticism in “Systems Esthetics” and Beyond Modern Sculpture has contributed to an assumption that kineticism is an obsolete practice “rooted in another age.” Contrary to Burnham, I argue that a focus on the kinetic movement in Hans Haacke’s sculptures is productive for establishing key understandings of systems theory in art. My interpretation of Haacke’s art emphasizes that movement in time is a key aspect of the artist’s approach to sytems theory, and is useful for making viewers conscious of the systems of perception at play when confronted with ontologically unstable works of art.
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Kuular, Ayana I. "Identification of Stone Sculptures of Tuva." Bulletin of Kemerovo State University 21, no. 2 (July 8, 2019): 327–35. http://dx.doi.org/10.21603/2078-8975-2019-21-2-327-335.
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The paper features some discrepancies in various publications on the Tuvan stone statues. The statues were first discovered by A. V. Adrianov in 1881 on the territory of modern Barun-Khemchik, Dzun-Khemchik and Ulug-Khem districts. Five statues represent anthropomorphic beings holding a vessel in both hands. According to L. R. Kyzlasov, this posture is peculiar to the sculptures of the Uighur period. After A.V. Adrianov, these statues were rediscovered or re-documented by other scientists. When comparing the works of A. V. Andrianov, O. H. Appelgren-Kivalo (I. R. Aspelin’s materials), C. R. Mintslov, L. A. Evtukhova, M. P. Gryaznov, and E. R. Schneider, the author revealed some discrepancies in the indication of the locations of the same statues, and the differences in their graphic representation. The author compared graphic documentation of different quality and location data to identifythe statues in the publications of these researchers. The paper introduces information on the current location of four of the five sculptures discovered by A. V. Adrianov. The article states the need for redocumentation of stone statues of Tuva by modern methods and technical means.
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Hargittai, Balazs, and Magdolna Hargittai. "The Use of Artistic Analogies in Chemical Research and Education, Part 2." Leonardo 40, no. 4 (August 2007): 357–61. http://dx.doi.org/10.1162/leon.2007.40.4.357.
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This compilation presents examples of artistic artifacts that have served as successful visual analogies to aspects of chemistry. The authors have used them in various college-level chemistry classes, outreach programs and chemistry textbooks, as well as in journals and monographs. They include ancient Chinese, Turkish and Thai sculptures, modern sculptures and a medieval fresco. These examples illustrate the chemical concept of chirality, the periodic table of the elements and molecular systems such as buckminsterfullerene, nanotubes and quasicrystals.
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Lee, Kyung-Hwa. "Rock Sculptures of Yudal Mountain in modern Mokpo, South Korea." Journal of Buddhist Art 28 (October 30, 2019): 273–90. http://dx.doi.org/10.36620/bms.2019.28.11.
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Young, Marcus L., Suzanne Schnepp, Francesca Casadio, Andrew Lins, Melissa Meighan, Joseph B. Lambert, and David C. Dunand. "Matisse to Picasso: a compositional study of modern bronze sculptures." Analytical and Bioanalytical Chemistry 395, no. 1 (July 23, 2009): 171–84. http://dx.doi.org/10.1007/s00216-009-2938-y.
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Михайлова, Р. Д., and С. С. Кисіль. "ПРО ОБРАЗНО-ЗМІСТОВНІ ДОМІНАНТИ ПЕЙЗАЖНОЇ АЛЕЇ В м. КИЄВІ." Art and Design, no. 3 (December 5, 2019): 97–105. http://dx.doi.org/10.30857/2617-0272.2019.3.10.
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Purpose. An analysis of figurative and informative accents of the Landscape Alley with graphic and design tools in the context of modern improvement of the historical landscape of Kyiv. Methodology. Research was conducted to study the object on the basis of historical and art history, functional, architectural and planning, landscape analysis. For a general assessment of the territory, field surveys, analysis of scientific, journalisticsources and design studies of previous years were carried out. Results. The figurative and meaningful dominants of the Landscape Alley in the historical landscape of Kyiv are determined. The essence and features of art and design tools are revealed during the shaping of its art elements, by combining sculpture with design art. It has been established that the Landscape Alley in Kyiv is an example of a new design thinking of fine art, as an option for designing a recreation zone of a metropolis and is determined by symbiosis: landscape, modern urbanism, traditions of fine art and modern design.Scientific novelty. For the first time, the meaning of the figurative and artistic solution for the arrangement of the Landscape Alley, the product of the collaboration of artists and design, was revealed. As a result, the historical landscape has been turned into a modern gaming, entertaining and comfortable recreational space. The content, role and significance of compositions of park sculptures, art objects of sculptural monumental and decorative plastic in the urban environment are determined.Practical significance. The scientific and practical results of the study can be used in the implementation of landscape-recreational design of urban areas – theme parks, squares, with the development of elements of improvement in them; in computer-aided design of the landscape and the subject environment with it; in the practice of image creation in art and design.
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Kean, Hilda. "An Exploration of the Sculptures of Greyfriars Bobby, Edinburgh, Scotland, and the Brown Dog, Battersea, South London, England." Society & Animals 11, no. 4 (2003): 353–73. http://dx.doi.org/10.1163/156853003322796082.
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AbstractThis article analyzes the sculptural depiction of two nonhuman animals, Greyfriars Bobby in Edinburgh, Scotland and the Brown Dog in Battersea, South London, England. It explores the ways in which both these cultural depictions transgress the norm of nineteenth century dog sculpture. It also raises questions about the nature of these constructions and the way in which the memorials became incorporated within particular human political spaces. The article concludes by analyzing the modern "replacement" of the destroyed early twentieth century statue of the Brown Dog and suggests that the original meaning of the statue has been significantly altered.
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BALBUZA, Katarzyna. "TRAVIS DURDEN, MYTHS AND IDOLS. GWIEZDNE WOJNY W ARTYSTYCZNYM ENTOURAGE’U." Historia@Teoria 1, no. 7 (June 27, 2019): 19–35. http://dx.doi.org/10.14746/ht.2018.7.1.02.
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The project Myths and Idols, by the French photographer Travis Durden, came into being in 2015 by means of digital technology. The artist processed photos of nine selected modern sculptures, mostly related to ancient matters, in order to provide them with the attributes or heads belonging to the heroes of the famous Star Wars saga. The sculptures chosen by Durden for his project had been created by European artists (French sculptors and one Italian master) and they are exclusively of an early modern provenance (arising from the Renaissance, Classicism, and Neoclassicism). Not a single work of ancient art is included. However, the classical (ancient) art itself became an object of the Parisian sculptor’s interest in terms of taking early modern art into account as the artists of the latter patterned themselves on ancient samples and picked up ancient subject matters. Likewise, Star Wars in turn constitutes a product of the American pop- culture frequently referring to motifs which had originated in ancient culture. The article discusses all nine photo collages and the whole project is being interpreted. Myths and Idols offers an example of the double reception of ancient culture – the early modern and contemporary ones.
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Balletti, C., M. Costa, F. Guerra, F. Martinello, and P. Vernier. "MODERN AND CONTEMPORARY CULTURAL HERITAGE DOCUMENTATION AND KNOWLEDGE BY SURVEYING AND ITS REPRESENTATION." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2 (May 30, 2018): 63–67. http://dx.doi.org/10.5194/isprs-archives-xlii-2-63-2018.
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Conservation of modern and contemporary cultural heritage, which goes from design objects, to architecture, to cities and territories, is certainly a current topic and in the development phase as it is underway &ndash; in the same modernity &ndash; a process of systematic replacement of architectural elements, outcome of solutions then experimental, which today are reproduced with contemporary materials, analogous in the appearance, but intimately different especially in the technological content.<br>The paper describes the particular case of La Tour de Meudon, better known as The Tower, (1966) by André Bloc, a contemporary architect of Le Corbusier, founder of L'Architecture d'aujourd'hui, who created his habitable sculptures. All his works mark the evolution of geometric abstraction to the free form, and they are still admirable testimonies of a journey that led him from architecture to architecture. His Architecture and his sculpture intertwine, opening the plastic unity of form in physical space&ndash;time. The survey is a fundamental moment for the knowledge of these hybrid architectures, where the structural component is hidden by its evident plasticity, as if it were a large sculpture with abstract and overlapping geometric shapes.<br>Survey isn't only an analysis of geometries: it is instrumental to the other structural and material analyses since it provides a metric and topological basis on which to spatially locate the phenomena being studied. The integrated survey of the building (laser scanning, photogrammetry, topography) has allowed to document his project, contributing to the to definition of the actual construction characteristics and ascertain both the material consistency and the state of conservation.
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Hönes, Hans Christian. ""Enlivening and - Dividing": An Aporia of Illumination." Contemporaneity: Historical Presence in Visual Culture 4 (August 3, 2015): 1–23. http://dx.doi.org/10.5195/contemp.2015.73.
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In 1798, Karl August Böttiger paid a nocturnal visit to the Gallery of Antiques in Dresden, illuminating the statues with a torch. At first glance, this seems to be yet another example of a popular practice for visiting galleries c.1800. Illuminating the sculptures by torchlight was a popular means of enlivening the objects, set in motion by the light flickering on their surfaces. The collections were thus meant to become a place where cold, white stone comes to life, and where the beholder becomes part of a revived antiquity.This was precisely what Böttiger intended, too. But to him, the effect of the torchlight appeared to be, as he wrote, “enlivening and – dividing!” The torchlight highlighted not only the beauty of the sculptures but also their modern restorations. Böttiger apparently failed to experience the living presence of the antique celebrated by many of his contemporaries (e.g. Goethe, Moritz).This essay focuses on the consequence of such a perception of sculptures as historically multi-layered objects. Böttiger’s experience resulted in a problematic situation. In trying to view the sculptures as contemporaries, he hoped to become ancient himself. But this operation failed in the moment when the sculptures themselves appeared to be anachronistic, impure palimpsests. In consequence, galleries may not only be the place were art history as chronological Stilgeschichte was born. They may also be the site where this perception changed into the experience of a more chaotic shape of time.
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Chen, Si, Zi Long Ma, and Lei Cao. "Analysis of Peter Walker’s Modern-Classical Landscape Design Method." Applied Mechanics and Materials 209-211 (October 2012): 341–45. http://dx.doi.org/10.4028/www.scientific.net/amm.209-211.341.
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Influenced by Le Notre Garden, Peter Walker’s works brought forward the landscape architectural modernism movement while embracing classical elements. Most of his works have geometric and symmetrical layout with axis and specifics to sites. Modern materials, dynamic and static waterscape, geometric shaped plants and sculptures are common elements of his design. This paper analyzed the innovative style and features of Peter Walker’s five modern-classical landscape works: Burnett Park (Fort Worth, Texas, USA), Garden of Kempinski Hotel (München, German), Toyota City Museum of Art (Toyota City, Aichi, Japan), IBM Solana (Dallas, Texas, USA) and Cambridge Center Roof Garden (Cambridge, Massachusetts, USA).
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Haddad, Abed, Megan Randall, Lynda Zycherman, and Ana Martins. "Reviving Alexander Calder’s Man-Eater with Pennants: A Technical Examination of the Original Paint Palette." Heritage 4, no. 3 (August 19, 2021): 1920–37. http://dx.doi.org/10.3390/heritage4030109.
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Mat-Eater with Pennants, a rarely exhibited sculpture in Alexander Calder’s oeuvre, was commissioned by The Museum of Modern Art (MoMA) and installed in 1945. To exhibit the large standing mobile in Alexander Calder: Modern from the Start (2021), the derelict sculpture had to be remediated; this initiated a collaborative investigation with conservation scientists, conservators, curators, and the Calder Foundation into the original paint colors hidden beneath layers of repaint. XRF analysis was carried out to elucidate the paints’ composition, followed by sampling for analysis to assess the paint stratigraphy and binders. Scrapings were analyzed by µ-FTIR and Raman spectroscopies; cross sections were examined with optical microscopy and analyzed with SEM-EDS. Analysis differentiated between the original paints, which contain Prussian blue, parachlor red, chrome yellow, and the many layers of overpaint, which contain titanium white, molybdate orange, a variety of β-Naphthol reds, red lead, and ultramarine. A model for Man-Eater, Mobile with 14 Flags, is also part of the museum’s collection, and was first considered as a point of reference for the original colors. Similar analysis, however, indicates that the maquette was painted after the Man-Eater was first installed, therefore is not representative of the original colors. In addition to investigating an early primary palette for Calder’s outdoor sculptures, this study helped develop the plan for the restoration of the original color scheme of Man-Eater.
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Leventi, Iphigeneia. "MARBLE SCULPTURES FROM PHTHIOTIS IN THE LAMIA ARCHAEOLOGICAL MUSEUM." Annual of the British School at Athens 108 (November 2013): 275–321. http://dx.doi.org/10.1017/s0068245413000099.
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Marble statuettes, now in the Lamia Archaeological Museum, that date to the Classical and above all the Hellenistic periods, and a Hellenistic votive relief depicting Herakles are presented here. This study investigates the relations between the local workshop in central Greece which produced them and the major Classical and Hellenistic sculptural centres of Athens and of the Aegean islands, Asia Minor and the kingdoms of the Greek East generally. A marble statuette of a goddess which may represent Artemis from Melitaia, and a marble statuette of a seated girl of unknown provenance are dated to the Classical period. The subjects portrayed in the Late Hellenistic material show a typical repertory, marble statuettes of Aphrodite or Aphrodite-like figures, and a statuary group of Eros and Psyche in marble, unusual for this period. The ways in which the local sculptors of the Late Hellenistic period in the area of modern Phthiotis adopted the typological and stylistic trends current in the great cosmopolitan centres are a major concern here. In the Hellenistic period, the production of marble statuettes for making offerings at public and domestic sanctuaries and for decorating opulent villas was in vogue, and a common formal language was created especially for small-scale sculpture in the eastern Mediterranean and the new art markets of Italy. The vehicles by which these artistic influences were transmitted to the sculptural production of central Greece will also be investigated.
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Langlois, Juliette, Guylaine Mary, Hélène Bluzat, Agnès Cascio, Nathalie Balcar, Yannick Vandenberghe, and Marine Cotte. "Analysis and conservation of modern modeling materials found in Auguste Rodin's sculptures." Studies in Conservation 62, no. 5 (March 16, 2016): 247–65. http://dx.doi.org/10.1080/00393630.2015.1131029.
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Hart, W. A., and Christopher Fyfe. "The Stone Sculptures of the Upper Guinea Coast." History in Africa 20 (1993): 71–87. http://dx.doi.org/10.2307/3171966.
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The Upper Guinea Coast—the modern Guinea, Sierra Leone, and Liberia—is one of the few parts of Africa where people have carved stone sculptures. The stone figures sculpted there, usually in soft steatite, or soap-stone, are generally called nomoli or pomta, depending on whether they have the standard features of figures found in southeastern Sierra Leone, or of those from the Kono and Kissi areas further north. There is a third group which consists mainly of sculpted heads on pedestal-like necks. They have been known to Europeans since at least the 1850s, and scholars have been publishing articles about them since 1901. This paper is a critical review of these publications.
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Kaczmarek, Sylwia. "The history of architecture and art and how it is seen by tourists." Turyzm/Tourism 23, no. 2 (October 8, 2014): 9–13. http://dx.doi.org/10.2478/tour-2013-0006.
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The article presents the relation between the presence of works of art (buildings, sculptures, paintings) at different locations in the world, and tourism. The main theoretical and practical questions include the following: How important is knowledge of the history of art for seeing works of art? What other factors make modern travellers visit places where they can find these works of art?
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Khabutdinova, Mileusha Mukhametzyanovna, and Luiza Firdusovna Zamalieva. "THE FUSION OF ARCHAIC AND MODERN FEATURES IN THE SCULPTURES BY ALFIZ SABIROV." Tatarica 13, no. 2 (2019): 126–39. http://dx.doi.org/10.26907/2311-2042-2019-13-2-126-139.
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Fromageot, Dominique, and Jacques Lemaire. "Long-term photoageing of soluble polyamides used in conservation or in modern sculptures." Polymer Degradation and Stability 45, no. 1 (January 1994): 39–45. http://dx.doi.org/10.1016/0141-3910(94)90176-7.
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Getashvili, Nina. "Alexander Burganov. In the depths above reality. (Antique motifs in the context of creative work)." Scientific and analytical journal Burganov House. The space of culture 16, no. 3 (September 10, 2020): 61–70. http://dx.doi.org/10.36340/10.36340/2071-6818-2020-16-3-61-70.
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For decades, images of antiquity have appeared in the creative work of academician Alexander Burganov. The sculptor declaratively emphasizes his focus on the cultural tradition which evolved from the cradle of Antiquity and which is, therefore, understandable to anyone who shares its humanistic ideals. The article refers to his personal exhibitions and events of the last decades: “Dreams Within Us. A Magic Crystal” at the Moscow Central House of Artists in 1987, “Magic Realism” in Germany in 1993, “Antique Motifs in Modern Sculpture” in the Burganov House Museum at which he presented his “legends and myths of Ancient Greece” in 2017, and the exhibition held in the Antique Hall in the Museum of Archeology of the Westphalian Wilhelm University of Münster in 2013. Works and cycles, never directly illustrating ancient mythology but unconsciously translating the archetypal, the transcendental through personal experience, a sensory reaction, are considered. The frequent presence of Burganov’s works of art in an “intermediate” state, in the process of transformation, which makes it easy to detect the surreal component, is their feature. Burganov’s "antique" sculptures organically exist not only in exhibition halls but also outside them - be it the courtyard of the Burganov House Museum or the square in Brussels where the sculptures in the window display of the Burganov House at the Grand Place are no less eye-catching than the monument in the same square. Noble restraint (with clearly readable spectacularity), bearing in itself, within itself, dreams and passions, reality and mysticism, gives Burganov’s "antique" images-metaphors a special feature that requires comprehension of the slow, at the same time the reasonable and the emotional in order to be able to penetrate the limits of the immanent artist’s impermeability.
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Cheglakov, Aleksandr Dmitrievich. "The nuances of toning and wood dyeing in the process of creating the original wooden sculptures." Архитектура и дизайн, no. 1 (January 2020): 15–22. http://dx.doi.org/10.7256/2585-7789.2020.1.35757.
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This article states that the ways to improve the decorative qualities of wood have been known to mankind since ancient times. The techniques of woodworking material have improved over years. The author underlines the importance of proper choice of finishing materials, as it intended to preserve the cultural objects, as well as produce certain aesthetic perception. Therefore, the choice of materials is substantiated by the nature of the wood and the work performed, as well as by the author's plan and conceptual idea. The article discusses the key methods of wood finishing in the process of creating wooden sculptures. The author lists the main types of wood finishing, as well as the original techniques. It is noted that there are various technologies for giving a wood surface a different color. Description is given to such methods as fire-treatment and waxing of wooden surface; as well as to the original techniques of treating wood damaged by the bark beetle or exposed to fire. It is claimed that proper firing gives wood strength and resistance, protecting it from various influences and significantly extending its durability. Special attention is given to the wood ash treatment, and how this ancient technology can be applied in modern wooden sculpture. The recommendations are given for proper selection of applicators that contribute to quality dyeing of wooden surfaces.
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Cheglakov, Aleksandr Dmitrievich. "The nuances of toning and wood dyeing in the process of creating the original wooden sculptures." Архитектура и дизайн, no. 1 (January 2021): 15–22. http://dx.doi.org/10.7256/2585-7789.2021.1.35757.
Full textAbstract:
This article states that the ways to improve the decorative qualities of wood have been known to mankind since ancient times. The techniques of woodworking material have improved over years. The author underlines the importance of proper choice of finishing materials, as it intended to preserve the cultural objects, as well as produce certain aesthetic perception. Therefore, the choice of materials is substantiated by the nature of the wood and the work performed, as well as by the author's plan and conceptual idea. The article discusses the key methods of wood finishing in the process of creating wooden sculptures. The author lists the main types of wood finishing, as well as the original techniques. It is noted that there are various technologies for giving a wood surface a different color. Description is given to such methods as fire-treatment and waxing of wooden surface; as well as to the original techniques of treating wood damaged by the bark beetle or exposed to fire. It is claimed that proper firing gives wood strength and resistance, protecting it from various influences and significantly extending its durability. Special attention is given to the wood ash treatment, and how this ancient technology can be applied in modern wooden sculpture. The recommendations are given for proper selection of applicators that contribute to quality dyeing of wooden surfaces.
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Khaziev, Sh N. "Forensic Traceological Analysis of Works of Visual Arts." Theory and Practice of Forensic Science 15, no. 3 (October 23, 2020): 106–23. http://dx.doi.org/10.30764/1819-2785-2020-3-106-123.
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The article discusses the fundamentals of traceological forensic analysis of visual artworks within both the framework of forensic traceological examination and comprehensive forensic research with the participation of expert-traceologists. Works of art are investigated to identify them, diagnose their condition, and establish the origin of various negative changes. Forensic traceology methods can play an essential role in the controversial attributions of paintings, drawings, and sculptures. The necessity and feasibility of developing a modern forensic traceological research methodology of fine artworks are substantiated.
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Runra, Prasirt, and Sukanya Sujachaya. "Tradition and Creativity of the Rahu Symbol in Buddhist Temples: Case Study of Paintings, Sculptures and Amulets in Central and East of Thailand." Manusya: Journal of Humanities 22, no. 2 (August 26, 2019): 222–53. http://dx.doi.org/10.1163/26659077-02202006.
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The objective of the study was to analyze the transmission and application of Rahu symbolism in contemporary Thai society. Data was collected from both documents and a field study in central and eastern Thailand. It was found that in traditional Thai art, the Rahu symbol is portrayed as his face swallowing the sun or the moon. This kind of Rahu symbol is found in Buddhist temples. Such appearances of the Rahu symbol are related to the belief that Rahu has a protective function. Interestingly, the sculpture of Rahu’s body rather than only his face has become popular in contemporary Thai society. Nowadays, Rahu sculptures tend to be located in specific places. A ritual of worshipping Rahu is often created with offerings of food generally of black color. In addition, the Rahu symbol is now created in several other forms such as posters, magic cloths and amulets. Such newly created art forms of Rahu are due to modern interpretations and meanings of the Rahu symbol in contemporary Thai society. These newly-developed meanings of the Rahu symbol are interesting since they can be applied to deal with people’s problems in the socio-cultural and political context of contemporary Thai society.
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Oh, Seung-Jun, and Koang-Chul Wi. "A Basic Research for Preservation of Works Exhibited in the Outdoor Sculpture Park - A Scientific Analys is of Painted Work ‘Conversion’ Exhibited in the Cheonmasan Sculpture Park -." Journal of Conservation Science 37, no. 4 (August 31, 2021): 391–401. http://dx.doi.org/10.12654/jcs.2021.37.4.08.
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Outdoor sculptures of modern art works are being damaged and deteriorated as they are exposed to the outdoor environment due to the nature of exhibition in the outdoor environment, but secure of basic data through the measures for conservation and advanced researches still remain in the early stage. The surface of “Conversion” which is exhibited in the Busan Cheonmasan Sculpture Park has been exfoliated and deteriorated due to outdoor exhibition for a long time, so systematic conservation and management of works are considered necessary. Prior to the conservation and management, this study conducted observation of cross section, analysis of inorganic components, FT-IR, Raman and Py-GC/Mass analysis to examine the nature and type of paints used for the work through a scientific analysis. As a result of analysis, paints used for the “Conversion” include paint mixed with silvery aluminium powder and white pigment, reddish paint mixed with toluidine red, bluish paint that mixed prussian blue and titanium white and mixture of phthalocyanine blue and titanium white. The result is expected to be used as basic data for selecting materials necessary for conservative treatment of and establishing a plan for conservative treatment of the “Conversion”.
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Zabiyako, Andrey P. "Genesis of Religion: The Origin of Zoolatry According to the Portable Art of Eastern Europe and Siberia." Study of Religion, no. 4 (2020): 5–27. http://dx.doi.org/10.22250/2072-8662.2020.4.5-27.
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. Eastern Europe and Siberia are the territories of early settlement of different groups of mankind. On the Russian Plain, the first sites of Modern Humans are dated to about 40 ka BP. In Siberia, the Homo erectus groups appear in the Lower Paleolithic. Later, Denisovans, Neanderthals and Modern Humans (CroMagnons) settled here. Modern Humans penetrate Siberia about 45 ka BP. Local groups of Homo populations have created developed cultures that include a wide range of features of behavioral modernity. For local groups of Modern Humans, the appearance of zoomorphic sculptures in the period of about 34 ka BP, in the initial period of the Upper Paleolithic. During the period of the final of Aurignac and the beginning of Gravette, zoomorphic examples of mobile art became a typical phenomenon. The archaeological context of the location of artefacts and the peculiarities of their appearance in a number of cases indicate that zoomorphic objects were attributes of zoolatry. The discovery of the «lion» sculpture in Denisova Cave suggests that zoolatry existed in the culture of the Denisovans. With an age of at least 45 ka BP, the lion figure from Denisova cave is the oldest zoomorphic sculpture. The presence of zoolatry in geographically and anthropologically different cultures indicates that it is naturally formed at the stage of reaching a certain level of development of human populations and is a regular result of anthropo- and cultural genesis. Zoolatry is a universal phenomenon. Along with the general features, local features are inherent in it. In different local groups, zoolatry has specific features due to natural factors, different adaptation strategies and mental differences (different models of imagination). In different cultures, zoolatry was combined in specific combinations with funeral rituals, hunting magic, gender cults and other forms of religion. In different local cultures, there were specific configurations of forms of religion, in which zoolatry, hunting magic, funeral practices and other forms of religion were combined in a peculiar way. Thus, in different local cultures, the morphology of religion had a different configuration. The study of zoolatry of local groups of the «basal Eurasian» lineage demonstrates the variability of the morphology (internal structure) of religion, even in culturally related and chronologically close communities.
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Young, M. L., and D. C. Dunand. "Comparing Compositions of Modern Cast Bronze Sculptures: Optical Emission Spectroscopy Versus x-Ray Fluorescence Spectroscopy." JOM 67, no. 7 (May 27, 2015): 1646–58. http://dx.doi.org/10.1007/s11837-015-1445-1.
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Laugrand, Frédéric, and Jarich Oosten. "Representing the “Sea Woman”." Religion and the Arts 13, no. 4 (2009): 477–95. http://dx.doi.org/10.1163/107992609x12524941450000.
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AbstractThis paper examines the dynamics of the representation of the “sea woman,” sometimes known as Sedna, among the Inuit of Northeastern Canada in myths, shamanic experiences, and modern artistic representations. The varying representations of the sea women are connected to shamanic practice. The sea woman does not have a clearly defined iconography; this lack of definition gave shamans some flexibility in giving versions of encounters with the sea women, and enables Inuit artists to utilize that lack of iconographic specificity in creating their sculptures today.
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Vasiljević, Ivana, Ratko Obradović, Isidora Đurić, Branislav Popkonstantinović, Igor Budak, Luka Kulić, and Zoran Milojević. "Copyright Protection of 3D Digitized Artistic Sculptures by Adding Unique Local Inconspicuous Errors by Sculptors." Applied Sciences 11, no. 16 (August 14, 2021): 7481. http://dx.doi.org/10.3390/app11167481.
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In recent years, digitization of cultural heritage objects, for the purpose of creating virtual museums, is becoming increasingly popular. Moreover, cultural institutions use modern digitization methods to create three-dimensional (3D) models of objects of historical significance to form digital libraries and archives. This research aims to suggest a method for protecting these 3D models from abuse while making them available on the Internet. The proposed method was applied to a sculpture, an object of cultural heritage. It is based on the digitization of the sculpture altered by adding local clay details proposed by the sculptor and on sharing on the Internet a 3D model obtained by digitizing the sculpture with a built-in error. The clay details embedded in the sculpture are asymmetrical and discreet to be unnoticeable to an average observer. The original sculpture was also digitized and its 3D model created. The obtained 3D models were compared and the geometry deviation was measured to determine that the embedded error was invisible to an average observer and that the watermark can be extracted. The proposed method simultaneously protects the digitized image of the artwork while preserving its visual experience. Other methods cannot guarantee this.
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Mostovshchykova, Daria, and Nataliia Stryzhko. "Parallels in Development of Modern Painting and Enameling in China." Journal of Visual Art and Design 13, no. 1 (July 6, 2021): 60–73. http://dx.doi.org/10.5614/j.vad.2021.13.1.5.
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This paper highlights trends in the development of contemporary visual art in China through a parallel analysis of two of its components: painting and enamel art. The focus of the research is on the work of artists whose works combine a ‘western’ style with ‘eastern’ tradition. It was found that in the 21st century, the layer of Chinese cultural heritage was successfully transformed into new forms of expression, such as art objects, enamel sculptures, brightly colored paintings and more. At the same time, it has preserved the symbolism of color, plasticity of lines, narrative and figurative components, which is typical of the centuries-old traditions of the Celestial Empire. Artistic analysis was carried out on specific pictorial and enamel examples, distinguishing common and distinctive features in the concepts of the artists and their embodiment in the material. The way in which contemporary art enters the urban space of megacities and the interior of public institutions was analyzed. In conclusion, it is emphasized that the combination of ‘traditional’ and ‘recent’ trends in one work help to rethink the role of classical images in today’s art, as well as to identify Chinese artists in the globalized intercultural space.
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Beckert, Cristina. "Da Obliteração." Philosophica: International Journal for the History of Philosophy 10, no. 19 (2002): 279–89. http://dx.doi.org/10.5840/philosophica20021019/2017.
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This paper aims to reflect upon the relation between Aesthetic and Ethics through the work of Sacha Sosno, a Latvan sculptor, and the comments on it produced by the Lithuanian philosopher Emmanuel Levinas who regards Ethics as “first philosophy”. The concept of obliteration that dominates Sosno’s sculptures of human figures expresses the condition in which modern man is placed or the “scandal of suffering”, as Levinas puts it, giving an ethical sense to the aesthetic works as it aims to a mysterious sense impossible to display by plastic representations but which is always present in its own absence.
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Jordan, Alyce A. "Remembering Thomas Becket in Saint-Lô." Arts 10, no. 3 (September 14, 2021): 67. http://dx.doi.org/10.3390/arts10030067.
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France numbered second only to England in its veneration of the martyred archbishop of Canterbury. Nowhere in France was that veneration more widespread than Normandy, where churches and chapels devoted to Saint Thomas, many embellished with sculptures, paintings, and stained-glass windows, appeared throughout the Middle Ages. A nineteenth-century resurgence of interest in the martyred archbishop of Canterbury gave rise to a new wave of artistic production dedicated to him. A number of these modern commissions appear in the same sites and thus in direct visual dialogue with their medieval counterparts. This essay examines the long legacy of artistic dedications to Saint-Thomas in the town of Saint-Lô. It considers the medieval and modern contexts underpinning the creation of these works and what they reveal about Thomas Becket’s enduring import across nine centuries of Saint-Lô’s history.
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Rosenthal, Nicolas G. "Rewriting the Narrative." California History 96, no. 4 (2019): 54–77. http://dx.doi.org/10.1525/ch.2019.96.4.54.
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A vibrant American Indian art scene developed in California from the 1960s to the 1980s, with links to a broader indigenous arts movement. Native American artists working in the state produced and exhibited paintings, prints, sculptures, mixed media, and other art forms that validated and documented their cultures, interpreted their history, asserted their survival, and explored their experiences in modern society. Building on recent scholarship that examines American Indian migration, urbanization, and activism in the twentieth century, this article charts these developments and argues that American Indian artists in California challenged and rewrote dominant historical narratives by foregrounding Native American perspectives in their work.
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Perez-Rodriguez, Jose Luis, Antonio Albardonedo, Maria Dolores Robador, and Adrian Duran. "Spanish and Portuguese Gilding Threads: Characterization Using Microscopic Techniques." Microscopy and Microanalysis 24, no. 5 (September 20, 2018): 574–90. http://dx.doi.org/10.1017/s1431927618015167.
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AbstractGilding threads collected from Spanish and Portuguese palaces and from the embroideries and adornments of sculptures of the Virgin and Christ that form part of Sevillian Holy Week were analyzed and compared (20 artifacts were evaluated). The study covered a broad time period with examples from the 13th to 14th centuries, 18th to 20th centuries, and also including modern embroideries. A combination of scanning electron microscopy and energy-dispersive X-ray spectroscopy was used. The knowledge of the layered structures of the threads has provided very valuable information regarding the manufacturing techniques. The different metal threads found in the embroidery studied consisted of gold, silver, copper, and alloys of these metals and aluminium. The fabrication procedures often differed in the different workshops and changed with time. In the modern embroideries, a decrease of precious metal concentration was detected. The threads were wound around a core of silk threads.
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Haarmann, Harald. "The challenge of the abstract mind: symbols, signs and notational systems in European prehistory." Documenta Praehistorica 32 (December 31, 2005): 221–32. http://dx.doi.org/10.4312/dp.32.17.
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Since the earliest manifestations of symbolic activity in modern humans (Homo sapiens sapiens) in the Upper Palaeolithic, there is evidence for two independent cognitive procedures, for the production of representational images (naturalistic pictures or sculptures) and of abstract signs. The use of signs and symbols is attested for archaic humans (Homo neanderthalensis) and for Homo erectus while art in naturalistic style is an innovation among modern humans. The symbiotic interaction of the two symbolic capacities is illustrated for the visual heritage of Palaeolithic cave paintings in Southwestern Europe, for rock engravings in the Italian Alps (Val Camonica) and for the vivid use of signs and symbols in Southeastern Europe during the Neolithic. Around 5500 BC, sign use in Southeastern Europe reached a sophisticated stage of organization as to produce the earliest writing system of mankind. Since abstractness is the main theme in the visual heritage of the region, this script, not surprisingly, is composed of predominantly abstract signs.
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McCloskey, Barbara. "Marking Time: Women and Nazi Propaganda Art during World War II." Contemporaneity: Historical Presence in Visual Culture 2 (July 11, 2012): 1–17. http://dx.doi.org/10.5195/contemp.2012.43.
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"Marking Time" considers the relative scarcity of woman's image in Nazi propaganda posters during World War II. This scarcity departs from the ubiquity of women in paintings and sculptures of the same period. In the fine arts, woman served to solidify the "Nazi myth" and its claim to the timeless time of an Aryan order simultaneously achieved and yet to come. Looking at poster art and using Ernst Bloch's notion of the nonsynchronous, this essay explores the extent to which women as signifiers of the modern – and thus as markers of time – threatened to expose the limits of this Nazi myth especially as the regime's war effort ground to its catastrophic end.
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Rabinovich, Daniel. "Cultural Heritage Chemistry." Chemistry International 40, no. 2 (April 1, 2018): 58–59. http://dx.doi.org/10.1515/ci-2018-0234.
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Abstract The tools of analytical chemistry, and the expertise and enthusiasm of many of its practitioners, have had a profound influence in the field of cultural heritage [1, 2]. Analytical techniques, especially those involving non-destructive methods of examination, have played a key role in the characterization, restoration, and preservation of an incredible range of works of art and cultural heritage, including ceramics, textiles, paintings, books, drawings, sculptures, jewelry, and a myriad of artifacts made of glass, wood, or metal. In addition, modern analytical instrumentation has been successfully applied to study the techniques used to produce heritage materials, to verify the authorship or estimate the date of pieces of art, and to detect reproductions and forgeries.
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Spinks, Jennifer. "The Southern Indian “Devil in Calicut” in Early Modern Northern Europe: Images, Texts and Objects in Motion." Journal of Early Modern History 18, no. 1-2 (February 11, 2014): 15–48. http://dx.doi.org/10.1163/15700658-12342383.
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Abstract For sixteenth-century Europeans, the so-called demon and idol known as the “devil in Calicut” vividly epitomized the town of Calicut on India’s Malabar coast. Ludovico di Varthema’s textual invention of the devil in 1510 was rapidly followed by a range of visual images that circulated in print. This article explores how and why the most persistent and vigorous images of this devil emerged from Reformation and Counter-Reformation northern Europe. It further proposes that aspects of the visual and material culture of southern India—and specifically metal sculptures and coins—should be mined in order to better understand the European creation of the “devil in Calicut” and its constant reinvention and circulation. The article argues that the devil maintained its polemical usefulness to a northern European world view in which the heresy of non-Europeans mattered a great deal, but so too did religious changes in Europe that were shaping views about idolatry, materiality, and the role of religious images.
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김경민. "A Study on the Everydayness in Modern and Contemporary Sculptures - In the Perspective of Everydayness as the Origin -." Korean Journal of Art and Media 13, no. 4 (November 2014): 37–66. http://dx.doi.org/10.36726/cammp.2014.13.4.37.
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Azanza López, José Javier. "Conectando testamentos: Números como tipo en Biblia Pauperum y Speculum Humanae Salvationis." IMAGO. Revista de Emblemática y Cultura Visual, no. 11 (January 28, 2020): 41. http://dx.doi.org/10.7203/imago.11.16064.
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ABSTRACT: In the close typological relationship established in the Middle Ages between the Old and New Testaments, the Book of Numbers becomes an exemplary Christological and Mariological prefigurative example. The episodes of the Murmuring of Miriam and Aaron, the Spies from Canaan, the Rebellion of Korah, Dathan, and Abiram, the Brazen Serpent, the Budding of Aaron’s Rod and the Prophecy of Balaam, constitute types of New Testament passages collected in the Biblia Pauperum and the Speculum Humanae Salvationis, whose repercussion will be felt in Medieval and Modern Art as a theological visual synthesis present in stained glass windows, sculptures of portals, tapestries, goldsmith works and altarpieces.
KEYWORDS
Book of Numbers; Typological Method; Biblia Pauperum; Speculum Humanae Salvationis; Medieval and Modern Art.
RESUMEN: En la estrecha relación tipológica establecida en la Edad Media entre Antiguo y Nuevo Testamento, el libro de los Números se convierte en exepcional ejemplo prefigurativo cristológico y mariológico. Los episodios de la murmuración de Miriam y Aarón, los exploradores de Canaán, la rebelión de Coré, Datán y Abirón, Moisés y la serpiente de bronce, la vara florida de Aarón y la profecía de Balaam, constituyen otros tantos tipos anunciadores de pasajes neotestamentarios recogidos en Biblia Pauperum y Speculum Humanae Salvationis, cuyo eco se dejará sentir en el arte medieval y moderno como síntesis visual teológica plasmada en vidrieras, portadas, tapices, piezas de plata y retablos.
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Heidemann, Stefan, Jean-François de Lapérouse, and Vicki Parry. "The Large Audience: Life-sized Stucco Figures of Royal Princes from the Seljuq Period." Muqarnas Online 31, no. 1 (October 19, 2014): 35–71. http://dx.doi.org/10.1163/22118993-00311p03.
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A pair of almost life-sized polychrome stucco sculptures attributed to the Seljuq period in Iran was closely examined prior to the reinstallation of the Islamic galleries at the Metropolitan Museum of Art in 2011. Iconographical analysis of their crowns and other accoutrements suggests that they represent a pair of royal figures that were once part of a larger decorative program dated to 1050–1150. Given the itinerant nature of the Seljuq court, it is proposed that this stucco decoration was created for a temporary reception structure, or kūshk, probably in western Iran. While scientific analyses have indicated that much if not all of the polychromy is modern, technical examination of the plaster used to create these figures and related examples in other collections is ongoing.