Academic literature on the topic 'Reliefs (sculptures)'
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Journal articles on the topic "Reliefs (sculptures)"
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Xiao, Wei. "The Technique of Creating Buddhist Polychrome Sculpture." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 2019): 55–74. http://dx.doi.org/10.36340/2071-6818-2019-15-3-55-74.
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This work focuses on the origin, development, evolution of the Chinese art of polychrome sculpture, as well as philosophical ideas, national specificities, cultural content, a religious concept, artistic specificity and aesthetic ideas manifested in this context. The study provides a picture of how the cultural specificities of China are expressed in art and how spirituality is reflected in works of art. An objective description and complete historical research of the mentioned historical sites increase the available information on them and are meant to strengthen measures intended for their protection. The first comprehensive and detailed analysis of the technology for creating Chinese traditional Buddhist polychrome sculpture is presented in the article.The subject-matter of the artworks, the characteristics of the material used to create them, and the sculpting methods are fully analyzed through the method of a thorough study of the current state of the preserved polychrome sculpture in the Shuanglin Monastery. Two thousand and fifty-four statues of polychrome sculpture, the main of which are Buddha (佛祖), Bodhisattva (菩萨), Heavenly Kings (天王) and Arhat (罗汉) are preserved in the monastery. They are divided into two large groups: circular form sculptures and bas-reliefs. Clay, wood, water, straw, and mineral pigments are the main materials used for the creation of Buddhist polychrome sculptures. Modeling and polychrome painting are two main technologies in the process of making sculptures. Modeling consisted of creating a frame, applying coarse clay and sculpting a large-scale figure, applying medium density clay, applying thin layers of clay and creating details, whitening, bas-relief painting with the chalk-glue mixture, gilding, painting, etc. From the point of view of form, the ancient Chinese Buddhist polychrome sculpture as a work of religious art had to correspond to Buddhist canons. Before starting the process of creating a statue, a craftsman had to make a sketch. During modeling, an artist was guided by the secrets of the craft passed down orally from a teacher to his student and summarized as a technical guide by his predecessors. Statue of Skanda. Dynasty Min. Shuanglin Buddhist polychrome sculpture as a form of fine art with an elaborated form and rich spiritual content perfectly combines technology and artistry.
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MAKSYMIUK, Katarzyna. "Datacja reliefów Szapura I. Zarys problematyki." Historia i Świat 1 (September 9, 2012): 13–43. http://dx.doi.org/10.34739/his.2012.01.01.
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It is assumed that eight Sasanid reliefs were carved during the reign of Shapur I in 242 – 272. There is no doubt that seven of them: NRb I, NRb IV, NRm VI, VŠ I, VŠ II, VŠ III as well as that one from Rag-i Bibi depict the ruler. Identifi cation of the king in relief from Darabgerd is subject of further disputes. What enforces dating reliefs at Naqsh-i Rajab to 242 – 244 is lack of portrayals of enemies defeated by Shapur. Starting point for more precise dating of socalled triumph reliefs is identifi cation of persons appearing in them. There is no doubt about the relief at Naqsh-i Rustam. On the basis of ŠKZ text one ought to assume that it shows Philip the Arab and Valerian thus it should be dated to 260 – 272. The problem is over dating of reliefs at Bishapur. Damages of VŠ I relief allow only identifi cation of Philip the Arab and Gordian III that is why dating can be precised to solely 244-272. Lively discussion elicit another two reliefs of Shapur I at Bishapur . One of the most interesting hypotheses seems to be thesis advanced by B. Overlaet that Uranius Antoninus is the fi gure standing next to the king. Recognision of black stone of Emesa in VŠ III relief maintains the thesis. As far as stone identifi cation seems to be sure one should deliberate if Shapur I would place in the relief a person recognized by him as not equal to himself. It is unlikely from propaganda viewpoint. In that case we can refer to the king relation to Septimius Odenathus with whom he even did not start dialog. If we interpret the arrangement of relief we have to point that its composition refers to sculptures from Apadana in Persepolis. In the context of military activities and devastations of Syria by Persian forces one should not be astonished at symbolic representation of bringing gifts Syrians. For late dating of triumph reliefs indicates their asymmetrical composition which is untypical in case of Persian sculptures. One should recognize that they could be carved by Roman craftmen deported by Shapur I during wars with western neighbour. Anyway it does not help in more precise dating because fi rst deportation took place already in 253. Taking Valerian as prisoner seems to be the most important success of Shapur I. The emperor undoubtly was residing at Bishapur so in a natural way he was put in both VŠ II and VŠ III reliefs what allows their dating to 260-272. The above mentioned speculations do not make easier dating of the most controversial relief from Darabgerd what will be undoubtly subject of future disputes.
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Weilandt, Gerhard, Stefan Breitling, and Anna Nöbauer. "Liturgischer Alltag auf einer Großbaustelle des 13. Jahrhunderts: Zur Funktion einiger Konsolen in den Seitenschiffen des Bamberger Domes." Zeitschrift für Kunstgeschichte 84, no. 2 (June 1, 2021): 181–200. http://dx.doi.org/10.1515/zkg-2021-2002.
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Abstract This article, which is the result of a cooperation between building archaeologists and a historian of art and liturgy, sheds light on the original function of the stone consoles in the eastern aisles of Bamberg Cathedral, on which the most famous medieval sculptures now stand, including the Bamberg Rider. They date from the time of the building phase shortly after 1201–1202, when the western part of the Ottonian predecessor building was still in use, while in the east the new choir was under construction. A wall separated the two parts, in which openings were inserted. The consoles did not originally serve as sculpture bases, but as supports for weather protection for processions, as a partition wall in front of the fragile choir screen reliefs, and as a platform for ongoing work in the zones above. Only later were the consoles adopted for sculptures and provided with decorative painting, remnants of which are still preserved today.
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Farooq, Sadia, and Mohammad Arif Kamal. "IMPACT OF SCULPTURES IN LANDSCAPE DESIGN: CASE OF GREATER IQBAL PARK, LAHORE." Architecture and Engineering 6, no. 4 (December 24, 2021): 14–23. http://dx.doi.org/10.23968/2500-0055-2021-6-4-14-23.
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Introduction: A landscaped area is always appealing when designed according to a certain theme and purpose, as is the case with the sculptures in the Greater Iqbal Park. Purpose of the study: We aimed to analyze the influence of ornamental sculptures on people visiting the Greater Iqbal Park situated in Lahore, Pakistan. The objective was to evaluate the importance of the sculptures’ presence in the park, to review the visitors’ opinions on the subject, and to analyze how the sculptures blend in with other elements of the park. Methods: An important aspect of the study is the combination of data collected through observations, pictures, and questionnaires. Results and discussion: 65% of visitors to the park are satisfied with the sculptures’ placement and the lighting around them. The sculptures depicting a bent tree, birds, musical instruments, and a peacock are aesthetically pleasing and alluring for the visitors. The reliefs reference art from the Mughal era, and the material is durable, tough, and weather-resistant. Conclusions: The visitors like to have sculptures in the park, which increases the park’s appeal, especially for children, who can learn visual lessons about shapes and history. The study will help designers with creating variety and inspiring interest through sculptures, especially those related to historical events and complementing their surroundings.
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Bilyk, Nadiia, and Alina Uhryn. "PRESERVATION OF JOHN GEORGЕ PINZEL’S CREATIVE HERITAGE IN THE MUSEUMS OF TERNOPIL." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 163–69. http://dx.doi.org/10.25128/2411-3271.19.2.22.
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In the 60-80’s of the XX century by the aid of the search work of art expert V. Svientsitska, B. Voznytskyi, V. Stetsko the art works of John George Pinzel were saved (? –1761). Thus, the sculptures and carved icons of the talented artist appeared in the museum collections of Galicia. Today, part of the creative heritage is stored in the holdings of two museums in Ternopil: Ternopil Regional Museum of Local Lore (TRMLL) and Ternopil Regional Museum of Art (TRMA). Only since the proclamation of Ukraine’s independence J. G. Pinzel’s heritage has become an object of study. We thank the director of the Lviv Art Gallery B. Voznytskyi for returning the name of the sculptor and his creative achievements to the field of interest of Ukrainian scientists. Afterwards, the figure of I. G. Pinzel became central in the writings of the Ternopil researcher V. Stetsko. Topicality of the article is conditioned by the need of studying the state of conservation of the creative heritage of J. G. Pinzel in the museums of Ternopil. The purpose of the article is to carry out a comprehensive analysis of the sculptor’s works in the collections of TRMLL and TRAM, to highlight cultural projects on the representation of the artist’s work with the assistance of museums. Today, six sculptures and three reliefs created by J. G. Pinzel in the 18th century for Buchach churches are stored in the museums of Ternopil. The first works of the artist came to the collection of TRMLL in 1978. In 1993, four works by J. G. Pinzel (sculptures: Saint Vincent a Paulo and Saint Francis Borgia; bas-reliefs: Miracle of Saint Nicholas and Beheading of John the Baptist were exhibited in TRMLL in the section “Culture of the Region of the end of the XVII – first half of the XIX century”. In January 2012, the exhibition opened to mark the 250th anniversary of the sculptor’s death. The project curator V. Stetsko represented 300 exhibits. Six sculptures and two bas-reliefs of the artist were exhibited in a separate hall. For the first time, four allegorical figures have been demonstrated: Allegory of Faith, Wisdom, Courage and Allegory of St. Tobias. In 2014, all the artist’s works were placed in a separate “John George Pinzel Hall”, decorated in Baroque style. Significant contribution to the preservation and promotion of the creative work of J. G. Pinzel belonged to Vira Stetsko (1956–2016), art expert, local historian, scientific associate of TRMLL. Her work “Pinzel and Ternopil Region” (2007) was published in Ternopil. V. Stetsko hypothesized, that J. G. Pinzel carved his portrait on the sculpture “Allegory of Courage”. TRMA plays a significant role in preserving J. G. Pinzel’s creative heritage. Today the collection of the institution contains only one work of the sculptor – the bas-relief “Road to Emmaus”. The masterpiece is presented in the hall of “Art of Ukraine” in the section of sacred art of Galicia. The TRMA exposition previously stored Deacon Doors from the Protection of the Blessed Virgin Mary Church Town of Buchach. The reliefs were known as Guardian Angel and Annunciation. Thereafter, at the request of the residents of Buchach, the directorate of the art museum was forced to transfer the monument of sacred art to the church. The creative heritage of J. G. Pinzel, stored in the collections of museums of Ternopil, is of particular relevance, since the artist’s achievements represent a close connection of Western Ukrainian lands with European culture. The masterpieces of the sculptor from the Ternopil museums were selected for the exhibition of works by J. G. Pinzel in The Louvre in 2012. Today, every visitor of Ternopil museums can learn about the genius of the sculptor J. G. Pinzel, who was able to combine artistic traditions of the Baroque style with the canon of local professional carving in his own works.
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Zsófia, Vargyas. "Alaricustól Szent Henrik császárig. Giovanni Bonazza és műhelye szétszóródott domborműsorozata Jankovich Miklós gyűjteményéből." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 109–22. http://dx.doi.org/10.1556/080.2020.00007.
Full textAbstract:
The Sculpture Collection in the Museum of Fine Arts, Budapest has been enriched in recent years with twenty-one marble portrait reliefs carved by Giovanni Bonazza (1654–1736) and his workshop. Fifteen reliefs were transferred within the institution and six were purchased from a private collection, but the identical creator and size, the uniform plaster framing and the themes of seventeen pieces – portraits of Italian rulers in the period of great migrations and the early Middle Ages – made it perfectly clear that they are pieces of a relief series scattered at an unknown date. The four “character heads” without caption, which deviate in theme from the series, are typical items of Venetian baroque sculpture.The search for the provenance of the reliefs led the author to the collector and art patron Miklós Jankovich (1773–1846), who possessed sixty-two marble reliefs (or sixty-four in later sources) which represented – to quote the collection inventories ‘Hunnish, Goth, Longobard kings and their successors who reigned in Italy after the Roman emperors’ from Alaric to emperor Saint Henry. Jankovich probably bought the series from the heirs of István Marczibányi after his death in 1810. In 1836 it passed into the National Museum as part of the first Jankovich collection. The inventorying of the paintings and sculptures in the Jankovich collection was interrupted by the great flood of Pest in spring 1838, and that must be the cause why the relief series was not included in the stock of the museum and its provenance got gradually forgotten. In 1924 the reliefs kept in the repository of the Collection of Antiquities as “insignificant items for the museum” not belonging to its collecting profile began to be sorted out. Thirty items were auctioned off in the Ernst Museum, twenty pieces were exchanged with László Mautner, an antiquities dealer in Budapest for an array of archaeological and historical objects. In the National Museum eleven portraits of kings and four character heads remained, delivered as “remnant” of the Historical Collection to the Museum of Fine Arts in 1943, from where they were transferred to the Hungarian National Gallery in 1957. The relief series from Giovanni Bonazza’s workshop once in the Jankovich collection must have been the only complete series of kings (though only known from second-hand information) which was carved after the book of engravings by the historian Emanuele Tesauro of Turin, Del regno d’Italia sotto I barbari, published in Turin in 1664. Its dispersion is an irretrievable loss.
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Zsófia, Vargyas. "Alaricustól Szent Henrik császárig. Giovanni Bonazza és műhelye szétszóródott domborműsorozata Jankovich Miklós gyűjteményéből." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 109–22. http://dx.doi.org/10.1556/080.2020.00007.
Full textAbstract:
The Sculpture Collection in the Museum of Fine Arts, Budapest has been enriched in recent years with twenty-one marble portrait reliefs carved by Giovanni Bonazza (1654–1736) and his workshop. Fifteen reliefs were transferred within the institution and six were purchased from a private collection, but the identical creator and size, the uniform plaster framing and the themes of seventeen pieces – portraits of Italian rulers in the period of great migrations and the early Middle Ages – made it perfectly clear that they are pieces of a relief series scattered at an unknown date. The four “character heads” without caption, which deviate in theme from the series, are typical items of Venetian baroque sculpture.The search for the provenance of the reliefs led the author to the collector and art patron Miklós Jankovich (1773–1846), who possessed sixty-two marble reliefs (or sixty-four in later sources) which represented – to quote the collection inventories ‘Hunnish, Goth, Longobard kings and their successors who reigned in Italy after the Roman emperors’ from Alaric to emperor Saint Henry. Jankovich probably bought the series from the heirs of István Marczibányi after his death in 1810. In 1836 it passed into the National Museum as part of the first Jankovich collection. The inventorying of the paintings and sculptures in the Jankovich collection was interrupted by the great flood of Pest in spring 1838, and that must be the cause why the relief series was not included in the stock of the museum and its provenance got gradually forgotten. In 1924 the reliefs kept in the repository of the Collection of Antiquities as “insignificant items for the museum” not belonging to its collecting profile began to be sorted out. Thirty items were auctioned off in the Ernst Museum, twenty pieces were exchanged with László Mautner, an antiquities dealer in Budapest for an array of archaeological and historical objects. In the National Museum eleven portraits of kings and four character heads remained, delivered as “remnant” of the Historical Collection to the Museum of Fine Arts in 1943, from where they were transferred to the Hungarian National Gallery in 1957. The relief series from Giovanni Bonazza’s workshop once in the Jankovich collection must have been the only complete series of kings (though only known from second-hand information) which was carved after the book of engravings by the historian Emanuele Tesauro of Turin, Del regno d’Italia sotto I barbari, published in Turin in 1664. Its dispersion is an irretrievable loss.
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Biegon, Glenn. "Stereoscopic Synergy: Twin-Relief Sculpture and Painting." Leonardo 38, no. 2 (April 2005): 93–100. http://dx.doi.org/10.1162/0024094053722354.
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Two accelerated-relief sculp-tures depicting the same scene from slightly different viewpoints can serve as sculpted stereo-scopic half-images—or “twin-reliefs.” Unlike traditional relief sculpture, which compresses sculptural space, twin-reliefs expand it, creating lifelike illusionistic depths. Viewed binocularly in a large Wheat-stone stereoscope, the twin-relief's virtual world appears colorful, atmospheric and life-size— even infinitely deep. Furthermore, unlike flat-picture stereoscopy, which allows just one undistorted, perspectively robust view, twin-reliefs provide infinitely many such views because, being sculptural, they “adapt” to the observer's movement. Twin-reliefs syner-gistically combine essential physical attributes previously separated between the domains of painting, sculpture and traditional flat-picture stereoscopy.
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Kowal, Katarzyna. "The Borobudur temple: the Buddhist architecture in Indonesia." Budownictwo i Architektura 18, no. 2 (November 18, 2019): 005–19. http://dx.doi.org/10.35784/bud-arch.550.
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The article presents the current state of knowledge about the Borobudur temple, a valuable representative of Buddhist architecture, located in Java, Indonesia. The author presents the genesis of the temple, the facts concerning its rediscovery after centuries of oblivion, and Buddhist cosmology embodied in the form of a three-dimensional mandala on which the architectural form of Borobudur is based. The author studies Buddhist symbolism of the architectural form, reliefs and sculptures created on the basis of regional patterns and local Javanese culture of everyday life. This temple is one of the most perfect examples of translation of Buddhist cosmology and symbolism into an architectural form. At the same time, it constitutes an intercultural and timeless masterpiece of architecture and sculpture which requires particular protection, also due to the influence it exerts on the life of local Buddhist religious minorities.
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Gul, Subhani. "NOTE ON SOME A BUDDHIST NARRATIVE RELIEFS FROM AMLUK-DARA STUPA, SWAT." Pakistan Journal of Social Research 04, no. 04 (December 31, 2022): 884–90. http://dx.doi.org/10.52567/pjsr.v4i04.899.
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The general theme behind the Gandhara art was the iconography of Budhha i.e. Buddhha life stories, previous life stories, miracles etc. There is some variation in depiction of sculptures sometime due to sectarian and regional variation. The present study is therefore focused on some Buddhist narrative reliefs from Amluk-dara stupa wherein the unique narrative scenes are depicted. Keywords: Gandhara, Amluk-dara, Birth of Siddhārtha, First bath of Siddhārtha.
Dissertations / Theses on the topic "Reliefs (sculptures)"
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Ghardaddou, Elyès. "Le décor iconographique des édifices de spectacle dans la Carthage romaine : sculptures et reliefs dans le Théâtre et l'Odéon." Aix-Marseille 1, 2009. http://www.theses.fr/2009AIX10009.
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Cette étude s'intéresse aux décors sculptés dans le théâtre et l'odéon de Carthage. Le premier volume, consacré au théâtre, présente un inventaire avec une description et des réflexions sur la typologie, la chronologie et la restitution de chaque sculpture. La même démarche est suivie dans le second volume consacré à l'odéon. Les sculptures trouvées dans cet édifice constituent un ensemble de pièces collectées dans certains édifices carthaginois du milieu du IIe siècle. Le troisième volume s'intéresse aux groupes statuaires que nous avons pu reconstituer. Le décor sculpté du théâtre révèle l'existence d'un programme iconographique élaboré ; celui de l'odéon est plus varié et reflète une cohérence thématique entre certains éléments qui le composent. L'étude générale des sculptures romaines découvertes à Carthage confirme qu'elles ont été importées essentiellement de l'Orient romain, notamment celles qui remontent au IIe siècle, alors qu'une bonne partie de ces sculptures fut produite dans des ateliers locaux
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Holtzmann, Bernard. "Etudes de sculpture thasienne : les reliefs." Paris 1, 1988. http://www.theses.fr/1988PA010591.
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Premiere partie de la publication d'ensemble des sculptures trouvees dans l'ile de thasos ( grece ), consacree a quelque six cent reliefs, la plupart inedits ou insuffisamment publies, qui s'echelonnent du viie siecle av. J. -c. Au iiie siecle ap. J. -c. Dans cette production abondante, suscitee par l'existence des marbres locaux, se distinguent quelques series originales : les grands reliefs de passage (12), sans equivalent dans le monde grec; les reliefs a banquet (160) qui permet tent de suivre l'evolution du theme depuis son origine votive jusqu'a ses derniers avatars funeraires. Pourtant, en depit de la qualite de certaines oeuvres, thasos ne deviendra jamais un centre createur autonome : brisee par athenes en 463, apres un premier epanouissement lie a celui de paros, elle connaitra une nouvelle periode creative a la fin du ive siecle av. J. -c. , en liaison avec le nouveau pole politique et culturel qui emerge en macedoine. Ainsi, d'abord influencee par paros, par les cites d'asie mineure et athenes, elle le sera ensuite par la civilisation composite de la macedoine royale puis romaine.
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Holtzmann, Bernard. "Etudes de sculpture thasienne les reliefs /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37614362x.
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Reynolds, Bruce. "The Persistence of Relief: Relief Sculpture in Contemporary Art." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/382698.
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Relief sculpture can be understood as a form in two and a half dimensions, between drawing
or painting and sculpture. Relief is also a renewed area of artistic practice, long in decline and
marginalized in the 20th Century. It engages with the archaic and the physical and as such is
counterpoint to the proliferation of disembodied digital images in contemporary culture.
Relief is an art form well suited to re-examining our past from under the shadow of sculpture
and painting, not least because it is characterised by ambiguity and dualism and the
compatibility of its formal character with themes of conflict and antiquity.
This paper discusses the persistence and value of relief sculpture in the 21st Century and
analyses the historical dualities of relief and how these dualities resonate in contemporary art. I
argue that the scattered presence of relief sculpture in contemporary art no longer designates a
strict formal discipline but rather expresses both disjecta membra (fracturing) and a transitional
zone in visual arts. Contemporary relief is analysed through the work of artists who have
explored dualities within this transitional space: works by Thomas Houseago, Anselm Kiefer,
William Kentridge and Matthew Monahan, and through key works from my own studio
research, including publically sited works from 2015 to 2018.
This paper explores how the transitional zone of contemporary relief echoes the duality
inherent in historical (classical) relief. It examines this zone with the superimposition of
dualities that include the physical and the image, the archaic and the contemporary. Relief is
characterized by dialectics, and the coexistence, reconciliation or synthesis of opposites. It is a
manifestation of Edward Soja’s thirdspace (1996) —a shared response or methexis synthesizing
history with sensorial and conceptual (or physical and imaginary) space.
The research draws from Theodor Adorno’s Aesthetic Theory (1970) and his observations and
historical perspective across art forms, arguing that the nature and fate of genres inform
understandings of relief sculpture in contemporary art. Perspectives of time and space as
described in Jacques Ranciere’s episodic approach to history are complemented by Henri
Lefebvre’s and Edward Soja’s subsequent analysis of space. Other philosophers and historians
referenced include Walter Pater (1839 to 1894) and his biographer Lene Ostermark-Johansen
who form a part of the historical perspective on relief and its position in art. Adolph von Hildebrandt (1847-1921) and Rosalind Krauss assist in comparing relief before and after
cubism, which I argue is critical in understanding relief’s renewal through its revised approach
to materials coupled to spatial enquiry.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Bossert-Radtke, Claudia. "Die figürlichen Rundskulpturen und Reliefs aus Augst und Kaiseraugst /." Augst : Römermuseum, 1992. http://catalogue.bnf.fr/ark:/12148/cb388956299.
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Pochmarski-Nagele, Margaretha. "Die dionysischen Reliefs in Noricum und ihre Vorbilder /." Wien : VWGÖ, 1992. http://catalogue.bnf.fr/ark:/12148/cb35573141z.
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Tagalidou, Efpraxia. "Weihreliefs an Herakles aus klassischer Zeit." Jonsered : P. Ǻströms, 1993. http://catalogue.bnf.fr/ark:/12148/cb388954183.
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Schmaltz, Nicolas. "Les reliefs de l'Afrique romaine : recherches sur la sculpture provinciale." Lille 3, 2003. http://www.theses.fr/2003LIL30038.
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L'Afrique romaine nous a laissé des bas-reliefs aussi nombreux que variés. Plusieurs milliers de reliefs ornent ainsi des monuments publics, privés, religieux ou funéraires, et sont souvent accompagnés d'inscriptions. Ces sculptures, qui sont en pierre et parfois en stuc, nous apportent des renseignements de plusieurs ordres. D'abord, ce sont les produits d'un artisanat de masse dont l'apogée se situe aux IIe et IIIe siècles. Ils témoignent d'un savoir-faire d'ateliers locaux, attachés à leurs traditions stylistiques. Ensuite, les reliefs constituent une source iconographique majeure. Ils montrent en effet des portraits de défunts ou de dédicants, des scènes de la vie quotidienne ou des scènes religieuses. Le style, le type de motif et la localisation des bas-reliefs permet de suivre la romanisation progressive de l'Afrique. Enfin, l'étude des supports permet de mieux cerner la place de la sculpture dans la société et les choix culturels des africains romanisés
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Wulfmeier, Johann-Christoph. "Griechische Doppelreliefs /." Münster : Scriptorium, 2005. http://catalogue.bnf.fr/ark:/12148/cb41304246z.
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Sandrock, Johanna Kay. "Mythological funerary reliefs from the Roman provinces of Noricum and Pannonia /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3099629.
Full textBooks on the topic "Reliefs (sculptures)"
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Michael, Kenny. Michael Kenny: Sculptures, reliefs & drawings, 1982-1990. Southampton: John Hansard Gallery, University of Southampton, 1990.
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Arp, Jean. Art is Arp: Dessins, collages, reliefs, sculptures, poésie. [Strasbourg]: Musées de la Ville de Strasbourg, 2008.
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Musée d'art moderne et contemporain de Strasbourg., ed. Art is Arp: Dessins, collages, reliefs, sculptures, poésie. [Strasbourg]: Musées de la Ville de Strasbourg, 2008.
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Winzen, Matthias, writer of added commentary and Nikich, G. (Georgiĭ), writer of added commentary, eds. Stefan Balkenkhol: Skulʹptury i relʹefy = Stephan Balkenhol : Sculptures and reliefs. Moskva: Moskovskiĭ muzeĭ sovremennogo iskusstva, 2016.
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Berc, Guy Bès de. Sculptures d'albâtre de Malines: Les reliefs de dévotion fin XVIème début XVIIème siècle. Saint Armel: AUTOEDITION, 2003.
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Melotti, Fausto. Fausto Melotti: Sculture e bassorilievi, 1939-1972 = sculptures and bas-reliefs, 1939-1972. Milano: Electa, 2009.
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Guimarães, José de. Jose de Guimaraes: Sculptures, paintings, reliefs on paper, gouaches on paper, 28.9.91-16.11.91. Kruishoutem, Belgium: Stichting Veranneman Foundation, 1991.
Find full textBook chapters on the topic "Reliefs (sculptures)"
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Margariti, Katia. "6. Funerary Sculpture: Women on Attic Grave Reliefs." In Handbook of Greek Sculpture, edited by Olga Palagia, 123–60. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9781614513537-006.
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Steinfeld, Kyle, Titus Tebbecke, Georgieos Grigoriadis, and David Zhou. "Artificiale Rilievo GAN-Generated Architectural Sculptural Relief." In Towards Radical Regeneration, 133–48. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-13249-0_12.
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Marazzi, Massimiliano. "New ‘Excavations’ in the Pergamon-Museum and in the Gipsformerei of Berlin and New Elements for the Study of the Decorative Programme of Kammer B in Yazılıkaya." In Studia Asiana, 53–76. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0042-4.06.
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Based on the work conducted during winter 2017 both on casts of the Hittite reliefs exhibited at the Pergamon-Museum and the original matrices of the Humann casts (1892) kept at the Gipsformerei in Berlin/Charlottenburg, a series of results are presented regarding the sculptural decoration programme present in the Yazılıkaya rock sanctuary. In addition, the exhibition and publication of a series of casts of Hittite reliefs on the occasion of the exhibition Royaumes Oubliés, held in Paris in 2019, made it possible to provide some insights into the history of the casts made by E. Chantre on the occasion of his Mission en Cappadoce in 1893-94
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Baschet, Jérôme. "Iconography beyond Iconography: Relational Meanings and Figures of Authority in the Reliefs of Souillac." In Current Directions in Eleventh- and Twelfth-Century Sculpture Studies, 23–46. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.svcma-eb.4.6002.
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Vitovič, Ladislav, Jozef Minár, Pavel Bella, and Juraj Littva. "Polygenetic Relief in the Foreland of Glacially Sculptured Mountains—Podtatranská kotlina Basin." In World Geomorphological Landscapes, 163–88. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-89293-7_9.
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Shoaf, Matthew G. "The Voice in Relief: Sculpture and Surplus Vocality at the Rise of Naturalism." In Resounding Images, 31–45. Turnhout: Brepols Publishers, 2015. http://dx.doi.org/10.1484/m.svcma-eb.5.109325.
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Davies, Simon. "The Imperial Image in Middle Byzantine Sculpture: Some Lesser-Known Marble Relief Fragments from Constantinople." In Studies in Byzantine History and Civilization, 321–62. Turnhout: Brepols Publishers, 2017. http://dx.doi.org/10.1484/m.sbhc-eb.5.113960.
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Wu, Han-Chung, He-Jing Cai, Wu-Shan Chu, and I.-Cheng Li. "Development and application of clay sculpture cultural relics cleaning materials – take room temperature ionic molten salt and self-made gel as examples." In System Innovation for a World in Transition, 22–27. London: CRC Press, 2023. http://dx.doi.org/10.1201/9781003460763-6.
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Podany, Amanda H. "Empire Builders, Sculptors, and Deportees." In Weavers, Scribes, and Kings, 421—C17.F7. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190059040.003.0017.
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Abstract In the eleventh and tenth centuries bce, small kingdoms dominated the Near East and writing was not used much. Three peoples had a large influence on later cultures: the Arameans, whose language spread across the Near East; the Phoenicians, who developed an alphabet that was adopted widely; and the Israelites, who are first attested in sources outside the Bible during this era. In the late tenth century, Neo-Assyrian kings began the creation of a huge empire. Ashurnasirpal II was a militaristic ruler who boasted of his conquests, and moved the capital city to Kalhu, which was populated with people from across the empire. The walls of his palace were decorated with stone relief sculptures showing the king’s achievements. The sculptors’ stages of creating the reliefs are reconstructed, including consultation with the king, religious considerations of what to depict, quarrying the stone blocks, and carving and painting the images once the blocks were in place. Many scenes depicted sieges and other military encounters. Deported people are profiled based on their depictions in sculptures from the reigns of several kings. Later, Sargon II moved the Assyrian capital to Dur-Sharrukin and built another palace, also with relief sculptures. Sargon II conquered Samaria in Israel, along with many Levantine cities, and deported tens of thousands of people. His son Sennacherib built another new capital, again with a new palace and more sculptures. He focused one room on the siege of Lachish in Judah; these also provide details about the logistics of deportation.
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Morandi Bonacossi, Daniele. "Faces in the Stone. Rock Art in the Duhok Region (Kurdistan Region of Iraq) A Seriously Threatened Cultural Heritage." In Stolen Heritage Multidisciplinary Perspectives on Illicit Trafficking of Cultural Heritage in the EU and the MENA Region. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-517-9/003.
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The Iraqi Duhok Region has a millenary history and encompasses an extraordinary heritage. Regrettably, since 2000, we have witnessed an increase in criminal acts perpetrated against the Assyrian and Neo-Assyrian rock reliefs scattered along the valley. Damages to these sculptures vary from spray-painting to demolition attempts. The challenging situation calls for the direct involvement of the centralised Government to ensure both control and protection of the region and effective initiatives of awareness-raising among the local communities.
Conference papers on the topic "Reliefs (sculptures)"
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A., TISHKIN, BONDARENKO S., and Tishkin (J) A. "“DEER” STONE FROM TUVA: MODERN POSSIBILITIES OF OBTAINING GRAPHIC DRAWINGS." In MODERN SOLUTIONS TO CURRENT PROBLEMS OF EURASIAN ARCHEOLOGY. Altai State Univercity, 2023. http://dx.doi.org/10.14258/msapea.2023.3.56.
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The article demonstrates the experience of obtaining graphic images based on a digital copy of the “deer” stone exhibited in the stelary of one of the branches of the National Museum of the Tyva Republic (Kyzyl), where a large collection of ancient stone sculptures. This work reflects the search for optimal techniques of automatic computer drawing based on photogrammetry data. “Deer” stones with clearly distinguishable images no longer cause certain difficulties for their comprehensive presentation and publication, including the demonstration of the sweep. The statues with different reliefs and multiple images require a more sophisticated algorithm for the application of available and new digital technologies. The results of such developments will be presented in other publications.
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Savage, Victor. "As One With Nature: Sputheast Asian Aesthetic Expressions | เป็นหนึ่ง เดียวกับธรรมชาติ: การแสดงออกทางสุนทรียะของชาวเอเชียตะวันออก เฉียงใต้." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-25.
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Given the many artistic manifestations in the region which range from architecture to wooden sculptures, one wonders whether there are some guiding aesthetic principles in Southeast Asia. Using food, tattoos, bas reliefs, paintings, textiles, pottery, and architecture, this article is concerned with the salient underpinnings of aesthetic displays in the region. Regional aesthetics manifests itself in many cultural practices ranging from royal traditions, spiritual rituals and practices and quotidian rites of passage. Aesthetic expressions drew their inspiration from nature, cosmic perceptions and religious beliefs. ภูมิภาคเอเชียตะวันออกเฉียงใต้เป็นภูมิภาคที่มีงานศิลปะที่หลากหลาย ไม่ว่าจะเป็นงานทางสถาปัตยกรรมไปจนถึง ประติมากรรมไม้ หลายคนอาจสงสัยว่าอะไรคือหลักสุนทรียภาพที่เป็นตัวกาหนดการมองความงามของธรรมชาติ หรืองานศิลปะของคนภายในภูมิภาค เพื่อตอบคาถามดังกล่าว บทความนี้จะใช้อาหาร รอยสัก ภาพนูนต่า ภาพวาด สิ่งทอ เครื่องปั้นดินเผา และสถาปัตยกรรม ในการแสดงถึงรากฐานสาคัญที่มีอิทธิพลต่อหลักสุนทรียภาพ นอกจากนี้ บทความต้องการแสดงให้เห็นว่า สุนทรียภาพของชาวเอเชียตะวันออกเฉียงใต้ยังรวมไปถึงข้อปฏิบัติทางวัฒนธรรม ต่าง ๆ เช่น ขนบธรรมเนียมประเพณีของชนชั้นกษัตริย์ พิธีกรรมทางจิตวิญญาณ และพิธีกรรมเปลี่ยนผ่าน ซึ่งการ ปฏิบัติเหล่านี้ได้รับแรงบันดาลใจมาจากธรรมชาติ การรับรู้เกี่ยวกับจักรวาล และความเชื่อทางศาสนา
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Cova Morillo, Miguel Angel De la. "Le Corbusier y Charles Lasnon: De las maquetas blancas de los Salones de Otoño a los plan-reliefs del nuevo urbanismo." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.729.
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Resumen: El “mouleur” Charles Lasnon representa la convivencia que durante el primer tercio del siglo XX se dará entre las Artes y Oficios y las nuevas técnicas de representación vinculadas a la fotografía. Lasnon realizará para Le Corbusier una serie de maquetas que presentarán sus propuestas a escala doméstica y urbana, primera aproximación a una expresión tridimensional de sus teorías: los modelos 1:20 de los Salones de Otoño en 1922 y 1923, a camino entre el objet-type y la escultura de vanguardia, y las del “Urbanisme á trois dimensions” del Plan Obus y Nemours. Las maquetas de las Villas se establecerán como “manifiestos estéticos y arquitectónicos”. En ellas se ensayarán principios teóricos plásticos, previos incluso a una idea de construcción, indagaciones que abren la puerta a transferencias entre la representación a escala realizada en yeso y la arquitectura a realizar. Por otra parte, la vinculación de Lasnon con el Service Geographique de l’Armée le familiarizará con las nuevas técnicas de representación del territorio. Así, realizará los Carte-Relief de Argel coetáneamente a la ejecución de las maquetas de las propuestas urbanas argelinas de Le Corbusier, garantes no sólo del rigor geométrico de sus postulados: quedan en ellas registradas el paisaje original, cuya topografía se modela y manipula como si de un trabajo plástico se tratara. Utopías en busca de un lugar imaginado sobre un trozo de yeso. Abstract: Charles Lasnon, "mouleur",represents the coexistence between the Arts and Crafts and the new rendering techniques related to photography that took place in the first quarter of the twentieth century. Commissioned by Le Corbusier, Lasnon made in those years several models that represent his new proposals at a domestic and urban scale. That was the first approach to a three-dimensional expression of his theories –the scale models of 1:20 from "Salon d'Automne" in 1922 and 1923, which were halfway between objet-types and avant-garde sculptures, and the theories of "L'Urbanisme à trois dimensions" from Plan Obus and Nemours. The scale-models of "Villas" were established as “aesthetic and architectural manifestos”. They were used to test theoretical and plastic principles, formulated before the idea of construction. These tests resulted in "transfers" between plaster-craft scale models and the architecture to be built. Additionally, the links between Lasnon and the “Service Geographique de l’Armée” enabled him to be familiar with new techniques to represent landscape. Thus, Lasnon made the Carte-Reliefs d'Argel at the same time as Le Corbusier made the models for the urban proposals in Alger. These models not only guarantee the geometrical accuracy of his proposals, but also capture an original landscape whose topography is modeled as if it was a plastic craftwork. Utopias seeking an imaginary place on a plaster slice. Palabras clave: maqueta; moulage; Charles Lasnon; urbanismo; plan-relief; Salón de Otoño. Keywords: model; "moulage", Charles Lasnon; urbanism; plan-relief; Salon d'Automne. DOI: http://dx.doi.org/10.4995/LC2015.2015.729
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Sobocinski, Pawel, Mikolaj Maik, and Krzysztof Walczak. "Multimodal presentation of 3D relief sculptures in virtual reality." In 2022 International Conference on Cyberworlds (CW). IEEE, 2022. http://dx.doi.org/10.1109/cw55638.2022.00021.
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Bahmann, Dirk. "Making Atmospheres." In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35893.
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This paper discusses a practical methodology, developed for a second-year architectural elective project, that aims to make tangible the qualities of architectural atmospheres. It argues for an embodied practice of making sculptural artefacts. It proposes that these can articulate and make apparent atmospheric qualities. To be able to imagine or recognise atmosphere is a crucial skill for architects since atmosphere determines how people respond to space. The methodology is designed, through iterative cycles of making and critical reflection, to make students increasingly aware of atmosphere and develop their ability to create and articulate certain feeling tones within spaces. This artistic praxis relies upon a nonlinear, bodily knowing that seeks to challenge the dominance of ocularcentric practice in the discipline of architecture.
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Avila Forero, Juan Sebastian. "Design of training materials for teaching anatomy." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.2955.
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The present work is part of the Doctoral Research in Design, Manufacturing and Industrial Projects Management of the Universidad Politecnica de Valencia (UPV) and is incorporated in the PhD project called ¨The implementation of digital design and manufacturing technologies in the teaching of anatomy¨. It is based on the experience as a thesis director in the Design Faculty of the University El Bosque in Bogota. The project discussed thereafter aims to strengthen the skills of students in Industrial design. With a strong technological component, the project’s method relies on the elaboration of a design project, in order to deepen the knowledge of organic 3D modeling techniques and digital sculpture, taking advantage of the boom in digital manufacturing. The project focuses on strengthening the students’ communicative and interactive skills with third parties, it particularly empowers the cognitive abilities needed to work in an interdisciplinary environment. Here the study case concentrates on education in health sciences, specifically the teaching and learning of anatomy in different disciplines. In the initial phase of the project, 3-dimensional physical teaching materials were selected to provide the pedagogical approach to Anatomy and Dental Morphology classes of the Faculty of Dentistry. Said materials constituted the starting point for further experiences and indeed it triggered the implementation of various similar projects with other departments at the UEB, all aiming to facilitate the experience of teaching - learning, guaranteeing students a theoretical and practical training through three-dimensional resources. The main feature of such training consists in a better comprehension of information, thanks to a direct and concrete interaction. This article seeks to illustrate the use given to digital design and manufacturing technology to expand the range of opportunities that could be transmitted to students in academia and such process could permeate non-traditional fields for future industrial designers, demystifying their profile solely as form-esthetics configurators toward eventually emerging as leading projects coordinators in a multidisciplinary field of work. 3D printers of fused deposition modeling (FDM) can create complex didactic models. The present paper will discuss the results of the first year and a half of work based on the academic results of design students under the direction of Professor XXX, PhD student at the UPV.DOI: http://dx.doi.org/10.4995/IFDP.2016.2955
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Fernandes da Silva, Fernanda. "Le Corbusier y Lúcio Costa. Diálogos sobre la síntesis de las artes." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.783.
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Resumen: En la poética de Le Corbusier, el arte comparece como presencia continua y articulada propuesta en los diálogos entre pintura, escultura y arquitectura, procedimiento que confluye posteriormente en la noción de síntesis de las artes. Es en ese aspecto de su producción que nos detenemos en este trabajo con los textos del arquitecto que se refieren al tema y analizando la interlocución que establece con el teórico brasileño Lúcio Costa. Damos relieve a dos momentos importantes del análisis del tema de los dos arquitectos: primero durante la segunda visita de Le Corbusier a Brasil en 1936, cuando presenta La Arquitectura y las Bellas Artes, texto en el que incorpora a sus ya conocidos postulados arquitectónicos la noción de síntesis de las artes, considerada como forma de ofrecer a la arquitectura recursos expresivos que van más allá del lenguaje abstracto y técnico del funcionalismo. La segunda ocasión de diálogo entre Le Corbusier y Lúcio Costa tiene lugar durante el Congreso Internacional de Artistas, organizado por la UNESCO en Venecia, cuando desenvuelven consideraciones sobre la relación entre arte y arquitectura. Abstract: In the poetics of Le Corbusier, art appears as a continuous and articulate presence, as proposed in the dialogs between painting, sculpture and architecture, a process that converges, later, in the notion of the synthesis of the arts. It is on this aspect of his work that we focus exploring texts written by the architect on the theme. The proposed collaboration between the major arts—architecture, painting and sculpting—is recorded in a paper that the architect presented during his second visit to Brazil, in 1936, when he met Lúcio Costa, the Brazilian architect and theoretician, who was attuned to the poetics of Le Corbusier concerning the relationship between architecture and visual arts. The paper by Le Corbusier A Arquitetura e as Belas Artes [Architecture and Fine Arts], from 1936, emphasizes the idea of modern architecture in dialogue with the machine age, and to this well-known formula, a new topic is added: the collaboration between architecture and the major arts of painting and sculpting. In this way, Le Corbusier in 1952, participates in the International Conference of Artists, organized by Unesco in Venice, this conference was another opportunity for dialog between Lúcio Costa and Le Corbusier, emphasizing the poetic dimension of the architecture. Palabras clave: síntesis de las artes; Le Corbusier; Lúcio Costa; arquitectura moderna. Keywords: synthesis of the arts; Le Corbusier; Lúcio Costa; modern architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.783
Reports on the topic "Reliefs (sculptures)"
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.
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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.