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Journal articles on the topic 'Reliefs (sculptures)'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

Liang, Meiqin, Shuai Liu, and Han Qin. "The application of 3D printing technology in the formation of wide gypsum-based reliefs." Journal of Physics: Conference Series 2902, no. 1 (2024): 012003. https://doi.org/10.1088/1742-6596/2902/1/012003.

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Abstract To further explore the application of 3D printing technology in the formation of large-scale gypsum relief sculptures, this paper summarizes the types of gypsum 3D printers currently available in the domestic and international markets, as well as the maximum size of their printed products. It also analyzes the problems encountered in the formation of gypsum relief sculptures and the advantages of 3D printing technology in this field. Based on this, a wide-format gypsum relief 3D printer was developed. The specific application methods of 3D printing technology in the formation of large

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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 (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 p

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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

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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 (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 di

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Agus, Ahmadi, Murfianti Fitri, and Rahmat Ardi Candra D.A Nur. "Relief and Naladerma Metal Statue Design Based on Wayang Beber as an Alternative of Pacitan Tourism Icons." International Journal of Arts and Social Science 2, no. 4 (2023): 67–83. https://doi.org/10.5281/zenodo.7714583.

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Wayang Beber as an artwork of the original tradition of Pacitan contains local wisdom. Preservation efforts, research, creation of wayang shape development, performances, and other alternative efforts can improve the tourism sector in the Pacitan region. Wayang Beber in this study was used as a source of ideas in the creation of the iconic Pacitan as a city of tourism. This applied research aims to produce design works, artworks in the form of metal-based reliefs and sculptures, and their representations as exterior works. As an alternative chosen Naladerma who refers to Wayang Beber for one o

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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 (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 da

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Mukhlisa, Salsabila. "Characteristics, Forms and Techniques of Making Combined Figure Sculptures by Laksmi Shitaresmi." International Journal of Multicultural and Multireligious Understanding 11, no. 2 (2024): 192. http://dx.doi.org/10.18415/ijmmu.v11i2.5404.

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Laksmi Shitaresmi is a female artist from Yogyakarta who specializes in painting, sculpture, and installation, as well as other two- and three-dimensional media. Because she freely shares stories about herself and her experiences as a Javanese woman trying to balance the roles of housewife, artist, and wife, her works have a strong appeal. The various visual components she shapes and arranges in her sculptures or reliefs, as well as the stories she tells in them, can prompt us to consider our own lives. The stories in Laksmi's works are always autobiographical; the autobiographical aspect of h

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Chrudzimska-Uhera, Katarzyna. "Photographic Album of Sculptures from the State School of Wood Industry in Zakopane." Rocznik Muzeum Narodowego w Warszawie. Nowa Seria / Journal of the National Museum in Warsaw. New Series, no. 13(49) (May 20, 2025): 397–418. https://doi.org/10.63538/rmnwns.013.20.

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The album from the Collection of Iconography and Photography at the National Museum in Warsaw contains 119 black-and-white photographs depicting various objects – figurative sculptures and reliefs, interior furnishings and small utilitarian items – created at the State School of Wood Industry in Zakopane. It served as a commercial catalogue, and the use of French for the school’s name and the titles of the works suggests that the school’s output was intended for the international market. The album may have accompanied international exhibitions, in which the Zakopane school regularly participat

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Bilyk, Nadiia, та 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, № 2 (23 травня 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 o

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Zsófia, Vargyas. "Alaricustól Szent Henrik császárig. Giovanni Bonazza és műhelye szétszóródott domborműsorozata Jankovich Miklós gyűjteményéből." Művészettörténeti Értesítő 69, no. 1 (2020): 109–22. http://dx.doi.org/10.1556/080.2020.00007.

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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 “charac

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Zsófia, Vargyas. "Alaricustól Szent Henrik császárig. Giovanni Bonazza és műhelye szétszóródott domborműsorozata Jankovich Miklós gyűjteményéből." Művészettörténeti Értesítő 69, no. 1 (2020): 109–22. http://dx.doi.org/10.1556/080.2020.00007.

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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 “charac

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Biegon, Glenn. "Stereoscopic Synergy: Twin-Relief Sculpture and Painting." Leonardo 38, no. 2 (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 suc

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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 (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.

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Taylor, J. R. "MICKAEL BETHE-SELASSIE: THE SACRED FOREST PAPIER-MACHE SCULPTURES AND RELIEFS." Nka Journal of Contemporary African Art 1994, no. 1 (1994): 62. http://dx.doi.org/10.1215/10757163-1-1-62.

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Kowal, Katarzyna. "The Borobudur temple: the Buddhist architecture in Indonesia." Budownictwo i Architektura 18, no. 2 (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

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ISYCHENKO, IGOR, MARYNA PROTAS, TATIANA MIRONOVA, MYKHAILO BOKOTEI, and NATALIIA BULAVINA. "PUBLIC SCULPTURE IN WARTIME UKRAINE AS A FORM OF THE STATE’S MEMORY POLITICS." AD ALTA: 14/01-XLI. 14, no. 1 (2024): 29–34. http://dx.doi.org/10.33543/j.140141.2934.

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The authors argue that during wartime in Ukraine, public sculpture serves as a reflection of the memory politics of the contemporary Ukrainian state. As such, these politics are aimed at breaking away from the Soviet legacy that continues to exist simultaneously in the form of hidden or sometimes obvious remnants of older colonial narratives of Ukrainian history and in the form of aesthetic artifacts akin to those that can be seen in the public space of big cities, e.g. sculptures and reliefs, etc. However, in its efforts to shed the Soviet legacy, Ukraine's memory politics often uncritically

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Campbell, Louisa. "Tracking Trajectories: Projecting Polychromy onto a Roman Relief from a Scottish Castle." Heritage 6, no. 4 (2023): 3722–44. http://dx.doi.org/10.3390/heritage6040197.

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The Antonine Wall Distance Sculptures are iconic and unique sculptural reliefs that marked Rome’s most north-westerly frontier across central Scotland. Their inscribed texts and iconography depict graphic tales of frontier life, and recent non-invasive analysis has confirmed they were originally brought to life through vibrant polychromy. This paper tracks the trajectory of one Distance Sculpture that was embedded into the dramatic setting of Dunnottar Castle off the north-east coast of Scotland during the 16th century, where it was recorded as having been repainted during that episode of use.

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Susetyo, Sukawati. "Pengaruh Majapahit Pada Bangunan Puri Gede Kaba-Kaba, Tabanan." AMERTA 34, no. 2 (2016): 139. http://dx.doi.org/10.24832/amt.v34i2.181.

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Abstract. Majapahit Influence on the Grand Palace of Kaba-Kaba, Tabanan. Majapahit, as a kingdom, had spread its influence to almost every part of Indonesia such as the western part of Sumatra and the eastern part of the Moluccas, even to our neighbouring countries in Southeast Asia, which were implemented in form of equal partnership (mitra satata). The archaeological remainsfrom the Majapahit period that we can see include sacred and profane buildings, sculptures, reliefs, fragmented and intact potteries and ceramics, and literatures. They bear distinct characteristics,particularly in sacred

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Sence, Guillaume. "Dur-Sharrukin : le portrait de Sargon II. Essai d’analyse structuraliste des bas-reliefs du palais découvert à Khorsabad." Revue des Études Anciennes 109, no. 2 (2007): 429–47. http://dx.doi.org/10.3406/rea.2007.6549.

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Les sculptures en bas-relief néo-assyriennes du palais de Sargon II à Dur-Sharmkin forment, lorsqu’elles sont étudiées dans leur contexte architectural et dans leur ensemble, un portrait idéologique du roi mis en scène sur les murs du palais.

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Zhao, Difei, Chaowei Liu, Xinyue Zhang, et al. "3D Digital Modeling as a Sustainable Conservation and Revitalization Path for the Cultural Heritage of Han Dynasty Stone Reliefs." Sustainability 15, no. 16 (2023): 12487. http://dx.doi.org/10.3390/su151612487.

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Cultural relics and historical sites serve as carriers of cultural, historical, and artistic information. However, any damage incurred by these cultural relics can result in the loss of information, consequently impacting sustainable conservation and revitalization of the cultural heritage. Han Dynasty stone reliefs are a representative carrier of art and history during the Han Dynasty, an early stage of Chinese history. Due to the influence of materials, carving techniques, and protective measures, the conservation and revitalization of Han Dynasty stone reliefs have been significantly restri

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Cembrzyńska, Patrycja. "Chcą nas zmienić w reliefy i rzeźby..." Przegląd Humanistyczny 61 (September 4, 2017): 23–33. http://dx.doi.org/10.5604/01.3001.0010.4132.

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They Want to Change Us into Reliefs and Sculptures... This article discusses a role of war memorials in popularizing militarism, war bravery and the idea of dying for the homeland. Following Krzysztof Varga (a writer) and Krzysztof Wodiczko (a visual artist), the monumental structures of national memory become here a subject of critical reflection. They both show the deadly hypnotizing power of memorials over people. To this end, they create an oneiric reality, in which the sacred objects of national tradition come to life and “vampirize” the would-be patriots. The task of the hypnotic and cri

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Jasnow, Benjamin. "‘NOW ART COMES’: THE PARTHENON AND RACIAL CONQUEST IN KANSAS CITY." Greece and Rome 71, no. 2 (2024): 191–216. http://dx.doi.org/10.1017/s0017383524000020.

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The Charles Keck reliefs on the Nelson-Atkins Museum of Art in Kansas City, MO, portray the triumph of white settlers over Native Americans, who are depicted as stereotypically aggressive and ‘barbaric’. Keck's sculptures invite comparison to the metopes of the Parthenon, which depict the triumph of Greek and Athenian ‘civilization’ over ‘barbarism’. The central focus of Keck's reliefs is Fortitude, an allegorical figure whose image throughout art history is indebted to depictions of Athena and Minerva, and who serves for the Nelson-Atkins as a modern American proxy for the Athenian goddess. A

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Quien, Enes. "Najraniji i rani radovi kipara Rudolfa Valdeca." Ars Adriatica, no. 3 (January 1, 2013): 193. http://dx.doi.org/10.15291/ars.469.

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The article discusses the earliest, mostly lost works known only through archival photographs, and the early preserved works by Rudolf Valdec (8 March 1872, Krapina – 1 February 1929, Zagreb) who, apart from RobertFrangeš-Mihanović, was Croatia’s first modern sculptor. These works were created upon Valdec’s return from studying at Vienna and Munich, in the period between 1896 to 1898, that is, prior to the exhibition CroatianSalon where they were displayed. The findings about his earliest, previously unknown, works have been gathered through research in archives and old journal articles which

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Brown, Michael, Peter Miglus, Kamal Rasheed, and Mustafa Ahmad. "PORTRAITS OF A PARTHIAN KING: ROCK-RELIEFS AND THE MOUNTAIN FORTRESSES OF RABANA-MERQULY IN IRAQI KURDISTAN." Iraq 80 (September 6, 2018): 63–77. http://dx.doi.org/10.1017/irq.2018.5.

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This article presents detailed illustrations of two rock-reliefs from the neighbouring sites Rabana and Merquly, located on the flanks of Mt. Piramagrun in Iraqi Kurdistan. Both matching sculptures are aligned with perimeter fortifications that enclose substantial architectural remains. Based on numismatic parallels, supported by archaeological evidence, it is proposed that these depictions of near life-size figures represent an anonymous Arsacid King of Kings from the early first millennium (c.a.d.50-150), who was credited with construction of the mountain fortresses. Rabana and Merquly toget

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Guralnick, Eleanor. "Neo-Assyrian patterned fabrics." Iraq 66 (2004): 221–32. http://dx.doi.org/10.1017/s0021088900001807.

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AbstractThe patterns used to decorate Neo-Assyrian fabrics are known mainly through their use in the arts. Stone bronze and ivory sculptures and wall paintings incorporate decorations, sometimes enhanced with a variety of colours. The patterns for which we have evidence varied through time and in response to the use the fabric served. The secondary nature of the evidence allows only inferences on the techniques used to create the decorative patterns, but not certain knowledge. At Nineveh the subtlest distinctions in fabric patterning on stone relief survive. At Nimrud the most complex symbolic

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Jaini, Padmanabh S. "Jaina monks from Mathura: literary evidence for their identification on Kuṣāṇa sculptures". Bulletin of the School of Oriental and African Studies 58, № 3 (1995): 479–94. http://dx.doi.org/10.1017/s0041977x0001291x.

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Among the thousands of Jaina images found throughout India, those from Mathura produced during the Kuṣāṇa period are unique, for they alone contain representations of unclothed Jaina ascetics holding a single small piece of cloth in such a way as to cover their nudity. These curious figures cannot be identified with monks of the present-day Jaina sects of the Digambaras, who practise total nudity, or of the Śvetāmbaras, who wear two long pieces of unstitched white cloth wrapped around their bodies and occasionally a white blanket over their left shoulders. The veteran art-historian, the late D

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Mesihović, Salmedin. "Predstave ilirskih ethne u augusteumu u Afrodisiju / Personifications of Illyrian ethne from an Augusteum in Aphrodisias." Journal of BATHINVS Association ACTA ILLYRICA / Godišnjak Udruženja BATHINVS ACTA ILLYRICA Online ISSN 2744-1318, no. 2 (December 1, 2018): 131–48. http://dx.doi.org/10.54524/2490-3930.2018.131.

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The city of Aphrodisias (Aphrodisias; ) was situated in the continental inland of the Caria region in the south-west of Asia Minor. This town flourished in the Hellenistic period and the time of the Pergamon-Attalid dynasty that ruled Asia Minor from 282 to 133 BC. It was during this period that the city was named after the goddess Aphrodite (Venus in Roman religion) who had a very specific cult image in this city. Aphrodisias got its special symbolic meaning with the establishment of the Principate and the “first amongst the citizens”, Octavian Augustus, who was adopted into the gens Julia. O

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Jordan, Keith. "SERPENTS, SKELETONS, AND ANCESTORS?: THE TULA COATEPANTLI REVISITED." Ancient Mesoamerica 24, no. 2 (2013): 243–74. http://dx.doi.org/10.1017/s0956536113000205.

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AbstractSince Acosta's work in the 1940s, relief carvings of serpents entwined with partially skeletonized personages on the coatepantli at Tula have frequently been identified as images of the Nahua Venus deity, Tlahuizcalpantecuhtli. Comparing these Toltec sculptures with this deity's iconography in Late Postclassic to Colonial period manuscripts, however, provides no support for this identification. Based on the northern Mesoamerican cultural connections of the Toltecs, the author suggests parallels between the coatepantli reliefs and the public display of ancestral and sacrificial human re

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Campbell, Louisa. "Polychromy on the Antonine Wall Distance Sculptures: Non-destructive Identification of Pigments on Roman Reliefs." Britannia 51 (June 25, 2020): 175–201. http://dx.doi.org/10.1017/s0068113x20000124.

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ABSTRACTNon-destructive analytical techniques are now widely and successfully employed in the fields of materials science and conservation. Portable X-ray fluorescence (pXRF) and portable Raman spectrometry have proven particularly valuable for the rapid in-situ analysis of samples, but their applicability for the analysis of archaeological artefacts for which survival of surface treatments can be negatively impacted by post-depositional processes has been underexplored. Roman relief-sculpted monumental inscriptions from the Antonine Wall, commonly referred to as ‘Distance Slabs’, have offered

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ATAÇ, Nergis, and Dr KOCH. "Figürliche Reliefs frühchristlicher Zeit in Kleinasien (4.-6. / 7. Jahrhundert n.Chr.)." ADALYA 26, no. 26 (2023): 197–232. http://dx.doi.org/10.47589/adalya.1415129.

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In Asia Minor, only a relatively small number of reliefs with biblical depictions or images of saints from the early Christian period (fourth to sixth / seventh centuries AD) have been preserved. They represent an exceedingly small percentage of what was likely actually produced, with a substantial amount considered to be lost. This makes it difficult to classify the art based on geographic region, in comparison, for example, to the proliferation of the Roman grave reliefs of the second and third centuries. Nevertheless, Asia Minor was of an area of great importance for the theology of early C

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Setyawan, Hari. "IDENTIFIKASI DAN PEMANFAATAN TANAMAN MASA JAWA KUNA: STUDI KASUS RELIEF RAMAYANA DAN KRESNAYANA CANDI PRAMBANAN." Naditira Widya 16, no. 1 (2022): 1–22. http://dx.doi.org/10.24832/nw.v16i1.498.

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Kerajaan Mataram Kuno di Jawa Tengah merupakan kerajaan agraris yang berkembang pada masa Jawa Kuno abad ke-8-10 M. Salah satu data arkeologi yang monumental dari masa tersebut adalah Candi Prambanan yang memiliki pahatan relief naturalis dengan tema cerita Ramayana dan Kresnayana. Pada relief tersebut juga digambarkan tanaman yang dapat diidentifikasi jenisnya. Penggambaran tanaman pada relief Ramayana dan Kresnayana dapat digunakan sebagai petunjuk kondisi lingkungan Jawa Kuno di kawasan Prambanan pada masa lalu. Penelitian ini dilakukan dengan metode pengamatan langsung terhadap data yang d

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Savelieva, Kateryna. "Private places of worship in Tyras during Roman times." Revista Arheologică 21, no. 1 (2025): 48–62. https://doi.org/10.52603/ra.xxi.1.2025_04.

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The aim of this paper is to summarize and consolidate information on private cult practices based on sources found in the residential houses of the ancient city of Tyras. Over years of investigation, several rooms from different houses dating to the 2nd-3rd centuries AD have been excavated. Some of these rooms may have served as home shrines - spaces where families performed religious rituals and made offerings to the gods. Evidence for this includes the discovery of objects associated with cult practices, such as sculptures of deities, votive reliefs, terracotta figurines, ritual vessels, and

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Becker, Catherine. "The Buddhavanam Replica Stupa in Telangana." Comparative Studies of South Asia, Africa and the Middle East 43, no. 1 (2023): 61–81. http://dx.doi.org/10.1215/1089201x-10375357.

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Abstract The Sri Parvata Arama, or the Buddhavanam, is a Buddhist theme park near the banks of the Nagarjuna Sagar reservoir in Telangana. Sponsored by the state government, this park features at its center a full-scale replica of the Amaravati stupa. While this replica stupa might seem to revivify the largely destroyed stupa at Amaravati, this article also examines how the Buddhavanam engages with a wide-ranging visual archive in order to create a home at which every imaginable visitor—foreign and local—will encounter familiar imagery. The stupa's sculptural adornment primarily takes inspirat

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Nashchokina, Maria. "Exoticism of the East at the 1900 Universal Exhibition in Paris and its echoes." проект байкал, no. 82 (December 30, 2024): 60–67. https://doi.org/10.51461/issn.2309-3072/82.2430.

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The article considers how the 1900 Universal Exhibition in Paris influenced the appearance of buildings that used images and forms of ancient monuments of India and South-East Asia. The Exhibition made it possible to learn more about the exotic culture of those countries, including the works of architect A. Marcel (Cambodia Pavilion and Panorama ‘Voyage Around the World’). He designed the Baron Empain Palace in Cairo, which reproduces the forms of temples in India and Cambodia. The article studies Russian examples of the use of such forms (Narzan Carbonic Baths in Kislovodsk), as well as the d

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Sara, Iglić. "ANCIENT RELIGION IN SALONA." Časopis KSIO (Journal KSIO) 1, no. 2018. (2019): 15–27. https://doi.org/10.5281/zenodo.3235279.

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Salona is the capital of the province of Dalmatia. It is located in a convenient area, at the intersection of roads. Most of the roads along the Adriatic coast in Roman times, led to Salona or out of it. Because of its position Salona had early contacts with different cults from the wider Mediterranean area, although most of the influence comes from the Italian soil, which is not surprising both because of its proximity and regional importance. This paper will offer an overview of traces of worship of various Roman deities including architectur

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Putra, Cokorda, and A. A. A. Made Cahaya Wardani. "Eksplorasi Nilai-Nilai Tradisi Ramayana dalam Arsitektur Pura Desa Batuan Gianyar (Tinjauan Konsep Satyam Sivam Sundaram)." Jurnal Penelitian Agama Hindu 8, no. 2 (2024): 274–85. http://dx.doi.org/10.37329/jpah.v8i2.2360.

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One example of the wealth possessed is depicted in the Ramayana story, which has long been ingrained in Balinese culture. The Ramayana story is often expressed in various forms, including Bali's distinctive carvings. This study aims to detail and analyze the extent to which the values of the Ramayana tradition are reflected in the sculptures and reliefs at Pura Desa Batuan, Gianyar, with a specific focus on the concept of Satyam Sivam Sundaram and other traditional values. The goal is to explore the values of the Ramayana tradition through the ornaments adorning Pura Desa Batuan. This research

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Wellebrouck, Gurvane. "Le message social des représentations familiales sur les monumenta des affranchis romains." Vita Latina 197, no. 1 (2018): 192–206. http://dx.doi.org/10.3406/vita.2018.1927.

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The representation of the portraits and the sculptures of Roman Antiquity is a window open on the civilisation and the lifestyle of the men and the women of this period ; among them, the formers slaves, frequently used the funerary art, thanks to which reached us, not only registrations that freedmen had made engrave, but also constructions of low-reliefs and altars, allowing us to put faces whose social situation was detectable by their nomenclature. This double reading, textual and visual, which is the subject of our reflection, is based on the one hand on epigraphically sources, rich in inf

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Waszak, Przemysław. "Maski z kościoła w Inowrocławiu. Znaczenie płaskorzeźby romańskiej oraz jej miejsce w historii sztuki." Sztuka i Kultura 6 (December 18, 2023): 9–51. http://dx.doi.org/10.12775/szik.2022.001.

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The last twenty years have seen intensified research into Romanesque architecture n Poland. This paper addresses the issue of Romanesque sculpture and presents it by means of describing several projecting reliefs preserved in the Romanesque, partially reconstructed, church dedicated to the Name of the Blessed Virgin Mary, a symbol of Inowrocław. The church is important for the local community. Many publications on Romanesque masks and representations have been published since the 19th century, also recently. It is worth noticing that the opinions of researchers in the fields of history and his

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Ulugbek, Sh. Usmonov. "HISTORICAL STAGES OF SCULPTURE OF UZBEKISTAN." LOOK TO THE PAST 5, Special issue 1 (2022): 218–22. https://doi.org/10.5281/zenodo.6758452.

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This article scientifically highlights the stages of development and historical aspects of sculpture in Uzbekistan. In particular, mature sculptors and works of art created in the field of sculpture in our country are analyzed. The styles and types of traditional sculpture, bas-relief, high relief, relief and examples of decorative sculpture are considered. It is shown that the sculptures found on the territory of the republic are made of various materials, such as stone, iron, bone, wood, plaster, clay, copper, gold, silver, and the significance of this type of art. In recent years, positive

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Burganova, Maria A. "Sculptures of the Head of Beheaded John the Baptist." Scientific and analytical journal Burganov House. The space of culture 18, no. 3 (2022): 32–46. http://dx.doi.org/10.36340/2071-6818-2022-18-3-32-46.

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The article examines the emergence and spread of the iconography of the plot "The Head of Beheaded John the Baptist" in church sculpture. The author touches upon the history of the development of the artistic image in the context of images of the holy head-bearers on the example of the statues of St. Firmin, holding his head, which seems amazingly alive and thus, making a great emotional impression, the statues of Victoricus and Fustian of St. Denis and others. However, the author emphasises that contrary to the tradition established in European art of this period to depict the holy head-beare

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Li, Zepeng, and Mykhailo Opaliev. "Abstract monumental metal sculpture: development of expressive means." Bulletin of Lviv National Academy of Arts, no. 53 (November 27, 2024): 50–61. https://doi.org/10.37131/2524-0943-2024-53-5.

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The paper focuses on the new types of artistic expression in the form of monumental sculptures of the modernist period. At the beginning of the 20th century, new types of symbolic associations of sculpture appeared. The significance of this work is determined by the great attention of contemporary sculptors to abstraction in their work and the powerful social resonance of abstract monumental sculpture. The aim of the article was also to identify new messages that were embedded in the concept of significant monumental works. The focus was on abstract sculpture of the modernist and contemporary

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Gavrilovic-Vitas, Nadezda. "The cult of goddess Fortuna in the Roman Central Balkans." Starinar, no. 71 (2021): 163–80. http://dx.doi.org/10.2298/sta2171163g.

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The cult of the goddess Fortuna has been attested on the territory of Roman provinces in the Central Balkans with numerous votive monuments, sculptures, votive reliefs, statuettes and on glyptics. The goddess was particularly popular among the army, but also venerated by administrative personnel, merchants, freedmen, slaves and women. The epithets of the goddess imply that she was honoured by her devotees as in other Roman provinces - mainly as the goddess of good luck and chance, but also as the protectress of transport, business, routes and perhaps in bathing facilities. Fortuna was usually

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Przedpełski, Radek. "Cosmic Hunt, Copper Electroplating, Chaosmic Transduction: Chaosmotechnics of Molecular Collaboration in Matthew Barney’s Redoubt Project (2016–21)." Text Matters: A Journal of Literature, Theory and Culture, no. 13 (November 27, 2023): 231–56. http://dx.doi.org/10.18778/2083-2931.13.13.

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The article considers Matthew Barney’s artistic project Redoubt (2016–21) from the point of view of Gilbert Simondon’s transductive philosophy of individuation. Informed by Simondon—read here with Félix Guattari, Gilles Deleuze and Yuk Hui—the article performs a case study of Barney’s long-term, expansive and multi-layered project. Redoubt comprises a feature-length film, metal reliefs, and large-scale sculptures, as well as an intermedial performance. The article focuses on the mythological theme of the Cosmic Hunt deployed in Barney’s eponymous feature film as well as on his experimental art

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Aparaschivei, Dan. "Lupa Romana en Mésie inférieure. Images, discutions et hypothèses." Revue des Études Anciennes 123, no. 2 (2021): 573–95. http://dx.doi.org/10.3406/rea.2021.6999.

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La scène classique avec la louve qui nourrit les deux enfants adoptés, Romulus et Rémus, les fondateurs de Rome, apparaît aussi bien dans la littérature ancienne que dans l’art mineur et sur divers reliefs et sculptures. Dans la province de Mésie Inférieure, il existe plusieurs illustrations de la scène de la louve sur différents supports. Certaines de ces représentations apparaissent dans un contexte privé, mais au moins un de ces motifs symboliques est présent sur un bâtiment public. Toutes ces images sont analysées en détail. Ce qui est intéressant, mais pas surprenant, c’est que la plupart

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Fedoryshyn, Andri, та Oleh Rybchynskyi. "ПРОБЛЕМИ РЕСТАВРАЦІЇ СКУЛЬПТУР З РОМАНСЬКОГО ЦЕМЕНТУ В АРХІТЕКТУРІ ЛЬВОВА ДРУГОЇ ПОЛОВИНИ ХІХ – ПОЧАТКУ ХХ СТ." Current Issues in Research, Conservation and Restoration of Historic Fortifications 2024, № 20 (2024): 107–17. http://dx.doi.org/10.23939/fortifications2024.20.107.

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For the architecture of Lviv II half 19 - the beginning of the 20th century characteristic use of roman cement as a decorative material. Thanks to this, a significant amount of sculptural decor in Lviv during this period was made using roman cement. According to various classifications, architectural decor is architectural, monumental or decorative- monumental sculpture, which in turn is divided into relief and three-dimensional sculpture. Depending on the type of sculpture, the methods of its manufacture, mounting and placement on the facade differ. This affects the state of preservation and

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Meucci, Marco, Marco Seminara, Fabio Tarani, Cristiano Riminesi, and Jacopo Catani. "Visible Light Communications through Diffusive Illumination of Sculptures in a Real Museum." Journal of Sensor and Actuator Networks 10, no. 3 (2021): 45. http://dx.doi.org/10.3390/jsan10030045.

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The recent, massive diffusion of LED-based illumination devices makes Visible Light Communications (VLC) a widely recognised wireless communication technology with large potential impact in many indoor and outdoor applications. In the indoor scenario, one of the most promising VLC implementations is foreseen in museums, exhibitions and cultural heritage sites. In this context, digital data can be transmitted by the specific lighting system of each artwork and received by the nearby standing visitors, allowing a complete set of dedicated services such as augmented reality (AR) and real-time ind

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Schmidt, Klaus. "Göbekli Tepe – the Stone Age Sanctuaries. New results of ongoing excavations with a special focus on sculptures and high reliefs." Documenta Praehistorica 37 (December 1, 2011): 239. http://dx.doi.org/10.4312/dp.37.21.

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Matić, Milan, and Sandra Radenović. "Artist - Olympian." Fizicka kultura, no. 00 (2024): 12. http://dx.doi.org/10.5937/fk77-51679.

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From 1912 to 1948, eighteen hundred artists participated in art competitions within the Olympic Games. Art competitions were held at the following Olympic Games during the period from 1912 to 1948: Stockholm (1912), Antwerp (1920), Paris (1924), Amsterdam (1928), Los Angeles (1932), Berlin (1936), and London (1948). The introduction of art competitions at the Olympic Games was intended to integrate sport and art, spirit and body, and at the same time as a reminder of the cultural valuesand ideals represented in Ancient Greece. Prominent artists of that era served as judges for the artworks. Th

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Campos Sánchez-Bordona, María Dolores, and César García Álvarez. "La pila bautismal de la catedral de León." Estudios humanísticos. Geografía, historia y arte, no. 19 (February 9, 2021): 253. http://dx.doi.org/10.18002/ehgha.v0i19.6764.

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<span>The renaissancist bautismal pile of the Cathedral of Leon is decorated with various reliefs that forro an iconographical program based on ideas conected to the sacrament of the Baptism. Thus, the four scenes represent the different types of Baptism. A multiple martyrdom (probably of St. Marcelo and his sons) symbolizes the baptism by blood; the Baptism of Christ alludes to the baptism by water, and the last scene probably simbolizes the baptism by fire. Parallelly, four sculptures representing Moses, St. John the Baptist, and posibly the prophet Isaiah and one Evangelist, have been

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Grebenikova, S. A., M. L. Polovinkina, and E. A. Kantaryuk. "Economic impact on the development and features of the architecture of the early USSR." Innovative Economics and Law, no. 2 (2023): 123–28. http://dx.doi.org/10.53015/2782-263x_2023_2_123.

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Subject. This article examines the role of economic influence on the development and features of the architecture of the early USSR. The projects of buildings that reflect the entire architecture of the style of constructivism are given. Goal. The main purpose of the study is the development and development of the architecture of the USSR in unique economic circumstances. Method or methodology. The research is based on the general scientific methodology implying the application of the system approach and the general scientific methods of inquiry. The results of the work. The architecture of bu

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