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Journal articles on the topic 'Sculpture materials'
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1
Luecking, Stephen. "Sculpture from Patchwise Modules." Mathematics 7, no. 2 (February 19, 2019): 197. http://dx.doi.org/10.3390/math7020197.
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The sculptor adapts the geometry of spline surfaces commonly used in 3D modeling programs in order to translate some of the topological nature of these virtual surfaces into his sculpture. He realizes the patchwise geometry of such surfaces by gluing square modules of neoprene rubber edge to edge to define the surface which he then torques and bends into sculptures. While limited by the nature of actual materials, the finished sculptures successfully incorporate the expressive tension and flow of forms sought by the sculptor. He presents images of finished works and provides an analysis of the emotive values of a select sculpture.
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Elezović, Zvezdana. "Affirmation of Serbian sculptures in Kosovo and Metohija." Bastina, no. 56 (2022): 553–62. http://dx.doi.org/10.5937/bastina32-36832.
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The paper discusses the affirmation of Serbian sculptors in Kosovo and Metohija in the second half of the XX century. It began to develop in the province in parallel with painting, and the founding of the Academy of Arts in Pristina in 1973 can be taken as a turning point. Most artists have already been involved in current creative trends in fine arts in Kosovo and Metohija and beyond. Bužančić says that sculptural achievements, as well as facts from the art scene at the time and a promising future, reject any allusion that sculpture was still a less important sector of Kosovo's art. As the founders of Serbian sculpture in Kosovo and Metohija, we can mention Svetomir Arsić Basara, Radoslav Musa Miketić, and after some time Zoran Karalejić, and they raised sculpture in Kosovo and Metohija with their artistic creation and pedagogical work. The circle of Serbian sculptors then began to expand and prosper, with new profiles and sensibilities, enriching sculptural production in the province.
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Dzwonkowska, Paulina. "Photography and sculpture:The multifaceted relation of sculpture to photography and new media in the light of the evolving concept of sculpture." Journal of Education Culture and Society 1, no. 1 (January 17, 2020): 26–36. http://dx.doi.org/10.15503/jecs20101.26.36.
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The relationship between photography and sculpture, unlike the dialogue between the latter and painting, was long treated as a peripheral issue. Yet as early as the mid-20th century photography began to show potential that sculpture seemed to be lack. Aware of a large degree of overlap between the two forms of artistic expression, (e.g. with respect to materiality, spatiality, or accentuating frozen gestures) sculptors did not leave sculpture for photography, but attempted to create works that were interdisciplinary in structure. The rise of interest in photography displayed by Polish sculptors was closely connected with the evolution of the concept of sculpture. In the mid-20th century artists creating traditional sculptures (understood as a solid or as a visually rendered spatial form) began to experiment and cross the boundaries of well-established artistic tradition. The changes introduced enabled sculptors to interweave their field with other artistic disciplines, especially photography, even more closely. More and more frequently, sculpture started to establish multi-faceted relations with the new medium. At the beginning the potential of photography as a documentation tool was exploited. Then sculptors began to appreciate photography’s core values, using it to capture and preserve a given moment in time. Finally, they applied it in works that can be classified as close to hyperrealism. The employment of still newer materials and tools made the link between sculpture and photography inextricable, as can be shown through works of Polish artists.
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Wang, Jun Xiao. "Study on Sculpture Based on New Materials." Applied Mechanics and Materials 340 (July 2013): 335–38. http://dx.doi.org/10.4028/www.scientific.net/amm.340.335.
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In the field of sculpture, the material is a sculptor's medium for the expression of aesthetic ideas, presenting a visual image. In a strict sense, all of the sculptures in the world are reflected through the material. It is recorded in the history of Western civilization development that ancient man started the sculpture very early and they also learned to take advantage of them during the creation of the material. As time goes on, the material has been an extremely important role to play in the sculpture development. In China, traditional sculpture materials have thousands of years of development, and our predecessors have already been familiar with heat and use it freely. After the beginning of the 20th century, the traditional Chinese culture triggered major changes in the concept under the influence of Western culture shock, the traditional realist sculpture in the West spread in China for more than half a century. During this period, Western art experienced the evolution of modernism and post-modernism, and the Western modernist sculpture broaden people's understanding of the "material", they were no longer the four materials of clay, wood, stone and copper of the traditional sense. And the use of the material is very extensive. In view of this, the article analyzes and discusses the application of a new type of material in sculpture.
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Jinsin, Kun. "Chinese Buddhist Sculpture of the Early Period. Iconographic Features." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 114–26. http://dx.doi.org/10.36340/2071-6818-2020-16-2-114-126.
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Chinese Buddhist Sculpture of the Early Period. Iconographic Features The development period of the art of Buddhist sculpture from the mid and late era of Eastern Han to the era of Western Jin is addressed in this article. The Buddhist sculpture of this period is called early Chinese Buddhist sculpture. During this period, before individual Buddhist sculptures became official objects of worship, Buddha images were made on stone carvings in tombs, on money trees, bronze mirrors, hunping vessels, etc. They have many similarities between each other, and therefore are significantly different from Buddhist sculptures of the later period. Based on currently available archaeological materials, relief was the main form of Buddhist sculptures of this period; sculptures mainly served as decor and were not an object of worship. In terms of purpose and meaning, they were mainly associated with funeral rituals, beliefs about happy omens, beliefs about celestials, early Taoist and other ideas, etc. After putting in order and combining material on the remains of early Buddhist sculptures, the following features of the art of sculpture can be distinguished: 1. In many ways, the early Buddhist sculptures expressed the early style of Gandhara. 2. The early Buddhist statues were closely related to the themes of the celestials and Huang Lao. 3. Buddhist sculpture did not occupy the most respected position. These sculptures mainly performed a decorative function, symbolized happiness and prosperity, and were not the main object of worship. Two conclusions can be drawn from this: the art of early Buddhist sculptures and religion basically developed synchronously; after appearing in China, the art of Buddhist images immediately became Chinese.
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Fuentes Pérez, Gerardo. "La escultura. Engañando a la gravedad." ACCADERE. Revista de Historia del Arte, no. 1 (2021): 69–85. http://dx.doi.org/10.25145/j.histarte.2021.01.04.
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Sculptures are not capable of creating as complex scenes as painting does, except sculptural relief that creates the illusion of perspective and narration through the different planes. And it is not a question of establishing conceptual criteria in the manner of El Paragone, but rather discovering the constructive possibilities of sculpture in certain proposals, such as the representation of content through mass, height and depth, that is, the three-dimensionality. Already in the past, sculptors made an effort to obtain complex results such as the challenge to gravity (deceiving gravity), by means of optical effects, the colour, using movement, light and other components. The Niké by Peonio, the Ecstasy of Saint Teresa by Bernini, the Annunciation by Günther or many of the works by Canova, Orrico, Quinn, Bethencourt, etc. are samples of those professional boasting, always depending on the materials used. The Baroque period is the most fruitful stage in the production of these sculptural purposes, creating, as Quirin Asam did, authentic theatrical productions where the characters seem to float.
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Østergaard, Jan Stubbe. "Farven vender tilbage. Et “sandere billede” af antik skulptur." Periskop – Forum for kunsthistorisk debat, no. 18 (August 14, 2017): 118–37. http://dx.doi.org/10.7146/periskop.v15i18.105150.
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The Re-Emergence of Colour. A “Truer Picture” of the Sculpture of Classical AntiquityThough often held to be a well-known fact, the consequences of the re-emergence of polychromy of ancient Greek and Roman sculpture have not yet made themselves noticeably felt in the practice of disciplines most affected, namely classical archaeology and art history. Yet it challenges what we have long held to be “the true picture” of classical sculpture, as well as ideas on the aesthetics of later European sculpture. The absence of studies of the aesthetic dimension of polychrome sculptures of these later periods is remarkable. An outline of views on the aesthetics of the portrait of Nefertiti, a world famous masterpiece of ancient Egyptian polychrome sculpture, is followed by sections dealing in chronological order with some of aspects of how polychromy affects the picture we have of Greek and Roman sculpture. The relatively recent recognition of the unity of form and colour in Archaic sculpture is discussed on the background of the reception of the period; similarly, the unity of the sensuality of polychromy with ideal forms is the theme of the Classical section. In archaeology and art history, academic taxonomies of sculpture are established on the basis of materials, formats and dimensionalities. The advent of polychromy creates a continuum across these categories, in all periods, but is most clearly to be traced in the Hellenistic. In Roman sculpture, “copies” of Greek originals have for some time been the subject of increasingly varied, positive appreciation. The term “copy” is therefore being replaced by others, reflecting the “originality” of the contribution made by the Roman sculptors. To this can now be added that of the sculpture painter, leading to a whole new set of research questions. Were identical copies similar in their polychromy as well? This touches on the concept of “copy” and “original” in a Greek and Roman context. A final section reflects briefly on how this affects “true pictures” of later European sculpture and architecture.
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Portnova, Tatiana. "Dance in Sculpture of the Early 20th Century." Sculpture Review 68, no. 4 (December 2019): 22–34. http://dx.doi.org/10.1177/0747528420901915.
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This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The study of multi-level interactions between sculpture and dance in the context of antiquity calls for a comprehensive approach, including historical-cultural, theoretical-analytical and comparative-typological methods. Relating to ancient Greek images, ballet images of S. Konenkov, M. Ryndzyunskaya, N. Andreev, V. Vatagin, V. Beklimishev and S. Erzya provide a purely individual, unique and peculiar vision of dance corresponding to the ancient era. The categories and expressive means of dance were simultaneously analyzed close to the sculptural style of the masters because they are difficult to be divided methodologically and exist as an established artistic system. The concepts of “plastic expressiveness” in relation to the dancers imprinted in sculptures were interpreted. Analyzing the museum materials and sculptures depicting the dancing process, it was concluded that the ancient influence of plastic images on structural and genre determinants may vary.
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Bentum, Samuel Adentwi, and Mercy Gyamea Atiemoh. "Sculpture and Catering Symbiosis: The Trade of Equals." International Journal of Vocational and Technical Education Research 8, no. 1 (January 15, 2022): 23–38. http://dx.doi.org/10.37745/ijvter.15/vol8n1pp2338.
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This paper aims to explore the relationships between sculpture and catering in the area of tools, equipment, materials, and techniques in their exposition. It also aims to expose the health, safety, and environmental measures associated with the practices of these great trades. The methodology involves the use of descriptive and experiential methods. The study employed a descriptive method because the tools, equipment, materials and techniques required for these trades needed to be exposed and appreciated. Experiential method was adopted because the researchers were exploring a new merger. The qualitative technique was engaged as the research centred on information obtained from sculptors, caterers, sculpture and catering trainees, vendors and patrons of sculpture and catering products. Primary information was acquired through interaction and observation, while secondary information was obtained from literary materials. This paper resolves that sculpture and catering as trade have working tools, equipment, materials, techniques, and safety practices worthy of embracing. The study concludes that sculpture and catering have a strong relationship in their practice and processes. The research recommends that sculpture and catering trades have common practices, processes and safety measures since the same or similar tools, equipment, materials and techniques are employed in their trades/practices. It can be said that Sculpture and Catering symbiosis as a trade of equals is real and possible.
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Granzotto, Clara, Ken Sutherland, Young Ah Goo, and Amra Aksamija. "Characterization of surface materials on African sculptures: new insights from a multi-analytical study including proteomics." Analyst 146, no. 10 (2021): 3305–16. http://dx.doi.org/10.1039/d1an00228g.
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Multiple analytical techniques, including proteomics, were used to characterize materials from the surfaces of two African sculptures in the collection of the Art Institute of Chicago: a Bamana power object (boli), and a Yoruba wooden sculpture.
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Holubets, Orest. "Ukrainian sculpture of the late XX – early XXI centuries: diffusion effect." Bulletin of Lviv National Academy of Arts, no. 41 (December 26, 2019): 4–10. http://dx.doi.org/10.37131/2524-0943-2019-41-01.
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The article presents the consistent historical development of Ukrainian sculpture of the late XX - early XXI centuries. The reasons for the slow progress in the implementation of innovative ideas and technologies in three-dimensional plastics are emphasized by the continued use of the post-Soviet terminological concept of "Easel sculpture" and the monopoly of generations of experienced masters. The final selection and vision of creative works of young sculptors, was determined by older generation sculptors. The creative work of the artists who determined the progressive characteristics of Ukrainian sculpture is analyzed. They are conditionally divided into three generations. Three directions of blurring the traditional boundaries of the sculpture are analyzed. The first characterizes the appeal to the three-dimensional plastics of artists who did not study specialty in specialized departments. The second direction is characterized by a clear involvement in the sculpture of artists, who in the Soviet Union of Artists were called "applied artists". The third direction marks the exit of the sculpture within the limits of the latest art forms - installation, landscape art, body art, performance art, video art. Examples of creativity of well-known artists, new vision of sculpture, technological aspects, variety of materials are presented. The question of conceptual changes in the exhibition three-dimensional plastics, which in recent years have significantly influenced public sculpture, is being raised. It is determined that in the process of generational change, Ukrainian sculpture gets rid of post-Soviet stereotypes, becomes closer to a person, organically enters into an architectural or natural environment, and loses its usual outlines
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Jett, Paul, Nicholas Penny, and Denys Haynes. "The Materials of Sculpture." Journal of the American Institute for Conservation 35, no. 1 (1996): 65. http://dx.doi.org/10.2307/3179940.
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PENNY, NICHOLAS. "THE MATERIALS OF SCULPTURE." Art Book 1, no. 2 (March 1994): 36. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00047.x.
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Zhang, Ning, Jiexu Li, and Ying Xia. "Ferroelectric Ceramic Materials Prepared by Nanoparticles in Outdoor Environmental Sculpture Art." Advances in Materials Science and Engineering 2022 (September 16, 2022): 1–12. http://dx.doi.org/10.1155/2022/4874150.
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With the development and progress of the city, people’s research on outdoor sculpture has gone deeper, and the field of material research has been raised to the field of spiritual culture. Tang Sancai is beautiful in color and wonderful in shape, such that when ceramics are used in outdoor environmental sculpture art, except for its performance, its appearance and tone must also be taken into consideration. Even when ferroelectric ceramics are used in outdoor sculptures, changing their shapes and taking into account their colors can be done invisibly only by passing through an electromagnetic field. Ferroelectric ceramics are generally divided into insulating, dielectric, piezoelectric, magnetic, semiconductor, transparent, and infrared sensor ceramics. This article integrates the manufacturing method of ferroelectric ceramics into outdoor environmental sculpture art. First of all, this article describes the ferroelectric ceramics and outdoor environmental sculptures, explains the method of preparing ferroelectric ceramics from barium titanate nanoparticles, and explains the pyroelectric inverse process of the electric card effect principle of electric ceramic materials, the thermodynamics of Maxwell’s relationship, and the thermodynamics of Landau’s phenomenological theory. The elasticity of the system is calculated, and the preparation of tetragonal barium titanate ferroelectric ceramics prepared by hydrothermal nanoparticles and SBT/Cu ferroelectric ceramic composites prepared by nanoparticle metallurgy is explained. In the plasma discharge mode, the optimal temperature for sintering the composite material is obtained. Then through experiments, research on the preparation and performance of the high dielectric constant BTnf-Ag/PVDF ferroelectric ceramic nanocomposite and its application in environmental sculptures are demonstrated. Compared with the two ancient BTnf/PVDF composite materials, the barium titanate fiber prepared by electrostatic spinning shows that the BTnf-Ag/PVDF composite material has a higher dielectric constant, and the dielectric loss is not too high. The 41.8vol% BTnf-Ag composite material has a dielectric constant of 82.6BTnf/PVDF, but the composite material’s dielectric constant is only 62.4, an increase of 32%. The dielectric loss of the 41.8vol% BTnf-Ag composite material is 0.053, and the dielectric loss constant of the BTnf/PVDF composite material is 0.049; the dielectric loss is reduced by 8% year-on-year. Ferroelectric ceramic composites prepared by adding silver ions have ideal dielectric properties and enhanced energy storage density.
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Wang, He. "The Status, Causes, Problems and Prospects of Application of Stainless Steel Materials in Chinese Urban Sculptures." Applied Mechanics and Materials 357-360 (August 2013): 641–45. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.641.
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From 1980s, stainless steel has been widely used as a kind of sculpture material in China, because there is a large need of quickly constructed, huge-sized modern sculptures during rapid urbanization. But the problems of excessive popularization of art crafts and disappreciation of art emerged. Only through the comprehensive function of improving supervision, promoting art and technique level as well as popularizing social art education, will stainless steel development be ensured in future Chinese urban sculptures.
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Učakar, Andrej, Ana Sterle, Martina Vuga, Tamara Trček Pečak, Denis Trček, Jure Ahtik, Karin Košak, Deja Muck, Helena Gabrijelčič Tomc, and Tanja Nuša Kočevar. "3D Digital Preservation, Presentation, and Interpretation of Wooden Cultural Heritage on the Example of Sculptures of the FormaViva Kostanjevica Na Krki Collection." Applied Sciences 12, no. 17 (August 24, 2022): 8445. http://dx.doi.org/10.3390/app12178445.
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The paper presents an interdisciplinary approach to the treatment of the FormaViva collection of wooden sculptures exhibited outdoors in a natural environment near the Božidar Jakac Art Museum in Kostanjevica na Krki in Slovenia. The study focuses on 3D graphic representations of sculptures created with photogrammetry and 3D modelling. The results are photorealistic renderings, interactive presentations, 3D printed reproductions, jewellery, and interpretive animations. The research results show that graphic documentation techniques on 3D models allow for a more detailed investigation of the original structural identity of the sculpture. By incorporating 3D and interactive technologies, we are expanding the usability of cultural heritage objects. By using interpretive techniques that have led to jewellery and interpretive animations in our research, we not only breathe new life into the sculptures, but also enrich the stories of the sculptures with our own experiences of the sculptural work.
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Amissah, Emmanuel, Dickson Adom, and Joe Adu-Agyem. "Reducing cost and ensuring environmental sustainability: Palm kernel expeller as an alternative sculpture material for casting in Ghana." Journal of African History, Culture and Arts 2, no. 3 (July 12, 2022): 146–57. http://dx.doi.org/10.57040/jahca.v2i3.232.
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The materials for sculpture in Ghana have always been clay, wood, cement, resin, and silicon. These materials have their limitations. Also, some students do not have the financial strength to purchase them because they are expensive. This situation slows down the pace in the teaching and learning of practical activities in the Sculpture discipline in most Ghanaian educational institutions. Owing to this, the researchers explored the possibility of experimenting with local materials in the home regions of students which could have otherwise been a nuisance in the environment as alternative sculptural materials. The researchers adopted the Double Helix of Praxis Exegesis Model, which is an arts-based method undergird in the eco-innovation theory to investigate the possibility of using palm kernel which is abundant in the Anloga Sobolo community, Kumasi, Ghana as an alternative material for modeling, casting, and carving. The palm kernel expellers were prepared by collecting the kernel, cracking, firing, milling, and cooking to extract the oil, and then the expeller. The palm kernel expellers were mixed with selected binders to produce aesthetically pleasing modeled, cast, and carved works. Findings revealed that palm kernel expeller is non-toxic, environmentally friendly, and cost-effective alternative material for sculpture. The study contends that teachers and students in the sculpture discipline in the various Senior High and tertiary educational institutions in Ghana should constantly explore waste local materials as alternative materials for practical activities in sculpture to reduce cost and to serve as a tool for ensuring environmental sustainability.
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Podshivalova, P. I. "Reproduction Sculpture in Dutch Genre Painting of the Second Half of the 17th Century." Art & Culture Studies, no. 1 (February 2022): 244–67. http://dx.doi.org/10.51678/2226-0072-2022-1-244-267.
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The article is devoted to the peculiarities of the reproduction sculpture of the Johan Larson family workshop and the strategies of its reproduction in the Dutch genre painting of the end of the Golden Age. The analysis of the cultural situation in the 17th century Holland indicates that sculpture did not play a significant role in Dutch interiors and was mainly presented by so-called ‘beeldekens’ or figurines that were carved from inexpensive materials or sculpted from plaster, lead, or even wax. The main and largest enterprises in this branch of sculptural production were George and Johan Larson’s workshops in The Hague and London, which, due to a diverse thematic repertoire and international contacts, gained wide recognition both in Holland and beyond. Another conclusion follows from the analysis of the works by H. van der Burch, J. Steen, and G. Metsu, who suggest a different symbolic interpretation of the putto sculptures cast from plaster based on the originals of F. Duquesnoy. If in the compositional structure Larson’s reproductive material performs the function of the aestheticization of the background, then as the plot moves, depending on the content, it generates motives of romantic longing or unrequited attraction. Thus, the present article bridges significant gaps in the study of the Dutch reproductive sculpture of the Golden Age and the peculiarities of its interpretation in genre painting of the second half of the 17th century.
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General-Toro, Pablo, Rui Bordalo, Patrícia Raquel Moreira, Eduarda Vieira, Antonio Brunetti, Roberta Iannaccone, and Carlo Bottaini. "Art Casting in Portuguese 19th Century Industrial Foundries: A Multi-Analytical Study of an Emblematic Copper-Based Alloy Monument." Heritage 4, no. 4 (October 2, 2021): 3050–64. http://dx.doi.org/10.3390/heritage4040170.
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The outdoor sculpture of the first Portuguese king, D. Afonso Henriques (c. 1109–1185 AD), placed in Guimarães (North Portugal), is one of the most emblematic national sculptures. Created in 1887 by António Soares dos Reis, it possesses a remarkable symbolic value in the presumed birthplace of the king. In addition to the artistic and heritage importance of the monument, it is one of the few sculptures cast by a Portuguese industrial foundry in the 19th century. This study obtained data on the sculpture’s elemental composition and corrosion products, gathering important historical and technical information. For this purpose, a multi-analytical approach consisting of X-ray fluorescence (XRF), X-ray diffraction (XRD), optical microscopy (OM) and scanning electron microscopy (SEM-EDS) was carried out to characterise the bulk metal and corrosion layers. The data revealed a ternary alloy of Cu, Sn and Zn, with Pb, Fe, As, Bi and Mn as minor elements. The alloy matches that of other sculptures cast in that period. In terms of corrosion, it is characterised by the presence of oxides. These results represent the first step for applying an appropriate conservation strategy for bronze sculptures with similar characteristics.
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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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Andrews, Julia F. "Traditional Painting in New China: Guohua and the Anti-Rightist Campaign." Journal of Asian Studies 49, no. 3 (August 1990): 555–86. http://dx.doi.org/10.2307/2057771.
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The anti-rightist campaign of 1957 and 1958 had dire consequences for many of China's artists, just as it did for hundreds of thousands of China's intellectuals (Link 1984:11–14). A sculpture instructor and Communist Party member at the Central Academy of Fine Arts, for example, refused to testify against the artist Jiang Feng, the academy's director and a man to whom he felt personal loyalty. The sculptor was declared an “extreme rightist” and sent to a labor camp at Xingkai Lake in Heilongjiang on the Soviet border. His entire sculptural output for the following years, 1958 to 1979, was a small box filled with crudely carved tree roots, work conducted in secret without professional tools or materials (interview with A 1986).
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Arissusila, I. Wayan, and Ni Luh Putu Trisdiyani. "Pasang Surut Kerajinan Patung Kayu Pada Industri Pariwisata Di Desa Batubulan Kangin." Ganaya : Jurnal Ilmu Sosial dan Humaniora 4, no. 2 (September 13, 2021): 589–606. http://dx.doi.org/10.37329/ganaya.v4i2.1400.
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The wooden sculpture craft in Batubulan Kangin Village began in 1968. The learning process was more than twenty people, and took place in Guang Village. In 1970, after they were proficient at making sculptures, they taught their villages starting with statues of Garuda, Ramayana and others. These crafts have marketing opportunities and motivate craftsmen to increase their creativity. When there was the first Bali bombing, and the globalization market, these crafts experienced a decline. Based on that, the problems were posed, namely: How is the process of realizing wooden sculptures, what products are produced, and how are the ebb and flow of wooden sculptures in Batubulan Kangin Village. The purpose of this study was to describe the ebb and flow of wooden sculpture in the tourism industry in Batubulan Kangin Village. This study uses data collection techniques carried out by observation, interviews and document studies. Data analysis was carried out with a qualitative approach, based on aesthetic theory and social change. The results of this study are the process of realizing wooden sculptures starting from the exploration of ideas, shapes, selection of materials, tools, work processes and finishing. The products produced are statues of Garuda Wisnu, Rama Shinta, Hanoman, Chinese Dragon, Kwan Im, Toa Pe Kong, Buddha, Barong, Rangda, Saraswati, Sri, Durga, Lord Shiva, Ganesha and Kwan Sing Tee Koen statues. The ups and downs of wooden sculpture can be seen from 1970. In that year there were about twenty people who were skilled at making sculptures and developing them, for example the statue of Garuda, Ramayana, and others. The existence of these crafts, has marketing opportunities and motivates craftsmen to increase their creativity. When the first Bali bombing occurred, the globalization market, and the corona virus, these crafts experienced a decline, but craftsmen continued to produce these crafts.
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Cheglakov, Aleksandr Dmitrievich. "Assemblage technique in creating modern wooden sculptures." Человек и культура, no. 4 (April 2021): 160–67. http://dx.doi.org/10.25136/2409-8744.2021.4.35982.
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This article demonstrates the manifestation of assemblage technique in modern wooden sculpture. The author describes the essence of this method. Special attention is given to another novelty of avant-garde culture – organic art, according to the philosophy of which, the world is depicted as organic whole, the uniform system with its own laws. The pedagogical system of M. Matyushin allows demonstrating the natural bound of man and nature in the artworks. Based on the developed creative method, the author indicates that contemporary art may combine such avant-garde trends as organic art and assemblage. Another important methodology that is similar to assemblage technique, and simultaneously verges upon the practices of kinetic art, is the creation of sculptures with spinning elements. The synthesis of techniques and materials allows expanding the boundaries of art by introducing into inartistic materials. The fundamental idea of this approach is to enrich the context of existence of the artwork and its history. It is stated that wooden sculpture allows the artists to experiment. The ideas and plotlines of wooden sculptures embody the artistic diversity of decorative and applied arts.
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Licaretz, Jim. "Materials and Methods of Medallic Sculpture." Sculpture Review 69, no. 1 (March 2020): 21–23. http://dx.doi.org/10.1177/0747528420926812.
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Kulhavets, Andrii, and Oleh Rybchynskyi. "RESTORATION OF THE WHITE STONE SCULPTURE OF THE IMMACULATE CONCEPTION OF THE MOTHER OF GOD FROM THE VILLAGE OF TETEVCHYTSI OF CHERVONOHRAD DISTRICT, LVIV REGION." Current Issues in Research, Conservation and Restoration of Historic Fortifications 16, no. 2022 (2022): 75–82. http://dx.doi.org/10.23939/fortifications2022.16.075.
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The article analyzes the history of creation, stylistics and plastic solution and development of the technology of restoration of the white stone sculpture of The Immaculate Conception of the Mother of God in the village of Tetevchytsi of Chervonohrad district, Lviv region. Remarkable works of limestone were created of limestone in Galicia during the XII – XX centuries. Unfortunately, monuments of sacral art suffered major damage in the second half of the XX century due to acts of vandalism committed by followers of the communist regime ideology in Russia. They are responsible for the destruction of churches, cathedrals and synagogues. The monuments of sculptural art were destroyed as well. The rethinking of the sacral heritage and activation of restoration processes began only after the restoration of Ukraine's independence. Hence, the issue of restoration of the sculpture of The Immaculate Conception of the Mother of God in the village of Tetevchytsi is currently of great interest and complex scientific research is the basis for the success of the planned work. The sculpture was placed on the pediment over the entrance of the parish church in the village of Tetevchytsi. Before the restoration the monument was in poor condition and the head of Holy Mother was missing. Older residents of the village say that an unknown soldier intentionally shot it off during the Second World War. The bullet, which was found in the wall of the church behind the Virgin, is the evidence that this story is true. After studying the general concept of restoration the program was developed and approved: to carry out photo fixation of the state of the monument before restoration, to conduct the analysis and processing of the cartogram of losses, to determine the sequence of stone conservation works, to carry out cleaning of stone using dry method with the help of brushes, to carry out cleaning of the sculpture using the method of sandblasting, to clean it from cement layering, to perform extraction of salts, to perform structural strengthening of stone with silicon-organic matter, to restore the lost elements of the folds of clothing with mineral restoration solution, to make a head out of plasticine on the basis of analogues and make a plaster form, to reconstruct it from artificial stone, to glue the head with epoxy resins and anchor made of stainless wire, to strengthen the structure of the stone with silicon-organic matter; to cover the sculpture with a biocidal solution of long-term action; to perform glazing of the sculpture, to perform hydrophobization of the sculpture with silicon-organic solution, to make recommendations on storage conditions and compliance with the protection of the monument. The significant role in the restoration of the head played the use of analogues of sculptures from the cemeteries of the surrounding villages. As a result of comparative analysis, it was found that the stylistic solution of the sculpture corresponds to the techniques typical of the 1930s. This is confirmed by the preserved sculptural compositions in Tetevchytsi and surrounding villages. Most likely, the author of the restored monument was a representative of a craft school of this region. Compatible materials of Ukrainian and German production are used in the restoration works, which meet the principles of reversibility. It is recommended to return the monument to its place after the restoration.
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He, Liqun. "On the development of Buddhist sculpture in Ye City and the “Ye City Style” reflected by the Bei Wuzhuang hoard." Chinese Archaeology 16, no. 1 (November 27, 2016): 189–200. http://dx.doi.org/10.1515/char-2016-0018.
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Abstract The Ye City was the important Buddhist cultural center of the Central Plains and North China since the 6th century CE. Since the 1950s, rather large amounts of Buddhist sculptures have been unearthed within the scope of the Ye City Site, of which the hoard at Bei Wuzhuang found in January 2012 was the most noticeable. Through the analyses to the materials, motifs, assemblages and sculpturing characteristics of some typical samples from this hoard, the Buddhist sculptures during the Northern Dynasties in the Ye City area could be divided into four phases, which are the mid through late Northern Wei Dynasty, the end of the Northern Wei through the early Eastern Wei Dynasties, the late Eastern Wei through the early Northern Qi Dynasties and the mid through late Northern Qi Dynasty. Moreover, referring to the given historic background, the derivation of the Buddhist thoughts and the cultural communication between China and the West at that time, this paper points out that the so-called dragon-tree-shaped back screen statues popular in the mid through late Northern Qi Dynasty was a brand-new sculpture type integrated the technical tradition and composition characteristics of the white marble sculpture in the Wuding Era of the Eastern Wei Dynasty and the Gupta sculpture style newly introduced in; the creation and diffusion of this sculpture type were tightly related to the Xianbeization and Western Barbarianization policies applied by the imperial court after the founding of the Northern Qi Dynasty and the reform of monastic restrictions managed by Fashang, the Buddhist comptroller-in-chief of the empire from Zhaoxuan Monastery.
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BURGANOVA, M. A. "Glass sculpture." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 3-1 (2022): 51–61. http://dx.doi.org/10.37485/1997-4663_2022_3_1_51_61.
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Palagia, Olga. "Greek sculpture, Archaic, Classical & Hellenistic: new finds & developments 2005–2015." Archaeological Reports 61 (November 2015): 104–14. http://dx.doi.org/10.1017/s0570608415000113.
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Prospective students of Greek sculpture are daunted by the fact that they have to tackle a bibliography in several languages that stretches back to the 19th century and must often employ methods that are deemed old-fashioned. The development of style is, nevertheless, giving way now to the study of materials and techniques, as well as the historical perspectives underlying the production of sculpture at any given period. An additional difficulty is the fact that new material that comes to light is not always easily available for study, and even old material can remain out of bounds due to bureaucratic barriers. Current research tends to concentrate on the detection of polychromy on marble sculptures, a process which is best undertaken in the conservation departments of museums. 3D scanning is another expensive method which is currently being developed in various research directions.
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Vasiljević, Ivana, Ratko Obradović, Isidora Đurić, Branislav Popkonstantinović, Igor Budak, Luka Kulić, and Zoran Milojević. "Copyright Protection of 3D Digitized Artistic Sculptures by Adding Unique Local Inconspicuous Errors by Sculptors." Applied Sciences 11, no. 16 (August 14, 2021): 7481. http://dx.doi.org/10.3390/app11167481.
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In recent years, digitization of cultural heritage objects, for the purpose of creating virtual museums, is becoming increasingly popular. Moreover, cultural institutions use modern digitization methods to create three-dimensional (3D) models of objects of historical significance to form digital libraries and archives. This research aims to suggest a method for protecting these 3D models from abuse while making them available on the Internet. The proposed method was applied to a sculpture, an object of cultural heritage. It is based on the digitization of the sculpture altered by adding local clay details proposed by the sculptor and on sharing on the Internet a 3D model obtained by digitizing the sculpture with a built-in error. The clay details embedded in the sculpture are asymmetrical and discreet to be unnoticeable to an average observer. The original sculpture was also digitized and its 3D model created. The obtained 3D models were compared and the geometry deviation was measured to determine that the embedded error was invisible to an average observer and that the watermark can be extracted. The proposed method simultaneously protects the digitized image of the artwork while preserving its visual experience. Other methods cannot guarantee this.
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Skibiński, Franciszek. "Uwagi na temat gdańskiego budownictwa publicznego drugiej połowy XVI i pierwszej połowy XVII wieku pod kątem zaopatrzenia w materiał kamieniarski." Porta Aurea, no. 17 (November 27, 2018): 5–32. http://dx.doi.org/10.26881/porta.2018.17.01.
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Works of architecture and stone sculpture would never have been created without the existence of a supply network enabling access to assets crucial for their production, including stone. Based on archive quarries and analysis of existing works of architecture and stone sculpture, this article focuses on the importation of stone for the building and stonecutting industry in early modern Gdańsk. In the second half of the 16th and the first half of the 17th century the city was experiencing an era of economic prosperity and became a major center of architecture and stone sculpture in the Baltic region and the Polish-Lithuanian Commonwealth. The Gdańsk authorities put much effort into securing suitable stone necessary to carry out their ambitious projects. Builders and sculptors based in the Baltic metropolis applied various kinds of stone imported from abroad, including limestone from Oland and Sweden, sandstone quarried in Bückeburg and Bentheim, Belgian marble, and English alabaster. The kind of stone most commonly used in local architecture and sculpture was, however, the sandstone from the Isle of Gotland. To obtain this material the city authorities often approached the Danish king, as revealed by numerous letters preserved in Gdańsk and Copenhagen archives. Each year several shipments of Gotland stone would arrive in the city, the amount of stone reaching up to 10,000 cubic feet. Some of the material destined for the public building works was then prepared by workers supervised by the ‘Bauknecht’. He was an official appointed by the city authorities to support the public building industry and to facilitate the work of specialized building and sculpting workshops by overlooking low-skilled workers and supply of materials. Some of the local builders and stonecutters were also involved in the importation of stone from Gotland. Besides carrying out major architectural and sculptural works, at least some of the guild masters running large workshops were engaged in the supply of necessary materials. For this reason, they had to maintain a network of professional contacts within the Baltic region and beyond. The most prominent among them was Willem van der Meer, called Barth, a stonecutter from Ghent established in Gdańsk. Between roughly 1590 and 1610, he supplied the city with a large amount of Gotland stone, including that used for the building of the Great Arsenal. Other important members of the local milieu engaged in the stone trade were Willem and Abraham van den Blocke as well as Wilhelm Richter, continuator of Van den Blocke’s enterprise often engaged by the city authorities. These findings broaden our understanding of the professional practices of builders and stone sculptors in Gdańsk and the Baltic region in the late 16th and in the 17th centuries.
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Zhu, Weili, and Dong Wei. "Micro Nanoengraving Technology and Aesthetic Practice of Architectural Sculpture Art." Journal of Nanomaterials 2022 (May 20, 2022): 1–11. http://dx.doi.org/10.1155/2022/5845092.
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Micro nanotechnology refers to the emerging technology of material production using a single atomic or molecular structure. The structure and size of materials range from one to 100 microns or nanometers. In this paper, micro nanotechnology is used to study the aesthetic practice of sculpture technology and architectural sculpture art. This paper aims to combine traditional art ideas with science and technology to promote common development. This paper first introduces the micro nanoengraving technology and architectural sculpture art, it includes the definition of works, classification of works, and research on artistic commonalities and differences, and then summarizes the characteristics of micro nanoengraving materials. Finally, this paper will carry out aesthetic practice of sculpture works based on micro nanocreation. Finally, this paper compares with the works created by traditional technology. The results show that the recognition and creativity evaluation of sculpture works based on micro nanocreation have reached more than 8 points. It verifies the effectiveness of the technology.
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Zhang, Qi, and Shi Yng Wang. "The Influence and Application of Stainless Steel to Modern Sculpture." Applied Mechanics and Materials 620 (August 2014): 417–20. http://dx.doi.org/10.4028/www.scientific.net/amm.620.417.
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Understand the impact of new materials on the study of modern sculpture, stainless steel sculpture and its understanding, awareness and stainless steel sculpture to the current problems that exist through observation, induction and summary, stainless steel sculpture by recognizing the problems at the same time, given a reasonable solution. Such as the use of welding techniques, and how to be colored stainless steel polishing process.
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Ring, Jesse J. "Material mind: Gum on walls, drifting stones and other acts of community sculpture." Technoetic Arts 19, no. 3 (November 1, 2021): 283–94. http://dx.doi.org/10.1386/tear_00069_1.
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Community acts of material signification are an important form of sculpture that occur through an exchange of human and non-human agents. First these acts of sculpture are discussed in relation to extended mind, the morphogenic model of making, material engagement theory and entanglement to frame how humans shape the world as collaborators with non-humans by extending mind through material. I then discuss various acts of community material accumulation that I consider sculpture, skateboarding and clay forming as evidence of extended mind, comparison of the morphogenic to the hylomorphic model of making, occurrences of materials affecting other materials absent of human intervention and my recent participatory installation Stone Fruit. These topics are used to present a lens for understanding the production of sculpture as a collaboration with opposed to dictation on systems of materials, places and people. This lens, in turn, presents community sites of material accumulation to be an important form of sculpture production.
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Roncato, Sergio, and Fabio Roncato. "The Veiled Statuary: A Lesson from Sculpture to Vision Psychology." Art and Perception 7, no. 2-3 (November 29, 2019): 176–210. http://dx.doi.org/10.1163/22134913-20191120.
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Visual artists can be considered the precursors of students of the visual system. Paintings and graphic arts have been attentively examined by vision scientists, while sculpture has been considered less. Here we intend to fill this gap by illustrating how artists faced what seems an impossible challenge: to carve a stone so that it looks like a transparent veil. The success of the artists in reproducing the veil can be assessed by exploring the hundreds of Internet pages dedicated to ‘veiled statuary’. We chose some of the most admired statues and tried to ‘glean’ the sculptor’s technique. Two of these artworks are the work of Greek artists, the other statues were carved by baroque and modern sculptors. We did not find a single technique but, rather, a diversity of solutions, as is to be expected in an exploration in which opposites must be reconciled: an observer has to catch the presence of something elastic, thin, and transparent in a surface made of a rigid and opaque material. We checked the ability of the sculptor to render such properties by submitting samples of veiled statues to some observers who were asked to judge the strength of the veiling effect, and to categorize the perceived materials and features, such as transparency and thinness. The results confirm the artists’ knowledge of visual cues that are able to convey a complex set of information and meanings: material categorization, materials properties, perceptual decomposition of surfaces, completion of perceptual fragments into unitary percepts.
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Rawstrone, Annette. "We've explored… sculpture." Nursery World 2019, no. 23 (November 11, 2019): 20–21. http://dx.doi.org/10.12968/nuwa.2019.23.20.
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Millatina, Silmi Nabilah, Rina Maryanti, and Verra Wulandary. "Strengthening Literacy of Cultural Arts and Crafts in the Material of Sculpture for 6th-grade Elementary School Students through Learning Video Media." Indonesian Journal of Educational Research and Technology 2, no. 3 (January 23, 2022): 189–94. http://dx.doi.org/10.17509/ijert.v2i3.38675.
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The purpose of this study was to determine and improve students' understanding of literacy through learning video media. Based on previous research, there are not too many studies that discuss Strengthening Literacy for Learning Arts, Culture and Crafts in Sculpture Artwork Materials for 6th-grade elementary school students. This study uses a quantitative approach to pre-experimental design in the form of pre-test and post-test. Based on the results of the research that has been carried out, before providing an understanding of the material of Sculpture in the students' understanding of Cultural Arts and Crafts learning, the results of the pre-test only reached an average value of 61.0% then an increase occurred after the learning video media was given, the post-test results the test given increased by 90.28%. The results showed that the difference was 29.28%. So, it can be concluded that the use of instructional video media on the material of sculptures learning Arts, Culture and Crafts can improve students' knowledge literacy.
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Molodin, Viacheslav, Dmitrii Cheremisin, Yulia Nenakhova, Dmitrii Nenakhov, and Natsag Batbold. "The Chemurchek Anthropomorphs." Stratum plus. Archaeology and Cultural Anthropology, no. 2 (April 30, 2022): 247–63. http://dx.doi.org/10.55086/sp222247263.
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The article studies peculiar anthropomorphic rock images of the Mongolian Altai, representing some persons in shoulder clothes. The co-authors analyzed the results of their own field studies and published materials from the excavated complexes of the Mongolian Altai, Tibetan petroglyphs and stone sculptures of Xinjiang. They offer an experience of typological research of the “Chemurchek type” anthropomorphic figures, a chronology and semantics of these images, and present their hypothesis about the prototypes of “Chemurchek anthropomorphs” in the cult sculpture of the Bactria–Margiana archaeological complex.
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Parisi, Camilla. "Pioneering sculptural workshop techniques: Filippo della Valle and Francesco Cerroti in eighteenth-century Rome." Sculpture Journal 30, no. 2 (November 1, 2021): 153–314. http://dx.doi.org/10.3828/sj.2021.30.2.4.
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The recent blossoming of studies on central Italian sculpture of the first half of the eighteenth century has not yet focused on artistic technique. In this article, an attempt is made to introduce this subject by providing, through a series of examples, a first picture of the practice and skills of two fundamental figures of those years: the sculptor Filippo della Valle and the stonemason Francesco Cerroti. The article focuses on their technical knowledge of materials in order to highlight the production system of the sculptor’s workshop, which included the extensive use of measuring points and ruled copying frames, and the important skills of the stonemason, so as to shed new light on a type of specialization that is often little considered. This reconstruction, although very specific, raises an important issue: the semi-industrialization of sculptural practice, regarding both specific tools and the involvement of professional figures, has always been attributed to the context of Antonio Canova, but as this article shows, it has much deeper roots.
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Demir, Canan. "Views of students in sculpture workshop lessons regarding waste material use and recycle products." Global Journal of Arts Education 5, no. 1 (April 14, 2015): 31. http://dx.doi.org/10.18844/gjae.v5i1.57.
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Students in sculpture workshop lessons use various materials as allowed by the technical knowledge and pattern within artistic production process. The used materials may be waste materials as well as ready purchased materials. Students contribute to artistic production process, nature and social responsibilities while using waste materials. With this research, 1 year experience of future visual arts instructors regarding waste material use in sculpture workshop lessons and their views regarding this are tried to be determined. It is supposed that the students’ using the waste materials in education and learning process will be effective in enhancing their awareness towards the environment. This is important in terms of their being sensitive to people their environments and making use of the waste materials as well as artistic production. Qualitative research methods are used in the study. Study groups are used instead of universe and sample for healthy content analysis of interviews. Interviews are analyzed using content analysis and descriptive analysis. As a result of the study, various codes and themes regarding waste material use by students in sculpture production process are found.Keywords: visual art education, sculpture education, waste materials, recycling
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Guo, Zhilei, Liling Huang, and Li Tian. "Preparation of High-Refractive-Index Flexible Nanoparticle Laser Engraving Materials and Micro-Nano Sculpture Art." Advances in Materials Science and Engineering 2022 (July 13, 2022): 1–11. http://dx.doi.org/10.1155/2022/9986466.
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The continuous development of nanotechnology has brought new trends of thought and new impetus to sculpture art. In the field of microengraving, people usually use two-photon engraving technology, but not every particle conforms to the engraving process. ZnO nanoparticles have a high refractive index and are extremely flexible, making them the material of choice for laser engraving. This article aims to investigate whether the incorporation of high-refractive-index flexible nanoparticles into engraving techniques can significantly improve the functional properties of products. This paper firstly introduces the preparation methods of common nanoparticle laser engraving materials and then describes simple micro-nano sculptures on this basis. Finally, experiments on the transmittance and refractive index of ZnO nanoparticles are carried out. The experimental results show that the refractive index and transmittance of this material are 1.7 and 1.039, respectively, which is very suitable for laser engraving.
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Orobets, Julian, and Oleh Rybchynskyy. "THE RESTORATION PROGRAM OF THE WHITESTONE SCULPTURE OF THE VIRGIN OF THE IMMACULATE CONCEPTION FROM THE VILLAGE OF DOBRYANY HORODOK DISTRICT." Current Issues in Research, Conservation and Restoration of Historic Fortifications 16, no. 2022 (2022): 83–90. http://dx.doi.org/10.23939/fortifications2022.16.083.
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The article demonstrates the peculiarities of the artistic sculpture of the Virgin Mary in the sculpture of the late XIX-first half of the XX century. The main positions of the restoration program and the course of its implementation are revealed. The plastic nature of the folds and compositional principles suggest that the sculptor worked in the mid-XIX - early XX centuries. The textural and petrographic properties of the stone are the basis for the assumption that the author worked in the village of Demnya because the complex of the church of St. Nicholas and the one analyzed in the article have many similarities. Comparing some of the sculptures of famous authors of the late Baroque and Classicism, we can identify fundamental similarities: portrait features, execution of tears, and the nature of the image of the lips, feet and hands. In the sculpture of the Mother of God from the village of Dobryany, Horodok district, the influence of the works of Peter Viitovych, Leonardo Marconi, Vuytsyk, Plishevsky and Soltys is noticeable. The works of these authors are characterized by realism, careful expression of the anatomy of the human body, true depiction of movement and clear composition. Before the restoration work began, the white stone sculpture was in poor condition. Below the figure, on a memorial plaque, it is written that masters from the village of Demnya restored it in 2000. 5 layers of whitewash were found on the sculpture. The sculpture in the village was whitewashed with lime in honour of holidays and solemn events. Initially, the figure was not covered with paint. The figure of the Virgin was divided into two parts. The lower bullet with the snake and the feet was broken off from the rest of the body. These parts were previously fastened to an anchor made of black iron and cement. Anchor slashed hard and spread the stone. As a result, the folds of the dress and previous masterpieces were peeled off at the bottom. After a thorough examination, non-professional fastening of the folded arms was revealed. There were inaccurate traces of cement additions and cracks in the places of glueing. A profiled base was also glued to the ball on a dense layer of cement. In general, due to the colonies of bio-growers and large areas of whitewash, the work lost its aesthetic appeal and symbolic content. The first stage of restoration consisted of the layer-by-layer sounding of limestone. After opening the limestone, the object was dry cleaned. Dry cleaning was done with scalpels, nylon brushes, and small brass and steel brushes, not durable places were tapped with a chisel in order not to damage the original surface of the stone. When the lime filler was poorly removed, the method of wet cleaning was used, a detergent solution dissolved the lime filler. The detergent solution was applied with a flute brush and the fluffy surface was cleaned with a nylon brush. The detergent solution is made for better penetration of surfactants into the pores - soap softens the surface of the water, which helps to dissolve the dirt in the pores of the stone. Subsequently, the stage of structural strengthening of the stone was performed. To achieve this goal, the organosilicon hardener Remmers KSE 300 was used. The solution was applied with a brush. To crystallize the organosilicon hardener a technological break was taken for two weeks, moving on to the stage of glueing parts. Bonding of elements took place with the help of epoxy glue from TENAX. Before applying the glue, the elements were coated with a 3% alcohol solution of polymer "Paraloid B72". The upper and lower parts of the sculpture were attached to epoxy resin and two stainless steel rods. The lost fragments of the folds of the Virgin's clothing were made of fibreglass reinforcement attached to the holes of the stone with epoxy glue. After completing the stage of glueing the sculpture, the addition of lost elements was performed. A mineral carbonate solution was used. After a two-week technological break, the stage of toning the supplemented parts began in order to achieve organic homogeneity of the figure. The next step is to cover the stone with a long-acting biocidal solution. At the end of the restoration, the work should be covered with lime water to even out the overall tone of the sculpture. The sculptural composition of the Immaculate Conception of the Virgin Mary from the village of Dobryany, Horodok district, is of great artistic and historical value. During the restoration of the sculpture the compatible materials were used as well as generally accepted and original restoration tools, which will allow the exhibition of the work of art in an authentic place near the chapel., After returning the work to its holders, it is recommended to exhibit it under an architectural cover to prevent the aggressive effects of precipitation and the negative changes in temperature and humidity in autumn-winter.
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Garlake, Margaret. "Materials, methods and modernism: British sculpture c. 1950." Sculpture Journal 17, no. 2 (December 2008): 51–62. http://dx.doi.org/10.3828/sj.17.2.5.
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Marter, Joan M. "The Engineer Behind Calder’s Art." Mechanical Engineering 120, no. 12 (December 1, 1998): 53–57. http://dx.doi.org/10.1115/1.1998-dec-2.
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This article reviews the significance of Alexander Calder’s, a renowned sculptor, technical and engineering expertise that has become increasingly clear in recent years. Calder’s most important innovation in the development of wire sculpture was the suspension of his wire forms from a single wire thread. A small wood-and-wire caricature of a monkey was the first, soon followed by several caricatures of Josephine Baker, the star of La Revue N è gre at the Folies Bergè re and an international sensation in 1925. Like Leonardo da Vinci, Calder was primarily interested in problem solving, in experimenting with materials, mechanical systems, and devices. Calder’s studio was like a laboratory, with experimental works piled into corners or suspended from hooks in the ceiling. The most engaging aspect of Calder’s sculpture was its interaction with space. Mobiles participated in lively dialogues with their environs, reacting to air currents and human touch.
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Tomczak, Karolina. "Deflationist Caprice: “Imperfections” in the Sculpture of Leon Podsiadły." Arts 10, no. 2 (June 18, 2021): 39. http://dx.doi.org/10.3390/arts10020039.
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This article is an attempt to define the ambiguous specificity of artistic deflation in the sculpture of the Wroclavian artist Leon Podsiadły. At the outset, the author describes the principle of deflationist art and proposes a method of approach. She then discusses the “imperfections” within Podsiadły’s sculpture, the main manifestations of which include the use of common materials and mundane objects, secondary anti-mastery, and dememorization. These features coexist with well-thought-out composition, the inventiveness of the choice-making artist, and the creative fascination of unconventional artistic qualities, to which deflationist unlearning adds a unique slant. Seen from this perspective, Podsiadły’s deflationist caprice persuasively affirms the elasticity of the oscillation between the optics of modernism and postmodernism that defines his art. This oscillation can be seen, for instance, in those among his sculptures that were inspired by his stay in Africa in 1960s; in his “erotic” compositions; and in his installations of the 2010s in which he used the ready made. His “reductive” artistic experiments testify to a need for ironic distance; they individually gravitate toward the transgressive avant-garde and at the same time respond to the current trend of deskilling in art.
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Prayoga, Kadek Joning. "PEMBUATAN PATUNG TARI BARIS MENGGUNAKAN BAHAN DAUR ULANG KARDUS." Jurnal Pendidikan Seni Rupa Undiksha 12, no. 1 (January 31, 2022): 55–61. http://dx.doi.org/10.23887/jjpsp.v12i1.43445.
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Abstrak Tujuan dari pembuatan skripsi ini adalah untuk mengetahui (1) Proses pengolahan bahan daur ulang kardus kedalam seni patung. (2) Teraplikasikannya pengolahan material daur ulang kardus kedalam seni patung.Obyek yang dikaji dalam penelitian ini adalah patung karya penulis yaitu I Kadek Joning Prayoga. Pendekatan ini menggunakan metode penelitian R&D (Research and Development). Kegiatan pertama adalah melakukan penelitian dan studi literatur untuk menghasilkan rancangan produk tertentu, dan kegiatan kedua adalah pengembangan yaitu menguji efektifitas, validasi rancangan yang telah dibuat, sehingga menjadi produk yang teruji dan dapat dimanfaatkan masyarakat luas. Menurut Mulyatiningsih (2012: 161), penelitian dan pengembangan bertujuan untuk menghasilkan produk baru melalui proses pengembangan. Beberapa teori dan pendapat yang dihimpun menyebutkan bahwa (1) pada dasarnya keberadaan pendaurulangan limbah menjadi karya patung merupakan kegiatan yang dilakukan karena keterbatasan pada bahan baru. (2) Mengenai bahan yang digunakan cukup sederhana yaitu : kardus, kertas bekas, kawat, kaleng bekas, clay, kayu, pipa aluminium, cat warna dan cat clear. (3) Mengenai alat yang digunakan yaitu : pisau cuter, gunting, gergaji besi, tang, amplas, dan bor cun.(4) proses pembuatan meliputi: pemilahan bahan, pembuatan sketsa, pe mbuatan rangka, pembuatan bentuk dasar, pembuatan payasan, penditailan, dan finishing. Kata-kata Kunci: Patung kardus Abstrak The purpose of making this thesis is to find out (1) the processing of recycled cardboard materials into sculpture. (2) The application of recycled cardboard material processing into sculpture. The object studied in this research is a sculpture by the author, I Kadek Joning Prayoga. This approach uses the R&D (Research and Development) research method. The first activity is conducting research and literature studies to produce a specific product design, and the second activity is development, namely testing the effectiveness, validation of the design that has been made, so that it becomes a tested product and can be utilized by the wider community. According to Mulyatiningsih (2012: 161), research and development aims to produce new products through the development process. Several theories and opinions collected stated that (1) basically the existence of recycling waste into sculptures was an activity carried out due to limitations on new materials. (2) Regarding the materials used, it is quite simple, namely: cardboard, used paper, wire, used cans, clay,wood, aluminum pipes, color paint and clear paint. (3) Regarding the tools used, namely: cutter knife, scissors, hacksaw, pliers, sandpaper, and cun drill. (4) the manufacturing process includes: sorting materials, making sketches, paintingmaking frames, making basic shapes, making payasans, detailing, and finishing. Keywords: Kardboard sculpture
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Knotek, V., J. Červinka, and Z. Křenková. "Survey and restoration of outdoor glass reinforced polyester sculptures." Koroze a ochrana materialu 63, no. 3 (November 1, 2019): 130–37. http://dx.doi.org/10.2478/kom-2019-0017.
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Abstract The beginning of the use of polyester resins for artistic work date back to the late 1950s. Initially, resins were supposed to temporarily replace and imitate traditional but more expensive sculptural materials (stone, bronze). Later, original, especially fiberglass works were created, where the laminate formed a shell connected to the internal supporting steel structure. Until now, only part of the exterior works of art made of polyester resins have been survived. Although polyester resins are considered to have good weather resistance, most exterior sculptures exhibit more or less severe defects, often resulting from neglected maintenance. The main types of defects occurring in polyester fiberglass works are presented. The most serious damage is cracks in the entire thickness of the shell, because water can easily penetrate to the internal steel structure. In the case of prolonged water penetration, the statue may collapse due to corrosion. The article presents the procedure of exploring the fiberglass sculpture from the 1950s with the introduction of suitable methods for the documentation of the state of the work. Finally, suitable restoration interventions to maximize the life of the statues are discussed.
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ÖZDEMİR, Soner. "ARTIFICIAL LIGHT SOURCE AS A COMPONENT CONSTITUTING THE SCULPTURE." IEDSR Association 6, no. 15 (September 20, 2021): 235–45. http://dx.doi.org/10.46872/pj.351.
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Light, which is the main source in which plastic arts produce meaning by processing it, indirectly takes place in all works of art with its different colors and tones throughout the history of art. With the use of new materials and techniques in art with the modern period, it is seen that the light itself, that is, the light source, is also included in art works as a medium. This situation allowed the artists to create brand new perceptions and effects. With the second half of the 20th century, the use of artificial light source in sculpture as an element belonging to the sculpture is encountered. Some of the artists selected as examples in this study were chosen in terms of being the first example in terms of the material they used, the way they used the light source and the diversity of the content they produced with these materials. Light, which is one of the primary conditions for perception in sculpture; In this study, the material forming the sculpture, such as transparency and reflection, is not based on its interaction with its structure, but as an element that forms a part or whole of the sculpture. It is aimed to show the effect of using artificial light source in sculpture on expression and perception through selected examples.
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Tukora, Balázs. "Virtual sculpture project." Pollack Periodica 1, no. 2 (August 2006): 99–106. http://dx.doi.org/10.1556/pollack.1.2006.2.8.
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Banaszek, Michał. "“The Silence of Forms” – liberated concrete matter in a sculpture." Cement Wapno Beton 26, no. 5 (2021): 379–87. http://dx.doi.org/10.32047/cwb.2021.26.5.2.
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Although the application of concrete in the visual arts is not as wide as in the construction industry, it reflects diverse artistic attitudes and expectations regarding this material. We come across its use mostly in public space, being a natural space for concrete. When it comes to small-scale sculptures exhibited in art galleries, concrete is not found that often. Sculpture is a vastfield dominated from one hand by traditional materials such as bronze, stone, ceramics, but also open to spatial and material experiments. The articles presents a number of concrete use cases in the creative way: its method, the output, and the conclusions. The aim of the project was to depart from the typical architectural function of concrete and to present it as the flexible one that enables one to take advantage of its expressive features. As a result, a set of works called “The Silence of Forms” was created, which was fully or partially presented in some art exhibitions in the years 2019-2021.
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Scherer, George W., Robert Flatt, and George Wheeler. "Materials Science Research for the Conservation of Sculpture and Monuments." MRS Bulletin 26, no. 1 (January 2001): 44–50. http://dx.doi.org/10.1557/mrs2001.18.
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Mountains give the illusion of durability because their grand scale hides the continual weathering of their surfaces. When the same stone is used to create a sculpture, the loss of a few millimeters suffices to spoil, or even eliminate, the features of a face; the rate of loss may be surprising, but it is not necessarily unnatural.