Academic literature on the topic 'Sculpture-on-the-round'

In the past fifty years Nigeria has witnessed an almost unparalleled upsurge in three-dimensional art production significantly, sculpture in the round. The emergence of the latter can be traced to pioneer African sculptures whose pieces have been adjudged contribution to world artistic heritage. This paper, therefore, examines the continuity and change in sculpture practice as a result of contact with Western cultures and the artistic influence in form, style, theme and material of contemporary sculpture in Nigeria. Significantly, this paper hopefully serves as reference point for future scholarship on sculpture in Africa, while at the same time assist in formulating critical theories on sculpture practice in contemporary Africa, and Nigeria in particular.

New finds of stone sculptures from the epoch of early nomads are quite rare. Therefore, the publication of such new sculptures of pre-Scythian times, besides, two more at once, should be of interest. Moreover, both steles were found in a very limited area of the North-Western Black Sea region and each of them has a unique iconography and a rather original repertoire of objects. The stele from Kairy village is a type of pillar-shaped sculpture. The most original image on it is a round shield with a very rich ornamental composition. The stele from Aleksandrovka belongs to the stele-slabs. This type of sculpture is possibly an intermediate link between purely phallomorphic (Cimmerian) and anthropomorphic (Scythian) sculptures. Since markers of relative chronology are columnar and slab steles – the first are early, the second – late, this may mean that in the upper reaches of the Tiligul estuary in a fairly limited area, the tradition of installing the Cimmerian sculptures persisted for quite a long time.

Background and Aims: The Chinese government has issued a series of policy documents to support the development of the cultural industry, providing policy guarantees and guidance for the development of sculpture education. Traditional teaching methods usually use unified teaching content and teaching methods, which cannot meet the individual needs of students. The comprehensive application of "Mastery Learning with Mind Mapping" theory and methods can provide solid technical support and rich teaching methods for the reform of sculpture education. Through the application of personalized learning plans and mind mapping, students' learning content and space can be expanded, and their learning efficiency and learning quality can be improved. This comprehensive approach can not only meet students' learning needs but also stimulate their learning interest and creativity and promote their all-round development. Therefore, the promotion and application of this method in sculpture education are of great significance and value. This study aims to explore and evaluate the impact of mastery learning combined with mind mapping technique on college students' sculpture learning achievements and performance ability through mastery learning combined with mind mapping technique. Materials and Methods: The instruments for the experiment were four lesson plans. To evaluate the quality of a curriculum plan, it can be assessed using a Likert five-point scale. The quality of the scale can be measured using the Item-Objective Congruence (IOC) The assessment process involves analyzing each component of the lesson plan, attributing scores on the Likert scale, and then calculating the average score and the standard deviation (SD) for each component. The instruments for collecting data were two instruments needed to collect the sampling data, as the detailed list showed: sculpture score assessment and sculpture performance competency assessment. The sample was 30 students (one class) among the 120 junior students in the 2023 academic year. The procedures for data collection are as follows, the sample learning achievement before and after learning through Mastery Learning with Mind mapping and sculpture performance ability after learning through Mastery Learning with Mind mapping with the established 70 percent Results: The study evaluated the effectiveness of employing mastery learning combined with mind mapping techniques to enhance students' learning achievement and sculpture performance ability. Significant improvement was observed, with posttest scores surpassing pretest scores (t =13.06*, p =0.05). Furthermore, students' sculpture performance ability scores after mastering learning with mind mapping (81.1%) exceeded the 70% criterion, with statistical significance (t =11.05*, p =0.001). Conclusion: Compared with previous related studies, the results of this study showed that using mastery learning combined with mind mapping technique teaching had a significant positive effect on the sophomore research on sculpture performance ability. This is consistent with the findings of Chen Linsheng (2022), who found that the use of mind-mapping techniques in art education can improve students' learning achievement. Combining the findings of previous studies and the results of this study, we can conclude that mastery learning combined with mind mapping technique teaching has positive effects on the ability of sculpture performance in sophomore students. However, further research still needs to explore the impact of different teaching methods on students of different grades and specialties to get a more comprehensive understanding of the effects of mastery learning combined with mind-mapping technique teaching.

The well-known image of Tigran the Great of modern drams occupies a central place in monumental sculpture as well as high-sculpture iconography. While creating round statues, sculptors-engravers depicted Tigran the Great in their own way, dressing him in imitation of the clothes of the famous Roman rulers of the time. The sculptors did not even protect the well-known portrait from the dram: they were guided by their own ideas. In that sense, the episodes are more conservative. In their high sculptures, Tigran the Great has a recognizable image and repeats the image on the drams. Among the Armenian artists, the statues of Tigran the Great were created by the Tokmajian family. In their works, the image of the king is more symbolic than concrete.
 The statue "Tigran, King of Armenia" created by Matteos Lespagnandelli (17th century), differs in form and content.
 The high-value sculptures of the Armenian king depicted on the obverse of Tigran the Great drams are original works of art.
 The article discusses the image of Tigran the Great in sculptural art. Based on the historical and chronological comparative analysis of the works, an attempt was made to understand the features of the works depicting Tigran the Great.

When sculpture came to prominence in Western Church architecture in the eleventh century it had largely been absent for some seven centuries. Scholars have explained the paucity as a recognition among Christian leaders of the dangers of life-like, in-the-round objects that might move observers into idolatry. Scholarly consensus has also explained sculpture’s reappearance in the period of Romanesque as a part of the revivalist efforts aimed at reclaiming the grandeur and authority of ancient Rome. Thomas E. A. Dale is perhaps too subtle in situating his book within and against this historical context, but he quite explicitly and emphatically piles on evidence for an alternative.

Two new species from China, Bryochoerus liupanensis sp. nov. and Pseudechiniscus chengi sp. nov. (Tardigrada: Heterotardigrada: Echiniscidae), are reported. Bryochoerus liupanensis sp. nov. is characterized by median plates 1 and 2 divided into four parts while median plate 3 is divided into three parts, and by two lateral plates on each side of all median plates. The new species differs from Bryochoerus intermedius in having a different cuticular sculpture and different lateral plates. Pseudechiniscus chengi sp. nov. is characterized by: head plate faceted, cephalic papilla dome-shaped, pseudosegmental plate with a longitudinal median fold, all plates including the dorsal plates and plates on legs with ornamentation composed of dense round dots, differing in size, and lacking striae between the dots. Pseudechiniscus chengi sp. nov. is most similar to Pseudechiniscus santomensis but differs by: lacking striae between the round dots on dorsal plates, lacking the tiny projections on the caudal margin of pseudosegmental plate, and the divided pseudosegmental plate.

Electronoyesella antiqua Simutnik, gen. et sp. nov., is described and illustrated based on a female specimen from late Eocene Rovno amber. Like most previously described Eocene Encyrtidae, the new taxon differs from the majority of extant ones in a number of features. Sclerotised metasomal structures, similar to the paratergites of extant Tetracneminae, are seen here for the first time in fossils. The new genus is characterized also by the frontovertex with four vertical rows of piliferous punctures and the face also with intricate sculpture; notauli are present as small but distinct depressions, only anteriorly; the apex of metatibia with a peg originating from a round, deep pit; and the unusual setation of the hind wing.

Electronoyesella antiqua Simutnik, gen. et sp. nov., is described and illustrated based on a female specimen from late Eocene Rovno amber. Like most previously described Eocene Encyrtidae, the new taxon differs from the majority of extant ones in a number of features. Sclerotised metasomal structures, similar to the paratergites of extant Tetracneminae, are seen here for the first time in fossils. The new genus is characterized also by the frontovertex with four vertical rows of piliferous punctures and the face also with intricate sculpture; notauli are present as small but distinct depressions, only anteriorly; the apex of metatibia with a peg originating from a round, deep pit; and the unusual setation of the hind wing.

The article focuses on comprehensive analyses of four new Turkic statues from the territory of the Ongudai and Ust-Kan districts of the Altai Republic and introduction of the new data into scientific circulation. All the sculptures have been relocated from their original places and, as a rule, were discovered in the course of agricultural works. The analysis of these sculptures by the author was possible thanks to the information provided by a local historian. The considered sculptures belong to two most numerous groups of such monuments in Altai: sculptures of man-warrior in canonical pose and the so-called facial sculptures. The four sculptures can be preliminary dated to the 7th–9th centuries and attributed to the Karluk population. Two sculptures (from Amaldai and Yabogan) representing vivid examples of the Turkic monumental art of Altai, are particularly notable. The head of the Yabogan sculpture belonged to a noble man-warrior, probably in a canonical pose - one of the most expressive and skillfully made Turkic sculptures of the Altai. This is evidenced by the thoroughly and artistically rendered facial features, as well as the presumed size of the sculpture of 2–2.5 meters high. The Amaldai, which gives the full impression of a round sculpture, probably reproduces a left-handed man holding a vessel in his left hand. This fact is as vivid evidence that the Turkic sculptures portrayed real people rather than a generalized image of a warrior, as some researchers believe. Taking into account the four Turkic statues published in this article, their total number in Altai today is close to 340, which puts the Russian Altai among the most studied regions in terms of early medieval monuments.

Despite its rarity, wooden sculpture of the Urals has been the subject of numerous publications and scientific researches. The anthropomorphic sculptures made of stone, clay, and engraved anthropomorphic images are less known. Currently, the literature describes about 400 images of living creatures found in the Urals and the adjacent Trans-Urals and dated in the time range from the Paleolithic to the Bronze Age. Anthropomorphic images are represented by 60 artifacts, which is only 15 % of the total. Anthropomorphic stone images can be roughly divided into round, flat and flint sculptures. Pendants made in the form of a human head are very interesting. Clay figures are represented by images of women and separate heads. Anthropomorphic engraved images on stone and bone are rare finds. Images of anthropomorphic figures on ceramic vessels constitute a separate group. Most of the sculptural and graphic images dates back to the Neolithic and the Eneolithic.

Abstract The creation of centrally defined imperial portrait types and the first ‘step’ of their dissemination in metropolitan Rome in the second century AD is the main focus of this study. Through systematic case studies of Faustina the Younger’s and Marcus Aurelius’ portraits on coins and in sculpture, new insights into the functioning of the imperial image in Rome have been gained that move a difficult, much-discussed subject forward decisively. It has long been thought that imperial portrait types were officially commissioned to commemorate specific historical moments and that they were made available to both the mint and the marble workshops in Rome, assuming a close correspondence between portraits on coins and in the round. All of this, however, has never been clearly proven, nor has it been disproven by a close systematic examination of the evidence on a broad material basis by those scholars who have questioned it. The new evidence presented in the present study has made it necessary to adjust this model in certain ways. More flexibility than currently allowed for is needed to describe the ancient processes and practices behind the phenomenon of ‘repeated’ imperial portraits. Norms have been investigated, and an adjusted and more flexible model of how the imperial image worked in the mint of Rome and in the metropolitan marble workshops in the second century AD has been outlined.

This chapter examines the influences in the early sculpture in the Isle of Man, particularly the crosses that were previously described as Celtic. It suggests that the inscriptions in the Manx sculpture epigraphically and linguistically relate the island to the lands round the Irish Sea, while their typology and style history provide rough chronological yardsticks. The findings reveal that most pre-Viking memorial stones can be found in cemeteries on the sites of keeills.

This chapter will examine and critically align a number of pioneering projects from around the world, using mobile and pervasive technologies, which have challenged the design and delivery of mobile artworks, as documented on the author’s weblog and book The Mobile Audience (Rodopi, 2011). These will be presented together with examples from the artist’s own research and practice, which have been concerned with the liminal nature of digital media and the intersection of the real and virtual, the physicality of place, and the immateriality of the imaginary in artistic spaces. Two projects in process are also referenced: The Prisoner—a motion-captured, emotionally responsive avatar in the round—and Secret Garden—a virtual reality digital opera. Lastly, this chapter considers the nature of digital materiality in the exhibition of miniature Internet transmitted sculptures: Inside Out: Sculpture in the Digital Age.

Classical Greek monuments were meant to be seen. The poet Pindar often refers to the conspicuousness of architecture: “When a work is begun,” he declares, “it is necessary to make its façade far-beaming” (Olympian 6.3–4), and a sacred precinct can be tēlephantos, “shining from afar” (fr. 5 SM). According to Plato, the works of Pheidias were made “conspicuously” (periphanōs), literally, “so as to seen round about,” a term that can also be used to distinguish freestanding sculpture from relief (Meno 91d). The philosopher may have been thinking of Pheidias’ great bronze Athena on the Acropolis of Athens, the spear and helmet of which, we are told, were visible to ships at sea. The conspicuousness of Greek architecture was integral to its function. The Acropolis itself, for instance, was the supreme monument of the most powerful and long-lived democracy of Classical antiquity. Soaring over Athens, its great buildings—the temple of Athena Nike, the Parthenon, the Erechtheum—were statements of the official ideology of the Athenian empire and testaments to its glory. Clustered around them were numerous private and public dedications: statues, objets d’art, and inscriptions on stone. Today these monuments are landmarks of art history and magnets for tourism. Curiously, however, many of the Acropolis monuments were more or less invisible in the 400s BCE. Visibility was circumstantial and contingent, in ways that I shall elaborate below. From this starting point flow two questions: what does it mean for a democracy that its most glorious public monuments should be, to a greater or lesser degree, unseen? And what are the consequences for art history? The Acropolis monuments were subject to at least three distinct types of invisibility. First, literal invisibility, in the sense of occlusion or concealment. In this case, any light that strikes the object does not bounce back and hit an observer’s eye. Were one to bury a statue in a hole, it would be occluded in this sense; the statue would be, literally, invisible.

Миллефиори — древнейшая техника декорирования художественных изделий из стекла, возрожденная в Италии в XIX в. и получившая новый виток развития в XX в. Применение миллефиори при создании фигуративной скульптуры демонстрируют произведения московского художника Фидаиля Мулла- Ахметовича Ибрагимова. Уникальная в масштабе мирового художественного стекла скульптурная пластика Ф. М.-А. Ибрагимова открывает новые эстетические качества декоративных приемов стеклоделия. Millefiori is the oldest technique of decorating artistic glassware, revived in Italy in the XIX century and received a new round of development in the XX century. The use of millefiori in the creation of figurative sculpture is demonstrated by the works of Moscow artist Fidail MullaAkhmetovich Ibragimov. F. M.-A. Ibragimov’s sculptural modeling, unique on the scale of world art glass, opens up new aesthetic qualities of decorative glassmaking techniques.

The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.