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Journal articles on the topic 'Sculpture'
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1
Li, Zepeng, and Mykhailo Opaliev. "Abstract monumental metal sculpture: development of expressive means." Bulletin of Lviv National Academy of Arts, no. 53 (November 27, 2024): 50–61. https://doi.org/10.37131/2524-0943-2024-53-5.
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The paper focuses on the new types of artistic expression in the form of monumental sculptures of the modernist period. At the beginning of the 20th century, new types of symbolic associations of sculpture appeared. The significance of this work is determined by the great attention of contemporary sculptors to abstraction in their work and the powerful social resonance of abstract monumental sculpture. The aim of the article was also to identify new messages that were embedded in the concept of significant monumental works. The focus was on abstract sculpture of the modernist and contemporary periods. As the title implies the article describes such means of expressiveness of sculptural works as spatial staging, architectonic organization of volume, transmission of movement, and light and shadow modeling. The article gives a detailed analysis of these positions in relation to the design of a few abstract monumental metal sculptures that are unique and have an impact on contemporary conceptual art. Another task of the work was to establish the influence of iconic abstract sculptures, the ideas of which were developed in the first half of the twentieth century, on the development of abstract sculpture in the twentieth and twenty-first centuries. It has been determined that the spatial arrangement can be either dependent on a specific memorial or place or unrelated to them. Both well-known means of composition, such as rhythmic sequences, and original formal techniques, such as flat or tectonic foregrounds, are used in the organization of the volume. Associations with imaginary movement arise when observing the rhythm of the elements, when viewing the sculpture from different angles, when analyzing the internal tension in the form or balancing unstable parts of the sculpture against the main axis. No less important is the daylight, which is also considered by the sculptor to highlight the relief of the form, artificial lighting enhances its expressiveness and allows you to more clearly identify the idea of the artwork that was laid down when creating the sculpture. Particular attention in this study is paid to the forms of plastic messages, thanks to which the author's concept becomes more expressive. These messages are specific to each sculpture, for example, they create the illusion of infinity, combine architectural and natural spaces, allow for a free interpretation of tectonic natural forms, symbolize universal values, and comprehend the role of emptiness in the sculptural form. It is emphasized that the commemorative purpose of monumental sculpture, inherent in the classical period, is significantly complemented by other meanings due to the abstract nature of sculptural forms. A significant breakthrough made in sculpture in the early twentieth century paved the way for the emergence of many innovative solutions in contemporary abstract sculptural creativity.
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Mammadova, L. "TOKAY MAMEDOV - THE UNRIVALED MASTER OF PORTRAIT AND MONUMENTAL SCULPTURE." Slovak international scientific journal, no. 86 (August 12, 2024): 27–29. https://doi.org/10.5281/zenodo.13299410.
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The article discusses the work of outstanding Azerbaijan sculptor Tokay Mamedov, as well as an analysis of the artist's sculptural works. At the beginning of the 20th century, a large national school of sculpture was formed in Azerbaijan with its own traditions and themes. The wide and multifaceted creative search of sculptors not only contributed to the birth of these traditions but also created the preconditions for the development of new characteristics and qualities of modern Azerbaijani plastic art. This is the most acute sense of modernity and aspiration to monumentality. Among the works of Azerbaijan sculptors, the work of the outstanding artist Tokay Mamedov attracts attention to its high technique and richness of materials used. In the work of Tokay Mammadov, two genres have always been side by side, requiring the closest attention to a person - a portrait and a monumental sculpture. Sculptural portrait is an area in which the gift of Tokay Mamedov is most fully revealed, its artistic principles are expressed. The outstanding sculptor deeply penetrated his model's soul, conveying a person's main characteristic through plastic materials.
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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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Fang, Zhiyu. "Contemporary Chinese Sculpture Promoting the “Idea of China” (the case of Cao Chunsheng and Deng Ke)." Scientific and analytical journal Burganov House. The space of culture 18, no. 6 (December 10, 2022): 95–100. http://dx.doi.org/10.36340/10.36340/2071-6818-2022-18-6-95-100.
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Ever since the beginning of the Reform Era, China rapidly and steadily walks the path of socialism with Chinese characteristics. Moving towards the new era, the Chinese government and society do not forget about their values and guidelines, the "Idea of China" is developed in art. Art pieces aim to promote Chinese cultural traditions, patriotism, the fighting spirit of Chinese nation. Sculpture is actively involved in this process as one of the art forms that allows broadcasting ideas about beauty and justice. Over the years, sculptors have persisted in exploring different genres and styles, which has gradually improved the creation of contemporary “China's theme” in sculpture and formed a distinctive diversity. Among the sculptors that contributed to this process, the most representative and prominent artists are Cao Chunsheng and Deng Ke, who both have formed unique and distinctive styles. Cao Chunsheng as a sculptor from older generation, has undergone the influence of the “Soviet school” and has a vast experience in large-scale monument sculpture. In his art he mainly focuses on major historical themes. Deng Ke belongs to the emerging generation of sculptors who grew up in the Reform Era. Most of her works are small and medium-sized easel sculptures, and her favoured topic is life and society in the new times. Both sculptors work in different styles and genres, but together they form the face of contemporary sculpture promoting the “Idea of China” that this paper seeks to explore.
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Putney, Dani. "Sino-Filipino Artistic Collaboration." Athanor 39 (November 22, 2022): 35–52. http://dx.doi.org/10.33009/fsu_athanor130974.
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 The Hispano-Philippine style of ivory sculpture production in colonial Manila is almost synonymous with the growth of Spain’s global empire from the sixteenth century onward. These sculptures have been studied by historians and art critics alike in terms of Latin American consumer demand, marketability, Catholic devotion and conversion, and “Chineseness,” among other veins of inquiry. Common across these investigations is discussion of the significance of Chinese immigrants within the Spanish colony, who have been consistently identified as the creators of these sculptures. One community of artisans important to Philippine sculpture-making, however, has been understudied: the native Filipinos of colonial Manila, by far the largest group in the city. Why has the role of native Filipinos, despite being documented as painters and sculptors contemporaneous with the Chinese immigrants, been disregarded in the art-historical record of ivory sculpture production? In this article, I address these “silences” within the Hispano-Philippine sculptural archive by historicizing the sociocultural milieu of colonial Manila, performing visual analysis informed by postcolonial theory, and interrogating commonly referenced sources and narratives, an endeavor I maintain will enable art historians to contextualize these sculptures within a larger imperial, intercultural, and intersubjective framework of artistic creation.
 
 
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Yang, Zeyin. "Interoperability Analysis between Traditional Chinese Sculpture and Painting Modeling from the Perspective of Big Data Management." Mathematical Problems in Engineering 2022 (August 8, 2022): 1–9. http://dx.doi.org/10.1155/2022/3237282.
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Chinese traditional sculpture and painting have strong interoperability in terms of patterns, colors, and lines. Chinese sculpture and painting art are traditional Chinese works of art. The art of painting is often the basis for sculptural art. A good sculptural work of art often requires the pattern and color foundation of the painting. Moreover, Chinese traditional sculpture artworks often reflect certain historical information and humanistic spirit. Traditional artificial methods are often difficult to discover the intercommunication between cultural information between Chinese sculpture and painting. For the interoperability between sculpture and painting artworks, artists only rely on professional knowledge and aesthetic ability to discover some interoperability in patterns, colors, and lines, which is insufficient for understanding Chinese sculpture and painting. This study designs a novel hybrid CNN-LSTM method to study the interoperability of Chinese sculptures and paintings in terms of patterns, colors, lines, and cultural information. CNN can extract patterns, colors, and line features of Chinese paintings and sculptures. The cultural characteristics of Chinese sculptures have obvious temporal characteristics, which can be mined by LSTM technology. The research results show that the hybrid CNN-LSTM method has good feasibility and accuracy in studying the interoperability of traditional Chinese sculpture and painting. In terms of average error, the largest error is only 3.03% and this part of the error comes from the prediction of Chinese sculpture and painting cultural information. All other features of traditional sculpture and painting are predicted to be within 3%. For the prediction of color features, the error is only 1.13%. Prediction errors for patterns, colors, and lines are within acceptable limits.
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Khattri, Om. "Art in nature: Shifting trends in Nepali sculpture." Journal of Fine Arts Campus 3, no. 1 (December 31, 2021): 35–43. http://dx.doi.org/10.3126/jfac.v3i1.42494.
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Art has its environment and meaning, and it can exist free from a pedestal. Different approaches have sprung up with current environmental impacts, including other outdoor sculptures in Nepal as a modern movement. This form of activity has given new meaning to local indigenous values, art, and crafts. The transition started after some naturalistic sculptures, including equestrian statues, were brought from Europe and installed in the open environment. Environmental sculpture is a type of public art that creates or changes the spectators' surroundings. Nepalese sculptors have practiced a new genre as an alternative discipline of sculpture. A significant sculpture, Nirmāna, which means construction, was created by Thakur Prasad Mainali in 2024-25 B.S. at Bhirkutimandap, Kathmandu. Hence, two methodological approaches-primary observation and historical connections used to conduct this study. Besides numerous modern sculptures, this investigation focused on the earliest environmental sculptures. The study also explores the historical significance of sculpture in Nepal as it evolved and assimilated into modernity over time. After centuries of artistic and cultural legacy in Nepal, environmental sculpture underwent new changes.
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van Broekhuizen, Dick. "The Plaster Trace: Reading Creative Processes." Amsterdam Museum Journal 2, no. 2 (December 23, 2024): 46–65. https://doi.org/10.61299/re874vhe.
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One can read the creative and making processes in the plaster models left by the sculptor. Hans/Jean Arp and Mari Andriessen provide excellent examples in the Gipsotheek collection (Museum Beelden aan Zee). Although Andriessen and Arp had very different sculptural ideas, their creative and making methods were sometimes similar: working in models, reworking, taking parts they liked and reintegrating them into other models. Of course, they ended up with very different results. The plaster sculptures are mostly steppingstones on the way to a final sculpture. This emphasizes the flexibility of plaster as a material. In addition, plaster is also used by the sculptor to memorize the different stages of development. The remnants of plaster, the different states and stages of the making process, give us, the art historians, a plaster trail, not a trail of copies, but a plaster lineage of the sculpture.
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Alam, Habib, and Samina Nasim. "A Journey of Non-Figurative Sculpture in Pakistan Developmental Course of Sculpture in Pakistan." Human Nature Journal of Social Sciences 4, no. 4 (December 30, 2023): 89–110. https://doi.org/10.71016/hnjss/8jdpgp14.
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Aim of the Study: The objective of this research is to provide information on the development, relevance, and specific artists who have contributed to the non-figurative sculpting trend in the nation. This study tries to answer questions: What has been historical development of non-figurative sculpture in Pakistan, and how does it relate to contemporary art movements around the world? Methodology: The context, content, and form of the non-figurative sculptures are examined in order to comprehend their communicative potential and visual language. Additionally, the works are placed within the backdrop of last seven decades' evolving social realities, which influenced sculptors' methods in a variety of ways. This study intends to shed light on the distinctive qualities and subjects investigated in non-figurative sculpture in Pakistan, as well as its reception and recognition within art community, using a combination of qualitative analysis and historical research. Findings & Conclusion: It is concluded that the sculptors of Pakistan created non-figurative sculptural art among figurative representation through their innovative ideas and variety of techniques. The work of Anjum Ayaz features an abstract representation of domestic abuse in an artistic way.
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Friedman, Nat. "An introduction to hyperseeing and hypersculptures." Kybernetes 40, no. 7/8 (August 9, 2011): 1015–20. http://dx.doi.org/10.1108/03684921111160241.
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PurposeThe purpose of this paper is to introduce the cybernetics audience to the fundamental interdisciplinary concept of hyperseeing and its application to hypersculptures.Design/methodology/approachBriefly, hyperseeing is seeing from multiple viewpoints in a very general sense. In particular, the author first discusses hyperseeing a sculpture. A sculpture is defined as an object in a fixed position relative to a horizontal plane (base, ground). Two sculptures are congruent if they consist of the same object. A hypersculpture is a set of congruent sculptures. A hypersculpture is a more complete presentation of the sculptural possibilities of an object.FindingsA specific example is given of hyperseeing a knot sculpture made of copper tubing.Originality/valueThe paper demonstrates how the study of hypersculptures facilitates gaining a deeper understanding and appreciation of sculpture.
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Sazonov, Vadim V. "THE UNITY OF MONUMENTAL SCULPTURE AND THE ENVIRONMENT IN THE MONUMENT “TO THE FIRST BUILDERS OF KOMSOMOLSK-ON-AMUR”: TO THE QUESTION OF THE PROBLEMS OF THE EARLY WORK OF V.E. GOREVOY." Articult, no. 1 (2022): 18–24. http://dx.doi.org/10.28995/2227-6165-2022-1-18-24.
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The article deals with the problem of synthesis of sculpture with natural and architectural spaces. Attention is drawn to the peculiarities of human perception of this cultural phenomenon. Already in the 1960s, there was considerable interest in the effect of including the surrounding landscape in the figurative structure of an architectural and sculptural ensemble. The author reveals how the creative method of V.E. Gorevoy, one of the largest sculptors of Leningrad-St. Petersburg over the past fifty years, was formed against the background of a powerful rise in monumental sculpture and memorial architecture. His early work reflected the artistic problems of the era in the history of Soviet monumental art. The sculptor was involved in the process of solving complex creative tasks, mainly the task of creating a special environment by means of sculpture that affects the emotions and patriotic feelings of the viewer.
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खत्री Khatri, ओम Om. "आधुनिक नेपाली मूर्तिकला : सन्दर्भ ऐतिहासिक सैनिक स्मारक मूर्तिहरू {Modern Nepali Sculpture: Reference Historical Military Memorial Statues}". SIRJANĀ – A Journal on Arts and Art Education 4, № 1 (1 грудня 2017): 98–107. http://dx.doi.org/10.3126/sirjana.v4i1.44520.
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नेपालमा मूर्तिकलाको समृद्ध र उत्कृष्ट परम्परा रहि आएको छ । हामीसंग शास्त्रीय परम्परामा आधारितमूर्तिकलाको गौरवशाली इतिहास रहेको छ भने समसामयिक मूर्तिकलाको क्षेत्रमा पनि नेपालीमूर्तिकारहरूले उल्लेखनीय योगदान पुर्याउंदै आएका छन् । प्रस्तुत लेख आधुनिक नेपाली मूर्तिकलाकाप्रकरणमा ऐतिहासिक दृष्टिले महत्त्वपूर्ण सैनिक स्मारक मूर्ति रचनाहरूबारे केन्द्रित रहेको छ । {Nepal has a rich and excellent tradition of sculpture. Based on the classical tradition we have. There is a glorious history of sculpture and Nepali in the field of contemporary sculpture. Sculptors have made significant contributions. This article is about modern Nepali sculpture. The episode focuses on historically important military memorial sculptures.}
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Kem, Tatiana E. "SARAH BERNHARDT IN SCULPTURAL SELF-PORTRAITS AND WORKS OF SCULPTORS - HER CONTEMPORARIES." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 4 (2024): 224–49. https://doi.org/10.28995/2073-6401-2024-4-224-249.
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The work analyzes sculptural portraits of Sarah Bernhardt, created either by French artists of the second half of the 19th – early 20th century, or by the actress herself. Understanding the need for self-expression not only on stage, but also in the sculptor’s studio, Bernard used her fame to promote her own creations at exhibitions and in theaters during tours, putting on public display both sculptures and busts of her friends and famous contemporaries, as well as self-portraits. To embody the images of the great French actress in marble, bronze, terracotta, clay, and plaster, artists used a rich palette of expressive means. In an effort to enhance the imagery and colorfulness of the sculptures, the authors turned to polychromy, combining marble of different colors, gilded, silvered, patinated bronze, ivory or painted marble, wax or plaster in one work. Acting in line with the development of French sculpture of that period, artists used replication techniques, creating several versions of one sculpture in different materials, gave objects the utilitarian properties of sculptural portraits of Sarah Bernhardt, and used ornamental patterns characteristic of Art Nouveau. The imagery with which the artists embodied Sarah Bernhardt in sculpture was generally consistent with her images in other types of fine art: an actress in theatrical costumes, a creative person surrounded by the attributes of the theater, a sculptor and painter, a beautiful lady, sometimes endowed with fantasy features.
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Ulugbek, Sh. Usmonov. "HISTORICAL STAGES OF SCULPTURE OF UZBEKISTAN." LOOK TO THE PAST 5, Special issue 1 (June 27, 2022): 218–22. https://doi.org/10.5281/zenodo.6758452.
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This article scientifically highlights the stages of development and historical aspects of sculpture in Uzbekistan. In particular, mature sculptors and works of art created in the field of sculpture in our country are analyzed. The styles and types of traditional sculpture, bas-relief, high relief, relief and examples of decorative sculpture are considered. It is shown that the sculptures found on the territory of the republic are made of various materials, such as stone, iron, bone, wood, plaster, clay, copper, gold, silver, and the significance of this type of art. In recent years, positive changes in the field of monumental sculpture have been reflected in our country.
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الاء عيسى كريم and علي عبدالله عبود. "Fashion Aesthetics in Contemporary Arab Sculpture." Basrah Arts Journal, no. 27 (November 30, 2023): 136–42. http://dx.doi.org/10.59767/2023.11/27.10.
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The art of sculpture in the Arab world formed a solid foundation in the field of art through the various sculptural products presented by Arab sculptors in employing art through which they contributed to the reflection of the cultural heritage due to the forms, symbols, images, forms of clothing and their external formal influences that were included in their works, which reflected the aesthetics of fashion in Arab sculpture. Contemporary, which necessitated highlighting the knowledge of its aspects from the cognitive, social, artistic and cultural aspects, and the connotations expressed by the Arab sculptor in dress, and to know the cultural value and employ it in the sculptural work, through which it is possible to differentiate between one country and another in terms of culture, traditions, and knowledge of the segments of society that were the basis for the variation in people's daily lives. The current research includes four chapters, the first chapter of which includes the research problem, which becomes clear through the following question: What are the aesthetic values achieved by fashion in contemporary Arab sculptural work, as well as the importance of research and the need for it, which lies in the fact that it represents a reflection of the aspects of traditional Arab life. The current research aims to identify the aesthetics of fashion in contemporary Arab sculpture. The research is limited spatially to sculptural works in the Arab world, temporally from 1950 to 2020, and objectively by studying sculptural works that reflect the aesthetics of contemporary Arab fashion.
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MARTIROSYAN, MADONA. "THE CHARACTER OF TIGRAN THE GREAT IN COINS AND SCULPTURE." Scientific bulletin 1, no. 44 (April 28, 2023): 170–85. http://dx.doi.org/10.24234/scientific.v1i44.54.
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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.
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wang, Fang. "Stages and Features of the Development of Chinese Monumental Sculpture." Человек и культура, no. 1 (January 2023): 59–66. http://dx.doi.org/10.25136/2409-8744.2023.1.39852.
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Monumental and religious sculpture was the main form of ancient Chinese sculpture. There were very few public monumental sculptures. This phenomenon was associated with traditional Chinese culture and the socio-economic situation. It was only after 1949 that many monumental sculptures on the theme of the revolution appeared in China, which had an important connection with the politics of that time. This article is written in the following three parts: an overview of the development of monumental sculpture in ancient China; The history of the development of monumental sculpture from 1840 to 1949; An overview of the development of monumental sculpture after the founding of the People's Republic of China. Chinese sculptural art has a long history. As for monumental sculptures, with the development of society, the Policy in the field of culture and art supported diversification, artists received more free creative space. The range of creative topics gradually expanded, and there were more opportunities to choose style and language. It was only in the 1990s that the Chinese economy began to transform into a market economy. Under the influence of the latter monumental sculpture came under the influence of foreign cultures. We believe that China can rely on its own history, culture and national spirit, and combining China's historical resources with foreign cultures is the way to develop Chinese monumental sculpture.
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Villegas-Broncano, Maria A., and J. Alberto Durán-Suárez. "Historical and technical insight into the human motifs in the glass sculpture." Arte, Individuo y Sociedad 33, no. 2 (February 4, 2021): 589–604. http://dx.doi.org/10.5209/aris.69159.
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Although glass proto-sculptures were made with deep artistic value since the most remote times, in the late 19th century the glass sculpture was developed, and during the 20th century the Studio Glass Movement reached the maximum level of technical perfection and aesthetic variety. The scientific and technical glass knowledge contributed to achieve appropriate hot and cold working procedures, and the artists improved their designs and creations. This paper focuses on the binomial glass sculpture and human motifs. The historic evolution of the glass sculpture with human motifs is analyzed, taking into account the production techniques and the relationships between the glass work and the expression of the finished artwork. A set of sculptures and sculptors are shown as representative examples of the main historical periods in which the glass plays an important role in the sculpture scene. The human representation in the glass sculpture can be considered as a constant throughout centuries, even though it is not the most frequent creative or ornamental motif. Either figurative or abstract human references can be found, although the former are the majority. This tendency is also present in the contemporary Studio Glass Movement sculptures.
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MD., Hashmi, Nitesh Kushwaha Prof., and Manawer Ali Prof. "A Review Paper on Modeling and Designing of Human Statue Tall Structure using Staad Pro Software." International Journal of Trend in Scientific Research and Development 3, no. 4 (June 8, 2019): 1698–702. https://doi.org/10.5281/zenodo.3591570.
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Integrating design processing using various designing and modelling software's in high rise sculpture creates new opportunities for aesthetics discovery. These technologies enable artists to make high rise sculptures and provide safety, modify and disseminate art and make possible a new type of work. By using a behaviour based software architecture to control a sculptures movement, complex series of coordinated motion can be performed in response to the sculpture's environment and in relation to its internal state. Adding behaviour to sculpture changes the conversation between people and sculpture. As people directly influence the movement of sculpture, the results of this conversation can be stored by sculpture and used to modify the course of future interaction and behaviour. It provides the foundation of a new dialogue between the sculptor, sculpture and the audience. MD. Hashmi | Prof. Nitesh Kushwaha | Prof. Manawer Ali "A Review Paper on Modeling & Designing of Human Statue -Tall Structure using Staad-Pro Software" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-3 | Issue-4 , June 2019, URL: https://www.ijtsrd.com/papers/ijtsrd27906.pdf
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MD., Hashmi, Nitesh Kushwaha Prof., and Manawer Ali Prof. "Modeling and Design of High Rise Statue of Lard Shree Ram using Staad Pro Software." International Journal of Trend in Scientific Research and Development 3, no. 5 (August 28, 2019): 2008–12. https://doi.org/10.5281/zenodo.3591791.
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Integrating design processing using various designing and modelling software's in high rise sculpture creates new opportunities for aesthetics discovery. These technologies enable artists to make high rise sculptures and provide safety, modify and disseminate art and make possible a new type of work.By using a behaviour based software architecture to control a sculptures movement, complex series of coordinated motion can be performed in response to the sculpture's environment and in relation to its internal state .Adding behaviour to sculpture changes the conversation between people and sculpture. As people directly influence the movement of sculpture, the results of this conversation can be stored by sculpture and used to modify the course of future interaction and behaviour. It provides the foundation of a new dialogue between the sculptor, sculpture and the audience. MD. Hashmi | Prof. Nitesh Kushwaha | Prof. Manawer Ali "Modeling and Design of High-Rise Statue of Lard Shree Ram using Staad-Pro Software" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-3 | Issue-5 , August 2019, URL: https://www.ijtsrd.com/papers/ijtsrd27912.pdf
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Zhou, Acheng, and Chao Gao. "Research on the Involvement of Computer Graphics Algorithms in Systems for the Creation of Public Sculpture." Scientific Programming 2021 (October 21, 2021): 1–9. http://dx.doi.org/10.1155/2021/4520642.
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Currently, there is less research on how to improve the efficiency of the application of computer graphics technology in the creation of public sculpture. Therefore, this paper will focus on how computer graphics algorithms can enable systems for the creation of public sculpture with the intervention of computer graphics technology to create more accurate and completed works of public sculpture. It will explore and analyze how computer image algorithms can help creators apply computer image technology to finish complete and accurate public sculptures, and individual studies, computer imagery, and model analysis are also used. In systems for the creation of public sculpture, the point cloud data of the model is obtained through 3D laser scanning technology; then the algorithm of the point cloud model is integrated and the Statistical Outlier Removal algorithm of the point cloud model intervention is processed. By this way, the point cloud model of the work is optimized, and then a more completed and accurate public sculpture work can be produced by 3D sculpting or 3D printing. The research shows that, in the creation of public sculptures with the intervention of computer graphics technology, the computer graphics algorithm acquires the basis of the high-definition public sculpture data model. The computer graphics algorithm improves the accuracy and completeness of the creator using computer graphics technology; it is also the key to transform the accurate enlargement and transformation of the sculptural model into the actual sculptural work.
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Trefný, Martin, Doris Mischka, Michal Cihla, Axel G. Posluschny, František R. Václavík, Wolfram Ney, and Carsten Mischka. "Sculpting the Glauberg “prince”. A traceological research of the Celtic sculpture and related fragments from the Glauberg (Hesse, Germany)." PLOS ONE 17, no. 8 (August 11, 2022): e0271353. http://dx.doi.org/10.1371/journal.pone.0271353.
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Article presents the results of a complex traceological research of the famous statue of the „prince”of Glauberg, found in an Early La Tène funeral complex in Glauberg (Hesse). Research focused also on two other fragments of related sandstone sculptures, found together with the Glauberger prince. The sandstone „prince”of Glauberg was already in the past a subject of many archaeological studies. Nevertheless, all or absolute majority of them were focused on aspects of art historian nature or on the question of the origin, role and function of such sculptures in the Early Iron Age Central Europe. On the contrary, the aim of our research is oriented exclusively on the questions related to the manufacture of this sculpture, identification of used sculptor´s tools and applied working techniques. Our research was realised by means of digital documentation followed by the aplication of traceological methods. The character of the survived working traces on the sculpture´s surfaces was studied by mechanoscopy, while the material of used tools was determined by X-ray fluorescence. The reconstructions of used tools were compared with the existing tools as represented by the Iron Age archaeological finds. This comparison was oriented on the most relevant regions of developed La Tène culture, particularly on South Western Germany and Bohemia. However, also other relevant area, significant as the possible source of inspiration of Celtic sculptors for the creation of the monumental sculpture–Apennine peninsula, was taken into consideration. Our research revealed individual steps and phases during the sculpture´s manufacture, enabled the reconstrucion of used tools and confirmed real existence of such tools in mentioned regions. Finally it has brought first indices of the necessity of the distinguishing between ideological and technological aspects of related Celtic sculpture, when considering possible influence of Apennine peninsula on transalpine Central Europe.
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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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Sanjay, Kumar. "Use of Founds and Prefabricated Objects in Indian Contemporary Sculpture." International Journal of Innovative Science and Research Technology (IJISRT) 9, no. 2 (March 4, 2024): 7. https://doi.org/10.5281/zenodo.10777306.
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Contemporary sculpture in India has undergone a profound transformation in recent decades, with artists increasingly turning to found and prefabricated objects as mediums for creative expression. This research paper delves into the innovative and evolving practice of incorporating found and prefabricated objects in Indian contemporary sculpture. In recent decades, Indian sculptors have expanded the boundaries of traditional sculptural techniques by embracing unconventional materials and found objects, redefining the way sculpture is perceived and experienced. This paper examines the historical and cultural context, artistic motivations, and the impact of using found and prefabricated objects in Indian contemporary sculpture, shedding light on the transformative nature of this art form. Keywords:- Indian Contemporary Art, Sculpture, Found Objects, Prefabricated Materials, Assemblage, Artistic Innovation.
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Srhoj, Vinko. "Između originalnosti i epigonstva - slučaj Šime Dujmovića, kipara u Meštrovićevoj sjeni." Ars Adriatica, no. 2 (January 1, 2012): 225. http://dx.doi.org/10.15291/ars.451.
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Šime Dujmović (1887 - 1968), a sculptor from Hvar, is an almost unknown and unrecognized artist in the sphere of Croatian art. If one is aware that he created most of his ‘oeuvre’ as the executor of numerous statues conceived by Ivan Meštrović, and that he considered himself merely a technical assistant to the great master, the silence surrounding Dujmović’s name can be seen to be partly his fault, due to the fact that he never emphasized his share in this work, and did not attempt to ‘bring into question’ Meštrović’s art by individuating his own style. By abstaining from a personal style and manner, which might have taken him on the journey to sculptural individuality, Dujmović’s status in Croatian sculpture was lower than his ability deserved. It seems that, to this considerably skilled sculptor, it was more important to follow other people’s designs and carry out a given task to the best of his abilities, transforming matter into the most appropriate expression, at the expense of his own poetics which, considering his mastery of the techne, had much potential. Dujmović’s repression of his sculptural talent seems to be rooted in his attitude towards sculpture as a task which had to be carried out in a given material, not necessarily as a work of art which would have surpassed craftsmanship (although it is also rooted in the unfavourable circumstances of his life). Writing about the nineteenth- and twentieth-century sculptors and carvers of Split and Dalmatia, Grgo Gamulin described a plethora of obscure figures who shaped the Croatian sculptural tradition at the turn of the century when sculpture started to elevate itself with a new consciousness, leaving behind the modesty of craftsmanship but for an always uncertain destination. ‘Certainly, we find ourselves in the area of craftsmanship and skill, but one never knows when art will appear on that boundary, and the very question of that boundary (between craftsmanship and art) is uncertain and ‘‘mobile’’, Gamulin concluded. This statement can largely be applied to Šime Dujmović, who repressed his own expression and, by following tradition and other sculptors (Meštrović), in the end missed his opportunity to demonstrate his real abilities. Nonetheless, a small number of his works, such as his most ambitious project, the public sculpture Source of New Life, demonstrate that he did attempt to be individual, but from the wrong angle, that of the perfection of technical skill. Even if this sculpture was nothing more than a compilation of art nouveau, art deco and Meštrović, it confirmed that Dujmović was a master sculptor with enviable sculptural skill and that this technical ability had once again obstructed his path to individual expression. Not even in this most ambitious of his works were his authorial aims put first; instead, they were eclipsed by his skill in carving after models instead of shaping his own recognizable stamp. This paper deals with some of his other sculptures Svetovid, Mother and Child, Sculptor at Work, Defending he Homeland) but it also highlights his contribution to he sculptural physiognomy of the mausoleum of the Račić family, in which Dujmović executed his most difficult works for Meštrović (The Crucified Christ, The Entombment, Madonna and Child, cherubim heads and other decorative elements). The paper also mentions other numerous works on which Dujmović worked for Meštrović (Amor and Psyche, Woman with a Harp, the monuments Gratitude to France, To the Unknown Hero, nd Our Lady of Petropolje). Through an evaluation of he contribution assistants made on projects for master culptors such as Meštrović, and a consideration of the ecognizability of his ‘hand’ in the final appearance of he work, a question emerges which touches on the heart of the relationship between Meštrović and Dujmović: what is the ratio between the creator of the idea and the manual assistant in its execution? Can authorship be ‘boiled down’ to the conception of a work of art, or should some credit also be given to the assistants who frequently ‘spoiled’ or altered the master’s style? By considering the case of Dujmović, this paper provides answers by giving specific examples of cases in which an assistant’s contribution is significant and unmissable, without expressing an individual style. A rhetorical question which poses itself here is whether in such a manner Dujmović’s work (but also, more generally, the work of other numerous assistants and colleagues in the workshops of master sculptors anywhere) could be taken out of the shadow of the great master by acknowledging at least that part of his authorial input in which he spoke about himself while working for the master sculptor.
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முனைவர், நா. மங்களம் /. Dr. N. Mangalam. "திருக்குறுக்கை வீரட்டேசுவரர் கோயிலின் சிற்பங்கள் / Sculptures of the Thirukurukkai Veeratteswarar Temple". பாண்டியன் கோவில் கலைகள் தமிழ் ஆய்விதழ் / Pandian Tamil Journal of Temple Studies Volume 3, Issue 1 (26 листопада 2022): 40–57. https://doi.org/10.5281/zenodo.7365707.
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<em>Tamil Nadu is known for its famous Hindu temples and its architecture. The Mahabalipuram Cave Temple Sculptures of the Pallavas in Tamil Nadu are historically famous. The Pandiya period sculptures are also a testament to the artistry of Tamil Nadu sculptures as seen in Madurai Meenakshi Amman Temple, Nellaiappar Temple etc. The sculptures in the Chola period like Kuttan Nageswarar Temple, the Tanjore Big Temple, the Gangai Konda Cholicuram and the Iravadesuvar Temple in Tarasuram are world famous. These made the world aware of the development of sculpture and the greatness of the sculptors of Tamil Nadu. The Iravadesuvar Temple, which arose as a work of art by the second Rajaraja Chola, is the pinnacle of sculptural achievements. Thus, the article is set to reveal the artistic nuances of the marvelous sculptures of the Thirukurukkai Veerattesuvar Temple patronized by the Chola kings.</em>
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Dobrolyubov, Petr V. "School of sculptor Alexander Terentyevich Matveev and his students." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (September 10, 2022): 29–43. http://dx.doi.org/10.36340/2071-6818-2022-18-4-29-43.
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This article is dedicated to the “School of sculptor Alexander Terentyevich Matveev and his students.” A.T. Matveev had a profound influence on the development of Russian and Soviet sculpture both through his creativity and his purposeful teaching activities. The beginning was laid by the sculptor while studying at the Bogolyubov School (modeling classes with blind children). The pedagogical experience of A.T.Matveev is measured by half a century, and the official one is only thirty years, due to the fact that this practice was interrupted. But the connection of generations of masters of sculptural craft has not completely frozen. The students who studied with the artist-teacher A.T.Matveev developed them in turn with their followers and students and in their own creative search, turning to the teacher for advice in moments of artistic searches, searches and doubts. Russian Russian sculpture. The author of the article points out that Alexander Terentyevich Matveev is the founder of the Russian school of sculpture, a master and teacher of a whole galaxy of remarkable Russian, Soviet sculptors, who exerted a huge influence on the development of modern Russian plastic art by his example, his method and creativity. He was one of the organizers, ideological inspirers and active participants of many creative associations of the first third of the XX century. The author notes that some researchers of the creative path of the sculptor-innovator A.T.Matveev in their scientific works on the work of the sculptor, pointed out that A. T. Matveev did not leave any theoretical works that could be the key to his work. His works themselves are all that remains of the author. But even these works of the sculptor-teacher give us the opportunity to get an idea of his views, worldview, his attitude to the creative process and, in general, to the profession of an artist-sculptor-teacher and about his personal considerations on this topic. This article presents conversations with him preserved in the notes and memoirs of students, his statements, as it seems to the author, have an exceptional relation not only to the tasks of teaching in the field of sculptural craft, but also to the worldview of the master sculptor as a teacher at the head of his school. The author analyzes and convincingly proves by concrete examples that the school of Alexander Terentyevich Matveev is an understandable, logically competently built pedagogical system based on the experience and skill of previous generations of artists coming from antiquity and Byzantium and related to heuristics and maieutics, from Western European aesthetics and traditions and foundations of the Russian plastic school, its basic foundations and principles dating back to N. F. Gillet and to P. P. Chistyakov. In the early forties, A. T. Matveev compiled a "Sculpture Program" that complemented the established method of teaching sculpture, which earlier and now, of course, is rightfully called as the School of Sculptor Matveev. The author analyzes the process of learning from the teacher and sculptor A.T.Matveev, names the main dates of his work, reveals the details of sculptural craft, talks about the variety of moves in the plastic of the master, analyzes the methods and principles of work in sculpture, shows the attitude of students to their teacher, and highlights the whole course of historical milestones in the creative biography of the sculptor.
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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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Musacchio, Jacqueline Marie. "Americans, Italy and Donatello." Sculpture Journal 34, no. 2 (June 2025): 139–52. https://doi.org/10.3828/sj.2025.34.2.03.
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According to the American art historian Charles Callahan Perkins, in his groundbreaking study Tuscan Sculptors (1864), Donatello ‘was undoubtedly the greatest Tuscan sculptor before Michael Angelo, and though by no means his equal in vigour and grandeur of conception, by far his superior in delicacy of handling, in truth of detail, rendering of character, and technical ability as a worker in marble or bronze’. Perkins’s nineteenth-century readers, largely composed of members of the American intellectual and cultural elite, were duly impressed by this evocative description. But they were mostly familiar with the name of Donatello because Nathaniel Hawthorne had used it for a character in his popular 1860 novel The Marble Faun ; they couldn’t see a sculpture by the actual artist Donatello without travelling to Italy. Those who did travel visited the churches and museums described in their guidebooks and marvelled at every Donatello they saw. They also purchased photographs to bring their experience home, as well as plaster casts and, sometimes, actual sculptures, although we now recognize that many of those photographs, casts and sculptures had nothing to do with Donatello at all. This article examines the burgeoning interest in Donatello in the nineteenth-century United States by analysing sculpture attributed to him, as well as sales catalogues, guidebooks, photographs and unpublished diaries, letters and account books written by travellers, artists and dealers. Together, this evidence illuminates not only Donatello’s appeal but also the often erroneous understanding of his sculpture during this period.
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Bin, Li. "The Humanistic Spirit in Sculptor’s Work (on the Example of Li Xiangqun’s work)." Scientific and analytical journal Burganov House. The space of culture 15, no. 4 (December 10, 2019): 136–46. http://dx.doi.org/10.36340/2071-6818-2019-15-4-136-146.
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Li Xiangqun, the famous Chinese sculptor, managed to evolve his creative style developing a confident and fine ability to create forms, a special and distinctive perspective on reality, skillfully mastering the refined expressive language of sculpture and creating sculptural works filled with spiritual value, the spirit of the times and a sense of humanism. In this paper, the importance of humanistic factors in the fine sculptural art is emphasized by analyzing a part of Li Xiangqun’s works, transferring the experience of understanding the style and power of involvement of Li Xiangqun’s sculpture to the reader, as well as the experience of sensory feelings of humanistic elements in Li Xiangqun’s work. The embodiment of humanistic values in the material form is the spirit and quintessence of figurative sculpture, this is what distinguishes figurative sculpture as a phenomenon from the refined basic image of reality in the form of sculpture. This spirit is the parameter with which it is necessary to correlate the sculptor’s work. The works of Li Xiangqun require the highest attention to ourselves, they are a classic example of the embodiment of the elements of humanism in sculpture. Li Xiangqun has been universally recognized as a leader and devotee of contemporary Chinese fine sculpture; he has made an indisputable contribution to the development of modern Chinese fine sculpture and its humanistic spirit.
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Polubok, Andrii, and Oksana Pylypchuk. "REGULARITIES OF RELATIONSHIP OF MONUMENTAL-DECORATIVE SCULPTURE AND OPEN PUBLIC SPACE." Urban development and spatial planning, no. 78 (October 29, 2021): 435–44. http://dx.doi.org/10.32347/2076-815x.2021.78.435-444.
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Taking into account the peculiarities of the relationship between the open public space of the architectural environment and the monumental and decorative sculpture, the article examines the main patterns of the relationship between sculpture and urban space. It also identified and analyzed the importance of taking into account the main factors that affect the perception of a sculptural composition in any type of urban space: scale ratio, methods of placement, formation of the environment, generalization of the silhouette, detailing and perception of the expressiveness of the silhouette of a sculpture in specific spatial situations. The analysis and systematization of information sources of a theoretical and practical nature regarding the designated topic highlighted the current state of the problem of the relationship between sculpture and the open public space of the architectural environment, revealed the importance of taking into account the main factors in the perception of sculptural plastic in space. In the process of studying the main existing theories, methods, scientific approaches, techniques, historical and practical experience of the relationship between sculptural sculpture and the open public space of the architectural environment, general patterns of perception of sculpture – its scale relationship with space, ways of placing sculptures, shaping the environment, as well as individual regularities – generalizations of the silhouette, detail and plastic quality, expressiveness of the silhouette, depending on the directions of perception of the sculpture when it is introduced into the architectural environment.
 As a result of research and analysis, a general conclusion was made: monumental and decorative sculpture, which is introduced into the urban environment, is inextricably linked with public space and therefore has special qualities and means of expression that allow you to create a general synthetic architectural and artistic image of space at a new qualitative level to create general compositional integrity and the formation of a single spatial-plastic ensemble in the architectural environment.
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Boomkamp, Margreet. "Sleeping Beauty." Rijksmuseum Bulletin 67, no. 2 (June 15, 2019): 142–61. http://dx.doi.org/10.52476/trb.9727.
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The interest in fairy tales grew strongly over the course of the nineteenth century, particularly in Germany, the birthplace of Frans Stracké (1820-1898). Renowned artists made illustrations for popular publications of fairy tales and in the middleof the century characters from fairy tales also appeared in paintings and sculptures. The sculptor Frans Stracké was inspired by this development and in the eighteen-sixties created a Sleeping Beauty and a Snow White. He may have chosen these designs because the sleeping figure offers greater sculptural possibilities, for example in funeral art. He showed Sleeping Beauty at the precise moment she falls asleep, after she had pricked her finger on a spindle. Stracké followed the fairy tale by the Brothers Grimm from 1812, in which the ill-fated event was predicted during the celebration of Sleeping Beauty’s birth. Sleeping Beauty (also known as Briar Rose) was precisely the sort of subject Stracké preferred: he excelled in making genre-like sculpture of a very high standard. This was little appreciated in the Netherlands, whereas in France and Italy practitioners of this type of sculpture enjoyed considerable success. Stracké is credited with introducing contemporary developments in European sculpture into the Netherlands; Sleeping Beauty is a relatively early and typical example.
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Deng, Wei, Yan Chen, and Shen Jian Hu. "Analysis of Current Situation of Digital Sculpture Development." Advanced Materials Research 690-693 (May 2013): 3482–85. http://dx.doi.org/10.4028/www.scientific.net/amr.690-693.3482.
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Digital sculpture is an emerging sculpture form. The current digital sculptures are dominated by abstract modeling and digital sculpture should also be conducted by simulating the method of traditional realistic sculpture. 3d printing technology still lacks application experience in making large-size digital sculptures, while digital controlled sculpting technology has some limitations for sculpture modeling. In instantiation of works, how to maintain digital characteristics of digital sculpture is an issue that requires in-depth discussion in the field of digital sculpture. 3d scanning technology has realized transition from traditional sculpture to digital sculpture and changed the method in which digital sculpture depends on software.
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Hanyong, Yu. "Contemporary Transformation of Traditional Cultural Elements in Sculpture at China’s National Art Exhibition Since the 21st Century." Scientific and analytical journal Burganov House. The space of culture 20, no. 6 (December 22, 2024): 74–85. https://doi.org/10.36340/2071-6818-2024-20-6-74-85.
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Chinese traditional culture has rich contents after more than five thousand years of its history and development. This article examines the sculptures presented at five National Art Exhibitions held since the beginning of the 21st century, and analyzes the ways of contemporary transformation, the forms of representation, the value and significance, as well as the challenges and prospects of future development of traditional culture elements in sculpture. By analyzing the representative sculptures of the last five National Art Exhibitions, the article explores how elements of traditional culture are renewed and integrated into contemporary works. It shows how sculptors, while inheriting traditions, actively seek ways of artistic expression adapted to the demands of the times. It also theorizes and formulates recommendations for the further development of Chinese sculptural art.
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Fang, Zhiyu. "Traditions and Innovations in Chinese Contemporary Sculpture." Scientific and analytical journal Burganov House. The space of culture 18, no. 2 (May 10, 2022): 28–39. http://dx.doi.org/10.36340/2071-6818-2022-18-2-28-39.
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After the Cultural Revolution, an unprecedented period of openness began in China. The gradual deepening of the Reform and Openness Policy created more opportunities for the development of contemporary Chinese sculpture. For "tradition", sculptors combine the form and content of traditional culture and sculpture, expressing the problems of modern life and human society, forming a rich creative thought and a broad creative outlook. Two art directions were formed. The first direction follows the creative method of sculptors who studied in France before the formation of the People's Republic of China, focusing on the study of the "language" of the actual sculptural art by combining the methods, forms and aesthetics of traditional Chinese sculpture. The second direction uses traditional Chinese culture and sculpture to carry out the "modern transformation". In this process, the form is subordinate to the content, and "tradition" appears in an artwork as a specific symbol through which the artist's opinion is expressed. The two creative directions have formed a symbiosis and co-prosperity at present. We can say that they both confirm the development of modern Chinese sculpture on the path of "nationalisation and localisation" over the past 40 years. At the same time, these two creative directions have brought a new climax to contemporary Chinese traditional sculpture and culture.
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Liu, Yiwen, Ruiyi Shen, and Jinyu Weng. "The Research on the Portrait Sculpture from Ancient Rome and Han Dynasty." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 140–48. http://dx.doi.org/10.54097/ehss.v5i.2894.
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Han Dynasty and the Roman Republic are two prosperous reigns that established huge differences between the content, material, form, and aesthetic preference in sculptural art. Even though many scholars have researched both Han Dynasty and Roman sculptures, not much comparison research has been done yet. In this paper, the study closely examines and compares the artistic style of portrait sculptures from both the Roman Republic and the Han Dynasty to explore the possible cultural and historical reasons for the differences. This paper takes the Head of a Roman Patrician and the Ceramic Figure of a Story-teller as research objects, which come from a similar time period and represent a particular population in relative societies, and according to the results of the study, most portrait sculptures from the Roman Republic represented a specific person, especially higher-class senior citizens or political leaders. Han dynasty portrait sculptures include a variety of objective groups, from ordinary people to the royal class. The difference between economical-geographic conditions leads to the discrepancy between social production mode and philosophical concept, which further cause the various expression of portrait sculpture art. Roman portrait sculpture continues the realistic style of Greek sculpture due to the need for nominatives, whereas Han sculptures emphasize charm and verve instead of specific, realistic features.
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Nowakowska, Maria. "Open-Air Łódź Sculpture Gallery and Its Influence on the City’s Aesthetics in 1972–1978." on the w terfront Public Art Urban Design Civic Participation Urban Regeneration 63, no. 11 (November 9, 2021): 26–48. http://dx.doi.org/10.1344/waterfront2021.63.11.02.
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The aim of the paper is to outline the circumstances of the establishment of the Łódź Sculpture Gallery in Rubinstein’s Alley (formerly: Aleja ZMP) and its impact on the aesthetics of Łódź. 
 Despite the city’s history dating back to the beginning of the 15th century, the first fully-fledged sculpture in public space appeared only in 1912. By the beginning of World War II, the number of sculptures increased to a dozen or so, but all of those works were destroyed by the Germans in the first years of the occupation.
 In the period 1945–1970, two monuments and a dozen or so smaller forms appeared. The sculptural face of the city was changed only by the Łódź Sculpture Gallery, which focused on the most important issues of post-war town planning, politics, artistic trends, and social needs. Despite its short period of operation (1972–1978), its effects are still visible almost everywhere in Łódź. Never before and never after has the medium of sculpture been aestheticised on such a scale in the city.
 The memory of this place and several dozen sculptures (and of their creators) has almost faded away. Currently, activities are under way to restore the Łódź Sculpture Gallery to its due position in the history of the city and to continue its activities in the same place.
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Munive Maco, Manuel. "Escultor itinerante. Aldo Shiroma y los simposios de escultura." Illapa Mana Tukukuq, no. 18 (December 21, 2021): 92–105. http://dx.doi.org/10.31381/illapa.v0i18.4424.
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Este trabajo revisa sucintamente la obra escultórica que Aldo Shiroma ha realizado e instalado, entre 1999 y 2020, en el espacio público de numerosos lugares de América, Europa y Asia, mediante su participación en más de cuarenta simposios de escultura. Además de tratar sobre su lenguaje escultórico y su trayectoria iniciada a fines de la década de los noventa, subraya la importancia de aquellos certámenes como una estrategia ideal para transformar el espacio público de nuestras ciudades en ámbitos en los cuales vivenciar la escultura monumental. Palabras clave: Escultura peruana contemporánea, Simposios de escultura, escultura para el espacio público. AbstractThis work succinctly reviews the sculptural work that Aldo Shiroma has realized and installed, between 1999 and 2020, in the public space of numerous places in America, Europe, and Asia, through his participation in more than forty sculptures symposiums. In addition to discussing his sculptural language and trajectory that began in the late 1990s. He underscores the importance of those competitions as an ideal strategy for transforming the public space of our cities into environments in which to experience monumental sculpture. Keywords: Contemporary Peruvian sculpture, sculpture symposiums, sculpture for public space.
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Liu, Xiaofei. "Dimensional Defect Detection Research on the Sculpture Surface Combining the Convolutional Neural Network and Gabor." Wireless Communications and Mobile Computing 2022 (September 5, 2022): 1–11. http://dx.doi.org/10.1155/2022/8259265.
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Thematic sculpture creation is an important part of sculpture creation. In particular, the current thematic sculpture creation in China has broken the shackles of serving politics and has shown a variety of aspects such as theme selection, modelling method, material language, and creative purpose. Since the new century, Chinese thematic sculptors have made in-depth analysis and research on the diversity of creative objects, the infinite possibilities of creative expression, and the diversity of creative purposes, especially through the phenomenon of different thematic sculptures to explore their existing predicaments, and give them reflection. If the time is too long, it will reduce the production efficiency of the sculpture production line and increase the operating cost of the enterprise. The Gabor wavelet transform is used to obtain the texture features of the sculpture surface, and the generated high-dimensional features are subjected to random projection dimension reduction. Finally, the binarization algorithm can be used to detect the defect location quickly and accurately. The feature map is extracted by selecting a deep network. The neural network algorithm structure for the sculpture dataset is presented, and the activation function and regularization method are improved on this basis.
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Plotnikov, Y. A., D. V. Cheremisin, V. I. Molodin, and D. Batbold. "The “Jack of Cards” Ancient Turkic Sculpture from North-Western Mongolia." Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 30 (2024): 669–76. https://doi.org/10.17746/2658-6193.2024.30.0669-0676.
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Among the ancient Turkic sculptures presented in the Central Museum of Bayan-Ulga aymak of Mongolia, there is a particular sculpture discovered by Mongolian archeologists in Tsengel somon (Khooh-Bulag territory). It was part of a typical ancient Turkic memorial structure: a rectangular enclosure from flat vertical slabs and a line of balbal stones from the eastern side. This sculpture is notable due to a very particular feature: having two heads on the opposite ends of one slab. Essentially, it is two sculptures carved from one slab of stone, much like a jack of cards. In 1999, D. Bayar and D. Erdenebaatar have published a rather approximate sketch of this statue in “Stone Sculptures of Mongolian Altay”. According to the authors, the sculptors had begun carving one statue, abandoned it and carved a new image on the opposite end. A closer look at the statue confirms this assumption: the head, which was carved first remained unfinished. The most likely cause is the irreparable damage to the statue’s face at the early stages of carving. The second attempt proved to be more successful, resulting in a canonical 7th-8th centuries sculpture with a drinking vessel, a weapon, and a kaptargak on the belt. The only other similar sculpture was found in the neighboring Ubsunur aymak by Y.S. Khudyakov in 1987. In that case, the unfinished head at the abandoned end of the slab shows no signs of damage. However, as the head of the fully-finished sculpture on the other end is missing, the exact reason for carving the slab from the other end is unclear. One possible explanation is a chronological gap between the sculptures carved from the different ends of the slab. At the same time, one cannot rule out the possibility of ancient Turkic “jacks of cards” serving some semantic purpose.
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Nisa, Khairun, Elvis Elvis, and Armen Nazaruddin. "Karya Patung Abstrak Lisa Widiarti Ditinjau Dari Bentuk Dan Medium." V-art: Journal of Fine Art 1, no. 1 (December 15, 2021): 36. http://dx.doi.org/10.26887/vartjofa.v1i1.2219.
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This study discusses the form and medium used by Lisa Widiarti in making abstract sculptures. This study also briefly discusses Lisa Widiarti's short artistic journey. The discussion uses qualitative research methods, which include: observation, interviews, and literature study as well as research conducted in the city of Padang, West Sumatra. Based on the results of research on Lisa Widiarti's abstract sculpture, Lisa has produced dozens of abstract sculptures and almost every year always participates in exhibition events. Lisa tends to bring objects with the themes of love, social, everyday life, and beauty into her sculptures which are made with abstract shapes, and the mediums used in her work are various such as resin, stone, wood, cement, gypsum, metal plate and slurry. paper. Lisa is a female sculptor who is also a lecturer at Padang State University. Lisa is still able to survive with her abstract sculptures and become a resilient, creative, and active female sculptor in West Sumatra. Much can be learned andresearched from Lisa Widiarti's sculptures, especially abstract sculptures in terms of form and medium. It is hoped that research on Lisa Widiarti's abstract sculpture can be a reference so that there are opportunities for other researchers to research from a different scientific point of view.
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Thurlby, Malcolm. "The Romanesque Church of St Michael and All Angels, Upper Sapey (Herefordshire): Associations with Hereford Cathedral and other works." Church Archaeology 20 (January 2021): 67–84. http://dx.doi.org/10.3828/churcharch.2021.20.67.
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The Romanesque church of St Michael and All Angels, Upper Sapey (Herefordshire) is investigated with particular reference to the sculpture of its north and south doorways and tower (former chancel) arch. Parallels with Hereford cathedral indicate that the Upper Sapey sculptor(s) received their training in the cathedral workshop and also worked at St Peter, Bromyard (Herefordshire), and other churches associated with the Dymock School of Sculpture. The nature of the restoration of Romanesque sculpture at Hereford cathedral is examined, and some preliminary thoughts are offered on the transmission of motifs and divisions of masons and sculptors, questions that have an application well beyond the examples presented here.
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f, f. "A study on the Artistic Conception of Chinese Portrait Sculpture." Society for Chinese Humanities in Korea 85 (December 31, 2023): 539–52. http://dx.doi.org/10.35955/jch.2023.12.85.539.
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Portrait sculpture is an important part of sculpture classification.Portrait sculptures have a long history, but their origins are relatively late in China.In the process of studying abroad, Chinese elders introduced Western portrait sculptures to China.The combination of Chinese native art culture and western sculpture creates portrait sculptures that conform to Chinese aesthetics.especially in the context of consciousness.The artistic conception of sculpture art is to extend the limited time space to the infinite time space, which is to break through the small space and explore the infinite large space.From the aesthetic sense of art and trigger a fascinating sense of life, history.This kind of artistic conception is often the most impressive and moving place in the works.In a sense, the artistic conception is to go beyond the concrete objects and seek infinite time and space to sum up the philosophical feeling and understanding.This philosophical understanding is the meaning of “artistic conception”.The artistic conception is characterized by the coexistence of virtuality and reality.The artistic conception consists of two parts: the stronger part we can see directly with our naked eyes, called the “real” and the part we can't see with our naked eyes, but the imaginary part we can imagine, called the “virtual”.The virtual image is the sublimation of the actual object. The virtual image can embody the objective of the actual object, and the aesthetic effect of the work can be improved.However, the virtual world must be carried out with the actual object image as the carrier, in order to better convey the image of the virtual world.In short, reality and virtual reality are mutually reinforcing and mutually reinforcing relationships.This paper expounds the origin and expression of portrait sculpture, explores the artistic conception of famous Chinese sculptors, and explains the relationship between virtual and reality.This paper discusses the compatibility of traditional Chinese “artistic conception” aesthetics and Chinese portrait sculpture art, and explores a national development path for Chinese portrait sculpture art.
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Moskaliuk, Marina V. "Polychromy in Modern Russian Sculpture." Journal of Siberian Federal University. Humanities & Social Sciences 15, no. 1 (January 2022): 61–74. http://dx.doi.org/10.17516/1997-1370-0876.
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This publication analyzes the possibilities of using polychromy in the creative practice of Russian sculptors. The emphasis is on highlighting the main criteria for the use of color. Hermeneutical and analytical approaches are used in combination with induction and comparison. In general, formal stylistic analysis prevails in the research methodology. The novelty of the study is due to the low level of study of the work of Russian sculptors and the weak elaboration of the problem of polychromy in the theory of sculpture as a whole. Having briefly demonstrated the experience of using polychromy in sculpture throughout the history of the development of world cultures, the authors, based on the analysis of modern sculptural compositions, draw conclusions about the relevance and diversity of the use of polychromy in domestic sculpture of the twenty-first century. Two functions of using color in sculpture are highlighted, namely: imitation/animation and symbolic/sacred. The characteristics of these functions are considered on the basis of concrete examples, in conclusion, the prospects for the development of polychromy as one of the most expressive compositional techniques of plastics are evaluated
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Asif qız Nəzərova, Aysel. "Azerbaijan sculpture in the period of independence." SCIENTIFIC RESEARCH 10, no. 6 (June 27, 2022): 64–67. http://dx.doi.org/10.36719/2789-6919/10/64-67.
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Bu məqalədə Azərbaycan heykəltəraşlığının 1991 - ci ildən günümüzə qədər olan inkişaf tarixi öz əksini tapmışdır. Məqalənin birinci fəslində müstəqillik dövründəki monumental heykəltəraşlıq tarixi onun keçdiyi inkişaf yolu öz əksini tapmışdır. Eyni zamanda məqalədə heykəltəraşlığın bədii həllinə görə maraqlı olan nümunələrinin yerləşdiyi Fəxri Xiyabanın abidələrinə toxunulmuşdur. Burada Ömər Eldarov, Azad Əliyev, Natiq Əliyev və b.yaratdığı qəbirüstü abidələrin bir qismi haqqında məlumat verilmişdir. Məqalənin ikinci fəslində gənc heykəltəraşların yaradıcılığından, onların vətənpərvərlik mövzusunda yaratdıqları heykəl nümunələrindən söz açılır. “Aprel döyüşləri”, “Tovuz döyüşləri”, “44 günlük müharibə” mövzularında yaradılan heykəltəraşlıq nümunələrinə məqalədə daha geniş yer verilmişdir. Açar sözlər: heykəltəraşlıq, monumental, gənc, kompozisiya, vətənpərvərlik, müstəqillik Aysel Asif Nazarova Azerbaijan sculpture in the period of independence Abstract This article reflects the history of development of Azerbaijani sculpture from 1990 to the present day. The first chapter of the article reflects the history of monumental sculpture in the period of independence and its development. At the same time, the article touched upon the monuments of the Alley of Honors, where the most valuable examples of monumental sculpture are located. Here is information about some of the tombstones created by Omar Eldarov, Azad Aliyev, Natig Aliyev. The second chapter of the article addresses the work of young sculptors. In particular, the examples of patriotic sculptures were highlighted. Examples of sculptures created on the themes of "April battles", "Battle of Tovuz", "44 Day War" are given more space in the article. Key words: sculpture, monumental, youth, composition, patriotism, independence
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Klose, Christian. "Johan Niklas Byström and the so-called Venus of Stockholm. New research on a presumably lost sculpture." Opuscula. Annual of the Swedish Institutes at Athens and Rome 16 (November 15, 2023): 225–47. http://dx.doi.org/10.30549/opathrom-16-10.
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The inventory books of the Skulpturensammlung (Sculpture Collection) in the Staatliche Kunstsammlungen Dresden (Dresden State Art Collections, SKD) mention a plaster cast of a Venus sculpture, moulded from the marble so-called Venus of Stockholm. In the first half of the 19th century this statue—always considered an ancient artwork—had been owned by the Swedish sculptor Johan Niklas Byström, before it was sold to an English art collector. From that time on, the sculpture has been considered lost and it has remained unregarded by research. By contextualizing the Dresden plaster cast with other ancient Venus sculptures and textual sources, this article aims to show that the Venus of Stockholm was most likely an elaborate and mirror-reversed imitation made in its entirety in the 17th or 18th century. As such, the Venus of Stockholm was exceptional, because post-antique mirror-reversed copies of ancient sculptures are very rare. In addition, the article compares the Venus of Stockholm to statues sculpted by Byström, in order to highlight its impact on his oeuvre.
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Sarvaiya, Shanta. "Best Practices in Sculpture Making: Embracing Sustainability and Environmental Concerns." Edumania-An International Multidisciplinary Journal 03, no. 01 (January 1, 2025): 3–11. https://doi.org/10.59231/edumania/9093.
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Sculpture making, as an artistic endeavor, has traditionally prioritized aesthetics and craftsmanship. However, in contemporary practices, there is an increasing awareness of the environmental impact associated with sculptural materials and processes. This research article explores the best practices in sculpture making that emphasize sustainability and address environmental concerns. Through a comprehensive review of literature and case studies, this article identifies strategies and techniques that sculptors can adopt to minimize their ecological footprint while creating meaningful and impactful artworks. It explores how sculptors can navigate the intersection of art and ecology to create impactful artworks while minimizing their environmental footprint. It also touches upon the socioeconomic benefits of eco-friendly art practices that extend beyond environmental conservation.
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Verhunova, Nataliia, and Serhii Verhunov. "Sculpture as an Industrial Design Product. Application in Design Practice." Bulletin of KNUKiM. Series in Arts, no. 39 (December 10, 2018): 191–99. https://doi.org/10.31866/2410-1176.39.2018.153688.
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The purpose of the article is to reveal and consider the term «industrial sculpture» in the context of the activity of an industrial designer. The research methodology consisted in applying a set of general scientific methods (chronological and historical-comparative, the method of terminological analysis), which helped to identify and examine examples of industrial sculpture in design practice. The scientific novelty of the work lies in categorizing the objects of industrial sculpture and their consideration as a separate segment in modern material culture. Conclusions. The article reveals that sculptural compositions made in the genre of monumental and decorative plastics can be considered as objects of industrial design. At the same time, abstracting from the main object of sculpture – the person (result) – and focusing on the sculptor’s work (process) allows for revealing a certain identity with the work process carried out by the industrial designer, who can be considered a sculptor of the industrial form. The volumetric design form is also built according to the laws of composition, in the same real space and in compliance with the anthropometric features of consumers; therefore, decorative formal-abstract designs created by the designer for the interior architectural and the exterior urban environment can be designated by the term «industrial sculpture». Illustrative material to the objects of industrial sculpture is represented by the design activity of the authors of this article. It was also revealed that the use of 3D-modeling affords an opportunity to improve the project until the very last moment of working on it, makes a better quality product and facilitates integration of the design project into the production process. This method allows for carrying out global modifications of the product both in the course of design and in the process of producing new objects and their future modifications. As a result of the study of author and student designs of industrial sculptures, it can be stated that the perception of these objects is not so much based on the concept of immensity as on the concept of scale in the context of proportional relations. Thus, the main point is the constant ratio of visual masses of the object, regardless of its linear dimensions.
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Trotsenko, Аnna. "Plein Air Sculpture as an Element of Landscape Design in the Vinnytsia Region of the Late Twentieth and Early Twentyfirst Centuries." Demiurge: Ideas, Technologies, Perspectives of Design 6, no. 2 (December 1, 2023): 311–26. http://dx.doi.org/10.31866/2617-7951.6.2.2023.292155.
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The purpose of the article is to analyze the specifics of the phenomenon of plein air sculpture in the context of landscape design in the Vinnytsia region of the late twentieth and early twenty-first centuries. Research methods. The study uses such methods as historical and comparative, empirical, factual and descriptive, and field research analysis (field survey of sculptures and interviews with artists). The scientific novelty of the study lies in the systematisation of new factual data on plein air sculpture in the context of landscape design. For the first time in domestic art history, genre and style features of some sculptural works that have not yet been published are considered. Primary source information from artists, in the form of actual interviews, was recorded. Conclusions. The study highlights the plein air sculpture formation process as a small architectural form of the parks’ design environment. On the basis of the artistic analysis, the influence of plein air sculpture on landscape design is comprehensively revealed, and various factors of in teraction “sculpture-space” are discovered. The evolution and prerequisites of the phenomenon of sculpture symposia in the world, in particular in Britain, Austria, and Norway, are demonstrated. As a result of the study of the origins of the emergence of sculpture plein airs in Ukraine, it is proved that the “Podilskyi Oberih” art movement, which emerged in the village of Busha, Vinnytsia region, had a positive impact on the cultural formation of the environment. In the course of the study, an art historical analysis of individual representative samples of the author’s sculptures created in different time periods was carried out. This made it possible to outline stylistic trends that gave impetus to the search for ideological and plastic trends, taking into account the factors of interaction between “sculpture-space”. The article studies the development of the Bushanskyi Park landscape environment design and describes several implemented design projects of small architectural forms.
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Trotsenko, Аnna. "Plein Air Sculpture as an Element of Landscape Design in the Vinnytsia Region of the Late Twentieth and Early Twenty-first Centuries." Demiurge: Ideas, Technologies, Perspectives of Design 6, no. 2 (October 30, 2023): 311–26. https://doi.org/10.31866/2617-7951.6.2.2023.292155.
Full textAbstract:
<strong>The purpose of the article </strong>is to analyze the specifics of the phenomenon of plein air sculpture in the context of landscape design in the Vinnytsia region of the late twentieth and early twenty-first centuries. <strong>Research methods. </strong>The study uses such methods as historical and comparative, empirical, factual and descriptive, and field research analysis (field survey of sculptures and interviews with artists). <strong>The scientific novelty </strong>of the study lies in the systematisation of new factual data on plein air sculpture in the context of landscape design. For the first time in domestic art history, genre and style features of some sculptural works that have not yet been published are considered. Primary source information from artists, in the form of actual interviews, was recorded. <strong>Conclusions. </strong>The study highlights the plein air sculpture formation process as a small architectural form of the parks’ design environment. On the basis of the artistic analysis, the influence of plein air sculpture on landscape design is comprehensively revealed, and various factors of in teraction “sculpture-space” are discovered. The evolution and prerequisites of the phenomenon of sculpture symposia in the world, in particular in Britain, Austria, and Norway, are demonstrated. As a result of the study of the origins of the emergence of sculpture plein airs in Ukraine, it is proved that the “Podilskyi Oberih” art movement, which emerged in the village of Busha, Vinnytsia region, had a positive impact on the cultural formation of the environment. In the course of the study, an art historical analysis of individual representative samples of the author’s sculptures created in different time periods was carried out. This made it possible to outline stylistic trends that gave impetus to the search for ideological and plastic trends, taking into account the factors of interaction between “sculpture-space”. The article studies the development of the Bushanskyi Park landscape environment design and describes several implemented design projects of small architectural forms.