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1
Yahnke, R. E., and R. E. Roush. "The Stone Carvers." Gerontologist 37, no. 6 (December 1, 1997): 843–44. http://dx.doi.org/10.1093/geront/37.6.843a.
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Eff, Elaine, Marjorie Hunt, and Paul Wagner. "The Stone Carvers." Journal of American Folklore 99, no. 391 (January 1986): 121. http://dx.doi.org/10.2307/540870.
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Barmina, Nadezhda I. "Tombstones of the Cemetery at the Basilica of Mangup." Античная древность и средние века 48 (2020): 327–48. http://dx.doi.org/10.15826/adsv.2020.48.021.
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The basilica located atop Mangup plateau in the south-western highland is one of the Christian monuments of the Crimea which research provided abundant archaeological materials. Especially interesting to historians are the data related to the investigations at the Christian cemetery which developed in different chronological periods within the basilica and around it. Supplementary excavations of the basilica (1967–2005) uncovered a series of carved tombstones, which featured the architectural properties different from early slab covering of the graves. The tombstones in question testify to the flourishing of the art of stone carving in Taurica in the fourteenth and fifteenth century. From their description and analysis, it is possible to draw the conclusions concerning the stone-carving art forms development in the mediaeval Crimea. It has been remarked that the Mangup stone-carvers considered the religion of the persons who lived there and paid especial attention to the decorative design of the monuments. In the making of the tombstones for the Christian cemetery at the basilica, the local stone-carvers applied artistic techniques taken from various styles (Byzantine, Seljuk, North Caucasus), which resulted in the appearance of specific “Mangup” style of architectural ornamentation. The local craftsmen re-worked decorative and carving techniques borrowed from foreign stone-carvers. The local products featured brevity and restrained manner.
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Abbas, Hussein Ali. "SILENCE IN JANE URQUHART’S THE STONE CARVERS." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 12, no. 03 (2022): 88–94. http://dx.doi.org/10.37648/ijrssh.v12i03.007.
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Silence is traditionally recognized as a space of time in which words are not articulated and meaning is not convened. But, silence emerges to have a variety of meanings in literary texts, and that meaning is determined by the context within which silence is placed. The treatment of the theme of silence in 19th century fiction is associated with social injustice and war violence. As shown in the writings of that century, silence replaces feelings and ideas that the authors and/or their characters cannot find the words which can express the victims’ profound pain. In The Stone Carvers (2001), Canadian novelist Jane Urquhart introduces silence as moments of unspoken language, each moment produces two, or more, oppositional meanings, which may affect the characters differently. This research sheds light on the moments of silence that are shown in Urquhart’s novel.
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Bennett, Linda. ": The Stone Carvers . Marjorie Hunt, Paul Wagner." American Anthropologist 88, no. 4 (December 1986): 1047–48. http://dx.doi.org/10.1525/aa.1986.88.4.02a01070.
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Shodell, E. "Hunt and Wagner, The Stone Carvers (Film)." Oral History Review 16, no. 1 (March 1, 1988): 198–200. http://dx.doi.org/10.1093/ohr/16.1.198.
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Htun, Zaw Z., Yi Y. Win, Aung M. Myat, and Soe M. Naing. "Lung Function Impairment and Workplace Control Measures among Marble Stone Carvers in Sa-Kyin Village, Madayar Township, Myanmar." International Journal of Occupational Safety and Health 11, no. 1 (April 3, 2021): 25–30. http://dx.doi.org/10.3126/ijosh.v11i1.34972.
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Introduction: Marble rocks, composed of dust containing calcium carbonate and silica particles, predispose to a higher prevalence of occupational lung diseases. This study aimed to assess workplace control measures and lung function impairment among marble stone carvers.
Methods: A cross-sectional descriptive study was conducted among 120 marble stone carvers in Sa-Kyin Village, Madayar Township in May 2019. Information about existing control measures in the workplace was assessed using a pre-tested structured questionnaire and participants’ lung function using spirometry. Respirable dust measurements in twelve randomly selected workers were performed by personal air sampling pumps.
Results: It was found that 9.2% of marble stone carvers used disposable or cloth masks throughout the working time, but no one was found using appropriate devices like respirators. No one reported about regular medical checkup and provision of health education at the workplaces. Spirometry testing showed 55.8% had lung function impairment. Concentrations of respirable dust ranged from 7.19 to 10.13 mg/m3, significantly higher than the recommended Threshold Limit Value (3 mg/m3). In multivariable logistic regression analysis, development of lung function impairment was associated with age [adjusted Odds Ratio (aOR) = 2.84; 95% CI = 1.02,7.91] and use of face mask (aOR = 0.11; 95% CI = 0.01,0.91).
Conclusion: The working environment was found dusty, and a significant proportion of workers had lung function impairment. It is essential to adopt proper dust control measures in stone carving workplaces. Preventive measures like medical surveillance and health education program are vital to reduce the burdens from occupational lung diseases.
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Morrison, Alice Reed, and Marjorie Hunt. "The Stone Carvers: Master Craftsmen of Washington National Cathedral." Journal of American Folklore 115, no. 457/458 (2002): 502. http://dx.doi.org/10.2307/4129210.
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Antão, Vinícius Cavalcanti dos Santos, Germania Araujo Pinheiro, Jorge Kavakama, and Mário Terra-Filho. "High prevalence of silicosis among stone carvers in Brazil." American Journal of Industrial Medicine 45, no. 2 (January 15, 2004): 194–201. http://dx.doi.org/10.1002/ajim.10331.
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Morrison, Alice Reed. "The Stone Carvers: Master Craftsmen of Washington National Cathedral (review)." Journal of American Folklore 115, no. 457 (2002): 502–3. http://dx.doi.org/10.1353/jaf.2002.0043.
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Yingratanasuk, Tanongsak, Noah Seixas, Scott Barnhart, and Drew Brodkin. "Respiratory Health and Silica Exposure of Stone Carvers in Thailand." International Journal of Occupational and Environmental Health 8, no. 4 (October 2002): 301–8. http://dx.doi.org/10.1179/oeh.2002.8.4.301.
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Mishra, Yogesh, Ashish Kumar Singh, Makkhan Lal Meena, and Govind Sharan Dangayach. "Assessment of Respiratory Health Issues Among Stone Carvers of Rajasthan, India." Evergreen 10, no. 3 (September 2023): 1581–87. http://dx.doi.org/10.5109/7151706.
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Ashrafi-Asgarabad, A., M. Samareh-Fekri, N. khanjani, and MR GhotbiRavandi. "Exposure to particles and respiratory symptoms in stone carvers of Kerman, Iran." Journal of Occupational Health and Epidemiology 2, no. 4 (October 1, 2013): 146–56. http://dx.doi.org/10.18869/acadpub.johe.2.4.146.
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Filipczak, Dorota. ""Alternative Selves" and Authority in the Fiction of Jane Urquhart." Text Matters, no. 1 (November 23, 2011): 27–43. http://dx.doi.org/10.2478/v10231-011-0003-x.
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The article engages with "alternative selves," a concept found in The Stone Carvers by a Canadian writer, Jane Urquhart. Her fiction is first seen in the context of selected texts by Lucy Maud Montgomery, Margaret Laurence and Alice Munro, who explore the clash between female characters' conventional roles and their "secret" selves. My analysis was inspired by Pamela Sue Anderson's A Feminist Philosophy of Religion, which stresses the need for "reinventing ourselves as other" in the face of biased beliefs and dominant epistemology. In particular, my article refers to Anderson's concern with Kant's imaginary from The Critique of Pure Reason, where "the territory of pure understanding" is projected on the island, while desire, chaos and death are identified with the sea. Seen through the prism of a feminist reading of the philosophical imaginary, the sea becomes the female beyond. Urquhart's three novels: Away, The Stone Carvers and A Map of Glass dissolve the opposition between Kantian island and water, by showing how reason is invaded by desire and death, and how the female protagonist embodies the elements that have been repressed. Urquhart's fiction, which is "landscape driven," provides the image of a dynamic relationship between the qualities that form a static binary opposition in Kantian discourse. Mary in Away, Klara in The Stone Carvers and Sylvia in A Map of Glass all subvert the dominant epistemology by following their desire, which becomes "a positive energy" and not "a deviation from a good rational norm," to refer to another concept by Anderson. Urquhart's Mary, Klara and Sylvia have to contend with power vested in collective beliefs and stereotypical construction of femininity. By venturing into the liminal zone beyond the territory of "pure understanding," the three protagonists regain their voices and discover their authority. The article ends with the analysis of a Homeric intertext in A Map of Glass, where Sylvia identifies with Odysseus "lashed to mast" so that he would not respond to the call of the siren song. Reading Homer's passage on the siren song, one realizes that the use of the Kantian imaginary turns Ithaca into the island of truth, and the sea into the stormy beyond, identified with desire, death and femaleness. While the Odyssey suppresses the dangerous message of the siren song, Urquhart's fiction rewrites it and reclaims it as positive inspiration for the female protagonist.
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Serikov, Yu B. "Revisiting the chronological attribution of microlitic complexes of the Koksharovsky Hill and Vtoroy Poselok I." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 1(56) (March 21, 2022): 5–17. http://dx.doi.org/10.20874/2071-0437-2022-56-1-1.
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In this paper, we consider the reasons behind the attribution of microlitic complexes of the Koksharovsky Hill and the Vtoroy Poselok I site to the late Neolithic. Statistical and typological characteristics of microlitic complexes of these sites fully conform to materials of the Mesolithic sites in the Middle Trans-Urals. The identification of chronological complexes of stone inventory in materials of mixed sites should be made after the full publication of the entire assemblage of stone artefacts. The comparison of the presented materials with the Neolithic sites of the Middle Trans-Urals shows the absence in the local late Neolithic of complexes with such set of stone tools — first of all, a large number of cutters and carvers, as well as burins on straight retouched truncation and geometric microlites. But it is precisely carvers, burins (especially the ones on straight retouched truncation) and geometric microlithes that appear as characteristic products of the Mesolithic period. The dating of the microlitic complexes of the Vtoroy Poselok I site and the Koksharovsky Hill to the late Neolithic contradicts the early profile of the stone assemblage. We deny the definition of the Vtoroy Poselok I site as a single-layer site. Specific features of soil formation in the territory of the Middle Trans-Urals resulted in that the cultural remains of all periods from the Mesolithic to the Middle Ages are deposited within the soil layer of only 30–40 cm in thickness. Around the flow-through lakes all areas favorable for economic activities were inhabited repeatedly and in different archaeological epochs. In such particular sites, the objective prerequisites for the mechanical displacement of materials were created. Therefore, all complexes located in such places are mixed. The numerical ratio of the complexes of ce-ramics and stone products and the size of the dwelling in the Vtoroy Poselok I site is also inconsistent with the materials of the Neolithic sites of the Middle Trans-Urals. Given the mixed nature of materials of the Kok-sharovsky Hill and the Vtoroy Poselok I, the microlitic complex of artefacts present in both sites may indicate the presence of a significant Mesolithic admixture in them.
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Dvorak, Marta. "Resurgences of the Extra-Textual and Metatextual in Jane Urquhart’s The Stone Carvers." Commonwealth Essays and Studies 31, no. 1 (September 1, 2008): 22–27. http://dx.doi.org/10.4000/ces.9004.
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Williams, Howard. "‘CLUMSY AND ILLOGICAL’? RECONSIDERING THE WEST KIRBY HOGBACK." Antiquaries Journal 96 (September 2016): 69–100. http://dx.doi.org/10.1017/s0003581516000664.
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This paper presents a fresh reading of a significant early medieval recumbent stone monument from West Kirby, Merseyside (formerly Cheshire). Rather than being a single-phased hogback, later subject to damage, it is argued that West Kirby 4 might have been carved in successive phases, possibly by different hands. It is suggested that the carvers had different abilities and/or adapted their work in response to the time pressures of a funeral or a shift in the location or function of the stone. While a single explanation for the character of the West Kirby monument remains elusive, the article proposes that, rather than ‘clumsy and illogical’, the stone was more likely a coherent but experimental, distinctive and asymmetrical, multi-phased and/or multi-authored creation. Through a review of the monument’s historiography and a reappraisal of the details and parallels of its form, ornament and material composition, the paper reconsiders the commemorative significance of this recumbent stone monument for the locality, region and understanding of Viking Age sculpture across the British Isles. As a result, West Kirby’s importance as an ecclesiastical locale in the Viking Age is reappraised.
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Handley, Agata. "Conjuring Ghosts of the Past: Landscapes and Hauntings in Jane Urquhart’s The Stone Carvers." London Journal of Canadian Studies 33, no. 1 (November 14, 2018): 5–21. http://dx.doi.org/10.14324/111.444.ljcs.2018v33.002.
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Jane Urquhart’s novel The Stone Carvers (2001) portrays the struggles of a community of German immigrants in the nineteenth century, as they attempt to settle in Western Ontario; it also includes a fictionalized account of the construction of the Canadian National Vimy Memorial 1 (for First World War Canadian dead, and missing, presumed dead, in France). The article explores the issues of dealing with loss, and re-living the past, which are interwoven by Urquhart into a larger narrative, forming an ongoing meditation on the experience of ‘in-betweenness’— transgressing not only spatial, but also temporal boundaries— and incorporating individual and communal histories as they are passed on through generations. The lives of Urquhart’s characters are marked by the ambivalence of belonging— the experience of having more than one homeland, in more than one landscape. They are haunted by lost places, and by the memory of people who perished as a result of war, or who they left behind in the course of their own personal journey. The article explores the issue of ‘landscape biography’, and also examines Urquhart’s employment of the literary topoi of nekuia/katabasis (i.e., encounters with the dead). It demonstrates how the confrontation with the past becomes, in the novel, a prerequisite for regeneration of the present, and the establishment of the future.
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Rahimimoghadam, Somayeh, Ali Ganjali, Narges Khanjani, Mohammad Normohammadi, and Saeed Yari. "Application of Multiple Occupational Health Risk Assessment Models for Crystalline Silica Dust among Stone Carvers." Asian Pacific Journal of Cancer Prevention 24, no. 11 (November 1, 2023): 3999–4005. http://dx.doi.org/10.31557/apjcp.2023.24.11.3999.
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Borić, Laris. "Fortificiranje grada Cresa u 16. stoljeću." Ars Adriatica, no. 1 (January 1, 2011): 133. http://dx.doi.org/10.15291/ars.433.
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The unstable political situation in which Venice found itself at the time of the League of Cambrai, but also the more frequent incursions and attacks of the Uskoks in the later sixteenth century, were responsible for the surrounding the town of Cres, its medieval nucleus and the newly formed town areas with a wider and stronger fortification system of a regular square plan, with four round towers at the angles and one rectangular tower located in the north-east area, and four town gates. The only angle tower that still survives is the north-west land tower based on which other towers can be reconstructed. Three of the four town gates have been preserved: the Harbour gate, on the ground floor of the Clock Tower, and two east gates: Porta Marcella and Porta Bragadina. All three are constructed in the mannerist style of the classical architectural language, with rusticated arches flanked by two Tuscan or Ionic half-columns articulated with stone rings. These half-columns carry an architrave with coats of arms, which terminates with a projecting cornice. Most reliable sources for the dating of the building phases of the Renaissance fortifications, and for the identification of the master-carvers who worked on them are the register of the decisions of the Town Council, and the Book of the Building of the Walls (Libro della fabbrica delle mura) which is in the State Archives at Rijeka and contains records of payments for the construction expenses for individual parts of the walls. The book covers the period between 1514 and 1610, the year when the construction expenses were concluded, although the works on the finishing of the individual parts continued until 1689, the year carved in the inscription referring to the completion of the wall. The article analyses the building phases of the individual segments, and the groups of master-carvers who worked on them. It identifies the stone-cutting family workshops Stošić, Zvonarić, Soldatić and Mladinić, but also a number of local and foreign master-carvers who appeared in the individual building phases. Among them, a special place belongs to Izidor Stošić who was mentioned between 1521 and 1559 as the Protomagister of the structure and, based on the commission of the Town Council; he is identified as the builder of the town’s Clock Tower. The mentioned town portals clearly demonstrate the way in which the local builders, gathered around the local workshops, applied the projects embodying contemporary stylistic tendencies which were doubtlessly works of the yet unidentified Venetian architects.
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SCHOLNICK, JONATHAN B. "THE SPATIAL AND TEMPORAL DIFFUSION OF STYLISTIC INNOVATIONS IN MATERIAL CULTURE." Advances in Complex Systems 15, no. 01n02 (March 2012): 1150010. http://dx.doi.org/10.1142/s0219525911003244.
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Many explanations for the sigmoid or S-shaped curves that characterize the diffusion of innovations through time have been proposed. Recent studies demonstrate that social learning mechanisms, including conformist strategies, and heterogeneous adoption thresholds related to economic inequality and the decreasing cost of goods can generate these S-shaped cumulative frequency curves. The present study of a regional material culture sequence expands our inquiry concerning the underlying social forces that structure diffusion through both space and time. Using historic New England gravestones and their associated documents, this study considers both cultural transmission between stone carvers and consumer choices. Social learning among consumers can generate both wave-like diffusion patterns through space and lead to the persistence of cultural variants in certain locales.
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Branfoot, Crispin. "The Unfinished: Stone Carvers at Work on the Indian Subcontinent, by Vidya Dehejia and Peter Rockwell." Art Bulletin 99, no. 3 (July 3, 2017): 170–72. http://dx.doi.org/10.1080/00043079.2017.1337425.
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Majumdar, Somreeta. "A NEW INTERPRETATION OF A BUDDHIST IMAGE FROM AMARKUNDU, MURSHIDABAD." JOURNAL OF HISTORY, ART AND ARCHAEOLOGY 2, no. 1 (2022): 99–101. http://dx.doi.org/10.47509/jhaa.2022.v02i01.08.
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The purpose of this article is to identify a sculptural specimen of Khasarpana Avalokitesvara which has been incorrectly identified as Buddha by Sudhir Ranjan Das and the specimen is popularly known as Raghunath or Vishnu. While assigning a date to this specimen on stylistic ground, this Khasarpana Avalokitesvara appears to be similar with the Mahakali specimen of Khasarpana Avalokisvara kept in the National Museum of Bangladesh in Dhaka. Claudine Bautze Picron compared the stylistic features of various images and enabled grouping them within a specific chronological bracket through which the direction of the movement of stone carvers from Bihar to Bengal can be assumed between ninth to twelfth century CE. The Khasarpana Avalokitesvara of Amarkundu helps us bridge the temporal and spatial gap of transmission of stylistic features and understand their variations.
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Ouimet, C., J. Gregg, S. Kretz, C. Chandler, and J. Hayes. "Documentation and dissemination of the sculptural elements of Canada's Parliamentary Buildings: Methodology development and evolution, a case study." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5/W7 (August 13, 2015): 347–52. http://dx.doi.org/10.5194/isprsarchives-xl-5-w7-347-2015.
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Parliament Hill consists of four historic gothic revival buildings, which form part of the Parliament Buildings National Historic Site of Canada in the National Capital of Ottawa. There are more than 2000 masonry sculptural elements throughout the four buildings. Three of the buildings are in the middle of multi-year rehabilitation projects. Extensive Heritage Documentation is being undertaken to support various activities and conservation teams throughout the interior and exterior of the buildings while also serving as a key posterity records. One of the significant heritage documentation projects is the 3D digitization of the 2000+ heritage character defining sculptural elements. The Heritage Conservation Directorate (HCD) of Public Works and Government Services Canada (PWGSC) was tasked by the Parliamentary Precinct Branch (PPB) of PWGSC to document these character defining elements. The sculptures vary in size from as small as 100mm in width to up to 2 meters in size. This project is in its third year and much has been learned and researched about the most appropriate and efficient means by which to document these elements. Although a methodology was in place to document the sculptures at the inception of the project, it has gone through several iterations in order to improve the gathered data, and in turn increase the efficiency, quality and speed of data acquisition. This paper will describe the evolution of the methodology, as well as the rationale for the alterations in technique. <br><br> With over 600 of the approximate 2000 (heritage character defining) sculptural elements captured to date, the project is entering a critical phase where an efficient and effective method for sharing and disseminating the information to a wide audience is being explored and evaluated. The end result is intended to allow the client (PPB) and the general public a way to look at and interactively manipulate the viewpoint of each digital model. This will provide a unique opportunity for a wide audience to evaluate and appreciate these elaborate works of art. This database of information can also be of use for academic study and research. <br><br> To date the data captured by HCD has been utilized by conservation professionals and by the Carleton Immersive Media Studio (CIMS) of Carleton University. HCD has partnered with CIMS to explore a wide variety of potential uses for the data including the creation of 2D-drawings, stone carving profile templates, 3D printed scale models, CNC carved maquettes, robotic stone carving, and digitally-designed replacement elements. CIMS and HCD have tested the limits of digital technologies to assist stone carvers in restoring carved elements while also learning from the sculptors and masons to better understand their approach when conserving or restoring a sculptural element. Examples of how the conservation team, specifically the stone carvers have been working with the data and technology will also be presented.
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Kotov, Vyacheslav G., Mikhail M. Rumyantsev, and Dmitry O. Gimranov. "Стоянка среднего палеолита в пещере Иманай-1 на Южном Урале: предварительные итоги археологических исследований." Oriental Studies 13, no. 5 (December 28, 2020): 1271–91. http://dx.doi.org/10.22162/2619-0990-2020-51-5-1271-1291.
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Introduction. Imanai-1 Cave is a new monument of the Middle Paleolithic in the Southern Urals. It was discovered by the authors in 2009 and is located in the west of the Ural mountain system, in the interfluve of the Belaya and Nugush Rivers, on the border of the mountain-forest and steppe zones. Goals. The paper aims to introduce preliminary results of archaeological investigations into scientific discourse. Results. The cave is of a tunnel type, its 70 m long passage ending with a far hall which contained bones of a small cave bear and a cave lion. The monument is multi-layered. The first cultural horizon contained 399 items of stone and bone. Tools make up to 60 % of all stone products, while cores and scales are absent, therefore, primary and secondary processing was carried out outside the far hall. The stone industry is characterized by the use of shards and amorphous flint chips. The working areas were made out with monofacial and bifacial retouching, incisal cleavage. The tools are of the following types: 3 Mousterian bifacial points, 4 convergent side-scrapers with bifacial processing, butt knives, some with bifacial processing ― 6 items, carvers on fragments and amorphous chips ― 229 items (59 %), points ― 19 items (5 %), tools with a thorn ― 13 items (3 %), incisors ― 21 items (5 %). At the base of the first cultural horizon, a skull of a small cave bear with an artificial hole made with a stone spearhead was found. The industry of the site has numerous analogies at the Ilskaya-1 site in the North Caucasus and in the materials of the upper layer of the Kiik-Koba grotto in the Crimea, as well as at other sites of the Middle Paleolithic of the Tayacian tradition. Three uncalibrated dates show the interval from 26 to 42 thousand years. This indicates the finale of the Mousterian era.
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Vacek, Pamela M., Robert E. Glenn, and John E. Parker. "Low-Level Respirable Crystalline Silica and Silicosis: Long-Term Follow-Up of Vermont Granite Workers." International Journal of Environmental Research and Public Health 21, no. 5 (May 10, 2024): 608. http://dx.doi.org/10.3390/ijerph21050608.
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The lifetime risk of silicosis associated with low-level occupational exposure to respirable crystalline silica remains unclear because most previous radiographic studies included workers with varying exposure concentrations and durations. This study assessed the prevalence of silicosis after lengthy exposure to respirable crystalline silica at levels ≤ 0.10 mg/m3. Vermont granite workers employed any time during 1979–1987 were traced and chest radiographs were obtained for 356 who were alive in 2017 and residing in Vermont. Work history, smoking habits and respiratory symptoms were obtained by interview, and exposure was estimated using a previously developed job-exposure matrix. Associations between radiographic findings, exposure, and respiratory symptoms were assessed by ANOVA, chi-square tests and binary regression. Fourteen workers (3.9%) had radiographic evidence of silicosis, and all had been employed ≥30 years. They were more likely to have been stone cutters or carvers and their average exposure concentrations and cumulative exposures to respirable crystalline silica were significantly higher than workers with similar durations of employment and no classifiable parenchymal abnormalities. This provides direct evidence that workers with long-term exposure to low-level respirable crystalline silica (≤0.10 mg/m3) are at risk of developing silicosis.
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Vasiliev, Evgeny A., and Lyubov L. Kosinskaya. "STONE INVENTORY OF THE CHES-TYI-YAG NEOLITHIC SETTLEMENT." Ural Historical Journal 80, no. 3 (2023): 131–40. http://dx.doi.org/10.30759/1728-9718-2023-3(80)-131-140.
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Ches-tyi-yag is the most important defining site of the Middle Neolithic Lower Ob region with ceramics of the Chestyag cultural type. The collection of stone inventory from five dwellings and two buildings, investigated by excavations, is distinguished by cultural homogeneity, seriality of mor¬photypes of tools and debitage. The article for the first time analyzes in detail the collection of flint inventory of the settlement (1 139 items) from the standpoint of technical, morphological and typological approaches. Grinded tools and abrasive tools are not considered. In all dwellings, the same varieties of flint were used, quartz products are rare. The industry is characterized as flaking: stadial concrete-situational direct percussion is combined with bipolar technique. A few blades are more often irregular. Among the tools, scrapers of various shapes and flakes with edge retouching predominate, designed for performing cutting, scraping, sawing functions. Small chisel-shaped tools are typical, there are perforators and carvers, and combined tools are frequent. Arrowheads on large irregular blades carry a double-sided edge retouching. The technique of incisor chipping was not used. The bipolar technique was also used to form the blades and rear parts of the tools (undercutting, thinning and reworking the implements), as well as for fragmentation and re-registration of finished tools. The flint inventory of the Ches-tyi-yag settlement according to the technique of splitting, of course, belongs to the circle of the taiga Neolithic of Western Siberia, representing the original flint flake industry with a bright typologically pronounced tool set.
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Gainutdinov, Aidar M. "The epitaph on the monument to Husein-bek." Golden Horde Review 12, no. 1 (2024): 165–74. http://dx.doi.org/10.22378/2313-6197.2024-12-1.165-174.
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Research objectives: The purpose of the article is to identify the correct and most complete text of the epitaph on the monument to Husein-bek which was preserved in the cemetery of Chishma workers’ village of the Chishminsky district of the Republic of Bashkortostan. Research materials: The study was conducted on the basis of an analysis of articles and books by epigraphists, photographs of monuments of the 14th century, as well as materials of the author’s epigraphic expedition. Results and scientific novelty: The text of the monument to Husein-bek is currently only partially preserved, so it is no longer possible to read it completely. But on the basis of a duplicate of this monument, made and installed on the initiative of Mufti M. Sultanov, and a monument from Bulgar which is very similar to the monuments of Husein-bek, it was possible to reconstruct its inscriptions. We believe that we have managed to ascertain which words were written on the front and sides of this stone that were missed or incorrectly read by other specialists, as well as to refute the date of Husein-bek’s death proposed by scientist G.V. Yusupov. According to paleographic features, the object studied by us is very similar to other monuments that have been preserved in the Bulgar of the modern Spasky district of the Republic of Tatarstan. Based on this, it is safe to say that the monument was made by Bulgarian-Tatar carvers. Husein-bek himself was a statesman, a native of the unknown settlement of Tarsas, which was located in the territory of Turkestan. The epitaph on the monument to Husein-bek is written in relief handwriting in the Arabic and Tatar languages. In addition to information about the deceased, the stone contains traditional Tatar religious sayings, prayers, and poems.
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Gubar, Yu S., I. Y. Ponkratova, and L. V. Lbova. "Formulation of tattoo paints from the assemblage of the Upper Paleolithic site of Ushki V (Kamchatka)." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 2(65) (June 15, 2024): 5–17. http://dx.doi.org/10.20874/2071-0437-2024-65-2-1.
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In recent times, the practice of body modification in sociocultural, psychological, and art studies contexts has gained a new impetus for research. This article presents the results of the analysis of pigments found on the sur-face of stone artifacts identified as tattooing tools from the assemblage of layer VII of the Upper Paleolithic site of Ushki V (13–12 ka calBP, Kamchatka Peninsula). The aim of this study is to reconstruct the formulation of paints discovered on the surface of stone tools from the collection of Ushki V, that could have been used for tattooing. The reconstruction was carried out by means of determining the composition and microstructure of the paints using scanning electron microscopy and energy dispersive X-ray spectroscopy (SEM-EDX). The conclusions about the structure of colouring substances and the composition of paints are based on the element mapping method, which allows determination of the relationships of chemical elements and establishing the chemical com-position of individual components of the microstructure. Seven samples of red and yellow paint from the surface of six tools (carvers) have been thoroughly analysed. As a result, it has been found that three recipes were used for the manufacture of the pigments. The first (red paint) was based on mixing crushed mineral pigment (hema-tite) with organic binder of animal or vegetable origin. The second (yellow paint) implied the use of limonite, or-ganic binder and a thickener (aluminosilicate material or crushed bone). The third recipe (dark orange paint) in-cluded the compound of limonite and organic binder without thickener. The comparison of the formulations with previously obtained data on the analysis of paints from Ushki V allows for the conclusion that there were continu-ous technological traditions determined by the desired color and purpose of the paint. It has been established that the formulations have analogies both among the assemblages of other Stone Age sites of Eurasia and in ethno-graphic materials. Theoretical and practical significance of this research lies within extending of focused studies of the culture of peoples of the North and initiating of comparative research into similar Late Paleolithic and Neolithic complexes in the territories adjacent to Kamchatka and in the New World.
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Lopes, A. J., W. Costa, T. Thomaz Mafort, A. de Sá Ferreira, S. L. Silveira de Menezes, and F. Silva Guimarães. "Silicosis in sandblasters of shipyard versus silicosis in stone carvers in Brazil: A comparison of imaging findings, lung function variables and cardiopulmonary exercise testing parameters." Revista Portuguesa de Pneumologia (English Edition) 18, no. 6 (November 2012): 260–66. http://dx.doi.org/10.1016/j.rppnen.2012.06.002.
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Becker, Catherine. "The Unfinished: Stone Carvers at Work in the Indian Subcontinent. By Vidya Dehejia and Peter Rockwell. New Delhi: Roli Books, 2016. 274 pp. ISBN: 9789351941149 (cloth)." Journal of Asian Studies 77, no. 4 (November 2018): 1111–12. http://dx.doi.org/10.1017/s0021911818001250.
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Клишевич, Е. А. "Ivan Martos and the Masters of Marble at the Academy of Arts in the First Half of the 19th Century." Scientific Papers of St Petersburg Academy of Fine Arts, no. 68 (March 25, 2024): 78–92. http://dx.doi.org/10.62625/2782-1889.2024.68.68.006.
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В начале XIX в. в Совете Академии художеств был поднят вопрос о создании класса мраморной рубки. Признавалось, что скульптор, который разрабатывает эскиз композиции и лепит модель, при переводе последней в камень не может обойтись без помощника, вырубка же скульптуры из мрамора требует специальной художественной подготовки. Некоторые меры по развитию академической мраморной мастерской предпринял И. П. Мартос. Он, в частности, оказал поддержку крепостному рубщику камня Б. И. Орловскому, благодаря чему тот получил привилегии классного художника. Инициатива профессора не была продолжена. В дальнейшем мраморщики, которым часто принадлежала окончательная отделка скульптурных композиций, создававшихся по моделям выпускников, не получали статуса в Академии. Их имена, как правило, оставались неизвестными. At the beginning of the 19th century, the Council of the Academy of Arts raised the issue of the establishment of the marble carving class. It was assumed that the sculptor, who designed sketches of the composition, couldn’t work without an assistant, when the sketch was converted into stone. Carving the sculpture of marble required special professional skills. Ivan Martos had taken some steps to introduce marble sculpture techniques into the educational concept and to include a marble carver into the staff of the Academy. Besides it became possible for Martos to support the artist B. Orlovsky who was a serf at that time. Thanks to the support of Martos Orlovsky received the privileges of an officially established artist and got the opportunity to study at the expense of the state. The professor’s initiative stayed without any consequences. In 1830–1840s, the carvers, who often finished in marble many statues and groups according to models of Academy’s undergraduates, were stripped of their Academy’s master status. Generally, their names stayed unknown.
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Michell, George. "Vidya Dehejia and Peter Rockwell : The Unfinished: Stone Carvers at Work on the Indian Subcontinent. 280 pp. New Delhi: Roli Books, 2016. £39.95. ISBN 978 93 5194 114 9." Bulletin of the School of Oriental and African Studies 80, no. 2 (June 2017): 389–91. http://dx.doi.org/10.1017/s0041977x17000829.
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Hansen, Ole Thirup Kastholm, and Erik Sandquist. "Med mejsel eller pikhammer – Hvorledes blev runer ristet?" Kuml 53, no. 53 (October 24, 2004): 181–96. http://dx.doi.org/10.7146/kuml.v53i53.97498.
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With Chisel or Pick HammerHow were Runes carved? In 1980, Vitus Nielsen and Erik Moltke published the essay “Pikhammeren – kan man også skrive med den?« (The Pick Hammer – can it be used for writing as well?). Nielsen summed up the historical background of the pick hammer, while Moltke postulated that in the Viking Age this tool was used for carving runes and ornaments on rune stones (Fig. 1). This essay postulates the opposite: that runes were carved with a chisel and a hammer/mallet. Moltke’s hypothesis has been briefly questioned before, but has not been thoroughly discussed. This essay is primarily based on the professional experience gathered by Erik Sandquist, the stonemason, from the carving of modern rune stones.Moltke’s most important argument is the existence of small conical marks made by a pointed tool in a number of rune grooves. This phenomenon can be observed on e.g. rune stone no. 5 from Århus (c.1000 AD) and the Swedish rune stones from Himmelstadlund in Östergötland (400-550 AD) (Fig. 2).Erik Sandquist has been carving rune stones since 1995. His stone no. 44 was erected in the summer of 2004 next to the museum in Jelling (Figs. 3-4). From this work, Sandquist has gained exhaustive experience using a broad chisel and a pick chisel in combination with a hammer or mallet, whereas most modern stonemasons prefer to use pneumatic tools and sandblasting. It is important to note that Sandquist does not consider his work to be experimental archaeology; his results are not systematically documented. Nevertheless, this craftsman’s experience might provide the basis for a few conclusions that would contribute to the archaeological discussion. Sandquist uses the following method for carving a rune stone: when an appropriate stone has been selected and transported to its future location, he sketches a design of runes and ornaments directly onto the stone surface, first using a soaked cloth (so that possible mistakes will easily disappear), then coal (which can be erased easily), and finally, for the ultimate design, chalk. Then he carves the lines using a chisel and a hammer or mallet. The grooves are often painted with a mixture of buttermilk, pigment (e.g. iron oxide), and powdered ammonia. Ideally, the stone should be carved and painted while resting in a horizontal position and not erected until completed. To prevent future confusion among archaeologists and philologists, Sandquist’s rune stones are recorded by the National Museum.Erik Moltke postulated that a pick hammer was more convenient than a chisel for carving runes and ornaments. He argued that if the rune carver was using a chisel and a hammer, his hand would be covering the area he was working on, whereas a pick hammer would allow him to see the work in progress at any time. However, the fact is that a pick hammer is far less precise when it comes to carving lines than the chisel and hammer: by holding the chisel near the stone surface, the rune carver can easily work precisely and furthermore adjust the power of the strokes. The pick hammer, on the other hand, is chisel and hammer all in one, and the direct percussion technique that it requires forces the stone mason to keep a distance from the stone surface, which causes imprecision as to percussion power and direction. The pick hammer is far more suitable for work on large surfaces, e.g. on ashlars, where the power of the hammer stroke is more important than precision.Just one pick hammer is known from Viking Age Scandinavia. It was found in the ring fortress of Trelleborg (Fig. 5). In addition, a pick hammer of uncertain date is known from Lund in Sweden (Fig. 6). In a European perspective, the Romans used this tool around the beginning of the Christian era. Several pick hammers are known, for instance, from the quarries in Felzberg near Odenwald, south of Mainz. In medieval art, pick hammers are often depicted as a tool for cutting ashlars (Figs. 7-8), and they were used until the Second World War.A number of chisels are known from Viking Age Scandinavia (Fig. 9), but the shape of the individual chisels does not reveal whether it was made for iron or stone working. However, the chisels may have a different degree of hardness, since ideally a chisel for stone carving would be less hard than one designed for iron working. The reason is that if the steel in the stonemason’s chisel is too hard, the chisel will crack easily, and if on the other hand the steel is too soft, the chisel will need sharpening too often. This is why modern standard chisels are very poor for rune carving. Oxidation and recycling has probably been the fate of many prehistoric chisels. Wooden mallets, which may have been used for stone carving, are known from Viking Age Sigtuna. In pictures from the Middle Ages, chisels and mallets are depicted as tools for carving inscriptions (Fig. 10).The weathering of the rune stones has made it very difficult to find traces from the rune carvers’ tools. Still, faint chisel marks can be observed on a few Swedish rune stones and on the large Jelling stone (Fig. 11). Erik Moltke interpreted small conical depressions which he observed in a number of rune grooves as marks from a pick hammer. The same phenomenon can be observed on the Vester Tørslev stone (Fig. 12). However, these marks only prove that a pointed tool was used – and that may well have been a pointed chisel.Ole Thirup Kastholm HansenInstitut for Arkæologi og EtnologiKøbenhavns UniversitetErik SandquistFøvling
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Branach-Kallas, Anna. "Vimy, Gallipoli, trauma, and the poetics of grief : re-reading the myths of the First World War in Jane Urquhart's The Stone Carvers and Brenda Walker's The Wing of Night." Brno studies in English, no. 1 (2020): 91–108. http://dx.doi.org/10.5817/bse2020-1-4.
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Goja, Bojan. "Oltar Sv. Jeronima u crkvi Sv. Šime u Zadru i radionica Bettamelli." Ars Adriatica, no. 2 (January 1, 2012): 203. http://dx.doi.org/10.15291/ars.449.
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Based on the book, the full title of which is Registro delle Administrationi de Signori Governatori di San Gerolimo della Nation Oltramarinna in Dalmatia et Albania, this paper discusses the altar of St Jerome in the church of St Simeon at Zadar. It is already known that the altar was commissioned and maintained by the confraternity of Croatian and Albanian soldiers (Croatti a cavallo and Soldati Albanesi) founded in 1675 at Zadar, who were in the service of the Venetian Republic. New archival research has established that on 26 September 1694 the confraternity authorized the expense of 200 silver ducats intended for two Venetian carvers, the Bettamelli brothers, as a down payment for the making of the altar. The work on the altar began in April 1696 and several local master craftsmen took part in it: Zanotti, Rodo and Radičić, as well as smith Rosini. Since the Bettameli brothers, the makers of the altar of St Jerome, are not mentioned in the records by their first names, it should be noted that an altar-maker of the name of Alberto Bettamelli from Venice was responsible for the construction of the high altar and its tabernacle in the cathedral of St Maurus at Maniago (Friuli), as we learn from a contract made in 1693. Alberto Bettamelli also made the tabernacle in the parish church at Marsure (Aviano, Friuli). Bortolo Betamelli (Bettamelli), a tagliapietra, is mentioned between 1646 and 1682 in the ledgers containing contracts of apprenticeship to various sculptors, stone-cutters and carvers kept by the Giustizia Vecchia, a magistracy which supervised the activities of Venetian guilds. Two tabernacles have been attributed to the Bettamelli workshop: one on the high altar of the parish church at Maniago Libero (Maniago, Friuli) of 1694, and one in the parish church at Provesano (Friuli). Based on the records about the construction of the altar of St Jerome, it can be suggested that the coat of arms (composed of a cartouche with a shield emblazoned with a left-facing rampant lion and the initials C.C.S.F. above) depicted on the east pillar of the altar base, previously linked to the members of the Civran family, refers to Šimun Fanfogna (Zadar, 7 April 1663 - Lendinara, 6 March 1707), a Zadar nobleman and distinguished commander in the Venetian army who was the caretaker of the altar. The altar of St Jerome together with the surrounding area inside the church aisle - also called the chapel of St Jerome - represented an isolated unit delineated by a balustraded rail which could be used separately from the rest of the church, on certain occasions and festivities, by the members of the confraternity as well as the representatives of local and regional Venetian government at Zadar, and ecclesiastical and other dignitaries. Numerous works on the decoration of the altar and chapel of St Jerome were carried out throughout the whole of the eighteenth century and large numbers of local craftsmen skilled in different arts were engaged in them. Over a number of years, the Registro mentions the builders Antonio Piovesana (1742) and Antonio Bernardini (1789), the altar-maker Girolamo Picco (1756), the marangon Domenico Tomaselli (1743), blacksmith Antonelli (1744) and the goldsmiths Zorzi Cullisich (1738), Nicolò Giurovich (1752) and Giuseppe (Josip) Rado (1755). A number of other interesting pieces of information concerning the decoration of the altar and the activity of the confraternity of St Jerome is also presented.
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Tomasella, Paolo. "La partecipazione degli architetti, scultori e impresari italiani alla costruzione dei monumenti ai caduti della Grande Guerra nella Romania interbellica." Studia Universitatis Babeș-Bolyai Historia Artium 66, no. 1 (December 30, 2021): 155–79. http://dx.doi.org/10.24193/subbhistart.2021.06.
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"The Participation of Italian Arhitects, Sculptors and Entrepreneurs in the Construction of the Heroes’ Monuments Fallen in the First World War in Interwar Romania. Seasonal or permanent migration from Italian regions to Romania in the 19th and 20th centuries involved a variable number of unskilled workers but also personalities (artists and sculptors), many Venetians and Friulians, who left clear, tangible evidence, of their stay and the results of their work on the Romanian territory. With the end of the First World War and with the outbreak of Greater Romania, the need to build memorials dedicated to those who fell in the struggles for the unification of the nation was felt throughout the country. Sculptors and entrepreneurs from Veneto and Friuli were among the protagonists of this process of institutionalizing memory. It is worth mentioning, regarding the sculpture, the presence in Romania of the artists Ettore Ferrari and Raffaello Romanelli; the Italian entrepreneurs and stonemasons, Giovanni Battista De Nicolò, Victor and Giovanni Mezzarobba, made a significant contribution to the materialization of the projects to honor the memory of the heroes of the First World War. The artistic and urban involvement of the Italians settled in Romania proved to be important in the construction of public monuments in many cities in Romania. Vincenzo Puschiasis (1874–1941), a sculptor established in Piatra Neamț in 1899, played a special role among the stone carvers of Friulian origin living in Romania. Puschias is established himself in Romania not only locally, but also nationally, through the large number and quality of monuments erected for the Romanian heroes who fell in the First World War. His works are characterized by strength, finesse, elegance, combination of styles and aesthetic harmony. After 1919, Vincenzo Puschias is founded the Construction Company in the County of Neamț, specializing in the construction of memorials dedicated to those who fell in the First World War. Among his most remarkable works in this field are: the funeral complex from the “Eternitatea” Cemetery of Piatra Neamț, made in collaboration with Gheorghe Iconaru; monuments of the heroes erected in Bistricioara, Căciulești, Verșești, Roznov, Bahna, Văleni, Zănești; obelisks in Gârcina, Oanțu, Roznov, Piatra Șoimului, Podoleni; the statue of the hero soldier from Viișoara. Keywords: Italian emigrants; First World War; sculptors and entrepreneurs; Ettore Ferrari; Raffaello Romanelli; The Mausoleum of the Heroes of Mateiaș; Vincenzo Puschiasis. "
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Shevchenko, S., D. Yastrebov, M. Sak, and A. Moskalenko. "Features of development of the collection stone' current market." Collection of Research Papers of the National Mining University 72 (March 2023): 115–32. http://dx.doi.org/10.33271/crpnmu/72.115.
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Purpose. On the basis of open sources of information, perform an analysis of the factors that led to an increase in the demand for collectible mineral specimens, identify the current popular trends in this market, show the potential of Ukraine in this field. The methods. The work uses general scientific research methods - empirical and theoretical (analysis, generalization, comparison, explanation). Findings. The main factors that led to the current increase in demand for collectible stones are highlighted, including the development of information technologies, the Internet, and social networks. Popular trends are identified and their connection with investment activities is shown, in particular such areas as museum and exhibition activities, cryptocurrencies, NFT technologies. A preliminary analysis of the availability and distribution of specimens of collection stones of Ukraine in modern museum collections of the world was performed, examples of the use of collection samples from the deposits of Ukraine as raw materials by the world's leading carvers are given, such a phenomenon as the activity of hunters, including at well-known domestic geological sites, is highlighted. The originality. The market for collectible mineral specimens is shown to be a powerful segment of the global gems market with annual sales of over $1 billion. Its capitalization continues to increase thanks to the artistic reinterpretation of these unique works of nature, the collections of which are now considered as alternative investments with the value of individual specimens at the level of 500 million dollars. The discovery of new mineral deposits, the emergence of a new class of collectors, as well as the development of cryptocurrencies justify the further development of collectible specimens’ market. Practical implementation. Examples of the commercialization of collectible specimens with the application of NFT technologies to them or to their digital images are given, usingof images of the specimens in modern art is shown on specific works of domestic and foreign artists and graphic products. Modern approaches to the formation of museum collections in the world's leading museums, the principles of philanthropy and aspects of attracting patrons, as well as the experience of attracting a wide range of visitors, which should also be applied to domestic state and university museum collections, are shown.
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Wyile, Herb. "Taking Vimy Ridge: Jane Urquhart's The Stone Carvers and Canada as "Warrior Nation"." Canada and Beyond: A Journal of Canadian Literary and Cultural Studies 4 (December 21, 2014). http://dx.doi.org/10.33776/candb.v4i1.3016.
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This article revisits Jane Urquhart's 2001 novel The Stone Carvers in light of the Conservative Party of Canada's reframing of national identity, particularly its emphasis on Canada's military and its privileging of Vimy Ridge as a hallowed site of national identity formation. Rereading The Stone Carvers in light of a number of aspects of the Conservative Party's rebranding of Canadian identity, including the prospective building of a companion memorial to the Vimy Memorial that figures so prominently in The Stone Carvers, the article offers a reassessment of Urquhart's portrayal of the battle of Vimy Ridge and of the Vimy Memorial and its architect, Walter Allward.
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Vinokurov, Sergey. "Artworks of Russian Stone Carvers in the Diplomatic Service." Quaestio Rossica 9, no. 2 (June 21, 2021). http://dx.doi.org/10.15826/qr.2021.2.608.
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This review examines recently published works by Russian scholars in the field of artistic stone carving, namely, the reference book by N. M. Mavrodina, Works of Russian Stone-Carving Art in Collections outside Russia (2019), and the monograph by L. A. Budrina, Malachite Diplomacy (2020). Both works study objects created by Russian stone carving artists through the 18th – early twentieth century and which left the country as a result of various diplomatic occasions. The authors have adopted different research approaches. N. M. Mavrodina, preparing a catalogue of works exported from Russia, focuses mainly on the activities of Imperial stone-carving factories. The monograph by L. A. Budrina, on the other hand, focuses on the identification and study of carvings and their history; it also offers insights into the role of stone-carved objects in the formation of the image of the Russian state, and describes the main mechanisms that contributed to the formation of a fashion for Russian stone carving abroad. The two reviewed works offer a significant contribution to the historiography of stone carving art, as well as the role of works of art in creating the image of a country or region and their place in the formation of a single European art market.
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Thongdok, Norbu Jamchu, Gibji Nimasow, and Oyi Dai Nimasow. "Ran-thok and Ling-chhom: indigenous grinding stones of Shertukpen tribes of Arunachal Pradesh, India." Journal of Lithic Studies 9, no. 1 (May 16, 2022). http://dx.doi.org/10.2218/jls.5390.
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The Shertukpens are an Indigenous tribal group inhabiting the western and southern parts of Arunachal Pradesh, Northeast India. They are accomplished carvers of carving wood and stone. This paper reports on the use of traditional grinding stone implements, ran-thok (grinding stone) and ling-chhom (nutting stone) for the grinding and nutting of grains, fruits, rhizomes, and other food products. These grinding implements are examples of endangered material culture, the use of which may produce better quality flour from both nutritional and gustatory perspectives.
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Roy Naskar, Saswati. "A Study Among the Stone Carvers of Eastern India in Search for Cultural Continuity." SSRN Electronic Journal, 2011. http://dx.doi.org/10.2139/ssrn.1916142.
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Serotta, Anna. "Reading Tool Marks on Egyptian Stone Sculpture." Rivista del Museo Egizio 7 (December 19, 2023). http://dx.doi.org/10.29353/rime.2023.5098.
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For millennia the ancient Egyptians filled their tombs and temples with stone sculpture. Egyptian stone workers were extremely prolific, quarrying vast quantities of stone from along the Nile Valley and the deserts beyond, and turning it into sculpture ranging from miniature to monumental. Particularly impressive is their exploitation of hard stones, such as granite, granodiorite, graywacke, anorthositic gneiss, or basalt. Although secondary sources including tomb paintings and excavated tools provide insight into hard stone working methods, there is significant disagreement among scholars about the forms and materials of the tools themselves, how they were used by ancient stoneworkers, and how these factors relate to the broad range of surface textures we observe. This paper seeks to demonstrate the utility in addressing these questions through the systematic characterization of tool marks using Reflectance Transformation Imaging (RTI), augmented by the examination of ancient tools, experimental archaeology, and consultation with contemporary stone carvers. This approach is demonstrated through a series of case studies which illustrate useful comparisons between tool marks on Egyptian stone sculpture in the collection of The Metropolitan Museum of Art. Topics addressed include: differences in hard stone and soft stone carving; variations in finishing work on statuary elements; variations in the carving of hieroglyphs; and possible evidence of a changing tool kit. فك التشفير على النحت الحجري المصري ملخّص لآلاف السنين، ملأ المصريون القدماء مقابرهم ومعابدهم بالمنحوتات الحجرية. كان إنتاج النحّاتون المصريون كبيراً جداً، حيث كانوا ينحتون آلاف القطع الحجرية على طول وادي النيل والصحاري المجاورة، وتحويلها الى منحوتات مختلفة الأحجام من صغرة إلى ضخمة جداً. يثير للإعجاب بشكل خاص استخدامهم للأحجار الصلبة، مثل الجرانيت أو الجرانوديوريت أو حجر الجرواق أو حجر الآنورثوسايت (صخور فانيرتيك بركانية نارية) أو البازلت. بالرغم من أن المصادر الثانوية، بما في ذلك لوحات القبور وأدوات الحفر التي توفّر معلومات جيدة عن أساليب نحت الحجارة الصلبة، إلا أن هناك خلافاً كبيراً بين الباحثين حول أشكال ومواد الأدوات نفسها، وكيف استُخدِمت من قبل النحاتين القدامى. نحاول من خلال هذا المقال تقديم الجهاز الذي يساعد في معالجة هذه الأمور للرد على تلك الاستفسارات، من خلال الوصف المنهجي لخصائص القطع باستخدام تصوير التحوّل الانعكاسي (RTI)، تتمثل التقنية في التقاط صور متعددة عن طريق تغيير ميل الضوء واتجاهه للكشف عن خصائص السطوح المصوّرة، ومقارنتها مع عينات حجرية حديثة. تعتمد هذه المقالة على مجموعة دراسات توضح اختلاف علامات الأدوات الواضحة على سطح المنحوتات الحجرية المصرية ضمن مجموعة قطع محفوظة في متحف المتروبوليتان للفنون. الموضوعات التي تمت تداولها هي: الاختلافات بين الحجر الصلب والنحت على الحجر، الاختلافات في طرق إنهاء العمل عند نحت التماثيل، الاختلافات في حفر الرموز الهيروغليفية، والأدلّة المحتملة في حالة تغيير مجموعة أدوات النحت.
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Kakucs, Lajos. "Contribuții la istoria pompierilor voluntari din Timișoara (de la inceputuri pană in anul 1936) / Contributions to the history of volunteer firefighters from Timișoara (from the very beginnings to 1936)." Analele Banatului XXV 2017, January 1, 2017. http://dx.doi.org/10.55201/kmjh8407.
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We have got the first sporadic references to the activity of volunteer firefighters from Timişoara from the period succeeding the formation of the town’s civilian leadership after January 1, 1718, when the fireman’s duties, as well as those regarding the internal order, were related to the Civil Magistracy which was also supervised by the Administration of Banat County. The 22nd point of the Regulations from 1755 for the town’s organisation (Policey Ordnung) demanded the construction of a separate building, from solid materials, for the preservation of objects (such as stairs, dishes etc.) and cars needed to stop the fire (Wasser Maschinen). The new regulations of the Administration of Banat County, in March 31, 1774, envisaged the participation of citizens, especially of the craftsmen in the town, in the extinction of fire. In the decades after 1718 the chimney sweeps from Timişoara had an important role in the extinction of fire; after 1815 they were organised in a mutual guild together with masons, stone carvers, carpenters, roofers and street pavers. The sealing field of this guild’s signet dominated the silhouette of their patron, St. Florian, holding a flag in his left hand, a milk pail in his right hand, from which he was pouring some water on a house in fire. After the guild’s dissolution, the first group of volunteer firefighters from Timişoara was organised in the Fabric District in September 1867, relying on a much older structure belonging to Timișoara town. The status of the structure from Fabric was authorized only on August 22, 1868. The Volunteer Firefighter Corporation from Iosefin (Josefstädter Feuerlösch-Corp) was founded on August 5, 1868, in a restaurant (Zum König von Ungarn). The information of a newspaper, Temesvarer Zeitung, in 1873, certifies the alliance of volunteer firefighters from two districts, Iosefin and Elisabetin. The Volunteer Firefighter Corporation from the fortified town, as the third corporation in the town of Timișoara, was founded in 1873. In 1877 the three volunteer firefighter corporations were united under the name of Temesvarer Freiwillige Feuerwehr. They preserved their own authority. According to our information, the groups of volunteer firefighters from the outskirts of Mehala and Fratelia were organised in 1894.
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Boudigaard, Signe Hjuler, Karoline Kærgaard Hansen, Henrik Kolstad, Hans Kromhout, and Vivi Schlünssen. "Determinants of Respirable Quartz Exposure Concentrations Across Occupations in Denmark, 2018." Annals of Work Exposures and Health, December 21, 2021. http://dx.doi.org/10.1093/annweh/wxab116.
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Abstract Background High concentrations of respirable quartz have been reported from workers in construction, foundries, and quarries. Current exposure concentrations in prevalent but presumably lower exposed occupations have been less examined. We aimed to quantify current exposure concentrations of respirable dust and quartz across prevalent occupations and to identify determinants of respirable quartz exposure across these occupations. Methods One hundred and eighty-nine full-shift personal samples of respirable dust of workers within 11 occupations in Denmark were sampled during 2018. Respirable dust was determined gravimetrically and analysed for quartz content with infrared spectrometry. Determinants for respirable quartz exposure, i.e. use of power tools, outdoor or indoor location, and percentage of quartz in respirable dust, were analysed in linear mixed effect models. Results The overall geometric means (geometric standard deviations) for respirable dust and quartz were 216 µg m−3 (4.42) and 16 µg m−3 (4.07), respectively. The highest quartz concentrations were observed among stone cutters and carvers [93 µg m−3 (3.47)], and metal melters and casters [61 µg m−3 (1.71)]. Use of power tools increased exposure concentrations of quartz by a factor of 3.5. Occupations explained 27%, companies within occupations 28%, and differences between workers within companies within occupations 14% of the variability in quartz concentrations. Thirty percent was due to day-to-day variability in exposure concentrations. In total, 19% of the variation in quartz concentration could be explained by type of tool, indoor/outdoor location, and percentage of quartz in respirable dust. Conclusion Current exposure concentrations are generally low, but some occupations in this study had average exposure concentrations to respirable quartz above the ACGIH threshold limit value of 25 µg m−3. Preventive measures to lower excess risk of quartz-related diseases among these workers are still needed. In terms of preventive strategies, use of power tools and quartz content of used materials were identified as main determinants of exposure. Lowering of exposures will be most efficient when focussed on these major determinants, e.g. tool dust control with water, dust extraction, and use of low quartz content materials.