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Relevant bibliographies by topics / Terracotta display

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Academic literature on the topic 'Terracotta display'

Author: Grafiati

Published: 7 June 2025

Last updated: 2 August 2025

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Journal articles on the topic "Terracotta display"

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Barclay, Craig. "James C.S. Lin and Xiuzhen Li (2018). China’s First Emperor and the Terracotta Warriors." British Journal of Chinese Studies 8, no. 2 (2019): 162–64. http://dx.doi.org/10.51661/bjocs.v8i2.15.

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In February 2018 a new exhibition entitled China’s First Emperor and the Terracotta Warriors opened at the World Museum, in Liverpool. Organised in collaboration with the Shaanxi Provincial Cultural Relics Bureau and Shaanxi History Museum, this did not of course represent the first visit of the Terracotta Army to these shores. In terms of public engagement, however, it was undoubtedly a major coup for Liverpool: a small selection of the figures drew some 225,000 visitors to the City Arts Centre in Edinburgh in 1985; whilst the British Museum’s blockbuster 2007-8 exhibition attracted crowds th

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Ma, Y., W. Li, and N. An. "RESEARCH ON THE DIGITAL EXHIBITION OF CULTURAL RELICS FOR CROSS-CULTURE COMMUNICATION: CASE STUDY ON CHINA-GREECE COOPERATION ON TERRACOTTA WARRIORS." ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences X-M-1-2023 (June 23, 2023): 187–92. http://dx.doi.org/10.5194/isprs-annals-x-m-1-2023-187-2023.

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Abstract. With epidemics blocking offline interactions, it is difficult to organise events such as tours of major heritage sites and outbound exhibitions of cultural relics, and new paths need to be expanded for the presentation of cultural heritage and intercultural education efforts. With the booming development of digital technology, the integration of online virtual presentation and interactive technology and the innovative design of 3D scenes provide new solutions for the intercultural communication of these precious and immovable cultural relics (e.g. archaeological sites), etc. This pro

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Rayner, Georgina, Susan D. Costello, Arthur McClelland, Austin Akey, and Katherine Eremin. "Preliminary Investigations into the Alteration of Cadmium Orange Restoration Paint on an Ancient Greek Terracotta Krater." Heritage 4, no. 3 (2021): 1497–510. http://dx.doi.org/10.3390/heritage4030082.

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In preparation for exhibition, an ancient Greek terracotta krater received treatment which included selective in-painting with cadmium orange (CdSSe). After one year on display the object displayed disfiguring alteration in select areas of restoration. Cross-section analysis of samples taken from the object revealed that alteration only occurred in areas where the paint was in direct contact with darkened and abraded areas of the terracotta surface, in which analysis found the presence of chlorine. The alteration was recreated in mock-ups for more in-depth analysis. Using Raman spectroscopy an

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Yu, Zhaoqing. "Application of Virtual Reality Technology in Digital Protection of Cultural Heritage." Highlights in Art and Design 9, no. 3 (2025): 46–50. https://doi.org/10.54097/50dekj79.

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This study focuses on the application of virtual reality technology in the field of digital protection of cultural heritage, and builds a complete technical system through cutting-edge technologies such as multimodal data acquisition, digital twin restoration algorithm and virtual-reality fusion display system. In terms of multimodal data acquisition, laser scanning (accuracy ±0.05mm), close-range photogrammetry (resolution 5000dpi) and spectral analysis technology are integrated to establish a comprehensive and high-precision data archive for cultural heritage. The digital twin restoration al

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Jemo, Danijela, Barbara Margaretić, and Mateo Miguel Kodrič Kesovia. "Challenges of Exhibiting Ethnographic Costumes: Interinstitutional Project of Replacing Display Mannequins in Ethnographic Museum of Dubrovnik." Heritage 7, no. 9 (2024): 4666–77. http://dx.doi.org/10.3390/heritage7090220.

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The Ethnographic Museum in Dubrovnik holds an extensive textile collection which includes a number of dresses and costumes from Croatia and neighbouring countries. Until recently, the costumes were displayed on mannequins created by the academic artist Zvonimir Lončarić (1927–2004). His sculptures are expressive forms made of terracotta, fibreglass, wood, metal, acrylic paint and other materials chosen for their visual appeal. Due to their importance, the museum considered the mannequins to be protected works of art in the permanent exhibition; however, they had a harmful effect on the costume

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Ignatiadou, Despina, Irini-Despina Papaikonomou, and Irini Poupaki. "The Knucklebone and the Goose: Playing and Jeopardy for the Boy of Lilaia." Board Game Studies Journal 16, no. 1 (2022): 309–37. http://dx.doi.org/10.2478/bgs-2022-0010.

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Abstract A particularly beautiful marble statue of a boy, a dedication unearthed in Lilaia, Phokis, and on display in the National Archaeological Museum, Athens, is an opportunity for us to explore the connection between the boys’ games and the jeopardy in their outcome. Both the expression on the boy’s face and the way he holds an astragal and a goose demand multiple levels of reading. These are related to the intent of the dedication in the first place, the identification of the games requiring an astragal or involving a goose, as well as to the choice of these specific playthings for the pa

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Ignatiadou, Despina, Irini-Despina Papaikonomou, and Irini Poupaki. "The Knucklebone and the Goose: Playing and Jeopardy for the Boy of Lilaia." Board Game Studies Journal 16, no. 1 (2022): 309–37. http://dx.doi.org/10.2478/bgs-2022-0010.

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Abstract A particularly beautiful marble statue of a boy, a dedication unearthed in Lilaia, Phokis, and on display in the National Archaeological Museum, Athens, is an opportunity for us to explore the connection between the boys’ games and the jeopardy in their outcome. Both the expression on the boy’s face and the way he holds an astragal and a goose demand multiple levels of reading. These are related to the intent of the dedication in the first place, the identification of the games requiring an astragal or involving a goose, as well as to the choice of these specific playthings for the pa

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8

Pütz, Babette, and Kenneth Sheedy. "Bad Hair Day: Some Mementos of New Comedy Refurbished." Antichthon 44 (November 2010): 33–49. http://dx.doi.org/10.1017/s0066477400002069.

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Masks having a bad hair day? Two terracotta masks now in the Museum of Ancient Cultures, Macquarie University (figs 1-5), and the Classics Museum, Victoria University of Wellington (figs 9-12), seem to be in this embarrassing situation. Both of these tonsorially-challenged characters display highly unusual features (indeed the entire forehead of the male mask seems somewhat deformed) but a closer look suggests that in both cases their bad hair is the result of ‘tampering’ with classic mask representations or their moulds. That is to say, existing moulds have been modified and then brought back

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Yaman, Hüseyin, and Tolga Özhan. "Roman Sarcophagus Depicting Scylla in the Çanakkale Troia Museum." Tekmeria 16 (November 17, 2022): 209–44. http://dx.doi.org/10.12681/tekmeria.31883.

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   This article discusses an inscribed sarcophagus that originates from Nikaia and is now on display in the Çanakkale Troia Museum. The front is divided into three framed panels. Each short end has a single frame, and both are decorated with a gorgoneion. On the front, pantomime masks occupy the left and right frames while the middle one is embellished with a bust depicting a young woman. This discussion focuses mainly on the identification of the relief in the central frame and the inscription on the sarcophagus. The middle figure arouses curiosity with her leafy garment an

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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

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Books on the topic "Terracotta display"

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Hostetter, Eric. Lydian architectural terracottas: A study in tile replication, display, and technique : the archaeological exploration of Sardis. Scholars Press, 1994.

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Book chapters on the topic "Terracotta display"

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Winter, Nancy A. "The Argive Systems." In Greek Architectural Terra Cottas. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198147947.003.0008.

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Abstract ARGOS, another of the important Archaic city-states, with its sanctuary of Hera nearby, also played an important role in the production of architectural terracottas. Some early roofs display a distinctive style based on the Protocorinthian system, a style which continues in its basic form from its inception around or before the mid-seventh century BC until the first quarter of the fifth century BC. A second style, which probably represents a second local workshop centred in the eastern Argolid, begins somewhat later, early in the sixth century BC, and favours Corinthian style rather t

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Conference papers on the topic "Terracotta display"

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Сударев, Н. И., and М. Ю. Трейстер. "MEDALLION WITH A GODDESS AND THE ZODIAC SYMBOLS FROM NECROPOLIS VINOGRADNYI 7." In Hypanis. Труды отдела классической археологии ИА РАН. Crossref, 2023. http://dx.doi.org/10.25681/iaras.2021.978-5-94375-350-3.193-217.

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В работе рассматривается погребение № 19/2015 некрополя Виноградный 7 на Таманском полуострове, датируемое на основании анализа погребального инвентаря не позднее первых десятилетий 1 в. до н. э. Специально рассматривается найденный в районе грудной клетки погребенной женщины в возрасте 45–50 лет серебряный медальон. В центре бляхи вытиснен в высоком рельефе бюст богини в калафе и покрывале с прижатой к груди правой рукой и вет кой с листом – в левой. По окружности – выполненные в более низком рельефе 10 знаков зодиака. Ближайшая параллель публикуемому медальону, хранившаяся до Великой Отечест

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