Relevant bibliographies by topics / Tibetan Small art works

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Tibetan Small art works'

Author: Grafiati
Published: 29 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Tibetan Small art works"

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Magnatta, Sarah. "Marking Impermanence." HIMALAYA 43, no. 2 (2024): 64–80. https://doi.org/10.2218/himalaya.2024.8956.

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This essay explores works by contemporary artist Sonam Dolma Brauen through two lenses: as the result of ongoing and changing functions of an object, and as part of a broader dialogue about indexical imagery in contemporary art. Sonam Dolma’s family escaped from Tibet to India when she was young, carrying few possessions on their difficult journey through the Himalayas. One of these items, a small metal tsa tsa mold used in Tibetan Buddhist rituals, would later become an instrument of creation in Sonam Dolma’s art practice. Comprised of multiple plaster casts made from the original object, the
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Zorin, Aleksandr. "Tibetan and Mongolian Studies of the Academician Theophilus Siegfried Bayer." ISTORIYA 13, no. 4 (114) (2022): 0. http://dx.doi.org/10.18254/s207987840021195-3.

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This article deals with one of the main directions of research of T. S. Bayer (1694—1738), the first orientalist at the Russian Academy of Sciences. His interest in Tibetan and Mongolian writings was formed several years before his arrival in St. Petersburg, but it was instigated mainly by the sources connected with Russia. In the 1720s, two preliminary works by Bayer on this topic were published, one of them containing a translation of a text related to the ritual practice of Tibeto-Mongolian Buddhism, the first one in the history of European science. After moving to Russia, Bayer got the opp
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Zhen, Ni. "Analyze the Development of Tibetan Contemporary Art." BCP Education & Psychology 8 (February 27, 2023): 84–88. http://dx.doi.org/10.54691/bcpep.v8i.4276.

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The development of Tibetan contemporary art, which is divorced from the traditional Buddhist significance, faces many problems, including the common problems of contemporary art and the problems that only occur in Tibetan contemporary art. Because of their unique cultural background, Tibetan people do not accept open contemporary art and depart from traditional forms, and they have their own aesthetic standards for art. Tibetan contemporary artists are in line with the world and create advanced contemporary art works. However, when creating works, even excellent artists will use the wrong imag
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Long, Yingsu, and Lim Chsing Chsing. "Borderland Mystery and Tibetan Writing: On Ma Yuan's Non-linear Spatial Narrative Strategy in Tibetan Novels." Salud, Ciencia y Tecnología - Serie de Conferencias 3 (January 1, 2024): 947. http://dx.doi.org/10.56294/sctconf2024947.

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In the 1980s, Ma Yuan, as a literary explorer, carried out the pioneering art of literature and art with full enthusiasm for the life in Tibet, and devoted himself to creating a series of literary works with Tibet as the background. Currently, Ma Yuan's Tibetan novels depict in depth the invaders and guardians of Tibetan national culture as well as the spread and development of Tibetan national culture, depicting the profound mystery and broad inclusiveness of Tibetan culture. His works are not only unique in form, fully reflecting the innovative qualities of pioneer novels, but also innovativ
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Li, Meng Die. "Traditions of the Tibe­tan New Year’s Festival in Contemporary Chinese Painting: Pan Shixun and Ye Xingsheng." Observatory of Culture 17, no. 2 (2020): 214–23. http://dx.doi.org/10.25281/2072-3156-2020-17-2-214-223.

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The article is devoted to the tradition of the Tibetan New Year celebration reflected in contemporary Chinese oil painting. The article’s purpose is to study the cultural features of the Tibetan New Year, on the example of works of the two Chinese artists: Pan Shixun and Ye Xingsheng, and to analyze the degree of art’s influence on the preservation of intangible cultural heritage. Chinese painting contributes to the unity of traditions of the past and present, as well as the integration of classical and contemporary elements in the technique of modern times. In their works, the masters, using
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Lu, Zairan. "Modern Chinese Oil Painting on “Tibetan Themes”." Vestnik of Saint Petersburg University. Arts 14, no. 2 (2024): 264–81. http://dx.doi.org/10.21638/spbu15.2024.203.

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Chinese fine art has undergone a long and painstaking history of the formation of classical writing techniques. However, the globalization processes, which also affected the spheres of artistic activity, influenced the themes of works, techniques and techniques of oil painting in China. Meanwhile, the existential and religious flavor of Tibetan painting, untouched by world trends, has preserved many unique traditional principles of existentialism and worldview concepts that have absorbed the virginity of the spiritual and semantic identity of the people. This phenomenon has attracted a lot of
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Brox, Trine. "The Aura of Buddhist Material Objects in the Age of Mass-Production." Journal of Global Buddhism 20 (January 1, 2019): 105–25. https://doi.org/10.5281/zenodo.3238213.

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The article discusses material religion in a commercial setting and sets off this discussion with Walter Benjamin's The Work of Art in the Age of Mechanical Reproduction (1936). Benjamin argues that mechanical reproduction emancipated works of art from religious rituals and evaporated the aura of art. This has resonance among some Tibetan Buddhists in the context of mass-produced Buddhist material objects. Are such objects fit to be given as gifts, implemented in rituals, and worshipped on altars? Based upon ethnographic work at a Tibetan Buddhist market in urban China, the article argues that
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Чандра, Л. "Vaguri the bird-catcher." Iskusstvo Evrazii [The Art of Eurasia], no. 4(31) (December 29, 2023): 302–4. http://dx.doi.org/10.46748/arteuras.2023.04.020.

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Статья посвящена символике и иконографии сиддхи Вагури в буддийском искусстве. Приводятся примеры из трудов санскритского автора XI века Абхаядатты, А. Грюнведеля, Каталога тибетских фондов Национальной библиотеки (Париж) П. Кордье, Полного каталога тибетских буддийских канонов (Сендай), Тибетского дома-музея (Нью-Дели). Перевод статьи Локеша Чандры из «Словаря буддийской иконографии» выполнен С.М. Белокуровой. The article is devoted to the symbolism and iconography of Siddha Vaguri in Buddhist art. The author gives examples from the works of Abhayadatta, A. Grünwedel, the Catalogue of Tibetan
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KUBIK, Adam. "Mysterious helmet from Verden and its “link” with Tibetan helmets." Historia i Świat 6 (September 14, 2017): 133–39. http://dx.doi.org/10.34739/his.2017.06.10.

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The article discusses a helmet that was published in 1914 in Zeitschrift für Historische Waffenkunde. It was possibly found by a German farmer during field works near the town of Verden in Lower Saxony. The helmet which was previously associated with the Saxons and dated between Migration Period and the reign of Charlemagne shows clearly relations with far Asian constructions. Additionally I discuss here another helmet in The Metropolitan Museum of Art, which seems to be a 20th century reworking that imitated the Verden helmet
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Chen, Yijing, Luqing Wang, Xingquan Liu, and Hongjun Wang. "Artificial Intelligence-Empowered Art Education: A Cycle-Consistency Network-Based Model for Creating the Fusion Works of Tibetan Painting Styles." Sustainability 15, no. 8 (2023): 6692. http://dx.doi.org/10.3390/su15086692.

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The integration of Tibetan Thangka and other ethnic painting styles is an important topic of Chinese ethnic art. Its purpose is to explore, supplement, and continue Chinese traditional culture. Restricted by Buddhism and the economy, the traditional Thangka presents the problem of a single style, and drawing a Thangka is time-consuming and labor-intensive. In response to these problems, we propose a Tibetan painting style fusion (TPSF) model based on neural networks that can automatically and quickly integrate the painting styles of the two ethnicities. First, we set up Thangka and Chinese pai
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Dissertations / Theses on the topic "Tibetan Small art works"

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Clark, W. Andrew, Cher L. Cornett, and Peter M. Hriso. "Linking Art to Science: Digital Media as a Technology Translation Tool." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etsu-works/2524.

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Technology translation can be achieved through the blending of the sciences and arts in the form of digital imagery. Digital animation and video can be utilized to portray molecular events where the mechanism of action is known but the process occurs at a sub-microscopic level. There needs to be a strong collaboration between scientific advisors and digital artists when creating the animation such that the artistic interpretation of the molecular event conforms to the known and accepted confines of science. The finished animation may be used for information, education or persuasion as entrepre
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Books on the topic "Tibetan Small art works"

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Bossan, Enrico. Tibet: Made by Tibetans : contemporary artists from Tibet. Fabrica, 2015.

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editor, Gunton Gabrielle, and Chalk Bella illustrator, eds. Tibetan Buddhist art. Quartet Books Limited, 2019.

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Ghana, FCA, ed. Small works, big city. FCA Ghana, 2005.

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Ghana, FCA, ed. Small works, big city. FCA Ghana, 2005.

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Ghana, FCA, ed. Small works, big city. FCA Ghana, 2005.

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Baker, Ian. The Tibetan art of healing. Chronicle Books, 1997.

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Hsü, An, ed. Art of Tibetan costume and ornaments. Nakai University Publishing House, 1988.

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Baker, Ian. The Tibetan art of healing. Thames & Hudson, 1997.

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Gallery, Sligo Art. Íontas: Sixth small works art exhibition. Sligo Art Gallery, 1995.

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Gallery, Sligo Art. Íontas: Second small works art exhibition. Sligo Art Gallery, 1991.

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Book chapters on the topic "Tibetan Small art works"

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Picchiami, Sabrina. "Outsiders, non per loro scelta. Esperienze artistiche nell’Ospedale neuropsichiatrico di Arezzo 1958-1978 | L’atelier." In Arte ai margini. Firenze University Press, USiena Press, 2024. http://dx.doi.org/10.36253/979-12-215-0400-2.10.

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The atelier at Arezzo Neuropsychiatric Hospital transformed the artistic activity from a diagnostic tool to a recognized form of creative expression. Initiated in 1958 by Dr. Furio Martini and influenced by the cultural shifts of the 1950s and 60s, the atelier provided patients with a setting to express their experiences and emotions. Aftherwards the activities aimed even at offering therapeutic benefits and a small personal profit. To date, over 300 works by patients have been find, underscoring the therapeutic and social significance of art in psychiatric contexts.
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Mehl, Margaret. "11. The World in Sendai." In Music and the Making of Modern Japan. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0374.11.

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Chapter 11, ‘The World in Sendai’ investigates the types of ‘Western music’ that were actually performed in concerts in Sendai. This is the main theme of. Based on the programmes of local concerts between 1907 and 1921 published in the magazine Ongakukai (World of music), this chapter shows how local concerts, in which different groups came together to perform an eclectic repertoire to a mixed audience, helped transform the people of Sendai into members of a nation within a wider world of nations. The modern institution of the public concert represented a space where Japanese and foreigners me
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Lipton, Barbara. "History of the Jacques Marchais Museum of Tibetan Art and the Collections." In Treasures of Tibetan Art. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195097139.003.0001.

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Abstract The Jacques Marchais Museum of Tibetan Art, formerly named the Jacques Marchais Center of Tibetan Art and also known popularly as the Tibetan Museum, was built between 1943 and 1947 by Jacqueline Klauber, who called herself Jacques Marchais. The museum consists of two fieldstone buildings designed to resemble a small Himalayan monastery, situated in a quiet garden high on a hillside overlooking New York Bay in Staten Island, New York. The interior of one building that is used as the main exhibition area is a square room, two-stories high, that resembles the chanting hall of a Tibetan
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Lipton, Barbara, and Nima Dorjee Ragnubs. "Catalogue Entries." In Treasures of Tibetan Art. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195097139.003.0004.

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Abstract Shakyamuni Buddha is sitting cross-legged on a lotus base with his right hand in the earth-touching position and his left hand in the meditation position holding a begging bowl. Three signs of his Buddhahood are prominent: the urna, or tuft of hair between his eyes; the ushnisha, or crown protrusion; and the elongated earlobes. His half-opened eyes are looking down in meditation. His neck has three folds, commonly seen as a sign of beauty in Chinese art. His waist is slim and his body perfectly proportioned. His monk’s robe covers both shoulders, is pleated above the waist, and falls
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Virtanen, Riika J. "VIEWS ON LITERARY CHARACTERS IN CONTEMPORARY TIBETAN CRITICAL WRITINGS." In Modernizing the Tibetan Literary Tradition. St. Petersburg State University, 2018. http://dx.doi.org/10.21638/11701/9785288058455.04.

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Since characters usually have a central function in fictional prose, it is worth paying attention to Tibetan theoretical writings concerning them. Although some attention has already been paid to the emergence of modern Tibetan literary criticism and especially to critical discussion about poetry in the 1980s [Hartley, 2003], there is a need to pay more attention to the concepts and theories used by Tibetan critics to analyze prose. To provide some preliminary information on the topic, ten Tibetan language articles on characters are discussed in this article. They were published between the ye
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Philbrick, Ethan. "Introduction." In Group Works. Fordham University Press, 2023. http://dx.doi.org/10.5422/fordham/9781531502690.003.0101.

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In the introduction, Philbrick sets up the conceptual and historical terrain of the book by offering three short essays on the group tuned to three different registers—group theory, group politics, and group art—before turning to archival traces of one visionary small group from the 1970s, the Combahee River Collective, and the resonance of their work in Cauleen Smith’s 2018 film Sojourner.
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Harold, James. "Wicked Artists." In Dangerous Art. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197519769.003.0004.

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This chapter takes up the problem of immoral artists, as well as related questions, like immoral production. When an artist commits great crimes, some are tempted to treat the art itself as though it were also tainted. The question is whether this is the right thing to do. This chapter argues that the question can be approached in two ways. First, the chapter considers the possibility that works by bad artists are in themselves morally bad. It argues that this view is plausible in only a small number of cases. Second, the chapter considers the possibility that communities around bad artists ar
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"Batya Brutin, Holocaust Icons in Art: The Warsaw Ghetto Boy and Anne Frank. Berlin: Walter de Gruyter; Jerusalem: The Hebrew University Magnes Press, 2020. xvi + 213 pp." In No Small Matter, edited by Anat Helman. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197577301.003.0025.

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This chapter reflects on Batya Brutin's Holocaust Icons in Art: The Warsaw Ghetto Boy and Anne Frank (2020). This volume documents the engagement of artistic creativity with the photographs of the boy with raised hands in the Warsaw ghetto (1943) and those of Anne Frank. In the six chapters detailing the various ways in which artists from different cultures and countries integrated these iconic figures into their oeuvre, Brutin acquaints the reader with dozens of artists who, at some point in their artistic development, opted to “express their thoughts, emotions and perceptions of the Holocaus
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Lipps, Jere H., Ajit Vartak, Ton Van Eijden, C. Rajshekhar, Sudha Vaddadi, and Rohit Vartak. "Paleontological postage stamps in art and education." In The Evolution of Paleontological Art. Geological Society of America, 2022. http://dx.doi.org/10.1130/2021.1218(25).

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ABSTRACT Postage stamps are small works of art seen by people worldwide that can be used effectively in education. The first paleontological stamp was released by India in 1951. Since then, over 4000 stamps with fossils, paleontologists, museums, and collecting sites have been issued by almost 200 countries. Stamps that illustrate fossils or reconstructions are intrinsically interesting and popular with many of the millions of stamp collectors. All disciplines of paleontology are represented, but dinosaurs are by far the most common subject, although even bacteria appear on a few stamps. Most
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Behrendt, Kurt A. "Gandhāran imagery as remembered by Buddhist communities across Asia." In The Rediscovery and Reception of Gandhāran Art. Archaeopress Archaeology, 2022. http://dx.doi.org/10.32028/9781803272337-5.

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Gandhāran art endured and shaped Buddhist visual culture long after the great monasteries in the Peshawar Basin had fallen into ruin. Naturally, this impact is especially pronounced between the first and early sixth centuries when these Gandhāran institutions were active and connected through trade to Afghanistan (Bactria), Central Asia, and China. Artworks created for monastic complexes in the small regional centre of Gandhāra had an outsized impact on the Buddhist world because of their perceived legitimacy. Narrative formats from this region were also embraced as they effectively crossed cu
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Conference papers on the topic "Tibetan Small art works"

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Tushinov, Bair, Snezhana Garmaeva, and Irina Van. "GLOSSARY DROPLETS OF NECTAR BY THE BURYAT SCHOLAR RINCHEN NOMTOEV: UNKNOWN SOURCE IN CLASSICAL MONGOLIAN WRITING." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.38.

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The article is devoted to Rinchen Nomtoev’s previously unexplored work in the Old Mongolian script — a small glossary to his own commentary on the nitishastra by the ancient Indian philosopher Nagarjuna A Drop That Feeds People. Rinchen Nomtoev was the abbot of a Buddhist temple and was engaged in enlightenment of the Buryat people, publishing dictionaries, commentaries on Buddhist texts. The glossary discussed in the article was intended for ordinary laymen and was written to clarify terms that are difficult to understand. R. Nomtoev transfers complex terms in tracing paper to the Buryat-Mong
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Исламова, Л. Я., and М. Я. Исламова. "SMALL GENRES OF ORAL FOLK ART INGUSH (PROVERBS, CHASES), AND ICY MOTIFS IN THE WORK OF SAIDA CHAKHKIEVA." In ПРОБЛЕМА ЖАНРА В ФИЛОЛОГИИ. Crossref, 2024. https://doi.org/10.34775/a4131-3583-6462-u.

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Данная статья посвящена исследованию малых жанров устного народного творчества ингушей, а именно пословиц и поговорок, и анализа произведений Саида Чахкиева на основе их мотивов. В результате исследования выявлено, что не только фольклор, но и произведения автора, созданные на его основе, имеют поучающий, дидактический характер. This article is devoted to the study of small genres of Ingush oral folk art, as well as names and events, as well as the analysis of Saida Chakhkieva's works based on their motives. As a result of the research, it turned out that not only folklore, but also the works
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Некрасова, Т. И. "DEDICATED TO VERA MUKHINA MEDALS IN THE ART WORKS OF TEACHERS AND STUDENTS." In Вера Мухина — гордость России. К 135-летию со дня рождения выдающегося советского скульптора. Crossref, 2025. https://doi.org/10.54874/9785605245841.2024.01.07.

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Актуальность и популярность в современном искусстве произведений скульптуры малых форм, памятных знаков, изготовленных из металла, определяют обращение к этой теме преподавателей и студентов кафедры монументально-декоративной скульптуры. Отдавая дань уважения личности выдающегося советского скульптора Веры Игнатьевны Мухиной (1889– 1953), преподаватели и студенты СПГХПА им. А. Л. Штиглица сделали эскизы памятных медалей для дальнейшей отливки в бронзе. The relevance and popularity of small shapes works of sculpture, commemorative signs made of metal in the modern art, determine the appeal to t
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Nikiforovs, Juris. "Works of Latvian Medallists in Fidem Congress Exhibition in Florence." In 82nd International Scientific Conference of the University of Latvia. University of Latvia Press, 2024. http://dx.doi.org/10.22364/htqe.2024.37.

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Medal is a miniature to be held. As an art form medal has evolved from being decorative to purely modernistic in a sense of creative expression. Many of Latvian medallists have a long experience in the field of medal art, working as sculptors and educators. Some artists have joined the Latvian Medal club recently. Latvian national section of medal art was represented in FIDEM (International Medal Art Federation) XXXVII Congress exhibition in Biblioteca Nazionale Centrale in Florence 2023 with 25 works by 15 artists of a living generation. Sculptural styles of the exhibited art medals of Latvia
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Бородкин, П. В., and Т. В. Горбунова. "SCULPTURE AND STAINED GLASS AS A PART OF THE ART MARKET." In ХУДОЖНИК И МЕНЕДЖЕР В ПРОСТРАНСТВЕ СОВРЕМЕННОГО АРТ-РЫНКА Материалы VII научно-практической конференции молодых ученых. Crossref, 2024. http://dx.doi.org/10.54874/9785605196556.2024.3.02.

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Выставочные пространства редко проводят масштабные групповые показы работ скульпторов, как следствие, затрудняя анализ общих стилистические тенденций и творческих исканий мастеров. Витраж как авторское произведение, в силу преобладания тиражной продукции и специфики работы дизайн-студий, претерпевает ограничения на авторское творчество. Такие тенденции приводят к тому, что арт-рынок не предоставляет современным художникам возможность заявить о себе через авторское творчество. Сложившаяся ситуация не позволяет полноценно развиваться ни арт рынку, ни авторскому творчеству в России. Works of scul
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MARIAN, Ana. "The creation of sculptor Claudia Cobizev in the approach of art critic Sofia Bobernaga." In "Ştiință și educație: noi abordări și perspective", conferinţă ştiinţifică internaţională. Ion Creangă Pedagogical State University, 2024. https://doi.org/10.46727/c.v3.21-22-03-2024.p309-317.

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Many times appreciated, the creation of the sculptor Claudia Cobizev (1905-1995) was repeatedly reflected in specialized studies by art critics Ludmila Toma (1976, 1978), Sofia Bobernaga (1988), Ana Marian (2007, 2018). In the work of Claudia Cobizev. Sculpture (1988, Moscow, "Sovetskii hudojnik", 17p., ill, in Russian) Sofia Bobernaga reflects the creation of the sculptor. Although her work belongs to the "flourishing" period of socialist realism in the arts of the Moldavian SSR, it contains a deep artistic message, being undeniably varied in its visual aspect. Referring to the great variety
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Chen, Xiaodong, Yanming Tong, Qinghui Zhang, et al. "Discrete Fracture Network Modeling of Saline Lacustrine Tight Oil Reservoirs Severely Deformed by Tibetan Plateau Neotectonism." In International Petroleum Technology Conference. IPTC, 2022. http://dx.doi.org/10.2523/iptc-21929-ea.

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Abstract The study area is located in Qaidam Basin on Tibetan Plateau, which has very complex geological background sedimentologically and structurally. Building the discrete fracture network (DFN) of study zone is a critical work step for subsequent dual porosity / dual permeability (Dp/Dp) dynamic simulation which further enables the optimized design of field development plan (FDP). The saline lacustrine tight oil reservoirs in study zone were severely deformed by the Neotectonism coupling with the far-field collision between the Indian and Eurasian plates. There were relatively abundant fra
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Fujarra, André L. C., Guilherme F. Rosetti, Jaap de Wilde, and Rodolfo T. Gonçalves. "State-of-Art on Vortex-Induced Motion: A Comprehensive Survey After More Than One Decade of Experimental Investigation." In ASME 2012 31st International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/omae2012-83561.

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After one decade of experimental investigation, the Vortex-Induced Motion – VIM phenomenon deserves a comprehensive survey concerning the advances related to its understanding, mainly under the consideration of the fundamental aspects that keep it in a close relationship to the dynamic behavior of the same phenomenon acting on slender bodies, the well known Vortex-Induced Vibration – VIV. A considerable amount of results can be found in the literature, although there are few works dealing with a general view of the problem. Probably, the main reason for such a large amount of works with no int
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Некрасова-Каратеева, О. Л., and Е. П. Сталинская. "AUTHOR’S SOUVENIRS BY CERAMIST VYACHESLAV SHVETSOV." In Образ, знак и символ сувенира. Материалы IX Всероссийской национальной научно-практической конференции. Crossref, 2023. http://dx.doi.org/10.54874/9785605054283_136.

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Abstract:
В статье представлены материалы о творчестве художника-керамиста В. А. Швецова — о создании авторских произведений в разряде минискульптуры, характеризующихся особой темой «Воспоминания» и реализуемых в качестве оригинальных сувениров. Целью статьи является попытка расширить содержательный аспект функции сувениров за счет уникальных художественных произведений небольшого формата, создаваемых и ориентированных на личные воспоминания и сопереживания многих людей. Темы авторских скульптурных мини-композиций В. Швецова: сельская природа (лес, река, радуга); деревенская тематика детства художника;
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10

Koc, Adem. "A Symbolic Taste of the City: Eskișehir Met Halva from Legend to Game." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.29.

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Th ere are some symbols (images) of cities in which they come to the fore. Th ese symbols can be diverse such as city silhouettes, temples, holy places, museums, festivals, natural areas, food, drinks, and desserts. Urban symbols can be an important soft power and tourism intermediary for the promotion of both the city and the country. Many examples such as Japan’s kimono, Kyoto garden, and sushi; France’s Paris Eiff el Tower; Moldova’s wine cellars; Moscow’s Kremlin Palace in Russia; Istanbul’s Topkapi Palace in Türkiye, beaches, doner kebab and baklava; Tibet’s Buddhist temples can be cited.
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