Creation Of Sculpture Research Articles

Orthodox and Contemporary Techniques at Constructing of the Monument. Image, Heroics, Plot

Examining the monument from a visual and conceptual point of view is an interesting but not easy task. The motivations for the construction of a monumental work of a memorial nature can be many and varied. Moreover, it is possible that there are connections between the various media for visual expression in the field of art and the specifics of the sculptural genre. Photography, painting, drawing and literature build images that form the basis for the creation of sculpture, both monumental and easel.

PARTICULARITY OF ARTWORKS BY VASYL KORCHOVYI VASYL

Abstract. This article explores Vasyl Korchovyi’s artistic heritage, his unparalleled style, and notable manner of working. Vasyl Korchovyi is a Ukrainian sculptor, graduate from National Academy of Fine Arts and Architecture, representative of the Academic school of sculpture creation. This sculptor has not been neglected today and is an often and widely recognizable guest and/or participant of/in numerous exhibitions, art competitions, and sculpture symposiums including the latest one, the Xth Kaniv International Sculptural Symposium (September–October, 2021). Despite that, his artworks have been discussed in a quite occasional and random way in artistic articles and other kind of publications. This is the reason of why this study focuses on the major subjects and gentres used by Korchovyi for his artworks, as well as on his manner and techniques for working with stone. The studу is one of the first-ever attempts to use the art criticism approach to evaluate three sculpture works by Korchovyi: with two of them being complete and one piece still unfinished: the work from the Kaniv sculptural symposium above. First, Altar of Dionysus, an indoor sculpture, carved of sandstone, is discussed. It depicts a bacchante, a woman who holds a bowl and a grapevine, with her hair ingrown in the branches and the two goat heads that flank the composition on both sides; the attributes associated with fer­tility, sweet delight and also with wild Dionysian origin, while calm or even being asleep at the moment. Second sculptural work is the tombstone of Vasyl Korchovyi’s father, Ivan Sobko. For this reason, its design is marked with Korchovyi’s personal feelings and sentiments. The composition of the sandstone-made sculptural part of the tombstone represents an angel with outstretched wings, inscribed in the area of a trefoil cross. The openwork pattern of weaves of winding shoots with remains of leaves in some places adds depth to the background framed with smoothly polished parts of the surface, where the figure of angel is located, and carefully surround the upper part of the medallion with a photo of the deceased one; the composition that brings the feeling of a deep anguish and imminence, the painful emotions to be eventually accepted.

Research on the Design of Art Landscape Sculpture based on Computer Aided

The traditional sculptures are all from the artist’s careful carving, which is also the artistic presentation. With the rapid development of computer technology, digital technology has been applied to art landscape sculpture. Through RPM technology and 3D printing technology, we can rapidly shape and mass produce art landscape sculpture. Through computer aided technology, RPM technology and 3D printing technology, we can save the labor cost and mold opening cost of traditional sculpture, which shortens the production cycle and improves the precision and structure of sculpture. At the same time, we can also develop personalized sculpture, which has seriously impacted the traditional sculpture industry. Computer aided design is in line with the digital age of new technical concepts, which has become the main means of landscape sculpture creation. Through computer software, designers can complete the virtual sculpture design intention and intention. Through the generation of VR, manufacturers can better communicate with customers, which makes up for the shortcomings of traditional sculpture in construction. Firstly, this paper analyzes the related concepts. Then, this paper puts forward the necessity of applying computer aided technology to modern landscape sculpture. Finally, some applications are proposed.

Assemblage technique in creating modern wooden sculptures

This article demonstrates the manifestation of assemblage technique in modern wooden sculpture. The author describes the essence of this method. Special attention is given to another novelty of avant-garde culture – organic art, according to the philosophy of which, the world is depicted as organic whole, the uniform system with its own laws. The pedagogical system of M. Matyushin allows demonstrating the natural bound of man and nature in the artworks. Based on the developed creative method, the author indicates that contemporary art may combine such avant-garde trends as organic art and assemblage. Another important methodology that is similar to assemblage technique, and simultaneously verges upon the practices of kinetic art, is the creation of sculptures with spinning elements. The synthesis of techniques and materials allows expanding the boundaries of art by introducing into inartistic materials. The fundamental idea of this approach is to enrich the context of existence of the artwork and its history. It is stated that wooden sculpture allows the artists to experiment. The ideas and plotlines of wooden sculptures embody the artistic diversity of decorative and applied arts.

Специфіка відображення теми спорту в творах античного мистецтва

Aim of work is to identify sport reflection features in ancient art. The paper uses methods of systematization and updating of analytical information about the peculiarities of the reflection of elements related to sports in the styles of the ancient world. The accumulation, systematization and implementation of information is carried out by studying the specialized professional literature and sites depicting the reflection of elements related to sports in ancient art. The main reflections of sports life in ancient art are identified and characterized. There is a description of ancient art that reflects sporting events. A summary analysis of the elements related to sports in the objects of the ancient world. The most interesting in the context of modernity are the elements of joy in Cretan art, the emphasis on dynamism in the first period of Minoan art; didactic orientation of the image of sculptural and pictorial works of sports events. Special attention needs to be paid to objects that are the result of all-Hellenic holidays. The example of creation of art objects on an example of figurines, painting, a vase-painting, minting connected with acrobatic jumps through a bull is considered. The elements of active dynamics, up to the existence of sloping lines in vase-painting and paintings in certain periods, of passive dynamics in the "golden age of Pericles" are shown. Then the visual ideal of athletics was created. The generalization of the classical period does not correspond to the superdynamic modernity. The most interesting emotional facial expression in both sculpture and painting of the period of imperial Rome. Since the II century. B.C. the portrait of the athlete is more and more individualized. The study is based on the study of sport as historically formed in the form of special competitive activities and sports practice socio-cultural phenomenon that promotes the harmonious development of natural and social psychophysiological abilities of motor activity and moral and aesthetic qualities of man, which determines his sports activities. The paper shows the trends in the creation of sculptures, frescoes, reliefs, vase paintings in ancient art, which reflect the sport. Prospects for further research should be related to assessing the impact of various modern processes on the creation of art and design, based on clear characteristics of new materials, a deep understanding of existing and new technological processes, general global trends in society as a whole.

Application Research of 3D Digital Technology in Sculpture Creation

This paper analyzes the concept of 3D digital technology first and the characteristics of traditional sculpture creation forms, then expounds the main points that should be paid attention to in the application of 3D digital technology in sculpture creation, and finally makes an in-depth analysis of the advantages of introducing 3D digital technology into sculpture creation, including the improvement of creative thinking and efficiency, unlimited creative space and the ability to convert different creative techniques in the creative process. Based on the development status of sculpture creation in China, this paper explores the application of 3D digital technology in sculpture creation.

Analysis of the Influence of Ancient Sculpture on Modern and Contemporary Sculpture Education Based on Big Data Technology

This article will mainly study the artistic trends and related achievements of Chinese modern and contemporary sculptures, with special emphasis on the study of the sculptors’ unremitting efforts in the investigation and protection of ancient Chinese sculptures in the rapidly changing artistic environment since the 20th century. Work hard. Through the systematic analysis of computer big data, it can be seen that in a century of sculpture exploration, modern Chinese sculptors have effectively transformed the thought and technological innovation brought about by the integration of Chinese and Western sculpture teaching systems. Excellent sculptures in the world’s forests. How to effectively transform the modeling concepts and methods of ancient Chinese sculpture into a new source of contemporary sculpture creation is the main content of this article.

The Transfer of Weight of the Digital Technology in the Creation of Contemporary Sculpture

With the continuous improvement of the level of modern science and technology, digital technology has also developed rapidly. And digital technology is widely used in the creation of sculpture art to make the sculpture works more three-dimensional, digitized and convenient. This paper will start from two aspects of the material and technology of sculpture art to discusses the transfer of the weight of the digital technology in the creation of contemporary sculpture. I hope that we can provide some references for future relevant researches on the application of digital technology in sculpture creation through this paper’s study.

Тюркские изваяния из Музея археологии и этнографии Алтая Алтайского государственного университета

The article presents a description of stone statues from the collection of Museum of Archeology and Ethnography of Altai in the Altai State University. It is established that there is no information about sculptures in the documentation of this organization. Analysis of a significant amount of publications devoted to the introduction into the scientific circulation and interpretation of stone sculptures of the early Middle Ages allowed to attribute two figures. A detailed description of the two other sculptures is given in the publication. All stone sculptures from the museum show different stages in the formation and evolution of the tradition of sculpture creation by early medieval Turks in Altai. Less definitive is the dating of figures, which required additional justification. Analysis of the context of detection, as well as the fixed characteristics of objects allowed to establish the chronology of the sculpture from Tadila place, as well as the facial sculpture found near to Cheposh village, in the VI–VII centuries AD. Two other figures, judging by the depicted realities (vessel, belt, blade weapon), can be attributed to the second half of VII – VIII centuries AD. Significant prospects for further focused work on the study of museum collections and the introduction of Turkic sculptures into scientific circulation are obvious. The optimal variant of the presentation of such studies is the publication of illustrated catalogs, including a detailed description of the sculptures, as well as their cultural and chronological interpretation.

A New Zealand sculptor’s diary: W. T. Trethewey in Europe, 1936

A sculptor's diary is a relatively rare thing in art history. That compiled by the New Zealander William Thomas Trethewey (1892-1956) (fig. 1) is a unique document, chronicling his voyage to and sojourn in Great Britain, as well as visits to Germany, France and Australia, between 16 January and 22 September 1936.1 The diary runs to a remarkable 952 pages - some 110,000 words - and meticulously yet exuberantly covers every stage of his 'Great OE' ('Overseas Experience' in New Zealand parlance), from his departure from Lyttelton, New Zealand on his outward voyage to his departure from Sydney, bound for Auckland, on his return voyage.As a diarist, Trethewey is no David d'Angers and still less a Keith Vaughan. Yet he is no Pooter either: there is minimal pretension or self-importance about him. A colonial classlessness is already evident in this second-generation New Zealander. What also indubitably emerges is what today would be called a 'people person'. As much at home in a saloon bar as an interested visitor to the Royal College of Art, Trethewey is sociable, curious, quick-witted, observant and good-humoured, a listener as well as a talker. He is no intellectual: his prose provides few insights into the workings of his mind or even into the creation of sculpture. Yet he is always engaging at whatever he addresses, and is vividly, even infectiously enthusiastic in his descriptiveness. Rather like his actual sculpture, Trethewey may not be profound but he nails it.Trethewey himself is every inch the 'colonial Cornish man' of his self-description and era.2 Never does he use the phrase 'Mother Country' to describe Britain. Instead, he remains constantly and proudly a New Zealander; and it is New Zealand that is certainly his 'Home'. Yet Trethewey's love affair with his destination at times vies with that of his near-contemporary Alan Mulgan, author of the infatuatedly Anglophile Home: A Colonial's Adventure (1927), which describes afternoon tea in a Great Western Railway restaurant car as 'almost a piece of poetry'.3 Trethewey is in turn near delirious when he beholds the picturesque Devonshire village of Clovelly: 'of all the marvellous places I have seen, Clovelly is it. Marvellous. Really I say this about everything I see but everything in England to an appreciative colonial IS MARVELLOUS.'4In strictly art-historical terms, Trethewey's diary reveals relatively few 'marvellous' insights, indeed, fewer than one might expect given his position by 1940 as 'the only really successful New Zealand sculptor'.5 The explanation lies surely in his self-made status and his practical bent, as well as his cultural milieu. The son of a Cornish carpenter, Jabez Trethewey (1851-1935), who had emigrated to New Zealand in the 1870s, William had initially trained as a woodcarver and earned his later livelihood as a monumental mason. By the 1930s he enjoyed a measure of success and even prosperity, which enabled him to go on what amounted to this sabbatical.6 He had only been noted for his sculpture over the previous 10-15 years, and its status was still widely regarded in the New Zealand public mind as a secondary 'craft' rather than being comparable to painting as an 'art'.7 For a craftsman-cum-businessman like Trethewey, this was probably less of an issue than it was for his traditionally more highly regarded and high-minded counterparts, notably Margaret Butler, R. N. Field, Richard Gross and Francis Shurrock.8 Surely alone of these sculptors, Trethewey found the experience of a visit to a linoleum factory in Kirkcaldy or a steel mill in Middlesbrough as riveting as one to an artist's studio, and worthier of lengthy description.It would be anachronistic and perhaps even intellectually snobbish to expect Trethewey to have foregrounded any fraternizing with his sculptural peers or indeed to have critiqued their works. Furthermore, he wrote the diary as much for his mother, wife and three eldest children in Christchurch as he did for himself, posting them excerpts of it at various stages. …

Devir-afroindígena: “então vamos fazer o que a gente é”

Fruto de uma releitura do material etnográfico sobre a atuação de um movimento cultural do extremo sul baiano, este artigo pretende discutir a noção de afroindígena tal como concebida pelo grupo, a partir de uma perspectiva pragmática. O exercício aqui proposto não é enquadrá-lo em categorias já conhecidas ou familiares, mas buscar analisá-lo mantendo intacta uma certa “rugosidade” característica dos modos de fazer e pensar ao qual está associado. Para o grupo, o conceito de afroindígena não seria um modelo, a partir do qual seria possível identificar uma etnia ou reconhecer um grupo em uma base natural de identificação. Afroindígena não é tampouco algo da ordem da identidade, nem mesmo do pertencimento. O conceito de afroindígena seria da ordem do devir, funcionando, por um lado, como um meio, um intercessor por onde passam ideias, ações políticas, obras de arte e seres do cosmos, e, por outro lado, como um produto inacabado ou efeito provisório de encontros singulares que envolveriam fluxos de “história” e “memória”; pessoas e técnicas; uma relação de aliança entre antepassados africanos e indígenas e a criação de esculturas, aqui entendida como um processo automodelador de subjetividades.

Application of Computer Aided Design in Sculpture Art

With the rapid development of computer technology, especially with the progress in computer graphics technology, a revolutionary change occurred in urban sculpture, architecture, animation and other art and design field. Three-dimensional computer technology information technology and digital technology also challenged the traditional art of sculpture which takes manual approach to create and produce sculpture works; they provide designers with a new creative fashion and art form. This interdisciplinary technology surpassed the single and limited mode of the traditional tools through turning two-dimension to three-dimension, static to dynamic situations. Large sculptures began to appear in the city with the assistance of computer technology in varying degrees. The programs accurate operating and precise drawing bring strong reliability in sculpture design, which has become the primary means of urban sculpture creation.

Form-Finding of Tensioned Fabric Structure in the Shape of Möbius Strip

Form-finding of tensioned fabric surface bordered by Mobius strip is investigated. Mobius strip is a surface with only one side and only one boundary component. Mobius strip has the mathematical property of being non-orientable. The form of Mobius strip has been adopted in the creation of sculpture, exploration of idea for bridges and buildings. In this study, the possibility of adopting the form of Mobius strip as surface shape for tensioned fabric structure has been studied. The combination of shape and internal forces for the purpose of stiffness and strength is an important feature of tensioned fabric surface. For this purpose, form-finding needs to be carried out. In this study, nonlinear analysis method is used for form-finding analysis. The influence of non-orientable characteristic of Mobius strip on the modeling process using finite element procedures was investigated. Pattern of pre-stress in the resulting tensioned fabric surface is also studied. Form-finding has been found to converge for Mobius strip R/W 1.37 with initial assumed shape specified to follow the topology without opening which has been observed in experiment.

Space, place, and sculpture: working with Heidegger

Heidegger’s paper ‘Art and Space’ (1969, Man and world 6. Bloomington: Indiana university Press) is the place where he gives his fullest discussion of a major art medium which is somewhat neglected in aesthetics, namely sculpture. The structure of argument in ‘Art and Space’ is cryptic even by Heidegger’s standards. The small amount of literature tends to focus on the paper’s role within Heidegger’s own oeuvre as an expression of changes in his understanding of space. This is ironic; for Heidegger’s main thematic in the essay is the way in which space is overcome in the creation of sculpture. Of course, by virtue of its three-dimensional character, sculpture seems to be a spatial medium, par excellence. The counter-intuitive character of Heidegger’s position requires, accordingly, that his argumentative strategy be scrutinized very closely. In this paper, therefore, I will examine closely the structure of Heidegger’s argument, with the aim of understanding, rectifying, and then developing his most important insights. My ultimate aim is to show the subtle, but radical points which are at issue in Heidegger’s arguments, and to develop them much further in the clarification of sculpture’s key philosophical significance.