Relief Carvings Research Articles

“Et lille, firfodet Dyr og en Hovedløs mand”

This article proposes a new approach to medieval imagery. By taking as a case a relief carving showing a disembodied head, a headless body, a horse and foliage, it argues that this seemingly unintelligible motif can be interpreted based on an approach where the human elements do not dictate the reading alone, as in previous analyses, but that non-human components carry a meaning-driving function as well. The article points out how scholarly approaches to pre-modern imagery, by definition, are culturally conditioned and rooted in the conceptual framework of modernity. It argues that the tendency to understand decapitations and public executions as unilaterally negative cannot be applied to the Middle Ages. Implementing instead a step-by-step shift in the interpretative perspective, the article reaches an understanding of the relief as a representation of a deconstructed anthropomorphic knightly identity where the man and the horse represent the Christian self-sacrificing death, literally and/or morally.

Analisis Makna Pesan Yang Terkandung Di Dalam Relief Ukiran Bangunan Pura Umat Hindu

This research was conducted to analyze the meaning of the message contained in the carved reliefs of the Hindu temple building at the Dharma Yatra temple, Rama Agung village. The research method uses qualitative research methods to analyze the meaning of the messages contained in the relief carvings of Hindu temple buildings in the village of Rama Agung using hermeneutic theory. The results of the study show that the meaning of the messages contained in the relief carvings of Hindu temples at the Dharma Yatra temple have meanings that mostly contain religious meanings and social messages and norms that apply in society in the village of Rama Agung. The religious meaning is in the form of the meaning of religious values ​​and religious teachings, especially Hinduism, the meaning of social messages, namely social rules and regulations that apply in the community in the village of Rama Agung and norms or rules have the meaning of traditional law or customary law of Hindus in the Rama Agung village.

Bearing Witness


 
 
 Linoleum is a sketchbook for me, a meditative place. Making a linocut allows me to slowly carve lines that are very certain in this uncertain time. Since March 16th 2020, I have created imagery related to the Covid pandemic, resulting in the Covid Chronicles, a series of sixteen relief carvings. The carvings each measure 46 x 61 cm and chronicle my experience of the Covid19 pandemic in Boston, Massachusetts and its wider impact in the United States.
 As a mother and a public school art teacher I have had a window through which to view the pandemic’s effect on families’ lives. With the pivot to online teaching, I zoomed into two hundred and thirty homes to teach art to kindergarteners through fifth graders. Making the linocuts gave me some sense of agency. By recording the pain, anxiety and grief I witnessed, I aimed to escape despair and make sense of the chaos.
 Nearing what we are starting to hope will be the end of the pandemic, the series serves as a remembrance and a validation of our shared experience. Additionally, it can be read as a cautionary tale of what we hope not to repeat when the United States faces its next pandemic.
 
 

Review: A Maya Universe in Stone, edited by Stephen Houston

Review: <i>A Maya Universe in Stone</i>, edited by Stephen Houston

한국의 고전머리와 서양의 시대별 메이크업을 융합한 뷰티아트 작품 연구

In modern beauty industry, there have been attempts to differentiate varied and experimental hair and makeup image which reflect the past for the purpose of unveiling new and creative design. Under such circumstances, this study investigated the expression elements of Korean traditional hairstyles and makeup characteristics of the figures of the times in the West to express new beauty art images by converging Korean traditional hairstyles and western contemporary makeup images. In addition, Korean traditional hairstyles and adjective images which can be felt from such contemporary makeup were matched according to the IRI image scale through a questionnaire survey. Based on such results, a total of four beauty art works were created by recycling common packaging strings, using relief carving. It was also possible to try the creation of diverse beauty images by matching and expressing verbal images. The study results suggest a method to enhance the value of new beauty art and broaden the sphere of beauty art expression and confirm a possibility of expressing diverse creative beauty art and widening the domain of the beauty art.

Techniques and Ideas. Zigzag Motif, Barbed Line, and Shaded Band in the Meso-Neolithic Bone Assemblage at Zamostje 2, Volga-Oka Region (Russia)

Abstract Mesolithic geometric ornamentation is a part of the complex worldview of the latest hunter-gatherer societies. Questions about the functional role of the ornament in utilitarian objects – knives, daggers, arrowheads, etc. – do not have an unambiguous answer. Despite a variability of ornamental motives used, there are some stable connections between certain types of ornaments with some categories of bone tools. On the materials of the Late and Final Mesolithic layers of the wetland site Zamostje 2 (Volga-Oka region), we will consider some examples with the zigzag motif, the most numerous and heterogeneous type of ornament, as well as rarely presented motives of “ladders” and “lines with dots or eyelashes.” The number of samples (120) is sufficient to draw some preliminary conclusions about the context of their application. So, the zigzag is observed on different types of tools, but its connection with sharp-piercing objects is most clearly manifested. The type of relief zigzag is inextricably related to slotted sickle-shaped tools. Zigzag is often the only decorative element on an item and is expressed by a simple or double line; less often it is included in complex compositions. Both types of zigzags and methods of application (fine engraving, scraping, relief carving, etc.) were not regulated and obviously performed different functions depending on the compositional characteristics and the raw material’s type. Compositions of “ladders” located at an angle to each other are also associated with projectile weapons. Lines “with eyelashes” appear to have been a part of the standard dagger decoration.

Relief modelling using the Chiaroscuro technique: A project work among student-sculptors

Relief modelling is a very peculiar task that requires the creation of three-dimensional forms onto two dimensional surfaces to depict depth and volume in a composition. Preliminary research revealed that students in the Sculpture section in the Department of Painting and Sculpture in the Kwame Nkrumah University of Science and Technology faced the challenge of producing relief sculptural pieces to give them the three dimensionality that suggests volume and depth. This project work that utilized studio-based research approach rooted in the constructivism theory was aimed at experimenting on how to overcome the flaws in relief modelling using the chiaroscuro technique. Twelve (12) student-sculptors participated in this project using the stratified sampling technique. They were taken through practical sessions in modelling compositions of geometric forms, still-life, and human figures, with drawn or image references with the chiaroscuro technique as the focus. After the project, the student-sculptors were able to interpret the illusion of three-dimensionality in picture reference into the actuality of depth and volume during modelling, rendering compositions in its right planes or surfaces. The study recommends the application of the chiaroscuro technique in relief sculptural practices such as relief carving, repoussé, and other relief related sculptural practices.

General features of the art of wood carving of the late XVIII – early XX century

It can be said that the traditional art of wood carving of the Kazakh people is the continuity of the subject and spiritual culture of our people. Among the people, masters of wood carving were called “household members”, “carts”, “blacksmiths”. In addition, carpenters were able to make household items, household equipment. The woodworkers used flat-relief geometric, two- and three-sided engraving when processing the product. In the course of the study, the general features of the art of wood carving of the late XVIII – early XX centuries are highlighted, they are considered as research artists in museums of Kazakhstan, schematic, engraved, ornamental images of wooden products preserved to this day are differentiated. Their creative heritage includes dwellings, household items, dishes, customs and rituals. The exhibits, which are the subject of special research, are the basis of scientific search. The objects of research are the museum, methods and techniques of engraving products available to some residents, equipment of used craftsmen. The article discusses the art of wood carving in general, the scale of the Kazakh traditional culture, the main areas of its development are embossing, processing, engraving of household products. Key words: housing, Russian-style housing, home furniture, wood, embossing, engraving, Kazakh handicrafts, relief carving.

A framework to produce customized degree of projection in digital relief carving

Unlike ordinary 3D sculpting, relief carving is a style of artwork created on a wooden surface to generate a sense of projection. The objective is to create customized digital relief surfaces (low, medium or high) based upon changing the degree of projection of shape/pattern from the flat surface. A framework has been developed that uses 3D reconstruction approach for CAD modeling of traditional artefacts from scanned data of hand-crafted relief carving as input. Further, this scanned data is filtered to carry out CAD modeling in a python programming environment that provides a workspace to generate digital relief surfaces. These rendered relief models are utilized to generate GM codes that are required for machining on a CNC router. The feature details of shape/pattern in the machined relief surface are near to the scanned hand-crafted model, demonstrating the accuracy of the process.

ՏՈՂԻ ՍԲ. ՀՈՎՀԱՆՆԵՍ ԵԿԵՂԵՑՈՒ ՀՆԱԳԻՏԱԿԱՆ ՀԵՏԱԶՈՏՈՒԹՅԱՆ ՀԻՄՆԱԿԱՆ ԱՐԴՅՈՒՆՔՆԵՐԸ / THE MAIN RESULTS OF THE ARCHAEOLOGICAL SURVEY OF ST. HOVHANNES (ST. JOHN) CHURCH IN TOGH

St. Hovhannes (St. John) Church under study is located in the centre of Togh, Hadrut region, the Republic of Artsakh, about 50 meters southwest of the palace of Melik Yegan, on a sloping site. The church is quite well preserved. It repeats the three-nave basilica type common in Syunik and some regions of Armenia in the Late Middle Ages. The exact date of construction of the church is unknown. According to the inscription on the pedestal of the cross, the roof was restored by Melik Yegan in 1736 by the order of the Catholicos of Aghuank (Caucasian Albania) Petros. Next to the church on the south side is a walled courtyard measuring 17.0 x 22.0 meters. Historical sources contain information that there was a chapel in the courtyard next to the church, which served as a tomb for the Melik-Yeganyans of Dizak. In 2017, excavations were carried out in the northern and southern courtyards of the church in order to verify this information, as well as to study the surroundings of the church. This report presents the main results of the 2017 archaeological survey of the church. As a result of excavations and cleaning of the area, the remains of two buildings, as well as more than 80 tombstones from the northern and southern graveyards, some of which with relief carvings and inscriptions, were recorded. The latter are introduced into scientific use for the first time.

The Influence of Ruggedness Reviews 3-Dimensional Photo Carving Media Based on 3-Axis CNC Router

Today's face relief is very popular with people, both for gifts at special events or for mementos. Not everyone is able and able to produce or create relief carving 3-dimensional photos properly, so research on 3D photo carving using a CNC machine was made. CNC machine is a tool used to engrave and produce 3-dimensional photo engraving automatically. This research uses the Aspire application to create a G-Code type image. Next, connect the Arduino which in this case is used as the control device to enter the G-code obtained using the GRBL Control application. The gap in media reviews affects the time it takes in the manufacturing process, wherewith the same image design it is found that the greater the stretch of the reviews, the faster the time needed but the carving results are lined and rough. Likewise, the opposite condition, the smaller the gap in the review, the longer it takes, and the results obtained are smoother. So that in the future it can make a combination of choices from the stretch of reviews for engraved images.

Nirbana: A Relief Identification System (SIRel) Based Android Application As An Effort of Indonesian Noble Values Implantation

Candi is one of the most important cultural heritage which contains a lot of important values for Indonesian peoples. Those important values are being stated in many relief carvings on the Candi’s walls. These relief carvings reflect the values of life that should be applied by mankind. Moreover, relief carvings also reflect Indonesian national history and cultures which is a reflection of the nation’s identity and character. This research intends to design an application named Nirbana. Nirbana utilizes Unity Program as an image, audio, and texts processing software, Vuforia Program as an Augmented Reality processor for smartphones, and Augmented Reality technology as an output media in the form of visual graphics, this entire unit is incorporated into a system called Relief Identification System (SIRel). This application is expected to be a solution for the problems experienced by Indonesian people who have difficulty in accessing information about relief carvings in Candis. Nirbana is expected to be a prototype for every cultural heritage management in an effort to exploit the potency of technology for the benefit of Indonesian cultural education. Moreover, this program is targeted to become a medium to socialize and instill Indonesian noble values to the present and future generations.&amp;nbsp;

The Art and Process of Wood Carving as a Meaningful Occupation

Leonard G. Trujillo, PhD, OTR/L, FAOTA, occupational therapy professor and chair emeritus based in North Carolina, provided the cover art for The Spring 2019 issue of The Open Journal of Occupational Therapy (OJOT). The piece, titled “Life’s Struggles,” is a relief carving made from butternut wood. Dr. Trujillo enjoys carving lifelike images that depict previous travels and his love of nature. His carvings are sculpted from a solid plank of wood, yet they provide the illusion of a three-dimensional form. Dr. Trujillo’s body of work reflects a lifetime of learning and engagement in the art and process of wood carving as a meaningful occupation.

Potret Pekerja Kerajinan Seni Ukir Relief Jepara

The existence of relief carvings in Jepara is marked by the presence of white coral ornaments found in the Mantingan Mosque. These ornaments show that the craft of relief carving has been around for hundreds of years in Jepara. The existence and development of relief carvings are thanks to the contributions of workers or relief engravers. With the ability to carve it out, they can preserve and develop this craft. Most of the relief carving skills were obtained from the apprenticeship process from the carver that had been around his house since he was in elementary school. A sculptor needs a long process to become a relief engraver because of not all engravers can be relief engravers. The ability of the relief engraver was getting better after the establishment of the Technical School in the 1930s. Relief engravers who get a formal education will be able to integrate self-taught and theoretical abilities. The development of relief carving art grew rapidly during the independence period, the new order, and the reform order. Relief engravers need high carving abilities and complicated technical abilities so they can carve a fragment of a story or theme and have a naturalist pattern. At the beginning of the 21st century, the number of relief engravers was fewer and dominated by the older generation because the younger generation was reluctant to learn carving. Although relief engravers are increasingly scarce, their skills have not been rewarded with high wages.

Javier Álvarez-Mon, “Aesthetics of the Natural Environment in the Arts of the Ancient Near East: The Elamite Rock-Cut Sanctuary of Kurangun”

In part VI of this edited volume, entitled “Making and Defining Space”, the Elamite highland tradition of rock relief carving in open-air sanctuaries takes its rightful place amongst the artistic production of the ancient Near East alongside treatments of art from Ebla, Assyria and Achaemenid Iran. Taking the specific example of the rock-cut sanctuary of Kurangun perched high on an outcrop overlooking the Fahliyan river, the author explores human aesthetic experiences of the natural environme...

The Craft of Relief Carving Art and Its Impact on The 21st Century Jepara Craftsmen's Economic Life

The article on “The Craft of Relief Carving Relief Art and Its Impact on the 21st Century Jepara Craftsmen's Economic Life” describes the craft of relief carving which has an impact on the economic life of the Jepara craftsmen. The existence of Jepara relief art had been proven historiographical. Relief art has existed since the time of Queen Kalinyamat in the 16th century. The artifacts of relief carving art in Queen Kalinyamat's period are found in Mantingan Mosque in Jepara. The relief of carving craft gets its influences from various fields, including the influence of religion, local culture, Chinese culture, and others. In the 1990s to the beginning of the 21st century, relief craft increasingly innovated by enriching motifs and decorative reliefs in the form of flora, fauna and other motifs. Through various motives in the relief craft, the craftsmen get economic impact in the form of job sustainability.

Il Maestro degli amboni zaratini

The article defines a number of relief carvings found at Pridraga, Novigrad, Zadar and Neviđani on the island of Pašman. Autor identifies them as products of the same stone-cutting workshop, naming it the Master of Zadar Ambos. The carvings demonstrate features of early pre-Romenesque sculpture: soft modelling, loosely arranged motifs of fragile form, as well as representations of human figures which in the late eighth or the early ninth century will start to withdrow and to give primacy to an exclusively vegetative, geometrical and zoomorphic visual repertoire. Taking into account all stylistic, morphological and iconographic features of the relief carvings under consideration and the sites from which they originally come from, the author arrives at the conclusion that they belonged to the liturgical furnishings of at least two early Christian churches (Zadar - cathedral, Pridraga - St. Martin) which were renovated in the late eighth or the early ninth century.

Symbol and Image Worship in Jainism

The history of Jainism in Mathura has been reconstructed largely on the basis of donative inscriptions and the remains of temples, stūpas and tīrthaṅkara images unearthed in this area. The āyāgapaṭas—an integral part of Mathura art and extremely important for the understanding of Jaina art and religious practice—have been relatively neglected. The āyāgapaṭas reflect the simultaneous existence of symbol and image worship in Jainism. The practice of donating these carved slabs started in the first century BCE and continued till the third century CE. The āyāgapaṭas were intended for worship as the inscriptions specify that they were set up for the worship of arhats ( tīrthaṅkaras). This article aims to understand the āyāgapaṭa inscriptions in the context of their relief carvings. The religious imagery on these slabs represents various foci of Jaina worship, namely the stūpa, the dharmacakra and the Jina image. The evidence of the Jina image carved on the āyāgapaṭas as early as the first century BCE, points towards the prevalence of image worship in Jainism even before the first century CE. The analysis of the āyāgapaṭa inscriptions highlights the varied occupational background of donors and the active role played by women donors. The article explores the probable reasons for the discontinuation of āyāgapaṭas after the third century CE at Mathura. Finally, it clearly establishes that āyāgapaṭas were installed in temples and monasteries and were objects of worship and an important component of Jaina religious practice.

TAOTIE, DRAGON, PHOENIX, AND FARMER: A HIGHLY DECORATEDQINEXCAVATED FROM JIULIANDUN

AbstractThe mythical origins of the Chineseqinhave been forged by ancient literature ever since the age of Confucius, nevertheless, very little is known about the morphology of the ancientqinand its embodied symbolism. This article, by analyzing a most recently discovered ancientqinfound in a fourth-centuryb.c.e.tomb in Jiuliandun, Zaoyang city, Hubei province, in 2002, will explore the relief carving and lacquered drawings found on the instrument itself and their symbolic significance as a representation of the worldview and philosophical state of mind of the Warring States period. I will suggest that aqincontemporaneous to Confucius and played by him looks distinctly different from the version produced by the fertile imagination of the medieval Chinese; instead, it was divided into five registers, and it is this segmented subdivision which defines the ancientqinand differentiates it fundamentally from its classical counterpart. Strikingly, the symbolic depictions in which it was clad represent not only the fertile imagination of the Chu aristocracy, but also include portrayal of the more menial tasks of the ordinary Chu farmer and herdsman as he proceeds through the cycle of the agricultural year, and thus provide the modern scholar with an extraordinarily vivid insight into contemporary Chu life.

On Violence, Joy, and Justice: The Poetry of C.k. Williams

On Violence, Joy, and Justice: The Poetry of C.k. Williams