Sculptural Works Research Articles

Collection of Contemporary Christian Art in the Yenisei Historical and Architectural Museum-Reserve named after A. I. Kytmanov: History of Formation and Development Prospects

The subject of this study is the works of modern Christian painting, graphics and sculpture on the example of the collection that became part of the Yenisei Museum-Reserve in 2021. The relevance lies in the clarification of a number of theoretical aspects of the dialogue between contemporary art and religion on the example of the interaction of the priest Andrei Yurevich with Siberian artists. The novelty lies in the description of the socio-cultural context of the formation of the collection in the 2000s. In order to identify the main trends in Christian art, the typology method was applied, and an interview was also conducted with the founder of the collection, priest Andrei Yurevich, and with art historian M. V. Moskalyuk, the original works in the Yenisei Museum-Reserve were examined. The theoretical results include the reconstruction of the history of the formation of the collection, the stages of its development (from the private initiative of the priest to the parish museum, later to the diocesan museum and, finally, inclusion in the state museum). Based on the analysis of individual works from the collection, a typology of the main trends in contemporary Christian art is developed. In the last part of the article, various options for updating the considered works in the exhibition activities of the Yenisei Museum-Reserve were developed. In particular, the special significance of paintings that reveal the local history of Eastern Siberia is shown, the possibility of a comparative demonstration of the collection's works with the works of artists of the second half of the 19th – early 20th centuries is assessed. In conclusion, the regularity of the collection entering the state museum is emphasized in connection with the new approach to the definition of the concept of museum, which involves working with different communities, including believers.

Temple Landscape: The Direct and the Latent Impact of Natural Environment upon Artificial Environs

Abstract The dynamics of an ancient religious centre lies in the combination of architecture with the geophysical relief and natural setting, namely the manner in which a temple befits its natural surroundings. Paintings and etchings/lithographs help us follow the transformation of hieratic settings in the course of centuries. An intriguing juxtaposition is that of tree cult to the practical role of timber in ancient worksites, as revealed through building accounts and classical authors. Turning to ritual symbolism, we see vegetation lending its forms to works of sculpture. Yet, most impressive is the infiltration of tree prototypes and floral patterns in architecture, affecting not only decorative styles and orders but also the morphology of structural elements. The article’s last section involves landscape restoration/re-creation attempted by the replanting of ancient species. This was based on either ancient literary and epigraphic sources or laboratory analyses, namely botanical and pollen research. The results of these methods, however, do not always converge.

Intellectual And Artistic Concepts of The Cultural Context And Their Impact On Contemporary Ceramic Sculpture

The current specialized research tagged (intellectual and artistic concepts of the cultural context and their impact on contemporary ceramic sculpture) paves the way for the emergence of the context in ceramics active in life, so that this relationship will indicate the development and presence of ceramics or not and the volume of its circulation in the joints of the culture of the Arab recipient. As a result, the researcher collected scientific materials to serve the subject of the research in four chapters: Chapter One (General Methodological Framework) To clarify the problem of the research, the importance of the research to achieve benefit in higher education and education for scholars and teachers, while the research aims to reveal the development of cultural contexts and their impact on the production and circulation of contemporary Arab ceramic art. They are the Arab countries, then the search terms were identified and defined. As for the second chapter (theoretical framework), it included three axes: the first: meaning Context. The second axis: thinkers' views of the context in language and linguistics. The third axis: the emergence of the context as representations in the artistic form, and in the third chapter (research procedures) the researcher reviewed the presence of ceramics in the Arab reality through the analysis of ceramic sculptural patterns. The researcher aims to select a sample that represents the boundaries of the research, its aim, and the framework of society. - Research tool: In order to achieve the goal of the research and to identify (the intellectual and artistic concepts of the cultural context and their impact on contemporary ceramic sculpture The researcher adopted the indicators concluded by the theoretical framework, and the researcher concluded in the fourth chapter a number of results: 1- The Arab audience formed a presence represented in the demand for works with peripheral contents in favor of types of cultural and artistic reception in addition to the factional and media. 2- Formal behavior in art. The contemporary Arab, the Arab recipient voluntarily accepts the forms within the ceramic sculptural work and its abbreviations brought by the postmodern culture other than what we have seen, as it simulates the forms through their symbols and meanings on the one hand and preserves their contents on the other hand. In addition to the conclusions, recommendations and proposals.

We Made It in Venice! But Then …? Reversing Notions of Center and Periphery

We Made It in Venice! But Then …? Reversing Notions of Center and Periphery

Wzgórze Uniwersyteckie – historia i zabytki

This article presents the history and present of a unique part of the city, which is the University Hill, the highest hill of Opole, located within the Old Town. It is 165 m above sea level. It used to be called the Limestone Hill (Kalgberg) because a quarry and limestone pit existed here in medieval times. This place with its architecturally charming building, is steeped in the legend of St. Adalbert and the historical tradition of a university inserted into the walls of a Dominican monastery. The space of University Hill around the complex of historic buildings is filled with galleries of works of art and artistic sculpture, statues, plaques, columns, obelisks and monuments of cultural and historical significance. It is also here, on the eastern side of the hill, that the second gallery – of the creators of Polish song – is located. The grave and sculpture of Senator Edmund Osmańczyk are located in this special place in Opole. The aim of the article is to present the history and monuments of the University Hill, which will allow Opole citizens and tourists to get to know the history of this place better. The publication emphasises the importance of the beautifully arranged corner of Opole with its salvaged monuments, which have become part of the city’s history and culture and have been preserved as a lasting national heritage.

Artistic Ties between Azerbaijan and St Petersburg: History and Modernity

The article highlights the Azerbaijani and St Petersburg interrelation in the field of fine arts. The author studies factual materials and investigates works related to these interrelationships. These are works of painting, sculpture and graphics created at different times by Leningrad and Azerbaijani artists. Studying these materials, the author substantiates the importance of scientific research in this direction. The study is divided historically into two main stages: Soviet and post-Soviet, which is the simplest form of chronological division. This division is acceptable, because, the author researches not a certain period or area of interrelationships, but offers a general methodological form of art historical investigation. According to the author, the main directions are thematic works, studies and holding exhibitions (or other events) in the considered interrelations. Exactly, these three points of activity (in many variations) form the basis of the factual material to be studied in the future. According to the author, studies at the universities of Leningrad had a beneficial effect on the development of creativity and the formation of the artistic worldview of most Azerbaijani artists. While studying at the prestigious art universities of Leningrad, these young artists returned to the republic as mature specialists, often proficient in the norms of academic painting and sculpture. Their work significantly enriched the fine arts of Azerbaijan, especially in the 50s–80s of the last century. The availability of interesting materials, friendly interrelations between the government of St Petersburg and the Republic of Azerbaijan create favorable preconditions for conducting active artistic research in this direction on more specific topics. The research of interrelationships contributes greatly to highlighting our common cultural heritage and supports to the strengthening of friendships in our time.

Fragmenty Krocínovy kašny z Lapidária Národního muzea. Pohled restaurátora

Fragments of Krocín’s fountain from the Lapidarium of the National Museum – a restorer’s perspective Krocín’s fountain in Prague’s Old Town Square is an impressive and beautiful stone sculpture work from the second half of the 16th century. Its partial historical reconstruction is now part of the permanent exhibition “Stone Sculpture Monu­ments in Bohemia from the 11th to the 19th century“ in the Lapidarium of the National Museum. However, only part of the fragments taken over by the National Museum were used for the historical reconstruction in 1991, with another large part remaining stored in the Lapidarium’s depository. Given the planned reconstruction of the Lapidarium building, and the necessary intervention in the permanent exhibition, the question arises of whether it would be possible to display Krocín’s fountain on a larger scale in the future. The aim of this article is to evaluate the physical condition of the original stone fragments that were not used for the exhibition reconstruction. Twenty stone fragments from Krocín’s fountain underwent restoration and laboratory research. Finally, documentation is presented of the conservation of the two most damaged fragments, which were treated in collaboration with students of the Sculpture Workshop of the Academy of Fine Arts in Prague.

Con decoro y hermosura. De la escultura mariana en la producción de José Rodríguez de la Oliva (1695-1777)

In this article, a value enhancement of the sculptural work of José Rodríguez de la Oliva (La Laguna, 1695-1777) is proposed. Since the restoration of the Immaculate Conception of the Sanctuary of Christ of La Laguna, we propose a reflection on its sculptural ways, through the study and attribution of a series of images distributed by various churches. The prevailing models influence the artist in the seventeenth century, which, generated from the Court, spread throughout the Hispanic territories. His sculptures are the result of the plastic tradition present in the Canary Islands and of the works that reached its shores during the Baroque

La dirección de fotografía y la dirección de arte en el documental Guerrero. La cabeza entre las manos

The convergence of arts is highlighted in cinematographic and videographic production. The departments of cinematography and art direction closely collaborate in any film production, particularly in a hybrid work like Guerrero. La cabeza entre las manos (2022), directed by Mario-Paul Martínez, which is the main focus here. This film, a blend of video-graphic essay and documentary, delves into the language of art and engages with the sculptural work of its protagonist and art director, Susana Guerrero, in Proyecto GUERRERO. Vicente J. Pérez, the director of photography, visually follows Guerrero from her initial sketches to the installation of her artwork in the Church-Museum of San Sebastián de los Caballeros in Toro, Zamora. Throughout this process, Guerrero reflects on her journey and the myth- ological and cultural connections linking her to Santa Catalina de Alejandría, as well as to the Gothic mural attributed to Teresa Díeç in the same church.

А.В. АМФИТЕАТРОВ КАК ИНТЕРПРЕТАТОР ИСКУССТВА СКУЛЬПТУРЫ (ИНТЕРМЕДИАЛЬНЫЙ АСПЕКТ)

The relevance of the topic is due to the need to study intermediality as an expression of the tendency to create an integral polyartistic space in the cultural system. The object of the article is intermediality in Russian and Italian culture at the beginning of the 20th century; the subject of the article is intermedial trends in Russian and Italian sculpture, as well as in art criticism of the specified period. The study is of a culturalogical nature; it uses comparative historical and biographical methods. The material of the study is texts (essays and letters) of the 1900s–1910s by famous Russian novelist, publicist, public figure A.V. Amfiteatrov (1862–1938), which are connected with the interpretation of sculpture as a type of fine art and with the assessment of the work of contemporary Russian and Italian masters. The writer pays the greatest attention to the work of sculptor S.D. Erzia (1876–1959). Talking about the personality and work of the artist, Amfiteatrov demonstrates awareness and interest in the problems of the art of sculpture, the features of its development in the general context of the cultural continuum of the 1900s–1910s. The writer verifies the artistic value of sculptural works by their connection with music, he uses in relation to them the terminology of literature and theater studies as well as musical associations. Intermediality appears in his work, on the one hand, to be a property of the works of art, he writes about; on the other hand, as the principle of their analysis and evaluation.

EKPHRASIS IN KEATS’S “ODE ON A GRECIAN URN”

In order to fully question the issue of ekphrasis in John Keats’s ”Ode on a Grecian Urn”, this paper begins by giving a brief historical and theoretical framework of ekphrasis, and then analyses a concrete ekphrasis in Keats’s poem. Historically speaking, the meaning of ekphrasis made a large shift in modern times compared to the original. Ancient Progymnasmata do not narrow the term based on subject matter, but rather define it using the category of vividness, enárgeia, and only later through the examinations of ancient ekphrasis of works of spatial arts, in literary texts as well as in rhetorical ones, ekphrasis becomes narrowed to a literary evocation of works of spatial arts. This happens in Spitzer’s analysis of the poem in the second half of the twentieth century, thus proving “Ode on the Grecian Urn” to be a crucial text in rethinking the term. This paper tends to reconcile the original and modern theories of ekphrasis through the poem itself. In a theoretical context, ekphrasis’s share in narration and description, and its discursive features are shown, opening the debate on the common linkage of ekphrasis to description, and alienation from narration. Choosing to address ekphrasis from the perspective of the ekphrastic poetry itself rather than a theoretical point of view, the paper shows how the urn cannot solely be seen as “silent” since it strives to tell a legend, a narrative, which is contained in the urn as an aesthetic object and work of sculptural art. This text does not tend to discover the real models for the ekphrasis, but it does offer some sculptural works and paintings which could have inspired Keats. The text is more inclined toward unveiling the discursive context which could have influenced the poet: the (meta)aesthetics of ancient Greece, derived both from poetry and philosophy. The most important objective of the paper is to offer a new reading of the poem through a critical dialogue with the most accepted readings of the “Ode”, primarily those of Spitzer and Brooks, and through questioning of common places in literary criticism of the poem.

Musical instruments in Nepali sculpture

Nepal is rich in fine arts. Within the fine arts, music and sculpture have an interdependent relationship because of the various religions, cultures, festivals, and traditional practices, that have been existing since ancient times. As a result, varieties of musical instruments can be seen in some of the sculptural works such as metal, stone, and wood sculptures that the ancestors carved out and installed in the various temple courtyards. The main purpose of this article is to interpret and analyze, only the string instruments (Tantri V dya), that have been carved in Nepali sculptures. To solve the query, some temple areas in the Kathmandu Valley have been visited to find out the sculptures carved along with musical instruments. From the study, it has been found that some tantri v dya, such as veena and other string instruments which are played using the bow, were seen played by various religious and mythological characters. Likewise, the instrument playing style and posture were also found in many manners. The present study is more focused on only the string instruments in sculptures rather than their historical background. Thus, future researchers will be get precise guide to study about others musical instruments too. Although the research is carried out within a limited time and area, the present paper appears to be relevant and fruitful for all the readers.

OBESITAS SEBAGAI IDE DALAM PENCIPTAAN SENI PATUNG

The sculpture is a work that is created through many gradual processes starting from the process of making the main master, then making molds, to the final casting and completion stages. Beyond that there are also sculptures made with chiseling or assembling techniques. Art works stems from human interest in the symptoms that occur in the community or the environment, and based on experiences that leave memory that supports the process of art, processing anxiety and curiosity are processed into a form of visualization of art, This work of sculpture takes the theme of obesity as a visual form, the form of obesity is related to people's views of their bodies, and also responses to attitudes carried out by obese people who are also used as ideas to visualize sculpture in the hope of providing another perspective on people with obesity in society.

Fragile Ties: Spanish Themes in Soviet Porcelain

The article is devoted to the study of the so-called Spanish theme in Soviet porcelain. The author analyzes the reflection of the stereotypical perception of Spain in small porcelain sculptures of the Soviet period produced by a variety of manufactures. Among the components of the Spanish theme the author highlights the images of flamenco (Spanish dance), bullfighting, most recognizable heroes of Cervantes such as Don Quixote and Sancho Panza, and fiery Carmen who was created by Prosper Mérimée and has become the stereotypical Spanish woman of the 19th century in the popular imagination thanks to the similarly named music and dance pieces. These traditional components of the perception of Spain in the 20th century were supplemented by the interpretation in propaganda porcelain of the turning point in the Spanish history — the civil war of 1936-1939. The article proposes another perspective on the Spanish theme in Soviet porcelain and considers the formation of the images of Spaniards, men and women. Such images are reflected in all the plots presented herein. Most of the sculptural works by different generations of Soviet porcelain masters are devoted to dance. The author concludes that dance scenes, including the ones that refer to Carmen are fundamental for the Spanish theme in Soviet porcelain.

Metacognition in Sebastian`s Door: mathematics, education and art

The aim is to show metacognition in how mathematics and culture are related in the sculptural work of Master Sebastián; with a deep playful character from which it emerges. Constituting a kind of artistic syncretism of apparently divergent beliefs between the plastic world, pure mathematics, abstract geometry and computational cybernetics. Methodology, study with a qualitative approach, the variables to consider were: Bach's baroque music with the canon and fugue, Gödel's theorem with the incompleteness of the axiomatic system; Eschery lithographs the reiteration of forms; Borje's literary-mathematical paradoxes; recursive programming routines in artificial intelligence systems (expert systems, mathematics) and Sebastián's sculpture. In conclusion, the convergence between Bach's baroque music can be identified, through the generation of the canon and the fugue; Gödel's theorem on the incompleteness of the axiomatic system, the reiteration of forms that invent themselves in Escher's lithographs, the literary-mathematical paradoxes in the stories of Jorge Luis Borges, and the use of recursive routines in the programming of expert systems or artificial intelligence. This game of plastic metamorphosis with which Sebastián surprised us a few years ago, turns out to predate the concept of the transformers, long before Hollywood made them a commercial success. As in the most diverse efforts of syncretism, Sebastián has traveled close to profanation as the staunch conservatives of the elite of scientists and artists can describe it.

Preliminary Results of the Flight. Maria Burganova’s Art

The article is devoted to the work of Maria Burganova, a sculptor, graphic artist, theorist of fine arts. Considering her sculptural compositions, created over a quarter of a century, the author explores the evolution of artistic images, focuses on the peculiarities of the artist's shaping, noting a new understanding of immateriality despite the massiveness of sculptural works and the laws of gravity. External laconicism and clarity of form are paradoxically combined with a wide range of tense internal states in her works. The search for an actual artistic image and its new plastic expression, experiments with forms of the "sign" type, emphasized comparisons of different scales in a single space distinguish Maria Burganova’s works.

3D Digital Preservation, Presentation, and Interpretation of Wooden Cultural Heritage on the Example of Sculptures of the FormaViva Kostanjevica Na Krki Collection

The paper presents an interdisciplinary approach to the treatment of the FormaViva collection of wooden sculptures exhibited outdoors in a natural environment near the Božidar Jakac Art Museum in Kostanjevica na Krki in Slovenia. The study focuses on 3D graphic representations of sculptures created with photogrammetry and 3D modelling. The results are photorealistic renderings, interactive presentations, 3D printed reproductions, jewellery, and interpretive animations. The research results show that graphic documentation techniques on 3D models allow for a more detailed investigation of the original structural identity of the sculpture. By incorporating 3D and interactive technologies, we are expanding the usability of cultural heritage objects. By using interpretive techniques that have led to jewellery and interpretive animations in our research, we not only breathe new life into the sculptures, but also enrich the stories of the sculptures with our own experiences of the sculptural work.

Interoperability Analysis between Traditional Chinese Sculpture and Painting Modeling from the Perspective of Big Data Management

Chinese traditional sculpture and painting have strong interoperability in terms of patterns, colors, and lines. Chinese sculpture and painting art are traditional Chinese works of art. The art of painting is often the basis for sculptural art. A good sculptural work of art often requires the pattern and color foundation of the painting. Moreover, Chinese traditional sculpture artworks often reflect certain historical information and humanistic spirit. Traditional artificial methods are often difficult to discover the intercommunication between cultural information between Chinese sculpture and painting. For the interoperability between sculpture and painting artworks, artists only rely on professional knowledge and aesthetic ability to discover some interoperability in patterns, colors, and lines, which is insufficient for understanding Chinese sculpture and painting. This study designs a novel hybrid CNN-LSTM method to study the interoperability of Chinese sculptures and paintings in terms of patterns, colors, lines, and cultural information. CNN can extract patterns, colors, and line features of Chinese paintings and sculptures. The cultural characteristics of Chinese sculptures have obvious temporal characteristics, which can be mined by LSTM technology. The research results show that the hybrid CNN-LSTM method has good feasibility and accuracy in studying the interoperability of traditional Chinese sculpture and painting. In terms of average error, the largest error is only 3.03% and this part of the error comes from the prediction of Chinese sculpture and painting cultural information. All other features of traditional sculpture and painting are predicted to be within 3%. For the prediction of color features, the error is only 1.13%. Prediction errors for patterns, colors, and lines are within acceptable limits.

Reinforcing relief sculpture work: A key to proper adhesion

The recent relief sculpture works showed lack of bonding properties for the work to last long. Therefore, this study sought to reinforce relief sculpture letters for better adhesion. A practice-based method was used, consisting of the following steps. The wall nailling, binding, and cement grouting were used in constructing relief sculpture letters. This was done to reinforce the work. First, the template (mould) was made from plywood, traced onto the cement rendering, and hacked the layout of the letters to give the key. In the second step, the mould was mounted or fixed onto the cement rendering for hacked areas to show through the template. This was followed by fixing the wall nails and binding wire in the mould and applying the cement grout onto them. Finally, cement mortar was filled into the mould. It was found that the wall nails and the binding wire had reinforced the relief sculpture letters, while the cement grout also exhibited a good bonding. As a result of this, the relief sculpture lettering did not crack or peel-off from the cement surface. By using wall nails, binding wire, and cement grout as reinforcing agents, it can be concluded that relief sculpture works can withstand tensile or shear stresses caused by forces.

A Cruel Theatre of Self-Immolations: Contemporary Suicide Protests by Fire and their Resonances in Culture [Okrutny teatr samospaleń: Protesty samobójcze w ogniu i ich echa w kulturze współczesnej

<i>A Cruel Theatre of Self-Immolations: Contemporary Suicide Protests by Fire and their Resonances in Culture</i> [Okrutny teatr samospaleń: Protesty samobójcze w ogniu i ich echa w kulturze współczesnej