Art Of Sculpture Research Articles

Analysis of the factors influencing the promotion of stone sculpture art based on social media communication dynamics

Abstract This paper first focuses on the design elements and digital platforms of stone carving art and then discusses the dissemination of stone carving art on social media platforms. Secondly, a social media propagation dynamics modeling of stone sculpture art promotion is proposed, and the degree distribution of stone sculpture art promotion in the BA scale-free network is calculated by the social media network model and propagation evolution model. Finally, the kinetic analysis of social media on stone carving art promotion by different influencing factors and information dissemination stages is explored. The results show that when the user recognizes stone carving art as Ii (0) = 0.7 the larger the value Ii = (0), the greater the user’s propensity to spread stone carving art promotion information and the greater the rate of stone carving art promotion information dissemination. Through the in-depth combination of social media and stone carving art, this paper has important practice and significance for the protection and inheritance of stone carving art and for improving its influence and popularity.

Gender and Deterritorialized Identity

This article explores the immersive audio-visual and sculptural art installations in the 59th Venice Biennale (2022) of three transnational contemporary women artists with familial ties to former colonies and protectorates. The Afro-Caribbean artist Sonia Boyce, MBE, presented Feeling Her Way in the British National Pavilion, for which she won the Golden Lion, the biennale’s highest honor. Zineb Sedira, a Franco-Algerian artist who lives and works in Britain, exhibited Les rêves n’ont pas de titre (Dreams Have No Titles) in the French National pavilion. The Moroccan artist, Latifa Echakhch, who was raised in France and lives in Switzerland, represented Switzerland with Le Concert, a sculptural sound installation. Each of their multidisciplinary installations engages differently with the intersections of race, gender, and ethnicity to challenge cultural stereotypes and erasures—of women artists and histories of liberation struggles. This article introduces early works by each artist as a basis for understanding how their biennale projects are decolonial and feminist in order to argue that the deterritorialized may reterritorialize—create new spaces of enunciation—in and through culture. The Venice Biennale installations of Boyce, Sedira, and Echakhch bring light to intersections of present-day and historical politics and memory by engaging with identity—individual and collective—as constructed, negotiated, and always in flux. Their work is shaped by migration, displacement, refugee status, exile, and the frontier as site of obstruction and passage.

Bahan Styrofoam Sebagai Ekspresi Penciptaan Seni Patung di Rumah Gabus Produktion Surabaya

Most people only think that styrofoam is a material for packaging tools, for example as a container to store ice, a protector of electronic objects so that they are not damaged by vibration. According to Nanang Muchsinien, the advantage of using styrofoam as a creative medium is that it can be made in a shorter time than other materials, such as wood, cement, or other materials. The character of styreofoam which is not so heavy or relatively light, and has a small risk; therefore, using stereofoam material is not dangerous in the event of a work accident if it is hit, or falls when installed in public places Some other supporting facilities are: adequate space, tools, and materials, and of course styreofoam with good quality as the main medium styreofoam or foam plastic is one type of plastic from many other materials. The first is to make a sketch on paper as a means to find out the division of the image pieces from the existing design. The process of smoothing for this work is done by rubbing the surface of the styreofoam with rubbing paper. Technology for working on styreofoam materials is needed to speed up working so that the production process is more efficient, can save time, energy, and can reduce costs. The modeling process is carried out using modeling techniques so that in creating a sculpture that can interact directly between ideas into three dimentional form (sculpture art). In choosing to use cork/ styrofoam material because the material has already found the character of the material and the properties that exist in the material, so that it can speed up the creative process.

Study on the Thin Flesh Sculptures of Northern Zhou Dynasty in Maijishan Grottoes

The thin flesh sculpture of the Flying Sky mural in the Seven Buddha Pavilion of the fourth cave of Maijishan was created in the Northern Zhou Dynasty, which is the product of the fusion of Buddhist art and traditional Chinese culture. Among them, the mural uses the method of combining painting and sculpture, which is rare and novel, which not only fully reflects the intelligence and extraordinary creativity of ancient artists in China, but also has high artistic value for Buddhist sculpture art in China. Taking "thin meat sculpture" as the research object, this paper analyzes and elaborates on the historical development of Northern Zhou statues, the overview of thin meat sculpture murals, their characteristics and artistic achievements, explores the relationship between the artistic techniques of painting and sculpture and Chinese sculpture and murals, and studies the significance of thin meat sculpture in the development of Chinese Buddhist sculpture and mural art.

The paper examines the Stations of the Cross installed in the public space of Lviv from the late 20th to the early 21st century in terms of their artistic features and iconography.

The scientific novelty lies in this being the first study of Stations of the Cross in Lviv, wherein the artistic and iconographic features of the works were analyzed, the prototypes of the sanctuaries were identified, primary artistic trends were outlined, and a classification based on form and materials was proposed. All samples were collected and analyzed through empirical research using photographic documentation, visual observation, and description. Additionally, the paper employs methods such as iconographic, semantic, comparative, and cultural-historical analysis. The research covers the Stations of the Cross in the Brukhovychi Forest, on Mount Khomets, at 10 I. Lukasevych Street, 5 V. Symonenka Street, 28A Zahirnyi Street, in parks named after Pope John Paul II, the 700th Anniversary of Lviv, "Bodnarivka," and the "High Castle". It was established that the most widespread stations consist of wooden crosses and reproductions of works by authors such as Joseph Ritter von Fürich, Cesare Secchi, and Luigi Morgari. Research on the stations in the 700th Anniversary Park of Lviv suggests that these works likely replicate the mosaic cycle of the Italian company Demetz Art Studio, with their form mirroring the silhouette of the Novgorod Alexius Cross. The investigation of the "Pietà" station in the context of the Church of the Holy Virgin of the Orthodox Church of Ukraine at 40 Myshuhy Street revealed peculiarities of religious kitsch in Lviv, characterized by a blend of imitation of high Western European Catholic sculptural art and elements of Russian Orthodox architecture, including glossy onion-shaped domes. The analysis of two Stations of the Cross at the High Castle delineated two stylistic tendencies. Stations from 2005 imitate a naive style akin to folk carvings, while samples from 2010-2012 stylistically resemble Stations of the Cross in Lourdes, Stradch, Roshachi, Sambor, among others. Additionally, it was noted that its particularities include certain disproportions and unnatural poses, departing from traditional iconography by avoiding the depiction of negative characters. Research into the sacred space of the Royal Spring, where the Stations of the Cross are located, revealed signs of religious kitsch, namely semiotic and stylistic inconsistency, the presence of sanctuaries from various cults, imitation of high art, and low professional quality in most works.

Spectral geometry and Riemannian manifold mesh approximations: some autocorrelation lessons from spatial statistics

A spectral geometry utility awareness, with specific reference to isospectralisation and art painting analytics, is permeating the academy today, with special interest in its ability to foster interfaces between a range of analytical quantitative disciplines and art, exhibiting popularity in, for example, computer engineering/image processing and GIScience/spatial statistics, among other subject areas. This paper contributes to the emerging literature about such mathematized interdisciplinarities and synergies. It more specifically extends the matrix algebra based 2-D Graph Moranian operator that dominates spatial statistics/econometrics to the 3-D Riemannian manifold sphere whose analysis the general Graph Laplacian (i.e. Laplace-Beltrami) operator monopolizes today. One conclusion is that harmonizing the use of these two operators offers a way to expand knowledge and comprehension. Another is a continuing demonstration that the understanding and analysis of art sculptures dovetails with mathematics-art studies.

Research on the artistic expression form of traditional cultural imagery in sculpture modeling based on DE-GWO model

Abstract We study its expression in sculpture modeling by excavating traditional cultural imagery in sculpture art. In this paper, 20 students with design-related backgrounds were selected as subjects to view sculpture images for cultural imagery evaluation, and imagery selection, response duration, and eye-movement data were collected using Yulin Grottoes statue sculptures as eye-movement experiment samples. The collected data were then used to investigate various imagery expression methods and anticipate the traditional cultural imagery appearing in the sculptures using the DE-GWO model. With a mean square error of 0.275 for the typical user sample and the results of the DE-GWO analysis showing a p-value range of 0.446 to 0.05, with no significant differences, the degree of fit and predictive power between the predicted and actual values of the test set was generally good for subjects with relevant backgrounds. The presentation of sculpture art language under the multicultural viewpoint explores the expressive form of traditional cultural images, which has positive relevance to the development of sculpture art.

Role of Roopamandana in Making of Nepalese Images

Kathmandu valley has plenty of sculptural art. Images since an early period have been made following vidhana or pratima lakshan. ‘An image prepared without following vidhana is unfit for worship, says sastras and Puranas’ (Khanal, B.S.2075.p.15). Vidhana is a guideline for making images. There are several texts and Puranas describing vidhana. Roopmandana was written by Sutradhar Mandana during the 12th century describing pratima lakshana of several dieties. Images of Nepal from 3rd century BC till the end of 17th/18th century CE have their specific identification with gradual inclining changes in their features from early period un wards to Licchavi, early medieval and medieval period. However, the theme has always been same. In this context, how far the pratima lakshana described in Roopamandana has influenced Nepalese images? In what ways and how are they implemented in Nepalese images? The answer to these questions have been tried to be traced on the basis of through detail review of Roopamandana. Likewise, survey of images through purposive sampling, collection of epigraphic records and photographs are used in this study as a primary source. Findings of the facts are analyzed in a descriptive manner. Through various references, it has been revealed in this research that Roopamanda was the best-selected text of vidhana for making Nepalese images and a religious code for continuation or disposal of images in case of breaking. It has been found to be completely implemented in most of the images related to Vaishnava during medieval period, few of them have been found to be made through partial implementation and the rest by merging the vidhanas mentioned in several texts.

Buddhist Architecture Exchanges between China and Pakistan

This study explores the friendly exchanges in Buddhist architecture between China and Pakistan from a geographical perspective. It probes mainly into the exchanges occurring from the 1st to the 10th century AD between ancient China and ancient Pakistan (the region where Pakistan is presently located). With the channels for exchanges between China and South Asia opening up and the Silk Road being established, the large-scale eastward spread of Buddhism became possible, creating opportunities for Buddhism communication between people of the two nations. The design and construction of Chinese Buddhist temples, pagodas and grottoes exhibit features typical of Buddhist architecture in ancient Pakistan, particularly the Gandhara Buddhist sculpture art that has profound influence on Buddha statues in China. In over a thousand years Chinese Buddhist architecture absorbed elements from that of ancient Pakistan, yet created its unique Chinese style, showing a perfect integration of the two cultures. The Buddhist architecture exchanges between ancient China and ancient Pakistan have far-reaching significance in promoting cultural communication and strengthening the friendship between people of the two nations.

Modernizing Sculpture: Print Culture and the New Discourse on Sculpture in China, circa 1880–1929

Abstract Much of the current scholarship on the art of China in the 1910s and 1920s focuses on artworks, art academies, and art groups that were associated either with traditional Chinese painting (guohua 國畫) or with oil painting (youhua 油畫). By contrast, other mediums such as sculpture have rarely been discussed by scholars of modern Chinese art. Similar to guohua, the association of which with lofty literati values and imperial eras was hotly debated at the beginning of the Republic of China (1912–1949), the art of sculpture – a category that has long been considered as funerary art, craft, or decorative art – and its relevance to modern China was also discussed by artists and intellectuals at that time. In early twentieth-century China, sculpture eventually gained a new status within the fine arts. This article argues that one important factor that promoted the changing perception of sculpture in the public sphere was the blossoming print culture and its connections with photography and exhibitions in Republican China. Print materials such as newspapers, newspaper supplements, pictorial magazines, and exhibition catalogs/pamphlets promoted the process of modernizing sculpture.

SCULPTURAL ART AND ARCHITECTURAL PATTERN OF THE DHAVALESVARA TEMPLE OF DHAVALESVARA IN ODISHA

The purpose of this article is to discuss on the sculptural art, architectural features of the Dhavalesvara temple of Dhavalesvara in the Cuttack district of Odisha. Dhavalesvara temple is a significant Shaiva Shrine of the Cuttack district of the state of Odisha. This temple is very famous shrine in that locality, for which, a good number of devotees come to visit this shrine. Old sculptures of different deities of both Saivism and Vaishnavism are also found to be preserved in the temple site, for which the site of the temple is considered as ‘Hari-Hara pitha’. This temple initially consisted of vimana and jagamohana. In later period, natamandapa as well as bhogamandapa were also added to the main temple. The artistic as well as religious aspects of the Dhavalesvara temple represent a noteworthy Shaiva shrine of the medieval Odisha. The original Parvati image in the northern side parsvadevata niche is not noticed, in that place a Mahisamardini Durga image is inserted as side deity. The six armed and three headed image of Kartikeya is unique in the study of Odishan art tradition. The extant preserved old loose sculptures of the temple suggest us that these were probably collected from the local areas for the purpose of worship. Most of the loose sculptures are not in intact, so their identifications are not possible properly due to mutilation of images. All the images of different periods were finely executed by the Kalingan School of artists. Source materials from primary as well as secondary data are utilized in the writing of this article.

Using represented bodies in Renaissance artworks to teach musculoskeletal and surface anatomy.

Surface anatomy is an important skill for students in preparation for patient care, and peer examination is often used to teach musculoskeletal and surface anatomy. An alternative pedagogical approach is to use bodies represented in artworks. Represented bodies display fictive anatomy, providing students with the opportunity to apply their musculoskeletal knowledge and to think critically when evaluating the anatomical fidelity of a represented body. An elective course at the University of Michigan enabled undergraduate students to analyze the musculoskeletal and surface anatomy depicted in Renaissance artworks. Students traveled to Italy in 2018 (n = 14) and 2022 (n = 15) to analyze the fictive anatomy portrayed in artistic sculptures and musculoskeletal structures depicted in wax anatomy models and sculpted skeletons. In assignments, students were asked to identify musculoskeletal structures as portrayed in the context of represented anatomy created by Italian Renaissance artists and to assess the fidelity of the depicted anatomy. The students also applied their knowledge of musculoskeletal anatomy to describe body position and evaluate muscle function in their assessments of the accuracy or inaccuracy of the fictive anatomy. The students reported that evaluating the anatomical fidelity of represented bodies in artworks supported their learning of musculoskeletal and surface anatomy, and that their critical thinking skills improved in the course. Evaluation of the anatomical fidelity of represented bodies in artworks is an effective pedagogical approach that can be implemented in art museums as an adjunctive learning experience to deepen students' musculoskeletal and surface anatomy knowledge and further develop their critical thinking skills.

Application of target-optimized image steganography algorithm for fine art sculpture design

Application of target-optimized image steganography algorithm for fine art sculpture design

Seni Ukir Kayu Balairung Koto Piliang Nagari Paninggahan Kabupaten Solok Sumatera Barat

This research aims to determine the art of carving applied to the Koto Piliang Nagari Paninggahan hall, Solok Regency, West Sumatra. The problem is focused on the sculptural art that is applied to the balairung which takes the idea of nature takambang being a teacher, which comes from the motif of the names of plants, animals and the names of other natural objects. In order to approach this problem, Fielman's aesthetic theory was used with qualitative research methods. The data were collected through field studies, literature studies, interviews as well as documentation and comprehensive data analysis. This study concludes that the sculptural art applied to the balairung has an aesthetic value that describes the harmony and harmony of people's lives in Minangkabau and has a kinship life system, togetherness in the governance system in Minangkabau society. Keywords: Carving Art; Balairung Koto Piliang; Peninggahan, Solok Regency

Sculpting Emotion: Female Passion and the Paratextual Framing of Felicia Hemans’s “Properzia Rossi” (1828)

ABSTRACT On the surface, “Properzia Rossi” (1828) may be a poem about unrequited love, but more importantly it works to raise the status of women’s work through the reciprocal relationship established between the sister arts of poetry and sculpture. This article aims to further the discussion surrounding Hemans’s ekphrastic poetry by analysing the paratextual framing of “Properzia Rossi”, and interrogate how this prefatory content contributes to the treatment of female passion, creativity, and the sister arts within the poem itself. Aside from the biographical headnote, in which Hemans describes a painting of Properzia De’Rossi by Louis Ducis as the source behind her work, it is also important to consider how the poem is framed within the collection, Records of Woman (1828). The opening epigraph for the collection is a quotation from Wordsworth’s “Laodamia” (1815): a poem that questions the value of excess emotion. This article, therefore, adopts a new approach to “Properzia Rossi” by considering it as Hemans’s response to the discussion of female passion in “Laodamia”. For Hemans, the process of artistic creation is an outlet for emotion, whilst the resulting art object becomes a means of eliciting an emotional response from the beholder.

Analysis on the Style and Evolution of the Sculpture Art in Shanxi Merchants Courtyard

Shanxi merchants' foreign exchanges and family culture have made the sculpture features in Jinzhong area brilliant, and local craftsmen have also continuously absorbed local culture and customs from it, making the aesthetic taste of sculpture diversified and gradually showing differences. Therefore, this article focuses on understanding the relationship between the evolution of Shanxi merchants' ideological, cultural, and economic strength and the aesthetic characteristics of sculptures, so as to analyze the sculpture art culture of Shanxi merchants' courtyards in Jinzhong area more vividly and comprehensively.

Sochařská dílna rodiny Kitzingerů v Milešově

This article aims to introduce and intestigate the Kitzinger family of sculptors, who created sculpture art in Litoměřice, Milešov, Děčín and other places. Based on both archival sources and critical view at their art in Milešov, we can see in much clearer shapes how this family, including father Abrahám (I.) and two sons Mikuláš and Abrahám (II.) Felix, operated in this region for decades between 40s to 80s of 17th century. Until nowadays we can observe their work in both Milešov castle and parish church, Litoměřice Plague Column and Děčín Castle Garden. From these preserved works it is clear that they not only represented the style of leading Prague sculptor Johann Georg Bendl, but according to author’s opinion the father or also both his sons precised their skills in one of the Saxony sculptor families such as the Böhme family, Christoph Dehne or the Walther family. Next to the wide range of different commissions and high social status of their patrons and commissioners what is even more fascinating is the time, when these works were created, i. e. 70–80’s 17th century, when they appeared on the regional scene with highly advanced style, which can be by its quality compareable only within whole Czech Kigdom, if so.

Research on the Analysis and Application of Polymer Materials in Contemporary Sculpture Art Creation.

The application of polymer materials in sculpture art creation is extensive and plays a significant role in the development of sculpture art. This article aims to systematically explore the application of polymer materials in contemporary sculpture art creation. The research comprehensively applies various techniques such as literature research, data comparison, and case analysis to explore in detail the ways, methods, and paths of polymer materials employed in the shaping, decoration, and protection of sculptural artworks. First, the article analyzes three methods of shaping sculpture artworks with polymer materials (casting, printing, and constructing). Secondly, it explores two techniques of using polymer materials to adorn sculpture artworks (coloring and imitating texture); then it discusses the significant approach of using polymer materials to protect sculptural artworks (protective spray film). Finally, the research identifies the merits and demerits of using polymer materials in contemporary sculpture art creation. The findings of this study are expected to enrich the effective application of polymer materials in contemporary sculpture art creation and offer novel techniques and ideas for contemporary sculpture art creators.

REALIST SCULPTURE IN CHINA - DISCOVERY AND FORMATION OF ART METHOD

Chinese sculpture has a long history and is a world-renowned art treasure and cultural heritage. With the changes in the global political structure and China's internal social system in the past two hundred years, they have directly affected the development direction of Chinese sculpture. The traditional Chinese sculpture system has gradually weakened. In line with the trend of 'learning from the West' at the end of the Qing Dynasty, students, policymakers, and practitioners of sculpture-related industries began to reach a tacit agreement, with many factors contributing to a new choice for Chinese sculpture, which had long been closed to the outside world and self-development. During the Republic of China period, the popularization of Western theories of sculpture and the cultivation of Westernized talents made Chinese sculpture present the budding trend of realism in this period. These include the enlightenment of European sculpture, the establishment of art schools and the self-cultivation of talents, and the staged upsurge of studying abroad. This article explores the origin and development of realism art in China by describing the history of modern Chinese sculpture art in the context of a specific historical period from the end of the 19th century to the beginning of the 20th century. Of course, Chinese realism has its special presentation and historical significance. There is no necessary connection between the birth of realism consciousness and the germination of Chinese realist sculpture. The realist sculpture from the late Qing Dynasty to the Republic of China was the natural choice of artists who learned from the West and met the needs of society. Therefore, this article will not cover a broader discussion of the origins of realism.

CONTEMPORARY ARABIC CERAMICS (METHODS AND TECHNIQUES), CONCEPTUAL WORK IN CONTEMPORARY ARABIC PORCELAIN

Ceramic art was associated with the advent of ancient man, since he used it in his daily life to store food and bury the dead. He did not care about the aesthetic side. Ceramics art evolved with the evolution of man and became competing in importance for the art of painting and sculpture. The migration of some potters out of the country and travel to study the evolution of ceramic art and its clear reflection on Arabic porcelain provides for the identification of Arabic porcelain in Iraq, Egypt, Jordan and Lebanon.