Sculptural Forms Research Articles

Tangential developable surfaces and their application in real structures

A class of developable surfaces contains cylindrical, conical, and tangential developable surfaces. Tangential developable surfaces are ruled surfaces of zero Gaussian curvature with cuspidal edges. They give great opportunities to architects and engineers for realization of their creative projects. Both the theoretical researches in the area of geometry of torses and strength analysis of shells and the influence of these researches on the application of torses in practice are shown. A presented research demonstrated that torses found the application in shipbuilding, aircraft construction, mechanical engineering, in architecture and building, engineering equipment and communications, in road building, in anti-erosive banks, topography, and cartography, clothing articles of light industry, in sculptural forms, and in modelling with developable surfaces. It was confirmed by the references on great number of published works on the subject, real examples from practice, and by handing in 14 illustrations of real objects.

The space sculptural forms of crystalline constructivism systems and benefiting from them in the field of science simplification

The space sculptural forms of crystalline constructivism systems and benefiting from them in the field of science simplification

Sculpture, Faith, and the Many Worlds of Victorian Sculpture: W. F. Woodington, Genesis (1862)

Abstract This roundtable comment piece raises questions about the significance of materials, subject matter and form, and location and display to interpretations of W. F. Woodington’s 1862 Genesis panel at St Paul’s Cathedral. The panel was commissioned as an adjunct to the Wellington Memorial, and depicts the conclusion of the first military engagement in the Bible, the Battle of the Vale of Siddim. It features 18 human figures, three sheep, and two cows, and is inscribed with a passage from Genesis 14. 20. My comment piece reconceptualizes the panel as an assemblage bringing together many worlds, human and non-human, alongside the worlds of faith which were the impetus for the roundtable. It brings together biblical subject matter with the commemoration of military heroes; Italian marble quarry workers; the racially charged material of white marble; memories of sheep on their way to slaughter at Smithfield market; archaeological discoveries; the figure of Sodom in Victorian culture, and classical sculptural form. It asks how these varied geographies, time periods, and contributors to this object, human and non-human, might shift or mediate our understanding of this frieze as something more than an adjunct to a memorial to a military hero.

Traditions and Innovations in Chinese Contemporary Sculpture

After the Cultural Revolution, an unprecedented period of openness began in China. The gradual deepening of the Reform and Openness Policy created more opportunities for the development of contemporary Chinese sculpture. For "tradition", sculptors combine the form and content of traditional culture and sculpture, expressing the problems of modern life and human society, forming a rich creative thought and a broad creative outlook. Two art directions were formed. The first direction follows the creative method of sculptors who studied in France before the formation of the People's Republic of China, focusing on the study of the "language" of the actual sculptural art by combining the methods, forms and aesthetics of traditional Chinese sculpture. The second direction uses traditional Chinese culture and sculpture to carry out the "modern transformation". In this process, the form is subordinate to the content, and "tradition" appears in an artwork as a specific symbol through which the artist's opinion is expressed. The two creative directions have formed a symbiosis and co-prosperity at present. We can say that they both confirm the development of modern Chinese sculpture on the path of "nationalisation and localisation" over the past 40 years. At the same time, these two creative directions have brought a new climax to contemporary Chinese traditional sculpture and culture.

Perlindungan Hukum terhadap Karya Seni Melalui Media Mural


 A work of art is an artistic creation of an aesthetic object. Usually, it can be depicted in the form of sculptures, but can also be in the form of objects specially designed for aesthetic purposes and their uses. This research aims to analyze and regulate legal regulations and protections related to mural art in Indonesia. The method used is a normative legal research method. Legal arrangements regarding legal arrangements related to mural art in Indonesia are contained in the 1945 Constitution of the Republic of Indonesia Article 28 I and 28 J, Law No.39/1999 on Human Rights, Law no. 9 of 1998 concerning Expressing opinions in public and Law No. 12 of 2005 concerning Civil and Political Rights. The legal protection given to mural artworks is more or less the same as the regulation, except that not all mural artworks can be protected, if the mural art violates the applicable legal norms then it can be said that Vandalism is regulated in the Criminal Code Article 489 paragraph (1), Article 406 paragraph (1), and Article 160 of the Criminal Code.

Cultural codes of Ryazan of river navigation civilization and Russian “akan’e”

The article is devoted to a comprehensive analysis of the internal sources of the development of Russian civilization on the example of the «cultural code» of one of the local civilizations. Historians, as a rule, apply ether to a description of the Mongol invasion or they outline the reforms of Peter the Great, Alexander the Second, StolypinP.A., when they study the story of the Russian civilization rather then a detailed description of innumerable wars. Cultural issues are given in fragments, a minimum attention is drawn to them.. Currently, a huge amount of archaeological material has been accumulated, researchers have made great progress in studying certain branches of culture: architecture («history in stone»), icon painting, painting, sculpture, and other forms of civilization. There is every need to study the sum total of spiritual, moral and material forms of culture, to research the above problem, as in their integrity they constantly making an impact on a person, they ultimately determine the historical fortune and the formation of national identity. The topic of the article is essentially a new approach for researchers who consider mainly only the economic, social, political aspects of the influence of the West and the East. Internal sources of development are more hidden for researchers, they are less accessible than conspicuous external factors and borrowings.

The Influence of Contemporary Art Trend on Modernist Design

Art and design are homologous, and both permeate and influence each other. New thoughts and developments in the field of art will quickly penetrate and influence the field of design. Although in the early days of arts and crafts of representative John ru skin tried to painting, sculpture, and other art forms of "great art" and represents the design apart from the "art", but in the process of the development of modern art movement appeared in a series of design, such as modernism, post-modernism, contemporary art, etc., there is a art and design influence each other. This paper selects typical contemporary art schools and discusses their influence and significance on modernism with cases.

The “Black Art” Renaissance:African Sculpture and Modernism Across Continents

The “Black Art” Renaissance:African Sculpture and Modernism Across Continents

Sculpture of Panchayan Deities of National Museum: An Illustrative Stone Work of Nepal

Historical evidence proves the history of sculpturing art is as old as the history of human beings. The findings of stone sculpture and other forms of art from the different prehistoric sites of Europe, Africa and Asia have strongly supported the above mentioned acquaintance. It means the tradition of sculpturing stone art has evolved from the pre- historic culture in the world. Likewise, the tradition of creating stone sculpture and other forms of stone art also existed from the pre- historic age in Nepalese society. It is justified through the findings of hand axes and other different art objects which are being displayed in the National Museum. There are some noteworthy illustrations of Nepalese stone art in different museums abroad and in Nepal as well. Out of Nepalese stone sculptures, Panchayan deities of the national museum are considered an important specimen through religious, cultural, style, skill and technological perspectives. In this stone panel the figures of Shiva, Vishnu, Surya, Ganesh and goddess have been depicted. In Nepal, there are plenty of sculptures and paintings of these gods and goddess in single and with their families as well. But such a sculpture of this kind which has been exhibited in the stone work section of the national museum is very rare. Therefore, it is claimed that the panel is one of the important sculptures of Panchayan gods of Nepal. In this article, regarding the different issues of such sculptures going to be examined.

Scale of the Nation: Alberto Giacometti's Miniature Monument

In 1939, Alberto Giacometti proposed an unusual work for the Swiss National Exhibition: a tiny head placed on a wide pedestal, which gave rise to dramatic scalar effects. This essay places this little‐known episode at the origin of Giacometti's post‐war experiments with scale, and argues that those experiments emerged out of a historical context – Switzerland's tense negotiation of national identity in the 1930s – in which monumental forms of sculpture could no longer fulfil their political functions. By untethering the bigness of a monument from its scale, Giacometti's little head disclosed scale's more profound social operation: to formalize and embody our historical practices of engaging with vast structures, including the political structure of the nation. This alignment of aesthetic and political scale suggests how a new phenomenological account of modern sculpture, indebted to Jean‐Paul Sartre rather than Maurice Merleau‐Ponty, calls into question modernism's supposed negation of the monument.

Politicised Parables: A Reassessment of Bonnie Ntshalintshali’s Early Ceramic Sculptures

As ceramics by Black South African artists garner increased academic interest, the work of early Ardmore Design artists, exemplified by Bonnie Ntshalintshali, remain on the periphery of scholarly investigation. This article seeks to reacquaint the art historical community with Ntshalintshali’s sculptural works, demonstrating the cultural and historical relevance of her ceramics as potent expressions of her unique perspective and artistic voice. With a focus on early artworks inspired by Christian parables, this exploration of specific sculptures elucidates Ntshalintshali’s relationship with Christianity, fused with her Zulu heritage and Black South African identity. By examining these works as interconnected, as opposed to singular masterpieces, common themes and repeated motifs become evident. Ultimately, this article provides a more nuanced and extensive assessment of a selection of Ntshalintshali’s sculptural forms, illustrating their complexity, their thoughtful and potent imagery, and their embodiment of complex personal narratives.

The Changes in the Themes and Materials of Sculptures from the Sculptor's Creative Methods

The development of modern sculpture seems to be moving towards abstract expression, and then this abstraction is not only reflected in the form of sculpture, but in the inner spirit of sculpture, that is, the abstraction of the theme. Since the Renaissance, European creativity in sculpture has been extremely poor, and it was not until Auguste Rodin that he opened up new themes and materials for sculpture. It attempts to analyze the change of modern sculpture from the creative methods of three sculptors including Rodin.

Rokokowe rzeźby z ogrodzenia pałacu Mniszchów w Gdańsku. Autorstwo – styl – program ikonograficzny

In 1751, Jerzy August Mniszech purchased a plot in Długie Ogrody Street: the area where a large -scale residence was erected. Its designer was most probably Pierre Ricaud de Tirregaille. An important element in shaping the spatial composition of the entire palace and garden ensemble was formed by the main gate, characterized by an extremely dynamic, sculptural form, typical of Rococo art. At the top of the gate and on the fence posts there were figures: personifications of Minerva and Ceres, four putti representing the seasons and vases. At the beginning, the article presents the history and style of the sculptures. Then the question of attribution is discussed. In literature, Johann Heinrich Meissner is the most frequently indicated creator of the entire sculptural ensemble. This attribution, in view of the shortage of sources, requires confrontation with other, preserved works of the artist. Johann Heinrich Meissner (1701–1770) was born in Królewiec. He was present in Gdańsk, where from 1726 he owned a valued workshop. Having lived in the Old Town, near the Church of St Catherine, in 1755 he moved to Długie Ogrody where he located his studio, so he was a direct witness to the project carried out for Jerzy August Mniszech. Meissner’s workshop created, among other things, garden sculptures and elements of temple decorations. Among the sacred implementations, mention should be made of the decoration of the main altar in the Cathedral in Frombork, which includes four full -figure angelic figures, vases, flames and garlands made of pine wood. Meissner was also responsible for the statues of angels from the organ front in Gdańsk’s Church of St Mary, expanded in 1757–60. The soft modelling of forms precisely emphasizes the anatomy. Figures’ gestures are naturalistic. The sculptures in front of the Mniszech Palace are stylistically different from them: strongly stylized, exaggerated, they feature vibrating surface characteristic of the Rococo. Their authorship should therefore be associated with another sculpture workshop operating in Gdańsk in the mid -18th century. Another thread is the symbolic diagram of the fence decoration. In order to understand the ideological meaning of the figures in question, it is necessary to juxtapose them with the iconography found in Gdańsk’s art (e.g. Minerva decorated the façade of the Great Armory and the hall of the Main Town Hall, while the statues of Ceres were placed at the tops of tenement houses) and with European trends.

Research of Ancient Ukrainian Sculpture in the Works of Kyiv Circles of the Early XX Century

Purpose of research. The need for a thorough scientific and theoretical consideration and generalization of the formation of systematic knowledge about the national forms of our art at the leading stages of historical development, is gaining relevance in modern domestic science of art. Among other things, it requires the study of the achievements of scientists in the study of national creative heritage in the field of sculpture of Kievan Rus and the Cossack times during the formation of scientific art history. The article is devoted to the process of formation of the concept of evolution of forms of sculpture of the old princely years and the Cossack era in the works of specialists of the early twentieth century.
 The research methodology is based on a comprehensive historical and cultural approach, a systematic method, synchronous analysis of publications of one time period, structural analysis. This methodology allows us to consider the gradual formation of scientific views on the characteristic national differences and the direction of evolution of Ukrainian art of this period in the broader international context of artistic development.
 The scientific novelty of the results is to determine the process of formation of objective ideas about the formal and semantic features, distinctive features and high artistic level of monuments of Ukrainian sculpture from ancient times to the end of the Cossack era based on analysis of publications of various trends of leading experts of the late XIX – XX centuries .: D. Ainalova, E. Redina, E. Kuzmina, F. Ernst, M. Makarenko, K. Shirotsky, S. Yaremich, V. Modzalevsky, F. Schmidt, devoted to the study of this branch of ancient Ukrainian art and in the context of the characteristics of the general development of fine arts, and as an independent subject of research. Conclusions. Ukrainian science of art of the early twentieth century. has achieved undeniable success in the study of national forms of domestic sculpture of ancient Slavic times, Kievan Rus and the seventeenth – eighteenth centuries. as the period of the highest prosperity. The considered material testifies to the high professional level of formation of the substantiated scientific concept of national self-sufficiency of ancient Ukrainian sculpture as an important component of the general art process at various stages of its development.

Insubordinate Costume

In this visual essay, I explore the way costume can be used as a research tool and how playing with my modular ‘Insubordinate Costumes’ enables different creative interpretations and offers diverse dramaturgical possibilities. The term ‘Insubordinate Costume’ evolved from my research and is used to reflect the defiant, rebellious and unruly nature of performance-defining costume, which flouts practicalities and textual confines to embrace the role of protagonist. In order to explore the agency of ‘Insubordinate Costume’, I developed flat-pack modular costumes, which can be constructed in different ways and organized workshops with both single performers and small groups in order to analyse a range of different approaches to performance making. The rule of play is essential to the approach to these costumes, both in the playful essence of the costume and in the way the body interacts with it. Although the modular pieces are always the same, the resulting sculptural forms created by each performer have always been unique, as have their performances. Looking at New Materialism theories, my practice research can be considered as an assemblage of human and non-human elements, which together have a greater power and the ability to generate a performance.

Space Around of Nazar Bilyk: Based on interviews with the sculptor 2017–2019

Based on a series of interviews in 2017–2019, coupled with the analytical and applied research of art historians, the theoretical views of the modern Ukrainian sculptor Nazar Bilyk (b. 1979) are considered. First, attention is focused on the peculiarities of the artist’s attitude to the perception of the results of his work in the urban architectural and leisure environment (public art). Secondly, on the formulation of theoretical generalizations regarding the nature of the sculptural form, the properties of its material and the nature of its interaction with space. Thirdly, on how these theoretical generalizations are reflected in Bilyk’s work, based on his statements and interpreting them. In particular, it is shown that in the case of the project “Space Around” (since 2013), the real material of sculpture is precisely the environment for which the sculptural form, created as a “heap of mass”, is a shortage; but such an important lack, which can be supplemented to a natural “perfection” by the absence of mass, and not its presence. In this case, the spatial integrity of the form only grows stronger from this expressive lack

Material mind: Gum on walls, drifting stones and other acts of community sculpture

Community acts of material signification are an important form of sculpture that occur through an exchange of human and non-human agents. First these acts of sculpture are discussed in relation to extended mind, the morphogenic model of making, material engagement theory and entanglement to frame how humans shape the world as collaborators with non-humans by extending mind through material. I then discuss various acts of community material accumulation that I consider sculpture, skateboarding and clay forming as evidence of extended mind, comparison of the morphogenic to the hylomorphic model of making, occurrences of materials affecting other materials absent of human intervention and my recent participatory installation Stone Fruit. These topics are used to present a lens for understanding the production of sculpture as a collaboration with opposed to dictation on systems of materials, places and people. This lens, in turn, presents community sites of material accumulation to be an important form of sculpture production.

Renegotiating Sectarian Space through the Realia and Monasteries of Early Medieval Bengal

AbstractThis article considers the practices about ‘the special dead’ related to the monastery at Pāhāṛpur (‘Hill--town’) in the Rājshāhī region of North--Western Bangladesh. This Early Medieval community was rich in religious diversity from the Gupta to Pāla periods—dense with evidence of Jain, Hindu, and Buddhist activity. There are a number of stūpa structures throughout the grounds for the burial of revered teachers and leaders such that the living comingled with the dead in an academic and religious setting. The Pāla era monastery was dedicated to advanced learning, meditation, worship, student housing, and burial. At the centre of the monastery is a large stūpa that has been celebrated widely for its diverse imagery in the form of terracotta plaques and relief sculptures with Hindu, Buddhist, and Jain themes. This article focuses on the reception history of this site and especially on its unique role as a mediator of religious voices from the region’s past. Under Dharmapāla, the site became branded as Buddhist as part of a broader imperial effort to promote Buddhist networks. Locally, however, the site maintained and promoted relationships to Hindu and Jain communities as well as Buddhist ones. Its endurance as a sacred site through complex interreligious permutations is intriguing though not surprising. Death and learning were not separated. Evidence from Pāhāṛpur raises questions about the communities who lived there as well as our understanding of their approach to death in practice in the Bengal region.

A reunião: um diálogo entre a arte e o design para gestão e criação de um produto audiovisual em meio a pandemia de COVID-19 Orlando José Dantas Lopes

This project promotes a dialogue between contemporary art, cinema and design, seeking to develop an audiovisual project using limited resources in the midst of the COVID-19 pandemic. The study starts from a creative process focused on a poetics materialized through masks designed in the form of sculptures and installations that are transmuted into three-dimensional performance elements, composing costumes and scenarios suitable for creative exploration in the scope of photography and audiovisual production. The narratives and aesthetics are designed with light and shadow effects, emptiness and filling, space and non-space concepts. The social isolation caused by the new Coronavirus is personified through sensations and experiences of color, light and darkness, creating a ritualistic atmosphere of transformation of the self, starting from the principles of belief and faith, in addition to a cycle of learning and unveiling in an obscure environment. The methodology used was based on design thinking strategies, interviews with creators and potential consumers, scriptwriting, scale, costume development, photomontages and prototyping of the proposed audiovisual product. Making a creative proposal during the social isolation proved to be a methodological, managerial, financial, technical and mental challenge, in view of the overload of activities for the team members and the difficulties generated by remote work, with decision-making that is often time-consuming and dense. This study is relevant for creators, producers, designers and visual artists interested in producing audiovisual products with a strong creative appeal and at the same time with limited resources, using methodologies focused on remote team work.

Moslem Sculptor (Negotiation of Sculptor at Prumpung Magelang Towards The Doctrine of Sculpting’s Prohibition on Islam)

Normatively, Islamic doctrine prohibits figurative art in the form of sculpture or painting. The prohibition actually comes not from the Koran but from various narrations of the Prophet's hadith. However, it has been transformed into an orthodox doctrine for its adherents. This research does not aim to find the essential meaning of the hadith text which prohibits figurative art, but to find out how the Moslem sculptors, who live at Prumpung Magelang area, respond and negotiate toward it, so in the end they decided to compromise with their profession as a sculptor. Reception theory is used in this study to map the creative reasoning model of Moslem sculptors when negotiating with texts. Through the reception approach, and field data collection through in-depth interviews with several informants consisting of Muslim sculptors at Prumpung Magelang, this research concludes that the existence of the statue, according to the perspective of the Moslem sculptors at Prumpung Magelang is merely works of art so that in existence there are no theological problems.