Stone Sculpture Research Articles

РЕСТАВРАЦІЯ БІЛОКАМ’ЯНОЇ СКУЛЬПТУРИ НЕПОРОЧНОГО ЗАЧАТТЯ МАТЕРІ БОЖОЇ З СЕЛА ТЕТЕВЧИЦІ, ЧЕРВОНОГРАДСЬКОГО РАЙОНУ, ЛЬВІВСЬКОЇ ОБЛАСТІ

The article analyzes the history of creation, stylistics and plastic solution and development of the technology of restoration of the white stone sculpture of The Immaculate Conception of the Mother of God in the village of Tetevchytsi of Chervonohrad district, Lviv region. Remarkable works of limestone were created of limestone in Galicia during the XII – XX centuries. Unfortunately, monuments of sacral art suffered major damage in the second half of the XX century due to acts of vandalism committed by followers of the communist regime ideology in Russia. They are responsible for the destruction of churches, cathedrals and synagogues. The monuments of sculptural art were destroyed as well. The rethinking of the sacral heritage and activation of restoration processes began only after the restoration of Ukraine's independence. Hence, the issue of restoration of the sculpture of The Immaculate Conception of the Mother of God in the village of Tetevchytsi is currently of great interest and complex scientific research is the basis for the success of the planned work. The sculpture was placed on the pediment over the entrance of the parish church in the village of Tetevchytsi. Before the restoration the monument was in poor condition and the head of Holy Mother was missing. Older residents of the village say that an unknown soldier intentionally shot it off during the Second World War. The bullet, which was found in the wall of the church behind the Virgin, is the evidence that this story is true. After studying the general concept of restoration the program was developed and approved: to carry out photo fixation of the state of the monument before restoration, to conduct the analysis and processing of the cartogram of losses, to determine the sequence of stone conservation works, to carry out cleaning of stone using dry method with the help of brushes, to carry out cleaning of the sculpture using the method of sandblasting, to clean it from cement layering, to perform extraction of salts, to perform structural strengthening of stone with silicon-organic matter, to restore the lost elements of the folds of clothing with mineral restoration solution, to make a head out of plasticine on the basis of analogues and make a plaster form, to reconstruct it from artificial stone, to glue the head with epoxy resins and anchor made of stainless wire, to strengthen the structure of the stone with silicon-organic matter; to cover the sculpture with a biocidal solution of long-term action; to perform glazing of the sculpture, to perform hydrophobization of the sculpture with silicon-organic solution, to make recommendations on storage conditions and compliance with the protection of the monument. The significant role in the restoration of the head played the use of analogues of sculptures from the cemeteries of the surrounding villages. As a result of comparative analysis, it was found that the stylistic solution of the sculpture corresponds to the techniques typical of the 1930s. This is confirmed by the preserved sculptural compositions in Tetevchytsi and surrounding villages. Most likely, the author of the restored monument was a representative of a craft school of this region. Compatible materials of Ukrainian and German production are used in the restoration works, which meet the principles of reversibility. It is recommended to return the monument to its place after the restoration.

ПРОГРАМА РЕСТАВРАЦІЇ БІЛОКАМ'ЯНОЇ СКУЛЬПТУРИ ЯНА НЕПОМУЦЬКОГО ПОЧАТКУ ХІХ СТОЛІТТЯ З СЕЛА ВЕЛИКА ВИШЕНЬКА, ЯВОРІВСЬКОГО РАЙОНУ, ЛЬВІВСЬКОЇ ОБЛАСТІ

The following article is the first attempt to analyze and systematize the sculptural images of St. John of Nepomuk in the late XVIII-XIX centuries in Galicia, determine the accurate location to suggest the authorship of the work and develop a restoration program to put into effect work on the monument. Having conducted a stylistic inquiry, we can say that the author was a sculptor Jan Nepomuckski from the village of Velyka Vyshenky. He was under the influence of such Lviv sculptors as Peter and Matthew Poleiowski. Compositional techniques, manner of interpretation of folds, and plasticity testify to close cooperation with these authors. The similarity to the mode of Peter Poleiowski is especially noticeable. Matthew Poleiowski was a talented organizer, had great authority and performed an impressive number of works. He organized other sculptors under his guidance, and there is a suggestion that Ivan Poleiovsky was the leading one. Therefore, probably since Matthew signed contracts for the work, we see the work of the whole shop, and one of these sculptors was the author of sculptures, Jan Nepomuk, from the villages of Velyka Vyshenka and Tovstolug. The sculpture under restoration suffered significant damage and loss. There is no pedestal on which it had initially located. But the round column remained smooth and without decor. From the elbow, along with the hands, both hands are missing. Also, parts of the folds of clothing are missing. There are numerous chips and cracks. The saint's face is barely visible. A traditional attribute of the saint, the metal halo, is also missing. Although, we found traces of them, such as mounting slots on the sculpture. Before restoring the white stone sculpture of Jan Nepomuk from the village of Velyka Vyshenky, we developed the program. It includes the following steps: 1. To execute the photo-fixation of the object, make all necessary measurements and drawings. 2. To carry out a preliminary inspection to assess the damage and condition of the stone. 3. To determine the sequence of works on stone conservation. 4. To perform stone cleaning by dry method with brushes. 5. To clean the stone with a steam generator; 6. To clean the neck and head part from the remnants of cement with the help of metal tools, so-called preliminary restoration and pre-moisten the concrete with water. 7. Take measures to salt the stone with cellulose compresses and distilled water. 8. To perform structural strengthening of the stone with silicon-organic elements. 9. Glue the head and part of Christ with epoxy-based material from TENOX. 10. To supplement the lost items of clothing with mineral restoration solution. 11. To make several elements, such as hands, lost parts of the figure of Christ from plasticine. To make a plaster mould and reconstruct them from artificial stone. 12. To strengthen the structure of the stone with silicon-organic substance. 13. To cover the work with a biocidal solution of long-lasting action. 14. To perform sculpting of wood. 15. To conduct hydrophobization of the work. 16. To develop recommendations to organize the exhibition of works, providing optimal storage conditions. The white stone sculpture of Jan Nepomuk from the village of Velyka Vyshenka is an invaluable example of the late Baroque masters of the Lviv School of Sculpture, created by Ivan Poleiowski. However, today it is impossible to chronicle this. In the process of restoration of the Jan Nepomuk Sculpture, we used established and original restoration technologies and methods. It may allow displaying this sacred work as an object for prayer and worship. We would recommend exhibiting it under the cover to protect from the aggressive impact of precipitation.

A fracture mechanics approach to hydrogen assisted microdamage and failure analysis of high-strength pearlitic steel wires: Resembling Michelangelo Stone Sculpture Texture

A fracture mechanics approach to hydrogen-assisted microdamage and failure analysis of high-strength pearlitic steel wires is presented. Fractographic analysis revealed micromechanical effects of hydrogen in the form of tearing topography surface(TTS). The progress of this microdamage is modelled as a macroscopic crack that extends the original fatigue precrack and involves linear elastic fracture mechanics (LEFM) principles. In this case, the change from hydrogen-assisted microdamage (HAMD) in the form of TTS (subcritical mode) to cleavage-like topography (critical regime associated with failure) takes place when a critical stress intensity factor (KH) is reached, and this value depends on the amount of hydrogen which penetrated the vicinity of the actual crack tip (the fatigue precrack plus the TTS extension). It is seen that the crack growth by TTS corresponds to the horizontal part (plateau) in the crack growth kinetics (CGK) curve da/dt-K until reaching the critical level KH.

Lesley S. Pullen, Patterned Splendour: Textiles Presented on Javanese Metal and Stone Sculptures Eighth to the Fifteenth Century. Singapore: ISEAS–Yusof Ishak Institute, 2021, xx + 308 pp., ISBN: 9789814881845 (paperback); 9789814881852 (pdf)

Lesley S. Pullen, Patterned Splendour: Textiles Presented on Javanese Metal and Stone Sculptures Eighth to the Fifteenth Century. Singapore: ISEAS–Yusof Ishak Institute, 2021, xx + 308 pp., ISBN: 9789814881845 (paperback); 9789814881852 (pdf)

중국 산동성에 남은 신라 사신의 흔적 -제남시 장천구 효당산석사의 새김글-

Xiaotangshan Shrine(孝堂山石祠) is located in Xiaolipu village(孝里鋪村), Changqing district(長淸區), Jinan city(濟南市), Shandong province(山東省), China. It is on the side of the way from Shandong to Chang’an(長安) and Luoyang(洛陽), which were the capitals of several dinasties of China, such as North Wei(北魏) and Tang(唐). People from Silla(新羅), after getting off ships in Mizhou(密州) or Dengzhou(登州) harbor, used to take this route to visit them. It is estimated that the shrine was built in the latter half of the 1st century.<BR> Inside the shrine, not only on the east, west, and north inner walls, but also on the surface of pillars are relief stone sculptures(畫像石), and some inscriptions have been found among them, including visitors’ names, date, or purpose of visit, etc. Among about 140 inscriptions, eight were identified to be engraved by people from Silla, one is associated with Baekje(百濟). <BR> An inscription was engraved by members of the Song(宋) delegation in 1083, when they were ready for dispatch to Goryeo(高麗). Articles about Yang Jinglüe(楊景略), the top Song delegate, are found in many Chinese literatures, while any clues to identify Silla people’s names found on the walls, are not found in Korean literatures for now. Articles in remaning literatures are just indicating the very parts of such prominent figures as many people could keep their names in mind for generations. These inscriptions tell researchers on ancient history to be humble.

Magical Aspects in Chandra Shyam Dangol's Stone Sculptures

Chandra Shyam Dangol's stone sculptures are magical and mystical suggesting supernatural and spiritual aspects related to wisdom and enlightenment. Unusual images and symbols have been put together. On the surface level, the combination appears strange and contrary but as we go through the myths related to the artworks, we find the underlined logic and coherent composition. The recurrent icons, images and symbols are the figures of deities, lotus, mudras (gestures) and asanas (postures) of meditating characters that are combined in an unusual manner. They provide a sense of miraculous and thrilling spiritual experience. Breaking the monotony of mundane material existence, the works renew our perception. The aesthetic experience leads toward the awareness of the self and the universe and inspires for the harmonious existence of the individual in the world. Because of the mythical and spiritual contents, the sculptures appear to be mystical. The research area covers the stone sculptures of Chandra Shyam Dangol. About a dozen sculptures have been observed for the research but only four works have been interpreted in this paper. The paper attempts to trace the magical elements in his compositions and throw light on their significance. The study follows the qualitative research method to support the thesis statement since the interpretation of artworks may be multiple depending on viewers, time and place.

A corpus of early medieval stone sculptures (fifth–tenth centuries) in Northern Gaul

Les pièces sculptées du haut Moyen Âge du nord de la Gaule ne bénéficient pas encore d’un réel corpus. Les informations à leur propos sont souvent éparses et lacunaires. Leur contexte de découverte correspond généralement à des remplois, posant des problèmes de datation et de détermination de fonction, vu leur état fragmentaire. Il s’agit ici d’une mise à jour augmentée d’un premier inventaire publié en 2019, qui reprend actuellement 223 éléments dont, outre le lieu de découverte, la fonction supposée et les décors sont décrits sommairement. Cet état de la question permet de tirer de premières hypothèses sur leur nature, leurs usages et leurs motifs principaux ainsi que sur leur localisation dans l’aire géographique concernée. Le recensement et l’étude restent à continuer.

THE CARISBROOKE HAND: ANGLO-SAXON SCULPTURE AND THE HAND OF GOD?

This paper discusses the significance of a fragment of stone sculpture built into the north wall of the churchyard at Carisbrooke, Isle of Wight. The sculpture depicts an open right hand that is larger than life-sized and is probably of late Anglo-Saxon date. The size and character of the sculpture favours a manus dei (hand of God), forming the upper element of a large rood assemblage. The authors consider allied sculpture in which such a hand appears on Anglo-Saxon grave markers and in similar low relief depictions where Christ is figured on the Cross. At Carisbrooke, this architectural sculpture would have formed a significant feature of an Anglo-Saxon minster church that was rebuilt in the early Norman period. The siting of this building and the extent of its parochia is briefly considered. Supplementary material reviews the probable significance of the sculptural use of Quarr stone at Carisbrooke and elsewhere.

On the Buddhist Statues Excavated from Hoeamsa-ji in Yangju

Hoeamsa Temple in Yangju province was one of the most important Buddhist temples in the early days of the Joseon dynasty from the late Koryo, which was the place dwelled by Jigong(指空), Naong(懶翁), and Muhak(無學). Even in the early Joseon Dynasty, Hoeamsa Temple served as a royal temple. Yi Saek witnessed the seven Buddha statues of 15-chuck in height and the Bodhisattva Avalokiteshvara image of 10-chuck in Hoeamsa and recorded the marvelous features of the temple in his book, Sujo-gi. However, none of these statues remain in modern days, and only fragments of the small stone Buddha statues and other Buddhist deity sculptures have been excavated at Hoeamsa-ji Temple site. It is difficult to ascertain the substance of the Buddhist sculptures of Hoeamsa temple with only a few fragments of small stone statues. From the historical records and the analysis of styles in those fragments, compared with other sculptures in the early Joseon dynasty, we can assume that Prince Hyoryeong supported these stone Buddha images. Since the large Buddha statues that Yi mentioned above were already enshrined in the main building of Hoeamsa Temple, Prince Hyoryeong would have been focused on the construction of stupas or making tiles for the renovation of shrines for the Buddha except for the large Buddha statue. Instead, he would have sponsored the artisans to sculpt small stone Buddhas and bring them to buildings or shrines other than Bokwangjeon, the main hall.&lt;br/&gt;Previous research estimated that the materials for those small stone Buddha images were either tuff or sandstone. There are several differences in rock quality, stone particles, color, and homogeneity compared to actual rocks. Unlike the general stone Buddha statues in Korea using granite, the Buddha statues excavated from the Hoeamsa Temple are bright yellowish-white. And the rocks are so fine in quality to make the particles indistinguishable. When we see those pieces of Buddha statues in bare eyes, it looks like kaolin stone. It is necessary to analyze the materials of these stone sculptures and confirm the rock composition or materials through more precise scientific verification. Despite the prestige of the Hoeamsa Temple in the period, the absence of a large Buddha statue is unfortunate. Even if Hoeamsa Temple served as a royal temple, jaboksa, in the early Joseon Dynasty, the hostility of the Confucian scholars was enormous. The absence of the Buddha statues and the thorough destruction of the buildings in Hoeamsa proves that Joseon finally became a Confucian country.

Technical Study of the Paint Layers from Buddhist Sculptures Unearthed from the Longxing Temple Site in Qingzhou, China

In 1996, more than four hundred Buddhist statues were excavated from the Hoard of Longxing Temple site in Qingzhou, Shandong Province, China. They are of great significance in the study of Buddhism history during the Northern and Southern Dynasties of China, and have attracted widespread attention since they were unearthed. In this paper, the paint layers from 14 of the Buddhist statues unearthed from the Longxing Temple site were analyzed using portable 3D microscopy, Raman spectroscopy and X-ray fluorescence spectroscopy was used to determine the materials used in their production. Several microscopic samples were analyzed in the laboratory using scanning electron microscopy/energy dispersive spectrometer, X-ray diffraction and micro-Raman spectroscopy. The combined results from the field and laboratory analyses materials used in painting layers of these statues were identified, and the technique for the production of the sculptures was studied. After the stone sculpture of Buddha was finished, a priming layer of lead white was applied over the stone body as a ground, over which pigments were applied. These include mineral pigments (cinnabar, malachite, lapis lazuli and cerussite), Chinese ink (carbon black) and gold leaf. Cinnabar was used for the outer garments, the halos and ornaments of Buddha and Bodhisattva statues; malachite, was found primarily on the Monk’s clothing; the blue pigment, lapis lazuli, was mainly used for the Buddha’s bun, halo and outer garment edges; carbon black ink was employed for drafting and sketching clothing and decorative patterns.

Insular Iconographies: Essays in Honour of Jane Hawkes, ed. Meg Boulton and Michael D.J. Bintley

This collection of twelve essays, edited by Meg Boulton and Michael D.J. Bintley, is a well-deserved tribute to Professor Jane Hawkes of the University of York. Hawkes has been a leading voice in the study of ‘Golden Age’ Anglo-Saxon stone sculpture for the last three decades, both in terms of exegetical iconographical analysis, and in terms of nurturing new scholars. Several of the contributions in the present volume are by Hawkes’s former students. While the main focus of the volume is appropriately art historical and iconographical, a wide range of other subjects and approaches is also covered, including Old English poetry (Michael Bintley), the production techniques of glass bead manufacture (Mags Mannion) and funerary archaeology (Thomas Pickles). The volume spans the Middle Ages, although there is a concentration on the eighth and ninth centuries. Four chapters treat single stone monuments, and one looks at a discrete sculptural corpus, from the...

Multi-Technique Characterization of Pictorial Organic Binders on XV Century Polychrome Sculptures by Combining Micro- and Non-Invasive Sampling Approaches

A stony sculptural composition of the Nativity Scene is preserved in Altamura’s Cathedral (Apulia, Italy). This commonly called Apulian “presepe”, attributed to an unknown stonemason, is composed of polychrome carbonate white stone sculptures. While earlier stratigraphic tests have unveiled a complex superimposition of painting layers—meaning that several editions of the sculptures succeeded from the 16th to 20th century—a chemical investigation intended to identify the organic binding media used in painting layers was undertaken. Drawing on current literature, two strategies were exploited: a non-invasive in situ digestion analysis and an approach based on micro-removal of painting film followed by the Bligh and Dyer extraction protocol. Both peptide and lipid mixtures were analyzed by matrix-assisted laser desorption/ionization-mass spectrometry (MALDI-MS) and reversed-phase liquid chromatography coupled to mass spectrometry by electrospray ionization (RPLC-ESI-MS). Attenuated total reflectance Fourier-transform infrared spectroscopy (ATR-FTIR) examinations were also performed on micro-samples of painting films before lipids and proteins extraction. While human keratins were found to be common contaminants of the artwork’s surfaces, traces of animal collagen, siccative oils, and egg white proteins were evidenced in different sampling zones of the sculptures, thus suggesting the use of non-homogeneous painting techniques in the colored layers.

Hidden Health Hazards: Toxins in Museum Collections

BACKGROUND AND AIM: Museum collections frequently contain hidden hazards that put staff at risk. The application of chemical pesticides, including arsenic and mercury, on collection objects began in the eighteenth century as a preventive measure to protect against insects, rodents, and mold. In addition to these poisons, some collection objects are made of materials inherently hazardous to human health including silica dust, lead paint, and infectious agents. It is important to ensure all museum staff who come into direct contact with collection objects are aware of exposure risks and know how to identify and protect themselves from these often-invisible hazards. METHODS: Through a literature review including research from the Canadian Conservation Institute, Cambridge University Press, and PubMed, we have identified five hazardous materials that pose a threat to museum workers. We have highlighted policies and practices staff can use to protect themselves from these hazards. RESULTS:Silica dust, lead paint, arsenic, mercury, and infectious agents are five common hazards found within museum collections. Archeological artifacts and stone sculptures can be sources of silica dust. When handling or cleaning these materials, personal protective equipment should be worn, and the area must be well-ventilated. Many historic homes contain lead paint and wallpaper that has been treated with arsenic. Lead paint should be closely monitored for flaking and peeling. Many textiles, papers, and ethnographic collections have been treated with arsenic and mercury. Some of these collections contain infectious agents as well. It is important to isolate objects treated with these toxins in polypropylene bags and create a label warning of their contamination. CONCLUSIONS:Many hidden hazards exist within museum collections. It is important for all museum staff to be aware of possible exposure risks. Museums must also ensure they have policies and practices in place to safely handle hazardous materials and to mitigate staff and visitor exposures. KEYWORDS: Occupational exposures, Policy and practices, Risk assessment

Effects of Climate Change on the Future of Heritage Buildings: Case Study and Applied Methodology

Heritage buildings and the precious artworks contained therein, represent inestimable cultural and artistic evidence from the past that must be properly preserved for future generations. In the last decades, climate change has gained relevance and is becoming crucial to assess the building performance under such effect to provide timely mitigation actions to preserve our cultural heritage. In this regard, this paper outlines a method that combines different experimental activities and tools to forecast possible future risks due to climate change for the conservation of the artworks and provide its application in a relevant case study in Italy, the Duomo di Milano. In detail, the suggested method consists of the monitoring of the building indoor climate to validate a simulation model, defining possible future scenarios based on the Intergovernmental Panel on Climate Change (IPCC) projections, and evaluation of the future conservation risks of the main artworks. The results of the analysis carried out, show that for some artworks (e.g., stone sculptures, some organic materials, etc.), the conservation conditions will not worsen compared to the current situation, while for others (e.g., paintings, wooden objects, etc.) the risk of deterioration is expected to increase substantially. This study helps to understand how the future climate can affect the indoor environment of a huge masonry building and allow to plan targeted mitigation strategies aimed to reduce the future risks.

The Sacred Asian Gate Tradition in Europe (Symbolic Crossings from the Mundane to the Sacred)

The Sacred Asian Gate Tradition in Europe (Symbolic Crossings from the Mundane to the Sacred)

All the Fate Starts from the Inside of Heart: Da Fo Wan, Bao Ding Shan, the Ideological Theme of Cliff Stone Sculpture

All the Fate Starts from the Inside of Heart: Da Fo Wan, Bao Ding Shan, the Ideological Theme of Cliff Stone Sculpture

Cultural Background of Carved Stone Sculpture of Ancient Chinese Mausoleums

The article explores the ideas, characteristic for religious mindset and philosophy of Confucianism (儒 家思想), about spiritual immortality, filial piety and ethics, which have been firmly established in funerary culture. Harmonic balance of Confucianism, Daoism (道教) and Buddhism brought forth the ideology and concept of immortal soul, according to which the soul does not die after person’s death, and the tomb is its dwelling place. Thus, the construction of tombs gained great significance. The author analyzes Confucian idea of ‘filial piety’, which, merging with ritual funeral concept, developed into a concept of ‘meticulous following of funerary rituals, mourning of parents and worship of ancestors’ (慎终 追远), where the main emphasis is on the organization of parents’ funeral, devotion to ancestors and diligent care of their remains. Furthermore, as Ancient China was an agricultural society which was deliberately devoted to earth, it was believed that the earth is crucial for survival, and one can only rest after death if one’s body is committed to earth. So, to show filial affection, properly make sacrifices, pray for protection, protect the remains and ensure eternal peaceful rest, the internment in the ground became an obligatory condition. And various funeral arrangements, such as marking the grave, its decoration, etc., gradually transformed into funerary plastic art. Consequently, burial in the ground allowed for the possibility and resources to form the funerary plastic art. Ceremonial ideas presented by Mencius (孟子) have become firmly established in the concept of funeral. In a feudal society, for the convenience of government and maintaining the stability of society, etiquette, contributing to the systematization of the hierarchical order of all strata of society, as well as extreme admiration for the imperial power, became a powerful ideological weapon of the rulers. In this ideology, sculptures in the tombs of the supreme rulers – emperors and wangs – are not only guards protecting from evil, but to a greater extent they are also a symbol of imperial power. Therefore, the themes, the number and the size of the sculptures in the tombs of the emperors and wangs were of the highest importance. There is also a strict hierarchical order in the sculptures in front of the tombs of government officials of various levels. Thus, etiquette established standards and order in burial plastic art.

ANCIENT STONE SCULPTURES OF SARYARKA (history of the study)

The work was prepared within the framework of the grant of the Ministry of Science and education of the Republic of Kazakhstan AP08957321 "Мedieval statuesque monuments of Saryarka Abstract The article deals with the history of ancient stone sculptures of Central Kazakhstan. The works of A. H. Margulan devoted to the ancient monumental monuments of Saryarka were also analyzed. In the work of A. H. Margulan, a large number of materials on menhirs and zoomorphic steles of "koytas"are analyzed. Thus, we identified and analyzed the ancient stone sculptures of Saryarka. As a result, to date, the ranks of the ancient monuments of Saryarka have been replenished with field work under the leadership of Zh. Kurmankulov and A. Z. Beisenov. The tradition of stone sculpture on the territory of Central Kazakhstan is represented by monuments of different chronological groups: menhirs and zoomorphic steles of the Late Bronze Age studied to varying degrees. The analysis of the state of knowledge both at the field and theoretical levels shows that the monuments of the Late Bronze Age are the least studied. Meanwhile, the number of them has now significantly decreased in comparison with the one recorded in the works of A. H. Margulan. The authors of the article, analyzing the works of the above authors, reveal the problems of modern and prospective study of menhirs and zoomorphic sculptures of Saryarka.

Generation and Interpretation of Sculptural Ideas in Large Scale Stone Sculptures Placed in Outdoor Public Spaces: An Analysis of the Stone Sculptures of Gerald Motondi Oroo.

This paper presupposes that there is no artwork, in this case, large-scale outdoor sculptural work, that is undertaken without a defined ‘intent’; the extent and description of which depends on the individual artist and the visual impact of the work. In examining artwork, such intent is often relegated to the sidelines and yet it should constitute the first line of information as to why the work was created in the first place and can form a good basis for the eventual interrogation and interpretation of the work itself by the audience. This paper seeks to delve into the intent of the artist in order to determine the genesis of his motivation and the source of his inspiration and subsequently, also to determine the extent to which the work itself is effective in propagating this intent. Although there is a reference to the expression and expressiveness of artwork as an avenue of understanding how artwork is generally viewed and visually examined, the core purpose of the study gravitates around the intent of this particular artist, his motivation and inspiration. However, in this regard, questions still abound on whether the artist’s individual intent is ‘all encompassing’ or whether there are, indeed, other factors that spur multiple interpretations from the audience that point to new meanings and, therefore, make the work more interactive and engaging. The work featured in this paper makes these arguments even more significant because firstly, they are executed by the same individual and secondly, the pieces were conceived and executed on-site in different countries raising the prospect of intense contextual and cultural implications. The intriguing question that lingers is whether the artist’s personal creative intent is relevant or he is entangled by communal thematic expectations to which he must conform since the work is in the people’s space. This immediately raises questions about the role of ‘outsider’ artist in some instances, in the generation of subject matter and the role of outdoor sculpture placed in public spaces which are expected, in essence, to be in contextual resonance with the local community. The sculptures are large stone sculptures placed in outdoor spaces and done in various media such as marble, granite and soapstone. The work is located in different sites in various countries.

К вопросу о культурном наследии тюрков в Монголии и его защите

Introduction. Central Asia is a cradle of nomads. Since the territory of Mongolia hosts numerous monuments of nomads of all times, most researchers unanimously noted that Mongolia could be viewed as a hotbed of nomads. Goals. This study focuses on the preservation of historical monuments dated to the Turkic period. Results. These monuments include those of written cultures, burials, stone sculptures, and mounds. These historical monuments are under distinctive protection of the Government of Mongolia and UNESCO. In recent years, the Government of the Republic of Turkey shows significant interest too. The current economic situation in Mongolia makes it necessary to pay special attention to historical monuments: the mining industry is developing strongly, and this may negatively result in disappearance of some such monuments. This study addresses the issues of improving results of projects and programs dealing with the preservation of monuments of the Turkic period.