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Journal articles on the topic 'Reliefs (sculptures)'
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1
Xiao, Wei. "The Technique of Creating Buddhist Polychrome Sculpture." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 2019): 55–74. http://dx.doi.org/10.36340/2071-6818-2019-15-3-55-74.
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This work focuses on the origin, development, evolution of the Chinese art of polychrome sculpture, as well as philosophical ideas, national specificities, cultural content, a religious concept, artistic specificity and aesthetic ideas manifested in this context. The study provides a picture of how the cultural specificities of China are expressed in art and how spirituality is reflected in works of art. An objective description and complete historical research of the mentioned historical sites increase the available information on them and are meant to strengthen measures intended for their protection. The first comprehensive and detailed analysis of the technology for creating Chinese traditional Buddhist polychrome sculpture is presented in the article.The subject-matter of the artworks, the characteristics of the material used to create them, and the sculpting methods are fully analyzed through the method of a thorough study of the current state of the preserved polychrome sculpture in the Shuanglin Monastery. Two thousand and fifty-four statues of polychrome sculpture, the main of which are Buddha (佛祖), Bodhisattva (菩萨), Heavenly Kings (天王) and Arhat (罗汉) are preserved in the monastery. They are divided into two large groups: circular form sculptures and bas-reliefs. Clay, wood, water, straw, and mineral pigments are the main materials used for the creation of Buddhist polychrome sculptures. Modeling and polychrome painting are two main technologies in the process of making sculptures. Modeling consisted of creating a frame, applying coarse clay and sculpting a large-scale figure, applying medium density clay, applying thin layers of clay and creating details, whitening, bas-relief painting with the chalk-glue mixture, gilding, painting, etc. From the point of view of form, the ancient Chinese Buddhist polychrome sculpture as a work of religious art had to correspond to Buddhist canons. Before starting the process of creating a statue, a craftsman had to make a sketch. During modeling, an artist was guided by the secrets of the craft passed down orally from a teacher to his student and summarized as a technical guide by his predecessors. Statue of Skanda. Dynasty Min. Shuanglin Buddhist polychrome sculpture as a form of fine art with an elaborated form and rich spiritual content perfectly combines technology and artistry.
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MAKSYMIUK, Katarzyna. "Datacja reliefów Szapura I. Zarys problematyki." Historia i Świat 1 (September 9, 2012): 13–43. http://dx.doi.org/10.34739/his.2012.01.01.
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It is assumed that eight Sasanid reliefs were carved during the reign of Shapur I in 242 – 272. There is no doubt that seven of them: NRb I, NRb IV, NRm VI, VŠ I, VŠ II, VŠ III as well as that one from Rag-i Bibi depict the ruler. Identifi cation of the king in relief from Darabgerd is subject of further disputes. What enforces dating reliefs at Naqsh-i Rajab to 242 – 244 is lack of portrayals of enemies defeated by Shapur. Starting point for more precise dating of socalled triumph reliefs is identifi cation of persons appearing in them. There is no doubt about the relief at Naqsh-i Rustam. On the basis of ŠKZ text one ought to assume that it shows Philip the Arab and Valerian thus it should be dated to 260 – 272. The problem is over dating of reliefs at Bishapur. Damages of VŠ I relief allow only identifi cation of Philip the Arab and Gordian III that is why dating can be precised to solely 244-272. Lively discussion elicit another two reliefs of Shapur I at Bishapur . One of the most interesting hypotheses seems to be thesis advanced by B. Overlaet that Uranius Antoninus is the fi gure standing next to the king. Recognision of black stone of Emesa in VŠ III relief maintains the thesis. As far as stone identifi cation seems to be sure one should deliberate if Shapur I would place in the relief a person recognized by him as not equal to himself. It is unlikely from propaganda viewpoint. In that case we can refer to the king relation to Septimius Odenathus with whom he even did not start dialog. If we interpret the arrangement of relief we have to point that its composition refers to sculptures from Apadana in Persepolis. In the context of military activities and devastations of Syria by Persian forces one should not be astonished at symbolic representation of bringing gifts Syrians. For late dating of triumph reliefs indicates their asymmetrical composition which is untypical in case of Persian sculptures. One should recognize that they could be carved by Roman craftmen deported by Shapur I during wars with western neighbour. Anyway it does not help in more precise dating because fi rst deportation took place already in 253. Taking Valerian as prisoner seems to be the most important success of Shapur I. The emperor undoubtly was residing at Bishapur so in a natural way he was put in both VŠ II and VŠ III reliefs what allows their dating to 260-272. The above mentioned speculations do not make easier dating of the most controversial relief from Darabgerd what will be undoubtly subject of future disputes.
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Weilandt, Gerhard, Stefan Breitling, and Anna Nöbauer. "Liturgischer Alltag auf einer Großbaustelle des 13. Jahrhunderts: Zur Funktion einiger Konsolen in den Seitenschiffen des Bamberger Domes." Zeitschrift für Kunstgeschichte 84, no. 2 (June 1, 2021): 181–200. http://dx.doi.org/10.1515/zkg-2021-2002.
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Abstract This article, which is the result of a cooperation between building archaeologists and a historian of art and liturgy, sheds light on the original function of the stone consoles in the eastern aisles of Bamberg Cathedral, on which the most famous medieval sculptures now stand, including the Bamberg Rider. They date from the time of the building phase shortly after 1201–1202, when the western part of the Ottonian predecessor building was still in use, while in the east the new choir was under construction. A wall separated the two parts, in which openings were inserted. The consoles did not originally serve as sculpture bases, but as supports for weather protection for processions, as a partition wall in front of the fragile choir screen reliefs, and as a platform for ongoing work in the zones above. Only later were the consoles adopted for sculptures and provided with decorative painting, remnants of which are still preserved today.
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Farooq, Sadia, and Mohammad Arif Kamal. "IMPACT OF SCULPTURES IN LANDSCAPE DESIGN: CASE OF GREATER IQBAL PARK, LAHORE." Architecture and Engineering 6, no. 4 (December 24, 2021): 14–23. http://dx.doi.org/10.23968/2500-0055-2021-6-4-14-23.
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Introduction: A landscaped area is always appealing when designed according to a certain theme and purpose, as is the case with the sculptures in the Greater Iqbal Park. Purpose of the study: We aimed to analyze the influence of ornamental sculptures on people visiting the Greater Iqbal Park situated in Lahore, Pakistan. The objective was to evaluate the importance of the sculptures’ presence in the park, to review the visitors’ opinions on the subject, and to analyze how the sculptures blend in with other elements of the park. Methods: An important aspect of the study is the combination of data collected through observations, pictures, and questionnaires. Results and discussion: 65% of visitors to the park are satisfied with the sculptures’ placement and the lighting around them. The sculptures depicting a bent tree, birds, musical instruments, and a peacock are aesthetically pleasing and alluring for the visitors. The reliefs reference art from the Mughal era, and the material is durable, tough, and weather-resistant. Conclusions: The visitors like to have sculptures in the park, which increases the park’s appeal, especially for children, who can learn visual lessons about shapes and history. The study will help designers with creating variety and inspiring interest through sculptures, especially those related to historical events and complementing their surroundings.
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Bilyk, Nadiia, and Alina Uhryn. "PRESERVATION OF JOHN GEORGЕ PINZEL’S CREATIVE HERITAGE IN THE MUSEUMS OF TERNOPIL." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 163–69. http://dx.doi.org/10.25128/2411-3271.19.2.22.
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In the 60-80’s of the XX century by the aid of the search work of art expert V. Svientsitska, B. Voznytskyi, V. Stetsko the art works of John George Pinzel were saved (? –1761). Thus, the sculptures and carved icons of the talented artist appeared in the museum collections of Galicia. Today, part of the creative heritage is stored in the holdings of two museums in Ternopil: Ternopil Regional Museum of Local Lore (TRMLL) and Ternopil Regional Museum of Art (TRMA). Only since the proclamation of Ukraine’s independence J. G. Pinzel’s heritage has become an object of study. We thank the director of the Lviv Art Gallery B. Voznytskyi for returning the name of the sculptor and his creative achievements to the field of interest of Ukrainian scientists. Afterwards, the figure of I. G. Pinzel became central in the writings of the Ternopil researcher V. Stetsko. Topicality of the article is conditioned by the need of studying the state of conservation of the creative heritage of J. G. Pinzel in the museums of Ternopil. The purpose of the article is to carry out a comprehensive analysis of the sculptor’s works in the collections of TRMLL and TRAM, to highlight cultural projects on the representation of the artist’s work with the assistance of museums. Today, six sculptures and three reliefs created by J. G. Pinzel in the 18th century for Buchach churches are stored in the museums of Ternopil. The first works of the artist came to the collection of TRMLL in 1978. In 1993, four works by J. G. Pinzel (sculptures: Saint Vincent a Paulo and Saint Francis Borgia; bas-reliefs: Miracle of Saint Nicholas and Beheading of John the Baptist were exhibited in TRMLL in the section “Culture of the Region of the end of the XVII – first half of the XIX century”. In January 2012, the exhibition opened to mark the 250th anniversary of the sculptor’s death. The project curator V. Stetsko represented 300 exhibits. Six sculptures and two bas-reliefs of the artist were exhibited in a separate hall. For the first time, four allegorical figures have been demonstrated: Allegory of Faith, Wisdom, Courage and Allegory of St. Tobias. In 2014, all the artist’s works were placed in a separate “John George Pinzel Hall”, decorated in Baroque style. Significant contribution to the preservation and promotion of the creative work of J. G. Pinzel belonged to Vira Stetsko (1956–2016), art expert, local historian, scientific associate of TRMLL. Her work “Pinzel and Ternopil Region” (2007) was published in Ternopil. V. Stetsko hypothesized, that J. G. Pinzel carved his portrait on the sculpture “Allegory of Courage”. TRMA plays a significant role in preserving J. G. Pinzel’s creative heritage. Today the collection of the institution contains only one work of the sculptor – the bas-relief “Road to Emmaus”. The masterpiece is presented in the hall of “Art of Ukraine” in the section of sacred art of Galicia. The TRMA exposition previously stored Deacon Doors from the Protection of the Blessed Virgin Mary Church Town of Buchach. The reliefs were known as Guardian Angel and Annunciation. Thereafter, at the request of the residents of Buchach, the directorate of the art museum was forced to transfer the monument of sacred art to the church. The creative heritage of J. G. Pinzel, stored in the collections of museums of Ternopil, is of particular relevance, since the artist’s achievements represent a close connection of Western Ukrainian lands with European culture. The masterpieces of the sculptor from the Ternopil museums were selected for the exhibition of works by J. G. Pinzel in The Louvre in 2012. Today, every visitor of Ternopil museums can learn about the genius of the sculptor J. G. Pinzel, who was able to combine artistic traditions of the Baroque style with the canon of local professional carving in his own works.
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Zsófia, Vargyas. "Alaricustól Szent Henrik császárig. Giovanni Bonazza és műhelye szétszóródott domborműsorozata Jankovich Miklós gyűjteményéből." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 109–22. http://dx.doi.org/10.1556/080.2020.00007.
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The Sculpture Collection in the Museum of Fine Arts, Budapest has been enriched in recent years with twenty-one marble portrait reliefs carved by Giovanni Bonazza (1654–1736) and his workshop. Fifteen reliefs were transferred within the institution and six were purchased from a private collection, but the identical creator and size, the uniform plaster framing and the themes of seventeen pieces – portraits of Italian rulers in the period of great migrations and the early Middle Ages – made it perfectly clear that they are pieces of a relief series scattered at an unknown date. The four “character heads” without caption, which deviate in theme from the series, are typical items of Venetian baroque sculpture.The search for the provenance of the reliefs led the author to the collector and art patron Miklós Jankovich (1773–1846), who possessed sixty-two marble reliefs (or sixty-four in later sources) which represented – to quote the collection inventories ‘Hunnish, Goth, Longobard kings and their successors who reigned in Italy after the Roman emperors’ from Alaric to emperor Saint Henry. Jankovich probably bought the series from the heirs of István Marczibányi after his death in 1810. In 1836 it passed into the National Museum as part of the first Jankovich collection. The inventorying of the paintings and sculptures in the Jankovich collection was interrupted by the great flood of Pest in spring 1838, and that must be the cause why the relief series was not included in the stock of the museum and its provenance got gradually forgotten. In 1924 the reliefs kept in the repository of the Collection of Antiquities as “insignificant items for the museum” not belonging to its collecting profile began to be sorted out. Thirty items were auctioned off in the Ernst Museum, twenty pieces were exchanged with László Mautner, an antiquities dealer in Budapest for an array of archaeological and historical objects. In the National Museum eleven portraits of kings and four character heads remained, delivered as “remnant” of the Historical Collection to the Museum of Fine Arts in 1943, from where they were transferred to the Hungarian National Gallery in 1957. The relief series from Giovanni Bonazza’s workshop once in the Jankovich collection must have been the only complete series of kings (though only known from second-hand information) which was carved after the book of engravings by the historian Emanuele Tesauro of Turin, Del regno d’Italia sotto I barbari, published in Turin in 1664. Its dispersion is an irretrievable loss.
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Zsófia, Vargyas. "Alaricustól Szent Henrik császárig. Giovanni Bonazza és műhelye szétszóródott domborműsorozata Jankovich Miklós gyűjteményéből." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 109–22. http://dx.doi.org/10.1556/080.2020.00007.
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The Sculpture Collection in the Museum of Fine Arts, Budapest has been enriched in recent years with twenty-one marble portrait reliefs carved by Giovanni Bonazza (1654–1736) and his workshop. Fifteen reliefs were transferred within the institution and six were purchased from a private collection, but the identical creator and size, the uniform plaster framing and the themes of seventeen pieces – portraits of Italian rulers in the period of great migrations and the early Middle Ages – made it perfectly clear that they are pieces of a relief series scattered at an unknown date. The four “character heads” without caption, which deviate in theme from the series, are typical items of Venetian baroque sculpture.The search for the provenance of the reliefs led the author to the collector and art patron Miklós Jankovich (1773–1846), who possessed sixty-two marble reliefs (or sixty-four in later sources) which represented – to quote the collection inventories ‘Hunnish, Goth, Longobard kings and their successors who reigned in Italy after the Roman emperors’ from Alaric to emperor Saint Henry. Jankovich probably bought the series from the heirs of István Marczibányi after his death in 1810. In 1836 it passed into the National Museum as part of the first Jankovich collection. The inventorying of the paintings and sculptures in the Jankovich collection was interrupted by the great flood of Pest in spring 1838, and that must be the cause why the relief series was not included in the stock of the museum and its provenance got gradually forgotten. In 1924 the reliefs kept in the repository of the Collection of Antiquities as “insignificant items for the museum” not belonging to its collecting profile began to be sorted out. Thirty items were auctioned off in the Ernst Museum, twenty pieces were exchanged with László Mautner, an antiquities dealer in Budapest for an array of archaeological and historical objects. In the National Museum eleven portraits of kings and four character heads remained, delivered as “remnant” of the Historical Collection to the Museum of Fine Arts in 1943, from where they were transferred to the Hungarian National Gallery in 1957. The relief series from Giovanni Bonazza’s workshop once in the Jankovich collection must have been the only complete series of kings (though only known from second-hand information) which was carved after the book of engravings by the historian Emanuele Tesauro of Turin, Del regno d’Italia sotto I barbari, published in Turin in 1664. Its dispersion is an irretrievable loss.
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Biegon, Glenn. "Stereoscopic Synergy: Twin-Relief Sculpture and Painting." Leonardo 38, no. 2 (April 2005): 93–100. http://dx.doi.org/10.1162/0024094053722354.
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Two accelerated-relief sculp-tures depicting the same scene from slightly different viewpoints can serve as sculpted stereo-scopic half-images—or “twin-reliefs.” Unlike traditional relief sculpture, which compresses sculptural space, twin-reliefs expand it, creating lifelike illusionistic depths. Viewed binocularly in a large Wheat-stone stereoscope, the twin-relief's virtual world appears colorful, atmospheric and life-size— even infinitely deep. Furthermore, unlike flat-picture stereoscopy, which allows just one undistorted, perspectively robust view, twin-reliefs provide infinitely many such views because, being sculptural, they “adapt” to the observer's movement. Twin-reliefs syner-gistically combine essential physical attributes previously separated between the domains of painting, sculpture and traditional flat-picture stereoscopy.
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Kowal, Katarzyna. "The Borobudur temple: the Buddhist architecture in Indonesia." Budownictwo i Architektura 18, no. 2 (November 18, 2019): 005–19. http://dx.doi.org/10.35784/bud-arch.550.
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The article presents the current state of knowledge about the Borobudur temple, a valuable representative of Buddhist architecture, located in Java, Indonesia. The author presents the genesis of the temple, the facts concerning its rediscovery after centuries of oblivion, and Buddhist cosmology embodied in the form of a three-dimensional mandala on which the architectural form of Borobudur is based. The author studies Buddhist symbolism of the architectural form, reliefs and sculptures created on the basis of regional patterns and local Javanese culture of everyday life. This temple is one of the most perfect examples of translation of Buddhist cosmology and symbolism into an architectural form. At the same time, it constitutes an intercultural and timeless masterpiece of architecture and sculpture which requires particular protection, also due to the influence it exerts on the life of local Buddhist religious minorities.
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Gul, Subhani. "NOTE ON SOME A BUDDHIST NARRATIVE RELIEFS FROM AMLUK-DARA STUPA, SWAT." Pakistan Journal of Social Research 04, no. 04 (December 31, 2022): 884–90. http://dx.doi.org/10.52567/pjsr.v4i04.899.
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The general theme behind the Gandhara art was the iconography of Budhha i.e. Buddhha life stories, previous life stories, miracles etc. There is some variation in depiction of sculptures sometime due to sectarian and regional variation. The present study is therefore focused on some Buddhist narrative reliefs from Amluk-dara stupa wherein the unique narrative scenes are depicted. Keywords: Gandhara, Amluk-dara, Birth of Siddhārtha, First bath of Siddhārtha.
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Taylor, J. R. "MICKAEL BETHE-SELASSIE: THE SACRED FOREST PAPIER-MACHE SCULPTURES AND RELIEFS." Nka Journal of Contemporary African Art 1994, no. 1 (September 1, 1994): 62. http://dx.doi.org/10.1215/10757163-1-1-62.
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Campbell, Louisa. "Tracking Trajectories: Projecting Polychromy onto a Roman Relief from a Scottish Castle." Heritage 6, no. 4 (April 14, 2023): 3722–44. http://dx.doi.org/10.3390/heritage6040197.
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The Antonine Wall Distance Sculptures are iconic and unique sculptural reliefs that marked Rome’s most north-westerly frontier across central Scotland. Their inscribed texts and iconography depict graphic tales of frontier life, and recent non-invasive analysis has confirmed they were originally brought to life through vibrant polychromy. This paper tracks the trajectory of one Distance Sculpture that was embedded into the dramatic setting of Dunnottar Castle off the north-east coast of Scotland during the 16th century, where it was recorded as having been repainted during that episode of use. A suite of complementary analytical techniques, including pXRF, FTIR, and SEM/EDS, was recently reported on which identified pigments and surface treatments as well as their chronology of application, confirmed through stratigraphic sequencing visible in cross-section. That approach facilitated the investigation of all episodes in the itinerary of this iconic sculpted relief from the second century to the Scottish Renaissance. That vanguard research has provided an unprecedented opportunity to unravel the rich hidden history behind this unique monumental inscription and re-tell a fascinating transformational tale of a pivotal period in its past. The combination of historical, archaeological, and scientific approaches to an understudied, and overlooked, phenomenon of post-antique colouration is revolutionary in polychromy studies. It provides innovative and well-contextualised information that lifts an aesthetically modest Roman monument into a vibrant, colourful, and sumptuous decorative feature fit to grace the walls of a Renaissance castle emulating Roman imperial practices. We can now trace its journey through time by delving into the detail of its Renaissance repainting to present, for the first time, an accurate digital reconstruction as it performed for 16th century audiences.
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ISYCHENKO, IGOR, MARYNA PROTAS, TATIANA MIRONOVA, MYKHAILO BOKOTEI, and NATALIIA BULAVINA. "PUBLIC SCULPTURE IN WARTIME UKRAINE AS A FORM OF THE STATE’S MEMORY POLITICS." AD ALTA: 14/01-XLI. 14, no. 1 (April 30, 2024): 29–34. http://dx.doi.org/10.33543/j.140141.2934.
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The authors argue that during wartime in Ukraine, public sculpture serves as a reflection of the memory politics of the contemporary Ukrainian state. As such, these politics are aimed at breaking away from the Soviet legacy that continues to exist simultaneously in the form of hidden or sometimes obvious remnants of older colonial narratives of Ukrainian history and in the form of aesthetic artifacts akin to those that can be seen in the public space of big cities, e.g. sculptures and reliefs, etc. However, in its efforts to shed the Soviet legacy, Ukraine's memory politics often uncritically adopt dominant capitalist narratives, inadvertently perpetuating another form of cultural oppression and colonization. In addition to critiquing contemporary market-driven discourse, the authors stress the importance of not overlooking the layer of mythological memory, as it constitutes one of the most fundamental elements of Europe's cultural landscape.
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Susetyo, Sukawati. "Pengaruh Majapahit Pada Bangunan Puri Gede Kaba-Kaba, Tabanan." AMERTA 34, no. 2 (December 20, 2016): 139. http://dx.doi.org/10.24832/amt.v34i2.181.
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Abstract. Majapahit Influence on the Grand Palace of Kaba-Kaba, Tabanan. Majapahit, as a kingdom, had spread its influence to almost every part of Indonesia such as the western part of Sumatra and the eastern part of the Moluccas, even to our neighbouring countries in Southeast Asia, which were implemented in form of equal partnership (mitra satata). The archaeological remainsfrom the Majapahit period that we can see include sacred and profane buildings, sculptures, reliefs, fragmented and intact potteries and ceramics, and literatures. They bear distinct characteristics,particularly in sacred buildings as well as the styles of reliefs and sculptures. Kaba-Kaba Palace is theremain of Kaba-Kaba Kingdom in Tabanan, Bali, whose king was originated from Majapahit. Theaim of this research is to uncover the Majapahit influence on this palace. Furthermore, an attempt was also made to see whether it was built in accordance with Sanga Mandala, a concept used in thebuilding of palaces. The method for this study was carried out by literature study and describing the building elements of the palace that have Majapahit influence, as well as interviewing somesources. The results show that the palace was built based on the sangamandala concept but it has experienced development to accommodate the needs of more recent period. The Majapahit influences on the Kaba-Kaba Palace are seen in the candi bentar (split gate), paduraksa (roofed gate), tantricstyle sculptures, the sculptures of tortoise and dragon, and figure with the face of a stranger. Abstrak. Majapahit sebagai kerajaan besar telah mengembangkan pengaruhnya meliputi hampir di seluruh wilayah Indonesia saat ini, yaitu daerah-daerah di Pulau Sumatra di bagian barat dan Maluku di bagian timur, bahkan pengaruhnya meluas sampai ke negara tetangga di Asia Tenggara yang dijalin dalam bentuk persahabatan yang setara (mitra satata). Tinggalan arkeologi dari masa Majapahit yang dapat kita temui adalah bangunan suci, arca-arca, relief, bangunan profan, fragmen/utuh gerabah dan keramik, dan karya-karya sastra. Tinggalan Majapahit tersebut mempunyai ciri-ciri khusus dalam bentuk arsitektur bangunan suci, gaya relief dan arca. Puri Kaba-Kaba merupakan tinggalan Kerajaan Kaba-Kaba di Tabanan, yang rajanya berasal dari Majapahit. Tujuan penelitian ini untuk mengetahui apa saja pengaruh Majapahit yang ditemukan pada bangunan Puri ini. Selainitu juga untuk mengetahui apakah pembangunan Puri sesuai dengan konsep Sanga Mandala. Metode penelitian dilakukan dengan studi pustaka, dan mendeskripsikan unsur-unsur bangunan Puri yang mendapat pengaruh dari Majapahit, juga melakukan wawancara terhadap narasumber. Dari penelitianini diketahui bahwa pembangunan Puri menerapkan konsep Sanga Mandala, namun telah mengalami pengembangan sesuai kebutuhan. Pengaruh Majapahit yang ditemukan pada bangunan Puri Kaba-Kaba antara lain adalah gapura candi bentar dan paduraksa, arca-arca bergaya tantris, arca kura-kura dan naga, serta arca tokoh berwajah orang asing.
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Sence, Guillaume. "Dur-Sharrukin : le portrait de Sargon II. Essai d’analyse structuraliste des bas-reliefs du palais découvert à Khorsabad." Revue des Études Anciennes 109, no. 2 (2007): 429–47. http://dx.doi.org/10.3406/rea.2007.6549.
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Les sculptures en bas-relief néo-assyriennes du palais de Sargon II à Dur-Sharmkin forment, lorsqu’elles sont étudiées dans leur contexte architectural et dans leur ensemble, un portrait idéologique du roi mis en scène sur les murs du palais.
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Zhao, Difei, Chaowei Liu, Xinyue Zhang, Xiaoyue Zhai, Yinglan Deng, Hongyu Chen, Juju Hu, Dandan Liu, and Pingjia Luo. "3D Digital Modeling as a Sustainable Conservation and Revitalization Path for the Cultural Heritage of Han Dynasty Stone Reliefs." Sustainability 15, no. 16 (August 17, 2023): 12487. http://dx.doi.org/10.3390/su151612487.
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Cultural relics and historical sites serve as carriers of cultural, historical, and artistic information. However, any damage incurred by these cultural relics can result in the loss of information, consequently impacting sustainable conservation and revitalization of the cultural heritage. Han Dynasty stone reliefs are a representative carrier of art and history during the Han Dynasty, an early stage of Chinese history. Due to the influence of materials, carving techniques, and protective measures, the conservation and revitalization of Han Dynasty stone reliefs have been significantly restricted. In this study, a systematic investigation was carried out to study the current situation and existing problems related to the protection of Han Dynasty stone reliefs. Additionally, a case study was conducted using the Wuling Ancestral Hall (Wuliang Shrine) as an example, to explore the integration of 3D digital technology as a new sustainable approach. The results show that natural weathering and conventional techniques have caused irreversible information loss. Thus, adopting a three-dimensional digital perspective is crucial when considering the information preservation and revitalization of Han Dynasty stone reliefs. To achieve this, 3D digital models of representative stone reliefs, tomb chambers, and other sculptures from the Wuliang Ancestral Hall were established. These models provide new paths for accurately recording 3D information and better utilizing cultural heritage. Faced with the challenge of preserving historical heritage and its associated information, a workflow including 3D scanning, data collection and processing, 3D modeling, visualization, and information utilization is proposed. This approach offers new approaches for sustainable conservation and revitalization of Han Dynasty stone reliefs.
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Cembrzyńska, Patrycja. "Chcą nas zmienić w reliefy i rzeźby..." Przegląd Humanistyczny 61 (September 4, 2017): 23–33. http://dx.doi.org/10.5604/01.3001.0010.4132.
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They Want to Change Us into Reliefs and Sculptures... This article discusses a role of war memorials in popularizing militarism, war bravery and the idea of dying for the homeland. Following Krzysztof Varga (a writer) and Krzysztof Wodiczko (a visual artist), the monumental structures of national memory become here a subject of critical reflection. They both show the deadly hypnotizing power of memorials over people. To this end, they create an oneiric reality, in which the sacred objects of national tradition come to life and “vampirize” the would-be patriots. The task of the hypnotic and critical style of interpreting memorials is, as it is proved, “to demilitarize” (“disarm”) our culture.
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Quien, Enes. "Najraniji i rani radovi kipara Rudolfa Valdeca." Ars Adriatica, no. 3 (January 1, 2013): 193. http://dx.doi.org/10.15291/ars.469.
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The article discusses the earliest, mostly lost works known only through archival photographs, and the early preserved works by Rudolf Valdec (8 March 1872, Krapina – 1 February 1929, Zagreb) who, apart from RobertFrangeš-Mihanović, was Croatia’s first modern sculptor. These works were created upon Valdec’s return from studying at Vienna and Munich, in the period between 1896 to 1898, that is, prior to the exhibition CroatianSalon where they were displayed. The findings about his earliest, previously unknown, works have been gathered through research in archives and old journal articles which mention them. At the same time, Valdec’s early works are not only well-known but famous, for example the relief Love, the Sister of Death (Ljubav sestra smrti, 1897), Magdalena (1898) and Memento Mori (1898). These reliefs and sculptures in the round demonstrate Valdec’s skill in sculptoral modelling and provide evidence that he was a sculptor of good technical knowledge andcraftsmanship. They also show the thoroughness of his education at Vienna’s K. K. Kunstgewerbeschule des Österreichischen Museums für Kunst und Industrie where he studied under Professor August Kühne, and at the Königliche Bayerische Akademie der bildenden Künste in Munich where he was supervised by Professor Syrius Eberle. It is difficult to follow Rudolf Valdec’s continuity as a sculptor because his student works have not been preserved and neither have some of the earliest works he made when he returned to Zagreb. Only a small number of previously unknown or unpublished photographs have been found which show the works which have been irretrievably lost. These works of unknowndimensions were not signed and are therefore considered as preparatory studies for more large-scale works from the earliest phase of his career. These are the reliefs of Apollo made for the pediments of the Pavilion of the Arts (Umjetnički paviljon) at Zagreb which was designed by Floris Korb and Kálmán Giergl, the Hungarian historicist architects, to house the Croatian displays at the Millenial Exhibition at Budapest in 1896. A year later, in 1897, the iron frame of the pavilion was transported to Zagreb.The bid to carry out the work was won by the Viennese architects Herman Helmer and Ferdinand Fellner, but the actual construction was done by the Zagreb architects Leo Hönisberg and Julio Deutsch under thesupervision of the city’s engineer Milan Lenuci. Valdec was entrusted with the making of reliefs illustrating the hymn to Apollo (Apollo of Delphi, Apollo Pythoctonos, and Apollo Musagetes). These three bas-reliefs werenever affixed to the pediments of the Pavilion of the Arts because the City Council did not authorize the execution due to a lack of funds. However, they were displayed at the Millenial Exhibition at Budapest and the Croatian Salon in 1898, and contemporary critics praised them as successful works of the young Valdec. The first relief depicts the Apollo of Delphi (hymn to Apollo) holding a severed head in his raised left hand. The second relief depicts Apollo Musagetes next to a shoot of a laurel tree(the symbol of Daphne) with a lyre in his left hand. The third relief shows Apollo Pythoctonos who, in a dynamic movement, is stringing his silver bow and shooting an arrow into the gaping mouth of a fire-breathing dragon.In his youth, Valdec produced works which embodied fear, anxiety, pessimism, restlessness and bitterness, all corresponding to the general tendencies of the fin de siècle. In 1899 he made Pessimism (Pesimizam), a work only known through its mention in the press by the critic M. Nikolić. Many other youthful works from the period between 1885 to 1889 have also been lost. These were: Passion, Christ, and Love (Muka, Krist, and Ljubav, 1896-1896) which were displayed at the Millenial Exhibitionin Budapest, Altar of the Saviour (Spasiteljev žrtvenik), Lucifer, Per Aspera ad Astra, Kiss (Cjelov), Christ Salvator (Krist Salvator), Hymn to Apollo (Apolonova himna), Apollo Phoebus (Apolon Phoebus), Ridi Pagliaccio, and Jesus (Isus). Our research has yielded photographs of theworks Per Aspera ad Astra and Christ Salvator, both of 1898. All the work from his youthful phase is in the Art Nouveau style, in harmony with the dominant stylistic trends in Vienna, Munich and central Europe, which,unsurprisingly, attracted Valdec too. In his desire to express his feelings and spiritual condition, as can be seen in the works like Per Aspera ad Astra, Valdec reveals the stamp of the Art Nouveau symbolism.Although Valdec’s earliest and a number of his early works have mostly been lost, those that have been preserved are made of plaster and bronze (now at the Collection of Plaster Casts of the Croatian Academy ofArts and Sciences in Zagreb), and belong to the most significant works of Croatian modern sculpture. The works in question are the relief sculptures Love, the Sister of Death (1897), Memento Mori (1898) and Magdalena(1898). The relief Love, the Sister of Death represents the first example of symbolism and stylization which were a novelty in modern sculpture in Croatia. The relief of Magdalena is, regardless of the fierce criticism on account of its nudity published by the priest S. Korenić in Glas koncila, a master-piece not only because it represents an excellent nude but also because of the psychological and philosophical expression it radiates. It is one of the best reliefs in Croatian sculpture in general. The relief Memento Mori features the first and only example of Valdec’s self-portrait rendered in profile, in which he depicted himself as a fool. The busts of Plato (Platon) and Aristotle (Aristotel) are considered to be first portraitscommissioned by Iso Kršnjavi. They were made in 1898 and set up on the wings of the building which housed the seat of the Department of Theology and Teaching in 10 Opatička Street, at the head of which was Kršnjavi. Valdec made the busts of these two Greek philosophers in the style of Roman naturalistic portraits.
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Guralnick, Eleanor. "Neo-Assyrian patterned fabrics." Iraq 66 (2004): 221–32. http://dx.doi.org/10.1017/s0021088900001807.
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AbstractThe patterns used to decorate Neo-Assyrian fabrics are known mainly through their use in the arts. Stone bronze and ivory sculptures and wall paintings incorporate decorations, sometimes enhanced with a variety of colours. The patterns for which we have evidence varied through time and in response to the use the fabric served. The secondary nature of the evidence allows only inferences on the techniques used to create the decorative patterns, but not certain knowledge. At Nineveh the subtlest distinctions in fabric patterning on stone relief survive. At Nimrud the most complex symbolic motifs are used as fabric decorations. At Til Barsip the most varied and colourful patterns are seen. At Khorsabad stone reliefs with colour-enhance patterns survive. The consistency with which some decorations are used exclusively for the king's garment suggests that there may be a symbolic value for a few decorative patterns.
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Brown, Michael, Peter Miglus, Kamal Rasheed, and Mustafa Ahmad. "PORTRAITS OF A PARTHIAN KING: ROCK-RELIEFS AND THE MOUNTAIN FORTRESSES OF RABANA-MERQULY IN IRAQI KURDISTAN." Iraq 80 (September 6, 2018): 63–77. http://dx.doi.org/10.1017/irq.2018.5.
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This article presents detailed illustrations of two rock-reliefs from the neighbouring sites Rabana and Merquly, located on the flanks of Mt. Piramagrun in Iraqi Kurdistan. Both matching sculptures are aligned with perimeter fortifications that enclose substantial architectural remains. Based on numismatic parallels, supported by archaeological evidence, it is proposed that these depictions of near life-size figures represent an anonymous Arsacid King of Kings from the early first millennium (c.a.d.50-150), who was credited with construction of the mountain fortresses. Rabana and Merquly together form an important landscape of settlement on the north-western frontier of the Parthian Empire.
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Jaini, Padmanabh S. "Jaina monks from Mathura: literary evidence for their identification on Kuṣāṇa sculptures." Bulletin of the School of Oriental and African Studies 58, no. 3 (October 1995): 479–94. http://dx.doi.org/10.1017/s0041977x0001291x.
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Among the thousands of Jaina images found throughout India, those from Mathura produced during the Kuṣāṇa period are unique, for they alone contain representations of unclothed Jaina ascetics holding a single small piece of cloth in such a way as to cover their nudity. These curious figures cannot be identified with monks of the present-day Jaina sects of the Digambaras, who practise total nudity, or of the Śvetāmbaras, who wear two long pieces of unstitched white cloth wrapped around their bodies and occasionally a white blanket over their left shoulders. The veteran art-historian, the late Dr. U. P. Shah, in Aspects of Jaina art and architecture briefly mentions these figures, noting that ‘nowhere in the above references from Śvetāmbara as well as Digambara texts do we come across a reference to those figures on the siṃhāsanaof a Jina which we find in a number of sculptures of the Kuṣāṇa period from the Kaṅkāli Tīlā.’ Subsequently, in Jaina-Rūpa-Maṇḍano, he calls these figures ardhaphālakas (monks with partial covering) and speculates that these figures might be Yāpanīya monks, another Jaina sect that is now extinct, and states that these figures need further investigation. In addition to Shah, N. P. Joshi has also discussed these ardhaphālaka images. He states that ‘all the monks seen in the bas-reliefs, except one known to me, seem to belong to the Ardhaphālaka sect. … Besides the monks seen in the bas-reliefs, those hovering in the air (vidyā cāraṇas) or seen on some of the śilāpaṭṭāsare all Ardhaphālakas. This suggests that during the pre-Christian and early Christian centuries a large number of Jainas at Mathura followed this sect’.
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Mesihović, Salmedin. "Predstave ilirskih ethne u augusteumu u Afrodisiju / Personifications of Illyrian ethne from an Augusteum in Aphrodisias." Journal of BATHINVS Association ACTA ILLYRICA / Godišnjak Udruženja BATHINVS ACTA ILLYRICA Online ISSN 2744-1318, no. 2 (December 1, 2018): 131–48. http://dx.doi.org/10.54524/2490-3930.2018.131.
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The city of Aphrodisias (Aphrodisias; ) was situated in the continental inland of the Caria region in the south-west of Asia Minor. This town flourished in the Hellenistic period and the time of the Pergamon-Attalid dynasty that ruled Asia Minor from 282 to 133 BC. It was during this period that the city was named after the goddess Aphrodite (Venus in Roman religion) who had a very specific cult image in this city. Aphrodisias got its special symbolic meaning with the establishment of the Principate and the “first amongst the citizens”, Octavian Augustus, who was adopted into the gens Julia. One of the main propaganda elements of the new Augustan regime was a strong reliance on the “Aeneid story” that got its official version with Virgil’s Aeneid. Aeneas was the son of Trojan prince Anchises and Venus, whereas in Roman-Italic tradition, his son Ascanius/Iulus is considered to be an eponymous founder of the gens Julia. By advocating the “Aeneid story”, Augustus gave an emphasis to his divine origin, and Venus/Aphrodite became a deity of “special importance” for the new system. Aphrodisias was a city with many monumental facilities and buildings, statues and reliefs. The quality and amount of marble which the citizens and craftsmen in Aphrodisias had at their disposal resulted in a large number of inscriptions. Approximately 2000 epigraphic monuments have been discovered up to this point, the majority being from the Principate. Some of the monumental buildings of Aphrodisias are: 1. The temple of Aphrodite, the focal point of the entire city, transformed into a Christian basilica in Late Antiquity 2. Monumental tetrapylon 3. Bouleuterion ( ) or odeon 4. Stadium 5. Augusteum (Sebasteion, on the Greek east) containing personi- fied representations of Illyrian peoples and communities on relief The reliefs on Augusteum show the images of Augustus, Tiberius, Claudius and young Nero. The complex itself is dedicated to “To Aphrodite, the Divine Augusti and the People”. Originally it contained 190 reliefs. Iconography and reliefs can be organized into four groups divided into top and bottom lines of southern and northern temple portico: I Southern portico: the top line contained the personification of principes and deities; the bottom line contained images of old Hellenic mythology. II Northern portico: the top line contained allegories (and perhaps principes); the bottom line contained a series of ethne, i.e. the images of peoples. Each ethne was represented by a personified relief statue on a decorated base with an inscription. Relief statues were always in the form of a dressed standing girl. To this point, four statues and inscriptions have been identified for four peoples from the Illyrian territory: the Iapodes, Andizetes, Pirustae and Dardani. All four of these Illyrian peoples are mentioned by well-known and accessible source materials as the communities who were subdued by the armies commanded by Octavian Augustus after rebelling. A large number of sculptures or parts of the sculptures has not been ethnonymically identified with certainty due to damage and material fragmentation. Thus, we can assume that they hold hidden personifications or at least parts of personifications of other Illyrian peoples. The western part contained personifications of Illyrian peoples, and judging by their arrangement, peoples from the western Balkans may have been located somewhere in the vicinity.
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Jordan, Keith. "SERPENTS, SKELETONS, AND ANCESTORS?: THE TULA COATEPANTLI REVISITED." Ancient Mesoamerica 24, no. 2 (2013): 243–74. http://dx.doi.org/10.1017/s0956536113000205.
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AbstractSince Acosta's work in the 1940s, relief carvings of serpents entwined with partially skeletonized personages on the coatepantli at Tula have frequently been identified as images of the Nahua Venus deity, Tlahuizcalpantecuhtli. Comparing these Toltec sculptures with this deity's iconography in Late Postclassic to Colonial period manuscripts, however, provides no support for this identification. Based on the northern Mesoamerican cultural connections of the Toltecs, the author suggests parallels between the coatepantli reliefs and the public display of ancestral and sacrificial human remains at Chalchihuites sites. Identification of the coatepantli figures as venerated ancestors from an ancestral cult is also supported by iconographic and archaeological evidence from Tula. Parallels to the coatepantli images in depictions of both living elites and ancestors juxtaposed with serpents from other Mesoamerican art traditions bolster this interpretation. On the basis of the evidence, the author hypothesizes that the skeletonized figures at Tula symbolize deceased kings and honored warriors rather than conquered foes.
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Campbell, Louisa. "Polychromy on the Antonine Wall Distance Sculptures: Non-destructive Identification of Pigments on Roman Reliefs." Britannia 51 (June 25, 2020): 175–201. http://dx.doi.org/10.1017/s0068113x20000124.
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ABSTRACTNon-destructive analytical techniques are now widely and successfully employed in the fields of materials science and conservation. Portable X-ray fluorescence (pXRF) and portable Raman spectrometry have proven particularly valuable for the rapid in-situ analysis of samples, but their applicability for the analysis of archaeological artefacts for which survival of surface treatments can be negatively impacted by post-depositional processes has been underexplored. Roman relief-sculpted monumental inscriptions from the Antonine Wall, commonly referred to as ‘Distance Slabs’, have offered an excellent opportunity to deploy these non-destructive techniques to determine whether they were originally adorned with pigments and, if so, to identify the colours used. This is a revolutionary approach to identifying colours on ancient sandstone sculpture that transforms our understanding of these unique monuments. Elemental composition analysis by pXRF has confirmed evidence for pigments and this is supported by the Raman results, making it possible to develop and reconstruct a palette of colours that originally brought these monuments to life in vibrant polychrome. The research offers a new methodology for identifying pigments on sandstone sculpture and opens new avenues for investigating other classes of material culture alongside the development of bespoke analytical equipment.
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Setyawan, Hari. "IDENTIFIKASI DAN PEMANFAATAN TANAMAN MASA JAWA KUNA: STUDI KASUS RELIEF RAMAYANA DAN KRESNAYANA CANDI PRAMBANAN." Naditira Widya 16, no. 1 (December 12, 2022): 1–22. http://dx.doi.org/10.24832/nw.v16i1.498.
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Kerajaan Mataram Kuno di Jawa Tengah merupakan kerajaan agraris yang berkembang pada masa Jawa Kuno abad ke-8-10 M. Salah satu data arkeologi yang monumental dari masa tersebut adalah Candi Prambanan yang memiliki pahatan relief naturalis dengan tema cerita Ramayana dan Kresnayana. Pada relief tersebut juga digambarkan tanaman yang dapat diidentifikasi jenisnya. Penggambaran tanaman pada relief Ramayana dan Kresnayana dapat digunakan sebagai petunjuk kondisi lingkungan Jawa Kuno di kawasan Prambanan pada masa lalu. Penelitian ini dilakukan dengan metode pengamatan langsung terhadap data yang dijaring secara purposive sampling. Sampel data yang diidentifikasi adalah tanaman-tanaman yang dipahatkan pada relief-relief Candi Prambanan. Hasil identifikasi data selanjutnya diinterpretasikan merujuk pada prasasti-prasasti dan naskah kesusastraan Jawa Kuno yang relevan. Sintesis penelitian ini menunjukkan bahwa pengelompokan dalam pengelolaan tanaman di kawasan Prambanan pada masa Jawa Kuno adalah tanaman pangan, tanaman komersial, tanaman keras, tanaman obat, dan tanaman hias. Lebih lanjut, dipahami pula bahwa pengelolaan tanaman pada masa Jawa Kuno sangat diperhatikan oleh penguasa. Aspek praktis penelitian ini memberikan peluang bagi tanaman-tanaman tersebut untuk dapat dibudidayakan kembali pada masa kini sebagai upaya konservasi lingkungan.
The Ancient Mataram Kingdom in Central Java was an agrarian state that developed during the ancient Javanese era of the 8th-10th century. One of the monumental archaeological data from that period is the Prambanan Temple which has naturalist relief sculptures with themes of the Ramayana and Kresnayana Epics. The reliefs also depict identifiable plants of that period. The depiction of plants in the reliefs of Ramayana and Kresnayana indicate the environmental conditions of Ancient Java in the Prambanan region in the past. This research was conducted by directly observing the data collected by purposive sampling. The data samples identified were plants carved on the reliefs of the Prambanan Temple. The results of data identification were then interpreted by referring to the relevant Old Javanese inscriptions and literary texts. The research synthesis shows that the grouping in the management of plants in the Prambanan area during the Old Javanese period were food plants, cash crops, perennials, medicinal plants, and ornamental plants. Furthermore, it is also understood that the management of plants during the Old Javanese period was highly considered by the authorities. The practical aspect of this research provides an opportunity for these plants to be cultivated again today as an environmental conservation effort.
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ATAÇ, Nergis, and Dr KOCH. "Figürliche Reliefs frühchristlicher Zeit in Kleinasien (4.-6. / 7. Jahrhundert n.Chr.)." ADALYA 26, no. 26 (December 29, 2023): 197–232. http://dx.doi.org/10.47589/adalya.1415129.
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In Asia Minor, only a relatively small number of reliefs with biblical depictions or images of saints from the early Christian period (fourth to sixth / seventh centuries AD) have been preserved. They represent an exceedingly small percentage of what was likely actually produced, with a substantial amount considered to be lost. This makes it difficult to classify the art based on geographic region, in comparison, for example, to the proliferation of the Roman grave reliefs of the second and third centuries. Nevertheless, Asia Minor was of an area of great importance for the theology of early Christianity. Numerous churches from the Early Byzantine period have been preserved or at least documented. Many were large and magnificent buildings, showing excellent masonry techniques, and some had unusual shapes. The churches were richly adorned with capitals, barrier plates, and ambons, as well as floor mosaics. Although only a few remnants of wall paintings and mosaics are preserved today, it can be assumed that most of churches possessed them. While there are portrait sculptures and busts of excellent quality, very few reliefs are based on the Bible. They are almost all very simple pieces, in terms of craftsmanship, with a few exceptions. The existence, not only, of the customary iconography, but also rare and unique character depictions of the reliefs of biblical scenes, illustrates the reach of the Byzantine Church in even the most remote areas of that region, shedding light on Late Antique art in Asia Minor as the heartland of the Byzantine Empire.
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Becker, Catherine. "The Buddhavanam Replica Stupa in Telangana." Comparative Studies of South Asia, Africa and the Middle East 43, no. 1 (May 1, 2023): 61–81. http://dx.doi.org/10.1215/1089201x-10375357.
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Abstract The Sri Parvata Arama, or the Buddhavanam, is a Buddhist theme park near the banks of the Nagarjuna Sagar reservoir in Telangana. Sponsored by the state government, this park features at its center a full-scale replica of the Amaravati stupa. While this replica stupa might seem to revivify the largely destroyed stupa at Amaravati, this article also examines how the Buddhavanam engages with a wide-ranging visual archive in order to create a home at which every imaginable visitor—foreign and local—will encounter familiar imagery. The stupa's sculptural adornment primarily takes inspiration from limestone sculptures that once adorned ancient Buddhist sites along the Krishna River Valley. However, additional scenes on the stupa are drawn from disparate sources: reliefs carved from photographs of M. K. Gandhi, B. R. Ambedkar, and the current chief minister of Telangana appear alongside stone versions of paintings from the Mogao Caves at Dunhuang and Alchi in Ladakh. This article examines how this replica stupa and the surrounding theme park allow the new state of Telangana not only to articulate its claim to the Buddhist heritage that is now shared with the state of Andhra Pradesh but also to participate in a boom in state-sponsored religious monuments across India.
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Putra, Cokorda, and A. A. A. Made Cahaya Wardani. "Eksplorasi Nilai-Nilai Tradisi Ramayana dalam Arsitektur Pura Desa Batuan Gianyar (Tinjauan Konsep Satyam Sivam Sundaram)." Jurnal Penelitian Agama Hindu 8, no. 2 (April 23, 2024): 274–85. http://dx.doi.org/10.37329/jpah.v8i2.2360.
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One example of the wealth possessed is depicted in the Ramayana story, which has long been ingrained in Balinese culture. The Ramayana story is often expressed in various forms, including Bali's distinctive carvings. This study aims to detail and analyze the extent to which the values of the Ramayana tradition are reflected in the sculptures and reliefs at Pura Desa Batuan, Gianyar, with a specific focus on the concept of Satyam Sivam Sundaram and other traditional values. The goal is to explore the values of the Ramayana tradition through the ornaments adorning Pura Desa Batuan. This research employs a qualitative approach with a descriptive method. The guiding theory for this research is the Transforming Tradition theory. Based on the application of this theory, the researcher chooses to use the ATUMICS (Artefact-Technique-Utility-Material-Icon-Concept-Shape) method to explain the ornaments on the research objects. Data collection techniques include participatory observation, direct observation, and involvement in the research site. The object of study is Pura Desa Batuan in Gianyar, Bali. The research findings indicate that both carvings and reliefs as ornaments have direct and indirect influences on architecture and are capable of illustrating the concept of Satyam Sivam Sundaram, which refers to truth, purity, and beauty. Moreover, the Ramayana Tradition reliefs provide an image and contribute to the essence and spirit of the Pura Desa Batuan building. Furthermore, the Ramayana Tradition reliefs also emit a vibration of sanctity for the Pura Desa Batuan building in Gianyar. The values of sincerity, purity, and beauty are reflected in every element of the building, creating a sacred atmosphere that provides a spiritual experience for Hindu worshippers and visitors alike. Through the emission of vibrations and the preservation of the Ramayana heritage, Pura Desa Batuan stands as living proof of the richness and perpetuity of tradition.
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Wellebrouck, Gurvane. "Le message social des représentations familiales sur les monumenta des affranchis romains." Vita Latina 197, no. 1 (2018): 192–206. http://dx.doi.org/10.3406/vita.2018.1927.
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The representation of the portraits and the sculptures of Roman Antiquity is a window open on the civilisation and the lifestyle of the men and the women of this period ; among them, the formers slaves, frequently used the funerary art, thanks to which reached us, not only registrations that freedmen had made engrave, but also constructions of low-reliefs and altars, allowing us to put faces whose social situation was detectable by their nomenclature. This double reading, textual and visual, which is the subject of our reflection, is based on the one hand on epigraphically sources, rich in information as for the private life of freedmen and freedwomen in the Imperial Roman period and on the other hand on the study of the composition of these monumenta, until a social reading in order to looking further into the knowledge about this freed population.
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Waszak, Przemysław. "Maski z kościoła w Inowrocławiu. Znaczenie płaskorzeźby romańskiej oraz jej miejsce w historii sztuki." Sztuka i Kultura 6 (December 18, 2023): 9–51. http://dx.doi.org/10.12775/szik.2022.001.
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The last twenty years have seen intensified research into Romanesque architecture n Poland. This paper addresses the issue of Romanesque sculpture and presents it by means of describing several projecting reliefs preserved in the Romanesque, partially reconstructed, church dedicated to the Name of the Blessed Virgin Mary, a symbol of Inowrocław. The church is important for the local community. Many publications on Romanesque masks and representations have been published since the 19th century, also recently. It is worth noticing that the opinions of researchers in the fields of history and history of art are inconsistent. This text addresses the ensemble of Inowrocław sculptures analysed from a contemporary research and methodological perspective in respect of the history of medieval art, as such an approach allows for complementing the state of research. Artistic analogies, aesthetic sources, and the practice of ornamenting the Houses of God with stone masks have been presented, and new interpretations of iconography, form, and meaning have been discussed. Formal issues concerning artistic geography, style, significance, meaning, and technique have been considered and compared. Besides, extensive reference has been made to the interpretation of the law of the frame. Another reference has been made with regard to the issue of the cultural meaning that was later provided to these popular artistic objects in Polish art history. A stylistic genesis and the closest formal analogies have been indicated. The starting point for the considerations presented herein was the notion of sites of memory.
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Burganova, Maria A. "Sculptures of the Head of Beheaded John the Baptist." Scientific and analytical journal Burganov House. The space of culture 18, no. 3 (June 10, 2022): 32–46. http://dx.doi.org/10.36340/2071-6818-2022-18-3-32-46.
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The article examines the emergence and spread of the iconography of the plot "The Head of Beheaded John the Baptist" in church sculpture. The author touches upon the history of the development of the artistic image in the context of images of the holy head-bearers on the example of the statues of St. Firmin, holding his head, which seems amazingly alive and thus, making a great emotional impression, the statues of Victoricus and Fustian of St. Denis and others. However, the author emphasises that contrary to the tradition established in European art of this period to depict the holy head-bearers as standing headless figures holding their own heads, the plot “The Head of Beheaded St. John”, immediately from the moment the sacred relic was brought to Amiens, has been depicted in a special interpretation - it is presented as a head without the body. It focuses attention on the relic as a prototype of the iconographic version. The plot has been widely used in monumental easel and miniature sculpture since the 13th century. The article analyses the works created by masters in Munster, Amiens, Nottingham, Maastricht, Brabant, Seville, Veliky Ustyug, Morshansk and other major cultural centres of Western and Eastern Europe. The author pays great attention to alabaster reliefs, often called Nottingham alabaster after their place of origin, with the image of John the Baptist carved on them. They were especially widespread in England. They were often part of the sacral images of home altars. The article examines the works of prominent sculptors - Jan van Steffeswert from Maastricht, the master of the Head of John from Brabant, Juan de Mesa from Seville, and others. Using examples of works created by masters in various art centres of Europe, the author analyses the evolution of the image of John’s head from the image-symbol in the 13th century to the image as an illustration of a real action, which became a reflection of a particular religious sensuality in the culture of Europe of the 16th-17th centuries. With every detail, such images called the worshiper not only to worship but also to empathy. The article also provides a comparative analysis of the characteristic features of Eastern and Western Christianity of the iconographic renderings of the plot of Beheaded John the Baptist.
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Gavrilovic-Vitas, Nadezda. "The cult of goddess Fortuna in the Roman Central Balkans." Starinar, no. 71 (2021): 163–80. http://dx.doi.org/10.2298/sta2171163g.
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The cult of the goddess Fortuna has been attested on the territory of Roman provinces in the Central Balkans with numerous votive monuments, sculptures, votive reliefs, statuettes and on glyptics. The goddess was particularly popular among the army, but also venerated by administrative personnel, merchants, freedmen, slaves and women. The epithets of the goddess imply that she was honoured by her devotees as in other Roman provinces - mainly as the goddess of good luck and chance, but also as the protectress of transport, business, routes and perhaps in bathing facilities. Fortuna was usually worshipped alone, but her pairing with the Egyptian goddess Isis as the syncretistic deity Isis-Fortuna and her relationship with Genii, are confirmed in different Central Balkans localities. The goddess Fortuna?s sanctuaries can be presumed in the vicinity of Ulpiana, Nis, near Kumanovo and probably in Viminacium, while her cult lasted from the 2nd to the last decades of the 3rd century.
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Przedpełski, Radek. "Cosmic Hunt, Copper Electroplating, Chaosmic Transduction: Chaosmotechnics of Molecular Collaboration in Matthew Barney’s Redoubt Project (2016–21)." Text Matters: A Journal of Literature, Theory and Culture, no. 13 (November 27, 2023): 231–56. http://dx.doi.org/10.18778/2083-2931.13.13.
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The article considers Matthew Barney’s artistic project Redoubt (2016–21) from the point of view of Gilbert Simondon’s transductive philosophy of individuation. Informed by Simondon—read here with Félix Guattari, Gilles Deleuze and Yuk Hui—the article performs a case study of Barney’s long-term, expansive and multi-layered project. Redoubt comprises a feature-length film, metal reliefs, and large-scale sculptures, as well as an intermedial performance. The article focuses on the mythological theme of the Cosmic Hunt deployed in Barney’s eponymous feature film as well as on his experimental artistic process entailing cast metals. The goal of the article is to provide a diagram of the functioning of Barney’s complex conception of metamorphosis, which plays itself out on many—heterogenous, yet ultimately entangled—orders of magnitude. Consideration will also be given to the political and decolonial implications of Barney’s artistic proposal, which liberate the notion of the hunt from its takeover by colonial extractivism in order to reveal it as an intensive capture of forces.
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Aparaschivei, Dan. "Lupa Romana en Mésie inférieure. Images, discutions et hypothèses." Revue des Études Anciennes 123, no. 2 (2021): 573–95. http://dx.doi.org/10.3406/rea.2021.6999.
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La scène classique avec la louve qui nourrit les deux enfants adoptés, Romulus et Rémus, les fondateurs de Rome, apparaît aussi bien dans la littérature ancienne que dans l’art mineur et sur divers reliefs et sculptures. Dans la province de Mésie Inférieure, il existe plusieurs illustrations de la scène de la louve sur différents supports. Certaines de ces représentations apparaissent dans un contexte privé, mais au moins un de ces motifs symboliques est présent sur un bâtiment public. Toutes ces images sont analysées en détail. Ce qui est intéressant, mais pas surprenant, c’est que la plupart de ces représentations peut être liée à l’armée romaine. En ce qui concerne la signification de la scène, il est déjà courant dans la littérature d’associer la lupa allaitant les jumeaux à la diffusion des valeurs romaines. Cette scène complexe était l’un des symboles les plus puissants de la Rome antique et continue d’être vue aujourd’hui comme un emblème de la romanité.
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Meucci, Marco, Marco Seminara, Fabio Tarani, Cristiano Riminesi, and Jacopo Catani. "Visible Light Communications through Diffusive Illumination of Sculptures in a Real Museum." Journal of Sensor and Actuator Networks 10, no. 3 (July 7, 2021): 45. http://dx.doi.org/10.3390/jsan10030045.
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The recent, massive diffusion of LED-based illumination devices makes Visible Light Communications (VLC) a widely recognised wireless communication technology with large potential impact in many indoor and outdoor applications. In the indoor scenario, one of the most promising VLC implementations is foreseen in museums, exhibitions and cultural heritage sites. In this context, digital data can be transmitted by the specific lighting system of each artwork and received by the nearby standing visitors, allowing a complete set of dedicated services such as augmented reality (AR) and real-time indoor positioning, exploiting the directionality of the optical channel. In this work, we achieve, for the first time, VLC transmission through diffusive LED illumination of three-dimensional artworks (wooden and marble sculptures) in a real museum, exploiting the available LED illumination system, demonstrating the feasibility of VLC technology also when complex three-dimensional artworks, such as sculptures or bas-reliefs, are involved. In our experimental campaign, performed inside the Basilica of Santa Maria Novella in Florence, we perform extensive Packet Error Rate (PER) and Signal-to-Noise Ratio (SNR) tests on two important wooden and marble sculptures (Crucifix by Brunelleschi and the Holy Water Font by Bordoni, respectively), for different distances, view angles and configurations, in order to mimic a wide set of situations that visitors may encounter in a realistic scenario. We achieve successful VLC transmission for distances up to 8 m from artworks, at baud rate of 28 kBaud. We also provide detailed results on the characterization of the transmission Field of View (FoV) for our prototype, as well as the effect of side shifts of the observer’s position on the quality of VLC transmission, providing essential information for future implementations of positioning protocols and dedicated services in realistic, indoor scenarios. Our work represents an important step forward towards the deployment of VLC technology in museums and, more in general, it opens for far-reaching developments in a wide set of real indoor environments, including the cultural heritage sector, where diffusive VLC links exploiting illumination of three-dimensional objects could represent a ground-breaking innovation.
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Schmidt, Klaus. "Göbekli Tepe – the Stone Age Sanctuaries. New results of ongoing excavations with a special focus on sculptures and high reliefs." Documenta Praehistorica 37 (December 1, 2011): 239. http://dx.doi.org/10.4312/dp.37.21.
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Campos Sánchez-Bordona, María Dolores, and César García Álvarez. "La pila bautismal de la catedral de León." Estudios humanísticos. Geografía, historia y arte, no. 19 (February 9, 2021): 253. http://dx.doi.org/10.18002/ehgha.v0i19.6764.
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<span>The renaissancist bautismal pile of the Cathedral of Leon is decorated with various reliefs that forro an iconographical program based on ideas conected to the sacrament of the Baptism. Thus, the four scenes represent the different types of Baptism. A multiple martyrdom (probably of St. Marcelo and his sons) symbolizes the baptism by blood; the Baptism of Christ alludes to the baptism by water, and the last scene probably simbolizes the baptism by fire. Parallelly, four sculptures representing Moses, St. John the Baptist, and posibly the prophet Isaiah and one Evangelist, have been represented as biblic personages closely related to the idea of baptism. Equally, some formal aspects, like four winged heads or the scalework texture of the pile (probably simbolizing the whale of Jonah and the idea of resurrection) have the same intention. Finally, the presence of the nobiliary shield of the patron of the fond wants to significate the personal glory, fame and honour of the bishop, humanistic values joined to the personal defense of the Sacrament and its theological and liturgical importante.</span>
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Madan-Soni, Roma. "Untitled, Work by Fadi Yazigi, curated by Myriam Jackiche Atelier, Damascus, Syria, 1 January–1 December 2019." Craft Research 11, no. 2 (September 1, 2020): 314–27. http://dx.doi.org/10.1386/crre_00032_5.
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Fadi Yazigi’s exhibition Untitled creatively examines the effects of historical and political instabilities in his homeland over the last decade. Yazigi’s audience stands in the centre of an array of crafted exhibits that range from medium- to large-size everlasting bronze sculptures and brittle clay reliefs to figurative paintings decorating the surfaces of friable rice-paper canvas and fragile daily baked bread. The exhibition’s title is metaphorical: it embodies the ambiguities, inequalities and uncertainties in the daily lives of ordinary people in war-struck Syria. The ‘everyday use’ materiality of Yazigi’s craft assumes a form that reflects the complexities, contradictions and negotiations in the ‘trope of the everyday’ in the region and on a global scale. Yazigi’s work centres on people and human emotions with a nostalgic feeling towards the beings he meets. Yazigi smears oil, ink and acrylics as he employs techniques of drawing, painting, sculpting and moulding, using earth-sourced materials like paper, bread, soil and metal presenting the lives of ordinary people and their humane emotions.
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Astier, Alexandre. "Kubera, Gaṇeśa et la Déesse." Arts asiatiques 77, no. 1 (2022): 7–20. http://dx.doi.org/10.3406/arasi.2022.2150.
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A fairly large number of Indian sculptures, between the beginning of the common era and the thirteenth century, represent the god Kubera in the company of different female deities (one or more amongst Mātr̥kā, R̥ddhi, Bhadrā, Ambikā, Śrī-Lakṣmī) or the god Gaṇeśa. Kubera may also be represented, along with Gaṇeśa, in two types of trios: either in a peaceful form, also associated with prosperity, showing Lakṣmī bathed by two elephants, or in a more combative form associated with sovereignty and the royal function including Durgā Mahiṣāsuramardinī. The study of these reliefs, less well-known than the isolated images of Kubera, enables the functions of this god to be specified and the knowledge of his personality enriched, a personality which is more complex than it is often thought to be. Thus, in addition to his traditional duties as a god of wealth, Kubera appears as a guardian of thresholds and shrines, a protector of motherhood, an assistant of power and of the spread of dharma. He is also present in the three main religions of ancient India (Hinduism, Buddhism and Jainism).
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Lakshminarayanan, Ashwini. "A Prolegomenon to the Visual Language of Dance in Gandhāra." Religions 15, no. 8 (July 25, 2024): 895. http://dx.doi.org/10.3390/rel15080895.
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Pre-modern Indian subcontinent provides a treasure trove of art historical data in the form of stone sculptures and reliefs to study dance. While significant steps towards understanding the literary and visual language of dance have been made, artistic production from Gandhāra (the ancient region broadly covering the northwestern part of the subcontinent) largely remains absent in scholarly discussions. Ancient Gandhāra readily lends itself to a global approach as an active participant alongside the so-called ancient Silk Roads connecting the Mediterranean regions with China. Furthermore, as part of the Buddhist pilgrimage routes, Gandhāra also developed ties with Buddhist sites located further east and participated in the spread of Buddhism to China. Within this context, this article discusses the most common dance depicted in Gandhāran art to understand how artists represented dance in the static medium. Using this dance as an illustration, this article also argues that the iconographic conventions of the Gandhāran artistic repertoire for dance are shared outside the region, notably in Kizil, which is located alongside the northern branch of the Silk Roads.
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Dominioni, Lorenzo, and Antranik Balian. "The Medieval Armenian Symbol of Eternity in the Art of the Twelfth-Century Italian Sculptor Nicholaus." Journal of the Society for Armenian Studies 28, no. 2 (December 16, 2021): 265–85. http://dx.doi.org/10.1163/26670038-12342764.
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Abstract The medieval Armenian symbol of eternity – a whirl sign – is engraved in the forehead of five bull sculptures dated to the first half of the twelfth century, attributable to the workshop of the Italian sculptor Nicholaus. The whirl is an ancient sacred symbol associated with eternal life, not specific to any religion or culture, that has persisted for millennia. The following carvings display a closely resembling geometric whirl engravure: in the apse frieze of Koenigslutter Kaiserdom (Lower Saxony), in the pulpit of Sacra di Carpi (Modena), in the “Creation of animals” panel of S. Zeno Basilica (Verona), in the Verona Cathedral porch, and in the Ferrara Cathedral narthex. This symbol, generally ignored by Western Christian art after the Carolingian period, was revisited by the Nicholaus workshop. We argue that the small, hitherto overlooked whirl engraving made by these artists in the bull head of Koenigslutter, Carpi, Ferrara and Verona was a veiled ornamental performance displaying the symbol of eternity to signify the concept of life in the hereafter. Here the immediate inspiration source was likely Armenian, because in the early twelfth century the geometric whirl symbol of eternity was foreign to Italian religious decorations while it was deeply rooted in Armenian Christian art. Nicholaus and his atelier were familiar with the leaved cross and the whirl – traditional Armenian motifs symbolizing life in the hereafter – and were inspired by them in some of their works. In the decorative reliefs of S. Zeno Basilica façade, Verona Cathedral porch and Koenigslutter Kaiserdom frieze, various examples of the geometric whirl metamorphosis into naturalistic foliate whirl are extant, witnessing the Nicholaus atelier’s versatile sculptural performance in conceptualizing everlasting life.
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Dolce, Rita. "The “head of the enemy” in the sculptures from the palaces of Nineveh: An example of “cultural migration”?" Iraq 66 (2004): 121–32. http://dx.doi.org/10.1017/s0021088900001716.
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The choice of this subject originates from the fact that the area of research to which I have been devoting myself recently includes the figurative cultures of Mesopotamia and Syria in the Early Dynastic and the Early Syrian periods, specifically in the field of war. Some of the data resulting from this research focus on the representation of the “head of the enemy”, which appears repeatedly in the documentation of the second millennium BC in Syria but so far seems to be absent in contemporary Mesopotamia. Despite the evident difference between the forms of representation from these two areas, I perceived in the figurative cycles of the Neo-Assyrian reliefs not only the recurrence of this theme but also the intentional display of severed heads, which reaches its climax in the numerous examples from the South-West Palace in Nineveh. My first aim is, therefore, to suggest a plausible approach towards identifying the origin of the display of “severed heads”, previously absent from Mesopotamian scenes of warfare, in the visual communication of the Neo-Assyrian period. My second aim is to offer an interpretation which may help shed light on ideological, cultural and anthropological aspects essential to the Neo-Assyrian political programme and its visual representation.
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Кузнецова, І. О., О. В. Лільчицький, and М. О. Привалов. "Специфіка відображення теми спорту в творах античного мистецтва." Art and Design, no. 4 (February 15, 2021): 136–48. http://dx.doi.org/10.30857/2617-0272.2020.4.11.
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Aim of work is to identify sport reflection features in ancient art. The paper uses methods of systematization and updating of analytical information about the peculiarities of the reflection of elements related to sports in the styles of the ancient world. The accumulation, systematization and implementation of information is carried out by studying the specialized professional literature and sites depicting the reflection of elements related to sports in ancient art. The main reflections of sports life in ancient art are identified and characterized. There is a description of ancient art that reflects sporting events. A summary analysis of the elements related to sports in the objects of the ancient world. The most interesting in the context of modernity are the elements of joy in Cretan art, the emphasis on dynamism in the first period of Minoan art; didactic orientation of the image of sculptural and pictorial works of sports events. Special attention needs to be paid to objects that are the result of all-Hellenic holidays. The example of creation of art objects on an example of figurines, painting, a vase-painting, minting connected with acrobatic jumps through a bull is considered. The elements of active dynamics, up to the existence of sloping lines in vase-painting and paintings in certain periods, of passive dynamics in the "golden age of Pericles" are shown. Then the visual ideal of athletics was created. The generalization of the classical period does not correspond to the superdynamic modernity. The most interesting emotional facial expression in both sculpture and painting of the period of imperial Rome. Since the II century. B.C. the portrait of the athlete is more and more individualized. The study is based on the study of sport as historically formed in the form of special competitive activities and sports practice socio-cultural phenomenon that promotes the harmonious development of natural and social psychophysiological abilities of motor activity and moral and aesthetic qualities of man, which determines his sports activities. The paper shows the trends in the creation of sculptures, frescoes, reliefs, vase paintings in ancient art, which reflect the sport. Prospects for further research should be related to assessing the impact of various modern processes on the creation of art and design, based on clear characteristics of new materials, a deep understanding of existing and new technological processes, general global trends in society as a whole.
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Phillips, Flip, and Roland W. Fleming. "TheVeiled Virginillustrates visual segmentation of shape by cause." Proceedings of the National Academy of Sciences 117, no. 21 (May 15, 2020): 11735–43. http://dx.doi.org/10.1073/pnas.1917565117.
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Three-dimensional (3D) shape perception is one of the most important functions of vision. It is crucial for many tasks, from object recognition to tool use, and yet how the brain represents shape remains poorly understood. Most theories focus on purely geometrical computations (e.g., estimating depths, curvatures, symmetries). Here, however, we find that shape perception also involves sophisticated inferences that parse shapes into features with distinct causal origins. Inspired by marble sculptures such as Strazza’sThe Veiled Virgin(1850), which vividly depict figures swathed in cloth, we created composite shapes by wrapping unfamiliar forms in textile, so that the observable surface relief was the result of complex interactions between the underlying object and overlying fabric. Making sense of such structures requires segmenting the shape based on their causes, to distinguish whether lumps and ridges are due to the shrouded object or to the ripples and folds of the overlying cloth. Three-dimensional scans of the objects with and without the textile provided ground-truth measures of the true physical surface reliefs, against which observers’ judgments could be compared. In a virtual painting task, participants indicated which surface ridges appeared to be caused by the hidden object and which were due to the drapery. In another experiment, participants indicated the perceived depth profile of both surface layers. Their responses reveal that they can robustly distinguish features belonging to the textile from those due to the underlying object. Together, these findings reveal the operation of visual shape-segmentation processes that parse shapes based on their causal origin.
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Lipińska, Aleksandra. "Mass production of sculptures and its consequences. The case of southern Netherlandish alabasters preserved in Central Europe." Acta Historiae Artium 48, no. 1 (October 1, 2007): 273–80. http://dx.doi.org/10.1556/ahista.48.2007.1.8.
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Considering consequences of mass art production, we usually focus on the phenomena observed since the 19th century. However, we are aware of much earlier evidence of mass art production. An example for closer studies of this problem provides art of the Low Countries, where the system of mass art production was developed already in the Middle Ages. The most evident example of this phenomenon is Netherlandish print industry of the 16th and 17th centuries, but we will also find proofs in the field of sculpture. We observe that already in the fabrication of Netherlandish carved altarpieces, whose workshop tradition, vivified by all’antica stylistic, formed the basis for mass production of alabaster sculpture in Mechelen and Antwerp (ca. 1530–1650). The example of Netherlandish alabaster imports in Central Europe lets us notice specific perception and reception of art objects of this kind. Large number of alabaster reliefs and huisaltaartjes manufactured in Mechelen and Antwerp resulted in low prices. Their small size made transport easier and thanks to the exchange trade between Central Europe and Low Countries they were relatively easily available and could play the role of culture transfer medium. They intermediated not only in spreading of iconographical and stylistic patterns, but also caused the increase of interest for alabaster among local artists and founders. In the research area we find items that repeat alabaster modelling techniques, as well as compositions and types of imported pieces, which makes us suppose that local artists might have even copied fashionable Netherlandish works.
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Boin, Douglas. "A late antique statuary collection at Ostia's sanctuary of Magna Mater: a case-study in late Roman religion and tradition." Papers of the British School at Rome 81 (September 26, 2013): 247–77. http://dx.doi.org/10.1017/s006824621300010x.
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Throughout the Mediterranean the study of the destruction, reuse, moving and preservation of statues has provided a window onto the transformation of Rome during a time of ascendant Christianity. The preservation of statuary collections is increasingly important in this regard. Archival research has revealed the discovery of one such collection at Ostia's Sanctuary of Magna Mater, a treasure trove of sculptures, reliefs and at least one bronze statue. All were well preserved, and several were found in the open spaces of the sanctuary. Together they span 500 years of history, stretching into the late fourth century. Unfortunately, the late antique significance of this group has never been acknowledged. This paper situates that collection within the social world of late antique Ostia, where many statues of both sacred and non-sacred subjects remained on display. The late fourth-century dedication, in particular, set alongside the earlier pieces, demonstrates that the ‘mood and motivations’ of traditional Roman religion, in Clifford Geertz's terms, also remained quite visible. The presence of this accumulated tradition, a hallmark of Rome's ‘civil religion’ for centuries, testifies to the high social status afforded one of Ostia's most historic sites, even during an increasingly Christian age.
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Mastrocinque, Attilio. "The Cilician God Sandas and the Greek Chimaera: Features of Near Eastern and Greek Mythology Concerning the Plague." Journal of Ancient Near Eastern Religions 7, no. 2 (2007): 197–217. http://dx.doi.org/10.1163/156921207783876413.
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AbstractA gem in the Museum of Castelvecchio (Verona) depicts the god Sandas of Tarsos with his terrible animal: the lion-goat. On the reverse side there is the inscription YOYO. The epigraphical and archaeological evidence from Anatolia, from Hittite to Hellenistic times, proves that Sandas was a underworld god protecting tombs and sending pestilences when angry. He was appeased by offerings to his terrible ministers, who were usually seven. Similarly Nergal or Erra (similar to Sandas) in Mesopotamia, and Sekhmet in Egypt had seven animal-headed terrible ministers, who were able to bring pestilences and death. A Hittite inscription mentions Yaya as Sandas' female partner. Her name is very similar to the Yoyo on the Verona gem. Sandas was identified with Heracles because of his relations with the underworld realms and his warlike features. The lion-goat of Tarsus was the model of Greek Chimaera. In fact the myth of Bellerophon took its place in Lycia and Cilicia. In Hellenistic age the original form of this monster was better known and therefore we find its typical features in Hellenistic and Roman sculptures and reliefs.
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Smith, R. R. R. "The Imperial Reliefs from the Sebasteion at Aphrodisias." Journal of Roman Studies 77 (November 1987): 88–138. http://dx.doi.org/10.2307/300577.
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In 1979, during his continuing excavation of the city of Aphrodisias, Professor K. T. Erim discovered a large temple and sanctuary complex dedicated to Aphrodite and the Julio-Claudian emperors (theTheoi Sebastoi). It had a remarkable sculptural display of which much has survived—there are about eighty relief panels. The complex would probably have been called a Sebasteion: we know from an unrelated inscription that there was one at Aphrodisias. It is of great interest to both the historian and art-historian of the early empire, giving a rare combination of buildings, sculpture, and inscriptions from a unified excavated context and providing an unrivalled picture of the physical setting of the imperial cult in a Greek city. The sculptured reliefs give a great range and combination of iconography quite unexpected in such a context—mythological, allegorical, and imperial. The myth panels seem to offer a missing link between the iconographic repertoire of the Hellenistic world and that used under the Roman empire, while the allegorical and imperial panels give a detailed plcture of the emperor and Rome as seen from the Greek East that is not available elsewhere.
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Jinsin, Kun. "Chinese Buddhist Sculpture of the Early Period. Iconographic Features." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 114–26. http://dx.doi.org/10.36340/2071-6818-2020-16-2-114-126.
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Chinese Buddhist Sculpture of the Early Period. Iconographic Features The development period of the art of Buddhist sculpture from the mid and late era of Eastern Han to the era of Western Jin is addressed in this article. The Buddhist sculpture of this period is called early Chinese Buddhist sculpture. During this period, before individual Buddhist sculptures became official objects of worship, Buddha images were made on stone carvings in tombs, on money trees, bronze mirrors, hunping vessels, etc. They have many similarities between each other, and therefore are significantly different from Buddhist sculptures of the later period. Based on currently available archaeological materials, relief was the main form of Buddhist sculptures of this period; sculptures mainly served as decor and were not an object of worship. In terms of purpose and meaning, they were mainly associated with funeral rituals, beliefs about happy omens, beliefs about celestials, early Taoist and other ideas, etc. After putting in order and combining material on the remains of early Buddhist sculptures, the following features of the art of sculpture can be distinguished: 1. In many ways, the early Buddhist sculptures expressed the early style of Gandhara. 2. The early Buddhist statues were closely related to the themes of the celestials and Huang Lao. 3. Buddhist sculpture did not occupy the most respected position. These sculptures mainly performed a decorative function, symbolized happiness and prosperity, and were not the main object of worship. Two conclusions can be drawn from this: the art of early Buddhist sculptures and religion basically developed synchronously; after appearing in China, the art of Buddhist images immediately became Chinese.
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Serikov, Yu B. "The use of point-impact techniques in stone processing (pecking) in the sites of forest Trans-Urals." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 2(65) (June 15, 2024): 18–30. http://dx.doi.org/10.20874/2071-0437-2024-65-2-2.
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For processing of stone and manufacture of tools, ancient man mastered a variety of methods and tech-niques — beating, splitting into flakes and plates, impact and spin retouching, grinding, sawing, drilling and some others. Of these, the least studied and insufficiently covered in the literature is the point-impact technique (pe-cking). Pecking could have been used both as an auxiliary technique and as the main one. When processing large tools (axes, adzes, pestles), which subsequently were polished, it was an auxiliary method. But when mak-ing a circular groove for tying and hollowing out a blind or through hole, it would have become the main one. In the forest Trans-Urals, the pecking technique was already known in the Mesolithic. A treasure hoard containing six stone axes has been found at the Mesolithic settlement of Ogurdino (Perm Krai). The axes were treated by beating and pecking techniques, followed by partial surface polishing. Also, two axe blanks with lugs (trunnions) from the site of Beregovaya IX in the Gorbunovsky peat bog (Sverdlovsk Region) belong to the Mesolithic. The edges of the tools and the protruding lugs were processed by pecking. A perforated disk-pommel in the shape of a kind of disguise was found in the Late Mesolithic layer of the 2nd Beregovaya site in the Gorbunovsky peat bog. A rounded hole 2.8–3.1 cm in diameter was made in the center of the disc by deep pecking on both sides. The majority of the items processed by pecking were found on mixed sites and date to a wide chronological range from the Neolithic to Bronze Age. Some of them represent accidental single finds. Stone sculptures, tops of maces, axes, adzes, plows, chisels, pestles, fishing sinkers, “ironings” were processed using point-impact re-touching. Tying lines on hammers made of massive pebbles were designed exclusively by pecking. During the Early Iron Age, the pecking technique only further expanded its application. Moreover, it was used not only for shaping products, but for making complex figured ornaments on sculptures and bas-reliefs.