Academic literature on the topic 'Tibetan Small art works'
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Journal articles on the topic "Tibetan Small art works"
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Zorin, Aleksandr. "Tibetan and Mongolian Studies of the Academician Theophilus Siegfried Bayer." ISTORIYA 13, no. 4 (114) (2022): 0. http://dx.doi.org/10.18254/s207987840021195-3.
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This article deals with one of the main directions of research of T. S. Bayer (1694—1738), the first orientalist at the Russian Academy of Sciences. His interest in Tibetan and Mongolian writings was formed several years before his arrival in St. Petersburg, but it was instigated mainly by the sources connected with Russia. In the 1720s, two preliminary works by Bayer on this topic were published, one of them containing a translation of a text related to the ritual practice of Tibeto-Mongolian Buddhism, the first one in the history of European science. After moving to Russia, Bayer got the opportunity to publish a three-graphic syllabary that had been brought from Siberia by D. G. Messerschmidt (1685—1735) and contained a full set of letters and ligatures of the Indian Rañjana (Lañtsa) script, Tibetan and Mongolian alphabets. The circumstances of the acquaintance of the two scholars had a tragic connotation for Messerschmidt, who was deprived of the right to deal with the collections he himself brought to Saint Petersburg, and, nevertheless, their relationship was not hostile. This is confirmed by some materials from Bayer’s personal collection, presently kept at the Glasgow University Library, in particular his copy of a small Tibetan syllabary which seems to have been provided to him by Messerschmidt (the autograph is lost). This manuscript is published in the appendix to the article.
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Zhen, Ni. "Analyze the Development of Tibetan Contemporary Art." BCP Education & Psychology 8 (February 27, 2023): 84–88. http://dx.doi.org/10.54691/bcpep.v8i.4276.
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The development of Tibetan contemporary art, which is divorced from the traditional Buddhist significance, faces many problems, including the common problems of contemporary art and the problems that only occur in Tibetan contemporary art. Because of their unique cultural background, Tibetan people do not accept open contemporary art and depart from traditional forms, and they have their own aesthetic standards for art. Tibetan contemporary artists are in line with the world and create advanced contemporary art works. However, when creating works, even excellent artists will use the wrong images under the complex cultural background of Tibet. This paper analyzes the problems from three aspects of Tibetan contemporary art: openness, pluralism and social responsibility, and then analyzes the results accordingly. It is found that if Tibetan people can be more inclusive and Tibetan artists can pay more attention to the cultural connotation of their works, Tibetan contemporary art will develop better.
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Li, Hang, Jie Fang, Ying Jia, Liqi Ji, Xin Chen, and Nianyi Wang. "Thangka Sketch Colorization Based on Multi-Level Adaptive-Instance-Normalized Color Fusion and Skip Connection Attention." Electronics 12, no. 7 (April 6, 2023): 1745. http://dx.doi.org/10.3390/electronics12071745.
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Thangka is an important intangible cultural heritage of Tibet. Due to the complexity, and time-consuming nature of the Thangka painting technique, this technique is currently facing the risk of being lost. It is important to preserve the art of Thangka through digital painting methods. Machine learning-based auto-sketch colorization is one of the vital steps for digital Thangka painting. However, existing learning-based sketch colorization methods face two challenges in solving the problem of colorizing Thangka: (1) the extremely rich colors of the Thangka make it difficult to color accurately with existing algorithms, and (2) the line density of the Thangka brings extreme challenges for algorithms to define what semantic information the lines imply. To resolve these problems, we propose a Thangka sketch colorization method based on multi-level adaptive-instance-normalized color fusion (MACF) and skip connection attention (SCA). The proposed method consists of two parts: (1) a multi-level adaptive-instance-normalized color fusion (MACF) to fuse sketch feature and color feature; and (2) a skip connection attention (SCA) mechanism to distinguish the semantic information implied by the sketch lines. Experiments on colorizing Thangka sketches show that our method works well on two small datasets—the Danbooru 2019 dataset and the Thangka dataset. Our approach can generate exquisite Thangka.
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Li, Meng Die. "Traditions of the Tibetan New Year’s Festival in Contemporary Chinese Painting: Pan Shixun and Ye Xingsheng." Observatory of Culture 17, no. 2 (June 30, 2020): 214–23. http://dx.doi.org/10.25281/2072-3156-2020-17-2-214-223.
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The article is devoted to the tradition of the Tibetan New Year celebration reflected in contemporary Chinese oil painting. The article’s purpose is to study the cultural features of the Tibetan New Year, on the example of works of the two Chinese artists: Pan Shixun and Ye Xingsheng, and to analyze the degree of art’s influence on the preservation of intangible cultural heritage. Chinese painting contributes to the unity of traditions of the past and present, as well as the integration of classical and contemporary elements in the technique of modern times. In their works, the masters, using elements of classical Chinese, Western and Tibetan painting, conveyed unique features of the national culture and history of Tibet. The work systematizes the complex of customs and religious rites, traditional costumes and treats of the Tibetan New Year festival. The artists’ works are considered as a mechanism for transmitting traditional Tibetan folk and religious art.
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Чандра, Л. "Vaguri the bird-catcher." Iskusstvo Evrazii [The Art of Eurasia], no. 4(31) (December 29, 2023): 302–4. http://dx.doi.org/10.46748/arteuras.2023.04.020.
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Статья посвящена символике и иконографии сиддхи Вагури в буддийском искусстве. Приводятся примеры из трудов санскритского автора XI века Абхаядатты, А. Грюнведеля, Каталога тибетских фондов Национальной библиотеки (Париж) П. Кордье, Полного каталога тибетских буддийских канонов (Сендай), Тибетского дома-музея (Нью-Дели). Перевод статьи Локеша Чандры из «Словаря буддийской иконографии» выполнен С.М. Белокуровой. The article is devoted to the symbolism and iconography of Siddha Vaguri in Buddhist art. The author gives examples from the works of Abhayadatta, A. Grünwedel, the Catalogue of Tibetan сollections of the Bibliothèque Nationale (Paris) by P. Cordier, the Complete сatalogue of Tibetan Buddhist сanons (Sendai), and the Tibetan House Museum (New Delhi). The translation of Lokesh Chandra's article from the Dictionary of Buddhist Iconography has been executed by S.M. Belokurova.
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KUBIK, Adam. "Mysterious helmet from Verden and its “link” with Tibetan helmets." Historia i Świat 6 (September 14, 2017): 133–39. http://dx.doi.org/10.34739/his.2017.06.10.
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The article discusses a helmet that was published in 1914 in Zeitschrift für Historische Waffenkunde. It was possibly found by a German farmer during field works near the town of Verden in Lower Saxony. The helmet which was previously associated with the Saxons and dated between Migration Period and the reign of Charlemagne shows clearly relations with far Asian constructions. Additionally I discuss here another helmet in The Metropolitan Museum of Art, which seems to be a 20th century reworking that imitated the Verden helmet
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Chen, Yijing, Luqing Wang, Xingquan Liu, and Hongjun Wang. "Artificial Intelligence-Empowered Art Education: A Cycle-Consistency Network-Based Model for Creating the Fusion Works of Tibetan Painting Styles." Sustainability 15, no. 8 (April 15, 2023): 6692. http://dx.doi.org/10.3390/su15086692.
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The integration of Tibetan Thangka and other ethnic painting styles is an important topic of Chinese ethnic art. Its purpose is to explore, supplement, and continue Chinese traditional culture. Restricted by Buddhism and the economy, the traditional Thangka presents the problem of a single style, and drawing a Thangka is time-consuming and labor-intensive. In response to these problems, we propose a Tibetan painting style fusion (TPSF) model based on neural networks that can automatically and quickly integrate the painting styles of the two ethnicities. First, we set up Thangka and Chinese painting datasets as experimental data. Second, we use the training data to train the generator and the discriminator. Then, the TPSF model maps the style of the input image to the target image to fuse the two ethnicities painting styles of Tibetan and Chinese. Finally, to demonstrate the advancement of the proposed method, we add four comparison models to our experiments. At the same time, the Frechet Inception Distance (FID) metric and the questionnaire method were used to evaluate the quality and visual appeal of the generated images, respectively. The experimental results show that the fusion images have excellent quality and great visual appeal.
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Sun, Jia. "Blaze and Sublime — A Preliminary Study on the Aesthetic Characteristics of Red Tangka." Art and Society 3, no. 3 (June 2024): 26–31. http://dx.doi.org/10.56397/as.2024.06.03.
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The red Thangka not only reflects the Tibetan people’s reverence and yearning for the vitality of life, the brilliance of the sun and the purification of the deity, but also contains the artistic pursuit of fierce and lofty emotions. Through the systematic analysis of 150 works of 20 red Thangka artists, this paper reveals the multiple symbolic meanings of red in red Thangka and the regularity and difference of emotional expression. The results show that the selection and collocation of red is not only the inheritance of traditional Tibetan aesthetics, but also the innovation of modern aesthetic trends. The combination of schematic design, line use and composition form a fiery and lofty aesthetic style of red Thangka. The aesthetic characteristics of red Thangka not only provide us with a new perspective to better understand Tibetan culture, but also provide a rich mass foundation and creative inspiration for the artistic creation and cultural inheritance of red Thangka in the future. The research results confirm that the artistic creation and cultural inheritance of red Thangka have important practical significance and academic value in the sustainable development of Tibetan art and culture.
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Yan, Zhilong, and Aixin Zhang. "“Ritual and Magic” in Buddhist Visual Culture from the Bird Totem." Religions 13, no. 8 (August 8, 2022): 719. http://dx.doi.org/10.3390/rel13080719.
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Despite numerous research findings related to medieval Chinese Buddhism, the witchcraft role of bird totems in Buddhist history has not received sufficient attention. In order to fill this gap, this paper analyzes how Buddhist monks in medieval China developed a close relationship with bird-totem worship. This relationship has been documented in Buddhist scriptures, rituals, oral traditions, biographies, and mural art. Although bird-totem worship was practiced in many regions of medieval China, this paper specifically examines the visual culture of bird totems in Tibetan and Chinese Buddhism. Furthermore, some details of this culture were recorded in Buddhist texts and images. According to these works, various bird-totem patterns and symbols are believed to be effective ritual arts used by Tibetan and Chinese Buddhist monks to influence nature and the supernatural through ritual and magic.
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Lopez, Donald S. "“Lamaism” and the Disappearance of Tibet." Comparative Studies in Society and History 38, no. 1 (January 1996): 3–25. http://dx.doi.org/10.1017/s0010417500020107.
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At an exhibition in 1992 at the National Gallery in Washington, D.C., “Circa 1492: Art in the Age of Exploration,” one room among the four devoted to Ming China was called “Lamaist Art.” In the coffee-table book produced for the exhibition, with reproductions and descriptions of over 1,100 of the works displayed, however, not one painting, sculpture, or artifact was described as being of Tibetan origin. In commenting upon one of the Ming paintings, the well-known Asian art historian, Sherman E. Lee, wrote, “The individual [Tang and Song] motifs, however, were woven into a thicket of obsessive design produced for a non-Chinese audience. Here the aesthetic wealth of China was placed at the service of the complicated theology of Tibet.” This complicated theology is named by Lee with the term “Lamaism,” an abstract noun that does not occur in the Tibetan language but which has a long history in the West, a history inextricable from the ideology of exploration and discovery that the National Gallery cautiously sought to celebrate. Lee echoes the nineteenth-century portrayal of Lamaism as something monstrous, a composite of unnatural lineage, devoid of the spirit of original Buddhism (as constructed by European Orientialists). Lamaism was a deformity unique to Tibet, its parentage denied by India (in the voice of British Indologists) and by China (in the voice of the Qing empire), an aberration so unique in fact that it would eventually float free from its Tibetan abode, an abode that would vanish.
Dissertations / Theses on the topic "Tibetan Small art works"
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Clark, W. Andrew, Cher L. Cornett, and Peter M. Hriso. "Linking Art to Science: Digital Media as a Technology Translation Tool." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etsu-works/2524.
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Technology translation can be achieved through the blending of the sciences and arts in the form of digital imagery. Digital animation and video can be utilized to portray molecular events where the mechanism of action is known but the process occurs at a sub-microscopic level. There needs to be a strong collaboration between scientific advisors and digital artists when creating the animation such that the artistic interpretation of the molecular event conforms to the known and accepted confines of science. The finished animation may be used for information, education or persuasion as entrepreneurial biotechnical companies attempt to find markets, customers and investors interested in their inventions. Educational institutions with programs in the sciences, arts, digital media and medicine need to promote the interaction of students from these disciplines through cross-functional teams and courses. Solutions to problems developed by these teams tend to be broader and more comprehensive than more homogeneous teams.
Books on the topic "Tibetan Small art works"
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Bossan, Enrico. Tibet: Made by Tibetans : contemporary artists from Tibet. [Villorba]: Fabrica, 2015.
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editor, Gunton Gabrielle, and Chalk Bella illustrator, eds. Tibetan Buddhist art. London: Quartet Books Limited, 2019.
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Ghana, FCA, ed. Small works, big city. [Accra]: FCA Ghana, 2005.
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Ghana, FCA, ed. Small works, big city. [Accra]: FCA Ghana, 2005.
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Ghana, FCA, ed. Small works, big city. [Accra]: FCA Ghana, 2005.
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Baker, Ian. The Tibetan art of healing. San Francisco: Chronicle Books, 1997.
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Hsü, An, ed. Art of Tibetan costume and ornaments. Tʻien-chin shih: Nakai University Publishing House, 1988.
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Baker, Ian. The Tibetan art of healing. London: Thames & Hudson, 1997.
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Gallery, Sligo Art. Íontas: Sixth small works art exhibition. Sligo: Sligo Art Gallery, 1995.
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Gallery, Sligo Art. Íontas: Second small works art exhibition. Sligo: Sligo Art Gallery, 1991.
Find full textBook chapters on the topic "Tibetan Small art works"
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Mehl, Margaret. "11. The World in Sendai." In Music and the Making of Modern Japan, 345–86. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0374.11.
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Chapter 11, ‘The World in Sendai’ investigates the types of ‘Western music’ that were actually performed in concerts in Sendai. This is the main theme of. Based on the programmes of local concerts between 1907 and 1921 published in the magazine Ongakukai (World of music), this chapter shows how local concerts, in which different groups came together to perform an eclectic repertoire to a mixed audience, helped transform the people of Sendai into members of a nation within a wider world of nations. The modern institution of the public concert represented a space where Japanese and foreigners met and played and listened to music that was being performed and heard worldwide. The repertoire included a wide range of genres and countries of origin. Together, this variety, and the locations, scenes, and stories evoked by the pieces reveal much that is obscured by the blanket term, ‘Western music’. Works from the narrow canon of the ‘great masters’ of European art music, in fact, represented only a small fraction of what was performed. For example, the programme of a concert in Sendai in February 1916 included the ‘Tipperary Song’, sung by a Japanese high school student. Published in 1912 and first recorded in 1914, the song evokes to this day the image of British Soldiers marching in the First World War. In fact, three months after the Sendai concert, in the naval battle of Jutland, 26 survivors of the wreck of the Tipperary were reportedly recognized and rescued, when they sang, ‘It’s a long, way...’ It is hard to beat this conjunction as an illustration of music’s power as a force of global integration.
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Lipton, Barbara. "History of the Jacques Marchais Museum of Tibetan Art and the Collections." In Treasures of Tibetan Art, 3–18. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195097139.003.0001.
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Abstract The Jacques Marchais Museum of Tibetan Art, formerly named the Jacques Marchais Center of Tibetan Art and also known popularly as the Tibetan Museum, was built between 1943 and 1947 by Jacqueline Klauber, who called herself Jacques Marchais. The museum consists of two fieldstone buildings designed to resemble a small Himalayan monastery, situated in a quiet garden high on a hillside overlooking New York Bay in Staten Island, New York. The interior of one building that is used as the main exhibition area is a square room, two-stories high, that resembles the chanting hall of a Tibetan temple. There is a three-tiered stone altar across one end that is covered with statues, paintings, and ritual objects. Four pillars painted with Tibetan motifs support the flat roof, which has a cupola in the center. Eighteen small windows surround the top of the room on the three sides facing the altar. The other building, dominated by a large stone fireplace, was originally furnished like a baronial library but at this writing is used for office space and a museum gift shop.The property nestles into the side of the hill, and no sounds intrude from the street above. All the noise and bustle of New York seem far away. Statues of Shakyamuni Buddha sit peacefully in the garden, and colorful, printed Tibetan prayer flags flutter in the breeze, sending out their message of compassion for all sentient beings. The atmosphere is one of serenity and beauty. The Tibetan Museum is unique in displaying its art in a setting that contributes to the visitor’s understanding and enjoyment. When he saw the museum in 1991, the Fourteenth Dalai Lama, Tenzin Gyatso, said it felt like being in Tibet.
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Lipton, Barbara, and Nima Dorjee Ragnubs. "Catalogue Entries." In Treasures of Tibetan Art, 39–260. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195097139.003.0004.
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Abstract Shakyamuni Buddha is sitting cross-legged on a lotus base with his right hand in the earth-touching position and his left hand in the meditation position holding a begging bowl. Three signs of his Buddhahood are prominent: the urna, or tuft of hair between his eyes; the ushnisha, or crown protrusion; and the elongated earlobes. His half-opened eyes are looking down in meditation. His neck has three folds, commonly seen as a sign of beauty in Chinese art. His waist is slim and his body perfectly proportioned. His monk’s robe covers both shoulders, is pleated above the waist, and falls in stiff folds. The borders have an intricate chased floral design. The eleven double lotus petals do not continue all around the base, and there is a graceful raised scroll design in the back. The base is closed.The following brief account of Shakyamuni’s life is a mixture of history and myth. According to the sutras, Tibetans count twelve main events in the life of Shakyamuni Buddha: (1) descending from Tushita Heaven; (2) entering his mother’s womb; (3) taking birth;The small prince was given the name of Siddhartha, “the one who fulfills [his father’s] wishes.” Astrological predictions were made that the boy would become either a great king or a great spiritual person who would renounce the world. The king desired that his son inherit the kingdom.
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Virtanen, Riika J. "VIEWS ON LITERARY CHARACTERS IN CONTEMPORARY TIBETAN CRITICAL WRITINGS." In Modernizing the Tibetan Literary Tradition, 62–76. St. Petersburg State University, 2018. http://dx.doi.org/10.21638/11701/9785288058455.04.
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Since characters usually have a central function in fictional prose, it is worth paying attention to Tibetan theoretical writings concerning them. Although some attention has already been paid to the emergence of modern Tibetan literary criticism and especially to critical discussion about poetry in the 1980s [Hartley, 2003], there is a need to pay more attention to the concepts and theories used by Tibetan critics to analyze prose. To provide some preliminary information on the topic, ten Tibetan language articles on characters are discussed in this article. They were published between the years 1992–2007 in journals titled Bod kyi rtsom rig sgyu rtsal (Tibetan Literature and Art), mTsho sngon slob gso (Qinghai Education) and Bod ljongs sgyu rtsal zhib ‘jug ( Tibetan Art Research). Based on examination of Tibetan writings it can be understood that there are various views on characterization in Tibetan literary critical discussion. The Tibetan critics have discussed both works of Tibetan contemporary and traditional literature and literature from other countries. The idea of the typical character, which can be found in the writings of Engels, Gorky and Belinsky, has been used and applied in some of the articles. Also influences from different directions, such as from India, Russia and China, can be observed as having influenced Tibetan ideas about characterization. However, the articles also demonstrate how Tibetan insights rise from the critics’ careful readings of Tibetan literature.
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Philbrick, Ethan. "Introduction." In Group Works, 1–24. Fordham University Press, 2023. http://dx.doi.org/10.5422/fordham/9781531502690.003.0101.
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In the introduction, Philbrick sets up the conceptual and historical terrain of the book by offering three short essays on the group tuned to three different registers—group theory, group politics, and group art—before turning to archival traces of one visionary small group from the 1970s, the Combahee River Collective, and the resonance of their work in Cauleen Smith’s 2018 film Sojourner.
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Harold, James. "Wicked Artists." In Dangerous Art, 51–69. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197519769.003.0004.
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This chapter takes up the problem of immoral artists, as well as related questions, like immoral production. When an artist commits great crimes, some are tempted to treat the art itself as though it were also tainted. The question is whether this is the right thing to do. This chapter argues that the question can be approached in two ways. First, the chapter considers the possibility that works by bad artists are in themselves morally bad. It argues that this view is plausible in only a small number of cases. Second, the chapter considers the possibility that communities around bad artists are tainted by the artist’s bad actions. It defends this view against objections. The primary conclusion is that we should not, for the most part, think of works themselves as being moral or immoral because their creators are.
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"Batya Brutin, Holocaust Icons in Art: The Warsaw Ghetto Boy and Anne Frank. Berlin: Walter de Gruyter; Jerusalem: The Hebrew University Magnes Press, 2020. xvi + 213 pp." In No Small Matter, edited by Anat Helman, 283–85. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197577301.003.0025.
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This chapter reflects on Batya Brutin's Holocaust Icons in Art: The Warsaw Ghetto Boy and Anne Frank (2020). This volume documents the engagement of artistic creativity with the photographs of the boy with raised hands in the Warsaw ghetto (1943) and those of Anne Frank. In the six chapters detailing the various ways in which artists from different cultures and countries integrated these iconic figures into their oeuvre, Brutin acquaints the reader with dozens of artists who, at some point in their artistic development, opted to “express their thoughts, emotions and perceptions of the Holocaust.” These artists' works touch on various themes elaborated upon by Brutin: the fate of Jewish children in the Holocaust; personal identification with the iconic figures; their use to represent Jewish identity and universal human situations; their uniqueness; their imaginative connection with the state of Israel; and their “facelessness,” “disappearance,” and “disintegration.” Thus, the photographs have been used for decades by artists to perform a function in their art.
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Lipps, Jere H., Ajit Vartak, Ton Van Eijden, C. Rajshekhar, Sudha Vaddadi, and Rohit Vartak. "Paleontological postage stamps in art and education." In The Evolution of Paleontological Art. Geological Society of America, 2022. http://dx.doi.org/10.1130/2021.1218(25).
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ABSTRACT Postage stamps are small works of art seen by people worldwide that can be used effectively in education. The first paleontological stamp was released by India in 1951. Since then, over 4000 stamps with fossils, paleontologists, museums, and collecting sites have been issued by almost 200 countries. Stamps that illustrate fossils or reconstructions are intrinsically interesting and popular with many of the millions of stamp collectors. All disciplines of paleontology are represented, but dinosaurs are by far the most common subject, although even bacteria appear on a few stamps. Most of the stamps were scientifically accurate at the time they were issued though some artists took artistic liberties to fashion unique stamps. Overall, the stamps are artistic and educational because their small sizes and low cost make them easily accessible for classroom activities, exhibits, and presentations. They cover topics such as biodiversity, geology, ecology, oceanography, and evolution, among others. Paleophilately has provided art, education, joy, and happiness to people worldwide.
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Behrendt, Kurt A. "Gandhāran imagery as remembered by Buddhist communities across Asia." In The Rediscovery and Reception of Gandhāran Art, 107–23. Archaeopress Archaeology, 2022. http://dx.doi.org/10.32028/9781803272337-5.
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Gandhāran art endured and shaped Buddhist visual culture long after the great monasteries in the Peshawar Basin had fallen into ruin. Naturally, this impact is especially pronounced between the first and early sixth centuries when these Gandhāran institutions were active and connected through trade to Afghanistan (Bactria), Central Asia, and China. Artworks created for monastic complexes in the small regional centre of Gandhāra had an outsized impact on the Buddhist world because of their perceived legitimacy. Narrative formats from this region were also embraced as they effectively crossed cultural barriers. More remarkable are the Gandhāran sculptural forms that remained relevant in later centuries in far-flung Buddhist communities across Asia. For Tibetan and East Asian audiences, Gandhāra came to be equated with the region of Udayāna (the Swat valley), which sits about 20 km north of Gandhāra proper. Udayāna takes on great importance as the place where the first sandalwood image of the Buddha was sculpted – setting up a long lineage of Udayāna Buddha images across East Asia. The great ascetic Padmasaṃbhava also hails from Udayāna to bring tantric teachings to Nepal, Tibet, and Bhutan. Bronzes cast in Gandhāra and Swat also find their way into Tibet, where they remained under veneration. Finally, in the nineteenth century, it should not be surprising that, with the discovery of Gandhāran archaeological remains, Buddhist communities across Asia once again embraced the imagery from this authoritative sculptural tradition.
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Cleempoel, Koenraad Van. "Representations of astrolabes in Western art." In Astrolabes At Greenwich, 99–112. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780198530695.003.0009.
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Abstract The relatively infrequent depiction of astrolabes in works of art seems disproportionately small in relation to the large amount of instruments that have survived and to the high number of contemporary treatises that discuss the astrolabe. In comparison, its three-dimensional counterparts – the armillary sphere, and the celestial and the terrestrial globe – have experienced wider acclaim from artists throughout the ages. The immediate ornamental and didactic appeal of these other instruments may be responsible for this trend. But also, in a broader sense, the image of the globe and the armillary sphere became a popular visual metaphor for disciplines such as geometry and astronomy, where they are still used until the present day.
Conference papers on the topic "Tibetan Small art works"
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Tushinov, Bair, Snezhana Garmaeva, and Irina Van. "GLOSSARY DROPLETS OF NECTAR BY THE BURYAT SCHOLAR RINCHEN NOMTOEV: UNKNOWN SOURCE IN CLASSICAL MONGOLIAN WRITING." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.38.
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The article is devoted to Rinchen Nomtoev’s previously unexplored work in the Old Mongolian script — a small glossary to his own commentary on the nitishastra by the ancient Indian philosopher Nagarjuna A Drop That Feeds People. Rinchen Nomtoev was the abbot of a Buddhist temple and was engaged in enlightenment of the Buryat people, publishing dictionaries, commentaries on Buddhist texts. The glossary discussed in the article was intended for ordinary laymen and was written to clarify terms that are difficult to understand. R. Nomtoev transfers complex terms in tracing paper to the Buryat-Mongolian script from Sanskrit, Tibetan and Chinese.
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Chen, Xiaodong, Yanming Tong, Qinghui Zhang, Chuan Wu, Chenqing Tan, Farun Gao, Ning Guo, Wulin Tan, and Gaige Zhang. "Discrete Fracture Network Modeling of Saline Lacustrine Tight Oil Reservoirs Severely Deformed by Tibetan Plateau Neotectonism." In International Petroleum Technology Conference. IPTC, 2022. http://dx.doi.org/10.2523/iptc-21929-ea.
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Abstract The study area is located in Qaidam Basin on Tibetan Plateau, which has very complex geological background sedimentologically and structurally. Building the discrete fracture network (DFN) of study zone is a critical work step for subsequent dual porosity / dual permeability (Dp/Dp) dynamic simulation which further enables the optimized design of field development plan (FDP). The saline lacustrine tight oil reservoirs in study zone were severely deformed by the Neotectonism coupling with the far-field collision between the Indian and Eurasian plates. There were relatively abundant fracture interpretations from image well logs with core calibration and relatively amplitude preserving seismic cube. First, statistics of well fractures were performed in terms of their types and attitudes, which enabled proposing their genetic mechanism together with information of other references and dividing fracture sets more reasonably for subsequent DFN modeling. Then, many efforts were made on fracture driver attribute screening with the aid of neural network (NN) and principal component analysis (PCA) functions. Dozens of possible fracture driver attributes were examined, which were mainly geometric attributes, edge-detection attributes, amplitude/frequency related attributes and lithology/porosity related attributes. Meanwhile, microseismic monitoring (MSM) data were also used to help screen the pertinent fracture drivers. Three fracture driver attributes were finally screened out and they were combined together to produce a fracture intensity trend which was finally used as co-kriging secondary variable together with well fracture intensity logs for modeling the 3D-grids of fracture intensity based on gaussian random function simulation algorithm. Besides the existed fault model (as large-scale fractures) generated when building matrix geomodels, a medium-scale fracture set was built deterministically with "Fault Patch" extraction method based on the seismic edge-detection Ant Cube. Then for small-scale fractures, totally four fracture sets were built stochastically based on split 3D fracture intensity and their own parameters of geometry, orientation, aperture. These five fracture sets were then upscaled to produce the fracture properties with porosity and permeability constraints from wells, i.e., usually less than 0.1% and hundreds of millidarcies respectively. Then these fracture properties were further calibrated and used in Dp/Dp dynamic simulation process. Genuine discrete fracture network and Dp/Dp dynamic simulation were built up and performed for the first time for the complex oil reservoirs on Tibetan Plateau, based on organic multi-disciplinary integration. But more importantly, many useful conclusions and decisions were reached based on the Dp/Dp dynamic simulation which made the field development plan more robust and cost-effective.
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Fujarra, André L. C., Guilherme F. Rosetti, Jaap de Wilde, and Rodolfo T. Gonçalves. "State-of-Art on Vortex-Induced Motion: A Comprehensive Survey After More Than One Decade of Experimental Investigation." In ASME 2012 31st International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/omae2012-83561.
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After one decade of experimental investigation, the Vortex-Induced Motion – VIM phenomenon deserves a comprehensive survey concerning the advances related to its understanding, mainly under the consideration of the fundamental aspects that keep it in a close relationship to the dynamic behavior of the same phenomenon acting on slender bodies, the well known Vortex-Induced Vibration – VIV. A considerable amount of results can be found in the literature, although there are few works dealing with a general view of the problem. Probably, the main reason for such a large amount of works with no interaction between themselves and, consequently, without a common understanding about VIM might be due to its technological origin, featured by huge platforms with a variety of geometrical details, which ends up placing the researches more on the field of the faithful reproduction of the features in small-scale and less on the global understanding of the phenomenology regardless the floating system, e.g. a spar platform, a monocolumn or even a semi-submersible or a tension-leg platform. Obviously, no one should disagree that there is part of the research that must keep a faithful relationship with the full scale, however, in most of them it is possible to identify the common fundamentals concerning the fluid-structural interaction. The aim of the present work is to address a comprehensive evaluation of the experimental investigations during the past decade on the VIM, trying to gather a general understanding about its phenomenology including some comparisons to VIV. As a result, some relevant aspects are pointed out for a more prospective way of research.
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Некрасова-Каратеева, О. Л., and Е. П. Сталинская. "AUTHOR’S SOUVENIRS BY CERAMIST VYACHESLAV SHVETSOV." In Образ, знак и символ сувенира. Материалы IX Всероссийской национальной научно-практической конференции. Crossref, 2023. http://dx.doi.org/10.54874/9785605054283_136.
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В статье представлены материалы о творчестве художника-керамиста В. А. Швецова — о создании авторских произведений в разряде минискульптуры, характеризующихся особой темой «Воспоминания» и реализуемых в качестве оригинальных сувениров. Целью статьи является попытка расширить содержательный аспект функции сувениров за счет уникальных художественных произведений небольшого формата, создаваемых и ориентированных на личные воспоминания и сопереживания многих людей. Темы авторских скульптурных мини-композиций В. Швецова: сельская природа (лес, река, радуга); деревенская тематика детства художника; темы материнства, любви («Двое»), Петербурга («Петербургские настроения», «Белые ночи»). Исполненные искренно, душевно, они вызывают у зрителей соучастие, приятные ассоциации и личные воспоминания. Исследование обладает новизной, т. к. материалы его оригинальны и предлагаются к публикации впервые, продолжая ряд представленных на предыдущих конференциях примеров авторских сувениров (2020 — «Авторская серия деревянных скульптурных композиций “арт-сувенир”»; 2021 — «Авторские новогодние картинки К. О. Почтенной как уникальные сувениры»; 2022 — «Ялтинский пейзаж как авторский видовой сувенир»). Результаты и методы исследования этой статьи могут быть полезны в искусствоведении для применения анализа конкретных явлений в культуре и искусстве, новых жанровых образований. The article presents materials about the work of the ceramist artist V. A. Shvetsov – about the creation of author’s works in the category of minisculpture, characterized by a special theme “Memories” and implemented as original souvenirs. The goal of the article is an attempt to expand the content aspect of the function of souvenirs due to the unique artistic works of small format, created and oriented to personal memories and empathy of many people. The themes of the author’s sculptural mini-compositions by V. Shvetsov: rural nature (forest, river, rainbow); village themes from the artist’s childhood; themes of motherhood, love (“Two”), Petersburg (“Petersburg moods”, “White Nights”). Performed sincerely, soulfully, the works evoke in the audience emotional response from the audience, as well as pleasant associations and personal memories. The study has a novelty as its materials are original and are offered for publication for the first time, continuing a number of examples of author’s souvenirs presented at previous conferences (2020 – “Author’s series of the Art Souvenir wooden sculpture compositions”; 2021 – “Author’s New Year pictures by K. O. Pochtennaya as unique souvenirs”; 2022 – “Yalta landscape as author’s souvenir with a view”). The results and methods of the study can be useful in art criticism for the analysis of specific phenomena in culture and art, as well as new genre formations.
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Koc, Adem. "A Symbolic Taste of the City: Eskișehir Met Halva from Legend to Game." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.29.
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Th ere are some symbols (images) of cities in which they come to the fore. Th ese symbols can be diverse such as city silhouettes, temples, holy places, museums, festivals, natural areas, food, drinks, and desserts. Urban symbols can be an important soft power and tourism intermediary for the promotion of both the city and the country. Many examples such as Japan’s kimono, Kyoto garden, and sushi; France’s Paris Eiff el Tower; Moldova’s wine cellars; Moscow’s Kremlin Palace in Russia; Istanbul’s Topkapi Palace in Türkiye, beaches, doner kebab and baklava; Tibet’s Buddhist temples can be cited. As can be understood from these examples, a city or a small settlement can sometimes come to the fore even more than the country itself due to its symbol. Countries that benefi t from this can provide a good promotion in terms of tourism. While there are professional works in creating an image of the city, sometimes bad examples can be seen. However, creating the image of the city, strange structures or sculptures can sometimes be used for the promotion of the city. In fact, it is an interesting method which causes a very bad appearance. Even this situation sometimes causes a funny and disgusting image. For example, ill-hewn statues of fruit-vegetable, food, animals, persons or heroes, etc. It is unnecessary but it also causes bad publicity. Instead, applied kitchens, food and beverage presentations, and museums are more remarkable. In this paper, the city image “met halva”, which has come to the fore in the fi eld of gastronomy, with the cultural animations made recently in Sivrihisar district of Eskișehir province of Türkiye will be introduced.
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Marquis, Fabien. "Inductors and Coils New Production Solutions using Additive Manufacturing such as EBM 3D Printing and Precision Casting—A Presentation of the Current State-of-the-Art Technologies." In HT 2017. ASM International, 2017. http://dx.doi.org/10.31399/asm.cp.ht2017p0236.
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Abstract In induction heating process, coils and inductors are the core of the heating process. They are the end tool where the magnetic process affecting the part or material to be heated occurs. For more than a century, the dominant manufacturing process has been based, mainly, upon joining technologies where the coppersmith skill has been the safeguard of the quality. Use of fixtures, mandrels, and machined parts have improved the repeatability and quality of the produced elements but high volume, dimensional repeatability has always been source of problems. GH Induction continuously works on the improvement of such relatively artisanal methods to allow better lifetime, minimized production time and overall better quality. Following a first development work bringing a patented innovation in 2011 using a precision casting solution (Microfusion – Wax casting), with a solution provided a single piece coil, GH Induction has, after 2 years of development, patented a new additive manufacturing solution (3D printing concept) based on the use of Electron Beam Melting (EBM). The EBM solution benefits from the latest technology in additive manufacturing, both technologies present tremendous advantages for the designer and user. Complex shape, very small inductors can be manufactured, which are impossible to do with standard method. This presentation and article summarized the concept, manufacturing principle and technical benefits that the final users can have using such innovative solutions.
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Mortensen Steagall, Marcos, and Sergio Nesteriuk Gallo. "LINK 2021 3rd International Conference on Practice-led research in Art and Design: Forward." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.174.
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The LINK conference emerged from reflections and concerns that we always had about our own actions as educators, researchers, and practitioners in the field of Art and Design. Over the years, we have noticed that such concerns have not disappeared. On the contrary: they have multiplied, diversified, and become more complex. The more we dialogued with people worldwide, especially from the socalled “Global South”, the more we realised that these same issues were also dear to our colleagues, albeit with their own colours and contours. This is the LINK that unites us. The first step was taken as a small in-person event for guests, held in 2019 at the AUT’s South Campus in Manukau. At that time, there was no intention of organising an annual conference. The magnitude of the issues raised seemed to have a particular inhibiting effect on the incompleteness of the conference itself, considering the potential for the rich and fruitful exchange of ideas. Despite, or perhaps precisely because of the difficulties and adversities, this new scenario compelled us to move forward. The second edition of LINK, carried out in a hybrid way in 2020, expanded the quantity, diversity and quality of the works presented. Emerging themes, new epistemologies, and the multiple relationships between theory and practice (if such a distinction can be made) have consolidated as a sort of amalgam of LINK’s main issues. It covers, in a transversal and interdisciplinary way, arguably the entire field of Arts and Design. These discussions expanded beyond the event, and a special issue with 13 articles was published in the DAT Journal in 2021. At this moment, our doubts and uncertainties gave way to the commitment to promote a better event in each new edition. Furthermore, this commitment is only possible thanks to a team that is both dedicated and passionate about this purpose that unites us. Later that year, the Covid-19 pandemic began to spread across the world. In a short time, uncertainty gave way to millions of people’s anguish, suffering, and pain. At the same time, many ideas, beliefs, and values are starting to be reconsidered, bringing new challenges for a new era. Science, the construction of knowledge, and the University itself have a paradigmatic role in this moment of transformation and the search for the construction of a better world. Research changes the world. LINK’s community is constated by researchers to leverage parameters to activate different ways in which practice can create knowledge. They are based on cultural, geographic, and ideological positions shaped by the communitarian and the glocal. Thus, in offering these practice-oriented research considerations, we propose that we can learn “from” rather than “about”. This feeling emanates from recognising that the peculiar stories that generate social and artistic practices form dialogic encounters with voices on the periphery of authority and loop an iterative process to generate their own theoretical foundations.
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Zhao, Xin, Liufang Sang, Guiguang Ding, Yuchen Guo, and Xiaoming Jin. "Grouping Attribute Recognition for Pedestrian with Joint Recurrent Learning." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/441.
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Pedestrian attributes recognition is to predict attribute labels of pedestrian from surveillance images, which is a very challenging task for computer vision due to poor imaging quality and small training dataset. It is observed that semantic pedestrian attributes to be recognised tend to show semantic or visual spatial correlation. Attributes can be grouped by the correlation while previous works mostly ignore this phenomenon. Inspired by Recurrent Neural Network (RNN)'s super capability of learning context correlations, this paper proposes an end-to-end Grouping Recurrent Learning (GRL) model that takes advantage of the intra-group mutual exclusion and inter-group correlation to improve the performance of pedestrian attribute recognition. Our GRL method starts with the detection of precise body region via Body Region Proposal followed by feature extraction from detected regions. These features, along with the semantic groups, are fed into RNN for recurrent grouping attribute recognition, where intra group correlations can be learned. Extensive empirical evidence shows that our GRL model achieves state-of-the-art results, based on pedestrian attribute datasets, i.e. standard PETA and RAP datasets.
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Li, Haoming, Xinzhuo Lin, Yang Zhou, Xiang Li, Yuchi Huo, Jiming Chen, and Qi Ye. "Contact2Grasp: 3D Grasp Synthesis via Hand-Object Contact Constraint." In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/117.
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3D grasp synthesis generates grasping poses given an input object. Existing works tackle the problem by learning a direct mapping from objects to the distributions of grasping poses. However, because the physical contact is sensitive to small changes in pose, the high-nonlinear mapping between 3D object representation to valid poses is considerably non-smooth, leading to poor generation efficiency and restricted generality. To tackle the challenge, we introduce an intermediate variable for grasp contact areas to constrain the grasp generation; in other words, we factorize the mapping into two sequential stages by assuming that grasping poses are fully constrained given contact maps: 1) we first learn contact map distributions to generate the potential contact maps for grasps; 2) then learn a mapping from the contact maps to the grasping poses. Further, we propose a penetration-aware optimization with the generated contacts as a consistency constraint for grasp refinement. Extensive validations on two public datasets show that our method outperforms state-of-the-art methods regarding grasp generation on various metrics.
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Meleško, Jaroslav. "ROBUST AUGMENTED REALITY SYSTEM." In Inžinerinė grafika ir projektavimas. Informacinių technologijų sauga ir informacinės sistemos. VGTU Technika, 2016. http://dx.doi.org/10.3846/itsis.2016.09.
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I developed an augmented reality system based on Hough transform to transcend limitations of popular Augmented Reality libraries such as ArUco. The purpose of the system is to project a digital image on to a real canvas, merging digital and traditional artistic media for ease of art production and practice. The technological challenges were identified in fiducial marker based prototype and overcome in the Hough transform based system are as follows: need for a printed marker, imprecision and weakness to occlusion. The developed software based on Hough transform works with any standard sheet of paper (A4, A3 formats). The system projects a photograph directly on to canvas or paper and automatically rotates and fits the image within the canvas. It is also resistant to occlusion, such as a hand on top of the canvas or canvas that is not fully within the frame. Resistance to small scale noise is achieved thought Hough transform and large occlusions are overcome by a line averaging algorithm. The software has shown 14% better performance than analogical ArUco library based software.