Gotowe bibliografie tematyczne / Miniature figurines

Gotowa bibliografia na temat „Miniature figurines”

Autor: Grafiati
Data publikacji: 27 lipca 2024
Data aktualizacji: 29 lipca 2024

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Artykuły w czasopismach na temat "Miniature figurines"

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Biruta Loze, Ilze. "Small anthropomorphic figurines in clay at Ģipka Neolithic settlements". Documenta Praehistorica 32 (31.12.2005): 155–65. http://dx.doi.org/10.4312/dp.32.11.

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Miniature Neolithic figurines in clay are a special topic of research. This especially concerns areas where their representation has so far been poor. While carrying out archaeological excavations in Northern Kurzeme, the north-west coastal dune zone of Rīga Bay, a ritual-like complex was recovered at Ģipka A site belonging to the local Culture of Pit Ceramics. It consists of several large and smaller fireplaces and pits, with the finds of fragmentary clay figurines recovered under the palisade that surrounded the settlement. The head and body of the miniature anthropomorphic figurines in clay have original modelling. It is possible to single out two types of figurine: with rather broad cheekbones, and oval modelling of face. The large amount of ochre found in the settlement and the purposeful breaking of figurines are evidence of their role during a rite. Clay figurines have a symbolic meaning, and the signs depicted on them, incised walking stick-shape and other motifs, are the symbols of early farmers.
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Howley, Kathryn E. "The Materiality of Shabtis: Figurines over Four Millennia". Cambridge Archaeological Journal 30, nr 1 (12.09.2019): 123–40. http://dx.doi.org/10.1017/s0959774319000313.

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Miniature human figurines have inspired many theoretical advances in archaeological literature, centred around universal human reactions to the material affect of their form. However, confirmation that ancient audiences had such reactions to figurines can be difficult to access in the archaeological record. Egyptian shabtis, a type of funerary figurine, allow such reactions to be accessed by the archaeologist due to their widespread use throughout a long period of Egyptian history and their continuing popularity in other cultures since ancient times: evidence consists of a broad range of textual, artistic and archaeological data from many different cultures over a period of roughly 4000 years. This evidence confirms not only that ancient Egyptian craftsmen responded to and sought to maximize the material affect of the shabtis, but that a significant part of the human response to miniature human figurines is indeed conditioned by their material qualities, independent of the figurines’ original religious function and the cultural background of the viewer.
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Coulam, Nancy J., i Alan R. Schroedl. "Late Archaic Totemism in the Greater American Southwest". American Antiquity 69, nr 1 (styczeń 2004): 41–62. http://dx.doi.org/10.2307/4128347.

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Split-twig figurines, willow branches bent to resemble miniature animals and dating between 2900 B.C. and 1250 B.C., have been found at 30 Late Archaic period archaeological sites in the Greater American Southwest. Two different and geographically distinct construction styles, Grand Canyon and Green River, have been identified for split-twig figurines. Application of ethnographic analogy to the current split-twig figurine archaeological record supports the postulate that the two different styles of split-twig figurines served two different functions. The Grand Canyon-style figurines generally functioned as increase totems whereas the Green River-style functioned as social totems. This is the first example of increase totemism reported for the region. Ritual and social attitudes toward the animal and totem eventually ended and the last split-twig figurine was discarded around 1250 B.C.
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Shi, Yuanxie. "A China Carved and Collected: Ningbo Whitewood Figurines in the Long Twentieth Century". Journal of Chinese History 3, nr 2 (lipiec 2019): 381–407. http://dx.doi.org/10.1017/jch.2019.9.

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AbstractHow is the craft history of ordinary woodcarvers different from the political and economic history of elites and literati? This article tells a transnational history of Ningbo miniature whitewood figurines that were first collected by Western travelers as souvenirs from the 1870s to 1940s and then shipped to the West as export craft from the 1950s to 1980s. The examination of the makers, buyers, and collectors of these figurines reveals a dialectic process between carving and collecting. Focusing on both the making and circulation of these figurines, the article uncovers a new layer in modern Chinese history: with the political regime changing from the imperial state to socialist state, the carving and business practices of local artisans continued at its own rhythm. Less than three and a half inches tall, Ningbo whitewood figurines represent a miniature China carved and consumed on a global scale during the long twentieth century.
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Hamilton, Naomi. "Can We Interpret Figurines?" Cambridge Archaeological Journal 6, nr 2 (październik 1996): 281–307. http://dx.doi.org/10.1017/s0959774300001748.

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Figurines—miniature human representations modelled in clay or stone — are one of those key categories of prehistoric material which no archaeologist who finds one can ignore. Whether working in central America or southeast Europe, or in any of the many other contexts in which figurines abound, they form a central class of material which generates a heightened level of interest and attention. But however numerous and how-ever intriguing, prehistoric figurines have another crucial quality — that of ambiguity. Without the help of textual evidence, can prehistoric figurines be confidently interpreted or understood? Can we ever hope to know what an individual figurine was meant to represent, or why it was modelled in the way it was? Yet the challenge of interpretation can hardly be refiised. For figurines illustrate self-awareness, which is a unique human characteristic. It is this dilemma — the impulse to interpret, but the difficulty of doing so convincingly — which is the focus of the present Viewpoint.Figurines are found in many (though not all) regions and periods of prehistory. The earliest — the female forms once referred to as ‘Venus figurines’ — date back to the Upper Palaeolithic. At the other end of the scale, figurines are still in active production today, in the form of dolls, models and statues. In a prehistoric context, figurines have multiple dimensions of interest and meaning. In first place, there is the issue of sex and gender. Many figurines are clearly female, yet their gender significance, in both social and cognitive terms (rather than in simplistic notions of Mother Goddess or sex object), has only recently begun to be considered in a serious and critical way. Then there is the aspect of human self-awareness which the figurines so vibrantly express. Figurines also encode important cognitive elements in the modelling and representation of the human form, their makers frequently exaggerating some features or concealing others. Nor, ultimately, can we avoid the question of belief, and the ritual context in which so many figurines were made or used.The contributors to this Viewpoint feature all believe that figurines can indeed be interpreted. But they also lay stress on the vital importance of context and definition. Prehistoric figurines cannot be understood as isolated artefacts, but must be seen as products of particular societies. How far we can penetrate into their meanings — and into the minds of their prehistoric makers — is the fundamental question which underpins this discussion. Can we interpret figurines? And if so, how should we go about it?
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Garkusha, V. N., A. V. Novikov i A. V. Baulo. "Miniature Anthropomorphic Sculptures from Ust-Voikary: Chronology, Context, Semantics". Archaeology, Ethnology & Anthropology of Eurasia 52, nr 2 (29.06.2024): 108–12. http://dx.doi.org/10.17746/1563-0110.2024.52.2.108-118.

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We publish a sample of anthropomorphic sculptures unearthed in 2012–2016 at the Ust-Voikary fortified settlement in the circumpolar zone of Western Siberia. This is one of the permafrost sites, where artifacts made of organic materials are well preserved. The vast majority of the sculptures are made of wood, two of sheet metal, and one from a limonite concretion. Four main categories are identified: busts, heads, relatively full anthropomorphic figurines, and masks on sticks. Most of the sculptures follow the tradition of Ob-Ugric art, while a few can be attributed to Samoyedic art. Some figurines have additional elements such as rows of notches and diamond-shaped signs. According to ethnographic data, these signs endowed the sculptures with a sacral status. The finds have a clear archaeological, architectural, and dendrochronological context. Most were discovered in cultural layers dating to the early 1500s to early and mid-1700s. The artistic style is analyzed, and parallels are cited. The sculptures are compared with 18th to early 20th century ethnographic data. The connection of most figurines with dwellings, their small size and style show that they all belong to the ritual wooden anthropomorphic sculpture and were attributes of domestic sanctuaries. They fall into two main categories: family patron spirits and ittarma—temporary abodes of souls of the dead.
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Mikhailov, Yu I. "Seyma-Turbino Metalworking and Microtechnics: A Game of Scale". Bulletin of Kemerovo State University 24, nr 5 (7.11.2022): 549–57. http://dx.doi.org/10.21603/2078-8975-2022-24-5-549-557.

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Along with ordinary utilitarian things, Seymа-Turbinо casters made technically advanced products devoid of pragmatic functions. Miniature copies of full-size prestigious products were found in graves and shrines. Probably, communities of metalworkers treated these miniature tools as material symbols of their group identification. Numerous finds made in Petrovka, Sintashta, and Seymа-Turbino archeological sites mean that these metal miniatures were in high demand. Low-rank metal workers might have been buried with miniature samples of less technologically advanced tools. Full-size sophisticated tools, as well as their miniature copies in children's graves, could symbolize individual status. Miniature artistic castings that served as pommels on massive curved knives marked the prestigious status of this type of weapon and symbolically equated it with the Tools of the Creation. The figurines that adorned the Seyma-Turbino weapon not only emphasized its impressive size, but also gave the owners of these perfect products a higher social status. The miniature sculpture, which adorned only some of the Seyma-Turbino metal products, individualized serial samples. Thus, the microtechnics reflected not only the new possibilities of Seyma-Turbino metalworking, but also the regulatory requirements for the design of prestigious metal products. The renewal of the material ambiance was caused by the spread of serial products, the so-called quick things. It reflected the need to strengthen the connection between the owner and the possession, which was inherent to individual single-piece production
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Hendrix, Elizabeth A. "COLORS ON ANCIENT GREEK TERRA‐COTTA FIGURINES". Sculpture Review 50, nr 2 (czerwiec 2001): 32–35. http://dx.doi.org/10.1002/j.2632-3494.2001.tb00152.x.

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AbstractSmall terra‐cotta figures, mostly of women, but occasionally of men or domestic animals, were produced in Greece in great numbers during the third and second centuries B.C. These miniature figures were often beautifully sculpted, with graceful poses and lively drapery. Traces of pigment still visible today reveal that the sculptures were vividly painted over their entire surfaces with a full spectrum of colors, creating a vibrant effect. Today, scientific analysis can identify the remaining pigment and present a clearer concept of the figures' original appearance.
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Muskett, Georgina. "VOTIVE OFFERINGS FROM THE SANCTUARY OF ARTEMIS ORTHIA, SPARTA, IN LIVERPOOL COLLECTIONS". Annual of the British School at Athens 109 (23.09.2014): 159–73. http://dx.doi.org/10.1017/s0068245414000057.

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Two museums in the city of Liverpool have material from the Sanctuary of Artemis Orthia, Sparta: the Garstang Museum of Archaeology in the Department of Archaeology, Classics and Egyptology at the University of Liverpool, and World Museum, part of National Museums Liverpool.The artefacts from the Artemis Orthia sanctuary which are now in the collections in Liverpool represent all periods of the use of the sanctuary, between the eighth century bc and the third century ad. They comprise lead figurines and miniature vessels, both characteristic of Laconian sites, as well as other types of pottery and terracotta figurines. Large and more extravagant offerings, such as items made from ivory or bronze, are not represented. However, the range of artefacts, particularly lead figurines, is impressive, and complements the material from the sanctuary which has already been published, primarily in the volume edited by Dawkins and published in 1929. In addition, the collections include a few objects of exceptional interest, mentioned in the article with further details in the Appendix. A full listing of votive offerings from the Sanctuary of Artemis Orthia in Liverpool collections complements the article.
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Guryanov, Valerii, i Arthur Chubur. "Ceramic Animals of Forest Settlements: Games of Adults with Gods or Children’s Toys?" Stratum plus. Archaeology and Cultural Anthropology, nr 3 (20.06.2023): 15–26. http://dx.doi.org/10.55086/sp2331526.

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The authors believe that the clay zoomorphic plastic figurines from the Early Iron Age settlements of the forest zone (the areas of the Yukhnovskaya, Milogradskaya, Verkhneokskaya and Dyakovskaya cultures) are not votive elements of agrarian cults but children’s toys. These toys as well as miniature vessels, ceramic models of things, clay loaves could be made by children themselves while learning the process of ceramic production. The use of images of wild animals especially predators and toads in agrarian rituals is doubtful. The dominance of horse images in the Milograd-Yukhnovo area seems to be an Indo-European trait associated with mythology and not with farming. In the area of the Dyakovskaya culture with developed horse breeding, attributed to the Finno-Ugric antiquities, there are clay figurines of animals except horses. Profane toys can carry sacred images since myth and fairy tale are closely connected with each other and a toy for a child has many faces and can situationally play the role of a mythical character, a fairy-tale hero, a usual domestic animal. Some figurines become votive objects at the final stage of existence. Toys were sacrificed during initiation into adulthood as in ancient Greece and Rome. Fragments of figurines in ashtrays formed during the annual ritual and sanitary burning of winter straw bedding from houses and stables are often taken as sacrifices. Household garbage trapped in a “cleansing” bonfire is not a meaningful sacrifice.
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Rozprawy doktorskie na temat "Miniature figurines"

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Maragkou, Christina. "Recherches sur les figurines et les objets en miniature du néolithique récent et du bronze ancien en Grèce". Paris 1, 1989. http://www.theses.fr/1989PA010632.

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Les figurines et les objets en miniature stratifies datant du neolithique recent et du bronze ancien et provenant de la grece (a l'exception de la crete) sont etudies a partir de plusieurs points de vue: les materiaux et methodes de fabrication, l'iconographie thematique, la maniere de reproduction plus ou moins proche des prototypes en dimensions reelles, leur position dans l'espace humain et leurs contexte et associations. Cette approche a comme but la differenciation d'un materiel complexe selon des criteres aussi objectifs que possible. Ceci dans un essai de comprehension de la place occupee par differentes categories de ces etres et objets miniaturises dans la vie quotidienne ainsi que des raisons variees qui ont pu conduire a leurs fabrication et utilisations pendant ces deux periodes de la protohistoire
Several aspects concerning stratified figurines and miniatures dating from the late neolithic and early bronze age and coming from greece (except crete) are studied: materials and construction methods, thematic iconography, way of reproduction more or less close to real size prototypes, situation within human space and their context and associations. The aim of this approach is differentiation of a complex material according to criteria as objective as possible. It is an attempt to understand the place different categories of these miniaturized beings and objects occupied in everyday life as well as the various reasons which possibly led to their manufacture and uses during these protohistoric periods
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Wihlborg, Julia. "Mer än valkyrior : En omtolkning av vikingatidens feminina figuriner". Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-396170.

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Figurines with a human shape have been created in almost every culture all throughout human history. In this thesis one such group of figurines is under investigation, Viking age female figurines. These figurines are most often interpreted as representations of the Valkyries – shieldmaidens of the god Odin – or as the goddess Fröja. Interpretations made through comparative studies with the medieval written sources. However, these interpretations always privileges some attributes of the figurines over others, creating simplified and general interpretations. The purpose of this thesis is to (re)interpret the figurines beyond the concept of representation, and instead focus on what the figurines, through their various attributes (size, motive, material), do and how they influence human actions. This is realized through the creation of a catalogue of all currently known female figurines from the Viking age (53 pieces), a correspondence analysis and through the use of symmetrical archaeology and embodiment theory. The result shows that the most important attributes of the figurines is their physical bodies, through which they can interact with the world, trigger emotions, hold memory, become animated and be part of the performative practice of upholding individual identity as well as upholding both the social- and cosmological worlds.
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Maragkou, Christina. "Eidōlia : figurines et miniatures du Néolithique récent et du Bronze ancien en Grèce /". Oxford : Tempus reparatum, 1992. http://catalogue.bnf.fr/ark:/12148/cb36661351f.

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Książki na temat "Miniature figurines"

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Dransart, Penny. Elemental meanings: Symbolic expression in Inka miniature figurines. London: Institute ofLatin American Studies, 1995.

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Dransart, Penny. Elemental meanings: Symbolic expression in Inka miniature figurines. London: Instituteof Latin American Studies, University of London, 1995.

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Ransom, Ron. Mini-cheers: Carving miniature Santas. Atglen, PA: Schiffer Pub., 1995.

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1947-, Harrison Michael, Kimmelman Judith i Durham Light Infantry Museum and Arts Centre., red. Miniature African sculptures from the Herman collection. London: Arts Council of Great Britain, 1985.

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Marangou, Christina. Eidōlia: Figurines et miniatures du Néolithique récent et du Bronze ancien en Grèce. Oxford, England: Tempus Reparatum, 1992.

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Université de Paris I: Panthéon-Sorbonne, red. Recherches sur les figurines en miniature du Néolithique récent et du Bronze ancien en Grèce. Lille: A.N.R.T., 1989.

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Giordano, Mariana. Juan de Dios Mena. [Argentina]: CEDODAL, Centro de Documentación de Arte y Arquitectura Latinoamericanos, 1999.

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Blondieau, Christian. Petits soldats, 1765-1965. Paris: le Képi rouge, 1996.

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Leinweber, Ulf. Die kleine Figur: Geschichte in Masse & Zinn : Ausstellung der Staatlichen Kunstsammlungen Kassel, Hessisches Landesmuseum, Torwache, 4. August 1985 bis 5. Januar 1986. Kassel: Die Kunstsammlungen, 1985.

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António de Saldanha Carvalho Simão. Soldadinhos de chumbo, figurinos militares portugueses: Passeio ilustrado pela história de Portugal. Lisboa: Editora de Revistas e Livros, 1993.

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Części książek na temat "Miniature figurines"

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Hung, Wu. "Thinking Through Scale: The First Emperor’s Sculptural Enterprise". W Figurines, 88–129. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198861096.003.0004.

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This chapter confronts the problems of the terminology of “figurine” and that of “yong,” the ancient Chinese word always used to translate “figurine.” Yong does not imply miniature size necessarily and is defined by funerary functions. The issues are exemplified through discussion of the sculptural projects of the First Emperor, including his larger-than-life golden statues in bronze and the famous terracotta army and other sculptures of his mausoleum, including scaled miniatures. The chapter simultaneously confronts the issue of the figurine in the specific context of the third century BCE and explores the problems in using this European concept for the study of non-European art.
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"INDEX OF FIGURINES". W Miniature Forms as Transformative Thresholds, 645–70. Peeters Publishers, 2023. http://dx.doi.org/10.2307/jj.14799939.25.

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"Conclusion: Life in Miniature". W Figurines in Hellenistic Babylonia, 247–48. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108769020.007.

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"FIGURINES IN ANCIENT SOCIETIES:". W Miniature Forms as Transformative Thresholds, 59–64. Peeters Publishers, 2023. http://dx.doi.org/10.2307/jj.14799939.9.

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"FIGURINES IN DIFFERENT MATERIALS:". W Miniature Forms as Transformative Thresholds, 299–312. Peeters Publishers, 2023. http://dx.doi.org/10.2307/jj.14799939.17.

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"LIST OF CREDITS FOR FAIENCE FIGURINES (PHOTOS AND DRAWINGS)". W Miniature Forms as Transformative Thresholds, XLI—LX. Peeters Publishers, 2023. http://dx.doi.org/10.2307/jj.14799939.7.

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Calandra, Elena. "A Miniature Myth: About Some Clay Figurines of the Niobids". W Greek and Roman Small Size Sculpture, 155–72. De Gruyter, 2023. http://dx.doi.org/10.1515/9783110741742-007.

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Hallett, Christopher H. "‘Corinthian Bronzes’". W Forgery Beyond Deceit, 44—C1F27. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192869586.003.0003.

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Abstract A new type of miniature bronze came into being in the late Hellenistic period. Of exquisite quality, and furnished with their own bases, these figurines were designed to be portable. Many were fashioned in retrospective styles; some even purported to be antiques. Such statuettes are well attested in the ancient literary sources, and are referred to by Roman authors as ‘Corinthian bronzes’. This paper argues that many examples actually survive from antiquity. It also makes the case that these miniatures were sold to wealthy art collectors as originals—‘autograph works’ of the most celebrated Greek sculptors of the past. This explains the staggeringly high prices paid for them. Understood in this way, the craze for ‘Corinthian bronzes’ in the first century bce and the first century ce should be regarded as one of the most successful and artistically important instances of large-scale forgery in the history of western art.
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Bradley, Richard. "Life and Art". W The Idea of Order. Oxford University Press, 2012. http://dx.doi.org/10.1093/oso/9780199608096.003.0008.

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Not many prehistoric houses survive above their foundations. The three dimensions of the buildings are collapsed (sometimes literally) into the two dimensions of the site plan. That may be all that can be discovered by archaeology, and yet the missing component could have been all-important. The change of perspective is revealing, for the treatment of the walls and roof may be just as significant as the layout of the floor. Few excavated houses are as well preserved as those in the Near East, and there are many parts of Europe in which the question cannot be investigated directly. Here, the existence of ceramic models suggests an alternative approach. During 2010, two exhibitions featuring the arts of the first farmers took place in Britain. They ran simultaneously, one in Oxford and the other in Norwich. They also complemented one another geographically and thematically. The Lost World of Old Europe was organized by The Institute for the Study of the Ancient World at New York University (Anthony 2010), and Unearthed by the Sainsbury Centre for Visual Arts of the University of East Anglia (Bailey et al 2010). The display at the Ashmolean Museum in Oxford featured artefacts from Romania, Moldova, and Bulgaria, whilst that in Norwich was restricted to finds of figurines from Romania, Albania, and Macedonia, although they were compared with others from the Jomon Culture of Japan. Not surprisingly, the Neolithic and Chalcolithic objects spanned a long period of time and were associated with several regional groups. Some were elaborately decorated, while others were entirely plain. The artefacts shown in Norwich were all depictions of the human form, but those in Oxford also included pottery vessels, stone artefacts, and early metalwork. One small group of objects was especially striking, for it consisted of ceramic models of domestic buildings. In one case, from the Cucuteni Culture of Romania, a group of figurines had been discovered inside a miniature house of this kind. The evidence of such models is revealing. There were examples in which the outer wall was highlighted by angular designs, as if to emphasize the rectilinear outline of the building, but there was also a model in the Oxford exhibition which showed a structure with a similar ground plan whose exterior was covered by curvilinear motifs.
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"Scales (or, Figuring Miniatures in Princely Courts)". W The Throne of the Great Mogul in Dresden, 81–99. Yale University Press, 2023. http://dx.doi.org/10.2307/jj.608334.11.

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