Дисертації з теми "Sculptural architecture"
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Lindberg, Siri. "Embodied sequences : Sculptural architecture, architecture for sculpture." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223745.
Повний текст джерелаCilliers, Pieter Lafras. "Usurping architecture : sculptural resistance to the built environment." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8206.
Повний текст джерелаUsurping Architecture is a study in three parts. Part One explores the historical and theoretical basis that has informed my body of work. In this section, I explore the perfection of the depiction of the three-dimensional structure on a two-dimensional plane. This is specifically related to architecture. I then examine the role of geometric abstraction, as developed on the two-dimensional format, in sculptural strategies and their insertion in the lived, everyday environment.The role of geometric formalism is expanded on in the chapters on minimal art, where I explore the role of Gestalt psychology in creating a phenomenological response in the viewer. In the following chapters I indicate how the strategies employed by the minimal artists were used in subsequent decades as a response to the architectural environment. Part Two deals with the methodology related to my art-making processes. The first chapter of this section informs the reader about the general use of concrete as a material. The second chapter explains how I use this material in the construction of cast concrete sculptures. It describes the technical aspects of the process in detail. Part Three comprises a list of each work submitted for examination. The works are represented photographically and are accompanied by a short explanatory text.
Ambielli, Lauren. "Hidden Transgressions: Louise Bourgeois's Early Sculptural Self-Portraits." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/479.
Повний текст джерелаBeresford, Richard Charles. "Domestic interior decoration in Paris, 1630-1660 : a catalogue based on the written sources." Thesis, Courtauld Institute of Art (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312589.
Повний текст джерелаGreen, Rachael M. "Facade of Many Faces: A Hybrid Skyscraper." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1623169886133566.
Повний текст джерелаZakanycz, Zena A. "Some Form Of Blue." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4195.
Повний текст джерелаBaird, David A. "Architecture and art /." Online version of thesis, 1990. http://hdl.handle.net/1850/11313.
Повний текст джерелаGrataloup, Daniel. "Architecture-sculpture : théorie, projets et réalisations." Paris 1, 2001. http://www.theses.fr/2001PA010531.
Повний текст джерелаPowell, John William. "Specific light in sculpture." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/76873.
Повний текст джерелаVita.
Includes bibliographical references.
Specific light is defined as light from artificial or altered natural sources. The use and manipulation of light in three dimensional sculptural work is discussed in an historic and contemporary context. The author's work with metal arc light sources is presented and documented with developmental drawings and photographs. The use of light sources in space to define volume and mass is seen as the natural development of artificial light as a viable material in art.
by John W. Powell.
M.S.V.S.
Hunter, Ian A. "Environmental sculpture as a contribution to landscape architecture." Thesis, Manchester Metropolitan University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315294.
Повний текст джерелаNeumuller, Nadège. "Varron et les beaux-arts : architecture, sculpture, peinture." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC047.
Повний текст джерелаThis thesis is devoted to aspects related to art in the work of Marcus Terentius Varro, a Roman encyclopedist from the first century BCE. His work, partly preserved, partly reduced to fragments, was passed on namely by Pliny the Elder, Aulus Gellius, and various Roman grammarians. The first part will emphasize on one of Varro’s works, the 'Disciplinarum Libri', in order to situate liberal arts in a philosophical framework, and on the genesis of varronian art criticism, dating back to Plato and Aristotle as well as Xenocrates of Athens. In parallel the artistic concepts of Cicero, contemporary with Varro, are presented. This section is followed by one dedicated to architecture, relating to men’s dwellings, and the homes of the gods. An excursus focuses on the villa of Varro in Casinum and on his tomb. In the next section, the views of the Reatinian on Greek and Hellenistic sculptors as well as the ones of his era are presented, each being subject of a particular development. The same approach is then applied on painting, offering individual notes on the Greek and Roman painters. Extensions are brought through the study of a Menippean Satire which is particularly related to the topic of the thesis, and by the analysis of 'De imaginibus', the work which gave Varro a fertile ground for expressing judgments of art criticism. A thorough conclusive synthesis exposes the influences exerted by the opinions and writings of Varro, whose aesthetic tastes can be described as eclectic. He enjoyed the works of past and present, depicting gods and men, landscapes and objects, but kept a marked preference for classicism and tradition. A final development considers the question of the influence of art-related varronian writings on Augustan classicism, and considers the restoration policy led by the victor of Actium
Reas, Casey (Casey Edwin) 1972. "Behavioral kinetic sculpture." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/62356.
Повний текст джерела"September 2001."
Includes bibliographical references (p. 129-132).
As we enter the 21st century our culture has been significantly changed by the arrival of the internet and the proliferation personal computing and digital communications. As the decades progress, we will find ourselves interacting with machines more and more frequently, but what will be the qualities of these interactions? Through integrating information processing technologies into kinetic sculpture we are able to explore new methods of interaction. The concepts and experiments presented in this thesis as behavioral kinetic sculpture are the intellectual progeny of cybernetic art as evolved over the last thirty years through the development of interactive software, behavioral robotics, artificial life, and modern sculpture. This thesis defines the concept of behavioral kinetic sculpture as a unique category of expression through providing context, terminology, and a conceptual structure for its discussion and evaluation. This is supported through discussing the author's experiments in interaction and the behavioral kinetic sculpture, Trundle.
Casey Reas.
S.M.
Roy, Anamika. "Amaravati Stupa : a critical comparison of epigraphic, architectural and sculptural evidence." Thesis, University of Cambridge, 1991. https://www.repository.cam.ac.uk/handle/1810/271920.
Повний текст джерелаRibolet, Mathieu. "La décoration architectonique des monuments édens, lignons et sénons, du règne d'Antonin à celui des Sévères." Thesis, Bourgogne Franche-Comté, 2017. http://www.theses.fr/2017UBFCH032.
Повний текст джерелаThe development of monumental stone architecture was part of the most telling clues about roman culture entering in Gaul, after Cesar’s conquest. Short while after the Principate started, new buildings covered with ornamental sculpture created a new architectural landscape in the territories that thus formed the roman Gauls. Even though architectonic ornaments had no precedent in the Iron Age, their spread quickly became very important. Ornaments thus started to evolve, taking monuments from Rome itself as first models ; for example the temple of Mars Ultor.Several authors have already written papers about the evolution of architectonic ornaments in the Imperial Rome, in particular for the Ist century AD. However, publications about the Provinces of the Empire are scarcer, especially regarding north of Gauls and Germanies. This observation is even more obvious for later periods such as the second half of the IInd and the IIIrd century A.D.My thesis belongs to a serie of recent works about « late » architectonic ornaments in roman Gauls and Germanies (about collections such as those of Genainville, Champlieu, Neumagen, Bordeaux, Pont-sainte-Maxence). It focus on a period from the years 130 to the years 230 AD (approximately from the reign of Antoninus to this of Alexander Severus). From a corpus gathered over three civitates (Aedui, Lingones, Senones), my work tries to define which ornaments were employed on the components of architectural orders (basis, columns, capitals, architrave, friezes, cornices), to understand how they were allocated, and to highlight how they evolved over decades. Ornamental repertory is also an important point : it allows to question about evolution mechanisms, patterns diffusion and other reasons that made handcrafters change their carving techniques. To finish, studying architectonic pieces provide possibilities of reconstructing monuments, so as to have a idea of what was building activity like in the three studied civitates
Pasek, Stéphan. "La maison dans la sculpture contemporaine : une histoire de la "sculpture-architecture", des "Demeures" d'Etienne-Martin aux "Refuges d'art" d'Andy Goldsworthy." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010652.
Повний текст джерелаSince the 1960s, contemporary art shows an increased interest in the house. This preoccupation is particularly, visible in works which seem to result from a crossing between sculpture and architecture, and which take the varied form of monumental and miniature constructions, environments, installations, huts or other shelters, interventions on buildings, etc. These works question the current inhabiting conditions and reveal the hybridity that characterizes a large part of postmodern sculpture. Based on a wide range of representative productions - such as Etienne-Martin's "Demeures", Mario Merz's "Igloos", Jean-Pierre Raynaud's hous,. Gordon Matta-Clark's cuts, Nils-Udo's "Nids", Daniel Buren's "Cabanes éclatées" or Absalon's "Cellules" -, , the aim of this study both thematic and typological is to explore the various manifestations of the house in contemporary sculpture, so to develop a history of "sculpture-architecture". Four orientations are defined to this purpose : first, the "inner" house, understood as an image or identity and discovered through an animist sculpture; second, the minimal and mobile house, founded on the model of the body and examined from an "inhabitable" sculpture or a form of "microarchitecture"; thirdly, the original shelter or house in nature, associated with a primitivism and landscaped sculpture; and fourthly, the "deconstructed" house, considered as an architectural, social and cultural model, and studied from the point of view of an essentially critical and public sculpture
Placin-Geay, Amandine. "La sculpture dans sa relation à l'architecture, en France, de 1900 à 1937." Bordeaux 3, 2005. http://www.theses.fr/2005BOR30072.
Повний текст джерелаIn France, from 1900 to 1937, the relationship between architecture and sculpture is changing. The question about their correlation, mainly focused on the relationship between structure and aestheticism, on the integration of work of arts within the architectural space, remains in the heart of architectural theories, led by the mutation of construction which started during the XIXth century. This, added to the face-lift towns has been given, technical novelties and economic difficulties, oblige sculptors to look for new plastic solutions able to meet these new demanding requirements in order to integrate, once again, scenery and architecture. Sculpture is constantly challenged, leading to arguments, controversial discussions regarding style, the evolution of ornament, monuments as well as the decoration of concrete buildings. Different views arise between people for or against decoration having a strong impact on the re-evaluation of its role, its function and its use. Programs, in which sculpture is still used, weaken and begins a time of uncertainty for artists who react differently according to the school they belong to. They mainly undergo and build commemorative monuments, public and cultural monuments, attending various exhibitions such as the exhibition of the Decorative Arts in1925, the Colonial exhibition in 1931 and the exhibition of Arts and Technics in 1937 and trying to take into consideration the construction; thus creating an unusual links and a monumental art
Poe, Rachel. "Architectural insomnia." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5603.
Повний текст джерелаLane, Kathleen Irene Emma. "Architectural sculpture in Romanesque England : forms, functions and audience." Thesis, University of East Anglia, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262800.
Повний текст джерелаSpeaks, Elyse Marie Deeb. "The architecture of reception : sculpture and gender in the 1950s and 1960s /." View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174676.
Повний текст джерелаZONNO, FABIOLA DO VALLE. "ARCHITECTURE BETWEEN SCULPTURE: AN APPROACH TO THE ARTISTIC DIMENSION OF CONTEMPORARY LANDSCAPE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9183@1.
Повний текст джерелаArquitetura entre Escultura: uma reflexão sobre a dimensão artística da paisagem contemporânea busca uma aproximação entre as obras de escultores e arquitetos após os anos 1960, no âmbito internacional, com o objetivo de traçar possíveis caminhos de diálogo entre ambas as disciplinas diante do desafio de se inserirem na multiplicidade da Paisagem contemporânea. A reflexão parte da noção de campo ampliado, da historiadora Rosalind Krauss, em que as fronteiras entre escultura, arquitetura e paisagem se tornam flexíveis, delineando, através de combinações e exclusões, possibilidades múltiplas para a arte ao lidar com o espaço real. Na mesma vertente, o historiador da arquitetura Anthony Vidler sustenta que, se para criticar os termos tradicionais da escultura os artistas se apropriaram das questões da arquitetura, por sua vez os arquitetos teriam buscado o experimentalismo da escultura a fim de escapar da rigidez funcionalista e dos modelos tipológicos. Na produção dos artistas Richard Serra, Christo, Robert Morris, Robert Smithson, Claes Oldenburg e Vito Acconci e dos arquitetos Robert Venturi, Peter Eisenman, Frank Gehry, Zaha Hadid, Daniel Libeskind e Rem Koolhaas foram selecionadas obras que poderiam ser descritas como entre - partícipes do campo formado por arquitetura e escultura e paisagem. A partir deste campo são identificadas questões sobre: externalidade, relação com o sítio, monumentalidade, experiência da obra no espaço-tempo do percurso, forma e anti forma, performance e uso dos espaços, público e privado, imagem, ficção e história. Observa-se a deflagração de um processo, ao mesmo tempo, experimental e autocrítico desses campos de atuação, através de uma abordagem que pontua relações entre Moderno, Pop, Minimal, Land Art, performances, Desconstrutivismo e novas topologias e programas arquitetônicos.
Architecture between Sculpture: an approach to the artistic dimension of contemporary landscape searches for an approach to works of sculptors and architects, since 1960, in the international circuit, in order to analyze to what extent possible affinities can be traced out between both artistic fields, while facing the challenge in the multiple features of contemporary landscape. The discussion is based on the historian Rosalind Krauss notion of expanded field in which the limits among sculpture, architecture and landscape become flexible, delineating by means of combinations and exclusions, the multiple possibilities of art in dealing with real space. On the same ground, Anthony Vidler, historian of architecture, sustains that while criticizing the traditional matters of sculpture, artists have internalized the issues of architecture themselves, and architects, on the other hand, have searched for the artistic experimental processes to escape from the rigidity of functionalism and typological models. Works by the artists Richard Serra, Christo, Robert Morris, Robert Smithson, Claes Oldenburg and Vito Acconci and by the architects Robert Venturi, Peter Eisenman, Frank Gehry, Zaha Hadid, Daniel Libeskind and Rem Koolhaas, among others, can be described as between and studied as participants in the scope architecture and sculpture and landscape. On such basis one can identify issues such as: externality, relation with the site, monumentality, space-time experience, form and anti form, performance and use of spaces, notions of public and private, image, fiction and history. There occurs the deflagration of a process, both experimental and selfcritical, on the part of each artistic means, through an analysis that interpunctuates the relationship among Modern, Pop, Minimal, Land Art, performances, Deconstructivism and new topologies and architectural programs.
Dias, Sarah Frances. "Core values and principles generators of significance in architecture, painting and sculpture." Doctoral thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2017. http://hdl.handle.net/10400.5/14116.
Повний текст джерелаRoux, Caroline. "Les portails romans des églises de Haute-Auvergne : Architecture, sculpture et orientations." Clermont-Ferrand 2, 2001. http://www.theses.fr/2001CLF20010.
Повний текст джерелаGotschalk, Kelly J. "The Seated Cleopatra in Nineteenth Century American Sculpture." VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd/4350.
Повний текст джерелаLeroy, François Persyn-Vialard Sandrine Eichelbrenner Jean-Michel. "Terminologie de l'architecture et de la sculpture romanes." [S.l.] : [s.n.], 2007. http://cyberdoc.univ-lemans.fr/memoires/lexicologie/20070917_FLLEXFD.pdf.
Повний текст джерелаOrth, Margaret A. (Margaret Ann) 1964. "Sculptured computational objects with smart and active computing materials." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/8674.
Повний текст джерелаIncludes bibliographical references (leaves 325-328).
This thesis presents the creative, technological, and philosophical means and methodology, by which technology artists and researchers can materially and sculpturally transform physical computing technology from hard, remotely-designed, plastic shells, into intimately created, sensual computing objects and artifacts. It asserts that the rigid, square, and prefabricated physical materials of computing technology are a fundamental technological and artistic limitation to anyone who wishes to sensually transform physical computing technology, or develop a rich artistic vocabulary for it. Smart and active sculptural computing materials are presented as a solution to this problem. Practically, smart computing materials reduce the number of separate, rigid, and square prefabricated parts required to create physical computing objects. Artistically, active sculptural computing materials give artists and designers the ability to directly manipulate, shape, experiment with, and therefore aesthetically understand the real, physical materials of computing technology. Such active design materials will also enable creative people to develop a meaningful artistic relationship between physical form and computation. The total contributions of this thesis include a proposal for a future three-dimensional design/technology practice, a portfolio of sensually transformed expressive computational objects (including new physical interfaces, electronic fashions, and embroidered musical instruments), and the smart and active sculptural computing materials and processes (in this case smart textiles), which make that transformation possible. Projects from the design portfolio include: The Triangles, and its applications; Electronic Fashions, including the Firefly Dress and Necklace, New Year's Eve Ball Gown, and Serial Suit; The Musical Jacket; Electronic Tablecloths; and a series of Embroidered Musical Instruments with embroidered pressure sensors. Contributions from the supporting technical area include: the first fabric keypad (a row and column switch matrix), a new conductive yarn capable of tying and electrical/mechanical knot, an advanced process for machine embroidering highly conductive, flexible and visually diverse electrodes, an empirical model of complex impedance sensing, and a definition of and test for the machine sewability and flexibility of yarns. These contributions are presented in three sections: 1) the supporting arguments, and philosophy of materiality and computation behind this work, 2) the design portfolio, and 3) the supporting technical story.
by Margaret A. Orth.
Ph.D.
Lynch, Patrick. "Practical poetics : rhythmic spatiality and the communicative movement between site, architecture and sculpture." Thesis, London Metropolitan University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.681225.
Повний текст джерелаGomolka, Agata. "Petrified passions : bodily rhetoric in architectural sculpture, c.1100-c.1270." Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/65287/.
Повний текст джерелаVanderheyde, Catherine. "La sculpture architecturale méso byzantine empire du Xe au XIIIe siècle." Paris 1, 1996. http://www.theses.fr/1996PA010682.
Повний текст джерелаThe subject of the thesis concerns the study of the middle-byzantine architectural sculpture of Epiros. All in all, 235 reliefs - of which 76 are unpublished - from the 10th to the 13th century are gathered in a catalogue. The history of the places from which the reliefs come has been studied in the first part of the thesis. The second part deals with the stones, the tools and the carving techniques used by the sculptor. The third part is a thorough study of the reliefs' patterns. These three parts of the thesis show the main characteristics of the mesobyzantine sculpture of Epiros. Beside the archaeological discoveries (sculptors' workshops, patterns' diffusion,. . . ). This study proves the existence of an urban development in epiros in the mesobyzantine period, before the birth of the despotate
Tsigonaki, Christina. "La sculpture architecturale en Crète à l'époque protobyzantine (IVe-VIIe siècles)." Paris 1, 2002. http://www.theses.fr/2002PA010588.
Повний текст джерелаDinh, Ngan N. "Washington D.C. Aquarium: An Exploration of Shaping the Water: Building Sculpture Along the Existing Landscape." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/74875.
Повний текст джерелаMaster of Architecture
Ni, Ghradaigh Jenifer. "The Romanesque architecture sculpture of the medieval kingdoms of Meath, BreÌifne and Argialla." Thesis, Courtauld Institute of Art (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406532.
Повний текст джерелаDoulan, Cécile. "Sanctuaires et vie religieuse dans l'Aquitaine celtique à l'époque gallo-romaine : architecture et sculpture." Bordeaux 3, 2008. http://www.theses.fr/2008BOR30053.
Повний текст джерелаThe study is based on the archaeology of sanctuaries in Celtic Aquitaine (between the Loire and the Garonne) during the 1st to 4th centuries A. D. Other sources (textual or epigraphic) which mention a place of religious activity have also been considered. In total, 191 sites have been included on the basis of rigorously defined selection criteria. The sanctuaries demonstrate that religious practices were public as well as private. Two particular areas connected to religion have been defined : the architecture (perimeter wall, portico, temple and water-related structures) and the stone and metal statues discovered in religious contexts. The particular aim of the analysis is the study and definition of sacred forms - from the spatial organisation of the sanctuaries to the architecture of the buildings and from the nature of the sculptures to their distribution in a religious context. Questions concerning celtic heritage and the romanisation of religion are developed in the last section, which takes the form of a discussion of the topography and of the religious activities found in urban centres and territories. Particular attention is payed to the analysis of public religious practices
Açikyildiz, Birgül. "Patrimoine des Yézidis : architecture et "sculptures funéraires"" au Kurdistan irakien, en Turquie et en Arménie." Paris 1, 2006. http://www.theses.fr/2006PA010595.
Повний текст джерелаMatsugi, Hiromi. "La sculpture d’espaces d’Isamu Noguchi en dialogue avec la spatialité américaine, 1933-1988." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080063.
Повний текст джерелаThis thesis studies the body of artistic projects by Isamu Noguchi (1904 - 1988) that he termed "sculpture of spaces". They are environmental in situ creations such as gardens and plazas, which cannot be transported, cannot be disassembled, and are accessible to the general public, apart from artistic institutions. Our hypothesis is that there is a complex relationship, made up of aspiration, criticism and reaction, between sculpture of spaces and American spatiality, which is constituted by spatial norms governing all behaviours and orientations, collective or individual, in the American society. The aim of this thesis is to make the case, through a detailed examination of each project, as well as its putting in context with the architecture, urban planning and cultural policy of public spaces, that Noguchi's work is not an end in itself. It proves to be a means to move the dominant American spatiality, expansive and centrifugal, inherited from How the West Was Won, towards a more centripetal one which, by taking into account the multiplicity of environmental and historical elements, reunites man and his location
Estienne-Monod, Perrine. "Les inscriptions sanskrites des Calukya orientaux : caractéristiques et fonctions d'une littérature épigraphique." Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10038.
Повний текст джерелаAutissier, Anne. "La sculpture romane en Bretagne, XIe-XIIe siècles." Poitiers, 2001. http://www.theses.fr/2001POIT5010.
Повний текст джерелаBréard, Lucille. "Les figures du Vide dans le champ de l'esthétique." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30075.
Повний текст джерелаEmpty, and Full, are in the image of the world what is played constantly through form. But in a simplistic definition, the sense of the Void remains misunderstood, referring to the apprehension of something which induces an isolated, unfounded, unfruitful absence. And yet, as we shall see, this concept is brought to light through Chinese thought, ancient, philosophical and aesthetic, as an element at the origin of a great activity. "In front of the Plein, Void is a living entity. The spring of all things, it intervenes inside the Plein itself, blowing in the vital breaths. Its action has the consequence of breaking the one-dimensional development, of provoking the internal transformation and of driving the circular movement. It seems that, according to the thought that Francois Cheng develops on the Chinese pictorial language, the Void is a dynamic element that articulates all the manifestations of this world. Each one can then evolve, for if all was only Full, everything would be an undifferentiated mass. Chinese thought will lead us to seek, through writings and works, the being of forms of nature such as mountain, sky, water, wind, storm, to understand the place occupied by the Void , whether in representation, writing, or experience.The Latin root of the word "emptiness" comes from a vacuum, and gives vacuus. It is the same as for the words "vacuity" (vacuitas) and "vague" (vagus) in the sense of "wandering", "floating". We shall speak of vague, desert, open land. Or vastus, "vast". Even if they differ in their definitions today, they nevertheless come from a common origin.The Void intervenes through the forms of art, such as painting, sculpture, cinema, photography, but also architecture or dance ... There is Breath, insufflated, intervenes in the creation of such so that we can speak of an incarnation in the figures that populate our environment
Nia, Eruera Te Whiti. "Are Korero." AUT University, 2010. http://hdl.handle.net/10292/932.
Повний текст джерелаMaier, Josef. "Architektur im römischen Relief /." Bonn : R. Habelt, 1985. http://catalogue.bnf.fr/ark:/12148/cb34885396v.
Повний текст джерелаMontel, Sophie Holtzmann Bernard. "Recherches sur la présentation architecturale des groupes sculptés en Grèce antique." S. l. : Paris 10, 2008. http://bdr.u-paris10.fr/theses/internet/2008PA100070.pdf.
Повний текст джерелаWoodhull, Margaret Louise. "Building power : women as architectural patrons during the early Roman Empire, 30 BCE-54 CE /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
Повний текст джерелаJackson, lain Douglas. "Cataloguing Nek Chand's Rock Garden, Chandigarh : an analysis and interpretation of the sculpture, architecture and landscape." Thesis, University of Liverpool, 2008. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490705.
Повний текст джерелаBoulay, Roger. "La Grande case kanak de Nouvelle-Calédonie : les rapports entre architecture et sculpture en Nouvelle-Calédonie." Paris 1, 1986. http://www.theses.fr/1986PA010659.
Повний текст джерелаTzamou, Ekaterini. "Arts plastiques et architecture en France depuis 1950 : le sculpteur Philolaos." Paris 1, 1996. http://www.theses.fr/1996PA010567.
Повний текст джерелаGivans, Duncan Blair Cameron. "English Romanesque tympana : a study of architectural sculpture in church portals c.1050-c.1200." Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/4168/.
Повний текст джерелаHardiman, Craig I. "The nature of Hellenistic domestic sculpture in its cultural and spatial contexts." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117560146.
Повний текст джерелаBarrau-Agudo, Caroline de. "Notre-Dame de Rodez : architecture et sculpture (13°- 16° siècle) : nouvelles recherches sur l'histoire artistique d'une cathédrale." Toulouse 2, 2010. http://www.theses.fr/2010TOU20048.
Повний текст джерелаBuilding work started on the Gothic cathedral of Rodez (in the Midi-Pyrénées, département of the Aveyron) in 1277 and it was finally finished in the sixteenth century. The chronology of its construction is well documented and has been studied since the nineteenth century onwards. Neverthelesss, a careful rereading of the monument has been undertaken in order to check, update, and if necessary correct the received facts. This monographic study has taken a pluridisciplinary approach calling on a renewed methodology. The sculpture and architecture of both medieval and modern building stages have been studied from the angle of archaeology (architectural analysis, study of the building, an excavation campaign), from study of archival resources (both local and national collections, and from the medieval period up to the present day), and from a historic and stylistic study. The aim has been to formulate new observations on the artistic history of the monument. Volume I (text) contains three chapters. The first chapter allows one to place the building in its historic context: presentation of the town, history and chronology of the site and of earlier buildings upon it, modern history (the Reformation period, the Ancien Régime, the Revolution period), and recent restoration work on the building. The second chapter presents a chronological and stylistic rereading of the building from the thirteenth to the sixteenth century; architectural and sculptural characteristics are brought into prominence, as is the history of the various stages of construction, all this based upon new data. The third chapter presents in a totally new manner the funerary topography of the cathedral, considering all the statuary production in relation to this theme. Volume II of this thesis contains a list of sources, the bibliography, and the appendices. Volume III contains a catalogue of works, and Volume IV contains the illustrations
Chew, Anne-May. "Les temples excavés de la colline de Po Win en Birmanie centrale : architecture, sculptures et peintures murales." Paris 3, 1999. http://www.theses.fr/1999PA030041.
Повний текст джерелаSituated to the north-west of central burma, po win taung (the hill of po win) is a huge, multi-level religious complex with about 800 excavations chiselled out of soft sandstone rock. The facades of these rock-cut caves, which vary from a simple meditation cell to an imposing temple, are decorated in low and high reliefs, with some entrances flanked by human or animal sculptures in the round. The interiors of the grottoes contain numerous statues carved from the rock and some of the walls are adorned with paintings illustrating traditional scenes (the 28 buddha of the past, the previous lives of buddha gotama, and the life of buddha) as well as scenes of daily life. For the most part, the works of po win taung date from the second ava period (16th - 18th centuries), and to a lesser extent, the colonial period (last quarter of 19th till mid 20th centuries). They show a profound syncretism harmonizing local pre-buddhist beliefs and the fundamental teachings of theravada buddhism. This thesis sets out to define the characteristics and evolution of the + nyaung yan ; style, generally designated as + ava ; style which is lesser known to the art world. The artistic treasures of po win taung allow us to explore and comprehend this style to a much greater extent. We begin by introducing and acquainting the readers with the site as well as the richness of its art, and by identifying different sources of inspiration (chinese, indian, portuguese, siamese, muslim and european) which have influenced the + nyaung yan ; style
Kasarska, Iliana. "La sculpture de la façade occidentale de la cathédrale de Laon." Paris 4, 2006. http://www.theses.fr/2006PA040134.
Повний текст джерелаWeber, Marga. "Baldachine und Statuenschreine /." Roma : G. Bretschneider, 1990. http://catalogue.bnf.fr/ark:/12148/cb35707890z.
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