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1
Luecking, Stephen. "Sculpture from Patchwise Modules." Mathematics 7, no. 2 (February 19, 2019): 197. http://dx.doi.org/10.3390/math7020197.
Повний текст джерелаАнотація:
The sculptor adapts the geometry of spline surfaces commonly used in 3D modeling programs in order to translate some of the topological nature of these virtual surfaces into his sculpture. He realizes the patchwise geometry of such surfaces by gluing square modules of neoprene rubber edge to edge to define the surface which he then torques and bends into sculptures. While limited by the nature of actual materials, the finished sculptures successfully incorporate the expressive tension and flow of forms sought by the sculptor. He presents images of finished works and provides an analysis of the emotive values of a select sculpture.
2
Fang, Zhiyu. "Contemporary Chinese Sculpture Promoting the “Idea of China” (the case of Cao Chunsheng and Deng Ke)." Scientific and analytical journal Burganov House. The space of culture 18, no. 6 (December 10, 2022): 95–100. http://dx.doi.org/10.36340/10.36340/2071-6818-2022-18-6-95-100.
Повний текст джерелаАнотація:
Ever since the beginning of the Reform Era, China rapidly and steadily walks the path of socialism with Chinese characteristics. Moving towards the new era, the Chinese government and society do not forget about their values and guidelines, the "Idea of China" is developed in art. Art pieces aim to promote Chinese cultural traditions, patriotism, the fighting spirit of Chinese nation. Sculpture is actively involved in this process as one of the art forms that allows broadcasting ideas about beauty and justice. Over the years, sculptors have persisted in exploring different genres and styles, which has gradually improved the creation of contemporary “China's theme” in sculpture and formed a distinctive diversity. Among the sculptors that contributed to this process, the most representative and prominent artists are Cao Chunsheng and Deng Ke, who both have formed unique and distinctive styles. Cao Chunsheng as a sculptor from older generation, has undergone the influence of the “Soviet school” and has a vast experience in large-scale monument sculpture. In his art he mainly focuses on major historical themes. Deng Ke belongs to the emerging generation of sculptors who grew up in the Reform Era. Most of her works are small and medium-sized easel sculptures, and her favoured topic is life and society in the new times. Both sculptors work in different styles and genres, but together they form the face of contemporary sculpture promoting the “Idea of China” that this paper seeks to explore.
3
Putney, Dani. "Sino-Filipino Artistic Collaboration." Athanor 39 (November 22, 2022): 35–52. http://dx.doi.org/10.33009/fsu_athanor130974.
Повний текст джерелаАнотація:
The Hispano-Philippine style of ivory sculpture production in colonial Manila is almost synonymous with the growth of Spain’s global empire from the sixteenth century onward. These sculptures have been studied by historians and art critics alike in terms of Latin American consumer demand, marketability, Catholic devotion and conversion, and “Chineseness,” among other veins of inquiry. Common across these investigations is discussion of the significance of Chinese immigrants within the Spanish colony, who have been consistently identified as the creators of these sculptures. One community of artisans important to Philippine sculpture-making, however, has been understudied: the native Filipinos of colonial Manila, by far the largest group in the city. Why has the role of native Filipinos, despite being documented as painters and sculptors contemporaneous with the Chinese immigrants, been disregarded in the art-historical record of ivory sculpture production? In this article, I address these “silences” within the Hispano-Philippine sculptural archive by historicizing the sociocultural milieu of colonial Manila, performing visual analysis informed by postcolonial theory, and interrogating commonly referenced sources and narratives, an endeavor I maintain will enable art historians to contextualize these sculptures within a larger imperial, intercultural, and intersubjective framework of artistic creation.
4
Yang, Zeyin. "Interoperability Analysis between Traditional Chinese Sculpture and Painting Modeling from the Perspective of Big Data Management." Mathematical Problems in Engineering 2022 (August 8, 2022): 1–9. http://dx.doi.org/10.1155/2022/3237282.
Повний текст джерелаАнотація:
Chinese traditional sculpture and painting have strong interoperability in terms of patterns, colors, and lines. Chinese sculpture and painting art are traditional Chinese works of art. The art of painting is often the basis for sculptural art. A good sculptural work of art often requires the pattern and color foundation of the painting. Moreover, Chinese traditional sculpture artworks often reflect certain historical information and humanistic spirit. Traditional artificial methods are often difficult to discover the intercommunication between cultural information between Chinese sculpture and painting. For the interoperability between sculpture and painting artworks, artists only rely on professional knowledge and aesthetic ability to discover some interoperability in patterns, colors, and lines, which is insufficient for understanding Chinese sculpture and painting. This study designs a novel hybrid CNN-LSTM method to study the interoperability of Chinese sculptures and paintings in terms of patterns, colors, lines, and cultural information. CNN can extract patterns, colors, and line features of Chinese paintings and sculptures. The cultural characteristics of Chinese sculptures have obvious temporal characteristics, which can be mined by LSTM technology. The research results show that the hybrid CNN-LSTM method has good feasibility and accuracy in studying the interoperability of traditional Chinese sculpture and painting. In terms of average error, the largest error is only 3.03% and this part of the error comes from the prediction of Chinese sculpture and painting cultural information. All other features of traditional sculpture and painting are predicted to be within 3%. For the prediction of color features, the error is only 1.13%. Prediction errors for patterns, colors, and lines are within acceptable limits.
5
Khattri, Om. "Art in nature: Shifting trends in Nepali sculpture." Journal of Fine Arts Campus 3, no. 1 (December 31, 2021): 35–43. http://dx.doi.org/10.3126/jfac.v3i1.42494.
Повний текст джерелаАнотація:
Art has its environment and meaning, and it can exist free from a pedestal. Different approaches have sprung up with current environmental impacts, including other outdoor sculptures in Nepal as a modern movement. This form of activity has given new meaning to local indigenous values, art, and crafts. The transition started after some naturalistic sculptures, including equestrian statues, were brought from Europe and installed in the open environment. Environmental sculpture is a type of public art that creates or changes the spectators' surroundings. Nepalese sculptors have practiced a new genre as an alternative discipline of sculpture. A significant sculpture, Nirmāna, which means construction, was created by Thakur Prasad Mainali in 2024-25 B.S. at Bhirkutimandap, Kathmandu. Hence, two methodological approaches-primary observation and historical connections used to conduct this study. Besides numerous modern sculptures, this investigation focused on the earliest environmental sculptures. The study also explores the historical significance of sculpture in Nepal as it evolved and assimilated into modernity over time. After centuries of artistic and cultural legacy in Nepal, environmental sculpture underwent new changes.
6
Friedman, Nat. "An introduction to hyperseeing and hypersculptures." Kybernetes 40, no. 7/8 (August 9, 2011): 1015–20. http://dx.doi.org/10.1108/03684921111160241.
Повний текст джерелаАнотація:
PurposeThe purpose of this paper is to introduce the cybernetics audience to the fundamental interdisciplinary concept of hyperseeing and its application to hypersculptures.Design/methodology/approachBriefly, hyperseeing is seeing from multiple viewpoints in a very general sense. In particular, the author first discusses hyperseeing a sculpture. A sculpture is defined as an object in a fixed position relative to a horizontal plane (base, ground). Two sculptures are congruent if they consist of the same object. A hypersculpture is a set of congruent sculptures. A hypersculpture is a more complete presentation of the sculptural possibilities of an object.FindingsA specific example is given of hyperseeing a knot sculpture made of copper tubing.Originality/valueThe paper demonstrates how the study of hypersculptures facilitates gaining a deeper understanding and appreciation of sculpture.
7
Sazonov, Vadim V. "THE UNITY OF MONUMENTAL SCULPTURE AND THE ENVIRONMENT IN THE MONUMENT “TO THE FIRST BUILDERS OF KOMSOMOLSK-ON-AMUR”: TO THE QUESTION OF THE PROBLEMS OF THE EARLY WORK OF V.E. GOREVOY." Articult, no. 1 (2022): 18–24. http://dx.doi.org/10.28995/2227-6165-2022-1-18-24.
Повний текст джерелаАнотація:
The article deals with the problem of synthesis of sculpture with natural and architectural spaces. Attention is drawn to the peculiarities of human perception of this cultural phenomenon. Already in the 1960s, there was considerable interest in the effect of including the surrounding landscape in the figurative structure of an architectural and sculptural ensemble. The author reveals how the creative method of V.E. Gorevoy, one of the largest sculptors of Leningrad-St. Petersburg over the past fifty years, was formed against the background of a powerful rise in monumental sculpture and memorial architecture. His early work reflected the artistic problems of the era in the history of Soviet monumental art. The sculptor was involved in the process of solving complex creative tasks, mainly the task of creating a special environment by means of sculpture that affects the emotions and patriotic feelings of the viewer.
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الاء عيسى كريم and علي عبدالله عبود. "Fashion Aesthetics in Contemporary Arab Sculpture." Basrah Arts Journal, no. 27 (November 30, 2023): 136–42. http://dx.doi.org/10.59767/2023.11/27.10.
Повний текст джерелаАнотація:
The art of sculpture in the Arab world formed a solid foundation in the field of art through the various sculptural products presented by Arab sculptors in employing art through which they contributed to the reflection of the cultural heritage due to the forms, symbols, images, forms of clothing and their external formal influences that were included in their works, which reflected the aesthetics of fashion in Arab sculpture. Contemporary, which necessitated highlighting the knowledge of its aspects from the cognitive, social, artistic and cultural aspects, and the connotations expressed by the Arab sculptor in dress, and to know the cultural value and employ it in the sculptural work, through which it is possible to differentiate between one country and another in terms of culture, traditions, and knowledge of the segments of society that were the basis for the variation in people's daily lives. The current research includes four chapters, the first chapter of which includes the research problem, which becomes clear through the following question: What are the aesthetic values achieved by fashion in contemporary Arab sculptural work, as well as the importance of research and the need for it, which lies in the fact that it represents a reflection of the aspects of traditional Arab life. The current research aims to identify the aesthetics of fashion in contemporary Arab sculpture. The research is limited spatially to sculptural works in the Arab world, temporally from 1950 to 2020, and objectively by studying sculptural works that reflect the aesthetics of contemporary Arab fashion.
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MARTIROSYAN, MADONA. "THE CHARACTER OF TIGRAN THE GREAT IN COINS AND SCULPTURE." Scientific bulletin 1, no. 44 (April 28, 2023): 170–85. http://dx.doi.org/10.24234/scientific.v1i44.54.
Повний текст джерелаАнотація:
The well-known image of Tigran the Great of modern drams occupies a central place in monumental sculpture as well as high-sculpture iconography. While creating round statues, sculptors-engravers depicted Tigran the Great in their own way, dressing him in imitation of the clothes of the famous Roman rulers of the time. The sculptors did not even protect the well-known portrait from the dram: they were guided by their own ideas. In that sense, the episodes are more conservative. In their high sculptures, Tigran the Great has a recognizable image and repeats the image on the drams. Among the Armenian artists, the statues of Tigran the Great were created by the Tokmajian family. In their works, the image of the king is more symbolic than concrete.
The statue "Tigran, King of Armenia" created by Matteos Lespagnandelli (17th century), differs in form and content.
The high-value sculptures of the Armenian king depicted on the obverse of Tigran the Great drams are original works of art.
The article discusses the image of Tigran the Great in sculptural art. Based on the historical and chronological comparative analysis of the works, an attempt was made to understand the features of the works depicting Tigran the Great.
10
खत्री Khatri, ओम Om. "आधुनिक नेपाली मूर्तिकला : सन्दर्भ ऐतिहासिक सैनिक स्मारक मूर्तिहरू {Modern Nepali Sculpture: Reference Historical Military Memorial Statues}". SIRJANĀ – A Journal on Arts and Art Education 4, № 1 (1 грудня 2017): 98–107. http://dx.doi.org/10.3126/sirjana.v4i1.44520.
Повний текст джерелаАнотація:
नेपालमा मूर्तिकलाको समृद्ध र उत्कृष्ट परम्परा रहि आएको छ । हामीसंग शास्त्रीय परम्परामा आधारितमूर्तिकलाको गौरवशाली इतिहास रहेको छ भने समसामयिक मूर्तिकलाको क्षेत्रमा पनि नेपालीमूर्तिकारहरूले उल्लेखनीय योगदान पुर्याउंदै आएका छन् । प्रस्तुत लेख आधुनिक नेपाली मूर्तिकलाकाप्रकरणमा ऐतिहासिक दृष्टिले महत्त्वपूर्ण सैनिक स्मारक मूर्ति रचनाहरूबारे केन्द्रित रहेको छ । {Nepal has a rich and excellent tradition of sculpture. Based on the classical tradition we have. There is a glorious history of sculpture and Nepali in the field of contemporary sculpture. Sculptors have made significant contributions. This article is about modern Nepali sculpture. The episode focuses on historically important military memorial sculptures.}
11
wang, Fang. "Stages and Features of the Development of Chinese Monumental Sculpture." Человек и культура, no. 1 (January 2023): 59–66. http://dx.doi.org/10.25136/2409-8744.2023.1.39852.
Повний текст джерелаАнотація:
Monumental and religious sculpture was the main form of ancient Chinese sculpture. There were very few public monumental sculptures. This phenomenon was associated with traditional Chinese culture and the socio-economic situation. It was only after 1949 that many monumental sculptures on the theme of the revolution appeared in China, which had an important connection with the politics of that time. This article is written in the following three parts: an overview of the development of monumental sculpture in ancient China; The history of the development of monumental sculpture from 1840 to 1949; An overview of the development of monumental sculpture after the founding of the People's Republic of China. Chinese sculptural art has a long history. As for monumental sculptures, with the development of society, the Policy in the field of culture and art supported diversification, artists received more free creative space. The range of creative topics gradually expanded, and there were more opportunities to choose style and language. It was only in the 1990s that the Chinese economy began to transform into a market economy. Under the influence of the latter monumental sculpture came under the influence of foreign cultures. We believe that China can rely on its own history, culture and national spirit, and combining China's historical resources with foreign cultures is the way to develop Chinese monumental sculpture.
12
Villegas-Broncano, Maria A., and J. Alberto Durán-Suárez. "Historical and technical insight into the human motifs in the glass sculpture." Arte, Individuo y Sociedad 33, no. 2 (February 4, 2021): 589–604. http://dx.doi.org/10.5209/aris.69159.
Повний текст джерелаАнотація:
Although glass proto-sculptures were made with deep artistic value since the most remote times, in the late 19th century the glass sculpture was developed, and during the 20th century the Studio Glass Movement reached the maximum level of technical perfection and aesthetic variety. The scientific and technical glass knowledge contributed to achieve appropriate hot and cold working procedures, and the artists improved their designs and creations. This paper focuses on the binomial glass sculpture and human motifs. The historic evolution of the glass sculpture with human motifs is analyzed, taking into account the production techniques and the relationships between the glass work and the expression of the finished artwork. A set of sculptures and sculptors are shown as representative examples of the main historical periods in which the glass plays an important role in the sculpture scene. The human representation in the glass sculpture can be considered as a constant throughout centuries, even though it is not the most frequent creative or ornamental motif. Either figurative or abstract human references can be found, although the former are the majority. This tendency is also present in the contemporary Studio Glass Movement sculptures.
13
Zhou, Acheng, and Chao Gao. "Research on the Involvement of Computer Graphics Algorithms in Systems for the Creation of Public Sculpture." Scientific Programming 2021 (October 21, 2021): 1–9. http://dx.doi.org/10.1155/2021/4520642.
Повний текст джерелаАнотація:
Currently, there is less research on how to improve the efficiency of the application of computer graphics technology in the creation of public sculpture. Therefore, this paper will focus on how computer graphics algorithms can enable systems for the creation of public sculpture with the intervention of computer graphics technology to create more accurate and completed works of public sculpture. It will explore and analyze how computer image algorithms can help creators apply computer image technology to finish complete and accurate public sculptures, and individual studies, computer imagery, and model analysis are also used. In systems for the creation of public sculpture, the point cloud data of the model is obtained through 3D laser scanning technology; then the algorithm of the point cloud model is integrated and the Statistical Outlier Removal algorithm of the point cloud model intervention is processed. By this way, the point cloud model of the work is optimized, and then a more completed and accurate public sculpture work can be produced by 3D sculpting or 3D printing. The research shows that, in the creation of public sculptures with the intervention of computer graphics technology, the computer graphics algorithm acquires the basis of the high-definition public sculpture data model. The computer graphics algorithm improves the accuracy and completeness of the creator using computer graphics technology; it is also the key to transform the accurate enlargement and transformation of the sculptural model into the actual sculptural work.
14
Trefný, Martin, Doris Mischka, Michal Cihla, Axel G. Posluschny, František R. Václavík, Wolfram Ney, and Carsten Mischka. "Sculpting the Glauberg “prince”. A traceological research of the Celtic sculpture and related fragments from the Glauberg (Hesse, Germany)." PLOS ONE 17, no. 8 (August 11, 2022): e0271353. http://dx.doi.org/10.1371/journal.pone.0271353.
Повний текст джерелаАнотація:
Article presents the results of a complex traceological research of the famous statue of the „prince”of Glauberg, found in an Early La Tène funeral complex in Glauberg (Hesse). Research focused also on two other fragments of related sandstone sculptures, found together with the Glauberger prince. The sandstone „prince”of Glauberg was already in the past a subject of many archaeological studies. Nevertheless, all or absolute majority of them were focused on aspects of art historian nature or on the question of the origin, role and function of such sculptures in the Early Iron Age Central Europe. On the contrary, the aim of our research is oriented exclusively on the questions related to the manufacture of this sculpture, identification of used sculptor´s tools and applied working techniques. Our research was realised by means of digital documentation followed by the aplication of traceological methods. The character of the survived working traces on the sculpture´s surfaces was studied by mechanoscopy, while the material of used tools was determined by X-ray fluorescence. The reconstructions of used tools were compared with the existing tools as represented by the Iron Age archaeological finds. This comparison was oriented on the most relevant regions of developed La Tène culture, particularly on South Western Germany and Bohemia. However, also other relevant area, significant as the possible source of inspiration of Celtic sculptors for the creation of the monumental sculpture–Apennine peninsula, was taken into consideration. Our research revealed individual steps and phases during the sculpture´s manufacture, enabled the reconstrucion of used tools and confirmed real existence of such tools in mentioned regions. Finally it has brought first indices of the necessity of the distinguishing between ideological and technological aspects of related Celtic sculpture, when considering possible influence of Apennine peninsula on transalpine Central Europe.
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Srhoj, Vinko. "Između originalnosti i epigonstva - slučaj Šime Dujmovića, kipara u Meštrovićevoj sjeni." Ars Adriatica, no. 2 (January 1, 2012): 225. http://dx.doi.org/10.15291/ars.451.
Повний текст джерелаАнотація:
Šime Dujmović (1887 - 1968), a sculptor from Hvar, is an almost unknown and unrecognized artist in the sphere of Croatian art. If one is aware that he created most of his ‘oeuvre’ as the executor of numerous statues conceived by Ivan Meštrović, and that he considered himself merely a technical assistant to the great master, the silence surrounding Dujmović’s name can be seen to be partly his fault, due to the fact that he never emphasized his share in this work, and did not attempt to ‘bring into question’ Meštrović’s art by individuating his own style. By abstaining from a personal style and manner, which might have taken him on the journey to sculptural individuality, Dujmović’s status in Croatian sculpture was lower than his ability deserved. It seems that, to this considerably skilled sculptor, it was more important to follow other people’s designs and carry out a given task to the best of his abilities, transforming matter into the most appropriate expression, at the expense of his own poetics which, considering his mastery of the techne, had much potential. Dujmović’s repression of his sculptural talent seems to be rooted in his attitude towards sculpture as a task which had to be carried out in a given material, not necessarily as a work of art which would have surpassed craftsmanship (although it is also rooted in the unfavourable circumstances of his life). Writing about the nineteenth- and twentieth-century sculptors and carvers of Split and Dalmatia, Grgo Gamulin described a plethora of obscure figures who shaped the Croatian sculptural tradition at the turn of the century when sculpture started to elevate itself with a new consciousness, leaving behind the modesty of craftsmanship but for an always uncertain destination. ‘Certainly, we find ourselves in the area of craftsmanship and skill, but one never knows when art will appear on that boundary, and the very question of that boundary (between craftsmanship and art) is uncertain and ‘‘mobile’’, Gamulin concluded. This statement can largely be applied to Šime Dujmović, who repressed his own expression and, by following tradition and other sculptors (Meštrović), in the end missed his opportunity to demonstrate his real abilities. Nonetheless, a small number of his works, such as his most ambitious project, the public sculpture Source of New Life, demonstrate that he did attempt to be individual, but from the wrong angle, that of the perfection of technical skill. Even if this sculpture was nothing more than a compilation of art nouveau, art deco and Meštrović, it confirmed that Dujmović was a master sculptor with enviable sculptural skill and that this technical ability had once again obstructed his path to individual expression. Not even in this most ambitious of his works were his authorial aims put first; instead, they were eclipsed by his skill in carving after models instead of shaping his own recognizable stamp. This paper deals with some of his other sculptures Svetovid, Mother and Child, Sculptor at Work, Defending he Homeland) but it also highlights his contribution to he sculptural physiognomy of the mausoleum of the Račić family, in which Dujmović executed his most difficult works for Meštrović (The Crucified Christ, The Entombment, Madonna and Child, cherubim heads and other decorative elements). The paper also mentions other numerous works on which Dujmović worked for Meštrović (Amor and Psyche, Woman with a Harp, the monuments Gratitude to France, To the Unknown Hero, nd Our Lady of Petropolje). Through an evaluation of he contribution assistants made on projects for master culptors such as Meštrović, and a consideration of the ecognizability of his ‘hand’ in the final appearance of he work, a question emerges which touches on the heart of the relationship between Meštrović and Dujmović: what is the ratio between the creator of the idea and the manual assistant in its execution? Can authorship be ‘boiled down’ to the conception of a work of art, or should some credit also be given to the assistants who frequently ‘spoiled’ or altered the master’s style? By considering the case of Dujmović, this paper provides answers by giving specific examples of cases in which an assistant’s contribution is significant and unmissable, without expressing an individual style. A rhetorical question which poses itself here is whether in such a manner Dujmović’s work (but also, more generally, the work of other numerous assistants and colleagues in the workshops of master sculptors anywhere) could be taken out of the shadow of the great master by acknowledging at least that part of his authorial input in which he spoke about himself while working for the master sculptor.
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Dzwonkowska, Paulina. "Photography and sculpture:The multifaceted relation of sculpture to photography and new media in the light of the evolving concept of sculpture." Journal of Education Culture and Society 1, no. 1 (January 17, 2020): 26–36. http://dx.doi.org/10.15503/jecs20101.26.36.
Повний текст джерелаАнотація:
The relationship between photography and sculpture, unlike the dialogue between the latter and painting, was long treated as a peripheral issue. Yet as early as the mid-20th century photography began to show potential that sculpture seemed to be lack. Aware of a large degree of overlap between the two forms of artistic expression, (e.g. with respect to materiality, spatiality, or accentuating frozen gestures) sculptors did not leave sculpture for photography, but attempted to create works that were interdisciplinary in structure. The rise of interest in photography displayed by Polish sculptors was closely connected with the evolution of the concept of sculpture. In the mid-20th century artists creating traditional sculptures (understood as a solid or as a visually rendered spatial form) began to experiment and cross the boundaries of well-established artistic tradition. The changes introduced enabled sculptors to interweave their field with other artistic disciplines, especially photography, even more closely. More and more frequently, sculpture started to establish multi-faceted relations with the new medium. At the beginning the potential of photography as a documentation tool was exploited. Then sculptors began to appreciate photography’s core values, using it to capture and preserve a given moment in time. Finally, they applied it in works that can be classified as close to hyperrealism. The employment of still newer materials and tools made the link between sculpture and photography inextricable, as can be shown through works of Polish artists.
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Dobrolyubov, Petr V. "School of sculptor Alexander Terentyevich Matveev and his students." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (September 10, 2022): 29–43. http://dx.doi.org/10.36340/2071-6818-2022-18-4-29-43.
Повний текст джерелаАнотація:
This article is dedicated to the “School of sculptor Alexander Terentyevich Matveev and his students.” A.T. Matveev had a profound influence on the development of Russian and Soviet sculpture both through his creativity and his purposeful teaching activities. The beginning was laid by the sculptor while studying at the Bogolyubov School (modeling classes with blind children). The pedagogical experience of A.T.Matveev is measured by half a century, and the official one is only thirty years, due to the fact that this practice was interrupted. But the connection of generations of masters of sculptural craft has not completely frozen. The students who studied with the artist-teacher A.T.Matveev developed them in turn with their followers and students and in their own creative search, turning to the teacher for advice in moments of artistic searches, searches and doubts. Russian Russian sculpture. The author of the article points out that Alexander Terentyevich Matveev is the founder of the Russian school of sculpture, a master and teacher of a whole galaxy of remarkable Russian, Soviet sculptors, who exerted a huge influence on the development of modern Russian plastic art by his example, his method and creativity. He was one of the organizers, ideological inspirers and active participants of many creative associations of the first third of the XX century. The author notes that some researchers of the creative path of the sculptor-innovator A.T.Matveev in their scientific works on the work of the sculptor, pointed out that A. T. Matveev did not leave any theoretical works that could be the key to his work. His works themselves are all that remains of the author. But even these works of the sculptor-teacher give us the opportunity to get an idea of his views, worldview, his attitude to the creative process and, in general, to the profession of an artist-sculptor-teacher and about his personal considerations on this topic. This article presents conversations with him preserved in the notes and memoirs of students, his statements, as it seems to the author, have an exceptional relation not only to the tasks of teaching in the field of sculptural craft, but also to the worldview of the master sculptor as a teacher at the head of his school. The author analyzes and convincingly proves by concrete examples that the school of Alexander Terentyevich Matveev is an understandable, logically competently built pedagogical system based on the experience and skill of previous generations of artists coming from antiquity and Byzantium and related to heuristics and maieutics, from Western European aesthetics and traditions and foundations of the Russian plastic school, its basic foundations and principles dating back to N. F. Gillet and to P. P. Chistyakov. In the early forties, A. T. Matveev compiled a "Sculpture Program" that complemented the established method of teaching sculpture, which earlier and now, of course, is rightfully called as the School of Sculptor Matveev. The author analyzes the process of learning from the teacher and sculptor A.T.Matveev, names the main dates of his work, reveals the details of sculptural craft, talks about the variety of moves in the plastic of the master, analyzes the methods and principles of work in sculpture, shows the attitude of students to their teacher, and highlights the whole course of historical milestones in the creative biography of the sculptor.
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Elezović, Zvezdana. "Affirmation of Serbian sculptures in Kosovo and Metohija." Bastina, no. 56 (2022): 553–62. http://dx.doi.org/10.5937/bastina32-36832.
Повний текст джерелаАнотація:
The paper discusses the affirmation of Serbian sculptors in Kosovo and Metohija in the second half of the XX century. It began to develop in the province in parallel with painting, and the founding of the Academy of Arts in Pristina in 1973 can be taken as a turning point. Most artists have already been involved in current creative trends in fine arts in Kosovo and Metohija and beyond. Bužančić says that sculptural achievements, as well as facts from the art scene at the time and a promising future, reject any allusion that sculpture was still a less important sector of Kosovo's art. As the founders of Serbian sculpture in Kosovo and Metohija, we can mention Svetomir Arsić Basara, Radoslav Musa Miketić, and after some time Zoran Karalejić, and they raised sculpture in Kosovo and Metohija with their artistic creation and pedagogical work. The circle of Serbian sculptors then began to expand and prosper, with new profiles and sensibilities, enriching sculptural production in the province.
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Polubok, Andrii, and Oksana Pylypchuk. "REGULARITIES OF RELATIONSHIP OF MONUMENTAL-DECORATIVE SCULPTURE AND OPEN PUBLIC SPACE." Urban development and spatial planning, no. 78 (October 29, 2021): 435–44. http://dx.doi.org/10.32347/2076-815x.2021.78.435-444.
Повний текст джерелаАнотація:
Taking into account the peculiarities of the relationship between the open public space of the architectural environment and the monumental and decorative sculpture, the article examines the main patterns of the relationship between sculpture and urban space. It also identified and analyzed the importance of taking into account the main factors that affect the perception of a sculptural composition in any type of urban space: scale ratio, methods of placement, formation of the environment, generalization of the silhouette, detailing and perception of the expressiveness of the silhouette of a sculpture in specific spatial situations. The analysis and systematization of information sources of a theoretical and practical nature regarding the designated topic highlighted the current state of the problem of the relationship between sculpture and the open public space of the architectural environment, revealed the importance of taking into account the main factors in the perception of sculptural plastic in space. In the process of studying the main existing theories, methods, scientific approaches, techniques, historical and practical experience of the relationship between sculptural sculpture and the open public space of the architectural environment, general patterns of perception of sculpture – its scale relationship with space, ways of placing sculptures, shaping the environment, as well as individual regularities – generalizations of the silhouette, detail and plastic quality, expressiveness of the silhouette, depending on the directions of perception of the sculpture when it is introduced into the architectural environment.
As a result of research and analysis, a general conclusion was made: monumental and decorative sculpture, which is introduced into the urban environment, is inextricably linked with public space and therefore has special qualities and means of expression that allow you to create a general synthetic architectural and artistic image of space at a new qualitative level to create general compositional integrity and the formation of a single spatial-plastic ensemble in the architectural environment.
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Bin, Li. "The Humanistic Spirit in Sculptor’s Work (on the Example of Li Xiangqun’s work)." Scientific and analytical journal Burganov House. The space of culture 15, no. 4 (December 10, 2019): 136–46. http://dx.doi.org/10.36340/2071-6818-2019-15-4-136-146.
Повний текст джерелаАнотація:
Li Xiangqun, the famous Chinese sculptor, managed to evolve his creative style developing a confident and fine ability to create forms, a special and distinctive perspective on reality, skillfully mastering the refined expressive language of sculpture and creating sculptural works filled with spiritual value, the spirit of the times and a sense of humanism. In this paper, the importance of humanistic factors in the fine sculptural art is emphasized by analyzing a part of Li Xiangqun’s works, transferring the experience of understanding the style and power of involvement of Li Xiangqun’s sculpture to the reader, as well as the experience of sensory feelings of humanistic elements in Li Xiangqun’s work. The embodiment of humanistic values in the material form is the spirit and quintessence of figurative sculpture, this is what distinguishes figurative sculpture as a phenomenon from the refined basic image of reality in the form of sculpture. This spirit is the parameter with which it is necessary to correlate the sculptor’s work. The works of Li Xiangqun require the highest attention to ourselves, they are a classic example of the embodiment of the elements of humanism in sculpture. Li Xiangqun has been universally recognized as a leader and devotee of contemporary Chinese fine sculpture; he has made an indisputable contribution to the development of modern Chinese fine sculpture and its humanistic spirit.
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Boomkamp, Margreet. "Sleeping Beauty." Rijksmuseum Bulletin 67, no. 2 (June 15, 2019): 142–61. http://dx.doi.org/10.52476/trb.9727.
Повний текст джерелаАнотація:
The interest in fairy tales grew strongly over the course of the nineteenth century, particularly in Germany, the birthplace of Frans Stracké (1820-1898). Renowned artists made illustrations for popular publications of fairy tales and in the middleof the century characters from fairy tales also appeared in paintings and sculptures. The sculptor Frans Stracké was inspired by this development and in the eighteen-sixties created a Sleeping Beauty and a Snow White. He may have chosen these designs because the sleeping figure offers greater sculptural possibilities, for example in funeral art. He showed Sleeping Beauty at the precise moment she falls asleep, after she had pricked her finger on a spindle. Stracké followed the fairy tale by the Brothers Grimm from 1812, in which the ill-fated event was predicted during the celebration of Sleeping Beauty’s birth. Sleeping Beauty (also known as Briar Rose) was precisely the sort of subject Stracké preferred: he excelled in making genre-like sculpture of a very high standard. This was little appreciated in the Netherlands, whereas in France and Italy practitioners of this type of sculpture enjoyed considerable success. Stracké is credited with introducing contemporary developments in European sculpture into the Netherlands; Sleeping Beauty is a relatively early and typical example.
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Fang, Zhiyu. "Traditions and Innovations in Chinese Contemporary Sculpture." Scientific and analytical journal Burganov House. The space of culture 18, no. 2 (May 10, 2022): 28–39. http://dx.doi.org/10.36340/2071-6818-2022-18-2-28-39.
Повний текст джерелаАнотація:
After the Cultural Revolution, an unprecedented period of openness began in China. The gradual deepening of the Reform and Openness Policy created more opportunities for the development of contemporary Chinese sculpture. For "tradition", sculptors combine the form and content of traditional culture and sculpture, expressing the problems of modern life and human society, forming a rich creative thought and a broad creative outlook. Two art directions were formed. The first direction follows the creative method of sculptors who studied in France before the formation of the People's Republic of China, focusing on the study of the "language" of the actual sculptural art by combining the methods, forms and aesthetics of traditional Chinese sculpture. The second direction uses traditional Chinese culture and sculpture to carry out the "modern transformation". In this process, the form is subordinate to the content, and "tradition" appears in an artwork as a specific symbol through which the artist's opinion is expressed. The two creative directions have formed a symbiosis and co-prosperity at present. We can say that they both confirm the development of modern Chinese sculpture on the path of "nationalisation and localisation" over the past 40 years. At the same time, these two creative directions have brought a new climax to contemporary Chinese traditional sculpture and culture.
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Deng, Wei, Yan Chen, and Shen Jian Hu. "Analysis of Current Situation of Digital Sculpture Development." Advanced Materials Research 690-693 (May 2013): 3482–85. http://dx.doi.org/10.4028/www.scientific.net/amr.690-693.3482.
Повний текст джерелаАнотація:
Digital sculpture is an emerging sculpture form. The current digital sculptures are dominated by abstract modeling and digital sculpture should also be conducted by simulating the method of traditional realistic sculpture. 3d printing technology still lacks application experience in making large-size digital sculptures, while digital controlled sculpting technology has some limitations for sculpture modeling. In instantiation of works, how to maintain digital characteristics of digital sculpture is an issue that requires in-depth discussion in the field of digital sculpture. 3d scanning technology has realized transition from traditional sculpture to digital sculpture and changed the method in which digital sculpture depends on software.
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Liu, Yiwen, Ruiyi Shen, and Jinyu Weng. "The Research on the Portrait Sculpture from Ancient Rome and Han Dynasty." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 140–48. http://dx.doi.org/10.54097/ehss.v5i.2894.
Повний текст джерелаАнотація:
Han Dynasty and the Roman Republic are two prosperous reigns that established huge differences between the content, material, form, and aesthetic preference in sculptural art. Even though many scholars have researched both Han Dynasty and Roman sculptures, not much comparison research has been done yet. In this paper, the study closely examines and compares the artistic style of portrait sculptures from both the Roman Republic and the Han Dynasty to explore the possible cultural and historical reasons for the differences. This paper takes the Head of a Roman Patrician and the Ceramic Figure of a Story-teller as research objects, which come from a similar time period and represent a particular population in relative societies, and according to the results of the study, most portrait sculptures from the Roman Republic represented a specific person, especially higher-class senior citizens or political leaders. Han dynasty portrait sculptures include a variety of objective groups, from ordinary people to the royal class. The difference between economical-geographic conditions leads to the discrepancy between social production mode and philosophical concept, which further cause the various expression of portrait sculpture art. Roman portrait sculpture continues the realistic style of Greek sculpture due to the need for nominatives, whereas Han sculptures emphasize charm and verve instead of specific, realistic features.
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Nowakowska, Maria. "Open-Air Łódź Sculpture Gallery and Its Influence on the City’s Aesthetics in 1972–1978." on the w terfront Public Art Urban Design Civic Participation Urban Regeneration 63, no. 11 (November 9, 2021): 26–48. http://dx.doi.org/10.1344/waterfront2021.63.11.02.
Повний текст джерелаАнотація:
The aim of the paper is to outline the circumstances of the establishment of the Łódź Sculpture Gallery in Rubinstein’s Alley (formerly: Aleja ZMP) and its impact on the aesthetics of Łódź.
Despite the city’s history dating back to the beginning of the 15th century, the first fully-fledged sculpture in public space appeared only in 1912. By the beginning of World War II, the number of sculptures increased to a dozen or so, but all of those works were destroyed by the Germans in the first years of the occupation.
In the period 1945–1970, two monuments and a dozen or so smaller forms appeared. The sculptural face of the city was changed only by the Łódź Sculpture Gallery, which focused on the most important issues of post-war town planning, politics, artistic trends, and social needs. Despite its short period of operation (1972–1978), its effects are still visible almost everywhere in Łódź. Never before and never after has the medium of sculpture been aestheticised on such a scale in the city.
The memory of this place and several dozen sculptures (and of their creators) has almost faded away. Currently, activities are under way to restore the Łódź Sculpture Gallery to its due position in the history of the city and to continue its activities in the same place.
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Nisa, Khairun, Elvis Elvis, and Armen Nazaruddin. "Karya Patung Abstrak Lisa Widiarti Ditinjau Dari Bentuk Dan Medium." V-art: Journal of Fine Art 1, no. 1 (December 15, 2021): 36. http://dx.doi.org/10.26887/vartjofa.v1i1.2219.
Повний текст джерелаАнотація:
This study discusses the form and medium used by Lisa Widiarti in making abstract sculptures. This study also briefly discusses Lisa Widiarti's short artistic journey. The discussion uses qualitative research methods, which include: observation, interviews, and literature study as well as research conducted in the city of Padang, West Sumatra. Based on the results of research on Lisa Widiarti's abstract sculpture, Lisa has produced dozens of abstract sculptures and almost every year always participates in exhibition events. Lisa tends to bring objects with the themes of love, social, everyday life, and beauty into her sculptures which are made with abstract shapes, and the mediums used in her work are various such as resin, stone, wood, cement, gypsum, metal plate and slurry. paper. Lisa is a female sculptor who is also a lecturer at Padang State University. Lisa is still able to survive with her abstract sculptures and become a resilient, creative, and active female sculptor in West Sumatra. Much can be learned andresearched from Lisa Widiarti's sculptures, especially abstract sculptures in terms of form and medium. It is hoped that research on Lisa Widiarti's abstract sculpture can be a reference so that there are opportunities for other researchers to research from a different scientific point of view.
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Liu, Xiaofei. "Dimensional Defect Detection Research on the Sculpture Surface Combining the Convolutional Neural Network and Gabor." Wireless Communications and Mobile Computing 2022 (September 5, 2022): 1–11. http://dx.doi.org/10.1155/2022/8259265.
Повний текст джерелаАнотація:
Thematic sculpture creation is an important part of sculpture creation. In particular, the current thematic sculpture creation in China has broken the shackles of serving politics and has shown a variety of aspects such as theme selection, modelling method, material language, and creative purpose. Since the new century, Chinese thematic sculptors have made in-depth analysis and research on the diversity of creative objects, the infinite possibilities of creative expression, and the diversity of creative purposes, especially through the phenomenon of different thematic sculptures to explore their existing predicaments, and give them reflection. If the time is too long, it will reduce the production efficiency of the sculpture production line and increase the operating cost of the enterprise. The Gabor wavelet transform is used to obtain the texture features of the sculpture surface, and the generated high-dimensional features are subjected to random projection dimension reduction. Finally, the binarization algorithm can be used to detect the defect location quickly and accurately. The feature map is extracted by selecting a deep network. The neural network algorithm structure for the sculpture dataset is presented, and the activation function and regularization method are improved on this basis.
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f, f. "A study on the Artistic Conception of Chinese Portrait Sculpture." Society for Chinese Humanities in Korea 85 (December 31, 2023): 539–52. http://dx.doi.org/10.35955/jch.2023.12.85.539.
Повний текст джерелаАнотація:
Portrait sculpture is an important part of sculpture classification.Portrait sculptures have a long history, but their origins are relatively late in China.In the process of studying abroad, Chinese elders introduced Western portrait sculptures to China.The combination of Chinese native art culture and western sculpture creates portrait sculptures that conform to Chinese aesthetics.especially in the context of consciousness.The artistic conception of sculpture art is to extend the limited time space to the infinite time space, which is to break through the small space and explore the infinite large space.From the aesthetic sense of art and trigger a fascinating sense of life, history.This kind of artistic conception is often the most impressive and moving place in the works.In a sense, the artistic conception is to go beyond the concrete objects and seek infinite time and space to sum up the philosophical feeling and understanding.This philosophical understanding is the meaning of “artistic conception”.The artistic conception is characterized by the coexistence of virtuality and reality.The artistic conception consists of two parts: the stronger part we can see directly with our naked eyes, called the “real” and the part we can't see with our naked eyes, but the imaginary part we can imagine, called the “virtual”.The virtual image is the sublimation of the actual object. The virtual image can embody the objective of the actual object, and the aesthetic effect of the work can be improved.However, the virtual world must be carried out with the actual object image as the carrier, in order to better convey the image of the virtual world.In short, reality and virtual reality are mutually reinforcing and mutually reinforcing relationships.This paper expounds the origin and expression of portrait sculpture, explores the artistic conception of famous Chinese sculptors, and explains the relationship between virtual and reality.This paper discusses the compatibility of traditional Chinese “artistic conception” aesthetics and Chinese portrait sculpture art, and explores a national development path for Chinese portrait sculpture art.
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Moskaliuk, Marina V. "Polychromy in Modern Russian Sculpture." Journal of Siberian Federal University. Humanities & Social Sciences 15, no. 1 (January 2022): 61–74. http://dx.doi.org/10.17516/1997-1370-0876.
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This publication analyzes the possibilities of using polychromy in the creative practice of Russian sculptors. The emphasis is on highlighting the main criteria for the use of color. Hermeneutical and analytical approaches are used in combination with induction and comparison. In general, formal stylistic analysis prevails in the research methodology. The novelty of the study is due to the low level of study of the work of Russian sculptors and the weak elaboration of the problem of polychromy in the theory of sculpture as a whole. Having briefly demonstrated the experience of using polychromy in sculpture throughout the history of the development of world cultures, the authors, based on the analysis of modern sculptural compositions, draw conclusions about the relevance and diversity of the use of polychromy in domestic sculpture of the twenty-first century. Two functions of using color in sculpture are highlighted, namely: imitation/animation and symbolic/sacred. The characteristics of these functions are considered on the basis of concrete examples, in conclusion, the prospects for the development of polychromy as one of the most expressive compositional techniques of plastics are evaluated
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Asif qız Nəzərova, Aysel. "Azerbaijan sculpture in the period of independence." SCIENTIFIC RESEARCH 10, no. 6 (June 27, 2022): 64–67. http://dx.doi.org/10.36719/2789-6919/10/64-67.
Повний текст джерелаАнотація:
Bu məqalədə Azərbaycan heykəltəraşlığının 1991 - ci ildən günümüzə qədər olan inkişaf tarixi öz əksini tapmışdır. Məqalənin birinci fəslində müstəqillik dövründəki monumental heykəltəraşlıq tarixi onun keçdiyi inkişaf yolu öz əksini tapmışdır. Eyni zamanda məqalədə heykəltəraşlığın bədii həllinə görə maraqlı olan nümunələrinin yerləşdiyi Fəxri Xiyabanın abidələrinə toxunulmuşdur. Burada Ömər Eldarov, Azad Əliyev, Natiq Əliyev və b.yaratdığı qəbirüstü abidələrin bir qismi haqqında məlumat verilmişdir. Məqalənin ikinci fəslində gənc heykəltəraşların yaradıcılığından, onların vətənpərvərlik mövzusunda yaratdıqları heykəl nümunələrindən söz açılır. “Aprel döyüşləri”, “Tovuz döyüşləri”, “44 günlük müharibə” mövzularında yaradılan heykəltəraşlıq nümunələrinə məqalədə daha geniş yer verilmişdir. Açar sözlər: heykəltəraşlıq, monumental, gənc, kompozisiya, vətənpərvərlik, müstəqillik Aysel Asif Nazarova Azerbaijan sculpture in the period of independence Abstract This article reflects the history of development of Azerbaijani sculpture from 1990 to the present day. The first chapter of the article reflects the history of monumental sculpture in the period of independence and its development. At the same time, the article touched upon the monuments of the Alley of Honors, where the most valuable examples of monumental sculpture are located. Here is information about some of the tombstones created by Omar Eldarov, Azad Aliyev, Natig Aliyev. The second chapter of the article addresses the work of young sculptors. In particular, the examples of patriotic sculptures were highlighted. Examples of sculptures created on the themes of "April battles", "Battle of Tovuz", "44 Day War" are given more space in the article. Key words: sculpture, monumental, youth, composition, patriotism, independence
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Klose, Christian. "Johan Niklas Byström and the so-called Venus of Stockholm. New research on a presumably lost sculpture." Opuscula. Annual of the Swedish Institutes at Athens and Rome 16 (November 15, 2023): 225–47. http://dx.doi.org/10.30549/opathrom-16-10.
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The inventory books of the Skulpturensammlung (Sculpture Collection) in the Staatliche Kunstsammlungen Dresden (Dresden State Art Collections, SKD) mention a plaster cast of a Venus sculpture, moulded from the marble so-called Venus of Stockholm. In the first half of the 19th century this statue—always considered an ancient artwork—had been owned by the Swedish sculptor Johan Niklas Byström, before it was sold to an English art collector. From that time on, the sculpture has been considered lost and it has remained unregarded by research. By contextualizing the Dresden plaster cast with other ancient Venus sculptures and textual sources, this article aims to show that the Venus of Stockholm was most likely an elaborate and mirror-reversed imitation made in its entirety in the 17th or 18th century. As such, the Venus of Stockholm was exceptional, because post-antique mirror-reversed copies of ancient sculptures are very rare. In addition, the article compares the Venus of Stockholm to statues sculpted by Byström, in order to highlight its impact on his oeuvre.
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Trotsenko, Аnna. "Plein Air Sculpture as an Element of Landscape Design in the Vinnytsia Region of the Late Twentieth and Early Twentyfirst Centuries." Demiurge: Ideas, Technologies, Perspectives of Design 6, no. 2 (December 1, 2023): 311–26. http://dx.doi.org/10.31866/2617-7951.6.2.2023.292155.
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The purpose of the article is to analyze the specifics of the phenomenon of plein air sculpture in the context of landscape design in the Vinnytsia region of the late twentieth and early twenty-first centuries. Research methods. The study uses such methods as historical and comparative, empirical, factual and descriptive, and field research analysis (field survey of sculptures and interviews with artists). The scientific novelty of the study lies in the systematisation of new factual data on plein air sculpture in the context of landscape design. For the first time in domestic art history, genre and style features of some sculptural works that have not yet been published are considered. Primary source information from artists, in the form of actual interviews, was recorded. Conclusions. The study highlights the plein air sculpture formation process as a small architectural form of the parks’ design environment. On the basis of the artistic analysis, the influence of plein air sculpture on landscape design is comprehensively revealed, and various factors of in teraction “sculpture-space” are discovered. The evolution and prerequisites of the phenomenon of sculpture symposia in the world, in particular in Britain, Austria, and Norway, are demonstrated. As a result of the study of the origins of the emergence of sculpture plein airs in Ukraine, it is proved that the “Podilskyi Oberih” art movement, which emerged in the village of Busha, Vinnytsia region, had a positive impact on the cultural formation of the environment. In the course of the study, an art historical analysis of individual representative samples of the author’s sculptures created in different time periods was carried out. This made it possible to outline stylistic trends that gave impetus to the search for ideological and plastic trends, taking into account the factors of interaction between “sculpture-space”. The article studies the development of the Bushanskyi Park landscape environment design and describes several implemented design projects of small architectural forms.
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Polubok, Andrii, and Oksana Pylypchuk. "Orientation of monumental decorative sculpture in urban space." Landscape architecture and art 23, no. 23 (December 31, 2023): 51–58. http://dx.doi.org/10.22616/j.landarchart.2023.23.07.
Повний текст джерелаАнотація:
This article examines and analyzes the main characteristic features of the relationship between sculpture and the external urban environment, the essence of which is the principle of its perception in certain locations, taking into account the orientation – the angles of perception of a specific sculptural composition that is projected in the urban space. The peculiarities of the orientation of monumental-decorative sculpture in architectural space are investigated. An analysis of the patterns was carried out (using real examples) and the probable directions of perception of the expressive silhouette of the sculpture were determined both in typical and in special spatial situations of the urban environment. Directions and points of view are identified, the totality of which constitutes the zones of perception of the sculptural composition depending on the specific spatial situation, which is based on a system of classifications of the external urban environment. Based on the results obtained during the study, the types of perception of the expressive silhouette of monumental and decorative sculpture are systematized and formulated, taking into account the main and additional zones, points and directions: circular perception in closed space and open space, frontal perception in half-closed space and half-open space, frontal perception in corner space, and frontal-bilateral perception in transit space. As a result of the study, a method was developed for determining the types of perception of sculpture, taking into account its orientation and relationship with the layout of urban space. The advantage of this method is the ability to identify in advance (at the modeling and design stage) the directions of the main, additional zones and observation points of the expressive silhouette of monumental and decorative sculpture of any genre and type in urban space. The proposed method for determining the types of perception of the most expressive silhouettes of sculptural compositions will help to more effectively model, design and install monumental and decorative sculptures, taking into account specific spatial situations and features of the urban environment.
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Fidler, Luke A. "The Coercive Function of Early Medieval English Art." Radical History Review 2020, no. 137 (May 1, 2020): 34–53. http://dx.doi.org/10.1215/01636545-8092762.
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Abstract This article examines the spectacular representation of confinement in early medieval English sculpture in the context of poems, sermons, and translations. By identifying a series of features that early medieval spectators would have paid special attention to, it shows that sculptors used imprisoned and fugitive figures to craft a discourse about power in the absence of both a strong state and a regime of punitive incarceration. Compelling pictures of prisoners and verbal images of captivity flourished as a kind of carceral imaginary in the public landscape before the carceral state’s rise, as well as licensing forms of community policing in which early medieval subjects were required to participate. As such, these sculptures model a relationship between art and coercive power predicated on historically specific expectations about sculpture’s capacity to instruct and surveil.
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Chuu Krydz, Ikwuemesi, Egwuibe Nnaemeka, and Obodo Eva. "Realism, eloquence and symbolism in Reuben Ugbine's ceramic sculptures." IKENGA International Journal of Institute of African Studies 23, no. 1 (July 9, 2022): 1–13. http://dx.doi.org/10.53836/ijia/2022/23/1/006.
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Ceramics is often seen as utilitarian art, although some contemporary Nigerian ceramists like Chris Echeta, Tony Umunna and Ozioma Onuzulike have tried to re-inscribe it as veritable fine art. Conversely, sculpture in recent times has shifted mostly towards the stylised, abstract and conceptual, as can be seen in recent works by select sculptors. Although the above trends may be deemed to be general, there are still artists who seem to defy or subvert the trends through the formal and iconographic essences of their works. The works of Reuben Ugbine, a graduate of sculpture from Yaba College of Technology Lagos, provide a good example and have received huge attention due to their style, visual eloquence and social commitment. This paper, therefore, examines Ugbine’s ceramic sculptures and how they transcend the banality of genre and subvert the common expectations from contemporary ceramics and sculpture in their embodiment of meaning and social relevance.
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Sakhno, Irina. "Alexander Burganov’s Alternative Worlds and Visual Ideograms." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (March 10, 2020): 38–55. http://dx.doi.org/10.36340/2071-6818-2020-16-1-38-55.
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Summary: The creative work of famous Russian sculptor Alexander Nikolayevich Burganov in the context of a system of copyright signs and conventional symbols, the artist’s relationship with the world and himself from the standpoint of symbolic valency which combines two forms of sculptural expressiveness – figurative and abstract art, are analyzed in the article. Considering hidden comparisons in Burganov’s work, the author analyzes the mythological and metaphorical thinking of the artist who appeals to invariable ancient images and surreal poetics that ultimately form an organic constellation of images and their harmonious completeness. Alexander Burganov’s sculptures are a productive space for an ambivalent play of many meanings and visual tautologies. The artist’s original reflections involve visual patterns that the sculptor articulates in his works: tradition and antiquity, cultural memory and modern philosophical contexts, semiotics of drapery/folds, a cage as a special sign, a symbol. The sculptor’s image paradigm also develops at the intersection of visual and verbal contexts, although the word as such is absent; however, the narrative discourse is obvious. The use of diverse semantics of sculpture-gestures plays an important role. Alexander Burganov’s sculptures, establishing a movable border between tradition and the historical avant-garde, reduce and reproduce new cultural meanings. Overcoming the boundaries of artistic optics and recreating new polystylism, he models a special lightness of sculpture and mobility of images in his sculptural works. The author draws attention to the sculptor’s ability to combine the most diverse layers of culture thus translating the artist’s original semantics based on allusions and allegories giving the viewer the right to independently navigate through the mazes of visual memory. The author emphasizes that the dialogue between the artist and the audience through symbolically abstract signs begins to model new forms of artistic matter and affect the human ordering of the world. Burganov’s artistic practice recreates the space of another reality – the world behind the looking glass of everyday life. The sculptor’s alchemy is such that the viewer immerses into the space of spiritual worlds, comprehends the sculptural plasticity and its expressiveness using the language of allegories and symbols. The observer establishes the inner essence of things, hidden conceptual impulses, tries to discover the spiritual in the material.
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Huang, Weiwei. "THE NOTIONS OF XIE-SHI («WRITING REALITY»), XIE-YI («WRITING IDEA») AND THEIR RELATIONSHIP TO REALISM." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (December 10, 2023): 10–16. http://dx.doi.org/10.36340/2071-6818-2023-19-6-10-16.
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This article discusses terminological problems in the context of contemporary art practice and theory in China. Contemporary Chinese sculpture criticism has evolved in the context of certain influence of Western theories of art. Against the background of the integration of Western theories and terminology system of sculpture in the present stage, the Chinese sculpture community has perceived and internalized terms such as realism, depiction, figurative, abstract, and so on. This has greatly enriched the theory and practice of Chinese sculpture. At the same time, there are sculptural terms rooted in the Chinese national art practice, such as “xie-shi” and “xie-yi”. Unfortunately, limited by the cultural and linguistic contexts of China and the West, and by the fact that most Chinese sculptors still preserve the creative habit of relying on traditional experience and personal judgment, these terms lead to vagueness and speculation in defining the type of sculptural artwork. This situation can very easily lead to ambiguity and misinterpretation in interlingual translation, which becomes an obstacle to the understanding of Chinese sculptural art in other countries and limits the development of Chinese sculptural criticism. This is an important academic problem that requires long-term research. The author would like to express his gratitude to Prof. Maria Burganova for drawing his attention to this problem. According to the results of the author's search in the Chinese full-text database of periodicals, master's theses and doctoral dissertations CNKI, there are still no papers on Chinese art history specifically dealing with this relevant topic, which remains to be explored.
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Nováková, Kateřina Nora. "Vratislav Karel Novák a jeho kinetické plastiky v Libereckém kraji." Fontes Nissae 23, no. 2 (December 2022): 12–31. http://dx.doi.org/10.15240/tul/007/2022-2-002.
Повний текст джерелаАнотація:
Sculptor and jeweler Vratislav Karel Novák created many small and monumental interior and exterior realizations of metal sculptures. He worked as a sculptor, blacksmith, restorer, designer, jeweler and since 1990 also as a teacher. During these years of his professional career, he pursued all these specializations at the same time. Movement and mechanics are important in his work, reflecting the author‘s admiration for technology. In connection with public space, he implemented twenty large projects in the Liberec Region mainly through public contracts - sculptures and signs for public buildings. His artwork is significant and unique in the context of Czech and world sculpture.
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Dobrolyubov, Peter V. "Unforgotten Names. Mikhail Belashov and Georgy Kranz." Scientific and analytical journal Burganov House. The space of culture 18, no. 6 (December 10, 2022): 37–63. http://dx.doi.org/10.36340/2071-6818-2022-18-6-37-63.
Повний текст джерелаАнотація:
The article “Unforgotten Names. Mikhail Belashov and Georgy Kranz” is the first in the cycle “VKHUTEIN, VKHUTEMAS. Sculptors. Teachers and Students”, dedicated to the unique creative and educational project, VKHUTEMAS - VKHUTEIN, which laid the foundation and within the framework of which a galaxy of outstanding Russian sculptors, who brought fame to our Fatherland in the fine arts immediately after the end of the Civil War in the country, was prepared. The author analyzes the work of outstanding sculptors. These masters of plastic art had a profound positive impact on the development of Russian and Soviet sculpture both through their creativity and their purposeful teaching activities. A start was made by some sculptors who were then students still studying at the Russe Studio in Paris in 1909. The VKHUTEMAS and VKHUTEIN sculptors-teachers’ pedagogical range was measured by the highest level of knowledge, teaching methods, laid down by the Russian Imperial Academy by taking into account relevant at that time new trends in art, sometimes extremely radical. Fortunately, this basic, main fundamental practice of studying sculptural craft was not interrupted but only improved. The invisible connection of generations of sculptural craft masters did not dissapear completely; it moved forward. The students who studied with the VKHUTEMAS and VKHUTEIN artist-teacher developed the methodology with their followers and students; in their own creative search, they addressed their teacher for advice in moments of artistic searches and doubts. The author of the article points out that such bright teachers-sculptors were the founders of the Russian, Soviet school of sculpture. They were masters and teachers of a whole galaxy of remarkable Russian sculptors who, by their example, their method and creativity, made a huge impact on the development of modern Russian plastic art not only in the USSR but throughout the world. They were organizers and ideological inspirers, active participants in many creative associations of the first third of the 20th century. The author notes that the works of sculptors-teachers and their talented students give us the opportunity to get an idea of their views, worldview, attitude to the creative process and, in general, to the profession of an artist-sculptor. This article presents the dialogues with teachers preserved in the notes and memoirs of students, their statements, which the Author believes is of exceptional relevance not only to the tasks of teaching in the field of sculptural craft, but also to the formation of the worldview of master sculptors and the concept of the school. The author analyzes and convincingly proves by concrete examples that the school of Vkhutein and Vkhutemas is a logically competently built pedagogical system based on the experience and skill of previous generations of artists, going from antiquity and Byzantium and related to classicism to Western European aesthetics and traditions and foundations of the Russian plastic school, its basic foundations and principles, ascending to the geniuses of the Quatrechento era. In this work, the author highlights the creative and pedagogical activities of these teachers and students of I.Efimov, S.Bulakovskiy, B.Korolev, V.Favorskiy, I.Tchaikov, V.Mukhina, N.Nisse-Goldman, M.Aisenstadt, N.Slobodinskaya, D.Schwartz, M.Belashov, A.Zelenskiy, E.Herzenstein, A.Grigoriev, G.Krantz, E.Belashova, I.Slonim, L.Pisarevskiy, A.Arendt, E.Abalakov. The author analyzes the learning processes of teachers-sculptors, names the main dates of their work, reveals the details of sculptural craft, talks about the variety of moves in plastic methods and principles of work in sculpture, shows the attitude of students to their teachers, and highlights the whole course of historical milestones in the creative biography of the sculptor. Today, the article is dedicated to two remarkable sculptors, classmates, peers, sculptors Mikhail Belashov and Georgy Krantz who went missing in the war.
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Song, Unsok. "Rediscovering the Monk-Sculptor Ch’ŏnsin: The Missing Link between the Ŭngwŏn-In'gyun and Saengnan Schools of the Honam Area in the Late Chosŏn Period." Sungkyun Journal of East Asian Studies 22, no. 2 (November 1, 2022): 207–31. http://dx.doi.org/10.1215/15982661-10040897.
Повний текст джерелаАнотація:
Abstract Of the monk-sculptor groups active in the Honam area in the southwest part of the Korean Peninsula during the late Chosŏn period, the Saengnan School was the largest, both in terms of the number of artists in the group and of the works they left behind. Studies of the group have largely focused on the sculpting activities of the Buddhist monk Saengnan (fl. late seventeenth to the early eighteenth century; 1663–1709) and his followers, while little is known about the origins of the school due to a lack of records about his formative years as an assistant. The recent discovery of four Buddhist parwŏn prayer texts has revealed that Saengnan spent the early years of his career as a sculptor assisting the monk-sculptors In'gyun and Ch’ŏnsin, who were key members of the Ŭngwŏn-In'gyun School that played a central role in the production of Buddhist sculptures in the early to late seventeenth century in the region. This study shows that the Saengnan School, the most productive group of monk-sculptors from the late seventeenth to the early eighteenth century in the Honam region, was a successor to the Ŭngwŏn-In'gyun School, through a comparative examination of these highly informative prayers and relevant Buddhist sculptures. My examination also reveals that the two schools were linked by Ch’ŏnsin, who studied sculpture under In'gyun, and in turn, taught Saengnan.
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Modrić, Dragana. "Prilog poznavanju rane faze u kiparstvu Stipe Sikirice." Ars Adriatica, no. 2 (January 1, 2012): 241. http://dx.doi.org/10.15291/ars.452.
Повний текст джерелаАнотація:
The early phase in the sculpture of Stipe Sikirica took place in the 1950s and 1960s. Due to a large number of sculptures on the topic of the Croatian Alka knights’ game, he is frequently associated exclusively with the so-called ‘Alka cycle.’ Precisely for this reason, it is important to point out a group of works, omitted from the scholarly overviews, which represent a stylistic and thematic departure in the oeuvre of this artist. In this period, the meditation and formation of his visual language was strongly influenced by European sculpture (Giacometti, Moore, Marini) which he saw when travelling. At time he took part in exhibitions with young ‘rebels’ (the 15 young ones), he worked as part of Vanja Radauš’ workshop and was open to influence and experimentation. All of the above resulted in successful sculptural solutions which have their place in the context of Croatian contemporary sculpture. In this period, Stipe Sikirica also defined his relationship with public sculpture which would prove to be a significant part of his later career. This early phase marks a fertile period of creation when Stipe Sikirica made his best works which place his oeuvre in a wider context of European sculpture.
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Witabora, Joneta, and Jonata Witabora. "Kinetic Sculpture." Humaniora 5, no. 1 (April 2, 2014): 398. http://dx.doi.org/10.21512/humaniora.v5i1.3038.
Повний текст джерелаАнотація:
Kinetic Sculpture was born from a long process of searching new approach in sculpture. The artists tried to escape from 'static' paradigm and tried to implement movement into their works: a sculpture that is mobile. Movement is always a fascinating phenomenon to eyes. Kinetic sculpture strength lies in its unique character in combining science and art. Kinetic Sculptures are really interesting pieces of art. It succeeds to fascinate human everytime.
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Grafinsky, E., and Lesya Chen. "CREATIVITY OF THOMAS GUTTER AND HIS SCULPTURAL WORKS." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2024, no. 1 (May 17, 2024): 52–58. http://dx.doi.org/10.23939/sa2024.01.052.
Повний текст джерелаАнотація:
The study of the work of the German-born sculptor Thomas Gutter, who worked in Galicia during the late Baroque period, is currently poorly studied, so it needs a thorough study. The article is devoted to the analysis of the work of the sculptor Thomas Gutter. It explores the life and creative path of the artist, the peculiarities of his style, and the use of materials in sculpture. Gutter's main works, their themes, and symbolism, in particular expressiveness in space, are considered. His works are distinguished by the expressiveness of the form, the drama of expression and the detailing of the plastic treatment of draperies. Thomas Hutter's style is characterized by a combination of South German traditions and Central European styles and shows an evolution from the late Baroque to greater geometrization. With his sculptural works, Gutter not only enriched local art, but also made a significant contribution to the formation of the late Baroque style in the Western Ukrainian region. His work influenced the style of many subsequent generations of sculptors. The sculptural works of Thomas Hutter have a high artistic value and belong to the cultural heritage not only of Ukraine but also of Europe. The results of the study can be useful for art historians, sculptors, and researchers.
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Zheng, Jane. "Producing Chinese Urban Landscapes of Public Art: The Urban Sculpture Scene in Shanghai." China Quarterly 239 (May 17, 2019): 775–803. http://dx.doi.org/10.1017/s030574101900002x.
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AbstractThis article uses an “urban landscapes” perspective to examine the urban sculpture scene and its production system in Shanghai. It reviews both the national urban sculpture discourse and urban sculpture planning practices since 1949, and then focuses on Shanghai specifically. It examines three major stakeholders in urban sculpture development and their interactions. The main argument is that Shanghai's urban sculpture scene has evolved due to the proliferation of aesthetic and symbolic sculptures as opposed to traditional monuments; however, urban entrepreneurialism and globalization have been shaped by the continuity of the Chinese ideological framework, which has transformed urban sculptures from explicit into veiled political didacticism under the guise of caring for the people.
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Jinsin, Kun. "Chinese Buddhist Sculpture of the Early Period. Iconographic Features." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 114–26. http://dx.doi.org/10.36340/2071-6818-2020-16-2-114-126.
Повний текст джерелаАнотація:
Chinese Buddhist Sculpture of the Early Period. Iconographic Features The development period of the art of Buddhist sculpture from the mid and late era of Eastern Han to the era of Western Jin is addressed in this article. The Buddhist sculpture of this period is called early Chinese Buddhist sculpture. During this period, before individual Buddhist sculptures became official objects of worship, Buddha images were made on stone carvings in tombs, on money trees, bronze mirrors, hunping vessels, etc. They have many similarities between each other, and therefore are significantly different from Buddhist sculptures of the later period. Based on currently available archaeological materials, relief was the main form of Buddhist sculptures of this period; sculptures mainly served as decor and were not an object of worship. In terms of purpose and meaning, they were mainly associated with funeral rituals, beliefs about happy omens, beliefs about celestials, early Taoist and other ideas, etc. After putting in order and combining material on the remains of early Buddhist sculptures, the following features of the art of sculpture can be distinguished: 1. In many ways, the early Buddhist sculptures expressed the early style of Gandhara. 2. The early Buddhist statues were closely related to the themes of the celestials and Huang Lao. 3. Buddhist sculpture did not occupy the most respected position. These sculptures mainly performed a decorative function, symbolized happiness and prosperity, and were not the main object of worship. Two conclusions can be drawn from this: the art of early Buddhist sculptures and religion basically developed synchronously; after appearing in China, the art of Buddhist images immediately became Chinese.
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Saptono, Nanang, and Endang Widyastuti. "Identifikasi Temuan Arca di Karangnunggal, Tasikmalaya." PANALUNGTIK 4, no. 2 (December 17, 2021): 115–28. http://dx.doi.org/10.24164/pnk.v4i2.71.
Повний текст джерелаАнотація:
Sculptures are archaeological relic that are frequently found. Sculptures from the Hindu-Buddhist period often serves as a medium for worshipping. The characters depicted in the sculpture can be of gods and their pantheons, some are in the form of kings who are depicted as gods. In the area of Karangnunggal, Tasikmalaya, sculpture made of stone were found on a former plantation land that was used during the Dutch era. This article aims to provide an overview of the character that are depicted in the sculpture, the origin style of the creation, and when the sculpture was created. The method used in this research is descriptive research with a comparative approach. Based on its attributes, the Karangnunggal sculpture considered as a sculpture of embodiment. The figure that depicted was Dewi Parwati in Majapahit style. Based on the context of the findings, this sculpture indicates as an art item created at present time.
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Habetzeder, Julia. "The impact of restoration. The example of the dancing satyr in the Uffizi." Opuscula. Annual of the Swedish Institutes at Athens and Rome 5 (November 2012): 133–63. http://dx.doi.org/10.30549/opathrom-05-07.
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The aim of this article is to show that reputed restorations may have an unexpected impact on the study of ancient sculpture. During the 17th–19th centuries, a number of restored antiques were held in exceptionally high regard. One of the consequences of their renown was the production of copies and adaptations in different scales and media. Such reproductions did not distinguish between the ancient and the restored parts of the work. Today these reproductions are centuries old, and in many cases their provenance has long since been forgotten. Therefore, such post-Antique sculptures are easily misinterpreted as ancient. Subsequently, they are at times used as evidence of ancient sculptural production. Needless to say, this may cause flawed notions of Classical sculpture. The complexity of this relationship, between the ancient and the restored, is here exemplified by tracing the impact that a restored motif—“Satyrs with cymbals”—has had on the study of an ancient sculpture type: the satyr attributed to “The invitation to the dance”.
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Østergaard, Jan Stubbe. "Farven vender tilbage. Et “sandere billede” af antik skulptur." Periskop – Forum for kunsthistorisk debat, no. 18 (August 14, 2017): 118–37. http://dx.doi.org/10.7146/periskop.v15i18.105150.
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The Re-Emergence of Colour. A “Truer Picture” of the Sculpture of Classical AntiquityThough often held to be a well-known fact, the consequences of the re-emergence of polychromy of ancient Greek and Roman sculpture have not yet made themselves noticeably felt in the practice of disciplines most affected, namely classical archaeology and art history. Yet it challenges what we have long held to be “the true picture” of classical sculpture, as well as ideas on the aesthetics of later European sculpture. The absence of studies of the aesthetic dimension of polychrome sculptures of these later periods is remarkable. An outline of views on the aesthetics of the portrait of Nefertiti, a world famous masterpiece of ancient Egyptian polychrome sculpture, is followed by sections dealing in chronological order with some of aspects of how polychromy affects the picture we have of Greek and Roman sculpture. The relatively recent recognition of the unity of form and colour in Archaic sculpture is discussed on the background of the reception of the period; similarly, the unity of the sensuality of polychromy with ideal forms is the theme of the Classical section. In archaeology and art history, academic taxonomies of sculpture are established on the basis of materials, formats and dimensionalities. The advent of polychromy creates a continuum across these categories, in all periods, but is most clearly to be traced in the Hellenistic. In Roman sculpture, “copies” of Greek originals have for some time been the subject of increasingly varied, positive appreciation. The term “copy” is therefore being replaced by others, reflecting the “originality” of the contribution made by the Roman sculptors. To this can now be added that of the sculpture painter, leading to a whole new set of research questions. Were identical copies similar in their polychromy as well? This touches on the concept of “copy” and “original” in a Greek and Roman context. A final section reflects briefly on how this affects “true pictures” of later European sculpture and architecture.
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Yuan, Xinyu. "Transformation of the artistic form and ideological content of the memorial complex in memory of the Sino-Japanese War in Beijing." Культура и искусство, no. 6 (June 2024): 188–99. http://dx.doi.org/10.7256/2454-0625.2024.6.70638.
Повний текст джерелаАнотація:
The article is devoted to the problem of transformation of the imagery of the monumental sculpture ensemble created in memory of the Sino-Japanese War in Beijing. The construction of the memorial took place in two stages: the Memorial of the Chinese People's War of Resistance to Japanese Aggression was erected in the late 1980s, and a decade later the Sculpture Garden of the Memorial of the Chinese People against the Japanese War was laid. These elements of a single ensemble represent different options for using figurative-meaningful, compositional-spatial, artistic-stylistic and plastic features of monumental sculpture and interpreting its semantic role in such structures. Using the example of these memorials, it is possible to identify and trace the development strategy of memorials and their sculptural design, especially the dynamics of changes in the creation of an artistic image of sculptural groups. The author uses the method of art criticism to describe the visual and expressive features and the ideological content of the monumental sculpture of the memorial plan on the example of an analysis of the aesthetic qualities of two different elements of the ensemble in Beijing. This requires an analysis of the artistic structure and forms through which the authors express their ideological messages, as well as a comprehensive study of visual and expressive means. The object of attention in the article is the role and place of monumental sculpture in the development of historical memory and culture of China, and the subject is the options for the development of figurative and stylistic features of the art of sculpture in the context of the expansion and transformation of memorial complexes. Sculpture is considered as a reflection of the ideological and creative pursuits of Chinese sculptors of the late XX and early XXI centuries. The research material is a monumental sculpture as the most important artistic element of the memorial ensemble in memory of the Sino–Japanese War in Beijing, which allows for artistic comparisons, including with similar monuments on the territory of modern Russia. The article provides an opportunity to reveal the nuances of artistic, spatial and semantic interaction between the memorial and the sculpture garden.
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Cherednichenko, Oleksii, and Oleh Rybchynskyi. "THE RESTORATION PROGRAM OF THE WHITESTONE SCULPTURE OF YAN NEPOMUK OF THE BEGINNING 19-TH CENTURY FROM VILLAGE VELYKA VYSHENKA, YAVORIW DISTRIKT, LVIV REGION." Current Issues in Research, Conservation and Restoration of Historic Fortifications 16, no. 2022 (2022): 91–101. http://dx.doi.org/10.23939/fortifications2022.16.091.
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The following article is the first attempt to analyze and systematize the sculptural images of St. John of Nepomuk in the late XVIII-XIX centuries in Galicia, determine the accurate location to suggest the authorship of the work and develop a restoration program to put into effect work on the monument. Having conducted a stylistic inquiry, we can say that the author was a sculptor Jan Nepomuckski from the village of Velyka Vyshenky. He was under the influence of such Lviv sculptors as Peter and Matthew Poleiowski. Compositional techniques, manner of interpretation of folds, and plasticity testify to close cooperation with these authors. The similarity to the mode of Peter Poleiowski is especially noticeable. Matthew Poleiowski was a talented organizer, had great authority and performed an impressive number of works. He organized other sculptors under his guidance, and there is a suggestion that Ivan Poleiovsky was the leading one. Therefore, probably since Matthew signed contracts for the work, we see the work of the whole shop, and one of these sculptors was the author of sculptures, Jan Nepomuk, from the villages of Velyka Vyshenka and Tovstolug. The sculpture under restoration suffered significant damage and loss. There is no pedestal on which it had initially located. But the round column remained smooth and without decor. From the elbow, along with the hands, both hands are missing. Also, parts of the folds of clothing are missing. There are numerous chips and cracks. The saint's face is barely visible. A traditional attribute of the saint, the metal halo, is also missing. Although, we found traces of them, such as mounting slots on the sculpture. Before restoring the white stone sculpture of Jan Nepomuk from the village of Velyka Vyshenky, we developed the program. It includes the following steps: 1. To execute the photo-fixation of the object, make all necessary measurements and drawings. 2. To carry out a preliminary inspection to assess the damage and condition of the stone. 3. To determine the sequence of works on stone conservation. 4. To perform stone cleaning by dry method with brushes. 5. To clean the stone with a steam generator; 6. To clean the neck and head part from the remnants of cement with the help of metal tools, so-called preliminary restoration and pre-moisten the concrete with water. 7. Take measures to salt the stone with cellulose compresses and distilled water. 8. To perform structural strengthening of the stone with silicon-organic elements. 9. Glue the head and part of Christ with epoxy-based material from TENOX. 10. To supplement the lost items of clothing with mineral restoration solution. 11. To make several elements, such as hands, lost parts of the figure of Christ from plasticine. To make a plaster mould and reconstruct them from artificial stone. 12. To strengthen the structure of the stone with silicon-organic substance. 13. To cover the work with a biocidal solution of long-lasting action. 14. To perform sculpting of wood. 15. To conduct hydrophobization of the work. 16. To develop recommendations to organize the exhibition of works, providing optimal storage conditions. The white stone sculpture of Jan Nepomuk from the village of Velyka Vyshenka is an invaluable example of the late Baroque masters of the Lviv School of Sculpture, created by Ivan Poleiowski. However, today it is impossible to chronicle this. In the process of restoration of the Jan Nepomuk Sculpture, we used established and original restoration technologies and methods. It may allow displaying this sacred work as an object for prayer and worship. We would recommend exhibiting it under the cover to protect from the aggressive impact of precipitation.