Search

Restoration procedures of the polychrome terracotta relief “Madonna and Child” with papier-mâché inserts from a shrine in Piove di Sacco (Padova, orthern Italy) were assisted by analytical investigations, contributing to identify the chemical composition of the pigments, fractures and internal damages, additions and retouchings, which strongly modified the original manufact. In particular, energy dispersive X-ray fluorescence, Raman spectroscopy and FT-IR spectroscopy were employed to determine the chemical composition of pigments on the original layer and on the overpaintings and to understand the artistic techniques. Moreover, X-ray planar radiography and computed tomography were used to understand the structure and its conservative state. Finally, the relief, stylistically dated to the 17th century, turned out to be a Renaissance terracotta artefact. The polychrome blue traces of lapis lazuli highlighted a valuable artwork and the resemblance with the style of Donatello and his apprentices have recently led to further studies, as an initial part of a larger research on polychrome terracotta in Veneto.

Im Fokus dieser Studie stehen mehrere Gruppen von tragbaren Skulpturen unterschiedlicher Größe und aus unterschiedlichem Material gefertigt (Bronze bzw. Papiermaché), die eine bestimmte Überlieferungslinie von Lehrern der Lamdre-Tradition darstellen. Lamdre („Der Weg und das Resultat“) bildet das zentrale religiöse Lehrsystem der Sakya-Schule des tibetischen Buddhismus und ihrer wichtigsten Zweigschule, der Ngor-Schule. Diese wenig bekannten oder weitgehend unerforschten Skulpturen und Skulpturengruppen befinden sich in der Sammlung des Klosters Namgyal in Mustang (Nepal), dem ehemaligen Königreich von Lowo (Glo bo), an der Grenze zu Tibet gelegen. Sie stammen aus dem späten 15. bis frühen 16. Jahrhundert, einer höchst innovativen Phase buddhistischer Kunstproduktion in Tibet und dem Himalaya, in der sich regionale Stile entwickelten und neue künstlerische Gestaltungsformen erprobt wurden, einschließlich verschiedener Arten des Porträts. Hierzu zählen idealisierte, typisierte, und gelegentlich hoch-expressive, Darstellungen von Lehrern innerhalb einer Überlieferungslinie ebenso wie individualisierte, realistische Einzelporträts von bedeutenden buddhistischen Meistern, die offensichtlich nach dem lebenden Modell geschaffen wurden. Basierend auf einer vergleichenden kunsthistorischen Analyse zeigt die Arbeit, dass der Repräsentation der Überlieferungslinie als Ganzes eine höhere Stellung beigemessen wurde als der Schaffung von Ähnlichkeit mit den einzelnen Figuren innerhalb einer Skulpturengruppe. Die Bildwerke reflektieren außerdem die religiösen, historischen und künstlerischen Verbindungen zwischen Mustang und angrenzenden Königreichen in West-Tibet, der Provinz Tsang und dem Kathmandu-Tal. Sie zeigen, dass die lokalen Klöster auf ein etabliertes Netzwerk von buddhistischen Klostergemeinschaften, machtvollen und wohlhabenden Stiftern und künstlerischen Traditionen aufbauen konnten, und dass sich die Region als ein Zentrum skulpturaler Produktion von höchster Qualität und Innovation etablierte. This two-volume dissertation on lineage portraiture in Tibetan Buddhist art investigates in its core a body of portable sculpture preserved in a monastery in Mustang, Nepal. Most of these sculptures were originally part of sets documenting the person-to-person transmission of the most important teaching of the Ngor tradition, the Lamdre or “Path with the Result.” The Ngor tradition is a sub-tradition of the Sakya school of Tibetan Buddhism to which this teaching traces back. Accordingly, most Sakyapa and Ngorpa monasteries may have had one or more Lamdre lineage sets in painting and/or sculpture. The focus of the study is on the iconographic and overall visual conceptions of different sets representing the same teacher lineage produced for or within the same regional context (Mustang in the fifteenth and sixteenth centuries). A comparative analysis of the different sets shows that depicting the lineage teachers as a collective entity was deemed more important than creating physical likenesses of the individual teachers. This is reflected in the variation of the depiction of individual teachers from one set to another in terms of facial features, hand gestures, and even the type of practice a teacher may be associated with. The study also considers the emergence and evolution of teacher lineages within the Sakya school, introducing lineage representations on monumental backrest arches in repoussé work at the Sakya Lhakhang Chenmo in south-western Tibet. It also discusses teacher portraits produced outside the Lamdre lineage to reflect on questions of individuality, realism and likeness in Tibetan portraiture. A special focus is on portraits of two princely monks from the ruling house of Mustang, Lowo Khenchen and Lodrö Gyaltsen Pelzangpo. Overall, the lineage depictions and individual portraits are analyzed in relation to art history research on portraiture, Tibetan religious and political history, as well as their religious significance and ritual use.

Tema diplomskog rada je Oblikovanje papirom u likovnim aktivnostima za djecu predškolske dobi te se sastoji od teorijskog i praktičnog dijela. Teorijski dio odnosi se na poglavlja vezana uz povijest papira, njegove razvojne faze kao i vrijednost njegove pojave. U teorijskom dijelu navedene su još vrste papira s kojima se danas susrećemo, uz poseban naglasak na one s kojima rade djeca predškolskog i školskog uzrasta. U nastavku se proučava područje trodimenzionalnog oblikovanja, u kojem papir ima važnu ulogu. U skladu s time fokusira se u radu na sljedeće tehnike trodimenzionalnog oblikovanja: papir-plastiku, kaširanje, origami, kirigami i druge tehnike. Praktični dio rada odnosi se na osmišljavanje i izvedbu likovnih aktivnosti za djecu predškolske dobi, a tiče se prethodno navedenih tehnika trodimenzionalnog oblikovanja papirom. Riječ je o svojevrsnom likovnom istraživanju koje je u radu detaljno opisano, od opisa koncepata tih aktivnosti do analize likovnih radova kao njihovih krajnjih rezultata. The topic of the thesis is “Paper design in art activities for preschool children” and consists of theoretical and practical part. The theoretical part refers to the history of paper, its developmental stages as well as the value of its appearance. Then, the types of paper we encounter today are listed, with special emphasis on those that preschool and school-age children work with. The area of three-dimensional design, in which paper plays an important role, is studied below . Moreover, the thesis explores the possibilities of paper in the field of three-dimensional design focusing on the following techniques: paper-plastic, papier-mâché , origami, kirigami, while the last chapter offers an overview of other possibilities of three-dimensional paper design such as recycling and pop-up books. The practical part of the thesis refers to the design and implementation of art activities for preschool children, and concerns the aforementioned techniques of three-dimensional paper design. It is about a kind of art research that is described in detail in the thesis, from the description of the concepts of these activities to the analysis of art works as their end results.

Race, class and empire in nineteenth-century England inflected understandings of japanned papier mâché, influencing both its brief popularity and its abrupt demise in the 1860s. Although the material was rarely used as an explicit signifier in nineteenth-century literature or theory, or indeed mentioned at all, its inclusion in the Great Exhibition suggests its cultural and industrial centrality. This article proposes that this disparity results not from an absence of meaning, but from too great a complexity and too clear a set of implications. As an imitation of an East Asian form, japanned papier mâché represented an Orientalizing fantasy; as a shiny black surface, japanned papier mâché tapped into both desires and anxieties surrounding racial Blackness; as a backdrop for depictions of recognizably British landscapes and architecture; and as a distinctively British industry, japanned papier mâché offered a kind of national identity-fashioning. Tying a ubiquitous but understudied material of the English mid-nineteenth century to broader histories of the British empire, this article demonstrates the tidy encapsulation of the fraught and complex 1850s and 1860s into the materiality, forms and failure of japanned papier mâché.

Veterinary medicine was recognized as a scientific discipline for the first time in 1762 in France. After a while, the first Ottoman-Turkish veterinary school was established in 1842, primarily for the improvement and welfare of army horses. There is not much detailed information about the content of the anatomy education and materials in the early days of veterinary schools apart from the anecdote that Gurlt's illustrated anatomy books were being used. The purpose of this study is to research anatomy education in the 19th century, when Ottoman-Turkish veterinary medicine was established, as well as the Papier-mâché models used in anatomy education, searching primary and secondary sources that can be accessed online. It has been determined that the normal and pathological anatomy models of humans and various domestic animals made by Dr. Auzoux were ordered to be used in the anatomy education of the newly established veterinary schools. The whereabouts of these models, which did not reference in publications until now, are unknown. However, examining these models is regarded to be crucial for understanding the veterinary anatomy perspective and educational content of the period.

This text highlights our attitudes towards ways of living depending on specific materials and techniques. Exploring how my art practice in relation to the domestic, challenges the use of functional art within our own and other realities. In the hope that it will give me the answers to my own minute domestic issues.

В статье рассмотрены занятия изобразительным искусством как как способ социальной интеграции дошкольников с расстройствами аутистического спектра. Раскрыты особенности поведения, сенсорной сферы и коммуникации дошкольников с ранним детским аутизмом в процессе творческой деятельности. Показано, что изобразительная деятельность и ручной труд выполняют коррекционно-развивающую и психотерапевтическую функции в воспитании ребенка с расстройствами аутистического спектра. В соответствии с спецификой диагноза раскрыты особенности организации изобразительной деятельности в интегрированной группе дошкольников, такие как рисование, лепка, папье-маше, аппликация, коллаж, оригами, изготовление игрушек. Раскрыты возможности интеграции разных видов искусства, а также способы осуществления индивидуального подхода в процессе художественно-эстетического воспитания детей с особенностями развития., The article discusses classes in the visual arts as a way of social integration of preschool children with autism spectrum disorders. The features of behavior, sensory sphere and communication of preschool children with early childhood autism in the process of creative activity are revealed. It is shown that visual activity and manual labor perform corrective-developing and psychotherapeutic functions in the upbringing of a child with autism spectrum disorders. In accordance with the specifics of the diagnosis, the features of the organization of visual activity in an integrated group of preschoolers are revealed, such as drawing, modeling, papier-mâché, applique, collage, origami, and the manufacture of toys. The possibilities of integrating different types of art, as well as ways to implement an individual approach in the process of artistic and aesthetic education of children with developmental features, are revealed., Педагогика искусства, Выпуск 3 2020

There is a detailed reading of Parra’s visual syntax in this chapter, with a reflection on the links between her signature aesthetic and the work of other modern artists. Parra’s art can be situated in relationship to key movements of the twentieth century, such as Surrealism and Pop Art. Her work is typical of modern art in the way it fundamentally questions modernity. Her employment of collage and parody, for example, typifies a wider artistic reaction to consumer culture. These aspects of her art are discussed in this chapter.

This paper describes a new mounting system for a structurally damaged paper maché object by the artist Franz West (1947–2012). Due to a massive but now inactive pest infestation, the papier-mâché core of the artwork was substantially damaged by numerous bore holes and tunnels. Moreover, mechanical impact had fractured the artwork, which further decreased its stability. To successfully stabilize the structure, methods of consolidation and strategies for mounting had to be combined. Conservation focused on consolidation and loss compensation of the insect damaged surface and subsurface of the object. The second and equally important part of the conservation concept dealt with mounting and at the same time securing the fractured area. This was accomplished by constructing a grid-shaped support structure that perfectly fit between the uneven backside surface of the object and the plane perspex back-board of the existing frame. The support structure holds the vulnerable area along the fracture in place while at the same time allowing for mounting of the object within the frame.

42-45 Консервация деревянной основы полихромной скульптуры и декоративной резьбы включает в себя процессы, часто технически сложные, которые можно упростить применением техники "папье-маше". В сравнении с древесиной папье-маше обладает достаточной пластичностью, чтобы при введении его в деревянную основу не возникало механических напряжений. При восполнении утрат основы легко осуществляется стыковка восполняемого фрагмента с местом скола. Кроме того, масса легко формуется и из нее выполняются детали любой сложности. Preserving of the wooden base of polychrome sculpture and decorative carving includes the processes, which are often technically challenging, that can be simplified with the technique of "papier-mache". In comparison with wood, "papier-mache" is of sufficient ductility, after administering it in the wooden base there are not mechanical stress. "Papier-mache" is easily docking with an uneven surface of lost fragment. Also the material easily takes the form and details of any complexity are performed.

Papier-mâché means chewed paper, and it defines a method. Various decorative products and functional tools have been produced with this method, which includes various techniques and materials. Maybe, the most interesting one among these is anatomic models developed and spread around the world by the French physician Louis Thomas Jerôme Auzoux (1797-1880) at the beginning of the nineteenth century. The purpose of this paper is to investigate the role of Dr Auzoux' human anatomical models in Ottoman-Turkish medicine. Primary and secondary sources were analysed such as Museum collections, archives, and scientific databases accessible on the Internet. This revealed that, at the beginning of the 1820s, Dr. Auzoux developed the method for papier-mâché anatomical models after a period of suffering difficulties in finding and preserving cadavers for dissection at the medical faculty which he worked. In 1825, he completed his invention, which had significant advantages over previously used methods for anatomical models, and then founded a production workshop in St. Aubin. Many medical schools in Europe, Africa, and South America utilised these models. Sources mentioned that the Ottoman Empire also purchased various anatomical models. Although it is not exactly known how many and from which models, it is known that whole male and female body models and pregnancy developmental models were purchased in 1837. In addition to human anatomic models, Dr. Auzoux's company also began to manufacture veterinary and botanical models soon. In that period of the Ottoman Empire during which cadaver dissection was forbidden and only artificial models and drawings were used for the education, Auzoux's models can be considered as very important tools for the Turkish Ottoman medical education and influential on the transition from traditional to modern medicine. Today, unfortunately, the fate of most of the human anatomical models purchased in the name of the Ottoman Empire is not known.

A set of 19th-century furniture in black lacquer, on papier-mache or on turned wood, has been subjected to an in-depth observational, historical and chemical study. The results show four different technological approaches: two for the papier-mache objects and two for the wooden chairs. The cyclic labour-intensive lacquering procedure of repeated stoving and polishing lacquer on papier-mache with mother-of-pearl inclusions is reflected in the cross-sections. Pinaceae resin and heated oil are frequently found, conform with surviving recipes. A variant of the old form of varnish', as historically described, was likely used. In the two pairs of wooden chairs, the lacquer layers are thinner than on the papier-mache items. They contain copal and show different stratigraphies. These observations can be the starting point to relate technological and chemical variations to different origins. New art historical findings on lacquer production and trade in England, France and Belgium, and the study of contemporary recipes, frame the analytical results in a historical context. [GRAPHICS] .