scholarly journals Composing the East: Depictions of the Yogyakarta Court in the 18th Century

2021 ◽  
pp. 1-8
Author(s):  
Sietske Rijpkema
Keyword(s):  
Visual Analysis ◽  
18Th Century ◽  
Dimensional Space ◽  
Three Dimensional ◽  
Central Axis ◽  
Deep Space ◽  
Specific Composition ◽  
History Of ◽  
Three Dimensional Space

The earliest depictions of the Yogyakarta court consist of drawings from the 18th century, between 1771-83, drawn by the Danish artist Johannes Rach and his assistant A. De Nelly. Although both drawings appear realistic and have been used as a reference of the history of the court, they cannot be assumed to have (tried) to document the site in a neutral manner. Rach and De Nelly worked on commission and composed elements in views or landscapes to fit into prescribed composition, where perspective, deep space and dramatic plays of light dictate results. Missing buildings and unidentified structures could therefore be explained as adaptations the artists made to adhere to a specific composition. Visual analysis of De Nelly’s and Rach’s drawings show that their work is quite consistent with the visual idiom of European drawn landscapes. In addition, missing buildings, unidentified structures as well as odd activities of courtiers can be explained as added elements. Their purpose was to arrange the composition in three equal layers (foreground, main motif, background) supported by shading, axes to guide the gazer’s view, a central axis and mirroring elements to create a balance, and use perspective and overlaps to create an illusion of a three dimensional space. Keywords: Yogyakarta, court, architecture, 18th century

Image, Body, and Simulation of the Afterlife in the Early Medieval Sarcophagus of Prince Yuan Mi

2020 ◽  
Vol 70 (2) ◽  
pp. 199-224
Author(s):  
Jie Shi
Keyword(s):  
Outer Layer ◽  
Visual Analysis ◽  
Dimensional Space ◽  
Three Dimensional ◽  
Middle Layer ◽  
Early Medieval ◽  
Rhetorical Device ◽  
Chinese Texts ◽  
Northern Wei ◽  
Three Dimensional Space

Abstract Dated to 524 ce, the lavishly carved stone sarcophagus of the Northern Wei Prince Yuan Mi exemplifies an early Chinese method using a diagonal gaze as a visual device to construct a three-dimensional space. On the exterior faces of the sarcophagus, the anonymous artist simulated a three-layered space, imagining the deceased's wooden coffin (the inner layer) contained in his burial chamber (middle layer), which in turn is embraced by a complex three-dimensional natural and supernatural world (the outer layer). In the middle layer, eight figures cast a slant gaze from behind four windows at filial paragons dwelling in the outer layer. This gaze was used as a rhetorical device to bridge the physical and psychological gap between the gazers and those upon whom they gaze. Evoking the idiom found in medieval Chinese texts of “watching the ancients as neighbors,” the artist defined the deceased as a neighbor of the ancient filial paragons who dwell in an ideal landscape as recluses. In addition to the visual analysis of the sarcophagus, this article also examines the epitaph buried along with the sarcophagus. While the carving praises the private virtue of the dead, the text paints another rosy picture of the deceased prince as a good official. Eventually, the image and text were used in tandem to create a perfect image of the deceased.

On the Problem of “Reverse Perspective”: Definitions East and West

Leonardo ◽  
2010 ◽  
Vol 43 (5) ◽  
pp. 464-469 ◽  
Author(s):  
Clemena Antonova
Keyword(s):  
20Th Century ◽  
Dimensional Space ◽  
Three Dimensional ◽  
The West ◽  
Pictorial Space ◽  
History Of ◽  
The Subject ◽  
East And West ◽  
Three Dimensional Space

The author considers the history of the theory of “reverse perspective” in the 20th century. She identifies six distinct views on reverse perspective, some of which are mutually exclusive. The first four definitions have circulated in both Western and Russian scholarship, while two further views proposed by Russian authors are little known in the West. The most useful contribution of Russian theory to the subject is the suggestion of a pictorial space fundamentally different from the three-dimensional space frequently taken for granted by Western viewers.

scholarly journals In the Three-Dimensional Space of Linguistic Theory and Literary Experiment

2021 ◽  
Vol 39 (1) ◽  
pp. 78-93
Author(s):  
V. V. Feshchenko
Keyword(s):  
Twentieth Century ◽  
American Literature ◽  
Dimensional Space ◽  
Three Dimensional ◽  
Language Analysis ◽  
History Of Linguistics ◽  
History Of ◽  
Theory Of Language ◽  
Anglo American ◽  
Three Dimensional Space

Based on Yu. S. Stepanov’s conception of the three paradigms in the history of linguistics, philosophy and art (semantic, syntactic and pragmatic), this study highlights the three phases of the linguo-aesthetic turn in the theory of language and in the artistic language experiment of the 20 th century: formal-semantic, functional-syntactic and actional-pragmatic. Analyzed are the creative linguistic techniques used in experimental literary discourse throughout the 20 th century, predominantly in Russian and Anglo-American literature, and the linguistic procedures corresponding to these techniques, discovered in twentieth century linguistics as a path to new theories of language. The research material testifies to complex and productive interactions between experimental-artistic and scientific-linguistic discourses. The creative linguistic techniques of the literary experiment are consistent with the techniques of language analysis in the linguistic theories of the twentieth century.

Sources for a history of the ternary diagram

1996 ◽  
Vol 29 (3) ◽  
pp. 337-356 ◽  
Author(s):  
Richard J. Howarth
Keyword(s):  
Dimensional Space ◽  
Three Dimensional ◽  
Ternary Diagram ◽  
Data Display ◽  
Triangular Diagram ◽  
Convenient Means ◽  
Sample Composition ◽  
History Of ◽  
End Members ◽  
Three Dimensional Space

Anyone reading the literature on the history of graphs will soon realize that the use of graphie displays of any type was really quite unusual until the mid-ninetenth century and that those scientists who did make use of them are often familiar to us as creative thinkers in their own fields of endeavour. A ternary diagram (also known as a triangular diagram) is a particular type of graph which consists of an equilateral triangle in which a given plotted point represents the relative proportions (a, b, c) of three end-members (A, B and C), generally expressed as percentages and constrained by a + b + c = 100%. It has long been used to portray sample composition in terms of three constituents, or an observed colour in terms of three primary colours, because it is a convenient means of representing a three-component System in a planar projection, rather than as an isometric, or similar, view of a three-dimensional space. Recent papers suggest that its use is not as familiar to some statisticians as are other commonly used forms of graph. For example, although it was cited by Peddle in 1910 and more recently by Dickinson, it is not discussed in modern texts on statistical graphies nor in the key papers on the history of graphs. However, beginning with studies of colour-mixing in the eighteenth century, it has subsequently become widely used, particularly in geology, physical chemistry and metallurgy. In this paper, I attempt to document its gradual uptake as a standard method of data display and some of the scientific advances which its use has facilitated.

Extension of the Spatial PDI Model to Three Dimensions

1997 ◽  
Vol 84 (1) ◽  
pp. 176-178
Author(s):  
Frank O'Brien
Keyword(s):  
Population Density ◽  
Dimensional Space ◽  
Finite Lattice ◽  
Three Dimensional ◽  
Upper Bounds ◽  
Three Dimensions ◽  
Lower And Upper Bounds ◽  
Density Index ◽  
Three Dimensional Space

The author's population density index ( PDI) model is extended to three-dimensional distributions. A derived formula is presented that allows for the calculation of the lower and upper bounds of density in three-dimensional space for any finite lattice.

A Peptoid with Extended Shape in Water

2019 ◽  
Author(s):  
Jumpei Morimoto ◽  
Yasuhiro Fukuda ◽  
Takumu Watanabe ◽  
Daisuke Kuroda ◽  
Kouhei Tsumoto ◽  
...  
Keyword(s):  
Spectroscopic Analysis ◽  
Dimensional Space ◽  
Three Dimensional ◽  
Biomolecular Recognition ◽  
Biological Application ◽  
New Class ◽  
Proteolytic Resistance ◽  
Pharmacokinetic Properties ◽  
Optically Pure ◽  
Three Dimensional Space

<div> <div> <div> <p>“Peptoids” was proposed, over decades ago, as a term describing analogs of peptides that exhibit better physicochemical and pharmacokinetic properties than peptides. Oligo-(N-substituted glycines) (oligo-NSG) was previously proposed as a peptoid due to its high proteolytic resistance and membrane permeability. However, oligo-NSG is conformationally flexible and is difficult to achieve a defined shape in water. This conformational flexibility is severely limiting biological application of oligo-NSG. Here, we propose oligo-(N-substituted alanines) (oligo-NSA) as a new peptoid that forms a defined shape in water. A synthetic method established in this study enabled the first isolation and conformational study of optically pure oligo-NSA. Computational simulations, crystallographic studies and spectroscopic analysis demonstrated the well-defined extended shape of oligo-NSA realized by backbone steric effects. The new class of peptoid achieves the constrained conformation without any assistance of N-substituents and serves as an ideal scaffold for displaying functional groups in well-defined three-dimensional space, which leads to effective biomolecular recognition. </p> </div> </div> </div>

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