Damrong Wong Uparaj (1936–2002)

2018 ◽  
Author(s):  
Charlotte Galloway
Keyword(s):  
Fine Arts ◽  
University Of Pennsylvania ◽  
Public And Private ◽  
Urban Scenes ◽  
British Council ◽  
Rural And Urban ◽  
Art Practices ◽  
The University ◽  
Private Collections

Born in Chiang Rai, Thailand, Wong Uparaj studied Fine Arts at Silpakorn University. On completion of his degree in 1964 he received a British Council grant to study at the Slade School, London in 1964, and was later awarded a Rockefeller scholarship for an MA in Fine Arts at the University of Pennsylvania, Philadelphia, which he completed in 1969. Always interested in international art practices, Wong Uparaj traveled in Europe, India, Japan, and Australia, though Thailand was always his primary inspiration. Wong Uparaj’s works were fundamentally underpinned by his Buddhist beliefs and studying Buddhism helped him find peace in life and work. Following early experimentations with abstraction and Impressionism, he settled into a distinct realist style, creating rural and urban scenes from his own imagination that focused on a simple, almost idealized view of what life could be. There is a consistent sense of serenity and stillness in his compositions. This is balanced cleverly with his use of color, such as the inclusion of large areas of yellow, green, or blue in a number of works that, while bold, skillfully enhances the aura of calm. Wong Upararaj was a highly respected artist, working across a variety of media including tempera, acrylic, woodcut, pastel, watercolor, oil, and drawing. His works are well represented in public and private collections internationally.

scholarly journals On a Wing and a Prayer: Ibis Mummies in Material Culture at Abydos

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 128
Author(s):  
Lidija McKnight
Keyword(s):  
Material Culture ◽  
Ad Hoc ◽  
Fine Arts ◽  
Sacred Landscape ◽  
Construction Techniques ◽  
Religious Piety ◽  
The University ◽  
University Of Manchester ◽  
Private Collections ◽  
Collection Methods

The production of millions of artificially mummified animals by the ancient Egyptians is an extraordinary expression of religious piety. Millions of creatures of numerous species were preserved, wrapped in linen and deposited as votive offerings; a means by which the Egyptians communicated with their gods. The treatment of animals in this manner resulted in a wealth of material culture; the excavation and distribution of which formed a widely dispersed collection of artefacts in museum and private collections around the world. Due to ad hoc collection methods and the poorly recorded distribution of animal mummies, many artefacts have unknown or uncertain provenance. Researchers at the University of Manchester identified a group of eight mummies positively attributed to the 1913–1914 excavation season at Abydos, now held in the collections of the Museum of Fine Arts, Boston, Massachusetts. This paper presents the investigation of this discreet group of provenanced mummies through stylistic evaluation of the exterior, and the assessment of the contents and construction techniques employed using clinical radiography. Dating of one mummy places the artefact—and likely that of the whole assemblage—within the Late Period (c.664–332BC). Considering these data enables the mummies to be interpreted as the Egyptians intended; as votive artefacts produced within the sacred landscape at Abydos.

Ban Chiang, Northeast Thailand, Volume 2: Metals

2021 ◽  
Vol 52 (2) ◽  
pp. 336-340
Author(s):  
David J. Welch
Keyword(s):  
Southeast Asia ◽  
Fine Arts ◽  
Southeast Asian ◽  
University Of Pennsylvania ◽  
Northeast Thailand ◽  
World Heritage List ◽  
The Media ◽  
Second Millennium Bce ◽  
The University ◽  
Ban Chiang

These three volumes, along with the forthcoming Volume 2D, the catalogue of metal and metal-related finds, present the results of a thorough, detailed study of the metals recovered during archaeological investigations in 1974 and 1975 at the village of Ban Chiang and three smaller sites in the northern part of northeast Thailand. At a time when little was known of Southeast Asian prehistory, the finding of very elaborately painted earthenware pottery vessels, probably prehistoric, at Ban Chiang stirred the interest not only of archaeologists, but also, unfortunately, from the standpoint of scientific investigation of the past, that of looters, dealers, and collectors of antiquarian art. In order to recover a sample of these vessels in their original depositional context, the Thailand Fine Arts Department and the University of Pennsylvania undertook one of the largest excavations of a prehistoric site carried out in Southeast Asia at the time. What subsequently caused added excitement in the media and the scientific community was the recovery of artefacts of iron that appeared to date to the second millennium BCE and of copper or bronze associated with dates in the fourth millennium BCE, perhaps as early as 3600 BCE, seeming to confirm similar early dates for bronze working from the nearby site of Non Nok Tha. Such early dates suggested the possibility of an independent development of metallurgy in Southeast Asia. Because of the importance of the excavation at Ban Chiang as a milestone in Thai and Southeast Asian archaeology, the site was later placed on the UNESCO World Heritage List.

Production of New and Revised A.A.V.S.O. Charts

1979 ◽  
Vol 46 ◽  
pp. 368
Author(s):  
Clinton B. Ford
Keyword(s):  
Variable Star ◽  
Standard Form ◽  
Original Data ◽  
University Of Pennsylvania ◽  
Standard Format ◽  
Additional Information ◽  
The Gift ◽  
The University

A “new charts program” for the Americal Association of Variable Star Observers was instigated in 1966 via the gift to the Association of the complete variable star observing records, charts, photographs, etc. of the late Prof. Charles P. Olivier of the University of Pennsylvania (USA). Adequate material covering about 60 variables, not previously charted by the AAVSO, was included in this original data, and was suitably charted in reproducible standard format.Since 1966, much additional information has been assembled from other sources, three Catalogs have been issued which list the new or revised charts produced, and which specify how copies of same may be obtained. The latest such Catalog is dated June 1978, and lists 670 different charts covering a total of 611 variables none of which was charted in reproducible standard form previous to 1966.

scholarly journals Equine Discomfort Ethogram

Animals ◽  
2021 ◽  
Vol 11 (2) ◽  
pp. 580
Author(s):  
Catherine Torcivia ◽  
Sue McDonnell
Keyword(s):  
Pain Management ◽  
Line Drawing ◽  
Clinical Work ◽  
Pain Scale ◽  
University Of Pennsylvania ◽  
Systematic Evaluation ◽  
Clear Understanding ◽  
Physical Discomfort ◽  
Professional Health ◽  
The University

In recent years, there has been a growing interest in and need for a comprehensive ethogram of discomfort behavior of horses, particularly for use in recognizing physical discomfort in domestically managed horses. A clear understanding of the physical discomfort behavior of horses among caretakers, trainers, and professional health care personnel is important to animal welfare and caretaker safety. This is particularly relevant to pain management for hospitalized equine patients. Various pain scale rubrics have been published, typically incorporating only a few classically cited pain behaviors that, in many cases, are specific to a particular body system, anatomic location, or disease condition. A consistent challenge in using these rubrics in practice, and especially in research, is difficulty interpreting behaviors listed in various rubrics. The objective of this equine discomfort ethogram is to describe a relatively comprehensive catalog of behaviors associated with discomfort of various degrees and sources, with the goal of improving understanding and clarity of communication regarding equine discomfort and pain. An inventory of discomfort-related behaviors observed in horses has been compiled over 35 years of equine behavior research and clinical consulting to medical and surgical services at the University of Pennsylvania School of Veterinary Medicine’s equine hospital. This research and clinical work included systematic evaluation of thousands of hours of video-recordings, including many hundreds of normal, healthy horses, as well as hospitalized patients with various complaints and/or known medical, neurologic, or orthopedic conditions. Each of 73 ethogram entries is named, defined, and accompanied by a line drawing illustration. Links to online video recorded examples are provided, illustrating each behavior in one or more hospitalized equine patients. This ethogram, unambiguously describing equine discomfort behaviors, should advance welfare of horses by improving recognition of physical discomfort, whether for pain management of hospitalized horses or in routine husbandry.

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