Reflection of the Mystical Element through the Form of Sape’ Using Metal in Modern Sculpture

The work of art construes the state of the pontoon during the semester to be adjusted by the Sape. He created Sape's current state after awaking from his rest in the vessel. As a result, the arrangement and standing model were created, as well as the Sape' theme. Porpion and engkerabang blossom themes enhance Pua Kumbu. Aims of the study: So that the guidelines and goals are met, they must be stated. They are incorporating a mystical element into Sape's instrument through free-standing sculptures. Create a sculpture using plate metal and a plasma cut machine—a series of free-standing sculptures reflecting mystical elements. Keywords: Forms, Mystical, Sculpture, Sape’ eISSN: 2398-4287 © 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI5.2938

Biomorphic Traces in The Monumental Sculpture of Boyan Rainov

Boyan Rainov is born in 1921 in a family of which almost every member is dedicated to art. He himself is not well known in Bulgaria because of the fact that from 1946 he lived and worked in Paris, France. His work took place in the fields of drawing, illustration, relief and easel sculpture, but at the time of his stay in the French capital he managed to produce a number of outdoor monumental sculptural compositions. They are typical examples of one formal tradition in modern sculpture that refers its characteristics to organic and nonorganic natural objects. That tradition, often called biomorphic, is familiar to us from the work of Constantin Brancusi, Jean Arp and Henry Moore.

NEW INSIGHTS INTO THE ‘CARPIO ALBUM’ (SAL ms 879): COMMISSIONING, AUTHORSHIP AND CULTURAL AGENDA

An outstanding cultural promoter, collector and patron of the arts in his native Spain, Gaspar de Haro y Guzmán (1629–87), 7th Marquess del Carpio, left his mark as ambassador in Rome (1677–82) and as viceroy in Naples (1682–7). In Italy, Carpio assembled forty-three volumes of drawings, of which only four, including SAL ms 879, have been spared dismemberment. Yet, lumping the ‘Carpio Album’ together with the nobleman’s collection of original drawings completely misses the point. Unlike the others, which were assembled to boost Carpio’s connoisseurship of Italian art, the Album was commissioned to showcase the collection of (largely antique) sculpture he had acquired in Rome and the series of modern fountains he commissioned, also in Rome. Like Vincenzo Giustiniani’s epoch-making Galleria Giustiniana of 1636–7, the Album was to be printed. The marquess’s departure for Naples cut short an ambitious publication project, the theoretical background and pedagogic scope of which have been largely overlooked. The attribution of drawings to artists Philipp Schor and Paolo De Matteis, amongst others, underlines the complex cultural agenda underpinning an Album conceived to reinstate the Roma antica myth by linking it to its Roma moderna counterpart. A new understanding of De Matteis’s artistry and objectives in configuring the Album is complemented with findings regarding Carpio’s commissioning or acquisition of antique, pseudo-antique and modern sculpture. The collection’s fateful dispersal helps unravel the Album’s most likely provenance.

Alexander Burganov. In the depths above reality. (Antique motifs in the context of creative work)

For decades, images of antiquity have appeared in the creative work of academician Alexander Burganov. The sculptor declaratively emphasizes his focus on the cultural tradition which evolved from the cradle of Antiquity and which is, therefore, understandable to anyone who shares its humanistic ideals. The article refers to his personal exhibitions and events of the last decades: “Dreams Within Us. A Magic Crystal” at the Moscow Central House of Artists in 1987, “Magic Realism” in Germany in 1993, “Antique Motifs in Modern Sculpture” in the Burganov House Museum at which he presented his “legends and myths of Ancient Greece” in 2017, and the exhibition held in the Antique Hall in the Museum of Archeology of the Westphalian Wilhelm University of Münster in 2013. Works and cycles, never directly illustrating ancient mythology but unconsciously translating the archetypal, the transcendental through personal experience, a sensory reaction, are considered. The frequent presence of Burganov’s works of art in an “intermediate” state, in the process of transformation, which makes it easy to detect the surreal component, is their feature. Burganov’s "antique" sculptures organically exist not only in exhibition halls but also outside them - be it the courtyard of the Burganov House Museum or the square in Brussels where the sculptures in the window display of the Burganov House at the Grand Place are no less eye-catching than the monument in the same square. Noble restraint (with clearly readable spectacularity), bearing in itself, within itself, dreams and passions, reality and mysticism, gives Burganov’s "antique" images-metaphors a special feature that requires comprehension of the slow, at the same time the reasonable and the emotional in order to be able to penetrate the limits of the immanent artist’s impermeability.

The “Exodus and Return” memorial complex in Elista – the memory about the deportation of the Kalmyks

Статья посвящена исследованию мемориального комплекса Исход и возвращение (1996) в г. Элисте как объекта монументального искусства. Автор раскрывает идейную основу мемориала, посвященного памяти жертв депортации калмыцкого народа (19431957). В целостной композиции художественного произведения, по замыслу авторов скульптора Эрнста Неизвестного и архитектора Сергея Курнеева, отражены принципы современной скульптуры и сакральные коды калмыцкой культуры. В статье изложены основания и предыстория возведения монумента, а также восстановлена поэтапная хроника его сооружения от первоначальной идеи до практического воплощения в материале. Представлен анализ архитектурного решения мемориала во взаимосвязи с организацией всего окружающего пространства, с семантикой художественных образов, а также исследовано эмоциональное воздействие всех составляющих ансамбля на зрителя. The article is devoted to the study of the memorial complex Exodus and Return (1996) in the city of Elista as an object of monumental art. The author describes the background of its creation and artistic features in detail for the first time, and also reveals the ideological basis of the memorial dedicated to the memory of victims of Kalmyks deportation (19431957). As conceived by the authors (sculptor Ernst Neizvestny and architect Sergey Kurneev), the principles of modern sculpture and sacred codes of Kalmyk culture are reflected in a single composition. The article outlines the foundation of the monuments erection, and restores the phased chronicle of its construction: from the initial idea to the practical implementation of the material. The research analyses the architectural design of the memorial, in conjunction with the organization of the surrounding space, with the semantics of art images, as well as the emotional impact of all components of the ensemble on the viewer.