Handbook to the sculptures in the Peshawar Museum /

Mode of access: Internet.

China.

Bd. 2: 2. Aufl.

Shaping Religious and Cultural Aspiration: Engraved Sutras in Southwestern Shandong Province from the Northern Qi Dynasty (550-577 CE), China

This dissertation explores how the Buddhist texts carved on the cliffs of mountains served their patrons’ religious and cultural goals. During the Northern Qi period (550-577 CE), these carved Buddhist sutra texts and Buddha names were prevalent, and were carved directly onto the surfaces of numerous mountains in southwestern Shandong Province. The special focus of this study is on the Buddhist engravings at Mt. Hongding in Dongping, and at Mt. Tie in Zoucheng. Created in approximately 553-564 CE, the carvings at Mt. Hongding stand as the terminus a quo of the history of Buddhist sutras carved into the rocks of the Shandong mountains. The Buddhist carvings at Mt. Hongding served monastic goals. The monk patrons, Seng’an Daoyi, Fahong, and others created the carvings as an integral part of their Buddhist meditation practices. The carvings at Mt. Tie paint a very different picture. At Mt. Tie, a colossal Buddhist sculpture-style carving was created in 579 CE. Sponsored by several Han Chinese patrons, the carving was designed in the form of a gigantic Chinese traditional stele. This study suggests that several Han Chinese local elites proudly displayed their Han Chinese linage by using the gigantic stele form of Buddhist text carving as a means to proclaim Han Chinese cultural and artistic magnificence. To achieve these non-religious goals, they appropriated rhetorical devices often used by the Han elite, such as the stele form, written statements about the excellence of the calligraphy used, and discourse on calligraphy connoisseurship.

The naturally imperfect form : investigations of the application of digital sculpting methods - extracted art : incorporating and translating ‘found art’ into the medium of digital sculpture

This dissertation analyses how physical objects are translated into digital artworks using techniques which can lead to ‘imperfections’ in the resulting digital artwork that are typically removed to arrive at a ‘perfect’ final representation. The dissertation discusses the adaptation of existing techniques into an artistic workflow that acknowledges and incorporates the imperfections of translation into the final pieces. It presents an exploration of the relationship between physical and digital artefacts and the processes used to move between the two. The work explores the 'craft' of digital sculpting and the technology used in producing what the artist terms ‘a naturally imperfect form’, incorporating knowledge of traditional sculpture, an understanding of anatomy and an interest in the study of bones (Osteology). The outcomes of the research are presented as a series of digital sculptural works, exhibited as a collection of curiosities in multiple mediums, including interactive game spaces, augmented reality (AR), rapid prototype prints (RP) and video displays.

From ideation to sculpture : digital sculpting as the primary 'ideation' tool for creature design

This research project examined the potential for circumventing drawing in the ideation process by adopting digital sculpture as the primary conceptual development and design tool for the digital sculpting of creature designs. Through a series of experimental research cycles, multiple frameworks were explored with the aim of identifying a methodology for creating '3D sculpted sketches' for the initial phases of the ideation process. This research project acknowledges that drawing still remains the predominant method of visualising design ideas for characters and creatures for many artists. However, alongside other ideation techniques digital sculpting can function as a rapid and responsive tool to visualize and explore forms in a digital sculpting environment for the conceptualisation of multiple creature design variations. The results of this study are significant for emerging digital sculptors who may not necessarily have a well-defined creative brief or initial concept.

Budgie Smuggler: Selected work for 2015 Swell Sculpture Festival

Budgie Smuggler is the first work of a series entitled slang, reflecting upon other, often unintended meanings behind popular Australian expressions. Synonymous with Australian beach humour, the term budgie smuggler unintentionally masks the desperately tragic plight of wildlife trafficked every year within and beyond our borders. Bird wildlife are fiercely protectively of their kin, often flocking to a site of distress of those trapped or injured - a commotion ensues, helping to scare predators away. The work contemplates our own position and action in response to our captive feathered friends. Budgie Smuggler is a soft resin/silicon, cotton material, fibreglass and recycled object based artwork.

Ellen Bernkopf nee Catzenstein working on a sculpture Portraits Women

Digital Image

"Dancing Lady" sculpture by Ellen Bernkopf nee Catzenstein Artworks

Digital Image

Sculpture by Ellen Bernkopf nee Catzenstein in the home of her daughter Yael Arnold; Waldstetten Artworks

Digital Image

Oriented Nanocrystal Arrays of Selectable Polymorphs by Chemical Sculpture

Growing crystals with selected structure and preferred orientations oil seed substrates is crucial for a wide variety of applications. Although epitaxial or textured film growth of a polymorph whose structure resembles the seed crystal structure is well-known, growing oriented nanocrystal arrays or more than one polymorph, selectable one at a time, from the same seed has not been realized. Here, we demonstrate for the first time the exclusive growth of oriented nanocrystal arrays of two titania polymorphs from a titanate crystal by chemically activating respective polymorph-mimicking crystallographic facets in the seed. The oriented titania nanocrystal arrays exhibit significantly higher photocatalytic activity than randomly oriented polymorphs. Our approach of chemically sculpting oriented nanocrystal polymorph arrays could be adapted to other materials systems to obtain novel properties.

Ellen Bernkopf nee Catzenstein working on a sculpture Portraits Women

Digital Image

"Dancing Lady" sculpture by Ellen Bernkopf nee Catzenstein Artworks

Digital Image

Sculpture by Ellen Bernkopf nee Catzenstein in the home of her daughter Yael Arnold; Waldstetten Artworks

Digital Image

Gel Sculpture: Moldable, Load-Bearing and Self-Healing Non-Polymeric Supramolecular Gel Derived from a Simple Organic Salt

An easy access to a library of simple organic salts derived from tert-butoxycarbonyl (Boc)-protected L-amino acids and two secondary amines (dicyclohexyl- and dibenzyl amine) are synthesized following a supramolecular synthon rationale to generate a new series of low molecular weight gelators (LMWGs). Out of the 12 salts that we prepared, the nitrobenzene gel of dicyclohexylammonium Boc-glycinate (GLY.1) displayed remarkable load-bearing, moldable and self-healing properties. These remarkable properties displayed by GLY.1 and the inability to display such properties by its dibenzylammonium counterpart (GLY.2) were explained using microscopic and rheological data. Single crystal structures of eight salts displayed the presence of a 1D hydrogen-bonded network (HBN) that is believed to be important in gelation. Powder X-ray diffraction in combination with the single crystal X-ray structure of GLY.1 clearly established the presence of a 1D hydrogen-bonded network in the xerogel of the nitrobenzene gel of GLY.1. The fact that such remarkable properties arising from an easily accessible (salt formation) small molecule are due to supramolecular (non-covalent) interactions is quite intriguing and such easily synthesizable materials may be useful in stress-bearing and other applications.