Despite of the historical significance of Six Dynasties (220--589)---a turbulent time between Han and Tang Dynasty---research on jades of the period remains a neglected overlooked topic. Short of systematic studies, our understanding of the functional change of jades from religious rituals to daily life and decoration is greatly lacking. The current thesis studies jades excavated from tombs and collected in museums, by identifying their dates, characteristics, and styles through comparison and stylistic analysis, and discusses the use of jades through three centuries of change. / The thesis begins with an introduction of important jade finds from 1949 to 2009, followed by three chapters (chapter 2--4) illustrating the jade culture of the Six Dynasties. Chapter 2 is a case study of a jade pendant set. This examination provides important implications on the stylistic origin and changes of jades in the Six Dynasties. Chapter 3 explores the cause of functional differences in jades produced and used by Chinese and non-Chinese people and their influences on Tang Dynasty jades. Chapter 4 discusses ingestion of jade as a religious quest for immortality under the impact of Daoism. The final chapter concludes the thesis with an investigation into the scarcity of jades from this period to define the significance of Six Dynasties jades in the broader history of Chinese jades. / 褚馨. / Adviser: Jenny F. So. / Source: Dissertation Abstracts International, Volume: 72-04, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 192-206). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Chu Xin.

Thesis (M. Tech. Design technology) -- Central University of Technology, Free State, 2011 / This dissertation outlines a procedural scanning process using the portable ZCorporation ZScanner® 700 and provides an overview of the developments surrounding 3D scanning technologies; specifically their application for archiving Cultural Heritage sites and projects. The procedural scanning process is structured around the identification of 3D data recording variables applicable to the digital archiving of an art museum’s collection of sculptures. The outlining of a procedural 3D scanning environment supports the developing technology of 3D digital archiving in view of artefact preservation and interactive digital accessibility. Presented in this paper are several case studies that record 3D scanning variables such as texture, scale, surface detail, light and data conversion applicable to varied sculptural surfaces and form. Emphasis is placed on the procedural documentation and the anomalies associated with the physical object, equipment used, and the scanning environment. In support of the above, the Cultural Heritage projects that are analyzed prove that 3D portable scanning could provide digital longevity and access to previously inaccessible arenas for a diverse range of digital data archiving infrastructures. The development of 3D data acquisition via scanning, CAD modelling and 2D to 3D data file conversion technologies as well as the aesthetic effect and standards of digital archiving in terms of the artwork – viewer relationship and international practices or criterions of 3D digitizing are analysed. These projects indicate the significant use of optical 3D scanning techniques and their employ on renowned historical artefacts thus emphasizing their importance, safety and effectiveness. The aim with this research is to establish that the innovation and future implications of 3D scanning could be instrumental to future technological advancement in an interdisciplinary capacity to further data capture and processing in various Cultural Heritage diagnostic applications.

published_or_final_version / Architecture / Master / Master of Architecture

Mémoire (M.A.)--Université du Québec à Chicoutimi, 1996. / Le titre de la cassette varie. CaQCU Document électronique également accessible en format PDF. CaQCU

Thesis (Doctoral)--Rheinische Friedrich-Wilhelms-Universität zu Bonn, 1982.

Orientador: Luise Weiss / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T05:31:36Z (GMT). No. of bitstreams: 1 Santos_MarcioElias_M.pdf: 5544235 bytes, checksum: bca16f07cc37307732585e9a2164ad20 (MD5) Previous issue date: 2009 / Resumo: O que originou esta pesquisa talvez tenha sido um certo incômodo, uma situação de desconforto. Situação que não tem outra causa senão a pergunta: é possível pintar? Se é, como? Vejo a pintura como possível por ser um meio expressivo necessário que, como tantos outros, possui problematizações e questionamentos próprios. Depois de tantas sentenças de morte e ondas de ressurgimento, atreladas a circunstâncias históricas, a pintura retornou ao status de médium, de meio para se chegar a algo. Partindo desse princípio, decidi observar como a pintura é feita e como poderia ser feita. O objetivo desta pesquisa é compreender um pouco melhor a pintura, não como fenômeno, mas como experiência, como campo de possibilidades onde se fazem escolhas. Para isso, pretendo utilizar o meu trabalho de pintura a encáustica, analisando o seu desenvolvimento e pontuando as escolhas feitas durante o seu próprio processo prático. As observações e reflexões registradas neste texto estão, de certa forma, submetidas ao trabalho prático, que as precede. Essas observações tentam registrar o processo de criação artística como uma forma de produção do conhecimento, o qual possui um tempo próprio, uma fala própria. O trabalho resultará em uma exposição, uma ocupação física de um espaço, durante um determinado tempo. E, somando-se a isso, o texto indica alguns pontos que julgo importantes na compreensão do seu processo de criação, definindo alguns marcos no desenvolvimento do trabalho, e propõe uma reflexão sobre as escolhas feitas e os sentidos possíveis. / Abstract: What originated this research was maybe a certain disturbance, an uncomfortable situation. Situation that has no other cause but the question: is it possible to paint? If it is, how is it possible? I see painting as a necessary expressive means, and such as other means, it has its own issues and questionings. After a few death sentences and rebirths, attached to historical circumstances, painting has returned to the medium status, a means to get to something. Starting from this principle, I decided to observe how the painting is made and how it can be made. The objective of this research is to comprehend painting better. To comprehend it not as a phenomenon, but as an experience, as a field of possibilities where choices are made. To show that, I intent to use my encaustic painting work, analyzing its development and pointing out the choices made during its own practical process. The observations and reflections registered in this text are in a certain way submitted to the practical work, which precedes them. These observations try to register the process of artistic creation as a way of producing knowledge, which has its own timing, its own language. The work will turn into an exhibition, a physical occupation of a space, during certain time. And adding to that, the text indicates some points that I consider important to the understanding of its creation process, defining some steps in the development of the work, and proposes a reflection on the choices made and its possible senses. / Mestrado / Mestre em Artes

La portée de cette thèse est de montrer le potentiel de l'imagerie térahertz (THz) pour l'évaluation non-destructive et non-invasive d’objets liés à notre héritage culturel. A cette fin, nous avons développé un spectro-imageur THz permettant une analyse spectroscopique des objets sur la gamme de fréquence 0-3 THz. Le système permet aussi de mesurer des variations d’épaisseur inférieures à 30 µm suite à une analyse du « temps de vol » lié à la propagation des impulsions THz entre l’émetteur et le détecteur. Ainsi, nous avons pu révéler des esquisses dissimulées sous diverses couches de peinture ou de plâtre. Nous avons également mis au point un scanner THz portable monochromatique pour une analyse tomographique des objets. Après une étude en laboratoire, une campagne de mesures a été réalisée au Musée d’Aquitaine (France) afin de démontrer l’intérêt de ce système de caractérisation optique 3D pour diverses pièces du musée et notamment certaines antiquités égyptiennes vieilles de 3500 ans qui ont pu ainsi livrer une partie de leurs mystères. / The scope of this thesis is to demonstrate the potential of terahertz (THz) imaging for non-destructive evaluation of various artworks associated with a complete 3D volumetric inspection. For this purpose we used a pulsed THz time-domain spectrometer and a portable millimeter continuous wave scanner. Time-of-flight of THz electric field and material dependent spectroscopic information allows the analysis of various artistic samples. THz imaging was able to reveal buried layer information, covered by several layers of painting and plaster. It was also possible to evaluate the variations of the painting thickness along with their spectroscopic features in the THz range. The portable imaging system was used for the inspection of real historical art samples preserved at museum of Aquitaine (France). THz computed tomography has been performed for visualizing volumetric objects. Different reconstruction methods have been compared in order to enhance final image quality with the optimization of the number of projections. Finally the tomographic technique was used for a complete 3D inspection of historical art objects.

This study is not concerned with the evaluation of Hawthorne's artistic criticism but with the uses he made art objects in his writing. Such a study should give suggestions for interpretation of his works, as well as information concerning literary devices and technique in style. It should consider the contribution of the art objects to the literary artistry of the works in which they appear. Such a study has not previously been made.

This dissertation considers the figural bronze statuettes crowning Etruscan candelabra (c. 520- c. 350 BCE) to discuss the value and role of body images in Etruscan art and domestic as well as funerary contexts. Candelabra rose over a meter in height to present these radiant bodies in isolation, framed by flames. The finial figures were bodies on conspicuous display, as flickering and gleaming light attracted the viewer’s gaze and focused attention on the body’s exposure, dress, and gestures. The emitted light defined social spaces such as the banquet and enhanced the interactions between participants, while candelabra themselves were objects of communal pleasure and viewing. In more personal contexts, candelabra also facilitated interaction with one’s own body by lighting activities such as grooming and self-adornment. Ultimately, this dissertation considers the unique contributions of finial bodies in making candelabra personally and socially meaningful in domestic life, and therefore important memorial objects during a funerary transition at the end of life.By foregrounding the finials and their cultural contexts, I aim to make contributions not only to ancient or Etruscan domestic and funerary culture generally, but particularly to the role that images of the body played as they were incorporated within personal and social objects in these contexts. To this end, I apply theories of phenomenology, embodiment, and perception while considering the value of finials as body images rather than simple subject matter. Because of the relationships that candelabra developed with their users specifically through the body, as well as their conspicuous display of body images, Etruscan candelabra earn a place in these greater theoretical discussions and have value for scholars outside the Etruscan or Ancient world.

This dissertation builds and theorizes a corpus of the many feitiços, fetissos, fetiches, and fetishes that, with the advent of Iberian traders along the Atlantic coastlines, materialized and circulated in early modern West Africa before the institution of what we now refer to, in the singular, as “the fetish.” It contends that the techniques and forms that elicited the accusation of fetishes were devised in response to new and varied pressures of the highly dynamic trading contexts of early modern coastal Guinea: to make meaning out of confusion, to anchor unstable notions of value and truth, to shape outcomes by bending fortune to human will, and to assert control and possession in the face of disorder and dispossession. These forms and techniques are the subject of this dissertation, which departs from the thesis that, coded into each use of the term “fetish,” there is an interpretation of the shifting social circumstances that precipitated its fabrication and use. Part I, In the Marketplace, draws on Iberian and Caboverdean merchant treatises and descriptions to map the circulation, and creolization of the Iberian discourse of feitiçaria along the trading routes of West Africa, while collecting and interpreting the feitiços, fetiches, and fetishes that multiplied in its wake. Part II, Before the Holy Office, reverses course and tracks the Africanization of the problem of the feitiço (exemplified in the idiom of mandinga) in the trials of Cacheu-native Crispina Peres (in 1665–1669) and Cabo Verdean Patrício de Andrade (in 1690) for feitiçaria at the Lisbon Tribunal of the Inquisition. Each chapter is articulated around a different technique of feitiçaria—writing, metallurgy, ligature, and gleaning—its social importance, and its perceived effects. Ultimately, this study is built on the conviction that “the problem of the fetish” is best approached as a historical accumulation of problem objects, troubling forms that elicited accusations of fetish and that were thus subject to discursive attempts, both systematic and ad-hoc, to classify and serialize them into a corpus and a theory.