Texte remanié de: Diss.--Fakultät für Orientalistik und Altertumswissenschaft--Heidelberg--Ruprecht-Karls-Universität, 1995. Titre de soutenance : Die Statuenreihen der Spätarchaik und der Klassik. Die repräsentativen Denkmäler griechiescher Poleis und Bünde. / Notes bibliogr. Index.

This dissertation addresses the characteristics and material properties of clay statues of Guardian Gods in Hong Kong temples. Guardian God statues in Hong Kong temples are usually represented as a pair, flanking the main deity and are usually the approximate height of a person. The statues under study in this dissertation may be categorized as Hong Kong’s vernacular temple sculpture of the late Qing Dynasty (1644-1911) and The Republic of China Period (1911-1949), as most of the statues are approximately 50 to 150 years old. This dissertation documents general information about the statutes and includes an inventory of specific statues in Hong Kong SAR, in combination with a detailed case study of a particular statue currently deposited in the Conservation Section of Hong Kong Heritage Museum. By describing and documenting the damages of the statues and discussing the physical properties of the encountered materials, theories for the reasons of the damages are made. The research about the characteristics, materials and techniques and damages to the statues serves in preparation to find an appropriate conservation concept for the case study statue, and aims to provide information for possible future conservation concepts for similar statues. / published_or_final_version / Conservation / Master / Master of Science in Conservation

Thesis (Ph. D.)--University of California, Los Angeles, 2004. / Vita. Includes bibliographical references (leaves 253-259).

Rev. and enl. ed. of the author's thesis, Göttingen, 1968. / Includes bibliographical references (p. vii-viii).

Enlarged ed. of the author's thesis, Tübingen, 1964.

Texte remanié de: Diss.--Philosophische Fakultät--Freiburg i. Br., 1972. / Notes bibliogr.

Through the ages the portrayal of man on horseback has provided the sculptor with the chall~nge to solve one of the most baffling compositional problems in Art. The problem involves the balancing of a vertical mass on a large horizontal one, which in its turn rests on slender supports. To add to the complexity, the natural gait of the horse is unsuitable for artistic reproduction and must be skilfully modified so as to look natural and be aesthetically acceptable. Further, horse and rider must form a unity, which reflects the character of the rider. In spite of the formidable technical, compositional and aesthetic problems associated with this type of sculpture, the monumental equestrian statue has always been a popular form for honouring heroes and sovereigns. The representation of man controlling the powerful majestic horse and at the same time looking down on his fellow men from his elevated position on the back of the horse, appealed to the depostic ruler as well as to the man on the street. The monumental equestrian statue had its origin in the sixth century B.C. in ancient Greece. Since then it has flourished in times of autocracy. The ancient Greeks solved most of the technical, compositional and aesthetic problems of the equestrian statue. The Romans inherited the tradition of erecting equestrian statues from the Greeks and made it the sole privilege of sovereigns. Solutions to technical and compositional problems were taken over directly from the Greeks. The Romans, however, preferred bronze as a medium instead of marble. In spite of the compositional freedom which the use of bronze gave the sculptors, the Romans preferred a rest fur figure showing a rider as triumphator. During the Middle Ages most of the Roman equestrian statues were destroyed, with the exception of a few. The Marcus Aurelius in Rome was mistaken for a statue of Emperor Constantine, the first Christian emperor, and it was spared. Since it showed a barbarian beneath the forelegs of the horse, the statue became symbolic of Christianity overcoming paganism. In this sense the equestrian statue acquired symbolic funerary implications. Stone was the favourite medium and the sculptors of the Middle Ages solved numerous problems associated with the creation of an equestrian statue in this medium. Bronze equestrian figures were neglected because the technical know-how of the Greeks and Romans had been lost. The Renaissance once more focussed the attention on the individual, thereby reviving the truly secular commemorative equestrian statue of Classic Antiquity. Technical, compositional and aesthetic secrets of Antiquity were gleaned from surviving equestrian statues and antique sources. Donatello revived the Roman tradition of monumental bronze equestrian statues with his Gattamelata, while Verrocchio created the first secular equestrian monument since Antiquity with his Colleoni equestrian monument. Although Leonardo's Sforza and Trivulzio equestrian statues have not survived, the solutions which he found to technical, compositional and aesthetic problems while working on them, were to have a profound influence on all later equestrian statutes. A complete revisal of the commentaries on his notes connected with these monuments have proved that he not only renewed the entire technical approach to this sculptural form, but he also found new compositional and aesthetic solutioDuring the period from the Baroque to the end of the nineteenth century, Leonardo's innovations were implemented. The Giambologna studio in Italy established the proto-types for all Baroque equestrian statues. The French inherited this tradition. A complete history of all the French equestrian statues before the French Revolution is given. During the nineteenth century technical improvements resulted in the mass production of equestrian statues throughout the world. A complete history of all the equestrian monuments in South Africa is given and it is indicated how this form was adapted to South African conditions. Modern technical and compositional methods are discussed and evaluated.ns which completely revolutionised the creation of equestrian statues. / Thesis (PhD)--University of Pretoria, 1982. / gm2014 / Historical and Heritage Studies / Unrestricted

Les statues d’Angkor sont aujourd’hui internationalement connues. Cette notoriété est une construction historicisée, qui commence au début du XXe siècle avec la naissance de l’archéologie, la création de musées et l’importation des techniques de conservation et de restauration au Cambodge. Ces pratiques et ces structures se développent avec la mise en place du protectorat français par le biais d’une institution de recherche scientifique : l’Ecole Française d’Extrême-Orient (EFEO), dont dépend la Conservation d’Angkor fondée en 1908. Les sculptures retrouvées dans les ruines d’Angkor sont d’abord rassemblées, créant un corpus d’œuvres déposées, au sein duquel sont prélevées des objets diffusés par la suite, créant ainsi plusieurs collections dans le pays et à l’étranger. Après la décolonisation, le Cambodge se réapproprie les collections restées sur son territoire, ainsi que les structures de gestion du patrimoine héritées du protectorat (en particulier le musée national à Phnom Penh), tout en aménageant la pérennité de la présence de l’EFEO à Angkor. Le développement des institutions nationales et françaises pour la gestion du patrimoine cambodgien connaît une interruption brutale avec la guerre civile qui frappe le pays dans les années 1970. La sortie difficile de ce conflit favorise le pillage ; le Cambodge doit trouver des solutions pour l’endiguer, et permettre le retour des œuvres volées. La reconstruction d’après-guerre est très largement soutenue par l’aide internationale. Celle-ci investit aussi dans le domaine du patrimoine, offrant à Angkor et à ses sculptures une promotion sans précédent, ainsi que de nouvelles structures pour l’exposition de ces dernières. Les évolutions politiques du Cambodge au XXe et au XXIe siècle conditionnent l’évolution des pratiques de la conservation, de la restauration et de la diffusion appliquées aux statues d’Angkor. / Nowadays, Angkorian statues are world renowned. Their fame being triggered in the early 20th century with the birth of archaeology, the creation of museums and the implementation of conservation and restoration techniques in Cambodia. These practices and structures spread throughout the country during the establishment of the French protectorate. This culminated in the creation of an institution of scientific research: The Ecole Française d’Extrême-Orient (EFEO) and its dependent Conservation d’Angkor created in 1908. The sculptures found in the ruins of Angkor temples were initially brought together, creating a corpus of deposits, in which artifacts were placed into various collections within the country and abroad. Following decolonization, responsibility for the collections was returned to Cambodia. This hand over was underpinned by the legacy of institutions created under the French protectorate, in particular the National Museum. At the same time, Cambodia arranged the sustainability of EFEO work in Angkor. The Civil War that afflicted the country in the late 70’s brutally interrupted the development of national and French institutions for the management of Cambodian heritage. The struggle to emerge from this conflict furthered the wide spread looting of many precious artefacts. Cambodia had to find solutions to prevent this ongoing problem, and to retrieve its stolen artworks. The country received International help to support post-conflict reconstruction. This assistance also involved in the field of heritage management of Angkor and its sculptures, and the creation of new venues for their exhibition. The change in the political landscape of Cambodia throughout the 20th and early 21th century has heavily influenced the evolution of conservation, restoration, and diffusion practices applied to Angkorian statues.

Ce travail vise à étudier les techniques de fixation des statues sur leurs bases dans le monde grec, depuis la fin du VIIe s. jusqu’à la fin de l’époque hellénistique, à partir des bases inscrites. Il se fonde sur l’étude d’un corpus de 387 monuments ayant conservé des traces de fixation, à Delphes, Délos et Athènes, décrits et analysés dans un catalogue dédié. La première partie est consacrée à l’établissement d’une chrono-typologie des techniques de fixation visant à les caractériser en fonction du matériau, de la taille et du type de figure, et à les dater. La seconde partie s’attache à l’interprétation des traces de fixation en comme empreintes de la statue disparue. On a d’abord déterminé le type d’informations qu’elles pouvaient apporter sur elle, comme son matériau et sa taille, mais aussi son type et surtout sa position. On s’est ensuite intéressé aux bases signées, afin de dégager des traditions artisanales propres à des régions ou des ateliers, en croisant la fixation utilisée et les positions révélées par les traces. Enfin, on s’est interrogé sur les évolutions de l’utilisation des matériaux ; on a pu dégager le rôle des contextes d’exposition à partir de l’époque classique, et contribuer à élucider le retour du marbre à partir du IIe s. Cette étude entend par là contribuer aux recherches sur les techniques de fabrication autant qu’à celles sur la sculpture dans son contexte. / The study examines the techniques used to attach statues to their bases in the Greek world from the end of the 7th c. BC to the end of the Hellenistic period. Starting from bases bearing inscriptions, it builds on a corpus of 387 monuments from Delphi, Delos and Athens, showing traces of attachment. Their description and analysis can be found in a separated catalogue. In the first part of the study, a chrono‐typology was elaborated, identifying and dating each technique according to the material, the size and the type of the figures. In the second part, the traces of attachment were interpreted as signs of the missing statue. First, we showed that these traces brought information on its material and its size but also its type and its position. Then we focused on signed bases and proceeded to a cross‐examination of the kind of technique used and the position revealed by the traces in order to identify artisanal traditions specific to regions or workshops. Finally, we considered the reasons for using marble or bronze for statues; we thus showed the importance of the setting context from the classical period onward, as exemplified by the come-back of marble sculpture in the 2nd c. BC. The study is thus intended as a contribution to research both on attachment techniques and sculpture in its context.

<p>This dissertation models a new approach to the study of ancient portrait statues—one that situates them in their historical, political, and spatial contexts. By bringing into conversation bodies of evidence that have traditionally been studied in discrete categories, I investigate how statue landscapes articulated and reinforced a complex set of political and social identities, how space was utilized and manipulated on a local and a regional level, and how patrons responded to the spatial pressures and visual politics of statue dedication within a constantly changing landscape. </p><p>Instead of treating sites independently, I have found it to be more productive—and, indeed, necessary—to examine broader patterns of statue dedication. I demonstrate that a regional perspective, that is, one that takes into account the role of choice and spatial preference in setting up a statue within a regional network of available display locations, can illuminate how space shaped the ancient practice of portrait dedication. This level of analysis is a new approach to the study of portrait statues and it has proved to be a productive way of thinking about how statues and context were used together to articulate identity. Understanding how individual monuments worked within these broader landscapes of portrait dedications, how statue monuments functioned within federal systems, and how monuments set up by individuals and social groups operated along side those set up by political bodies clarifies the important place of honorific statues as an expression of power and identity within the history of the site, the region, and Hellenistic Greece.</p> / Dissertation