Th. Etat--Lettres--Paris IV, 1986. / Bibliogr. p. XI-XIII. Index.

L’historiographie de la deuxième moitié du XXème siècle mentionne rarement l’œuvre du sculpteur Duchamp-Villon (1876-1918), et analyse souvent l’histoire de la sculpture en subordination avec celle de la peinture. Mais la sculpture participe à la révolution de l’art tout comme la peinture, grâce à certains artistes comme Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman et Duchamp-Villon. Concernant ce dernier, certains points de sa recherche esthétique semblent fondamentaux : la simplification des formes, l’attention à la géométrie, le refus du cubisme à facettes typique du cubisme le plus reconnu ; le rôle de la pensée dans le processus créatif ; l’intérêt pour le primitivisme conçu en tant qu’emblème d’essentialité et de synthèse de la forme ; le concept d’espace-temps et le désir de contribuer à la combinaison de sculpture et architecture. Il s’agit de points essentiels pour comprendre son adhésion personnelle au cubisme : s’il est difficile de considérer son œuvre en tant que production cubiste orthodoxe, les caractéristiques susmentionnées inscrivent le nom de Duchamp-Villon dans la grande révolution esthétique du début du XXe siècle, qui est tout d’abord une révolution de pensée. Sur la base d’une telle prémisse, cette recherche vise à analyser l’œuvre de Duchamp-Villon à la lumière des nouveautés culturelles et esthétiques du début du XXème siècle, tant par rapport à la sculpture que par rapport à la peinture, dans le but de comprendre si son esthétique représente une traduction des expérimentations picturales du cubisme ou si, au contraire, elle constitue une version personnelle du cubisme en trois dimensions. / In the historiography of the second half of the last century the work of Duchamp-Villon is rarely mentioned, just as the history of sculpture is often used as a term of comparison with respect to the better-known area of painting. The sculpture was, however, part of the great revolution in art history just as much as painting, due to the work of some artists including Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman and Duchamp-Villon. Regarding the latter, some principles of its aesthetic research seem to be fundamental: the simplification of forms, the attention to geometry, the refusal of the typical cubism with facets of the Cubism more recognized; the role of thought in the creative process; the interest for the Primitivism conceived as an emblem of essentiality and synthesis of the form; the concept of space-time and the desire to contribute to the combination of sculpture and architecture. These are to be considered as essential points to understand its personal adhesion with the Cubism: if it is difficult to consider its work as an orthodox cubist production, the above-mentioned characteristics register the name of Duchamp-Villon in the great aesthetic revolution of the beginning of the 20th century, which is first of all a revolution of thought. Based on this premise, this study aims to analyze the work of Duchamp-Villon in light of the cultural and artistic novelties of the early twentieth century in relation to sculpture and painting, so as to understand whether his aesthetics represent a translation of pictorial experimentations of Cubism or whether, on the contrary, it constitutes a personal version of Cubism in three dimensions.

Originally presented as the author's thesis, Algiers. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 327-[334]).

Thesis (doctoral)--Universität Rostock, 1934. / Includes bibliographical references.

Texte remanié de: Th. Ph. D.--New York--New York university, 1980. / Bibliogr. p. 597-637.

Diss.--Kunstgeschichte--Bonn, 1981. / Bibliogr. p. 193-197. Glossaire.

Thesis--University of California at Los Angeles. / Vita. Includes bibliographical references (leaves 344-363).

許雪輝. / 稿本 ; 複本據稿本影印. / Thesis (M.A.)--香港中文大學硏究院藝術學部. / Gao ben ; fu ben ju gao ben ying yin. / Includes bibliographical references (leaves 224-259). / Xu Xuehui. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan yi shu xue bu. / 導言 / Chapter 第一章 --- 孔望山佛教造像題材之發現 / Chapter 甲 --- 孔望山之地理位置 --- p.6 / Chapter 乙 --- 歷代對孔望山造像題材及年代之認識 / Chapter （一） --- 文献記載 --- p.11 / Chapter （二） --- 近人考察 --- p.13 / Chapter 丙 --- 孔望山造像內容之概述 --- p.18 / Chapter 第二章 --- 孔望山造像年代問題述評 / Chapter 甲 --- 東漢說 --- p.36 / Chapter （一） --- 小結 --- p.44 / Chapter 乙 --- 非東漢說 / Chapter （一） --- 曹魏以後元魏以前說 --- p.53 / Chapter （二） --- 三國或西晉時代以後說 --- p.57 / Chapter （三） --- 六朝說 --- p.59 / Chapter （四） --- 唐代前後說 --- p.60 / Chapter （五） --- 小結 --- p.65 / Chapter 第三章 --- 從文献資料考察孔望山佛教造像的年代 / Chapter 甲 --- 從佛教起源及漢代譯經方面考察 / Chapter （一） --- 佛像之起源　 --- p.74 / Chapter （1） --- 小結 --- p.89 / Chapter （二） --- 漢代佛教譯經 --- p.92 / Chapter （1） --- 小結 --- p.100 / Chapter 乙 --- 從漢代海上交通及漢代佛法流佈之地理分佈方面考察 / Chapter （一） --- 漢代海上交通 / Chapter （1） --- 漢代海路已開 --- p.106 / Chapter （2） --- 漢代中印之海路交往 --- p.114 / Chapter （3） --- 《漢書、地理志》所載之航程 --- p.119 / Chapter （二） --- 漢代佛法流佈之地理分佈 --- p.122 / Chapter （1） --- 小結 --- p.136 / Chapter 第四章 --- 孔望山佛教造像及藝術特色之分析比較 / Chapter 甲 --- 孔望山佛教造像之圖像及藝術特色 --- p.139 / Chapter 乙 --- 孔望山佛教造像與中國早期佛教造像之圖像及藝術特色比較 / Chapter （一） --- 東漢佛教造像之圖像及藝術特色　　　 --- p.147 / Chapter （二） --- 魏吳晉間出土佛像的圖像及藝術特色 --- p.152 / Chapter （三） --- 孔望山佛教造像與中國早期佛教造像之圖像及藝術特色比較 / Chapter （1） --- 圖像方面 --- p.163 / Chapter （2） --- 藝術特色方面 --- p.165 / Chapter 第五章 --- 總結 --- p.171 / 注釋 --- p.178 / 書目 --- p.224 / 圖錄

Roman sculpture of the late republic and empire is characterized by wide-ranging practices of formal imitation and replication of earlier figurative traditions, particularly those of the Hellenized Eastern Mediterranean. Works that exhibit this retrospective character may be replicas of famous statues, adaptations of familiar compositions, or inventive creations based on established styles and features. The links of subject and style that these works created in the Roman context engendered systems of mutual reference and evaluation that helped articulate the socio-political, ideological, religious, and other aims of the representations. As sculptural types or even loosely related images were produced in a rich variety of materials, their proliferation enmeshed bronze, marble, colored stones, terracotta, and plaster into formal, technical, visual, and historical relationships. This dissertation investigates the materials of Roman sculpture as both agents and products of a transformative reception of earlier local and foreign traditions. The inquiry focuses on the nexus of Roman formal replication and material manipulation, investigating diverse choices of material and technique against the common background of a type’s subject, style, composition, and deployment in the Roman world. The project’s focus is circumscribed around sculptural types whose large-scale replicas are extant in more than one material; the survey in Chapter 2 is intentionally broad and includes replicas of famous Greek works, Idealplastik, and works related to Egyptian archetypes, as well as the large-scale, positive plaster casts from Baia. In this way, it sets out on a broad investigation of the nature of the reception of media practices in Roman sculpture, studying technical processes as much as formal connections and treating the reproductive interest in Greek, Egyptian, and even recently invented forms as complementary parts of a single retrospective approach to sculpture. This project proposes a methodology for investigating historically contextualized materialities that marries the approaches of historical reception, reception aesthetics, and remediation. The case studies apply this methodology in a four-part examination of Roman contexts of material reception, including production, display, and recontextualization. These chapters articulate the impact of techniques of formal reproduction on material selection and manipulation, assess the relevance of the medium of the formal archetype, demonstrate the plurality of contextualized material relationships that constitute materiality, clarify the nature of material mimesis as a selective and partial illusion, account for changing tastes in material decorum, and highlight ongoing engagement with the materiality of physically present antiques. The project illustrates that the Roman material context within which the selection, manipulation, and evaluation of sculptural materials must be situated is predicated upon both simple and sophisticated engagements with historical material traditions, both local and exotic. It shows that investigating the ways in which material traditions were available for reception in the Roman world – by the dissemination of plaster casts or by the importation of antiques, whose surfaces might be altered by age or later intervention – can reveal scholarly misconceptions and can realign modern interpretations with ancient practices. Engaging with the multiple, co-existing relationships that define a work’s materiality, this dissertation suggests that this plurality of references could be valued in much the same way that the recombination of distinct period styles could articulate new meanings in a Roman context. In the process of tracing these numerous material relationships, this dissertation’s analyses point to further avenues of research, indicating the relevance of Egyptian and North African material traditions for Roman uses of colored stones, calling attention to sophisticated engagements with issues of representation, and demonstrating that lack of coherence (in material references and in display) could be exploited as a means of enriching artworks that were conservative in their form and subject matter.

My ongoing series of assemblages are an expression my modern mythology through the juxtaposition of esoteric symbols and my collection of beloved action figures. Though myth is founded in partial truths and allegories, it has the unique capability to speak about our relationships to one another and the universe. My artwork conceives of anime, comics, and videos games as part of our contemporary mythology. Inspired by a fusion of pop culture and spirituality, I also draw on the magical properties attributed to flowers, gemstones and other materials to create shrines, altars, and other objects. Juxtaposing these properties, found in my research of esotericism and mythology, with action figures establishes symbolic connections that act as an interface to the spiritual symbolism explored in each piece. The collision of masking tape, shoe polish, flowers; gemstones and repurposed objects result in re-contextualizations of characters from popular culture. My practice suggests new possibilities for cultural symbolism reflective of my own unique experiences and values and as an active expression of creative freedom in our experiences of the divine. My assemblages re-examine traditional categorizations in art and culture, such as sacred and profane and high and low, while attempting to demystify the veil that separates the experiential from the transcendent.