A evolução da representação da mão nas artes plásticas (original) (raw)
Related papers
Evolution of representation of the hands in plastic arts
Acta Ortopédica Brasileira, 2002
The interaction between art and science was high during the Renaissance and it declined later to return significantly in the 20th century, mainly with the use of identification techniques, dating of art works and the development of new materials. The relationship between plastic arts and hand surgery is intense and artistic reproductions of hands are frequent in the illustration of scientific texts. With the objective of understanding the role of the hand in plastic arts, reproductions of works of art (sculptures and paintings) representative of several periods or styles in the history of art were analyzed emphasizing the study of the hands. Anatomical details, relationship with other structures of the human body, role in the composition and symbolic aspects of the hands were studied in historical and artistic contexts of art works in the Paleolithic period (pre-history) until the 20th century. The representation of the hands in plastic arts is directly related to the style or perio...
Imafronte, 2021
El estilo de pintura renacentista refleja todo tipo de principios, enfoques y comprensión del diseño plástico como un carácter estándar de las características históricas, políticas, religiosas, culturales y económicas de esa época. Al deshacerse de un tipo de perspectiva estricta y puramente centrada en la iglesia, los artistas del Renacimiento prácticamente comienzan a mirar la naturaleza, la ciencia, la literatura, la filosofía y, obviamente, la anatomía humana en un conjunto de mentes diferente. Una descripción razonable, equilibrada, científica y lógica de la vida humana lleva a los pintores a centrarse más en las partes del cuerpo humano. Aparte de los rostros de las figuras, las manos se convierten en partes esenciales del cuerpo para sujetar un espejo al universo interior de las figuras. Se incluyeron dentro del programa iconográfico tal que reflejaban las emociones y contemplaciones de la figura, y la conexión entre figuras y objetos. En este estudio, un examen a través de varias pinturas renacentistas arrojará luz sobre cómo los pintores como Giotto, Da Vinci, Michelangelo, Francesca y más utilizaron la representación de las manos como un aparato y como un lenguaje de sus propósitos creativos. Así, se manifestará una iconografía de manos en la pintura renacentista. Renaissance style of painting reflects all types of plastic design principles, approaches and understanding as a standard character of historical, political, religious, cultural, and economic features of that era. Disposing of unadulterated strict and church focused kind of perspective, Renaissance artists practically start to look on nature, science, literature, philosophy, and obviously human anatomy in a different set of minds. Reasonable, balanced, scientific and logical portrayal of human life leads painters to focus closer on pieces of the human body. Aside from the faces of the figures, hands become essential body parts to hold a mirror to the interior universe of the figures. They were included within the iconographic program such mirrored the emotions and contemplations of the figure, and the connection among figures and objects. In this study, an examination through various Renaissance paintings will shed light on how the painters like Giotto, Da Vinci, Michelangelo, Francesca, and more utilized the portrayal of hands as an apparatus and as a language of their creative purposes. Thusly, an iconography of hands in Renaissance painting will be manifested.
Iconography of Hands in Renaissance Painting
Imafronte, 2021
El estilo de pintura renacentista refleja todo tipo de principios, enfoques y comprensión del diseño plástico como un carácter estándar de las características históricas, políticas, religiosas, culturales y económicas de esa época. Al deshacerse de un tipo de perspectiva estricta y puramente centrada en la iglesia, los artistas del Renacimiento prácticamente comienzan a mirar la naturaleza, la ciencia, la literatura, la filosofía y, obviamente, la anatomía humana en un conjunto de mentes diferente. Una descripción razonable, equilibrada, científica y lógica de la vida humana lleva a los pintores a centrarse más en las partes del cuerpo humano. Aparte de los rostros de las figuras, las manos se convierten en partes esenciales del cuerpo para sujetar un espejo al universo interior de las figuras. Se incluyeron dentro del programa iconográfico tal que reflejaban las emociones y contemplaciones de la figura, y la conexión entre figuras y objetos. En este estudio, un examen a través de v...
The study presents general data on the large collection of fired-clay anthropomorphic representations (over 400 pieces) from the settlement of Târgu Frumos–Baza Pătule (Iaşi County, eastern Romania), investigated between 1995 and 2005. It is the largest settlement of the Eneolithic Precucuteni culture (c. 5100–4600 BC) found on Romanian territory, occupying an area of ca. 10 ha, of which 2000 m2 have been excavated. In the cultural layer belonging to the Precucuteni III phase, three habitation levels have been ascertained, with six successive horizons. The following categories have been designated as anthropomorphic representations: statuettes, cones (as masculine symbols), anthropomorphic pots and protomes, anthropomorphised handles from spoons/ladles/scoops and scale-model chairs (as items connected to statuettes). Statistic analysis (Table I) show that most of the representations have been found in dwellings (almost half), followed by those from pits, and very few outside of an archaeological structure. The opinion is that the pits too housed, in fact, materials originating from former dwellings. Level II is the richest in discoveries, in opposition with the first level, as the structures from the beginning stages of habitation were for the most part dismantled during the subsequent stages, and their materials generally ended in pits dug in the newer occupation horizons. Statuettes constitute the bulk (almost 90%) of the representations. Most were fragmented, with only seven (of small dimensions) being whole, and other almost complete. Especially fragments of the lower portions of the body have been preserved; emphasis was put on the pelvic area, rendered strongly oversized compared to other body parts. The methods of modelling of the statuettes are presented, and the manner in which the anatomical parts were rendered (most often in a schematic manner) is described. Themes seldom encountered in the plastic art are mentioned: the parturient goddess, goddess with infant, the goddess with oblation basin, the bicephalous altar with painting. The decoration sometimes covers almost the entire surface, portending the “horror vacui” style that will become predominant during the following evolutionary stage, the Cucuteni A phase. As such, the clay plastic art too confirms the opinion according to which there was an organic link between the Precucuteni and Cucuteni cultures.
ELEMENTS OF SYMBOLIC PLASTIC ART BELONGING TO THE IRON AGE FROM ŞIMLEU SILVANIEI–OBSERVATOR
This study wants to introduce zoomorphic and anthropomorphic figurines of The Early Iron Age, as a result of the research done in the last decades in North-West Romania. Although we have a large amount of discoveries of this period, this type of representations are extremely few. All of them are from Şimleu Silvaniei Observator a very important fortified settlement.
Anatomical studies used in the evaluation of a panel painting from the XIXth century
2013
This paper presents a case study on the panel painting icon “God’s Mother Hodigitria”, painted in tempera colors on a wood panel made of spruce. The icon is part of a private collection from Slobozia, and on the back of the panel is engraved the year 1840, which on a first look seems to be a forgery. The study is focused on indentifying some archaeometric characteristics of the wooden panel, and of some authentication attributes with the use of two microscopic techniques: Optical Microscopy(OM) and Electron Scanning Microscopy connected with X-Ray Spectometry (SEM-EDX). In a later note, through corroboration with the dendrochronology dating technique, the age of the wood panel and the authenticity of the date engraved on the back, will be determined.
Hands Stencils in El Castillo Cave (Puente Viesgo, Cantabria, Spain). An Interdisciplinary Study
Proceedings of Prehistoric Society, Cambridge University Press, 2021
Our Palaeolithic ancestors did not make good representations of themselves on the rocky surfaces of caves and barring certain exceptionssuch as the case of La Marche (found on small slabs of stone or plaquettes) or the Cueva de Ambrosiothe few known examples can only be referred to as anthropomorphs. As such, only hand stencils give us a real picture of the people who came before us. Hand stencils and imprints provide us with a large amount of information that allows us to approach not only their physical appearance but also to infer less tangible details, such as the preferential use of one hand over the other (i.e., handedness). Both new and/or mature technologies as well as digital processing of images, computers with the ability to process very high resolution images, and a more extensive knowledge of the Palaeolithic figures all help us to analyse thoroughly the hands in El Castillo cave. The interdisciplinary study presented here contributes many novel developments based on real data, representing a major step forward in knowledge about our predecessors.
Summary of M.A Thesis , 2018
In Coptic art, different hand signs and postures were reprsenetd on a wide range of pieces. In additon, many hand objects were associtaed with these hand signs. Despite of their promninnent symbolic meaning in Christiany, hand signs, posturtes, and hand objects were not comprehensilvy studied and analyzed. Therefore, this study attempts basically to study the usage and the religious symbolic role of the hand and its attribuites in Coptic art. The study also aims at shedding the light on the different hand objects and following their roots in the ancient former kinds of art and focusing on their religious value and utilization in Christianity. In order to achieve these aims, the researcher followed a discriptive analytical study regarding the hand objects, hand signs, and the relation that makes a strong bond between the hand gesture, hand object and the charchter carrying them. Concerning hand objects; the researcher followed their textual resources in both the Old and the New testaments and compared between their artistic iconography and their textual biblical sources. The reaercher focuced the study on artistic examples dating back from the 3 rd century AD till the end of the 13 th century AD.