Jump to content

Talk:Binomial nomenclature and Sculpture: Difference between pages

Page contents not supported in other languages.
From Wikipedia, the free encyclopedia
(Difference between pages)
Content deleted Content added
m {{unsourced}} from article
 
m Reverted edits by 86.198.48.234 (talk) to last version by Vsmith
 
Line 1: Line 1:
A '''sculpture''' is a [[Dimension#Spatial dimensions|three-dimensional]], man-made object selected for special recognition as [[art]].
{{unsourced}}
----


==Materials of Sculpture==
----


===The materials of historical sculpture===
----
Sculpture made for royal courts or large public works were often produced in expensive durable materials, primarily [[bronze]] and stone such as [[marble]], [[limestone]], [[porphyry]], and [[granite]]. More rarely precious materials such as [[gold]] and [[ivory]] were used for [[chryselephantine]] works.
== Trinomial nomenclature ==
More common and less expensive materials were used for sculpture for wider consumption, including [[wood]]s such as [[oak]], [[box]] and [[lime]]; [[terracotta]] and other [[ceramics]]; [[spelter]]; and metals such as [[pewter]].
How do such names as ''Homo sapiens neanderthalensis'' fit into this nomenclature? -- [[User:Zoe|Zoe]]


Sculptors often built small preliminary works called [[maquette]]s of ephemeral materials such as [[plaster of paris]], [[wax]], [[clay]] and even [[plasticine]], as [[Alfred Gilberts]] did for 'Eros' at Piccadilly Circus, London.
:The "third" name is a subspecies name, sometimes "subspecies" is written out before it. (E.g. ''Treponema pallidum'' subspecies ''pallidum'' causes syphilis, while ''Treponema pallidum'' subspecies ''pertenue'' causes yaws). I'm not sure how this could be incorporated into the article without really complicating the notion of "binomial" though! -- [[User:Someone else|Someone else]] 05:32 Apr 15, 2003 (UTC)


===Contemporary materials===
:: Most of that's covered in the linked [[trinomial nomenclature]] article, though, right? :o) — [[User:OwenBlacker|OwenBlacker]] 15:07, Jun 30, 2004 (UTC)


[[image:sculpture.zoo.600pix.jpg|thumb|200px|right|A tree sculpture at [[Bristol Zoo]], [[Bristol]], [[England]]. This was sculpted with a [[chain saw]] from a standing tree, which was diseased and due to be felled]]
== 1980? ==
Is 1980 really the correct date for adoption by bacteriologists? [[User:Pigsonthewing|Andy Mabbett]] 00:24, 21 Dec 2003 (UTC)


Most traditional sculpture materials are still in wide use today. However, advancements in technology and changes have broadened the range of materials sculptors can choose to use, including [[glass]] and [[sand]], [[aluminum]], [[polymer]]s and many other synthetic materials, and [[liquid crystal]]s.
I have added a footnote as follows::


Some sculptures are [[multimedia]], for example [[sound sculpture]]s which, as their name implies, produce sound. Many artists use video and computers in their sculptures as well. Computers and motors can also be used in sculptures, leading to works that may be classified as [[robot]]ic.
The botanical code kept references to bacteria until 1975. A bacteriological code of nomenclature was approved at the 4th International Congress for Microbiology in 1947, but was later discarded. The official "Nomenclatural Starting Date" for the current International Code for bacteria is January 1, 1980.


Sculptors are constantly searching for new ways to make art and for new materials to make it with, including [[blood]], [[feces]], dead [[animal]]s. See also [[body fluids in art]]. [[Andy Goldsworthy]] is notable at a sculptor for his use of almost entirely natural materials in natural settings.
Some further information:
* The first edition of the International Code of Nomenclature of Bacteria and Viruses was published in 1958
*Names that were not included in the APPROVED LISTS of 1980 lost standing in bacterial nomenclature.
* The official "Nomenclatural Starting Date" is 1 January 1980: "One work is deemed to have been published on that date." [http://academic.regis.edu/mghedott/bl404/bl404pdf/bl404hnd03-02.pdf]


In his late writings, [[Joan Miró]] even proposed that some day sculptures might be made of gases; see [[gas sculpture]].
See also: [http://www.the-icsp.org/Code_history.htm]
[[User:Peak|Peak]] 06:35, 21 Dec 2003 (UTC)


==Sculpture around the world==
=== "Puns" used in naming species ===
:''See also [[History of sculpture]]''
I can see you really like the idea that a scientist might make a pun in naming a species (although probably very rare). It is an idea that has merit for inclusion. However, you should use proper English and place it in a sentence where it makes sense. Also, since putting this in a paragraph is for the purpose of tweaking the interest of the reader, it seems that an example would help. Here is how you had it (and then put it back):
==='''Asian'''===
::"The names used are usually derived from Latin. Although Latin derivation is not universal (names sometimes come from Ancient Greek, sometimes from local languages, often from the name of the person who first discovered the species <u>and is sometimes playful, such as a pun</u>, the names are always treated grammatically as if they were Latin words)."
:See also ''[[Buddhist art]]''
Note that the verb is wrong and the sentence is about how some words are not from latin, but are latinized from ancient Greek, local languages, or a person's name. Making a pun does not fit in with that point. You could add it as a new sentence with an example - [[User:Marshman|Marshman]] 17:22, 19 Jul 2004 (UTC)
Many different forms of sculpture were in use in the many different regions of [[Asia]], often based around the religions of Hinduism and Buddhism. A great deal of Cambodian Buddhist sculpture is preserved at Angkor, however organized looting has had a heavy impact on many sites around the country. Also see [[Angkor Wat]]. In Thailand, sculpture was almost exclusively of Buddha images. Many Thai sculptures or temples tended to be gilded, and on occasion enriched with inlays. See also [[Thai art]]


[[Image:Shivajistatue.JPG|thumb|200px|right|A sculpture of [[Hindu]] king [[Shivaji]] in [[Delhi]]]]
I added a second paragraph where the idea of a pun fits in better. If you have an example, that would help - [[User:Marshman|Marshman]] 18:08, 19 Jul 2004 (UTC)
====India====
:''See also [[Indian Art]]''
During the 2nd to 1st century BCE in [[India]], sculptures became more explicit, representing episodes of the Buddha’s life and teachings. Although India had a long sculptural tradition and a mastery of rich iconography, the Buddha was never represented in human form, but only through some of his symbols. Gandharan Buddhist sculpture displays Greek artistic influence, and it has been suggested that the concept of the “man-god” was essentially inspired by Greek mythological culture. Artistically, the Gandharan school of sculpture is said to have contributed wavy hair, drapery covering both shoulders, shoes and sandals, acanthus leaf decorations, etc. The pink sandstone sculptures of Mathura evolved during the Gupta period (4th to 6th century) to reach a very high fineness of execution and delicacy in the modeling.


Sculptures in [[Afghanistan]], in stucco, schist or clay, display very strong blending of Indian post-Gupta mannerism and Classical influence, Hellenistic or possibly even Greco-Roman.
==Scientific Plurals==
(asked it first at talk:Naming conventions (fauna), but moved it)


====China====
Hi, I always wondered how plural forms of scientific names are written: ''Velociraptor''s or Velociraptors. I always thought ''Velociraptors'' being patently wrong (since it's an English plural). Right? Or is the plural simply "sixteen ''Velociraptor''", just like you say: "This sample contains eleven ''Krithe rutoti''". [[User:Phlebas|Phlebas]] 17:59, 17 Feb 2005 (UTC)
:''See also [[Chinese art]]''


Chinese artifacts date back as early as 10,000 BC -- and skilled,Chinese artisans have been active up to the present time -- but the bulk of what is displayed as sculpture in Euro-culture museums come from a few, select, historical periods.
:Technically, Latin words take Latin plurals (datum / data), however, few people, including scientists, ever learn Latin anymore. Consequently, there is considerable variation in how plurals are formed. Velociraptor used as a common name, would likely best be pluralized as velociraptors rather than (and I confess, I do not speak Latin) ''Velociraptorae'', although the latter might be recognized as a plural by most. I would not think ''Velociraptors'' would be correct for anything, as the meaning would be several species (not individuals) within the genus and an English plural of a Latin word&mdash;simply a misspelling. Your solution works in the absence of knowledge of Latin and is probably now followed by most scientists. I think (someone help me out here) that the genus would take the plural in proper latin, but that seems not to be done (i.e., no change at the species level). - [[User:Marshman|Marshman]] 04:44, 18 Feb 2005 (UTC)


The first period of interest has been the [[Zhou Dynasty]] (1050-771 BC), from which come a variety of intricate cast bronze vessels.
::But what is a common name? I'm taking an example from the [[Jurassic Park III]] page. Spinosaur surely is, but then I'd say ''Spinosaurus'' isn't anymore. The problem is then, with ''Velociraptor'' you can't see if it's common or scientific. In ''Velociraptor'''s case, I'd go for italics al the time.[[User:Phlebas|Phlebas]] 17:25, 18 Feb 2005 (UTC)


The next period of interest was the [[Han Dynasty]] ( 206 BC - 220 AD) -- beginning with the spectacular Terracotta army assembled for the tomb of the first emperor of the very brief Chin dynasty that preceded it.
: To italicize an English plural is just bad style, since italicization is reserved for foreign/Latin words and emphasis. In writing, it'd really odd if we go half-half (''Velociraptor''s), but it wouldn't sound strang in speech. I believe the convention is like: "There are eleven '''individuals/specimens of''' ''Velociraptor fallax''." --[[User:Menchi|Menchi]] 05:57, 18 Feb 2005 (UTC)
(Qin Shi Huang) in 210–209 BC.)


Tombs excavated from the Han period have revealed many figures found to be vigorous, direct, and appealing 2000 years later.
::What if the number is unknown? 'Billy and Eric are attacked by ''Pteranodon''s.' Keeping it singular really sounds awkward and incorrect. So the convention doesn't really hold out...[[User:Phlebas|Phlebas]] 17:25, 18 Feb 2005 (UTC)


The period now considered to be China's golden age is the [[Tang Dynasty]]. (coinciding with what in Europe is sometimes called "The Dark Ages". Decorative figures like those shown below became very popular in 20th Century Euro-American culture, and were made available in bulk as warlords in the Chinese civil wars exported them to raise cash.
:::Menchi is correct in assuming ''Velociraptors'' is an English word, italicised. I was meaning it was incorrect because it was a Latin word made into an English plural. Either way: not done. Although Menchi suggests a good way around the problem, it would be correct to say: "Billy and Eric were attacked by ''Panthera leo''"; that does not sound at all awkward to me&mdash;it states the species they were attacked by, leaving the number of individual attackers unstated (=one or more). Using the scientific name instead of a common name (lion or lions) suggests that the whole point of the sentence is the identification of the attacking species, and not anything about numbers or other details of the attack. The sentence "Billy and Eric are attacked by ''Panthera''s" would be interepreted as an attack by more than one species of ''Panthera'' since it is the genus that is awkwardly pluralized. This sentence would not be awkward or ambiguous to me: "Billy and Eric watched as several large ''Panthera leo'' approached their camp" - [[User:Marshman|Marshman]] 17:43, 18 Feb 2005 (UTC)


Considered especially desirable, and even profound, was the Buddhist sculpture, often monumental, begun in the Sui Dynasty, inspired by the Indian art of the Gupta period, and many are considered treasures of world art.
::::Thank you. That cleared some things up. And it shows the necessity of using the (anglicised) common names instead of scientific ones (else you are referring to the ''genus''). That is something I have trouble with. I was on an italicising spree the last days. What is your opinion on italicising every occurence of a singular name (i.e. is every scientific name part of the English dictionary)? [[User:Phlebas|Phlebas]] 19:25, 18 Feb 2005 (UTC)


Following the Tang, Western interest in Chinese artifacts drops off dramatically, except for might be considered ornamental furnishings, and especially objects in jade.
:::::No necessity, just differences in form. You may feel that "Billy and Eric watched as several large ''Panthera leo'' approached their camp" is awkward, but it really is not; it looks perfectly normal to me because I use species names in writing on a daily basis. You expect English to be worded a certain way; putting in latinized terms changes that. Also, you need to be clear about the difference between a genus name and a species name (both would be italicised, however). You are refering to the genus only if you use just the genus name, as in many of your examples above. I avoided that by using a species name (''Panthera leo'', for example). Not sure what your question is about "part of the English dictionary" ? Scientific names are latinized for the very reasons that 1) no country can claim Latin as its own and 2) therefore it is essentially an international language and all countries use the latin scientific name; anglicizing is not a consideration. - [[User:Marshman|Marshman]] 04:57, 19 Feb 2005 (UTC)


Pottery from many periods have been collected, and again the Tang period stands out apart for its free, easy feeling.
:::::>You may feel that 'Billy and Eric watched as several large ''Panthera leo'' approached their camp' is awkward...

:::::I really don't feel that's awkward . Neither does 'Billy and Eric were attacked by ''Panthera leo'''. What does feel awkward is 'Billy and Eric are attacked by ''Smilodon''.'
Chinese sculpture has no nudes --other perhaps than figures made for medical training or practice -- and very little portraiture compared with the European tradition. One place where sculptural portraiture was pursued, however, was in the monasteries.
::::::Again, becauase you are just using a genus name, the sentence really does not make sense. To be attacked by "''Smilodon''" is to be atacked by what?...all the species of ''Similodon''? ''Smilodon'' is not an entity in the sense of a single animal, it is just a genus name; essentially a catagory.

:::::It isn't clearly stated whether there is one or more than one. In this case I want to refer to a specific species in the ''Smilodon'' genus (ie. not specified which species it is (bad science-fiction)). And in this book they are attacked by several smilodons. That's what I mean with necessity, since ''Smilodon''s refers to (as you say) more than one member of the genus, so smilodons should best be used.
Almost nothing, other than jewelry, jade, or pottery is collected by art museums after the [Ming Dynasty]] ended in the late 17th century -- and absolutely nothing has yet been recognized as sculpture from the tumultuous 20th century, although there was a school of Soviet-influenced social realist sculpture in the early decades of the Communist regime, and as the century turned, Chinese craftsmen began to dominate commerical sculpture genres (the collector plates, figurines, toys, etc) and avant garde Chinese artists began to participate in the Euro-American enterprise of contemporary art.
::::::Stated that way is somewhat like saying "He was run over by objects of transportation" when what was intended was a car or train or something. Do not use ''Smilidon'', but use smilidon instead.

:::::>Velociraptor used as a common name, would likely best be pluralized as velociraptors...This is what I meant with 'part of the English dictionary' - [[User:Phlebas|Phlebas]] 23:04, 20 Feb 2005 (UTC)
<gallery>
::::::I'd agree. If you use a common name, you can us an English plural - [[User:Marshman|Marshman]] 04:22, 21 Feb 2005 (UTC)
Image:AIC-winejar2.jpg |Wine jar, [[Zhou Dynasty]]
Image:XianCavalryman.JPG|Calvalryman, [[Chin Dynasty]]
Image:AIC-chimera.jpg|Chimera (from a tomb) , [[Han Dynasty]]
Image:AIC-hantomb.jpg|tomb figure, [[Han Dynasty]]
Image:AIC-tang-rider2.jpg |[[Tang Dynasty]]
Image:AIC-tang-girl.jpg |[[Tang Dynasty]]
Image:AIC-Boddhisatva-side.jpg |Boddisatva, [[Tang Dynasty]]
Image:AIC-jade-dragon-cup.jpg |Jade chalice, [[Ming Dynasty]]
Image:AIC-lushanjar.jpg |Jar from Lushan, [[Tang Dynasty]]
Image:AIC-portrait-monk.jpg |Portait of monk, 11th Century
Image:Doctors lady.jpg|[[doctors lady]], mid-19th Century
</gallery>

====Japan====
:''See also [[Japanese art]], [[Japanese sculpture]]''
Countless paints and sculpture were made, often under governmental sponsorship. Most Japanese sculpture is associated with religion, and the medium's use declined with the lessening importance of traditional Buddhism. During the Kofun period of the third century, clay sculptures called [[haniwa]] were erected outside tombs. Inside the Kondo at [[Horyu-ji]] is a Shaka Trinity (623), the historical Buddha flanked by two bodhisattvas and also the [[Guardian Kings of the Four Directions]]
The wooden image ( 9th c.) of Shakyamuni, the "historic" Buddha, enshrined in a secondary building at the Muro-ji, is typical of the early [[Heian]] sculpture, with its ponderous body, covered by thick drapery folds carved in the hompa-shiki (rolling-wave) style, and its austere, withdrawn facial expression. The Kei school of sculptors, particularly Unkei, created a new, more realistic style of sculpture. The two Nio guardian images (1203) in the Great South Gate of the Todaiji in Nara illustrate Unkei's dynamic suprarealistic style.

===Africa===
:''See also [[African art]]''
African art has an emphasis on Sculpture - African artists tend to favor three-dimensional artworks over two-dimensional works. The earliest known sculptures are from the Nok culture of Nigeria, made around 500 BCE.

====Egypt====
:See also ''[[Art of Ancient Egypt]]''
The ancient art of Egyptian sculpture evolved to represent the ancient Egyptian gods, and Pharaohs, the divine kings and queens, in physical form. Very strict conventions were followed while crafting statues: male statues were darker than the female ones; in seated statues, hands were required to be placed on knees and specific rules governed appearance of every Egyptian god. Artistic works were ranked according to exact compliance with all the conventions, and the conventions were followed so strictly that over three thousand years, very little changed in the appearance of statutes.

===United States===
{{main|Sculpture of the United States}}
The history of sculpture in the United States reflects the country's 18th century foundation in Roman republican civic values as well as Protestant Christianity. American sculpture of the mid to late 19th century was often classical, often romantic, but showed a special bent for a dramatic, narrative, almost journalistic realism. Public buildings of the first half of the 20th century often provided an architectural setting for sculpture, especially in relief. In the 1950s traditional sculpture education would almost be completely replaced by a [[Bauhaus]] influenced concern for [[abstract]] design. Minimalist sculpture (Richard Serra) often replaced the figure in public settings. Modern sculptors use both classical and abstract inspired designs.


===Europe===
'''An overview of forms'''

[[Image:P3280004.JPG|Right|thumb|200px|''The Emperor [[Tiberius]]'' enamelled [[terracotta]] [[bust]] at the [[Victoria and Albert Museum]], 19th century.]]

Some common forms of sculpture are:
*The [[bust (sculpture)|bust]], a representation of a person from the chest up.
*[[Equestrian (sculpture)|Equestrian]] (horse) sculpture
*Free-standing sculpture, not intended to be displayed on a pedestal or shelf
*[[Fountain]]
*"In the round": designed by the sculptor to be viewed from any angle.
*[[Jewellery]]
*[[Mobile (sculpture)|Mobile]] (See also [[Alexander Calder|Calder]]'s Stabiles.)
*[[Relief]]: sculpture still attached to a background, standing out from that ground in "High Relief" or "Low Relief" ([[bas relief]])
*[[Site-Specific Art]]
*[[Statue]]

[[Image:IMG 0489.JPG|right|thumb|200px|Lady with Kittens at [[Delapré Abbey]]]]
Perhaps the majority of [[public art]] is sculpture. See also [[sculpture garden]].

====Greek-Roman-classical====
{{main|Classical sculpture}}
:''See also [[Sculpture of Ancient Greece]]''
Features unique to the European Classical tradition:

#full figures: using the young, athletic male or full-bodied female nude
#portraits: showing signs of age and strong character
#use of classical costume and attributes of classical deities
#Concern for naturalism based on observation, often from live models.

Features that the European Classical tradition shares with many others:

#characters present an attitude of distance and inner contentment
#details do not disrupt a sense of rhythm between solid volumes and the spaces that surround them
#pieces feel solid and larger than they really are
#ambient space feels sacred or timeless

[[Image:Adampromethe.jpg|thumb|right|200px|''Prometheus'', by Nicolas-Sébastien Adam, 1737 ([[Louvre Museum|Louvre]])]]
'''The topic of Nudity'''

A [[Nudity|Nude]] or 'unadorned' figure in Greek classical sculpture was a reference to the status or role of the depicted person, deity or other being. Athletes, priestesses and gods could be identified by their adornment or lack of it.
The [[Renaissance]] preoccupation with Greek classical imagery, such as the 4th century B.C. [[Doryphoros]] of [[Polykleitos]], led to nude figurative statues being seen as the 'perfect form' of representation for the human body.
Subsequently, nudity in sculpture and [[painting]] has represented a form of ideal, be it innocence, openness or purity. Nude sculptures are still common. As in painting, they are often made as exercises in efforts to understand the [[anatomy|anatomical]] structure of the human body and develop skills that will provide a foundation for making clothed figurative work.

Nude statues are usually widely accepted by most societies, largely due to the length of tradition that supports this form. Occasionally, the nude form draws objections, often by fundamentalist moral or religious groups. Classic examples of this are the removal of penises from the [[Vatican Museum|Vatican]] collection of Greek sculpture and the addition of a fig leaf to a plaster cast of [[Michelangelo]]'s sculpture of David for [[Victoria of the United Kingdom|Queen Victoria]]'s visit to the [[British Museum]].

[[Image:British Musuem Greek & Rome 11.JPG|left|thumb|250px|A Greek sculpture displayed in the British Museum.]]
'''The topic of social status'''

Worldwide, sculptors are usually tradesmen whose work is unsigned. But in the Classical tradition, some sculptors began to receive individual recognition in Periclean Athens and more so in the Renaissance revival 2000 years later, culminating in the career of Michelangelo who entered the circle of princes. Sculpture was still a trade, but exceptional sculptors were recognized on a level with exceptional poets and painters. In the 19th century, sculpture also became a bourgeois/upper class avocation, as poetry and painting had been, and the classical work of women sculptors began to appear.

====Gothic====
[[Image:Gothic sculpture 15 century.jpg|thumb|250px|Gothic scutlure, late 15th century.]]
{{main|Gothic art}}
Gothic sculpture evolved from the early stiff and elongated style, still partly Romanesque, into a spatial and naturalistic feel in the late 12th and early 13th century. The architectural statues at the Western (Royal) Portal at Chartres Cathedral (ca. 1145) are the earliest Gothic sculptures and were a revolution in style and the model for a generation of sculptors. Prior to this there had been no sculpture tradition in Ile-de-France—so sculptors were brought in from Burgundy. The Bamberg Cathedral had the largest assemblage of 13th century sculpture. In England sculpture was more confined to tombs and non-figurine decorations. In Italy there was still a Classical influence, but Gothic made inroads in the sculptures of pulpits such as the Pisa Baptistery pulpit (1269) and the Siena pulpit. Dutch-Burgundian sculptor Claus Sluter and the taste for naturalism signaled the beginning of the end of Gothic sculpture, evolving into the classicistic Renaissance style by the end of the 15th century.

====Renaissance====
:''See also [[Renaissance]]''
[[Image:Donatello david plaster replica front 1000px wide.jpg|thumb|left|[[Donatello]]'s David (replica)]]
[[Image:Michelangelos David.jpg|thumb|[[Michelangelo]]'s ''[[Michelangelo's David|David]]'' ]]
Sculpture was also revived, in many cases before the other arts. There was a very obvious naturalism about contemporary sculpture, and highly true to life figures were being sculpted. One of the most important sculptors in the classical revival was [[Donatello]]. His greatest achievement of his classic period is the bronze David (not to be confused with Michelangelo's David), which is currently located at the Bargello in Florence. At the time of its creation, it was the first free-standing nude statue since ancient times. Conceived fully in the round and independent of any architectural surroundings, it was the first major work of Renaissance sculpture.

Among the many sculptures of [[Michelangelo]] are those of David and the Pietà, as well as the Doni Virgin, Bacchus, Moses, Rachel, Leah, and members of the Medici family. [[Michelangelo's David]] is possibly the most famous sculpture in the world, which was unveiled on September 8, 1504. It is an example of the [[contrapposto]] style of posing the human figure. Michelangelo's statue of David differs from previous representations of the subject in that David is depicted before his battle with Goliath and not after the giant's defeat. Instead of being shown victorious over a foe much larger than he, David looks tense and ready for combat.

====Mannerist====
{{main|Mannerist}}
Benvenuto Cellini created a salt cellar of gold and ebony in 1540 featuring Neptune and Amphitrite (earth and water) in elongated form and uncomfortable positions. It is considered a masterpiece of Mannerist sculpture.

====Baroque====
{{main|Baroque}}
In Baroque sculpture, groups of figures assumed new importance, and there was a dynamic movement and energy of human forms— they spiralled around an empty central vortex, or reached outwards into the surrounding space. For the first time, Baroque sculpture often had multiple ideal viewing angles. The characteristic Baroque sculpture added extra-sculptural elements, for example, concealed lighting, or water fountains. Bernini was undoubtedly the most important sculptor of the Baroque period. His first works were inspired by Hellenistic sculpture of ancient Greece and imperial Rome he could study in the new seat. One of his most famous works is ''[[Ecstasy of St Theresa]]''

====Neo-Classical====
{{main|Neoclassicism}}
The sculpture examples they actually embraced were more likely to be Roman copies of Hellenistic sculptures. In sculpture, the most familiar representatives are the Italian Antonio Canova, the Englishman John Flaxman and the Dane Bertel Thorvaldsen.

====Modernism====
Modern Classicism contrasted in many ways with the
classical sculpture of the 19th Century which was
was characterized by commitments to naturalism ([[Antoine-Louis Barye]]) -- the melodramatic ([[François Rude]]) sentimentality ([[Jean Baptiste Carpeaux]])-- or a kind of stately grandiosity ([[Lord Leighton]]) Several different directions in the classical tradition were taken as the century turned, but the study of the live model and the post-Renaissance tradition was still fundamental to them.

[[Image:Rodin burghers of calais.jpg|right|thumb|Rodin's ''[[The Burghers of Calais]]'' in [[Calais]], [[France]].]]
[[Auguste Rodin]] was the most renowned European sculptor of the early 20th century. He might be considered as sui generis -- that is, if anyone successfully composed in his turbulent, virtuosic style, they have yet to be discovered. But he is often considered a sculptural [[Impressionist]], like [[Medardo Rosso]], Count Troubetski, and [[Rik Wouters]], attempting to frame the charm of a fleeting moment of daily life.

Modern Classicism showed a lesser interest in naturalism and a greater interest in formal stylization. Greater attention was paid to the rhythms of volumes and spaces - as well as greater attention to the contrasting qualities of surface (open, closed, planar, broken etc) while less attention was paid to story-telling and convincing details of anatomy or costume. Greater attention was given to psychological realism than to physical realism. Greater attention was given to showing what was eternal and public, rather than what was momentary and private. Greater attention was given to examples of ancient and Medieval sacred arts:Egyptian, Middle Eastern, Asian, African, and Meso-American. Grandiosity was still a concern, but in a broader, more world-wide context.

Early masters of modern classicism included: [[Aristide Maillol]],[[Alexander Matveev]], [[Joseph Bernard]], [[Antoine Bourdelle]], [[Georg Kolbe]], [[Libero Andreotti]], [[Gustav Vigeland]], [[Jan Stursa]]

As the century progressed, modern classicism was adopted as the national style of the two great European totalitarian empires: Nazi Germany and Soviet Russia, who co-opted the work of early masters, like Kolbe and [[Arno Breker]] in Germany, and Matveev in Russia. Nazi Germany had a 15-year run; but over the 70 years of the USSR, new generations of sculptors were trained and chosen within their system, and a distinct style, [[socialist realism]], developed, that returned to the 19th century's emphasis on melodrama and naturalism.

[[Image:HenryMoore RecliningFigure 1951.jpg|thumb|[[Henry Moore]] was famous for his ''Reclining Figure'', and many other sculptures]]
In the rest of Europe, the modern classical became either more decorative/art deco ([[Paul Manship]],[[Carl Milles]]) or more abstractly stylized ([[Henry Moore]], [[Alberto Giacometti]],[[Julio González (sculptor)]]) or more expressive (and Gothic) ([[Anton Hanak]],[[Wilhelm Lehmbruck]], [[Ernst Barlach]], [[Arturo Martini]]) -- or turned more to the Renaissance ([[Giacomo Manzu]], [[Venanzo Crocetti]]) or stayed the same ([[Charles Despiau]], [[Marcel Gimond]]).

Classical training was rooted out of art education in Western Europe (and the Americas) by 1970 and the classical variants of the 20th Century were marginalized in the history of modernism. But classicism continued as the foundation of art education in the Soviet academies until 1990, providing a foundation for expressive figurative art throughout eastern Europe and parts of the Middle East.

By the year 2000, the European classical tradition maintains a wide appeal to viewers -especially tourists - and especially for the ancient, Renaissance, Baroque, and 19th century periods -- but awaits an educational tradition to revive its contemporary development.

Modernist movements included Cubism, Futurism, Minimalism, Installation art and Pop-Art.

===Contemporary Sculpture genres===
Some modern sculpture forms are now practiced outdoors, and often in full view of spectators, thus giving them kinship to [[performance art]] in the eyes of some. [[Ice sculpture]] is a form of sculpture that uses ice as the raw material. Popular in China, Japan, Canada, Sweden and Russia. Ice sculptures feature decoratively in some cuisines, especially in Asia. [[Kinetic sculpture]]s are sculptures that are designed to move, which include [[Mobile (sculpture)|Mobiles]]. [[Snow sculpture]]s are usually carved out of a single block of snow about 6 to 15 feet on each side and weighing about 20 - 30 tons. The snow is densely packed into a form after having been produced by artificial means or collected from the ground after a snowfall. [[Sound sculpture]]s take the form of indoor sound installations, outdoor installations such as aeolian harps, automatons, or be more or less near conventional musical instruments. Sound sculpture is often site-specific. A [[Sand art and play|Sand castle]] can be regarded as a sand sculpture.

Other arts which can be regarded as sculptures include:

* [[Hologram]]
* [[pottery]]
* [[glass blowing]]
* [[costume]]
* [[mask]]
* [[doll]]

====Greenfield Products Pty Ltd v. Rover-Scott Bonnar Ltd====

The [[Australia]]n [[copyright]] case of ''[[Greenfield Products Pty Ltd v. Rover-Scott Bonnar Ltd]]'' (1990) 17 IPR 417 is authority for the proposition that a thing not intended to be a sculpture is not a sculpture. This seems contrary to some famous examples of sculpture, including [[Marcel Duchamp]]'s [[1917]] sculpture consisting of a porcelain [[urinal]] lying on its back, titled ''[[Fountain (Duchamp)|Fountain]]'', and [[Carl Andre]]'s sculpture ''Equivalent III'' exhibited in the [[Tate Gallery]] in [[1978]], consisting of bricks stacked in a rectangle.

==See also==
{{commons|Category:Sculptures|Sculpture}}
''See the category [[:Category:Sculpture|Sculpture]] for full listing of sculpture topics.''
* [[History of sculpture]]
* [[List of artworks#Statues and sculptures|Selected sculptures]]
* [[Sculpture basic topics]]

==External links==
[[Image:Lisbon monument.jpg|right|250px|thumb|Sculpture on the Discoveries Age and [[Portuguese people|Portuguese]] navigators in [[Lisbon]], [[Portugal]]]]

*[http://engcom.ipsec.ro/Brancusi/index.html Sculptors from Romania] - Sculptors from Romania
*[http://www.modernsculpture.com/ ModernArts & ModernSculpture.com] - shows contemporary and some historical sculpture
*[http://www.sculptor.org www.sculptor.org, sculptor.org] - resources for sculptors
*[http://www.sculpture.org International Sculpture Center]
*[http://www.sculpture.org.uk/ Cass Sculpture Foundation]
*[http://www.traces.ws/sculpture Traces] - career resource for stone sculptors
*[http://www.scultura-italiana.com/ The Italian Sculpture!] - many images of historical sculptures
*[http://aboutstone.org/ About Stone] - About Stone fosters mutual interests, understanding and contacts amongst people who work with stone

[[Category:Sculpture| ]]]

[[an:Escultura]]
[[ast:Escultura]]
[[bg:Скулптура]]
[[bs:Skulptura]]
[[ca:Escultura]]
[[da:Skulptur]]
[[de:Bildhauerei]]
[[el:Γλυπτική]]
[[es:Escultura]]
[[eo:Skulpturo]]
[[fr:Sculpture]]
[[hr:Skulptura]]
[[io:Skulto]]
[[ia:Sculptura]]
[[it:Scultura]]
[[he:פיסול]]
[[sw:Bombwe]]
[[lad:Eskultura]]
[[la:Sculptura]]
[[li:Beildhouwkuns]]
[[hu:Szobrászat]]
[[mt:Skultura]]
[[nl:Beeldhouwkunst]]
[[nap:Scultura]]
[[ja:彫刻]]
[[pl:Rzeźba (sztuka)]]
[[pt:Escultura]]
[[ro:Sculptură]]
[[ru:Скульптура]]
[[simple:Sculpting]]
[[sl:Kiparstvo]]
[[sr:Вајарство]]
[[fi:Kuvanveisto]]
[[sv:Skulptur]]
[[tl:Eskultura]]
[[tr:Heykel]]
[[zh:雕塑]]

Revision as of 02:31, 9 January 2006

A sculpture is a three-dimensional, man-made object selected for special recognition as art.

Materials of Sculpture

The materials of historical sculpture

Sculpture made for royal courts or large public works were often produced in expensive durable materials, primarily bronze and stone such as marble, limestone, porphyry, and granite. More rarely precious materials such as gold and ivory were used for chryselephantine works. More common and less expensive materials were used for sculpture for wider consumption, including woods such as oak, box and lime; terracotta and other ceramics; spelter; and metals such as pewter.

Sculptors often built small preliminary works called maquettes of ephemeral materials such as plaster of paris, wax, clay and even plasticine, as Alfred Gilberts did for 'Eros' at Piccadilly Circus, London.

Contemporary materials

A tree sculpture at Bristol Zoo, Bristol, England. This was sculpted with a chain saw from a standing tree, which was diseased and due to be felled

Most traditional sculpture materials are still in wide use today. However, advancements in technology and changes have broadened the range of materials sculptors can choose to use, including glass and sand, aluminum, polymers and many other synthetic materials, and liquid crystals.

Some sculptures are multimedia, for example sound sculptures which, as their name implies, produce sound. Many artists use video and computers in their sculptures as well. Computers and motors can also be used in sculptures, leading to works that may be classified as robotic.

Sculptors are constantly searching for new ways to make art and for new materials to make it with, including blood, feces, dead animals. See also body fluids in art. Andy Goldsworthy is notable at a sculptor for his use of almost entirely natural materials in natural settings.

In his late writings, Joan Miró even proposed that some day sculptures might be made of gases; see gas sculpture.

Sculpture around the world

See also History of sculpture

Asian

See also Buddhist art

Many different forms of sculpture were in use in the many different regions of Asia, often based around the religions of Hinduism and Buddhism. A great deal of Cambodian Buddhist sculpture is preserved at Angkor, however organized looting has had a heavy impact on many sites around the country. Also see Angkor Wat. In Thailand, sculpture was almost exclusively of Buddha images. Many Thai sculptures or temples tended to be gilded, and on occasion enriched with inlays. See also Thai art

A sculpture of Hindu king Shivaji in Delhi

India

See also Indian Art

During the 2nd to 1st century BCE in India, sculptures became more explicit, representing episodes of the Buddha’s life and teachings. Although India had a long sculptural tradition and a mastery of rich iconography, the Buddha was never represented in human form, but only through some of his symbols. Gandharan Buddhist sculpture displays Greek artistic influence, and it has been suggested that the concept of the “man-god” was essentially inspired by Greek mythological culture. Artistically, the Gandharan school of sculpture is said to have contributed wavy hair, drapery covering both shoulders, shoes and sandals, acanthus leaf decorations, etc. The pink sandstone sculptures of Mathura evolved during the Gupta period (4th to 6th century) to reach a very high fineness of execution and delicacy in the modeling.

Sculptures in Afghanistan, in stucco, schist or clay, display very strong blending of Indian post-Gupta mannerism and Classical influence, Hellenistic or possibly even Greco-Roman.

China

See also Chinese art

Chinese artifacts date back as early as 10,000 BC -- and skilled,Chinese artisans have been active up to the present time -- but the bulk of what is displayed as sculpture in Euro-culture museums come from a few, select, historical periods.

The first period of interest has been the Zhou Dynasty (1050-771 BC), from which come a variety of intricate cast bronze vessels.

The next period of interest was the Han Dynasty ( 206 BC - 220 AD) -- beginning with the spectacular Terracotta army assembled for the tomb of the first emperor of the very brief Chin dynasty that preceded it. (Qin Shi Huang) in 210–209 BC.)

Tombs excavated from the Han period have revealed many figures found to be vigorous, direct, and appealing 2000 years later.

The period now considered to be China's golden age is the Tang Dynasty. (coinciding with what in Europe is sometimes called "The Dark Ages". Decorative figures like those shown below became very popular in 20th Century Euro-American culture, and were made available in bulk as warlords in the Chinese civil wars exported them to raise cash.

Considered especially desirable, and even profound, was the Buddhist sculpture, often monumental, begun in the Sui Dynasty, inspired by the Indian art of the Gupta period, and many are considered treasures of world art.

Following the Tang, Western interest in Chinese artifacts drops off dramatically, except for might be considered ornamental furnishings, and especially objects in jade.

Pottery from many periods have been collected, and again the Tang period stands out apart for its free, easy feeling.

Chinese sculpture has no nudes --other perhaps than figures made for medical training or practice -- and very little portraiture compared with the European tradition. One place where sculptural portraiture was pursued, however, was in the monasteries.

Almost nothing, other than jewelry, jade, or pottery is collected by art museums after the [Ming Dynasty]] ended in the late 17th century -- and absolutely nothing has yet been recognized as sculpture from the tumultuous 20th century, although there was a school of Soviet-influenced social realist sculpture in the early decades of the Communist regime, and as the century turned, Chinese craftsmen began to dominate commerical sculpture genres (the collector plates, figurines, toys, etc) and avant garde Chinese artists began to participate in the Euro-American enterprise of contemporary art.

Japan

See also Japanese art, Japanese sculpture

Countless paints and sculpture were made, often under governmental sponsorship. Most Japanese sculpture is associated with religion, and the medium's use declined with the lessening importance of traditional Buddhism. During the Kofun period of the third century, clay sculptures called haniwa were erected outside tombs. Inside the Kondo at Horyu-ji is a Shaka Trinity (623), the historical Buddha flanked by two bodhisattvas and also the Guardian Kings of the Four Directions The wooden image ( 9th c.) of Shakyamuni, the "historic" Buddha, enshrined in a secondary building at the Muro-ji, is typical of the early Heian sculpture, with its ponderous body, covered by thick drapery folds carved in the hompa-shiki (rolling-wave) style, and its austere, withdrawn facial expression. The Kei school of sculptors, particularly Unkei, created a new, more realistic style of sculpture. The two Nio guardian images (1203) in the Great South Gate of the Todaiji in Nara illustrate Unkei's dynamic suprarealistic style.

Africa

See also African art

African art has an emphasis on Sculpture - African artists tend to favor three-dimensional artworks over two-dimensional works. The earliest known sculptures are from the Nok culture of Nigeria, made around 500 BCE.

Egypt

See also Art of Ancient Egypt

The ancient art of Egyptian sculpture evolved to represent the ancient Egyptian gods, and Pharaohs, the divine kings and queens, in physical form. Very strict conventions were followed while crafting statues: male statues were darker than the female ones; in seated statues, hands were required to be placed on knees and specific rules governed appearance of every Egyptian god. Artistic works were ranked according to exact compliance with all the conventions, and the conventions were followed so strictly that over three thousand years, very little changed in the appearance of statutes.

United States

The history of sculpture in the United States reflects the country's 18th century foundation in Roman republican civic values as well as Protestant Christianity. American sculpture of the mid to late 19th century was often classical, often romantic, but showed a special bent for a dramatic, narrative, almost journalistic realism. Public buildings of the first half of the 20th century often provided an architectural setting for sculpture, especially in relief. In the 1950s traditional sculpture education would almost be completely replaced by a Bauhaus influenced concern for abstract design. Minimalist sculpture (Richard Serra) often replaced the figure in public settings. Modern sculptors use both classical and abstract inspired designs.


Europe

An overview of forms

File:P3280004.JPG
The Emperor Tiberius enamelled terracotta bust at the Victoria and Albert Museum, 19th century.

Some common forms of sculpture are:

  • The bust, a representation of a person from the chest up.
  • Equestrian (horse) sculpture
  • Free-standing sculpture, not intended to be displayed on a pedestal or shelf
  • Fountain
  • "In the round": designed by the sculptor to be viewed from any angle.
  • Jewellery
  • Mobile (See also Calder's Stabiles.)
  • Relief: sculpture still attached to a background, standing out from that ground in "High Relief" or "Low Relief" (bas relief)
  • Site-Specific Art
  • Statue
File:IMG 0489.JPG
Lady with Kittens at Delapré Abbey

Perhaps the majority of public art is sculpture. See also sculpture garden.

Greek-Roman-classical

See also Sculpture of Ancient Greece

Features unique to the European Classical tradition:

  1. full figures: using the young, athletic male or full-bodied female nude
  2. portraits: showing signs of age and strong character
  3. use of classical costume and attributes of classical deities
  4. Concern for naturalism based on observation, often from live models.

Features that the European Classical tradition shares with many others:

  1. characters present an attitude of distance and inner contentment
  2. details do not disrupt a sense of rhythm between solid volumes and the spaces that surround them
  3. pieces feel solid and larger than they really are
  4. ambient space feels sacred or timeless
File:Adampromethe.jpg
Prometheus, by Nicolas-Sébastien Adam, 1737 (Louvre)

The topic of Nudity

A Nude or 'unadorned' figure in Greek classical sculpture was a reference to the status or role of the depicted person, deity or other being. Athletes, priestesses and gods could be identified by their adornment or lack of it.

The Renaissance preoccupation with Greek classical imagery, such as the 4th century B.C. Doryphoros of Polykleitos, led to nude figurative statues being seen as the 'perfect form' of representation for the human body. Subsequently, nudity in sculpture and painting has represented a form of ideal, be it innocence, openness or purity. Nude sculptures are still common. As in painting, they are often made as exercises in efforts to understand the anatomical structure of the human body and develop skills that will provide a foundation for making clothed figurative work.

Nude statues are usually widely accepted by most societies, largely due to the length of tradition that supports this form. Occasionally, the nude form draws objections, often by fundamentalist moral or religious groups. Classic examples of this are the removal of penises from the Vatican collection of Greek sculpture and the addition of a fig leaf to a plaster cast of Michelangelo's sculpture of David for Queen Victoria's visit to the British Museum.

A Greek sculpture displayed in the British Museum.

The topic of social status

Worldwide, sculptors are usually tradesmen whose work is unsigned. But in the Classical tradition, some sculptors began to receive individual recognition in Periclean Athens and more so in the Renaissance revival 2000 years later, culminating in the career of Michelangelo who entered the circle of princes. Sculpture was still a trade, but exceptional sculptors were recognized on a level with exceptional poets and painters. In the 19th century, sculpture also became a bourgeois/upper class avocation, as poetry and painting had been, and the classical work of women sculptors began to appear.

Gothic

Gothic scutlure, late 15th century.

Gothic sculpture evolved from the early stiff and elongated style, still partly Romanesque, into a spatial and naturalistic feel in the late 12th and early 13th century. The architectural statues at the Western (Royal) Portal at Chartres Cathedral (ca. 1145) are the earliest Gothic sculptures and were a revolution in style and the model for a generation of sculptors. Prior to this there had been no sculpture tradition in Ile-de-France—so sculptors were brought in from Burgundy. The Bamberg Cathedral had the largest assemblage of 13th century sculpture. In England sculpture was more confined to tombs and non-figurine decorations. In Italy there was still a Classical influence, but Gothic made inroads in the sculptures of pulpits such as the Pisa Baptistery pulpit (1269) and the Siena pulpit. Dutch-Burgundian sculptor Claus Sluter and the taste for naturalism signaled the beginning of the end of Gothic sculpture, evolving into the classicistic Renaissance style by the end of the 15th century.

Renaissance

See also Renaissance
Donatello's David (replica)
Michelangelo's David

Sculpture was also revived, in many cases before the other arts. There was a very obvious naturalism about contemporary sculpture, and highly true to life figures were being sculpted. One of the most important sculptors in the classical revival was Donatello. His greatest achievement of his classic period is the bronze David (not to be confused with Michelangelo's David), which is currently located at the Bargello in Florence. At the time of its creation, it was the first free-standing nude statue since ancient times. Conceived fully in the round and independent of any architectural surroundings, it was the first major work of Renaissance sculpture.

Among the many sculptures of Michelangelo are those of David and the Pietà, as well as the Doni Virgin, Bacchus, Moses, Rachel, Leah, and members of the Medici family. Michelangelo's David is possibly the most famous sculpture in the world, which was unveiled on September 8, 1504. It is an example of the contrapposto style of posing the human figure. Michelangelo's statue of David differs from previous representations of the subject in that David is depicted before his battle with Goliath and not after the giant's defeat. Instead of being shown victorious over a foe much larger than he, David looks tense and ready for combat.

Mannerist

Benvenuto Cellini created a salt cellar of gold and ebony in 1540 featuring Neptune and Amphitrite (earth and water) in elongated form and uncomfortable positions. It is considered a masterpiece of Mannerist sculpture.

Baroque

In Baroque sculpture, groups of figures assumed new importance, and there was a dynamic movement and energy of human forms— they spiralled around an empty central vortex, or reached outwards into the surrounding space. For the first time, Baroque sculpture often had multiple ideal viewing angles. The characteristic Baroque sculpture added extra-sculptural elements, for example, concealed lighting, or water fountains. Bernini was undoubtedly the most important sculptor of the Baroque period. His first works were inspired by Hellenistic sculpture of ancient Greece and imperial Rome he could study in the new seat. One of his most famous works is Ecstasy of St Theresa

Neo-Classical

The sculpture examples they actually embraced were more likely to be Roman copies of Hellenistic sculptures. In sculpture, the most familiar representatives are the Italian Antonio Canova, the Englishman John Flaxman and the Dane Bertel Thorvaldsen.

Modernism

Modern Classicism contrasted in many ways with the classical sculpture of the 19th Century which was was characterized by commitments to naturalism (Antoine-Louis Barye) -- the melodramatic (François Rude) sentimentality (Jean Baptiste Carpeaux)-- or a kind of stately grandiosity (Lord Leighton) Several different directions in the classical tradition were taken as the century turned, but the study of the live model and the post-Renaissance tradition was still fundamental to them.

File:Rodin burghers of calais.jpg
Rodin's The Burghers of Calais in Calais, France.

Auguste Rodin was the most renowned European sculptor of the early 20th century. He might be considered as sui generis -- that is, if anyone successfully composed in his turbulent, virtuosic style, they have yet to be discovered. But he is often considered a sculptural Impressionist, like Medardo Rosso, Count Troubetski, and Rik Wouters, attempting to frame the charm of a fleeting moment of daily life.

Modern Classicism showed a lesser interest in naturalism and a greater interest in formal stylization. Greater attention was paid to the rhythms of volumes and spaces - as well as greater attention to the contrasting qualities of surface (open, closed, planar, broken etc) while less attention was paid to story-telling and convincing details of anatomy or costume. Greater attention was given to psychological realism than to physical realism. Greater attention was given to showing what was eternal and public, rather than what was momentary and private. Greater attention was given to examples of ancient and Medieval sacred arts:Egyptian, Middle Eastern, Asian, African, and Meso-American. Grandiosity was still a concern, but in a broader, more world-wide context.

Early masters of modern classicism included: Aristide Maillol,Alexander Matveev, Joseph Bernard, Antoine Bourdelle, Georg Kolbe, Libero Andreotti, Gustav Vigeland, Jan Stursa

As the century progressed, modern classicism was adopted as the national style of the two great European totalitarian empires: Nazi Germany and Soviet Russia, who co-opted the work of early masters, like Kolbe and Arno Breker in Germany, and Matveev in Russia. Nazi Germany had a 15-year run; but over the 70 years of the USSR, new generations of sculptors were trained and chosen within their system, and a distinct style, socialist realism, developed, that returned to the 19th century's emphasis on melodrama and naturalism.

Henry Moore was famous for his Reclining Figure, and many other sculptures

In the rest of Europe, the modern classical became either more decorative/art deco (Paul Manship,Carl Milles) or more abstractly stylized (Henry Moore, Alberto Giacometti,Julio González (sculptor)) or more expressive (and Gothic) (Anton Hanak,Wilhelm Lehmbruck, Ernst Barlach, Arturo Martini) -- or turned more to the Renaissance (Giacomo Manzu, Venanzo Crocetti) or stayed the same (Charles Despiau, Marcel Gimond).

Classical training was rooted out of art education in Western Europe (and the Americas) by 1970 and the classical variants of the 20th Century were marginalized in the history of modernism. But classicism continued as the foundation of art education in the Soviet academies until 1990, providing a foundation for expressive figurative art throughout eastern Europe and parts of the Middle East.

By the year 2000, the European classical tradition maintains a wide appeal to viewers -especially tourists - and especially for the ancient, Renaissance, Baroque, and 19th century periods -- but awaits an educational tradition to revive its contemporary development.

Modernist movements included Cubism, Futurism, Minimalism, Installation art and Pop-Art.

Contemporary Sculpture genres

Some modern sculpture forms are now practiced outdoors, and often in full view of spectators, thus giving them kinship to performance art in the eyes of some. Ice sculpture is a form of sculpture that uses ice as the raw material. Popular in China, Japan, Canada, Sweden and Russia. Ice sculptures feature decoratively in some cuisines, especially in Asia. Kinetic sculptures are sculptures that are designed to move, which include Mobiles. Snow sculptures are usually carved out of a single block of snow about 6 to 15 feet on each side and weighing about 20 - 30 tons. The snow is densely packed into a form after having been produced by artificial means or collected from the ground after a snowfall. Sound sculptures take the form of indoor sound installations, outdoor installations such as aeolian harps, automatons, or be more or less near conventional musical instruments. Sound sculpture is often site-specific. A Sand castle can be regarded as a sand sculpture.

Other arts which can be regarded as sculptures include:

Greenfield Products Pty Ltd v. Rover-Scott Bonnar Ltd

The Australian copyright case of Greenfield Products Pty Ltd v. Rover-Scott Bonnar Ltd (1990) 17 IPR 417 is authority for the proposition that a thing not intended to be a sculpture is not a sculpture. This seems contrary to some famous examples of sculpture, including Marcel Duchamp's 1917 sculpture consisting of a porcelain urinal lying on its back, titled Fountain, and Carl Andre's sculpture Equivalent III exhibited in the Tate Gallery in 1978, consisting of bricks stacked in a rectangle.

See also

See the category Sculpture for full listing of sculpture topics.

Sculpture on the Discoveries Age and Portuguese navigators in Lisbon, Portugal