Rabu, 02 Desember 2009

Edhi Sunarso Sculptors Monuments and Historical Diorama

Edhi Sunarso, sculptor several monuments and historical diorama scattered in several Indonesian cities. Among other monuments statues Welcome Bundaran Hotel Indonesia and Diorama History National Monument in Jakarta. Because of his work are extraordinary, then the country has been thought worthy of the nation and the state in improving, promoting, and fostering a national culture, so that on August 12, 2003 was awarded the Star of Honor Cultural Signs Parama Dharma.

"Welcome to Jakarta", so the Tugu Selamat Datang greet us each pass of the HI roundabout where the monument stood. So do we pass each Prapatan Jewel, we often reflexively looked up, as if asking himself, "Aerospace Monument masihkah there over there?" That's our response and the response may admire all the people in the work of man who always invited clicking sound admire them. But perhaps only a few among us who know who are very skilled to make these statues.

Art is a thing universally valid and valuable. No one who does not like art. And conversely, not many people who have the expertise and artistic talent. And only a few people are among those who have the talent and skill that a successful record of monumental history because of considerable merit in improving and developing the national culture.

Son of Somo Sarjdono, has produced works that will be a historic symbol of warning in this country, namely West Irian Liberation Monument in Jakarta, Monument Pancasila Sakti Crocodile Hole in Jakarta, the Welcome Monument in Jakarta, in Jakarta Aerospace Monument, Monument Tugu young in Semarang, Monument General Ahmad Yani in Bandung, Monument Jenderal Gatot Subroto in Surakarta, Ocean Heroes Monument in Surabaya Yos Sudarso, Panglima Besar Sudirman Monument in Cilangkap (TNI), Jakarta, Monument Panglima Besar Sudirman in Moseum MAP in Bogor, Monument Yos Sudarso in Biak, West Irian, Heroes Monument in the Know Nothing At Digul Papua, Sultan Taha Syafudin Monument in Jambi. Besides these monuments, he also works in the form of dioramas, Diorama History of the National Monument in Jakarta, Diorama Crocodile Hole Historical Museum in Jakarta, Diorama History Museum Pancasila Sakti Crocodile Hole in Jakarta, Diorama History Museum ABRI Satria Mandala in Jakarta, Diorama History Purbawisesa Museum in Jakarta, Diorama History Museum Back in Yogyakarta Yogyakarta, Diorama History Museum National soldiering, (TMII) in Jakarta, Diorama History Museum of Transportation (TMII) in Jakarta, Diorama History Museum, Tugu Pahlawan 10 November Surabaya in Surabaya, Diorama Museum historians Beteng Vredeburgh in Yogyakarta.

The sculptor's birth Salatiga, July 2, 1932 has qualified expertise, is not obtained simply by accident. However, besides has a talent since childhood, she also always learning and practicing their own, while at the camp including TRI. LOG. Bandung was a prisoner of war during the Royal Netherlands Army (KNIL) in 1946 until 1949. In addition, he also is a graduate of ASRI, Yogyakarta in 1955 and a graduate of Visva Bharati University Kelabhawa Ketan Shantin India in 1957.

Besides as a sculptor, a father of 4 children are: Rosa Flow Sagara, Titiana, Irawani, Satya Sunarso, and Sari Prasetyo Space, the fruit of this marriage to Kustiah also active as a Lecturer Postgraduate (S2) Insitut Seni Indonesia, Yogyakarta.

In the world of education, since the year 1958-1959 he was active as a faculty member at the Art Academy at Surakarta Surakarta, later in the year 1959-1967 teaching at the College of Fine Arts of Indonesia (STSRI) ASRI Yogyakarta as the Chairman of the Department of Sculpture. In the years 1967-1981 as a lecturer at the Institute of Education Sciences Vocational School (IKIP) Yogyakarta, and in 1968-1984 as a teaching assistant and concurrently Chairman of the Academic STSRI / ISI (Institut Seni Indonesia) Yogyakarta, and as a lecturer at the Institut Seni Indonesia ( ISI) Yogyakarta, and as Secretary of the Senate Instiut Seni Indonesia (ISI) Yogyakarta.

Male members of the Corps Veteran Freedom Fighters of the Republic of Indonesia as a former Army Warrior Lives Samber Division I, Bataliyon III, V Siliwangi Regiment was several times held exhibitions both at home and abroad. In 1956, he has held a single exhibition in Santiniketan, India. In 1957 he also held a single exhibition in the same place and follow ALL the Indian National Exhibition in India. Whereas in 1959, he held a Wife Joint Exhibition in Yogyakarta. Later in the year 1987, along But Mohtar, G. Siddhartha, Rita Widagdo, they held four exhibition.

Besides the star honors Parama Dharma Cultural just received, he also has several other inter-mark Award, International Sculpture Competition arts in the UK The Unknoun Political Prosoner in 1953, Gold Medal from the Government of India for Best Sculpture Works in 1956 -- 1957, Charter Art from the Government of the Republic of Indonesia in 1984, and the Charter of the Arts from the Government of Yogyakarta Special Region for Monumental Works in 1996.

www.tokohindonesia.com

Donatello

His superb command of sculpture. One of the foremost sculptors of the Italian Renaissance, Donatello was a master of both marble and bronze, and had an extensive knowledge of ancient sculpture. Donatello also developed his own style of relief known as schiacciato ("flattened out"). This technique involved extremely shallow carving and utilized light and shadow to create the full pictorial scene.

Senin, 23 November 2009

Classic Nude Sculpture: Art or Porn?

Forgive me, readers, for I have sinned.

Whenever I’ve gone by Titian’s great “Venus With a Mirror,” sitting topless in the Renaissance rooms at the National Gallery of Art, or Canova’s marble “Naiad,” lounging a floor below in the no-kini of a classical goddess, carnal thoughts have come to me.

If only I’d been keeping up with the latest scholarship, I’d have had a more up-to-date reaction: full-blown, panting lust.

After well over a century of prim coverups, literal and metaphorical, of the sexual content of the greatest nudes in art, experts have been waking up to the erotic, even pornographic, potential. “I think it’s essential we understand them as objects in the context of men wanting to look at naked women,” says Amelia Jones, a pioneer of feminist art history who teaches at the University of Manchester in England. Over the past decade or two, most of her colleagues have abandoned the genteel distinction between the chaste “nude,” and pictures of the pruriently “naked,” meant to get a rise out of viewers.

The new view: Flesh is flesh is flesh.

As usual, Marcel Duchamp had hammered all this out before others, as we can see in an important show now at the Philadelphia Museum of Art. It digs deep into the making of his “Etant Donnes,” the wildly explicit peep show Duchamp left to the museum when he died in 1968. Duchamp’s last work did for pornography what his urinal “Fountain” had done for men’s-room plumbing back in 1917: It made clear that there’s nothing so out of bounds in our culture that it doesn’t have artistic repercussions.

But before considering Duchamp and his final word on lusty aesthetics, we need to go back to beginnings and take a more licentious look at Titian and Canova and their times.

The men of the West, even at their most refined, have long had a Playboy culture.

During the Renaissance, seedbed of most later art, inns and taverns flaunted naughty pictures. We know this because fine-art nudes were attacked for looking like them. And they were in retail circulation: In the 1520s, some of the great cultural figures of Rome published a set of sonnets called “The Positions,” with anatomically correct illustrations. The pope was not amused. The engraver did jail time, the writer and the illustrator had to skip town, and almost all copies of the work were destroyed.

That’s the context in which a nude like Titian’s so-called “Venus With a Mirror” was being ogled.

There’s evidence that “ogled” gets the looking right. In 1544, a Roman cardinal asked a subordinate to visit Titian’s studio in Venice and report back on a painting he’d commissioned of the myth of the Greek princess Danae. A subject, wrote the subordinate, that Titian had made so sexy it would get the strictest puritan going. Compared to the new painting, the report went on, Titian’s earlier nude, the so-called “Venus of Urbino,” might as well have been a nun — though for centuries now that “Venus,” one of the Uffizi’s greatest treasures, has been considered the pinnacle of refined taste. It turns out Mark Twain may have been right about the Uffizi’s “Venus” when he ranted that “the attitude of one of her arms and hand” makes it “the obscenest picture the world possesses.”

As late as 1800, even a less “active” naked lady, depicted in Goya’s famous “Nude Maja,” seems originally to have been kept behind another picture of her, clothed.

The two pictures were among other nudes, including the great “Rokeby Venus” by Velazquez, described as “obscene paintings” in a document from 1814. The next year, the Inquisition subpoenaed Goya about them.

When Canova created his “Naiad,” at almost exactly that time, the sensualism of his nymph must have been at least as striking as any ideals she represented. Canova sent a copy of his “Naiad” to George IV of England — an infamous playboy and a collector of pornography — and asked for it to be installed on a rotating base. That would have allowed a patron to take in a foot-first view up her legs, across her naked haunch and right up to her come-on glance.

It’s not only female flesh that has been seen as getting viewers hot beneath the collar. Michelangelo’s “David” was fig-leafed when it first went on display, and one prelate described the artist’s “Last Judgment” in the Sistine Chapel, distinctly un-fig-leafed, as a bathhouse scene and tried to have it destroyed.

Our new habit of not censoring the most pungent art may be throwing cold water on it. One of the most infamous pictures of all time is the “Origin of the World,” a close-up on a naked woman’s crotch painted in 1866 by the great French realist Gustave Courbet. It was originally meant for a Turkish roue in Paris, and when he gave a peek to his most privileged visitors, they must have felt a thrill at seeing the work of a great artist married to (“mated with” might be more accurate) forbidden flesh. But ever since the picture passed into public hands, the “Origin” has felt almost tame. In a recent Courbet survey in New York, “it was just another landscape — with hair,” says David Rosand, a senior art historian at Columbia University.

Nude flesh has been made safe by art, and in the process lost its potency. Experts have set about restoring it.

The British scholar Charles Hope is famous for talking about Titian’s racier pictures as mere “pinups.” Several other art historians have raised objections — but only to Hope’s “mere.” They’ve insisted that the stunning erotic power of such masterpieces enables all the complex things they do. We don’t have to choose between seeing these works as erotic objects, even in a full-blown Web-porn mode, and seeing them as tremendously important, sophisticated art.

With Duchamp, we’re talking rumpled sheets and cigarettes.

The Philadelphia show goes into every detail of the making of “Etant Donnes,” which took place in absolute secrecy between 1946 and 1966. (“Etant Donnes” is French for “Given That,” which is short for the full title “Given That: 1. The Waterfall, 2. The Illuminating Gas.”)

The piece is far too extreme for us to illustrate.

“Etant Donnes” is a peep-show diorama in 3-D. To see it, you peer through two eyeholes pierced in a weathered barn door, mounted on the far wall of a dimly lit little gallery. What you get when you look through is a pleasant country landscape. And, in the foreground, the perfectly rendered torso and splayed legs of a naked blonde, fully “Brazilianed,” as we’d say today, thrown onto her back on a pile of branches, with one hand holding a lamp.

As many scholars have insisted, what we’re seeing, really, is a woman lighting the aftermath of her own rape, as hard-core as any image could be — so extreme that it’s almost more forensic than sexual. I wouldn’t describe this piece, as the show’s catalog does, as merely “a recumbent nude in a bucolic landscape setting” that captures the “erotic frisson” of Duchamp’s affair with his model and represents “an open and desiring body.” How many desiring women would choose to lie, naked and exposed, on a bed of sticks? Jones, the art historian and Duchamp expert from Manchester, believes “Etant Donnes” creates “a visceral reaction for women. . . . I don’t see how you can engage with that work without being uncomfortable.”

Duchamp may have been running a kind of test: If art could “cleanse” the erotic, could it whitewash evident pornography?

The answer — luckily for Duchamp and the survival of his work — seems to be yes. On its Web site, the Philadelphia museum says the piece offers “an unforgettable and untranslatable experience to those who peer through the two small holes” — true, but the most thoroughgoing euphemism I’ve come across.

The show itself, and its impressive catalog, builds a classic image of the artist as hardworking genius. What it doesn’t quite do is put a spotlight on the extreme imagery itself and what it means — maybe because, in an age where porn is only a mouse-click away, we’ve lost the ability to recognize its force.

Yet that imagery is crucial to Duchamp’s “woman with the open [legs],” as he called his nude, because it lets him be direct about how art can work.

As conceptual artist Les Levine once said, the piece has “a cultural power equal to Leonardo’s ‘Mona Lisa.’ You can’t stop looking at it. It puts questions in your mind.”

Questions such as: Do we dare sidle up to Duchamp’s peephole and confront our own invasive need to gape — at flesh, and at art?

The Washington Post

Kosovo honors Bill Clinton with statue Large crowd of ethnic Albanians turn out to welcome ex-president

PRISTINA, Kosovo - Thousands of ethnic Albanians braved low temperatures and a cold wind in Kosovo's capital Pristina to welcome former President Bill Clinton on Sunday as he attended the unveiling of an 11-foot (3.5-meter) statue of himself on a key boulevard that also bears his name.

Clinton is celebrated as a hero by Kosovo's ethnic Albanian majority for launching NATO's bombing campaign against Yugoslavia in 1999 that stopped the brutal Serb forces' crackdown on independence-seeking ethnic Albanians.

This is his first visit to Kosovo since it declared independence from Serbia last year.

Many waved American, Albanian and Kosovo flags and chanted "USA!" as the former president climbed on top of a podium with his poster in the background reading "Kosovo honors a hero."

Some peeked out of balconies and leaned on window sills to get a better view of Clinton from their apartment blocks.

To thunderous applause Clinton waved to the crowd as the red cover was pulled off from the statue.

The statue is placed on top of a white-tiled base, in the middle of a tiny square, surrounded by communist-era buildings.

"I never expected that anywhere, someone would make such a big statue of me," Clinton said of the gold-sprayed statue weighing a ton (900 kilograms).

He also addressed Kosovo's 120-seat assembly, encouraging them to forgive and move on from the violence of the past.

Image: Clinton statue in Kosovo
Armend Nimani / AFP - Getty Images
"I never expected that anywhere, someone would make such a big statue of me," Clinton said.

The statue portrays Clinton with his left arm raised and holding a portfolio bearing his name and the date when NATO started bombing Yugoslavia, on March. 24, 1999.

An estimated 10,000 ethnic Albanians were killed during the Kosovo crackdown and about 800,000 were forced out of their homes. They returned home after NATO-led peacekeepers moved in following 78 days of bombing.

Leta Krasniqi, an ethnic Albanian, said the statue was the best way to express the ethnic Albanians' gratitude for Clinton's role in making Kosovo a state.

"This is a big day," Krasniqi, 25 said. "I live nearby and I'm really excited that I will be able to see the statue of such a big friend of ours every day."

14,000-strong peacekeeping force
Clinton last visited Kosovo in 2003 when he received an honorary university degree. His first visit was in 1999 — months after some 6,000 U.S. troops were deployed in the NATO-led peacekeeping mission here.

Some 1,000 American soldiers are still based in Kosovo as part of NATO's 14,000-strong peacekeeping force.

Police in Kosovo upped security measures ahead of Bill Clinton's arrival by adding deploying more traffic police and special police.

NATO officials said the peacekeepers were also on alert, although no additional security measures were taken.

Statue

A statue is a sculpture in the round representing a person or persons, an animal, or an event, normally full-length, as opposed to a bust, and at least close to life-size, or larger.[1] Its primary concern is representational.

The definition of a statue is not always clear-cut; sculptures of a person on a horse, called Equestrian statues, are certainly included, and in many cases, such as a Madonna and Child or a Pietà, a sculpture of two people will also be. A small statue, usually small enough to be picked up, is called a statuette or Figurine.

Many statues are built on commission to commemorate a historical event, or the life of an influential person. Many statues are intended as public art, exhibited outdoors or in public buildings for the edification of passers-by, with a larger magnitude than normal words could ever have for the common man.

On rare occasions, statues themselves become historic and inspire their own historic events. In 1986, when the Statue of Liberty marked her one-hundredth anniversary, a three-day centennial celebration in her honor attracted 12 million. The guest list was unique. "We invited all the great statues of the world to her birthday party and created giant puppets to represent them," said Jeanne Fleming, director of the event. "Each one arrived accompanied by native music."

There is an urban legend concerning a code for mounted statues, whereby the horse's hooves are supposed to indicate how the rider met his end. One hoof off the floor would indicate the rider died of wounds received in battle, or perhaps was just wounded in battle; two hooves off the floor would indicate the rider was killed in battle. An examination of the equestrian statues in most major European cities shows this is not true. If it ever was true, the practice appears to have died out in the 19th century. [1][2]

Statues are amongst the wonders of the world, with the Colossus of Rhodes and the Statue of Zeus at Olympia among the Seven Wonders of the Ancient World and the Moai of Easter Island among the wonders of the modern world.

Senin, 16 November 2009

JOKO DOLOG STATUE

Joko Dolog can be found on Taman Aspari Street. This statue is a Buddhist statue. It is said to have been made in the year 1289 in honor of the funeral of King Kertanagara, who was the last king of Singosari. It is believed to have been carried to Surabaya about 300 years ago. The statue can be found directly in front of the mansion of the governor of East Java, and the aroma of incense remains in the air as it is still a popular pilgrimage site.

A stone image of the Buddha Akshobya, curiously matching the description of the ‘"missing statue" at Candi Jawi, can be found today in a small secluded park in Surabaya. Known locally as Joko Dolog, the statue displays a lengthy Sanskrit inscription, carved neatly around its base. When it was translated for the first time early this century, the inscription was found to reveal important historical information dating from the period immediately prior to the founding of Majapahit. Translated in the year 1289 by a Buddhist scribe named Nada, the contents are roughly as follows

It is said that many years ago, the sage Mpu Bharada divided the land of Java into the kingdoms of Janggala and Panjalu (Kediri), with the purpose of settling a dispute between two brothers over succession. The division was created magically, by means of holy water sprinkled out of a jar from the sky. However, during the reign of Sri Wishnuwardhana the country was reunited to the joy and benefit of all. The ruler, of whom the statue is said to be a portrait, was Wishnuwardhana’s son, Kertanagara, who commissioned the image as a symbol of this unification.

The information contained in the Joko Dolog inscription is especially interesting because it appears to establish the authenticity of certain historical figures and events, previously known only from ancient Javanese literature. The story of the division of Java by the sage Mpu Bharada is of course well known, and refers to the reign of King Airlangga in the 11th century. On the other hand, by giving Wishnuwardhana the credit for having reunited the country, the inscription has cast some doubt upon the reliability of traditional literary sources. This is true in regards to the story of Ken Angrok and Ken Dedes, which has been dismissed by some as complete fabrication.

Yet, since the 1975 discovery of a number of inscribed copper sheets originating from the region of Kediri, new light has been shed on the early years of the Singosari period. Known as the inscription of Mula Malurung, issued by King Kertanagara in 1255, it mentions the names of Wishnuwardhana, Tohjaya, as well as a number of other kings who have previously been unknown to historians. Finally, and most interestingly, the Mula Malurung inscription appears to suggest the existence of Ken Angrok, thus at least confirming a historical basis for a story which was regarded almost entirely as a myth.

Four Faced Budha

Simply, Surabaya city have one of tourism object that become a real spectacular in South-East Asia, Four Faces Deity Statue or Four Faced Buddha monument. This Four Faced Buddha Monument get appreciation of MURI as the biggest and highest Four Faces Deity Statue in Indonesia. A nine meters statue that have 225 square meters width is still have not contested by other similar statue.

Four Faced Buddha monument, has overall height 36 meters (including dome) opened on 9 Novembers 2004, and finish about fund 4 billion rupiahs. It is built in farm with a width of 1,5 hectares, in centered is farm, placed by building with length 9 meters, wide 9 meters and height 36 meters. If we saw altogether contain number 9, why it's numeral 9? Because taking similar monument reference in Thailand, and numeral 9 also have separate meaning for Buddha member.

The statue building the Four Faced Buddha place shaded, encircled by 4 pillars that colored by golden green, contains of 3 parts, which is statue, Buddha statue, and Buddha throne. It has been equipped with lightning rod at top of the statue, while statue Buddha and the throne has each 9 meters height.

See this building model, of course almost looks like Four Faced Buddha Monument in Thailand, the difference only the statue that in the higher Thailand statue but its statue building is higher then in Surabaya. Besides resemblance of a real big measure, the statue that have four faces and four hand tides, arranged in layers by gold in all it body part. It is said to make a perfect veneering process of this gold, is intentionally delivered kampoh material or original gold paper from Thailand (there is also mentioned kimpo paper). Complete with it worker, with veneering expense or ritual giving of this chasuble is reach 1,5 Billion rupiahs.

About Four Faced Buddha statue meaning or also there is mentioning it Four Faced Deity, bring four kindness philosophy that owned by Buddha, that is patience, liberal, fair (unbiased), and meditated. This four kindness is also had a meaning of, Buddha is a presentation of affection of fellow being, assist whoever without discrimination, and devoted in prayer or application that submitted in ritual procession. While on Buddha eight hands, there are holy book, holy water, defense weapon, fight weapon to against the badness, holy book, prayer beads, chest, and cupu.

Besides the philosophy, this place also offer idea to become the centre of Buddha member observance, finite later would many visitors coming to this place. Besides to see the four faced deity statue, in this place, we will see four high white elephant statues about 4 meters in every corner, three lotus decorative pools, and a meditated space. This complex is also decorated of 12 lamps that made from bronze and copper.

In it frontage, we meet a place that sell some pray equipment like candle and frankincense, this place later the also can buy the souvenir typical of Buddha four faces statue.

How about you, do wish to make this tourism object as your tourism purpose? Or may like to think about have photograph with Four Faced Buddha Monument background, as if stay in Thailand, or possible you wish to pray... all up to you, because this place is open generically, and admission charge free, only fare payee stepped into Ria Kenjeran Beach area.

THE MONUMENT OF JALESVEVA JAYAMAHE

("In the sea we are glorious")

Monument of Jalesveva Jayamahe (Monjaya) is great evidence and very amaze suborder masterpiece. An endowment of high history value, as the reflection of the highness of Indonesian nation as the maritime nation one. The other meaning of this statue figure is as the readiness symbol to receive the devotion from generation to the next generation.

This monument is a statue as high as 30,6 meters, which sustained by a building as high as 30 meters. This statue depict a Commandant of Indonesian Maritime Army complete with his honor sword upstanding to stare towards the sea fully confidence and seriousness ready to dash against the wave and go through storm, which have shown, that is the aspiration of Indonesian nation.

Monument that built by The Staff Leader of Indonesia Maritime Army initiative by then, Admiral TNI Muhamad Arifin and designed by Nyoman Nuarta can function also as Guide Lamp tower (Lighthouse) for ships sailing in its vicinity. There is giant gong Kyai Tentrem under the monument, which has 6 meters diameter and heavy more than 2 tons.

Monument of Jalesveva Jayamahe taken away from TNI AL motto that means, "In the sea we are glorious" its height is 60 meters. The building consisted of concrete building domed four floors 30 meters that taken as copper statue fulcrums as high as 30 meters. At part of this building wall is made the history of maritime combatants warrior diorama (TNI AL) since revolution physical era until 90-an year.

While its boom building functioned as TNI AL Museum and also as "Executive Meeting Room". The statue depicts a Colonel of Indonesia Maritime Army with clothes on duty ceremony (PDU 1). His right hand is akimbo and his left hand holding a commando sword. The colonel eyes stare to the wide sea. At the base orbicular building floor, there is Kyai Tentrem gong.

According to the Head of TNI AL Staff ‘Laksamana Madya Arief Kushariadi’, this statue heroic is intentionally given colonelcy. "Because the colonel is the heroic leader enter matured phase and ready to enter the terrace position,” he said. Why looking into the sea? "Because our future at the ocean," he repeated. The Side of Navy, said Arief, "we also hope that this monument will become the maritime tourism in Surabaya”.

This monument is built since 1990 and opened in December 1996 that is jousting with the Republic of Indonesia Armada day on 5 Decembers 1996 by President Soeharto, with expense of Rp. 27 billion. The statue is mentioned as the second highest in world after Liberty Statue, 85 meters, is reside in New York port mouth. The numerical colonel become militant and has skin copper.

It designer, Nyoman Nuarta, the famous statue maker from Bandung whp also create a copper statue of Garuda Wishnu Kencana in Jimbaran, Bali. Nyoman prints the statue body in his workshop in Bandung in module cuttings form. After it had complete, then it brought to Surabaya and matches each other. To make the statue, Nyoman Nuarta get 3000 copper tons from PLN, 60 tons from Telecommunication Departments, and a number of ex- bullet exuviate coppers.

The reason of Monjaya built is because of an idea, which however it’s a nation advance must still tread at its history. Mean, "The Big nation is the nation which able to esteem the merit of it hero ". From many kind of hero and meritorious that have been doyen in blazing the way, uphold and fill independence of nation and NKRI, included in it of the warriors from the Indonesia Maritime Army. It is countless the sacrifice, which they have rendered. Even they gave their soul. Only partly small from they which we recognize and his name have been immortalized to become name of Republic of Indonesia Battleships.

Besides as appreciation sign and souvenir from generation of router that still alive, it is also expected able to give a motivation to continue their struggle towards reaching of aspiration of Navy which great, powerful and Professional in place of NKRI which prosperous and fair.

Without minimizing the historic events happened in Sibolga, Tegal, Pasuruan, Bali or it doesn't matter in this Indonesia fatherland history of Ujung as part of heroic town Surabaya region of course cannot be locked out of history of Indonesia Maritime Army, that is struggling march of Kaigun SE 21/24 Butai events on 3 Octobers 1945, what marked with the oath of the ‘Bahariawan Penataran Angkatan Laut’ (PAL) that is " I volunteer and candid to sacrifice good and chattel and also Body and soul for the State and the Nation".

In the event of the next Indonesia Maritime Army history performance, Ujung has vital importance role, that is the basis (Base Home) the biggest Indonesia Maritime Army war ships hitherto, so that not too joke when some of publics named Surabaya town as seaman town or Navy town.

In consequence it is competent when Monument of Jalesveva Jayamahe is built in Ujung Surabaya. Besides, it also expected the establishment of this monument can add the glorious of Ujung Surabaya that mean add to respect Surabaya as the heroic city and Indarmadi (Industry, Commerce, Maritime and Education).

Rabu, 21 Oktober 2009

Stone sculpture

Stone sculpture is the result of forming 3-dimensional visually interesting objects from stone.

Carving stone into sculpture is an activity older than civilization itself. Prehistoric sculptures were usually human forms, such as the Venus of Willendorf and the faceless statues of the Cycladic cultures of ancient Greece. Later cultures devised animal, human-animal and abstract forms in stone. The earliest cultures used abrasive techniques, and modern technology employs pneumatic hammers and other devices. But for most of human history, sculptors used hammer and chisel as the basic tools for carving stone.

Contents


he process of stone sculpture

The work begins with the selection of a stone for carving. The artist may carve in the direct way, by carving without a model, creating a form or figure from scratch, with only the idea in his mind as a guideline, sketching on the block of stone and developing the work along the way. This method can be inspiring but can also present major problems when too much stone is removed in previous stages.

Or the sculptor may begin with a clearly defined model to be copied in stone. Frequently the sculptor would begin by forming a model in clay or wax, and then copying this in stone by measuring with calipers or a pointing machine. This method leaves much less chance for error, so the desired result can be achieved as expected. This method is also used when the carving is done by other sculptors, such as artisans or employees of the sculptor.

Some artists use the stone itself as inspiration; the Renaissance artist Michelangelo claimed that his job was to free the human form trapped inside the block.

Roughing out

different mallets and pitching tool

When he or she is ready to carve, the carver usually begins by knocking off, or "pitching", large portions of unwanted stone. For this task he may select a point chisel, which is a long, hefty piece of steel with a point at one end and a broad striking surface at the other. A pitching tool may also be used at this early stage; which is a wedge-shaped chisel with a broad, flat edge. The pitching tool is useful for splitting the stone and removing large, unwanted chunks. The sculptor also selects a mallet, which is often a hammer with a broad, barrel-shaped head.



Roughed out carvings

The carver places the point of the chisel or the edge of the pitching tool against a selected part of the stone, then swings the mallet at it with a controlled stroke. He must be careful to strike the end of the tool accurately; the smallest miscalculation can damage the stone, not to mention the sculptor’s hand. When the mallet connects to the tool, energy is transferred along the tool, shattering the stone. Most sculptors work rhythmically, turning the tool with each blow so that the stone is removed quickly and evenly. This is the “roughing out” stage of the sculpting process.

Refining

Once the general shape of the statue has been determined, the sculptor uses other tools to refine the figure. A toothed chisel or claw chisel has multiple gouging surfaces which create parallel lines in the stone. These tools are generally used to add texture to the figure. An artist might mark out specific lines by using calipers to measure an area of stone to be addressed, and marking the removal area with pencil, charcoal or chalk. The stone carver generally uses a shallower stroke at this point in the process. .

Final stages

Eventually the sculptor has changed the stone from a rough block into the general shape of the finished statue. Tools called rasps and rifflers are then used to enhance the shape into its final form. A rasp is a flat, steel tool with a coarse surface. The sculptor uses broad, sweeping strokes to remove excess stone as small chips or dust. A riffler is a smaller variation of the rasp, which can be used to create details such as folds of clothing or locks of hair.

The final stage of the carving process is polishing. Sandpaper can be used as a first step in the polishing process, or sand cloth. Emery, a stone that is harder and rougher than the sculpture media, is also used in the finishing process. This abrading, or wearing away, brings out the color of the stone, reveals patterns in the surface and adds a sheen. Tin and iron oxides are often used to give the stone a highly reflective exterior.

Rough and unfinished statues

Rough block forms of unfinished statuary are known, and are in museums. Notable are the Akhenaten, Amarna Period statuary found at Akhetaten. One known sculptor, Thutmose (sculptor), has his entire shop excavated at Akhetaten, with many unfinished block forms.

Other stone sculpture

Asthall Manor has a biennial exhibition on form; a showcase for sculpture in stone. Stephen Kettle is notable as a sculptor who creates stone statues by stacking stone fragments.

India's Sculpture

Sculptures of the Indus Valley

The story of Indian art and sculpture dates back to the Indus valley civilization of the 2nd and 3rd millennium BC. Tiny terra-cotta seals discovered from the valley reveal carvings of peepal leaves, deities and animals. These elemental shapes of stones or seals were enshrined and worshipped by the people of the civilization. Two other objects that were excavated from the ruins of the Indus valley indicate the level of achievement that Indian art had attained in those days. The bust of a priest in limestone and a bronze dancing girl show tremendous sophistication and artistry.


Buddhist Sculptures - Sarnath and Sanchi, Gandhara and Mathura

The next golden chapter of Indian sculpture opens in the 3rd century BC, when the Mauryan Emperor Ashoka adopted Buddhism and set out on a mission to spread the teachings of the faith as far and wide as possible. He had 85,000 stupas or dome-shaped monuments constructed with the teachings of Buddhism engraved on rocks and pillars. These inscriptions which served as edicts can be seen in Buddhist monuments in Gujarat, Bihar, Madhya Pradesh and Tamil Nadu. The famous Ashoka Pillar at Sarnath in Madhya Pradesh gleams in polished sandstone representing the hieratic art under the Mauryan Empire. The lion capital of the pillar is now the official emblem of the Indian Republic and the sacred wheel of law or the dharmachakra is symbolic of the first sermon that Buddha delivered at Sarnath.

The Great Stupa at Sanchi is perhaps the finest surviving relic of the Mauryan Empire and is a renowned Buddhist monument. Its finely carved gateways depict Buddhist legends and lifestyles of two thousand years ago. The foundation of the Stupa was laid by Ashoka and he set up monasteries here as a retreat for the Buddhist monks. The Great Stupa is fifty-four feet high and is surrounded by a stone railing and four elaborately carved gateways on each side. The gateway reliefs depict tales of Buddha's incarnations, his life as a prince, his moment of enlightenment, his sermons and his worshippers. This site at Sanchi also includes remains of smaller stupas, pillars and monasteries.

In the 1st century AD, the position changed somewhat radically in art and sculpture. The human figure replaced the symbolic representation of Buddha and his teachings. Though Buddha opposed the idea of idol worship, his cult image was established and became essential for acts of worship. The Mathura and the Gandhara schools of sculpture imparted human form to Buddha's image. To emphasize his divinity, this human form was depicted with features like a halo around the head, the dharmachakra engraved upon his palms and soles of his feet, and the lion throne representing his royal ancestry. These early stone images of Buddha are awe-inspiring in terms of size and magnificence.

The Buddha statues of the 5th century exhibit a unique sensibility with human figures that are meditative and serene, a body that is subtly modeled and a face that glows with enlightenment. Here, the ultimate definition of the divine is indicated in the soft folds of the dress, the exquisite curvature of the hands and the half-closed eyes of the Buddha.


Hindu Art

The 4th, 5th and 6th centuries AD witnessed a tremendous resurgence of Hinduism when it became the official religion of the Gupta Empire. Consequently, this era was also marked by the emergence of innumerable images of popular Hindu Gods and Goddesses. Images of Vishnu, Shiva, Krishna, the Sun-God and goddess Durga evolved in this period. The Udaigiri caves in Madhya Pradesh house a colossal image of Vishnu. Here he is presented as the great savior who rescued 'mother earth' from the depths of the ocean, in his incarnation as a varha (boar). Other statues of this period found in various temples and museums are indicative of the various dimensions of early Hindu art and sculpture.

The link between dance, drama, literature and art became crucial to aesthetic expressionism in centuries to come. This new era in art and sculpture witnessed a unique fusion, a synthesis embodied in the caves at Ajanta and Ellora and the temples of central and South India.


Ajanta and Ellora

North-east of Bombay, near Aurangabad are two astonishing series of temples carved out of living rock over the course of fourteen centuries. During the 4th century AD. in a remote valley, work began on the Ajanta caves to create a complex of Buddhist monasteries and prayer halls. As centuries passed, numerous Buddhist monks and artisans excavated a set of twenty-nine caves, some cells, monasteries and Buddhist temples. All of these were carved from the rock cliff at Ajanta. These caves are adorned with elaborate sculptures and paintings which have withstood the ravages of time.

The sculptures are finely wrought images of animals, guards and deities while the paintings tell ancient tales of courtly life and depict hundreds of Buddhist legends. Amid the beautiful images and paintings are sculptures of Buddha, calm and serene in contemplation.

Work started on the Ellora caves in the seventh century AD where another set of caves were created from living rock. Buddhism, Jainism and Hinduism inspired these sculptors to create these elaborate rock carvings. The Buddhist and Jain caves here are ornately carved yet seem quiet and meditative whereas the Hindu caves are filled with a divine energy and power.

The most impressive and majestic creation at Ellora is the Kailasa Temple, a full-sized freestanding temple flanked by elephants carved out of solid rock. Pillars, podiums, spires and towers combine to produce an awe-inspiring representation of Shiva's Himalayan abode.


Khajuraho

The tranquil town of Khajuraho, in the central state of Madhya Pradesh boasts of the best medieval temples in India, known all over the world for their erotic sculptures. These glorious temples are the state's most famous attraction.

Amid green lawns and brilliant pink flowers is a complex of temples, glowing with the warmth of sandstone and ornamented with the sinuous curves of sculpture unparalleled in their beauty. Out of the 85 temples built originally, only 22 survive today. These temples were created by the Chandela rulers in the Indo-Aryan style. The site was forgotten for centuries before it was rediscovered in 1838. The temples were restored and attract visitors from all over the world.

The sculptures include statues of gods and goddesses, warriors, celestial dancers and animals, besides those of couples in erotic poses. The Hindu philosophy of Yoga and Bhoga (physical pleasure), the two paths leading to final liberation, seem to be the underlying theme of these sculptures. These temples celebrated a Hindu faith exuberant in its love for the divine. All life was seen as an expression of divinity, including human love. The union between man and woman was viewed as the culmination of devotion, symbolic of the union of the devotee with god and divinity. The other sculptures in these temples depict the daily lives of the people in the 10th and 11th centuries AD.

The famous temples at Khajuraho include the Lakshmana Temple and the Kandariya Mahadeva temple. The latter is dedicated to Lord Shiva and has a shikhara or spire that is 38 meters high. Here we see an attempt to reconstruct the image of Shiva's home in Mount Kailasha. Giant reliefs also portray various manifestations of Shiva, who is both a destroyer and a savior. Of the many statues found in this temple, the most fascinating is that of an ascetic performing the shirshasan (a yogic posture where the yogi balances himself on his head).

The temples of Khajuraho display a wealth of sculptural beauty, evoking the grandeur of the snow-capped Himalayas as well as the earthly pleasures of life.


Elephanta Caves

The most profound aspect of the mighty Shiva is in evidence at the Shiva temple in the Elephanta caves. Situated near Bombay, these caves present an introduction to some most exquisitely carved temples. One can witness a symphony in stone in praise of Lord Shiva, created by India's expert stone carvers of the sixth century.

The central attraction here is a twenty-foot high bust of the deity in three-headed form. The Maheshamurti is built deep into a recess and looms up from the darkness to fill the full height of the cave. This image symbolizes the fierce, feminine and meditative aspects of the great ascetic and the three heads represent Shiva as Aghori, Ardhanarishvara and Mahayogi. Aghori is the terrible form of Shiva where he is intent on destruction. Ardhanarishvara depicts Shiva as half-man/half-woman signifying the essential unity of the sexes. The Mahayogi posture symbolizes the meditative aspect of the God and here Shiva is shown in his most quiet and serene form. Other sculptures in these caves depict Shiva's cosmic dance of primordial creation and destruction and his marriage to Parvati and Shiva as half man/half-woman . The Elephanta sculptures meaningfully convey the oneness of the human and the divine and the images transcend the scope of human imagination to achieve a grandeur that remains undiminished by time.

Article: Netsuke: unique Japanese miniature sculpture.

Netsuke is a small, sculptural art that communicated social values as part of a custom in Japanese society during the early days, especially in the Edo era. Cause and effect are apparent in this history lesson, as there was a change in history due to the influence of Western culture, which resulted in a change the purpose of netsuke. Netsuke became an important part of the historical record of Japanese society and is still considered a unique art form today.

With background knowledge the function and aesthetics of netsuke, and an understanding of the historical context of this time period, fifth- and sixth-grade students modeled their own netsuke from clay.

Sculptor Holds a Mirror Up to His Mexico

By LORENZA MUNOZ, TIMES STAFF WRITER|May 20, 2000

Mexican sculptor Marcos Ramirez has never been afraid to confront shameful little secrets or reveal hypocrisy. Take his 1997 sculpture of a 33-foot, two-headed Trojan horse on the border of San Ysidro and Tijuana, which seemed to ask the question: "Who is invading whom?" Or his statement on the U.S.' immigration policies through a unique tribute to Jasper Johns' American flag series--reimagining the Stars and Stripes as a corrugated metal fence on the border.

Ramirez is one artist who lives and breathes the political.

"I want my work to be universally visual," he said on a recent visit to Los Angeles from his home in Tijuana. "I may speak of local issues, but they are universal issues. I am not a border artist. The work I make has to do with cultural frontiers."

And now it is time to turn his satirical, incisive eye to his homeland. The 35-year-old artist's stinging critique of Mexico and its countrymen is on display in "Oro por Espejos" (Gold for Mirrors), which opened Friday at the Iturralde Gallery. The exhibition, which features three massive carved wooden sculptures, one large iron cross, some paintings and installations, inaugurates the gallery's new, larger space.

Ramirez tried to address the three eras of Mexican culture that continue to cause a tremendous national identity crisis: the pre-Columbian, the Colonial and the contemporary.

"I had to have the guts to make a critique of my own country," said Ramirez, who also goes by "Erre"--the Spanish pronunciation of the letter R. "The essence of this exhibit is recovering the pride of who we were and then dealing with the Spanish past. It's like a cathartic thing. We shouldn't forget our past, but we need to get rid of our complexes and hang-ups so Mexico can be a better country."

Ramirez is a child of the border, raised in a bicultural world where he visited Los Angeles more often than his own country's capital city. His parents moved from Guadalajara to the border with hopes of crossing into the United States. They eventually did, but when Ramirez's mother was about to give birth, they returned so he could be born a Mexican national.

It was a frontier existence he led, with half of his family in the U.S. and his siblings and parents in Mexico.

His journey to becoming an artist is also a peculiarly Mexican border tale. When he graduated from college with a law degree in the early '80s, Mexico's economy suffered one of the most calamitous peso devaluations in history. It threw the country into economic turmoil.

Ramirez could not find a job. So he came across the border illegally. He slept in his car and eventually found work as a construction worker. Within a few years, he became a legal resident and started a construction business. Although he never studied art, Ramirez showed a creative side, always sketching and drawing from the time he was a child. Even when he went into construction, he would plan ways of creating art with the skills he learned as a carpenter and laborer. With his proceeds, he would purchase materials to make art.

Virtually unknown, Ramirez was invited to create a piece for "inSITE94," the big binational show that features installation art in Tijuana and San Diego. His work, "Century 21," was a one-room shanty placed on the plaza of Tijuana's Centro Cultural. In his review of the show, Times art critic Christopher Knight said it was art "of a particularly devastating sort. . . . Ramirez has counterposed the grand plaza of an officially sanctioned centro cultural with a stark example of the actual cultural center of the city's teeming life."

It turned out to be one of the most critically well-received pieces of the show. Based on this success, Ramirez was invited back for "inSITE97," co-organized by Mexico's influential National Council for Culture and the Arts.

One day, while waiting in line at the hellacious border crossing, Ramirez was thunderstruck by an idea: What if he built an enormous sculpture here? What if everyone who drove back and forth, waiting hours in that line under the hot, dusty sun, could be prompted to think about the foolishness of these man-made borders?

So, he built his now-famous Trojan horse for "inSITE97." It is estimated that nearly 13 million people saw his work of art as they drove across the country lines. The horse seemed to say that the invasion is a two-way street.

"They invade us with imperialism and commercialism," he said. "We invade them, like Carlos Fuentes said, chromosomally, with people. We make them eat tacos instead of hamburgers."

This year, Ramirez was selected for the Whitney Biennial, only one of three Mexican natives ever chosen for the exhibition. For the show, Ramirez made "Stripes and Fence Forever--Homage to Jasper Johns," a tribute to Johns' iconographic renderings of the American flag. He painted a corrugated metal wall as the flag, chemically treating it to resemble a worn-out fence. The fence sits on a 9-foot-square area of soil, dividing the dirt into two sides. One side is held in by a series of bricks, all uneven and handmade. The other side is held in by perfectly cut-out cinder blocks.

"It's the same dirt," he said. "But the brick is the Mexican part, it's imperfect artisanry. The U.S. is the cinder block; everything has to be perfect, made the exact size. It's like an artificial fence. It's a border that 150 years ago was not there. Who knows if it will be there 150 years from now."

With the "Oro por Espejos" exhibit, his art will leave the border and delve deep into the heart of Mexico. It will be his first exhibit tackling the contradictions and problems of his native land.

Mexicans, he declares, are the children of a rape. The trauma of the Spanish conquest is still fresh, despite that it happened almost 500 years ago. So, his work is an exploration of that bizarre fusion of races that occurred when Hernan Cortes' soldiers landed in Mexico and mixed with the Indians to create the mestizo. When the Aztec emperor Moctezuma saw Cortes, he mistakenly believed him to be the incarnation of the Aztec god, Quetzalcoatl. In his folly, Moctezuma received the Spaniard and his men with gold, women, fine cloth and feathers. The Spaniards gave mirrors to the Indians, hence the name of the exhibit.

The exhibition features four major pieces. The first is called "Presidential Bed." The king-size bed frame depicts the pre-Columbian, Colonial and contemporary eras and is carved out of fine Mexican mahogany, with baroque yet indigenous touches that betray the curious blend of the European with the Indian--something also evident in some of Mexico's most important cathedrals. The bed is installed in a large room, hinting at the largess of the Mexican presidency.

"A president--especially a Mexican president--cannot have a small room or bed, particularly because Mexicans have had these pretensions of being French," said the artist, referring to the French influence on Mexico's upper classes when they invaded the country in the 19th century.

The headboard is emblazoned with the national insignia of an eagle devouring a snake--a symbol of freedom over the treacherous serpent. But Ramirez's twist has the snake biting the eagle. The bed is surrounded by 700 pounds of corn kernels--symbol for the Aztecs' holy food. Instead of a mattress, the bed is lined with 2,000 nails, arranged in varying heights to form a topographical map of the Mexican republic. Ramirez said he was eager to finish the bed in time for the Mexican presidential elections in July.

"The president that inherits this country will sleep in a bed which is not very comfortable to lie in," he said. "It will be very hard to rest."

Ramirez's "Presidential Chair" takes an even harsher look at what has been called an imperial presidency. The massive chair, also of mahogany, is carved in a similar baroque style. But instead of a bench, there is a toilet seat--that chair is the place where so many Mexican presidents have sat and soiled the country, he said. On the floor, Ramirez has tossed hundreds of worthless coins, a fool's-gold metaphor for the Mexican peso, useless after so many devaluations.

Alongside the chair, Ramirez has placed a chest called "Moctezuma's Treasure Chest." It is simply carved, made of Chechan wood found in the state of Chiapas. The simplicity makes it look like a packing crate. It is empty inside.

"The real treasure is the wood that it's made from," said Ramirez. "The real treasures are Mexico's natural resources."

Ramirez also takes on the Catholic Church with his 13-foot-tall iron cross. On the bottom of the cross, inside the thick wire, he has carved out Indian-like faces as if they were pushing to get out of a cage. They are imprisoned by the cross.

The exhibit includes a multimedia display that Ramirez made as a tribute to his mother, a poet who died in 1994. In another room he has hung wooden carved letters coated in gold leaf to spell out the following phrase: Oro por espejos.

En los ojos del Mexico, Que aun no aprende a mirarse a si mismo.

On the opposite wall, Ramirez has hung dozens of mirrors, which reflect the gold letters, along with a printed translation: "Gold for mirrors. In the eyes of Mexico, that has yet to learn how to see itself."

Ramirez hopes his work will inspire curiosity and introspection among Mexicans, but also among those who are not familiar with the country and its problems. Parts of the exhibition will be included in a larger show at the Museo de la Ciudad in Mexico City, beginning in August.

"It's time for us to look at ourselves in the mirror," said Ramirez. "We need to figure out what we are good at and then move forward."

* "Oro por Espejos" continues through June 24 at the Iturralde Gallery, 116 N. La Brea Ave. Tuesday-Friday, 10 a.m.-5 p.m.; Saturday, 11 a.m.-5 p.m.; and by appointment.

Selasa, 20 Oktober 2009

Sculpture

Easier - Sculpture is the act and art of making three-dimensional works of art such as statues. A statue is an image such as a person or animal that is sculpted in a solid substance. The Statue of Liberty and Rodin's The Thinker are two well-known statues.
Sculptures may be carved, chiseled, modeled, cast, or constructed. They can be made of many different materials such as wood, stone, clay, metal, sand, ice, and even balloons. A person who creates sculpture is called an sculptor.
Harder - Sculptors use many different materials in their work such as stone, bronze, clay, iron, steel, paper, metal, marble, wood, soap, chocolate, butter, balloons, ice, snow, and sand. There are many end products including carousels, dolls, animals, action figures, mobiles, and kinetic sculptures. These pieces of art maybe placed inside or outside. Gargoyles on building ledges and sculpture gardens are two examples of outside sculptures.
Sculptures are often thematic on topics such as wildlife, religion, tradition, or fun. Many people create sculptures from found objects such as recycled materials. New technologies are used to create interesting artwork that includes computers, holograms, and light.
Wonderful examples of sculpture can be found throughout the world. Sculpture has been an important part of culture since ancient times.
Four processes are used in sculpture including subtraction, substitution, addition, and manipulation.

Minggu, 18 Oktober 2009

Patung

Patung adalah benda tiga dimensi karya manusia yang diakui secara khusus sebagai suatu karya seni. Orang yang menciptakan patung disebut pematung. Tujuan penciptaan patung adalah untuk menghasilkan karya seni yang dapat bertahan selama mungkin. Karenanya, patung biasanya dibuat dengan menggunakan bahan yang tahan lama dan sering kali mahal, terutama dari perunggu dan batu seperti marmer, kapur, dan granit. Kadang, walaupun sangat jarang, digunakan pula bahan berharga seperti emas, perak, jade, dan gading. Bahan yang lebih umum dan tidak terlalu mahal digunakan untuk tujuan yang lebih luar, termasuk kayu, keramik, dan logam.