LEADER 03223nam 2200541 450 001 9910820187003321 005 20240131190837.0 010 $a1-4438-5265-1 035 $a(CKB)2550000001128050 035 $a(StDuBDS)AH25702745 035 $a(SSID)ssj0001130223 035 $a(PQKBManifestationID)11630893 035 $a(PQKBTitleCode)TC0001130223 035 $a(PQKBWorkID)11104948 035 $a(PQKB)10066411 035 $a(MiAaPQ)EBC1477516 035 $a(Au-PeEL)EBL1477516 035 $a(CaPaEBR)ebr10778095 035 $a(CaONFJC)MIL528684 035 $a(OCoLC)859834125 035 $a(OCoLC)1230506287 035 $a(FINmELB)ELB147987 035 $a(EXLCZ)992550000001128050 100 $a20131107d2013 uy| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aColour in sculpture $ea survey from ancient Mesopotamia to the present /$fby Hannelore Ha?gele 210 1$aNewcastle upon Tyne, UK :$cCambridge Scholars Publishing,$d2013. 215 $a1 online resource (xvii, 329 pages )$cillustrations (black and white, and colour) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a1-4438-5027-6 311 $a1-299-97433-3 320 $aIncludes bibliographical references and index. 330 8 $aThis text introduces the reader to the art of sculpture across five millennia up to the present, and from the Near East to the West. In each of the eleven chapters, a number of selected works are discussed to exemplify the circumstances and conditions for making pieces of sculpture objects peculiar to place, time, and context.$bThis book introduces the reader to the art of sculpture across five millennia up to the present, and from the Near East to the west. In each of the eleven chapters, a number of selected works are discussed to exemplify the circumstances and conditions for making pieces of sculpture objects peculiar to place, time and context. Within each cultural framework, characteristics are observable that suggest various reasons for the use of colour in sculpture. These encompass local preferences, customs or cultural requirements; and others point to an impulse to enhance the expression of the phenomenal. Whether colour is really necessary or even essential to sculpted works of art is a question especially pertinent since the Renaissance. Surface finishes of sculptural representations may allude to the sensory world of colour without even having pigment applied to them. What makes polychromy so special is that it functions as an overlay of another dimension that sometimes carries further encoded meaning. In nature, the colour is integral to the given object. What the present survey suggests is that the relationship between colour and sculpture is a matter of intentional expression, even where the colour is intrinsic as in the sculptoras materials. - 606 $aPolychromy 615 0$aPolychromy. 676 $a347 700 $aHa?gele$b Hannelore$01638036 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910820187003321 996 $aColour in sculpture$93996152 997 $aUNINA