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Sculpture

2007 Schools Wikipedia Selection. Related subjects: Art

   A sculpture is a three-dimensional object, which for the purposes of
   this article is man-made and selected for special recognition as art. A
   person who creates sculpture is called a sculptor.

Materials of sculpture through history

   Throughout most of history, the purpose of creating sculpture has been
   to produce works of art that are as permanent as is possible. So to
   that end, works were usually produced in durable and frequently,
   expensive materials, primarily bronze and stone such as marble,
   limestone, porphyry, and granite. More rarely, precious materials such
   as gold silver, jade, 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, boxwood ( Buxus) and
   lime or linden ( Tilia), terra cotta and other ceramics, and cast
   metals such as pewter and zinc (spelter).

   Sculptors are constantly searching for new ways to make art and for new
   materials to use. Andy Goldsworthy is notable as a sculptor for his use
   of almost entirely natural materials in natural settings and for
   creating sculptures much more ephemeral than is typical. Jim Gary used
   automobile parts, tools, machine parts, and hardware in his sculptures
   as well as stained glass. Pablo Picasso used bicycle parts for one of
   his most famous sculptures. Alexander Calder and other modernists made
   spectacular use of painted steel. Since the 1960s, acrylics and other
   plastics have been used as well. Despite durability being the usual
   objective, some sculpture is deliberately short lived -- for example,
   ice and sand sculptures or gas sculptures.

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

Asian

   Many different forms of sculpture were used in the many different
   regions of Asia, often based around the religions of Hinduism and
   Buddhism. A great deal of Cambodian Hindu 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
   are gilded, and on occasion enriched with inlays. See also Thai art

India

   The first sculptures in India date back to the Indus Valley
   civilization (3300–1700 B.C.). These are among the earliest instances
   of sculpture in the world. Later, as Hinduism, Buddhism and Jainism
   developed further, India produced bronzes and stone carvings of great
   intricacy, such as the famous temple carvings which adorn various
   Hindu, Jain and Buddhist shrines. Some of these, such as the cave
   temples of Ellora and Ajanta, were carved out of solid rock, making
   them perhaps the largest and most ambitious sculptural schemes in the
   world.

   During the 2nd to 1st century B.C. in far northern India, in what is
   now southern Afghanistan and northern Pakistan, sculptures became more
   anatomically realistic, often 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 before this time, but only through symbols such as the
   stupa. This alteration in style may have occurred because Gandharan
   Buddhist sculpture in ancient Afghanistan acquired Greek and Persian
   influence. Artistically, the Gandharan school of sculpture is
   characterized by wavy hair, drapery covering both shoulders, shoes and
   sandals, and acanthus leaf decorations, amongst other things.

   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. Gupta period art would later influence
   Chinese styles during the Sui dynasty, and the artistic styles across
   the rest of eastern Asia. Newer sculptures in Afghanistan, in stucco,
   schist or clay, display very strong blending of Indian post-Gupta
   mannerism and Classical influence. The celebrated bronzes of the Chola
   dynasty (c. A.D. 850 - 1250) from Southern India are of particular
   note; the iconic figure of Nataraja being the classic example. The
   traditions of Indian sculpture continue into the 20th and 21st
   centuries with for instance, the granite carving of Mahabalipuram
   derived from the Pallava dynasty. Contemporary Indian sculpture is
   typically polymorphous but includes celebrated figures such as Dhruva
   Mistry.

   Buddhist, 1st or 2nd century, A.D.

   Hindu, Chola period, c. 1000 A.D.

   Buddhist, 2nd century, A.D.

   14th century, A.D.

   the Indian sculptures are mainly found in kajaraho and ajanta and
   ellora caves.

China

   A Liao Dynasty polychrome wood-carved statue of Guan Yin, Shanxi
   Province, China, (907–1125 AD)
   A Liao Dynasty polychrome wood-carved statue of Guan Yin, Shanxi
   Province, China, ( 907– 1125 AD)

   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 first Buddhist sculpture is found dating from the Three Kingdoms
   period (third century), while the sculpture of the Longmen Grottoes
   (Wei dynasty, 5th and 6th century, located near Luoyang, Henan
   Province) has been widely recognized for its special elegant qualities.

   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 what might be considered as ornamental
   furnishings, and especially objects in jade. Pottery from many periods
   has 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 commercial sculpture genres (the collector plates, figurines,
   toys, etc) and avant garde Chinese artists began to participate in the
   Euro-American enterprise of contemporary art.

   Wine jar, Zhou Dynasty

   Calvalryman, Chin Dynasty

   Chimera (from a tomb) , Han Dynasty

   tomb figure, Han Dynasty

   Northern Wei Dynasty

   Tang Dynasty

   Tang Dynasty

   Boddisatva, Tang Dynasty

   Jade chalice, Ming Dynasty

   Jar from Lushan, Tang Dynasty

   Portrait of monk, 11th Century

   doctors lady, mid-19th Century

Japan

   A frog and lizard battle in this contemporary sculpture in Matsumoto,
   Japan.
   A frog and lizard battle in this contemporary sculpture in Matsumoto,
   Japan.

   Countless paints and sculpture were made, often under governmental
   sponsorship. Most Japanese sculpture is associated with religion, and
   the medium' 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 Hōryū-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.

Africa

   African art has an emphasis on Sculpture - African artists tend to
   favour three-dimensional artworks over two-dimensional works. Although
   anthropologists argue that the earliest known sculptures in Africa are
   from the Nok culture of Nigeria that date around 500 BC, the art of
   Pharaonic Africa date much earlier than the Nok period. Metal
   sculptures from the eastern portions of west Africa such as Benin, are
   considered among the best ever produced.

   Art plays an essential role in the lives of the African peoples and
   communities across the continent. The beauty of African art is simply
   in meaning. These objects mean a great deal to the people and they are
   of significant meaning to the traditions that produce them. Their
   beauty and content protect the community and the individual artists,
   and tell much of the artists who use them. Later exhibitions of African
   art in the West have been able to get much detailed catalogues that
   attempt to cover the art of the whole continent.

   African Sculptures

   Sculptures are created to symbolize and reflect the regions from which
   they are made. Right from the materials and techniques used, the pieces
   have functions that are very different from one region to the other.

   In West Africa, the figures have elongated bodies, angular shapes, and
   facial features that represent an ideal rather than an individual.
   These figures are used in religious rituals. They are made to have
   surfaces that are often coated with materials placed on them for
   ceremonial offerings. In contrast to these sculptures of West Africa
   are the ones of Mande-speaking peoples of the same region. The Mande
   pieces are made of wood and have broad, flat surfaces. Their arms and
   legs are shaped like cylinders.

   In Central Africa, however, the key characteristics include heart
   shaped faces that are curve inward and display patterns of circles and
   dots. Although some groups prefer more of geometric and angular facial
   forms, not all pieces are exactly the same. Also, not all pieces are
   made of the same material. The materials used range from mostly wood
   all the way to ivory, bone, stone, clay, and metal. Overall, though,
   the Central African region has very striking styles that is very easy
   to identify. With the distinctive style, one can easily tell which area
   the sculpture was produced in.

   Eastern Africa is not known for their sculptures but one type that is
   done in this area is pole sculptures. These are a pole carved in a
   human shape and decorated with geometric forms, while the tops are
   carved with figures of animals, people, and various objects. These
   poles are then placed next to graves and are associated with death and
   the ancestral world.

   Southern Africa’s oldest known clay figures date from 400 to 600 A.D.
   and have cylindrical heads. These clay figures have a mixture of human
   and animal features. Other than clay figures, there are also wooden
   headrests that were buried with their owners. The headrests had styles
   ranging from geometric shapes to animal figures. Each region had a
   unique style and meaning to their sculptures. The type of material and
   purpose for creating sculpture in Africa reflect the region from which
   the pieces are created.

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 except during a brief period
   during the rule of Akhenaten and Nefertiti when naturalistic protrayal
   was encouraged.

The Americas

   Sculpture in the Americas developed in two separate and distinct areas,
   Mexico in the north and Peru in the south. In both areas sculpture was
   initially of stone. Sone was to be augmented by works in terra cotta
   and metal as the civilizations in these areas became more
   technologically profecient.

   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. By the 1950s
   traditional sculpture education would almost be completely replaced by
   a Bauhaus influenced concern for abstract design. Minimalist sculpture
   often replaced the figure in public settings. Modern sculptors use both
   classical and abstract inspired designs. Beginning in the 1980s there
   was a swing back toward figurative public sculpture and by the year
   2000 many of the new public pieces in the United States were figurative
   in design.

Europe

   An overview of forms
   The Emperor Tiberius enamelled terracotta bust at the Victoria and
   Albert Museum, 19th century.
   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 sculpture, typically showing a significant person on
       horseback.
     * Free-standing sculpture, sculpture that is surrounded on all sides,
       except the base, by space. it is also known as sculpture "in the
       round."
     * Fountain, in which the sculpture is designed with moving water.
     * "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

   Lady with Kittens at Delapré Abbey
   Lady with Kittens at Delapré Abbey

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

Greek-Roman-classical

   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

   The topic of Nudity

   An 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.
   Ancient Greek sculpture. A portion of the Parthenon Pediment, displayed
   in the British Museum.
   Ancient Greek sculpture. A portion of the Parthenon Pediment, 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 sculpture, late 15th century.
   Gothic sculpture, late 15th century.

Gothic

   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 (c. 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

   Donatello's David (replica)
   Donatello's David (replica)
   Michelangelo's David
   Michelangelo's David

   Although the Renaissance began at different times around Europe (some
   areas created art longer in the Gothic style than other areas) the
   transition from Gothic to Renaissance in Italy was signalled by a trend
   toward naturalism with a nod to classical sculpture. One of the most
   important sculptors in the classical revival was Donatello. The
   greatest achievement of what art historians refer to as his classic
   period is the bronze statue entitled 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 is generally
   considered to be the first major work of Renaissance sculpture.

   During the High Renaissance, the time from about 1500 to 1520,
   Michelangelo was an active sculptor with works such as David and the
   Pietà, as well as the Doni Virgin, Bacchus, Moses, Rachel, Orgetorix,
   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, which again borrows from classical sculpture. 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

   King Zygmunt Vasa column in Warsaw, Poland
   King Zygmunt Vasa column in Warsaw, Poland

   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. Often, Baroque artists fused sculpture and
   architecture seeking to create a transformative experience for the
   viewer. Gianlorenzo 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. One of his most famous
   works is Ecstasy of St Theresa

Neo-Classical

   Falconet's statue of Peter I has become one of the symbols of St
   Petersburg
   Falconet's statue of Peter I has become one of the symbols of St
   Petersburg

   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. The European neoclassical
   manner also took hold in the United States, where its high tide
   occurred somewhat later and is exemplified in the sculptures of William
   Henry Rinehart (1825-1874).

Modernism

   Modern Classicism contrasted in many ways with the classical sculpture
   of the 19th Century which 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.
   Rodin's The Burghers of Calais in Calais, France.
   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, as are Medardo Rosso, Count Troubetski, and Rik Wouters,
   attempting to frame the charm of a fleeting moment of daily life.
   Fragment of the grave of Cyprian Kamil Norwid in the Bards' crypt in
   Wawel Cathedral, Cracow by sculptor Czesław Dźwigaj
   Fragment of the grave of Cyprian Kamil Norwid in the Bards' crypt in
   Wawel Cathedral, Cracow by sculptor Czesław Dźwigaj

   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
   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) 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.

Post-modernism

   Post-modern sculpture occupies a broader field of activities than
   Modernist sculpture, as Rosalind Krauss has observed. Her idea of
   sculpture in the expanded field identified a series of oppositions that
   describe the various sculpture-like activities that are post-modern
   sculpture:

          Site-Construction is the intersection of landscape and
          architecture
          Axiomatic Structures is the combination of architecture and
          not-architecture
          Marked sites is the combination of landscape and not-landscape
          Sculpture is the intersection of not-landscape and
          not-architecture

   Krauss' concern was creating a theoretical explanation that could
   adequately fit the developments of Land art, Minimalist sculpture, and
   Site-specific art into the category of sculpture. To do this, her
   explanation created a series of oppositions around the work's
   relationship to its environment.

Contemporary genres

   The Spire of Dublin - 120 metres (393 ft) in height and lit from the
   top
   The Spire of Dublin - 120 metres (393 ft) in height and lit from the
   top

   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. It's 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.
   Weightless Sculpture (in outer space) as a concept is created in 1985
   by the Dutch artist Martin Sjardijn.

   Other arts which can be regarded as sculptures include:
     * Costume
     * Doll
     * Floral design ( Ikebana)
     * Glassblowing
     * Hologram
     * Mask
     * Pottery
     * Light Sculpture
     * Pumpkin Carving

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 for copyright or intellectual property rights
   purposes, a thing not intended to be a sculpture is not a sculpture. In
   this case the judge stated:

          It appears to me clear that neither the moulds nor the drive
          mechanism, nor the parts of the latter, are sculptures in the
          ordinary sense. It is true, as was pointed out in the course of
          argument, that some modern sculptures consist of or include
          parts of machines, but that does not warrant the conclusion that
          all machines and parts thereof are properly called sculptures,
          and similar reasoning applies to moulds.

   Though 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, this is not really the case since
   Duchamp and others were intending to produce works of art as opposed to
   the litigants in the lawsuit who were intending to produce riding lawn
   mowers.

   http://www.austlii.edu.au/au/cases/cth/federal_ct/unrep4166.html
   Retrieved from " http://en.wikipedia.org/wiki/Sculpture"
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