This work is devoted to the terracotta army of Qin Shihuang and its reflection in the works of modern Chinese masters of watercolor. The article consists of three parts. The first part analyzes the genesis and history of Qin Shihuang's clay army. In the second, the terracotta army is regarded as a cultural and artistic symbol of China, which stimulated humanitarian contacts between Russia and China and contributed to mutual understanding between the two peoples. In the third part, (...) through the prism of the artistic experience and creative process of three watercolor artists, the current state of research of watercolor creativity on the theme of the terracotta army is analyzed. The author's special contribution to the development of the problem is to determine the connection between the ancient cultural heritage of China and the nature of its interpretation in the works of modern watercolor artists. The novelty of the study can be recognized as the introduction into the scientific circulation of Russian art history of the names of Chinese artists and their paintings dedicated to the terracotta army of Emperor Qin Shihuang. Within the framework of the work, an appeal is made to the issue of Chinese-Russian cultural cooperation, the development of which is realized through touching this most representative monument of antiquity. Through the art criticism analysis of watercolor paintings by Chinese masters — Huang Zhongyang, Lin Shaolin, Zuo Xinmin — approaches to the reflection of this historical monument in the works of modern masters are determined, the connection between ancient and modern, traditional and innovative in their paintings is established. (shrink)

The terracotta, Volos Museum inv. M 2004, found at the beginning of the century in the excavations of A. S. Arvanitopoulos on the edge of the ramparts at Demetrias, is a Hellenistic Tanagra figurine and is quite commonplace from an iconographie point of view. It does, however, have a special interest because of its technical characteristics, which identify it as a figurine patrix, in other words a moulded object especially fabricated to serve in the making of new moulds. The (...) peripheral band around it would have facilitated the demarcation between the front and rear sections of the derivative moulds which were to be fabricated. The figurine, destined for a workshop that was no longer producing this type, illustrates a particular form of diffusion encountered in the field of coro- plasty: alongside the commercialisation of the products themselves (the figurines, which any ceramic craftsman could subsequently reproduce by the use of derivative moulds) and the tools for producing them (the bivalve moulds), there was a parallel diffusion of objects of ambiguous status, being themselves neither an end product nor a tool of production, but a product designed to fabricate new tools of production. Derivative moulding is thus established as belonging to actual commercial practice. Moreover, the Volos figurine and the rare comparable examples that it has been possible to discover enable a better understanding of the technical aspects of taking a two-part mould impression from a positive or patrix mould. (shrink)

The Cypriot terracotta figurines and limestone statuettes discovered in Delos have been regrouped here for the first time. In light of the finds and recent publications, new identifications have been suggested. This relatively important lot has been replaced in its chronological and geographical context. The presence of Cypriot imports in Delos suggests close ties with the cities of Eastern Greece, where this type of material is abundantly attested during the Archaic period. The topography of the offerings, the large majority (...) of which originate from "minor" sanctuaries, outside the temenos of Apollo, give an interesting insight into what peoples frequented the different cult sites on the island. (shrink)

The need to design and build according to the resident’s demands is the best possible option, in today's economic market. Nowadays, buildings that ensure a good thermal performance is increasing. This article compares the thermal transmittance coefficient (U-value) between a wall with a simple composition of bricks, plaster and graffito without thermal insulation and a wall composed of stone wool, anti-vapors membrane, air gap and terracotta tiles (ventilated façade). This comparison explains the thermal benefits and the best ways to (...) increase the thermal performance of a building, in a particular case of Polis University, Tirana, Albania. The results and conclusions drawn from this article are factual indicators with concrete values that professionals should take into consideration since in the initial stage of design. Choosing the best layers for a façade may result in the creation of a comfortable indoor thermal comfort for the inhabitance in a micro perspective. A good thermal insulation improves the building’s thermal balance and contributes decisively to the thermal comfort of the occupants, which means a considerable reduction in heating and cooling loads, in order to increase the building’s energy efficiency. The measurements of this comparative analysis will be done by using a specific instrument such as Testo 435-2. Atmospheric conditions will also be considered during the measurements, respectively for internal and external environments. (shrink)

During the 1970s, Dinu Adamesteanu uncovered a small sacred place within the chora of Heraklea. It is an open-air sanctuary, constituted by an area bounded by a temenos wall, with an altar and a small naiskos inside. A votive deposit was located within the temenos, which was filled with a large quantity of ritual and votive material, placed in the hole when the sacred place was abandoned. The architectural structures and a selection of the finds were first published by Dinu (...) Adamesteanu himself. He identified this small sacred place with Chalcas’ heroon, which is recorded in Lycophron’s famous passage. The subject of this contribution is a comprehensive re-examination of this sacred place – architectural structures as well as published and un-published finds – which allows us to present a different scenario from that first proposed by Adamesteanu. Most of the Black-Glaze vases pertain to the practice of the symposium, while the common wares suggest that food was usually prepared in order to be given as a gift to deities. The Red-Figure vases present interesting figural depictions, which tend to refer to Dionysian subjects and to the theme of weddings. With regard to coroplastic objects, three fragmentary life-size terracotta statues have been found. At least two of these represent young, beautiful women, seated on thrones and wearing lavish clothes. A number of small terracotta figurines show diverse iconographies, which pertain to the spheres of kourotropheia and sanatio, but there are also “erotic” subjects, referring to the Aphrodisian sphere, and votive clay fruits, which suggest the chthonian aspect of this cult. In light of this comprehensive analysis of archaeological data, a clearer and more detailed picture emerges of the Contrada Petrulla sanctuary. The sacred area was probably dedicated to feminine deities, who can be identified with the Nymphs, peripheral figures of Aphrodite’s circle. These feminine deities who have chthonian characteristics, personify water (generally a water spring), oversee the passage from a virginal condition to the status of nymphai, have a kourotrophic nature, and are ultimately associated with the Dionysian world. Therefore, the life-size seated statues found in the votive deposit can be considered as cult statues (depictions of the Nymphs themselves?). Previously, the statues had been located in the small naiskos, which was placed within the temenos wall and was open to the altar. (shrink)