Michelangelo di Lodovico Buonarroti Simoni created the sculpture Pieta when he was only twenty four years old. This beautiful sculpture was created by a Florentine and was completed in 1499. It is considered a Renaissance sculpture and Michelangelo along with his competitor Leonardo da Vinci were considered than and now as the essence of a “renaissance man”. This sculpture depicts the Virgin Mary holding her son Jesus Christ in her arms. Pieta literally translated from Italian means compassion and perhaps the idea behind the sculpture is to show Mary’s compassion to her son Jesus. This sculpture is the only work ever signed by the master sculptor; he chiseled “Michaelangelus Bonarotus Florentinus Faciebat” (Michelangelo Buonarroti, Florentine Made This) across a sash on Mary’s chest after another artist of the era tried to take credit for the work.

This statue was carved from a slab of marble and is currently located at St. Peters, Vatican in Rome. It is created in the Renaissance style and great attention is paid to the holy event taking place. One interesting thing about this sculpture is the Virgin’s youth compared to an adult Jesus. When asked to explain this Michelangelo stated that the Virgin was so young because of her chastity. The detail is remarkable especially the anatomical details of Jesus Christ. Michelangelo seemed to capture the human form perfectly in what he would have thought Jesus would have looked like. You can make out muscle tone, ankles and even tendons in spots. The Virgin’s cloak seems to be folded and creased in just the right spots to create realism. The lines are curved and are not stiff as in the art of the middle ages. Michelangelo’s sculpture is full of beauty and emotion common to the Renaissance period.

The realism and beauty is what attracted me to this work. Michelangelo was the master of creating beautiful art and in my opinion no one has even come close to recreating the amount of beauty in art as Michelangelo has. Pieta’s greatest aesthetic strength is its impact on the viewer. It is a spiritual piece that conveys Mary’s love of her son and her love mankind. She looks at peace despite the fact that she is holding Jesus in her arms. She knows that he is the son of god, will be resurrected and will bring peace to all those who seek him. This piece has one aesthetic weakness and that is Michelangelo’s signing of the Mary’s sash. He did this in a moment of pride and anger when others thought someone other than him created the sculpture. Michelangelo later regretted it, and never signed another work after Pieta. The beauty and the meaning of this sculpture possess lasting value. It is a piece of art that had a lot of significance to Christians than and still does to this day. Culturally it represents the Roman Catholic Church of the period as it was commissioned by the Pope. It still over five hundred years after it was created has an important place at St. Peters in Rome.

References:

Michelangelo. (2007). Home page. Retrieved March 27, 2007, from Wikipedia

Web site: http://en.wikipedia.org/wiki/Michelangelo#Michelangelo_the_man

Pieta. (2007). Home page. Retrieved March 27, 2007, from Wikipedia

Web site: http://en.wikipedia.org/wiki/Michelangelo#Michelangelo_the_man

John Schlismann has an interest in Art History. Check out the Art Institute Web at http://www.artic.edu/

If you are an owner of indoor bronze pieces, there is a need to take a soft cloth for dust removal. No matter if there is built-up residue and grime from indoor storage or the outdoor showcasing, there are proper methods to cleaning your bronze sculptures. Basic dirt and grime are easily removed with a soft cotton clothe, room temperature water and a very mild chemical-free soap.

When you are sure of the soap not damaging the naturally surface worn patina, you may go ahead and continue by completely cleaning with the cotton pads or clothe and soapy distilled water.

There are many reasons for bronze to be such a highly chosen type of sculpture. Bronze is not only beautiful, but also durable in many ranges of environmental changes. But even with so much versatility, there still needs to be the proper care taken of your exquisite investment. Many of those that collect bronze sculptures may think that there is no necessary care for their artwork if the piece is established outdoors, but this is not true. It is no matter of your bronze artwork piece being indoors or outside, there is a minimal amount of needed care-taking.

If you are an owner of indoor bronze pieces, there is a need to take a soft cloth for dust removal. Although, dust may do no initial harm in light amounts, when it builds up in a thicker residue, there may be eventual damage done to the exterior. No matter if there is built-up residue and grime from indoor storage or the outdoor showcasing, there are proper methods to cleaning your bronze sculptures. Basic dirt and grime are easily removed with a soft cotton clothe, room temperature water and a very mild chemical-free soap.

If you are cleaning for the first time, it is best to make sure and check for any kind of ill-fated reaction to the soap that you are going to clean with. This can be done with a small cotton pad or swab with a cotton end, and the soapy mixture. It is best to do the checking in an area that is not obvious just in case there is any damage caused to the patina surface due to a reaction to the soap. Due to any chemical additives that may be put into your water, it is best to use distilled water instead of tap water. Make sure to let the test area fully dry, so to not have any chemical reaction.

When you are sure of the soap not damaging the naturally surface worn patina, you may go ahead and continue a completely cleaning with the cotton pads or clothe and soapy distilled water. It is best to use cotton pads that can be tossed, or make sure that the cleaning clothe will rinse completely of the dirt being washed. This is important so to be able to not have any dirt particles within the cloth or pads being put back in to any small crevasses of your Bronze sculpture. It is important to completely dry after rinsing, and then apply a good bronze wax for protection.

Anita Satin Choudhary writes for Ivory and Art Gallery. Browse the gallery for unique collection of artifacts ranging from Bronze SculptureJade Sculpture to Silver Judaica.

India is a very large country that is often broken down into regions when it comes to bronze history. South Indian bronze was also strongly tied to the gods and goddess statues representative of Hinduism, but had heights in flourishing popularity from the 8th century throughout the 16th century.

The Eastern regional bronze items of various gods such as Vishnu and Shiva were most always created in the area’s Buddhist monasteries. In South India, bronze was used to make jewelry, coins, numerous variations of the Hindu gods and goddesses in representational forms.

The Chola period was the first in the detail, clarity and overall formations of their bronze statues.

Bronze has long been known throughout history of touching several cultures all over the world for many centuries, and just as each of the other cultures of past time, India too carries its own unique relationship with the material of bronze. India’s connection with bronze has gone back over 3000 years, and is still a very widely used metal today for many things, but it is most commonly associated with India’s statues of gods and goddesses within the religions.

India is a very large country that is often broken down into regions when it comes to bronze history. These regional areas with the distinct beginnings of bronze are Western Indian bronze, the Eastern Indian bronze, and the South Indian bronze The sculptural bronze that flourished within Western Indian bronze is of the time periods ranging from 6th century to the 12th century, and had a strong bond with mostly Jainism. The Eastern Indian bronze is found to have been its strongest during the 9th century, and had its biggest associations with Shiva and Vishnu of Hinduism. South Indian bronze was also strongly tied to the gods and goddess statues representative of Hinduism, but had heights in flourishing popularity from the 8th century throughout the 16th century.

The bronze casting methods used within India during these centuries were crafted by the Lost-Wax Casting Method, and most all were of religious representation of some realm. The Western region did include various items such as incense burners and other ritual objects like lamp bearers. Many of the statues in this region were most always highly decorated with eyes of jewels, and inlays of gold or silver to enhance, and beautify their god or goddess. The Eastern regional bronze items of various gods such as Vishnu and Shiva were most always created in the area’s Buddhist monasteries. In South India, bronze was used to make jewelry, coins, numerous variations of the Hindu gods and goddesses in representational forms.

It was during the Chola period that the bronze statues would include sensuality, clothing of detail and extra adorning jewelry. The Chola period was the first in the detail, clarity and overall formations of their bronze statues. There is also the creativity of idealistic balance and realism in a manor of heroism.

It is in this time period that the many famous formations of Shiva were born such as Shiva is detailed with Lakshmi, there is the dancing Shiva, Shiva and Parvati and so forth.

Anita Satin Choudhary writes for Ivory and Art Gallery. Browse the gallery for unique collection of artifacts ranging from Mammoth Ivory Netsukes to Agate Sculpture and Silver Art.

Bronze sculpture is a form reaching far back into several ancient and sophisticated civilizations. A few more of the Roman bronze art works have survived over the Greek’s “bronze”. By 1200 c., the Chinese civilization practiced the methods of Lost-wax casting and section mold casting. Working with bronze takes a highly skilled artesian. There are several different methods of bronze casting.

One of the most ancient methods is the Lost-wax or investment casting method. The Lost-wax method is the method used by the Roman civilization to create bronze gods and leaders. The next step is to make a wax mold from the production mold.

Bronze sculpture is a form reaching far back into several ancient and sophisticated civilizations. Some of the earliest bronze works of art were mastered by the Greeks, Chinese, Romans and Egyptians. Each of the these ancient cultures contributed their own part to molding the variations of bronze sculpting. Life size bronze sculptures were first created by the Greeks, but few have survived through time. A few more of the Roman bronze art works have survived over the Greek’s “bronze”. By 1200 c., the Chinese civilization practiced the methods of Lost-wax casting and section mold casting. Mass production of bronze art works was began by the Egyptian civilization, leaving behind many small Lost-wax figurines to be enjoyed for many centuries beyond their own.

Working with bronze takes a highly skilled artesian. Bronze can be caste solid, hammered, carved and be created in incised forms. Many of the classic depictions of bronze sculptures are of wild life, human formations, historic events and time period pieces. There are several different methods of bronze casting.

One of the most ancient methods is the Lost-wax or investment casting method. The Lost-wax method is known to date all the way back 4000 years ago. Although this method was used by every ancient culture that worked with bronze, and it was the Greek who perfected the technical proficiency of the Lost-wax casting method. The Lost-wax method is the method used by the Roman civilization to create bronze gods and leaders. The word Roma was derived from the Roman era and is used to describe how pieces of a bronze sculpture fits together.

The Lost-wax method is a process done by steps starting with a mold being made from a clay pattern. A plaster master is almost always made for preserving the artwork. The next step is to make a wax mold from the production mold. If it is a mold of large stature, it will then be hollow and need a core. The hot wax will be poured in to thinly coat the inner mold. After cooling the mold will be separated to only leave the wax formation. The wax is covered with slurry plaster, then heated and the wax is removed. This void of the mold is were the heated bronze is poured into. When cooled down, the slurry and core are broken to leave the bronze sculpture. It will then be buffed by hand for smooth finish.

Anita Satin Choudhary writes for Ivory and Art Gallery. Browse the gallery for unique collection of artifacts ranging from Bronze Sculpture to Silver Art and Kashmir Carpet.

It does not matter the kind of ivory that you may be collecting, all ivory is easily affected from any form of environmental exposure. Ivory will crack and shrink in relatively low humidity, while the relatively high humidity will cause your ivory artworks to swell and warp. If your ivory is exposed to major fluctuating heat changes, there will also be ivory shrinkage and expansion. The darkening features of ivory are a natural part of the aging, which is caused by the organic matters within the ivory. Ivory is a delicate material that easily stains, while also being of a porous nature. When handling your ivory artwork, it is best to avoid touching with your bare hands.

There are several different variations of animals that ivory may come from, but no matter if it is from the mammoth, whale, walrus, or the elephant, ivory is from the same areas when it comes to the distinguished parts. It is the largest two teeth and the tusks of certain animals and mammals that gives us the elegantly exquisite beauty of ivory artwork. There is a slight density variation between the different kinds of ivory, depending on the animal or mammal the ivory originates from, and these differences are composed of organic and inorganic matters that gives overall strength, and it is naturally repairable, along with the growth capabilities.

It does not matter the kind of ivory that you may be collecting, all ivory is easily affected from any form of environmental exposure. When ivory is light exposed, there is a bleaching in the color, but it is when temperature or humidity gets to the ivory that real damage occurs. Ivory will crack and shrink in relatively low humidity, while the relatively high humidity will cause your ivory artworks to swell and warp. If your ivory is exposed to major fluctuating heat changes, there will also be ivory shrinkage and expansion. These are issues most often associated with the thinner miniature objects formations.

The darkening features of ivory are a natural part of the aging, which is caused by the organic matters within the ivory. Ivory is a delicate material that easily stains, while also being of a porous nature. Ivory is highly susceptible to darkening from our direct touch due to the skin’s natural oils, and it will easily stain if touched for long periods of time by certain colored materials or metals that are corroded.

When handling your ivory artwork, it is best to avoid touching with your bare hands. Gloves that are made of white cotton are recommended, but if you have to touch the ivory with no gloves, you must thoroughly wash your hands with warm water and a good soap, so to fully remove all dirt and natural oils. You must make sure and completely dry your hands, because water will damage your ivory. Damage will also occur from any kind of cleaning products too, so every precautionary measure should be taken.

The best way to protect your ivory art investment is to encase the object in an air tight display casing or keep it safe by wrapping the ivory object up, and putting it in a small storage box or drawer. These are the two best ways for full environmental protection of your ivory artwork, so to have as few damaging changes as possible happen over time.

Anita Satin Choudhary writes for Ivory and Art Gallery. Browse the gallery for unique collection of artifacts ranging from Mammoth Ivory to Netsuke and Silver Judaica.

It’s not easy to have a “perfect” OOAK sculpture, meaning that the work is good, it is clean, smooth and free of lint, dirt and spots. As a matter of fact, in my experience, it cannot be achieved by itself. Even if you use a tent or latex gloves, there is always that particle in the air that is going to stick to polymer clay.

First, there are several things you should do to make the best of what you have. Always use clear clothes like a white t-shirt and shorts. Think of it as a uniform you’ll use to sculpt. It’s easier to see lint in a white shirt that in a green one. Keep your “uniform” always clean. You can buy white cheap t-shirts and use them just for sculpting and painting your piece.

Never sculpt in a place where there’s a lot of lint circulating, such as the AC or furnace ducts. That is a huge source of all kinds of lint and dirt. The moment you see a piece of dirt, lint or a spot in your raw clay (Clay that has not been fired or cured) take it off immediately with any kind of tool that will allow you to do it without ruining your sculpture.

Once you have done all this and before baking, you must smooth your piece. There will be multiple finger prints, minuscule marks and your sculpture will be uneven from sculpting.

There are several ways to smooth raw clay:

Softening Oil is one of them. This is a special oil that you can use to soften your clay. you can put a drop on your fingertips and smooth only on one direction, for a short time. If you smooth in both directions, you will only create more flaws by carrying the clay from one side to the other and the time you do it is important too. If you keep smoothing very long, the clay will become mushy and then you will have to wait until it settles to smooth again.

Alcohol. You can smooth your sculpture with alcohol as well but the same principle applies. Move your fingers only in one direction and for a short time.

Cold water. Put your piece under the cold water tap and smooth in one direction only. With cold water, it doesn’t matter if you take longer, because the cold water will not allow the clay to become mushy.

Refrigerator or freezer. You can place your sculpted raw clay piece inside the refrigerator for 10-15 minutes. Same thing with the freezer and then take it out and smooth with your fingers and with softening oil or alcohol. Although you will not need any of these things. Your sculpture is going to be very hard and you can smooth it easily, again, in the same direction always.

When you have smoothed the piece it will start to look shiny and really even. Then you can start the baking process to clean your piece even more.

Set you oven at 265 Fahrenheit, with and oven thermometer. Once the oven is at the set temperature, put your piece in a dish that has some polyfill underneath. You don’t want your piece to come out with a flat and shiny spot. Then cover the sculpture with more polyfill and put it in the oven to bake for only 10 minutes. Not more, not less.

Once your sculpture has been baking for 10 minutes, take it out and let it cool. This is very important. If you don’t let the sculpture cool, you will only ruin it by scratching and sanding.

Now your sculpture is cold and ready to go. When we sculpt, even if we wash our hands many times, the clay will get dirty, no matter what. So, take a utility knife and start scraping, combing or sweeping the sculpture only in one direction in a steady motion. Do it very gently. You will see very small layers of clay coming off the sculpture, but they are so tiny, you will not damage it in any way. You will see as well, the clay appear clean under the surface and in its original color.

When you are done, you will sand your sculpture. I use black sanding paper number 350 or 400. Remember that with the sanding paper the higher the number, the finest the sanding paper is and the lower the number, the coarser it gets. This time you can sand your piece with a steady motion, under the cold water tap in both directions, like up and down or side to side.

Don’t sand up, then to one side, then down, etc. If you sand this way, you’ll leave minuscule scratch marks and It will be more difficult for you to polish them off. If you sand in opposite directions but only up and down or side by side, your marks will be practically invisible and you will be able to polish your piece to a pristine look. Open the faucet so that you can have a drop of constant dripping water and sand. When you finish you’ll see that the clay has like spotting or marks that are darker and lighter.

This means that the piece was still a little uneven and the sanding will take that off. Concentrate on the places where the clay is a different color and keep sanding softly until they disappear and the sculpture is one even color.

Open the faucet and rinse your sculpture. At this point you can use some dish soap and a very gentle brush to take off all the dust you created by sanding. Make sure you brush the crevices and folds so that you don’t have any sanding dust. When you finish, dry your sculpture with a paper towel.

Finally, I use a 1000 black sand paper, to polish and I do the same technique all over again, but this time, you will see that your piece will achieve a “porcelain” texture and look. If you sculpted a very old person or a baby that have lots of folds, just be careful when you sand over them, You don’t want to take those character marks off of your sculpture. Do it under the dripping water faucet and when you’re done, rinse your piece thoroughly, use your soft brush and soap to take off all the dust. Dry your piece with a paper towel and let it dry completely.

The results of a clean polymer clay sculpture are amazing and the clay has a “porcelain” even clean look and it’s soft to the touch. Now you are ready to paint.

Arts ‘n Dolls is an online community where you can buy, sell, or trade arts, crafts, OOAK and reborn babies. You can also see our free tutorials and visit our arts, dolls, & crafts forum.

There are many cultures where Jade has been a part of, but none of the connections are as close as the connection of Chinese culture and jade.

The Jade Temple was finished with being rebuilt by 1928, there had been 5 Jade statues of Buddha before the invasion, there are still two Buddha statues that had survived the devastation.

Jade is a hard translucent stone which has been used in China dating back 7000 years. The Chinese have an association with Jade that has a symbol for all good, pure, noble and sublime. Jade artistic works not only carries a very personal relations and representation by the means of China, but Jade also demonstrates an independent strength and beauty for a worldly unique expression of stone. There were at least 13 Chinese dynasties that Jade is known to have been highly associated with, in one various development form to another there was a different association accordingly through each era.

Jade is not only the light greenish color that most think of, but it comes in several color variations. From a milky white to even milky orange or even bluish lavender, are all in the direct line of the Jade family. Due to the hard feature of Jade, this stone is shaped by grinding instead of carving. There are many cultures where Jade has been a part of, but none of the connections are as close as the connection of Chinese culture and jade.

Ornamental Jade plaques are one of the original art works linking as far back as the Hsing Lumg culture. In the Inner Mongolia area of Chih Feng, there are the first signs found of the Jade and Chinese cultural craftsmanship. It is from 7000 years and till today in every era, Jade artwork reflects the Chinese culture with a different expression and amount of items, as each era surpasses.

As each era progressed, so did the statues inside the temples with lavish Jade spread throughout all the way up the Buddha Jade statues that were many of them are larger than life. The Jade Buddha Temple in Shanghai City was originally built in 1882, but destroyed in 1911 during the Qing Dynasty. The Jade Temple was finished with being rebuilt by 1928, there had been 5 Jade statues of Buddha before the invasion, there are still two Buddha statues that had survived the devastation.

All throughout China, there are variations in Jade most everywhere, just as much as in the Temples. The Statues are often bigger than life made of different types of Jade and the different Buddha formations. The Chinese do not only connect Jade with most aspect of their cultural being, but they also share there beautiful Jade craftsmanship with the world today by the means of having Jade carving factories that creates many various forms of Jade and granite statues. These statues are not only the cultural connections of Buddha to the outside world, but every aspect of Jade portrays expression and beauty of the skill of the craftsman.

Anita Satin Choudhary writes for Ivory and Art Gallery. Browse the gallery for unique collection of artifacts ranging from Jade Sculpturesand Agate Sculpture to Netsuke.