Balance and Stability in the Exploration of Equestrian Forms with Charcoal in Sculpture

 – Balance and Stability in the Exploration of Equestrian Forms with Charcoal in Sculpture – 

Download Balance and Stability in the Exploration of Equestrian Forms with Charcoal in Sculpture project materials: This project material is ready for students who are in need of it to aid their research.

ABSTRACT

This study “Balance and Stability in the exploration of Equestrian Forms with Charcoal in Sculpture” seek to use charcoal to project solid balance and stability in equestrian forms with minimum contacts with the pedestals.

The problem of the study is the weight of media and procedural challenges which have caused sculptors to use several points of contacts between the base and the forms for support and consequently restraining the dynamic actions of the equestrian forms.

Therefore this study aimed at projecting a seeming delicate but permanent balance and stability of the equestrian form so as to grab hold of the natural qualities of its movements and actions.

The research started by looking at the works of artists who had attempted to solve the problems of balance and stability in the equestrian form in their own ways which led to the evaluation of their works.

However, the review indicates that the weights and complicacies of media like concrete, stone, bronze, metal, etc.

could not allow the artists to express the forms with sufficient independence on the pedestals hence the use of charcoal to resolve the issue. The methodology used for this research was practice-led.

The researcher made use of photographs of the mounted and free horses from different sources. Some of the photographs were taken at Zaria polo club while images and information from books, the internet, theses, journals, the magazines and motion pictures were also used.

PROCEED NOW TO DOWNLOAD PAGE

TABLE OF CONTENTS

Title Page…………….. i

Declaration……………. ii

Certification………………. iii

Dedication………………… iv

Acknowledgement…………… v

Abstract……………. vi

Table of Contents……….. vii

List of Plates…………. viii

CHAPTER ONE: INTRODUCTION

• Background to the study………………………… 1
• Statement of the Problem………………………… 10
• Aim and Objectives of the Study……………. 11
• Research Question……………………. 11
• Justification of the Study……………… 12
• Significance of the Study………………. 12
• Scope of the Study………………………. 12
• Conceptual Framework………………….. 13
• Definition of Special Terms……………….. 13

CHAPTER TWO: LITERATURE REVIEW

• Literature Review……………….. 15
• The Analysis of the Equestrian Forms in Relationship with Balance and Stability…….15
• 2.3 Review of Related Works……… 17
• Realistic Equestrian Forms………. 18
• Equestrian Statue of Marcus Aurelius………. 18
• The Equestrian Statue of Condottiere Gattamelatta……….. 19
• Equestrian Statue of Alessandro Farnese………….. 21
• Striding Horse…………………….. 22
• The Equestrian Monument of Peter the Great……………. 23
• Statue of Queen Amina………………… 24
• George and the Dragon……….. 25
• Standing Horse…………….. 26
• Stylized Equestrian Forms…………. 27
• The Hittite Horseman………….. 27
• Plaque with a Horse and Rider……….. 29
• Assyrian Art: King Assurbanipal‟s Lion Hunt……. 30
• Chinggish Khaan Statue Complex……… 31
• Equestrian Figure on Fly-Whisk………. 33
• Horse and Jockey………… 34
• Charcoal Explorations……………. 35
• Emptied Gesture…………… 35
• Cascading Flower Vase……….. 36
• Conclusion……… 38

CHAPTER THREE: RESEARCH METHODOLOGY

• Introduction………………. 39
• Instruments of Data Collection………… 39
• Data Collection……………… 40
• Images from Primary Source of Data…………….. 40
• Images from Primary Source of Data……………… 41
• Data Analysis………………. 42
• Sketches…………………….. 42
• Sketches…………………….. 43
• Procedure………. 43
• Preliminary Studio Exploration…………. 45

Process and Procedure…………. 47

• Representational Studies of the Equestrian Forms………… 47
• Transition Studies of the Equestrian Forms………… 47
• Abstract Studies of the Equestrian Forms………….. 48
• Finishing………………. 48
• Limitation…………… 48
• Summary………………… 49

CHAPTER FOUR: CATALOGUE AND ANALYSES OF WORKS

• Introduction…………….. 50
• Representational Stage……….. 50
• Sword Play………. 50
• The Raid…………… 53
• Confrontation………… 55
• Accusation………………….. 57
• Transition Stage……………… 59
• Head Way…………. 59
• The Banquet……………… 61
• Vigilance…………………. 63
• The Emissary……………….. 65
• Abstract Stage……………… 67
• Sidesaddle……………………. 67
• The Cavalry Soldier…………….. 69
• The Horseman…………… 71
• Affinity…………………. 73

CHAPTER FIVE: SUMMARY AND CONCLUSION

• Summary……………. 75
• Findings……………… 75
• Recommendations……………… 75
• Conclusion…………. 76
• Contributions to Knowledge……. 76

REFERENCES 77

PROCEED NOW TO DOWNLOAD PAGE

INTRODUCTION

1.1 Background of the Study

The words “equus” and “eques” are Latin expressions for a horse and a knight respectively. These are the two terms from which the word “equestrian” is formed (Houghton, 2011).

The term is generally used to describe an expert horse rider or any activity having to do with horseback riding, (Turnbull, 2010).

On the other hand, the equestrian form is distinctively described within the sculptural field to mean a statue of a rider mounted on horse (Moore, 2011).

There is a psychological unity involved in equitation which has broadened it beyond an ordinary physically mounted horse into a devoted union between man and horse.

In support of this, Blake (1975), Summerhays (1952) and Collins (2012) all together establish that harmonious association and understanding between the rider and the horse are highly essential elements of the horsemanship.

Therefore, the horsemanship probably implies the general exercise of a full control over the horse including an excellent knowledge and care of the horse and the riding equipments, along with a good understanding of its physical, emotional and social behaviours.

From the outset, the equestrian components had remarkably been a creative voice through which communication with the supernatural was exchanged.

This is why Janson and Kerman (1968) reveal that the cave art comprises largely of animals which were beyond the physical and also regard the pre-historic artists as „‟artist-magician‟

PROCEED NOW TO DOWNLOAD PAGE

REFERENCES

Anonymous, (2013). Durbar Festival. Retrieved from www.logbaby.com/travel/durbar-festival. July, 24, 2014

Anonymous, (1999). Charcoal History. Retrieved from www.ukagriculture.com February, 4, 2013

Badaru, A. K. (1990). Balance in Free Standing Sculptures. Unpublished M.F.A. Thesis.

Ahmadu Bello University, Zaria, Nigeria. p. 1.

Banjoko, I. (2009). Cultural and Creative Art Made Easy. Movic Publishing Company Limited, Lagos, Revised Edition, publisher Inc., U.S.A. pp. 44 and 283.

Blake, H. N. (1975). Talking With Horses. Souvenir Press Ltd. London. pp. 26 and 27.