Formal Analysis of a Relief Carving

Formal Analysis of a Relief Carving

Conceptual art is sometimes referred to as conceptualism. Conceptualism is a type of art where the ideas or concepts used in coming up with the art supersede material, technical, and aesthetic concern. Conceptual art’s work is sometimes called installations – anyone can follow set guidelines to construct the artwork. The most important aspect of the work, in this case, is the concept or idea behind the sculpture (Green, 2001). It is the idea that becomes the machine of making the sculpture since planning and decisions are made before execution. On the other hand, relief carving is a sculpture that contains protruding figures from the background while at the same time, being attached to it. The shallow surface visible creates an illusion of depth and space in the relief carvings. Therefore, this paper will conduct a formal analysis of a relief carving, specifically the spirit wall sculpture.

Spirit walls were very common to courtyard dwelling. It takes different forms, and sometimes it can be built for simpler homes. The materials and scale, as well as the ornamentation of spirit walls, take the design of the major structure in most cases. Considering the image of a spirit wall, the screen walls are creating a barrier masking the interior of it. It is hiding the content of the main structure. At the same time, it is serving as a key point of focus for ornamentation in color and scale, demonstrating the tradition or culture of the inhabitants.

A sculptor is something that should be walked around. It appears the sculptor of this art based his work on the idea that his walk should walk around the sculpture. The sculpture was done in a way that it is facing forward (Knapp, 1999). The sculpture appears to be solid, and it is evident that the solidity is giving it a presence at the square center. Therefore, the fact that it is facing forward makes it easier for the observer to be impressed by the artwork. This sculptor is psychologically assertive and tends to create a dramatic effect on the audience. Because the sculpture is facing forward, it appears to be alive and seems to convey some emotions to the observer.

The location of the sculpture also affects the reaction of an observer. The statue is in a way that one looks across to it or directly to it without necessarily looking up. It is part of the architectural structure, and one can walk around it. The way the spirit wall has been fitted to the actual design gives it not only the character but also the design of the architecture.

The spirit wall at the center square is both in open and closed forms. A thorough observation finds that one experiences the spaces and hollows beyond, around, within, and between the solids. It is important to note that what is left over is the space observed. The free space means that there is free movement of air between the spaces. A closer observation records that there is a possibility of the space changing as one walks around the structure – this aspect may make the spaces feel energized. However, there seems to be an ambiguous distinction between the inside and outside of the sculpture. Therefore, the solid thins can allow the spirit wall to flow following the spaces. But this means that the spirit wall can only take the movement of the solid, thus giving the sculpture the mystery it deserves.

In terms of technique, this sculpture appears to have been carved, and the spirit wall molded around it. I believe that the most leading way of making the sculpture is through carving. The figure has been released from the confines of the trees. The soft materials have been used to make the sculpture making it easy for the spirit wall to be molded around the sculpture. The sculpture seemed to have considered the tensile strength of the material before coming up with the sculpture. Therefore, because of its weight and size, it makes it compatible with the spirit wall.

The material used to come up with the sculpture provide determines how the observer feels about it. The spirit wall makes the observer have a certain feeling when touching the material. The material that the sculptor used here gives the architecture character. It also makes an observer feel the character of the artwork (Horowitz, 1992). For instance, looking at the image, one can experience the character because the sculptor is not suppressing it so that the observer can see something else. It appears to be light, not so hard, has a smooth surface shiny, and grainy. It also appears to reflect enough light to allow better viewing. It is also important to note that it has natural color and appears durable. As a consequence, there is a significant interplay between the architecture and the spirit wall, thus offering both aesthetic and psychological feelings to the observer.

In conclusion, relief carving is known to connect with the observer’s feelings and experience easily. It also makes an observer imagine through the sculpture. The material used, the technique, the placing of the sculpture, the weight and height, and the forms (whether closed or open), as well as texture, provides aesthetic and satisfactory feelings and experience among the audience.

References

Green, C. (2001). The third hand: Collaboration in art from conceptualism to postmodernism. U of Minnesota Press.

Horowitz, F. A. (1992). More Than You See a Guide to Art.

Knapp, R. G. (1999). China’s living houses: Folk beliefs, symbols, and household ornamentation. University of Hawaii Press.