Chair

They are counter-weighted so as to not slide off the arms under the weight of the remote control. A Sand castle can be regarded as a sand sculpture. Remote control bags can be draped over the arm of easy chairs or sofas and used to hold remote controls. Sound sculpture is often site-specific. They come in various shapes, some specifically sized to fit partially under a desk. 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. This allows chairs on wheels to roll easily over the carpet and it protects the carpet. The snow is densely packed into a form after having been produced by artificial means or collected from the ground after a snowfall.

Chair mats are plastic mats meant to cover carpet. 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. Car seats sometimes have built-in and adjustable lumbar supports. Kinetic sculptures are sculptures that are designed to move, which include Mobiles. Obus Forme is a major brand in this category and helped develop this market niche. Ice sculptures feature decoratively in some cuisines, especially in Asia. Orthopedic backrests provide support for the back. Popular in China, Japan, Canada, Sweden and Russia.

In cars, they may be used to increase the height of the driver. Ice sculpture is a form of sculpture that uses ice as the raw material. Some are decorative. 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. Chair pads are cushions for chairs. Modernist movements included Cubism, Futurism, Minimalism, Installation art and Pop-Art. In the second half of 20th century, some people used custom clear plastic covers for expensive sofas and chairs to protect them. 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.

Covers for sofas and couches are also available for homes with small children and pets. 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. The chair covers may come with decorative chair ties, a ribbon to be tied as a bow behind the chair. 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. They are typically rented for formal events such as wedding receptions to increase the attractiveness of the chairs and decor. 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 (sculptor)) 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). A chair cover is a temporary fabric cover for a side chair. 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.

If matched to a glider, the ottoman may be mounted on swing arms so that the ottoman rocks back and forth with the main glider. 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. An ottoman is a short stool to be used as a footrest but can sometimes be used as a stool. Early masters of modern classicism included: Aristide Maillol,Alexander Matveev, Joseph Bernard, Antoine Bourdelle, Georg Kolbe, Libero Andreotti, Gustav Vigeland, Jan Stursa. In place of a built-in footrest, some chairs come with a matching ottoman. Grandiosity was still a concern, but in a broader, more world-wide context. Canada's Canadian General Standards Board CAN/CGSB 44.15M [6] on "Straight Stacking Chair, Steel"). Greater attention was given to examples of ancient and Medieval sacred arts:Egyptian, Middle Eastern, Asian, African, and Meso-American.

Governments will often issue standards for purchases by government agencies (e.g. Greater attention was given to showing what was eternal and public, rather than what was momentary and private. Large institutions that make bulk purchases will reference these standards within their own even more detailed criteria for purchase [5]. Greater attention was given to psychological realism than to physical realism. Under these higher loads, the chair may be damaged, but it must not fail catastrophically. 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. The specification further defines heavier "proof" loads that chairs must withstand. Modern Classicism showed a lesser interest in naturalism and a greater interest in formal stylization.

It specifies things like[4]:. But he is often considered a sculptural Impressionist, like Medardo Rosso, Count Troubetski, and Rik Wouters, attempting to frame the charm of a fleeting moment of daily life. The Business and Institutional Furniture Manufacturer's Association (BIFMA) defines BIFMA X5.1 for testing of commercial-grade chairs. He might be considered as sui generis -- that is, if anyone successfully composed in his turbulent, virtuosic style, they have yet to be discovered. ASTM E1822-02b defines the combustibility of chairs when they are stacked. Auguste Rodin was the most renowned European sculptor of the early 20th century. ASTM F1858-98 specifies lawn chairs. Modern Classicism contrasted in many ways with the classical sculpture of the 19th Century which was 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.

ISO 7174 specifies stability of rocking and tilting chairs. In sculpture, the most familiar representatives are the Italian Antonio Canova, the Englishman John Flaxman and the Dane Bertel Thorvaldsen. Bean bag chairs are specified by ANSI standard ASTM F1912-98[3]. The sculpture examples they actually embraced were more likely to be Roman copies of Hellenistic sculptures. Dental chairs are specified by ISO 6875. One of his most famous works is Ecstasy of St Theresa. There are multiple specific standards for different types of chairs. His first works were inspired by Hellenistic sculpture of ancient Greece and imperial Rome he could study in the new seat.

ISO 9241-5:1988[2], "Ergonomic requirements for office work with visual display terminals (VDTs) -- Part 5: Workstation layout and postural requirements " is the most common one for modern chair design. Bernini was undoubtedly the most important sculptor of the Baroque period. Design considerations for chairs have been codified into standards. The characteristic Baroque sculpture added extra-sculptural elements, for example, concealed lighting, or water fountains. Open center seats where a soft material is attached to the tops of chair legs or between stretchers to form the seat. For the first time, Baroque sculpture often had multiple ideal viewing angles. Some systems include: Solid center seats where a solid material forms the chair seat. 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.

Chair seats vary widely in construction and may or may not match construction of the chair's back. It is considered a masterpiece of Mannerist sculpture. See also seats in movie theaters, and pictures of benches with and without arm rests. 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. A loveseat in particular, has no arm rest in between. Instead of being shown victorious over a foe much larger than he, David looks tense and ready for combat. Arm rests prevent or complicate both desired and undesired proximity. 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.

in public transport and other public places, and to prevent lying on the bench or coach. It is an example of the contrapposto style of posing the human figure. The latter may be provided for comfort, but also for privacy e.g. Michelangelo's David is possibly the most famous sculpture in the world, which was unveiled on September 8, 1504. A couch, bench, or other arrangement of seats next to each other may have arm rest at the sides and/or arm rests in between. Among the many sculptures of Michelangelo are those of David and the Pietà, as well as the Doni Virgin, Bacchus, Moses, Rachel, Leah, and members of the Medici family. Hence in some chair designs, the armrest is not continuous to the chair back, but is missing in the elbow area. Conceived fully in the round and independent of any architectural surroundings, it was the first major work of Renaissance sculpture.

Armrests should support the forearm and not the sensitive elbow area. At the time of its creation, it was the first free-standing nude statue since ancient times. Armrests further have the function of making entry and exit from the chair easier (but from the side it becomes more difficult). His greatest achievement of his classic period is the bronze David (not to be confused with Michelangelo's David), which is currently located at the Bargello in Florence. If so, armrests will support part of the body weight through the arms if the arms are resting on the armrests. One of the most important sculptors in the classical revival was Donatello. A chair may or may not have armrests. There was a very obvious naturalism about contemporary sculpture, and highly true to life figures were being sculpted.

For adjustable chairs, the aforementioned principles are applied in adjusting the chair to the individual occupant. Sculpture was also revived, in many cases before the other arts. In some airplanes and stadiums the seat pitch is so small that there is sometimes there is no leg room for the average person. 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. "Seat pitch" is the distance between rows of seats. 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. The buttock-knee length is used to determine "leg room" between rows of chairs. In England sculpture was more confined to tombs and non-figurine decorations.

Elbow rest height is used to determine the height of the armrests. The Bamberg Cathedral had the largest assemblage of 13th century sculpture. Hip breadth is used for chair width and armrest width. Prior to this there had been no sculpture tradition in Ile-de-France—so sculptors were brought in from Burgundy. Additional anthropometric measurements may be relevant to designing a chair. 1145) are the earliest Gothic sculptures and were a revolution in style and the model for a generation of sculptors. Mass produced chairs are typically 38-43 cm deep. The architectural statues at the Western (Royal) Portal at Chartres Cathedral (ca.

This anthropometric measurement is used to determine the seat depth. 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. For someone seated, the buttock popliteal length is the horizontal distance from the back most part of the buttocks to the back of the lower leg. 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. Mass produced chairs are typically 17 inches high. Sculpture was still a trade, but exceptional sculptors were recognized on a level with exceptional poets and painters. The popliteal height, after adjusting for heels, clothing and other issues is used to determine the height of the chair seat. 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.

(The term "sitting height" is reserved for the height to the top of the head when seated.) For American men, the median popliteal height is 16.3 inches and for American women it is 15.0 inches[1]. Worldwide, sculptors are usually tradesmen whose work is unsigned. It is sometimes called the "stool height". The topic of social status. For someone seated, the popliteal height is the distance from the underside of the foot to the underside of the thigh at the knees. 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. The two most relevant anthropometric measurement for chair design is the popliteal height and buttock popliteal length. Occasionally, the nude form draws objections, often by fundamentalist moral or religious groups.

Anthropometric statistics may be gathered for mass produced chairs. Nude statues are usually widely accepted by most societies, largely due to the length of tradition that supports this form. Individuals may be measured for a custom chair. 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. Actual chair dimensions are determined by measurements of the human body or anthropometric measurements. Nude sculptures are still common. By matching the shape of the occupant's buttocks, weight is distributed and pressure at any given point is reduced. Subsequently, nudity in sculpture and painting has represented a form of ideal, be it innocence, openness or purity.

A contoured seat pan attempts to distribute weight without padding. Doryphoros of Polykleitos, led to nude figurative statues being seen as the 'perfect form' of representation for the human body. Where padding is not desirable, contouring may be used instead. The Renaissance preoccupation with Greek classical imagery, such as the 4th century B.C. For example, in hot climates, padding with fabric or plastic covers is often uncomfortable against the skin. Athletes, priestesses and gods could be identified by their adornment or lack of it. There may be cases where padding is not desirable. A Nude or 'unadorned' figure in Greek classical sculpture was a reference to the status or role of the depicted person, deity or other being.

Chairs that have padding that is the same density front and back will feel soft in the back area and hard to the underside of the knees. The topic of Nudity. Since most of the body weight is supported in the back of the seat, padding there should be firmer than the front of the seat which only has the weight of the legs to support. Features that the European Classical tradition shares with many others:. In lieu of padding, flexible materials, such as wicker, may be used instead with similar effects of distributing the weight. Features unique to the European Classical tradition:. Spreading the area reduces the pressure at any given point. See also sculpture garden.

The same body weight over a smaller area means greater pressure on that area. Perhaps the majority of public art is sculpture. A hard wood chair feels hard because the contact point between the occupant and the chair is small. Some common forms of sculpture are:. However, padding does distribute the weight by increasing the area of contact between the chair and the body. An overview of forms. Padding will not shift the weight to different parts of the body (unless the chair is so soft that the shape is altered).
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Padding can be on the seat of the chair only, on the seat and back, or also on any arm rests and/or foot rest the chair may have. Modern sculptors use both classical and abstract inspired designs. Many chairs are padded or have cushions. Minimalist sculpture (Richard Serra) often replaced the figure in public settings. A sit-stand chair distributes most of the weight of the occupant to the feet. In the 1950s traditional sculpture education would almost be completely replaced by a Bauhaus influenced concern for abstract design. A kneeling chair adds an additional body part, the knees, to support the weight of the body. Public buildings of the first half of the 20th century often provided an architectural setting for sculpture, especially in relief.

A stool or other simple chair may have a simple straight or curved bar near the bottom for the sitter to place his/her feet on. 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. Some chairs have foot rests. 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. Reclining chairs typically have at least shoulder height backrests to shift weight to the shoulders instead of just the lower back. 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. Headrests support the head as well and are important in vehicles for preventing "whiplash" neck injuries in rear-end collisions where the head is jerked back suddenly. 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.

Shoulder height backrests support the entire back and shoulders. The ancient art of Egyptian sculpture evolved to represent the ancient Egyptian gods, and Pharaohs, the divine kings and queens, in physical form. In general, backrests come in three heights: Lower back backrests support only the lumbar region. The earliest known sculptures are from the Nok culture of Nigeria, made around 500 BCE. The back of the chair will support some of the weight of the occupant, reducing the weight on other parts of the body. African art has an emphasis on Sculpture - African artists tend to favor three-dimensional artworks over two-dimensional works. However, reclining may not be suitable for chairs intended for work or eating at table. The two Nio guardian images (1203) in the Great South Gate of the Todaiji in Nara illustrate Unkei's dynamic suprarealistic style.

In general, if the occupant is suppose to sit for a long time, weight needs to be taken off the seat area and thus "easy" chairs intended for long periods of sitting are generally at least slightly reclined. The Kei school of sculptors, particularly Unkei, created a new, more realistic style of sculpture. This may be more comfortable for some in reducing weight on the seat area, but may be problematic for others who have bad backs. Inside the Kondo at Horyu-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. A reclining seat and back will shift weight to the occupant's back. During the Kofun period of the third century, clay sculptures called haniwa were erected outside tombs. A lower seat may shift too much weight to the "seat bones" ("ischial tuberosities"). Most Japanese sculpture is associated with religion, and the medium's use declined with the lessening importance of traditional Buddhism.

It may also result in no weight on the feet which means more weight elsewhere. Countless paints and sculpture were made, often under governmental sponsorship. A seat that is higher results in dangling feet and increased pressure on the underside of the knees ("popliteal fold"). 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 commerical sculpture genres (the collector plates, figurines, toys, etc) and avant garde Chinese artists began to participate in the Euro-American enterprise of contemporary art. Ergonomic designs distributes the weight of the occupant to various parts of the body. One place where sculptural portraiture was pursued, however, was in the monasteries. Easy chairs for watching television or movies are somewhere in between depending on the height of the screen. Chinese sculpture has no nudes --other perhaps than figures made for medical training or practice -- and very little portraiture compared with the European tradition.

Dental chairs are necessarily reclined. Pottery from many periods have been collected, and again the Tang period stands out apart for its free, easy feeling. "Task chairs", or any chair intended for people to work at a desk or table, including dining chairs, can only recline very slightly; otherwise the occupant is too far away from the desk or table. Following the Tang, Western interest in Chinese artifacts drops off dramatically, except for might be considered ornamental furnishings, and especially objects in jade. Intended usage determines the desired seating position. 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. Chair design considers intended usage, ergonomics (how comfortable it is for the occupant), as well as non-ergonomic functional requirements such as size, stackability, foldability, weight, durability, stain resistance and artistic design. 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.

. (coinciding with what in Europe is sometimes called "The Dark Ages". See history of the chair for an extended look at chairs from antiquity to the modern day. The period now considered to be China's golden age is the Tang Dynasty. Headrests for seats in vehicles are important for preventing whiplash injuries to the neck when the vehicle is involved in a rear-end collision. (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. There may be separate headrests. 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.

The back may extend above the height of the head. The first period of interest has been the Zhou Dynasty (1050-771 BC), from which come a variety of intricate cast bronze vessels. Likewise, the back and sometimes the seat are made of porous materials or have holes drilled in them for decoration and ventilation. 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 back often does not extend all the way to the seat to allow for ventilation. Meanwhile, elsewhere in India, less anotomically accurate styles of human representation evolved, leading to the classical art that the world is now familiar with, and contributing to Buddhist and Hindu sculpture throughout asia. Chairs as furniture are typically not attached to the floor and so can be moved. Newer sculptures in Afghanistan, in stucco, schist or clay, display very strong blending of Indian post-Gupta mannerism and Classical influence, Hellenistic or possibly even Greco-Roman.

A chair mounted in a vehicle or in a theatre is simply called a seat. 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. A separate footrest for a chair is known as an ottoman, hassock or poof. Artistically, the Gandharan school of sculpture is said to have contributed wavy hair, drapery covering both shoulders, shoes and sandals, acanthus leaf decorations, etc. A chair for more than one person is a couch, sofa, settee, loveseat (two-seater without arm rest in between) or bench. This may be because Gandharan Buddhist sculpture in modern Afghanistan displays Greek and Persian artistic influence. Without back and arm rests it is called a stool. 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 some of his symbols.

Chairs also often have legs to support the seat raised above the floor. During the 2nd to 1st century BCE in far nothern India, in what is now southern Afghanistan and northern Pakistan, sculptures became more explicit, representing episodes of the Buddha’s life and teachings. A chair is a piece of furniture for sitting, consisting of a seat, a back, and sometimes arm rests, commonly for use by one person. Some huge shrines, such as the one at Ellora were not actually constructed using blocks, but instead carved out of solid rock, making them perhaps the largest and most intricate sculptures in the world. seat cycle strength of 100,000 repetitions of 125 pounds (57 kg) dropped from 2 inches (50 mm) above the seat. Later, as Hinduism, Buddhism and Jainism developed further, India produced some of the most intricate bronzes in the world, as well as unriveled temple carvings. seat strength of 225 pounds (102 kg) dropped from six inches (150 mm) above the seat. This is one of the earliest instances of sculpture in the world.

leg strength of 75 pounds (34 kg) applied one inch (25 mm) from the bottom of the leg. The first sculptures in India date back to the Indus Valley civilization, where stone and bronze carvings have been discovered. chair stability if weight is transferred completely to the front or back legs. See also Thai art. chair backstrength of 150 pounds (68 kg). Many Thai sculptures or temples tended to be gilded, and on occasion enriched with inlays. Metal, Metal mesh or wire woven to form seat. In Thailand, sculpture was almost exclusively of Buddha images.

Splint, ash, oak or hickory strips are woven. Also see Angkor Wat. Caning, woven from rush, reed, rawhide, heavy paper, strong grasses, cattails to form the seat, often in elaborate patterns. 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. Tape, wide fabric tape woven into seat, seen in lawn chairs and some old chairs. Many different forms of sculpture were in use in the many different regions of Asia, often based around the religions of Hinduism and Buddhism. Fabric, simple covering without support. In his late writings, Joan Miró even proposed that some day sculptures might be made of gases; see gas sculpture.

Leather, may be tooled with a design. Andy Goldsworthy is notable as a sculptor for his use of almost entirely natural materials in natural settings. Wicker, woven to provide a surface with give to it. See also body fluids in art. Stone, often marble. Sculptors are constantly searching for new ways to make art and for new materials to make it with, including blood, feces, dead animals. Molded plastic. Computers and motors can also be used in sculptures, leading to works that may be classified as robotic.

Metal seats of solid or open design. Many artists use video and computers in their sculptures as well. Stuffed fabric, similar to padded leather. Some sculptures are multimedia, for example sound sculptures which, as their name implies, produce sound. Padded leather, generally a flat wood base covered in padding and contained in soft leather. It is common for film sculptors to use blocks of polystyrene to carve large statuary from, although not particularly durable it is light and can be cut easily using a hot wire. Wood slats, often seen on outdoor chairs. However, advancements in technology and changes have broadened the range of materials sculptors can choose to use, including glass and sand, aluminum, polymers and many other synthetic materials, and liquid crystals.

Solid wood, may or may not be shaped to human contours. Most traditional sculpture materials are still in wide use today. Sculptors often built small preliminary works called maquettes of ephemeral materials such as plaster of paris, wax, clay and even plasticine, as Alfred Gilberts did for 'Eros' at Piccadilly Circus, London. More common and less expensive materials were used for sculpture for wider consumption, including woods such as oak, box and lime; terracotta and other ceramics; spelter; and metals such as pewter. More rarely precious materials such as gold and ivory were used for chryselephantine works.

Sculpture made for royal courts or large public works were often produced in expensive durable materials, primarily bronze and stone such as marble, limestone, porphyry, and granite. . A sculpture is a three-dimensional, man-made object selected for special recognition as art. doll.

mask. costume. glass blowing. pottery.

Hologram. ambient space feels sacred or timeless. pieces feel solid and larger than they really are. details do not disrupt a sense of rhythm between solid volumes and the spaces that surround them.

characters present an attitude of distance and inner contentment. Concern for naturalism based on observation, often from live models. use of classical costume and attributes of classical deities. portraits: showing signs of age and strong character.

full figures: using the young, athletic male or full-bodied female nude. Statue. Site-Specific Art. Relief: sculpture still attached to a background, standing out from that ground in "High Relief" or "Low Relief" (bas relief).

Mobile (See also Calder's Stabiles.). Jewellery. "In the round": designed by the sculptor to be viewed from any angle. Fountain.

Free-standing sculpture, not intended to be displayed on a pedestal or shelf. Equestrian (horse) sculpture. The bust, a representation of a person from the chest up.