9/26/2023 0 Comments First rhinoceros drawing![]() Indian rhinos once ranged throughout the entire stretch of the Indo-Gangetic Plain, but excessive hunting and agricultural development reduced its range drastically to 11 sites in northern India and southern Nepal. Pobitora Wildlife Sanctuary in Assam has the highest density of Indian rhinos in the world with 84 individuals in an area of 38.80 km 2 (14.98 sq mi) in 2009. Kaziranga National Park alone had an estimated population of 2,048 rhinos in 2009. As of August 2018, the global population was estimated to comprise 3,588 individuals, including 2,939 individuals in India and 649 in Nepal. ![]() Moreover, the extent and quality of the rhino's most important habitat, the alluvial Terai-Duar savanna and grasslands and riverine forest, is considered to be in decline due to human and livestock encroachment. It is listed as Vulnerable on the IUCN Red List, as populations are fragmented and restricted to less than 20,000 km 2 (7,700 sq mi). Requirements will include three papers, last one being a research paper.The Indian rhinoceros ( Rhinoceros unicornis), or Indian rhino for short, also known as the greater one-horned rhinoceros or great Indian rhinoceros, is a rhinoceros species native to the Indian subcontinent. Readings will be from both primary (in translation) and secondary sources. Along with the major names such as Dürer, Rembrandt, and Piranesi, the course seeks to expose students to a wider range of artists: Barbari, Bellange, Callot, Castiglione, Della Bella, Goltzius, Hollar, Mellan, Seghers, Tiepolo, and others. Additionally, we will study prints that accompanied books as illustrations, drawn from the collection of the Newberry Library. We will closely examine the smallest and the largest of prints in the collection of the Art Institute’s Prints & Drawings Department: for instance, large-scale woodcuts such as The Triumph of Christ and The Submersion of Pharaoh’s Army in the Red Sea, both after Titian, or Andreani’s Triumph of Caesar, after Mantegna, as well as small-scale devotional pieces such as the anonymous German engraving of St. The course will specifically address questions of mobility of prints and, connected to it, problem of scale in early modern prints. The aim of this COSI seminar is to study European print production roughly during the period 1450-1750, emphasizing technical variance, geographic extent, and range of functionality. Outfitted with persuasive rhetorical guarantees, Dürer’s rhinoceros was dressed for any occasion and became a touchstone for how print functioned in early modernity. The rhinoceros connected diverse genres and audiences by means of a recognizable and highly particular image. Second, perhaps more importantly, copies sensitized viewers who were increasingly able to recognize the animal as it charged into a host of new settings. First, copies confirmed the beast’s actual appearance through multiple citations. As this essay will argue, Dürer’s woodcut ripened in future repackaging through its copies. Dürer’s visual presentation of the rhinoceros carried with it a cachet that later copyists saw fit to preserve. With its armored plates, horns, profuse speckling, and stark profile, Albrecht Dürer’s woodcut from 1515 visually epitomized the rhinoceros for early modern Europeans who had never seen one, and even those who had. This essay examines the knowledge-making properties of the copy and the role of stock images in sharpening visual literacy.
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