Thematische Bibliographien / Metaphysical painting / art / Zeitschriftenartikel
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Zeitschriftenartikel zum Thema „Metaphysical painting / art“

Autor: Grafiati
Veröffentlicht am 28. September 2024
Zuletzt aktualisiert am 31. Juli 2025

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1

Surlapierre, Nicolas. "La fabrique de l'Atelier : les trajets italiens de Ferdinand Springer (1926-1939)." Studiolo 1, no. 1 (2002): 177–92. http://dx.doi.org/10.3406/studi.2002.1097.

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The fabric of the Atelier : the Italian journeys of Ferdinand Springer (1926-1939). The influence of Italy in Ferdinand Springer's work allows not only to assess the ascendancy of contemporary Italian painting but also to broach the issue of surrealism and metaphysical painting. In addition to the «Old Masters», Ferdinand Springer's two main references are Carlo Carrà and Giorgio Morandi. Morandi's «anti-rhetoric of the everyday» contrasts with Carlo Carrà's metaphysical painting which multiplies the references to a reflection on art and the wider dialogue between modernity and memory. Ferdina
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Cardoso, L. "The Novel Cântico Final and the Metaphysical Value of the Art in Vergílio Ferreira: From the Novel to the Film." International Journal of Trend in Scientific Research and Development 4, no. 1 (2019): 798–801. https://doi.org/10.5281/zenodo.3606253.

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In Cântico Final, the main character, M¡rio is torn between the metaphysics of art, the physical dimension of the ruined chapel, the transcendent project of painting it, in an absolute limit situation that is his return to his native village to die. The protagonist proves to be a Vergilian instrument to demonstrate the meta physical nature of Art, translated into the transcendence immanence embodied in the Chapel. In this sense, the narrator is a fundamental piece for understanding the narrative web. In this novel, he establishes an almost metaphysical proximity to the protagonist,
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Ligęza, Wojciech. "Bruegel, Caravaggio, van Gogh i inni. Malarskie tematy w późnej twórczości Kazimierza Wierzyńskiego." Przestrzenie Teorii, no. 42 (December 30, 2024): 153–65. https://doi.org/10.14746/pt.2024.42.7.

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In the late period of Kazimierz Wierzyński’s poetry the poems devoted to paintings are parallel to poems about writers and literature, also about composers and music. Intertextuality of Wierzyński links with reflections about his own biography, consideration about contemporary history and meditations devoted to existential and metaphysical quests. This poet took up the attentive studies upon the world art. Writing about victory of the universal values, he wants to overcome the traumaticexperiences of exile. In the history of art Wierzyński searched the areas of rescue. He considered philosophi
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Kormin, Nikolai Aleksandrovich. "Art and aesthetic structures of metaphysics of color." Культура и искусство, no. 5 (May 2020): 47–76. http://dx.doi.org/10.7256/2454-0625.2020.5.32877.

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This article analyzes the aesthetics of color as a branch of metaphysics of light and entire photonic zone, which from phenomenological perspective can be viewed as the source of intentional radiations in various bands. It is demonstrated that the image of light is the result of work of aesthetic and artistic consciousness that pan the world and place of a human therein; at the same time, it is important to underline the set-up of meaning with all its predicates in the a posteriori score of color perception itself. Special attention is given to examination of the phenomenology of color. Metaph
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Dimitrova, Denitsa. "Postmodern Aesthetics and Mythological Imagery in the Late Works of Yavor Tsanev." Visual Studies 8, no. 3 (2024): 391–97. https://doi.org/10.54664/nwme9165.

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The article considers the art of Yavor Tsanev as personal, clothed in silence, even aristocratic. He has a very clean, laconic, synthetic language in his painting. He is a minimalist who achieves a very strong and deep spiritual stillness and drama in his art. His works visually leave an impression of hypnotic and metaphysical impact, with accumulated spiritual experience. In them, freedom was achieved in the thematic-mythological interpretation of the soul and spiritualization of the material. The paintings of Yavor Tsanev are conceived as fascinating narratives, filled with fantasy in the co
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Tes, Agnieszka. "Wybrane dzieła współczesnego polskiego malarstwa abstrakcyjnego w świetle Ingardenowskiej koncepcji jakości metafizycznych." Argument: Biannual Philosophical Journal 9, no. 1 (2019): 81–100. http://dx.doi.org/10.24917/20841043.9.1.5.

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Selected works of the contemporary Polish abstract painting in the light of Ingarden’s
 conception of metaphysical qualities: The main thesis of my article is that Roman Ingarden’s concept of metaphysical qualities can be adapted to analyze and interpret artworks that
 represent some tendencies in abstract painting. I start by summarizing this concept, taking
 into consideration the elements of its reconstructions that are present in the source literature,
 especially those aspects that concern art. Although Ingarden’s idea can be used with many
 examples, I employ it
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Rimpau, Laetitia. "<i>A noir – O bleu !</i> Von Laut und Schrift zur Fläche. Joan Miró und seine Methode der <i>peinture-poétique</i>." Zeitschrift für Katalanistik 21 (July 1, 2008): 121–50. http://dx.doi.org/10.46586/zfk.2008.121-150.

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Summary: Joan Miró is a towering figure in the landscape of modern art. In the 1920s, when the Catalan painter came to Paris, he totally renewed his conception of techniques and aesthetics. Generally, the works of this period are regarded as “dream pictures”, “automatic paintings”, as a constant part of French Surrealism. The following study tries, in opposition to the current approach, to show that Miró was sceptical about the surrealistic theories and practise of art, conceding having only “une tendance surréaliste”. In the Écrits, Miró offers details about important origins of inspiration:
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Lysenkov, Alexey Yu. "Features of the representation of architectural space in the painting works of Giorgio de Chirico." Urban construction and architecture 14, no. 3 (2024): 152–56. http://dx.doi.org/10.17673/vestnik.2024.03.19.

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This article describes the features of the depiction of architectural space in the paintings of the surrealist artist Giorgio de Chirico. In general terms, surrealism is described as an artistic style of the early twentieth century, its emergence, distinctive features and semantic tasks; The questions in relation to Giorgio de Chirico are examined in more detail: from what architectural objects and constituent elements is the urban space of his paintings formed, what objects are the main semantic parts, the general universal architectural model of the formation of such a space in de Chirico’s
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Rostova, N. N. "Ilya Glazunov: The Sacrificer of the National Spirit." Orthodoxia, no. 4 (September 29, 2023): 129–41. http://dx.doi.org/10.53822/2712-9276-2022-4-129-141.

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The article explores the philosophical meaning of Ilya Glazunov’s paintings. The author states that the artist understood the art not as the aesthetic category, but through the idea of worship. The artist considered it his ultimate mission to bring Russian meanings back to the Russian people. Essentially, this entails overcoming our metaphysical groundlessness. This approach allows us to characterize the art of Ilya Glazunov as modern and even topical in the era of cultural and intellectual desolation. In this sense, the literalism of Glazunov’s images becomes the strong side of his works. The
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Sakhno, Irina. "The Metaphysics of Presence and the Invisible Traces: Eduard Steinberg’s Polemical Dialogues." Arts 11, no. 5 (2022): 85. http://dx.doi.org/10.3390/arts11050085.

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The article examines the paintings by Eduard Steinberg, a Soviet non-conformist painter from the 1950s to the 1980s from the standpoint of the plastics of his language. The author focuses on Steinberg’s polemical dialogues with the greatest names in Russian and European avant-garde art, including both common points and disagreements. By analyzing the painter’s texts through the prism of poetics of the invisible and the ontology of traces, the author observes Steinberg’s early art of the 1960s and 1970s as an attempt to create a symbolic language and attach an ideographic status to art. Through
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Louria-Hayon, Adi. "A Post-Metaphysical Turn: Contingency and Givenness in the Early Work of Dan Flavin (1959–1964)." Religion and the Arts 17, no. 1-2 (2013): 20–56. http://dx.doi.org/10.1163/15685292-12341253.

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Abstract Dan Flavin’s fluorescent light installations have long served art historians by marking the turn from the late modernist illusionist space of painting to the new immanence of specific objects. In the narration of this genealogy, the crux of minimalism, as Hal Foster calls it, rests on a nominal approach that proclaims metaphysical relations as an obstacle and calls out to evade any notion of meaning. By contrast, this essay asserts the primacy of metaphysics in Flavin’s [en]lighted work. By tracing the artist’s scholastic education, his contemporary theo-political stance, and his reje
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Agbeshie, Abraham. "Vintage elements: Sourcing an aesthetic inspiration for contemporary Ghanaian painting." Journal of African Art Education 3, no. 1 (2023): 23–47. http://dx.doi.org/10.59739/jaae.v3i1.062302.

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This study identified and discussed how some contemporary Ghanaian painters have so much interest in vintage elements. The descriptive research method was used as a qualitative inquiry for this study. The expert type of purposive sampling method was employed to select five contemporary Ghanaian painters (Brother Owusu-Ankomah, Patrick Tagoe-Turkson, Elijah Sofo, Emmanuel Adiamah, and Papa Kofi Kum-Essoun) whose artworks focused on vintage elements in material content and subject matter. The study used direct observation and unstructured interviews to collect data. Thus, the data were analysed
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Florkovskaya, A. K. "The Fearlessness of Vitality: Transforming the Sublime in Painting of the 2000s." Art & Culture Studies, no. 1 (2021): 48–61. http://dx.doi.org/10.51678/2226-0072-2021-1-48-61.

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The article is devoted to vitality in the art of the twentieth century, interpreted as the Sublime. Vitality manifests itself in art in a very diverse way. The dramatic attitude of the world, suffering, and pain are often synonymous with “vitality” today. But the art of oblivion is also permeated with vitality, “intoxicating”, helping to overcome the horror of existence; as well as art, attaching to the metaphysical source of being. It can be defined as sacred optimism and the ancient art and the art of the avant-garde are especially vividly evidence of it. In this case vitality is in direct c
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Duan, Lian. "The Peircean order of signification and its encoding system in Chinese landscape painting." Semiotica 2018, no. 221 (2018): 199–218. http://dx.doi.org/10.1515/sem-2015-0032.

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AbstractApplying Peirce’s semiotics to the study of art history, this essay explores the order of signification in the Peircean theory and the visual order in Chinese landscape painting. Since the purpose of Chinese landscape painting is not simply to represent the beauty of scenery but to encode and manifest the philosophy of Tao, then, the author argues that the establishment of the encoding mechanism in Chinese landscape painting signifies the origination, development, and establishment of this genre in Chinese art history. In this essay, the Peircean order of signification is described as
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Oleynik, Maria. "Visual Representation of the Marine Theme in the Artistic Culture of Russia (XVIII–XX Centuries)." Ideas and Ideals 14, no. 2-2 (2022): 350–62. http://dx.doi.org/10.17212/2075-0862-2022-14.2.2-350-362.

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Тhe meaning of visual representation includes perception of information through the visual image. This form of information delivery to the general public was known in pagan cultures and asserted itself in Christianity. Since the late 20th century the concept of visualization united in itself not only religious and artistic images, but also the vision of mass culture. The performed research places emphasis on the establishment and the development of visual representation in Russia’s art culture of the ХVIII-XIX centuries. During the reign of Peter the Great, in a succession of state reforms and
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Kim, Eun-a. "Philosophical Background of Development of the Theories of SeoHwaDongChe, SeoHwaDongChul and SeoHwaDongWon." Korean Society of Calligraphy 41 (September 30, 2022): 159–80. http://dx.doi.org/10.19077/tsoc.2022.41.07.

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This article is to reveal the meaning of the thoughts of SeoHwaDongChe (書畵同體: Calligraphy and drawing are same as each other), SeoHwaDongChul (書畵同出: Calligraphy and drawing are beginning together) and SeoHwaDongWon (書畵同源: Calligraphy and drawing sprout from same root) focusing on the understanding of the correlation between Seo (Calligraphy) and Hwa (Painting) that appeared on the stream of the aesthetics of Seo and Hwa flowing through such eras as Tang, Song and Yuan dynasties in China. The transition process of the relation between Seo and Hwa from DongChe to DongChul that finally went to Do
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Guardiano, Nicholas. "Notes toward a Semeiotic of Art." Cognitio: Revista de Filosofia 24, no. 1 (2023): e61862. http://dx.doi.org/10.23925/2316-5278.2023v24i1:e61862.

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Although Charles Peirce only rarely applied his semeiotic principles to art, his ideas are highly informative for contemplating the exchange of qualitative meaningin the iconic signs constitutive of art. Reflecting on Peirce’s theory of the icon, three hypo-iconic sub-types, the formative role of the sign-interpretant, and the metaphysical “qualisignificance” of a universe “perfused with signs”, I provide some theoretical notes toward sketching a semeiotic of art. Further illustrative of a Peircean semeiotic of art is the American painting of the Hudson River School and the modern poetry of Wa
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Labaune-Demeule, Florence. "De Chirico Revisited: The Enigma of Creation in V.S. Naipaul’s The Enigma of Arrival." Commonwealth Essays and Studies 22, no. 2 (2000): 107–18. http://dx.doi.org/10.4000/1249p.

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The Enigma of Arrival openly claims Chirico’s painting to be its source of inspiration. The novel explains the process of creation, showing that the genesis of the work of art constantly hovers between intertextuality and meta-narration. The performative value of Naipaul’s narrative and its circular structure both draw the reader’s attention to parallels with Chirico’s painting and lead him away from it. The metaphysical point of view developed in Chirico’s vision enables the writer to preserve the truth of experience, thus unveiling the process of artistic creation while leaving the mystery o
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Faritov, Vyacheslav T. "Speculation in sounds: Metaphysical aspects of Alfred Schnittke's musical creativity." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 54 (2024): 204–17. https://doi.org/10.17223/22220836/54/18.

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The article is devoted to the study of the phenomena of the philosophical aspects of the musical creativity of Alfred Garrievich Schnittke based on the analysis of Symphony No. 2 for chorus, soloists and symphony orchestra. Based on the philosophical and aesthetic concepts of F. Nietzsche and P.A. Florensky, the author explicates philosophical perspectivism as the main metaphysical content of the composer's musical works. In this study, the author proceeds from the thesis that the philosophy of music is the true and main content of The Birth of Tragedy. It is metaphysics, the search for the fu
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Bychkov, Victor. "Wackenroder’s “Phantasies” about Art as a Manifest of Romantic Aesthetics." Философия и культура, no. 8 (August 2023): 111–26. http://dx.doi.org/10.7256/2454-0757.2023.8.43886.

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Wackenroder is a Romantic author of a metaphysical-religious orientation. For him, the creator of art and its most adequate perceiving subject is God. As for art, he sees it as most tightly connected to religion, for both help the human being to rise from the earthly hassle to the heavenly sphere. The art of all times and nations contains a common essence – the beautiful – which is expressed in a variety of ways. Therefore the human being is capable of learning how to see beauty in any art medium. Wackenroder speaks of two symbolic languages that help the human being grasp heavenly matters: th
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Virijevic, Mitrovic Vera. "Paris Period of Cuca Sokić 1936-39." Zbornik narodnog muzeja istorija umetnosti, no. 18 (2008): 457–69. https://doi.org/10.5281/zenodo.10116737.

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The Paris period of Ljubica Sokić encompasses the paintings from 1936 to 1939, whi-ch she produced in the course of her stay in Paris, including a couple that she did during her periodical visits home in Belgrade. They differ in terms of style and theme - and include genre-scenes, views of the city itself, its parks, streets, buildings, as well as in-teriors, mostly of her studio. In them, we notice the influence of contemporary french trends, and also her maturity and her gradual development of the idea of the autonomy of painting in relation to the perceived object of the painting.In Paris,
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Sulikowska-Dejena, Agata. "A Plein Air Painting Event as a Liminal Experience Building the Artists’ Community." Przegląd Socjologii Jakościowej 20, no. 3 (2024): 36–49. http://dx.doi.org/10.18778/1733-8069.20.3.03.

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The subject of the article is a plein air painting event, considered as a liminal experience that is widely practiced by traditional artists to create and maintain communities in the local and supra-local art fields. The interest in organizing this kind of meetings among artists, modern art galleries, and art schools is not decreasing, and one can talk about the exceptionally long duration of the phenomenon. This article discusses the experience of participants for whom these joint meetings have a metaphysical dimension. The descriptions and expressions used by the artists have become the insp
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Beaudin Pearson, Natasha. "Merleau-Ponty and Barthes on Image Consciousness: Probing the (Im)possibility of Meaning." Dianoia: The Undergraduate Philosophy Journal of Boston College 6, no. 1 (2019): 8–18. http://dx.doi.org/10.6017/dupjbc.v6i1.11727.

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Why exactly do paintings and photographs affect us, despite being flat, inanimate objects? Merleau-Ponty and Barthes both attempted to answer just as much and arrived at two conflicting accounts of the ontology of image consciousness. In Merleau-Ponty’s conception, paintings offer an infinite number of hermeneutic possibilities, while in Barthes’, photographs are a “closed field of forces,” thereby making their meanings necessarily contingent and circumscribed. In an effort to identify the point of contention between the two theories, this paper first outlines Merleau-Ponty’s phenomenology of
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Tarasenko, Andrii, and Olga Tarasenko. "Interpretation of Lesya Ukrainka's feerie drama in the Panel Painting by R. Petruk, “Forest Song”. School of M. Storozhenko." Art and Design, no. 1 (May 20, 2025): 80–91. https://doi.org/10.30857/2617-0272.2025.1.6.

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The study aimed to reveal the individual interpretation of Lesya Ukrainka's drama-feerie in the painting by R. Petruk “Forest Song”. Hermeneutical, comparative, iconographic, iconological, historical and cultural methods were used. The correlation between the content of the drama and the mythopoetics of the pictorial image was analysed. The panel painting was studied concerning the theme of earthly and heavenly love in world art. The study analysed the nature of personification of images of natural elements; the conventionality of pictorial and spatial solutions; and the role of attributes in
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MARKOV, ALEXANDER VIKTOROVICH. "THE LAWS OF CHRISTIAN CULTURE IN THE LATE POETRY OF ELENA SCHWARTZ." Cultural code, no. 3 (2020): 7–14. http://dx.doi.org/10.36945/2658-3852-2020-3-7-14.

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The imagery of Fra Beato Angelico's fresco is grotesquely transformed in the poem dedicated to it by Elena Schwartz, as a reason for discussing the destiny of human. Painting is viewed as a way to relate a person to physical and metaphysical space, turning the circumstances of the current life into the details of another being, and tourism into a kind of pilgrimage to other worlds. The article reconstructs the structural opposition of the poem and proves that they create a working model of Christian culture. It has been established that Schwartz views Renaissance art not as naturalistic and re
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Harte, Tim. "A Visit to the Museum: Aleksandr Sokurov's Russian Ark and the Framing of the Eternal." Slavic Review 64, no. 1 (2005): 43–58. http://dx.doi.org/10.2307/3650066.

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In this close analysis of Aleksandr Sokurov's 2002 film Russkii kovcheg (Russian ark), Tim Harte explores the interplay between the medium of painting and cinema in this unprecedented ninety-minute single-shot film set in the grand halls and galleries of the Hermitage Museum. As Harte argues, the film's unique premise and setting allow Sokurov to convey how the museum, its art and history, and subsequently cinema can affirm a nation's culture, transporting die past ever so evocatively into the present in order to sustain culture's vitality. Throughout Sokurov's ninety-minute single-shot fusion
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Wang, Jing. "Heroic retro-utopian world in the work of Russian artist Pavel Ostrovyshev." Культура и искусство, no. 4 (April 2025): 88–98. https://doi.org/10.7256/2454-0625.2025.4.74111.

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The subject of the study is how the Russian artist Pavel Pokidyshev expresses and reconstructs an idealized social scene through his unique painting language. The article examines the following aspects in detail: the formation and expression of the painting language, the concept of time in the works (linear and interwoven time), the synthesis of visual elements from different cultures, and the mechanisms of constructing and conveying utopian ideals through visual art. Special attention is given to how Pavel Pokidyshev constructs the language of painting when transitioning from late Medieval ar
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Zamfir, Ioana. "Accuracy, veracity, and theological truth in the 16th century atlas &lt;i&gt;Theatrum Terrae Sanctae&lt;/i&gt;." Proceedings of the ICA 4 (December 3, 2021): 1–5. http://dx.doi.org/10.5194/ica-proc-4-116-2021.

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Abstract. The characteristics and appearance of an authentic map (in conformity with reality), together with the convention about how authenticity should be obtained in a map, continued to change since the beginning of modern cartography along the centuries. As Critical Cartography has emphasised, the authenticity of a map was in many cases just a convincing appearance, hiding intricate ideologies. However, the political role of maps is just one aspect of their significance, which does not exclude the existence of genuine beliefs and ideals which were guiding cartographers and map authors in t
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Jassim Hassan Al Bayati, Sahib, and Safaa Salah Rashid. "The image of the soldier in contemporary Iraqi painting." Al-Academy, no. 106 (December 15, 2022): 187–204. http://dx.doi.org/10.35560/jcofarts106/187-204.

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The research tagged (the image of the soldier in contemporary Iraqi painting) dealt with the concept of the image as one of the basic concepts in the creative achievement, whether it is in the field of art, literature or beauty. Therefore, the concept of the image expanded to express the various aspects of human creativity, including the field of painting. To know the image of the soldier in contemporary Iraqi painting, the research included four chapters. The first chapter focused on the methodological framework of the research, while the second chapter included three sections. The first topi
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Юшкова, О. А. "Simple things and metaphysical still life in Moscow art of the 1960s and 1970s." Iskusstvo Evrazii [The Art of Eurasia], no. 4(31) (December 29, 2023): 280–95. http://dx.doi.org/10.46748/arteuras.2023.04.018.

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Статья посвящена проблеме обращения художников разных направлений к мотиву «простые вещи», что нашло отражение в натюрморте 1960–1970-х годов. Обычно каждое направление рассматривается отдельно от общего художественного процесса. Автор на примере натюрморта прослеживает, как трансформируется проблематика, заданная временем, в творчестве мастеров официального круга, сурового стиля и различных вариантах андеграунда. Простые вещи неизбежно должны были привлечь внимание после почти тридцатилетнего преобладания тематической картины в советском искусстве. В период оттепели начинают цениться малые жа
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Stoicescu, Andreea. "Sacred Art Between Tradition and Personal Expression: The Orthodox Icon and Artistical Transgressions of the Canon." Diakrisis Yearbook of Theology and Philosophy 4 (May 31, 2021): 61–78. http://dx.doi.org/10.24193/diakrisis.2021.5.

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The aim of this article is to present a personal reflection regarding the theoretical/philosophical relation between the generally accepted theological grounding of icon painting and other contemporary artistical endeavours to integrate the religious feeling – of Christian-Orthodox inspiration. This reflection is based on a mixture of ideas from different thought-frameworks which have as common ground the need for speculating on issues such as ‘tradition understanding’, ‘personal expression’, ‘art and religiousness’, exactly those key-themes that are constituting the fundamental threads of my
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Kashchenko, A. V., and P. A. Kiselyov. "FROM LOUIS TO THE "CARNIVAL OF THE DEAD MONGTS": WESTERN ARTIN SEARCH OF MEANING, OR HOW PAINTERS THROWN BETWEEN THE CROSS AND BONES." Experience industries Socio-Cultural Research Technologies, no. 4 (2024): 53–87. https://doi.org/10.34680/eiscrt-2024-4(9)-53-87.

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In today's Russian mass consciousness, there is an attitude that contemporary art, primarily Western, embarked on the path of departure from canonical images and structures in relatively recent times –about a hundred years ago. Tracing the path of WesternEuropean painting since the Renaissance –and even earlier –since the theological discussion of the nature of the Tabor light in the mid-14th century, one can conclude about the continuity of the ideological line, the ontological essence between modern postmodern artists (such as the Belgian of Flemish origin Jan Fabre) and their predecessors o
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Emilia, C. "Art therapy with children surviving cancer used to relieve symptoms associated with death, loss and pain." European Psychiatry 64, S1 (2021): S682—S683. http://dx.doi.org/10.1192/j.eurpsy.2021.1809.

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IntroductionSince dying is inevitable, it is part of life, children need to be able to deal with the feelings and emotions associated withs death, loss and pain. When the grieven child move among the art modalities, he or she is able to deepen understaning of his or her lived experiences.ObjectivesOur aim is to uncover these new perspectives and sources of inspiration in order to advance in defining the importance of resilience in personal development.MethodsWe made use of the following techniques: ceramic, drawing, modeling, painting, assemblage of unconventional materials, multimedia techniq
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Kostetskaya, Anastasia. "Symbolism in Flux: The Conceptual Metaphor of "World Liquescence" Across Media, Genres and Realities." Slavic and East European Journal 59, no. 3 (2015): 413–30. http://dx.doi.org/10.30851/59.3.004.

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“Symbolism in Flux: the Metaphor of World Liquescence across Media, Genre and Realities” examines cultural implications of conceptual metaphor, in this case the metaphor of liquescence of the human emotional domain. The central question discussed in my paper is how poetics of water is metaphorically present in visual discourses of boundary transgression and blending, both static and dynamic, namely painting and film of the Russian Symbolist period. In my analysis of the painterly and cinematic texts selected, I apply concepts from cognitive linguistics, specifically Conceptual Metaphor Theory
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Berehovska, H. "William Kurelek’s “Multicultu-ralism”: author’s creative method." Culture of Ukraine, no. 72 (June 23, 2021): 176–82. http://dx.doi.org/10.31516/2410-5325.072.25.

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The purpose of the study — to analyze the phenomenon of the author’s style “multiculturalism” in the painting of the Canadian-Ukrainian artist W. Kurelek, as well as to characterize the unique author’s artistic technique.&#x0D; The methodology. Symbolic-metaphysical and philosophical aspects of the artist’s work are studied on the basis of art analysis of individual paintings. The method of formal and stylistic analysis helped to identify the appearance of individual works, characterized the artistic processes that took place in the Canadian-Ukrainian environment, which had a significant impac
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Niu, Xuebiao. "WU CHENG’EN’S NOVEL “JOURNEY TO THE WEST” AND ITS RESOURCES FOR ANIMATED ADAPTATIONS." Scientific and analytical journal Burganov House. The space of culture 19, no. 3 (2023): 22–38. http://dx.doi.org/10.36340/2071-6818-2023-19-3-22-38.

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This article explores the potential for producing animated movies based on the Chinese classic novel «Journey to the West». The author traces the evolution of the plot and characterizes the main features of the famous literary work, the adaptation of which was repeatedly used not only by Chinese, but also by Japanese, Korean and other animators. Over the years and centuries, the pilgrimage of the Tang monk and his companions to India in search of the sacred sutras has evolved from historical accounts to folklore tales, and eventually to plays, after which the journey has become the subject of
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Zhang, Xiaolong. "What is visual Vaporwave? Vaporwave arts and their history and position in China." Mutual Images Journal, no. 10 (December 20, 2021): 295–326. http://dx.doi.org/10.32926/2021.10.zha.vapor.

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By Vaporwave we refer to a digital-born electronic music genre and a trend in visual aesthetics. It emerged in some US-based online communities in the early 2010s, and now its visual expressions are in vogue in Chinese visual media context. In this article, Vaporwave’s aesthetics are discussed through three stages of analysis. In the first part, the paper outlines relevant theories and general features of Vaporwave’s (both visual and musical) aesthetics; next, the paper focuses on Vaporwave's visual characteristics, and, to provide a deeper understanding of its visual aesthetics, I discuss a s
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Thomas, KErstin. "The Still Life of Objects – Heidegger, Schapiro, and Derrida reconsidered." eitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 60. Heft 1 60, no. 1 (2015): 81–102. http://dx.doi.org/10.28937/1000106256.

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Kerstin Thomas revaluates the famous dispute between Martin Heidegger, Meyer Schapiro, and Jacques Derrida, concerning a painting of shoes by Vincent Van Gogh. The starting point for this dispute was the description and analysis of things and artworks developed in his essay, “The Origin of the Work of Art”. In discussing Heidegger’s account, the art historian Meyer Schapiro’s main point of critique concerned Heidegger’s claim that the artwork reveals the truth of equipment in depicting shoes of a peasant woman and thereby showing her world. Schapiro sees a striking paradox in Heidegger’s claim
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Mankovskaya, N. B. "The Emotional Sphere of a Romantic Hero in an Artistic and Aesthetic Perspective." Art & Culture Studies, no. 1 (March 2025): 10–33. https://doi.org/10.51678/2226-0072-2025-1-10-33.

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The article reveals the influence of the emotional sphere of a romantic hero on the generation of innovations of the artistic and aesthetic nature — romantic drama, psychological prose, philosophical poetry, metaphysical writing, as well as premonitions of innovations in different types and genres of art — existentialist reflections, thrillers, suspense, postmodern irony, the techniques of theatre within theatre, and the principle of interactivity, which received a response in the 20th-21st centuries. The article analyses the spectrum of romantic experiences that has a lifepurpose character an
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Ushakova, Olga M. "Wagnerian Contexts and Wagner’s Codes of T.S. Eliot’s Poetry, 1910-20s." Literature of the Americas, no. 10 (2021): 266–309. http://dx.doi.org/10.22455/2541-7894-2021-10-266-309.

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The paper deals with the analysis of reception and poetic transformation of aesthetic concepts and music ideas of Richard Wagner (1813–1883) in the works by T. S. Eliot (1888–1965). The research material includes the poems of the 1910-20s (“Opera”, “Paysage Triste”, “The Love Song of J. Alfred Prufrock”, The Waste Land) as well the essay “Dante” and lectures “The Varieties of Metaphysical Poetry”, “The Music of Poetry”. The research is aimed to solve the problem of genesis of Eliot's Wagnerianism and identify the Wagnerian codes for his poetic texts. Following the representatives of literary W
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Mikhailov, Igor F. "How to whistle something that can not be said." Вестник Пермского университета. Философия. Психология. Социология, no. 2 (2024): 180–91. http://dx.doi.org/10.17072/2078-7898/2024-2-180-191.

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Art languages are not easy to study because, even if their syntax can be analyzed, their semantics poses a difficult problem. Natural descriptive language with its semantics as a reference to external objectivity does not work as a model for this area because, firstly, in this case the specificity of art as such is lost, and secondly, such a model is not applicable to music, surrealist painting, and avant-garde poetry. Understanding artistic symbols as directly referring to human emotions also cannot form the basis of a semantic theory of art since the connection between expressive means and e
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Avtukhovich, Tatiana Je. "“Ode on a Grecian Urn” by John Keats and its reflections in Russian poetry of the 20th and 21st centuries." Imagologiya i komparativistika, no. 21 (2024): 186–206. https://doi.org/10.17223/24099554/21/9.

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The article raises the question of the mythological substratum of “Ode on a Grecian Urn” by John Keats. It shows that the motivic structure of Keats’s work is determined by the archetypal semantics of the vase image and hidden reminiscences referring to the complex of myths about Apollo. According to the dictionaries of symbols, the vase symbolizes the Great Mother, the feminine perceiving principle, the unity of the universe. The archetypal semantics of the keyword in the title makes Keats’s poem a zone of symbolic generalization and motivates his appeal to myth as a way to overcome the bound
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Maiste, Juhan. "Miks kõneleb Laokoon kirjasõnas ja ei kõnele marmoris?" Baltic Journal of Art History 11 (November 30, 2016): 9. http://dx.doi.org/10.12697/bjah.2016.11.02.

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In this article, the author focuses on the work called Laocoön, which was one of the most popular subjects for 18th century art writers. The first description of the work was provided by Pliny the Elder who, in the 36th volume of his Naturalis historia, calls it the best work of the art in the world – be it painting or sculpture. Pliny identifies three artists from Rhodes – Hagesandros, Polydoros and Athenedorus – as the authors of the Laocoön Group. After the sculpture was found in the vicinity of the Basilica of Santa Maria Maggiore, the Laocoön has repeatedly aroused the interest of art his
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Gornykh, Andrei. "Linear perspective as aesthetic form." UKRAINIAN CULTURAL STUDIES, no. 1 (14) (2024): 93–97. http://dx.doi.org/10.17721/ucs.2024.1(14).14.

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Background. The article provides a theoretical reconstruction of the linear perspective functioning as more than just an artistic technique that emerged and became an attribute of paintings starting with the Italian Trecento, in particular, in the works of Giotto. The purpose of the article is to reveal the heuristic potential of aesthetic form not in reflecting the consequences of the economic landscape transformation, but in anticipating its transformation and directing the efforts of the subject in its reorganization. The research's methodology is focused on the dynamics of cultural forms t
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Beregovska, Kh. "ICONOGRAPHY AND STYLISTICS IN THE SERIES OF ARTWORKS OF "PASSIONS OF THE CHRIST" BY VASYL KURELEK." Series, phenomenon, subject, creativity, The Passion of Christ, Canadian, William Kurelek., no. 4 (November 30, 2018): 29–33. https://doi.org/10.5281/zenodo.1745336.

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Art Criticism is a young field in Ukraine and is just beginning to grow into maturity. Many topics have been adequately studied and scores of names have been recognized, but hundreds of worthy artists are waiting to be registered and feted in the national discourse. The history of the 20th century was such that artists of Ukrainian heritage often found themselves creating outside the borders of their native land. However, regardless of the geographic locale in which the art was created, it always had at its nucleus the traditions of the artist&rsquo;s native land. One such artist, well known a
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Sabadash, Ju. "ITALIAN MODEL OF POSTMODERNISM (BASED ON GIORGIO FALETTI’S WORKS)." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 10, no. 20 (2020): 87–94. http://dx.doi.org/10.34079/2226-2830-2020-10-20-87-94.

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The article presents the vital and creative path of the famous Italian writer Giorgio Faletti, who successfully transformed the foundations of European postmodernism into the context of national traditions. There has been reproduced the specifics of the Italian cultural space in the article, where for a century both literature and other forms of art went through complex and contradictory path: from the “verism” by J. Vergi, “futurism”, “metaphysical painting”, “neorealism” to “intellectual irony” by Umberto Eco. There has been analyzed the fundamental principles of postmodernism, in the contex
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Kelly, Emma. "Mainmast Speaks: The paintings of Pauline Thompson." Back Story Journal of New Zealand Art, Media & Design History, no. 8 (December 1, 2020): 49–68. http://dx.doi.org/10.24135/backstory.vi8.57.

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This paper explores the work of Pauline Thompson (1942-2012), an Auckland based artist who painted throughout her adult life. Although she received local critical acclaim for her work in a ‘Pop Art Idiom’ in the 1960s, as Pauline’s work shifted to a more ‘metaphysical’ style she arguably became less fashionable. This paper considers the reception of her work by art critics, the context in which she was creating her work, and the general discourse of art critics in Aotearoa over the period of her career. Pauline’s own writings and discourse on her practice are interpolated into the discussion.
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Иванченко, Светлана Анатольевна. "On Some Features of M. A. Voloshin’s Color Picture of the World and the Means of its Verbalization." Tomsk state pedagogical university bulletin, no. 1(225) (January 30, 2023): 95–102. http://dx.doi.org/10.23951/1609-624x-2023-1-95-102.

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Особый интерес М. Волошина к цветонаименованиям вызван как особенностью эпохи (Серебряный век), так и его увлечением не только поэтическим словом, но и в равной степени изобразительным творчеством. Цветовая картина мира стихотворений М. Волошина отличается многообразием колорем, передающих оттенки того или иного цвета, и необычностью создаваемых цветообразов, в которых обнаруживаются особенности восприятия автором мира. В статье приводятся результаты исследования семантики и символического значения частотных колорем, встречающихся в лирических текстах М. Волошина, данные анализа отдельных стих
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Professor, Terry Hyland. "Artistic Expression and New Philosophical Models of Consciousness: Images of Neo-Idealist Perspectives." ISRG Journal of Arts Humanities & Social Sciences (ISRGJAHSS) II, no. V (2024): 434–43. https://doi.org/10.5281/zenodo.13997833.

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<strong>Abstract</strong> <em>The connections between artistic expression, philosophical perspectives and scientific theories have been evident throughout art history and revealed in painting, literature, sculpture and architecture.&nbsp; Restricting the exploration to painting in all its forms, this article is concerned principally with the interrogation of links between philosophical studies of consciousness and images which may emerge from recent neo-idealist metaphysics which posit the notion that consciousness &ndash; not the physical world of matter - is the sole ontological primitive. A
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Merjian, Ara H. "Giorgio de Chirico's ‘Jewish Hour’: Metaphysical Painting in Ferrara, 1915-18." Art History 41, no. 5 (2018): 922–57. http://dx.doi.org/10.1111/1467-8365.12403.

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