Journal articles on the topic 'Art Oriental influences'
To see the other types of publications on this topic, follow the link: Art Oriental influences.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Art Oriental influences.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Pejovic, Roksanda. "Musical instruments depicted in medieval Serbian art under oriental and western influences." Muzikologija, no. 5 (2005): 15–26. http://dx.doi.org/10.2298/muz0505015p.
Full textAbstract:
Researching musical instruments on frescoes, miniatures, icons and sculptural decorations of mediaeval Serbian art, painted and sculptured in the manner of Byzantine art, we discover Oriental and Western influences. Musical instruments arriving from the Orient were unchanged for centuries and those from West Europe were mainly used in the Middle Ages or the Renaissance. Oriental and Western influences can be observed on instruments of all families-idiophones, membranophones, bowed and string instruments, as well as on aero phones. The same form of some crotales and cymbals can be found both in Oriental and Western art, the majority of membranophones are of Oriental origin, but the tambourine on Bodani frescoes originated in West Europe. Lyres and angular harps are close to Antique tradition. Some bowed instruments, psalteries, lutes, harps, short horns, business and shawms have Oriental patterns and other instruments of these families accepted Western shapes. There are, as well, same kinds of bowed instruments and S-trumpets peculiar for both continents.
2
Du Plessis, Hester. "Oriental Africa." Tydskrif vir Letterkunde 45, no. 1 (February 16, 2018): 87–100. http://dx.doi.org/10.17159/2309-9070/tvl.v.45i1.4465.
Full textAbstract:
Arab culture and the religion of Islam permeated the traditions and customs of the African sub-Sahara for centuries. When the early colonizers from Europe arrived in Africa they encountered these influences and spontaneously perceived the African cultures to be ideologically hybridized and more compatible with Islam than with the ideologies of the west. This difference progressively endorsed a perception of Africa and the east being “exotic” and was as such depicted in early paintings and writings. This depiction contributed to a cultural misunderstanding of Africa and facilitated colonialism. This article briefly explores some of the facets of these early texts and paintings. In the first place the scripts by early Muslim scholars, who critically analyzed early western perceptions, were discussed against the textual interpretation of east-west perceptions such as the construction of “the other”. Secondly, the travel writers and painters between 1860 and 1930, who created a visual embodiment of the exotic, were discussed against the politics behind the French Realist movement that developed in France during that same period. This included the construction of a perception of exoticness as represented by literature descriptions and visual art depictions of the women of the Orient. These perceptions rendered Africa as oriental with African subjects depicted as “exotic others”.
3
Kluczewska-Wójcik, Agnieszka. "modernité "orientale"." Manazir Journal 3 (March 7, 2022): 110–30. http://dx.doi.org/10.36950/manazir.2021.3.8.
Full textAbstract:
Oriental influences present in Polish culture since the Middle Ages and incarnated by the idea of “sarmatisme” were re-evaluated or outright rejected by the young modernist generation. In fact, at the turn of the nineteenth and twentieth century the traditional Polish “Orientality” was replaced by a wave of interest for the aesthetics of Islamic art, a reflection of the European “Oriental renaissance”. The Polish imaginarium had long associated the art and culture of Islam uniquely to the Middle East and its craft. The romantic epoch brought with it a new interest for medieval Spain, Granada in particular, its history and monuments, reflected in the poetry of Adam Mickiewicz and the museographic realisations of Izabela Czartoryska at Puławy or Tytus Działyński at Kórnik. If architectural projects, principally of “Moorish” synagogues and internal decorations for aristocratic and bourgeois palaces still belong to a nineteenth century oriental current, they do however already reveal a will typical of pre-war decades by virtue of granting significance to Islamic decorative principles. In the first decades of the twentieth century, “à l’orientale” motifs recurrent in fashion and the visual universe, as witnessed by contemporary novels, found a sort of counterpoint in propositions made by representatives of the Polish applied art revival movement, successful hybridization of European, oriental and popular models: fabrics, carpets, metal and leather objects of artists from the Warsztaty Krakowskie (Cracow workshops, founded 1913) such as Józef Czajkowski, Wojciech Jastrzębowski, Bonawentura Lenart, and Karol Tichy, “javano-cracovian” batiks of young workshop apprentices or even the glazed ceramics of Stanisław Jagmin. Displayed at the 1925 Exhibition of Modern Decorative and Industrial Arts in Paris, the Cracow Workshop adherent’s productions draw the attention of the European public and critics on this peculiar breed of national “primitivist” style tainted with Orientalism.
4
Law, Kian Aun, and Teddy Kok Fei Lian. "The Roles and Wisdom of Chinese Traditional Philosophy in Explaining Corporate leadership." New Trends and Issues Proceedings on Humanities and Social Sciences 3, no. 2 (March 27, 2021): 37–46. http://dx.doi.org/10.18844/prosoc.v3i2.1597.
Full textAbstract:
Theory development in leadership has been researched in different ways, depending on the researcher’s methodological choices and understanding of leadership. Using an inductive analysis based on this study, the influences of Chinese traditional philosophy on leadership have emerged. Specifically, the themes of the influences are pointed to the following Chinese traditional philosophies: (1) Spiritual- Buddhism; (2) Humanity-Confucianism; (3) Naturalistic-Taoist philosophy; and (4) Strategic- Sun Zi Art of War. The knowledge and evaluated understanding of the Chinese traditional philosophy are embedded in the life experiences of the respondents. Considering the dynamics of corporate leadership practices and the demands of the ever-changing macro, meso and micro environments, situational context as well as the followership, it is important to acknowledge that wisdom or wisdom to act, rather than mere leadership behaviour that would ensure generation of leadership dynamism. Such an acknowledgement could further drive and reinforce and offer a richer view to sustain the wisdom to act derived from Oriental values and philosophy that influence corporate leadership practices for organizational success and performance.Â
5
Mădălina Dana, Rucsanda, and Noémi Karácsony. "Compositional particularities and asian influences in the musical conception and works of john cage." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 139–54. http://dx.doi.org/10.24193/subbmusica.2022.1.09.
Full textAbstract:
"One of the most important figures of the 20th century, avant-garde composer, artist, writer, and theorist John Cage was deeply influenced by various philosophical orientations from South and East Asia, such as Hinduism, Buddhism, Taoism, Zen, and I-Ching. He studied various doctrines and the works of several Asian philosophers, which resulted in the reorientation of his philosophical and aesthetic ideas. At the same time, this influenced his musical style, the conception of his compositions, as well as his thoughts on the functions of art – discernible in his music. Cage identified himself with certain ideas he encountered in the philosophical texts he studied, but he refrained from describing himself as representative of any of these orientations. Unlike other Western composers inspired by oriental art and music, Cage was rather influenced by the philosophical dimension of Asia. He avoided the use of Asian music sources in his works and was not interested in using new sounds for the sake of creating a novel musical discourse but aimed to evoke or emphasize certain philosophical ideas through his composition. The aim of the present paper is to present the Asian philosophical influences that marked the figure of John Cage, his perspective on life and art, and influenced his rhetoric, as well as the ideas that he employed within his compositional process. Keywords: John Cage, Asia, Avant-garde, Hinduism, Buddhism, Zen, I-Ching, indeterminacy "
6
Curtis, John. "Mesopotamian bronzes from Greek sites: the workshops of origin." Iraq 56 (1994): 1–25. http://dx.doi.org/10.1017/s0021088900002771.
Full textAbstract:
It is well-known that close contacts between Greece and the Near East were already being forged in the Geometric Period (c. 1100–750 BC) and this resulted in objects of Near Eastern origin being imported into Greece well before the mid-8th century, for example ivories and metal bowls. It is assumed these Oriental goods and influences were transmitted to Greece and the islands via the Phoenician ports on the eastern shore of the Mediterranean and to a lesser extent overland through Anatolia. In the subsequent Archaic Period (c. 750–500 BC), particularly in the so-called Early Orientalizing Period, these contacts were intensified and the importation of Near Eastern luxury goods is attested by the presence of ivory plaques for furniture, bowls, cauldrons, weapons and jewellery. In this period, too, Oriental forms and motifs were copied or adapted to produce objects in a so-called Orientalizing style. The problem is therefore twofold. The first difficulty is to distinguish between objects imported from the Near East and those produced locally but deriving their inspiration from the Near East (Oriental versus Orientalizing). The second problem is to decide, if an object is Oriental, which part of the Near East it comes from. It is clear that many different cultures are represented: as well as Assyrian and Babylonian, there are also Phoenician, Syrian, Neo-Hittite, Urartian, Phrygian, Iranian, Caucasian and Egyptian. It is often difficult to distinguish between the products of these cultures, even when the material is found in the Near East where there was considerable interchange of goods particularly in the early 1st millennium BC, and it is even more difficult when it is found in Greece. Pierre Demargne took a particularly pessimistic view. He wrote:“It is hard to classify the Oriental objects found in Greece. Our knowledge of them is still too meagre for us to distinguish with any certainty between ‘Oriental’ or ‘Orientalizing’ or to plot out a chronological and geographical distribution of objects according to their more or less Orientalizing nature. Nor have we any reliable means of tracing these objects to specific workshops in the East. We can only assume that the art centres whence they came were numerous” (Demargne 1964, p. 329).
7
Sentevska, Irena. "All that turban-folk: Orientalism and neo-folk music in Serbia." Bulletin de l'Institut etnographique 68, no. 3 (2020): 641–60. http://dx.doi.org/10.2298/gei2003641s.
Full textAbstract:
In this paper I look at the ?oriental controversy? of the neo-folk music in Serbia, focusing on the changes in the perception of the longstanding Serbian-Bosnian ensemble Juzni vetar (Southern Wind) in the academic circles, media and various segments of the music industry. The affirmative attitude towards the performers and music legacy of Juzni vetar, which has in recent years gradually entered the media from the alternative (non-commercial) music and art circles, may be observed in the context of the contemporary globalized music industry which constantly challenges orientalist assumptions and divisions between East and West. The key turning point in this process is the newly-embraced understanding of Juzni vetar (and ?turban-folk? in general) as part of Serbia?s cultural heritage. Using a representative sample of academic and media comments, in this paper I shed some light on the shifts in the reception of Juzni vetar primarily as an indication of the wider changes in the reception of the Ottoman legacy and contemporary influences of the ?Orient? in the contemporary Serbian culture, not excluding the wider context of Southeastern Europe.
8
Lah, Nataša. "Prilog širenju teorijske domene u povijesnom prostoru povijesti umjetnosti." Ars Adriatica, no. 3 (January 1, 2013): 243. http://dx.doi.org/10.15291/ars.472.
Full textAbstract:
In the European cultural tradition of the second half of the nineteenth century, the framework of the discipline of art history was outlined through a clearly defined set of boundaries of its research into objects, space and time. By identifying itself as a history of European architecture, painting, sculpture and the applied arts, art history excluded the art of the primitive, Oriental, American and Asian, both early and moredeveloped civilizations from the remit of its research and study (Dilly). However, a scholarly paradigm which was postulated like this could not be applied to the study and assessment of numerous twentieth-centuryartistic practices which were based on the exploration of cultures as systems of discourse and ideology. In other words, a shattering shift within the discipline was caused by the epochal change of what a paradigm is: as suggested by T. S. Kuhn, it is understood as thenormative content of the topic under discussion. Such an understanding of a paradigm indirectly influences scholarly processes because it dictates what is to be researched, which questions are to be asked and how they are to be formulated, and how research findings are to be interpreted. Scholarly interest has turned from a chronological study of the development of artistic styles, schools and movements in the history ofEuropean art towards contextual research into the same topics which are set within a spatial and chronological framework of a series of discontinued revolutions in world views. The difficulty of applying a traditional scholarly apparatus to new models was also transferred in the field of aesthetics, which resulted in a complete rejection of the evaluation of art as judgement of taste, as it was specifically perceived in this philosophical (sub) discipline from Baumgarten (1750) onwards. To some degree, aesthetics was replaced by an interdisciplinaryunderstanding of art theory which developed from various autonomous disciplines which are nonetheless mutually interconnected through their research processes, that is, the social sciences and humanities such as history of art, art criticism, sociology of art, psychology of art, semiotics and semiology of art, philosophy of art and aesthetics. In such a context,our interest is directed towards the understanding of a theoretical field which has been defined as the history of art history, since it outlines the journey of a discipline, in Udo Kultermann’s book of the same name which is on the reading list for the course in art theory in Croatian academic art-historical circles. The study of that section of the book which describes the history of art history in the classical period, has demonstrated that the explanations and conclusions contained in it are in contrast to the explanations and conclusions of prominent art theorians, especially those who studied the history of aesthetics and classical philology. We can note the differences on two levels. The first is the methodology of scholarly research, while the second is based on a different perception of the boundaries of the domain of art-historical theory. Kultermann relies on a strict division with regard to content and methodology between art istory,philosophy (aesthetics) and historiography, and so, following from this, it appears that classical art history almost did not even exist. On the other hand, the theory of art takes into consideration the nature of classical historiographic standards, the aim of which was to provide examples of the normative content of philosophy, that is, the testimonies of its credibility and manifestation. Such an approach takes into account thecontent norms of the preserved classical sources about art, and through it, our perception of the position of art in that period focuses on the theoretical insights which are more encompassing than those encountered in the aforementioned section of Kultermann’s book. Based on this, we suggest that the evaluation of material should follow the methodological standards of art theory in such a way that individual artistic eras are understood and interpreted as historical periods which were unifiedthrough invariable paradigms which were always new and which integrated a large number of artistic concepts and ideas but which, nonetheless, possessed a general value in a specific period. According to Bihalji-Merin, we act like this out of gratitude towards an academicdiscipline which creates an orderly knowledge since the “images which lead us, constructed from a mythical tradition, disperse slowly and instead of them, a critical, human system of thought is formed.” Such aprocess focuses primarily on the revision of a number of hitherto unrevised prejudices towards theory.However, this is not done on the ruins of the historical legacy of art history but on its foundations.
9
Gao, Hui. "Oriental Elements in Cezanne’s Art." BCP Social Sciences & Humanities 18 (June 30, 2022): 266–69. http://dx.doi.org/10.54691/bcpssh.v18i.994.
Full textAbstract:
Paul Cezanne is one of the representative artists of post-impressionism in France. In the early 19th century, Japanese paintings were famous and influenced by the second industrial revolution and respected Oriental works of art. Many Western artists initially increased Oriental elements to create but superficial. In the mid-19th century, with the emergence of Oriental art stores in the streets of France, the popularity of Oriental works has been further developed. Until the late 19th century, represented by Cezanne artists, art has been dared to explore and innovate on the road. Painting, especially in the late paintings of many potential injections of Oriental elements. Cezanne did not go to the East; a visible blend of Eastern and Western art exploration seems to have a hidden fusion very early. Therefore, this paper attempts to conduct a preliminary discussion on three aspects of composition, artistic temperament, and color, which helps us further explore the early integration of Eastern and Western art.
10
Ivanova, Alina, and Judit Csanadi. "“Oriental” trends in Russian and Hungarian architecture." проект байкал 19, no. 72 (July 31, 2022): 140–49. http://dx.doi.org/10.51461/projectbaikal.72.1996.
Full textAbstract:
The article is devoted to three directions of oriental architecture – cult, palace and park. Its main part concerns the architecture of the Budapest synagogues. As an example of Russian orientalism, the phenomenon of Black Sea palaces of the highest St. Petersburg aristocracy is given. The Hungarian masterpiece of park oriental architecture, the elephant house in the zoo of Budapest, is analyzed. It is concluded that Orientalism had influence on the formation of national styles and fostered the development of Art Nouveau, Art Deco and Modernism.
11
Zheleznova, N. E. "INFLUENCE OF MUAY THAI ON FORMATION OF HEALTHY LIFESTYLE." Education and Science without Limits: Fundamental and Applied Researches, no. 10 (November 25, 2019): 287–90. http://dx.doi.org/10.36683/2500-249x-2019-10-287-290.
Full textAbstract:
For a long time oriental martial art, including muay thai (Thai boxing), were considered only as dangerous kinds of sports, main mission of which is self-defence. Certainly, it is one of the main aspects of any fighting art, and muay thai is, first of all a kind of martial art. At the same time, it is necessary to underline, that increasing popularity of healthy lifestyle has made muay thai more mass kind of sport. Now strengthening of health and self-estimation increase becomes one of the reasons inducing people to be engaged in this kind of sports, besides martial art, as well as simply keeping the body in physical form.
12
Scherbakova, Elena. "JAPONISME IN RUSSIAN ART CULTURE OF SILVER AGE." Herald of Culturology, no. 1 (2022): 74–85. http://dx.doi.org/10.31249/hoc/2022.01.04.
Full textAbstract:
The article tries to trace the Japan influence on the Russian Art Culture in the end of XTX - beginning of XX centuries. Tt is found that the beginning of Japanese culture reception in Russia was connected with decorative and applicable art and painting and then with the theatre, literature and music. Tn some cases reception took place indirectly through oriental genres of European Art.
13
Fulchignoni, Enrico, and Una Crowley. "Oriental Influences on the Commedia dell' Arte." Asian Theatre Journal 7, no. 1 (1990): 29. http://dx.doi.org/10.2307/1124035.
Full text
14
Bai, Huilin, and Hui-Ling Wendy Pan. "The Influence of Paternalistic Leadership on the Development of Oriental Critical Thinking." International Journal of Business and Management 17, no. 2 (January 13, 2022): 56. http://dx.doi.org/10.5539/ijbm.v17n2p56.
Full textAbstract:
In the context of globalization, critical thinking is still regarded as the core content of higher education. The difference between Eastern and Western cultures has a key impact on understanding critical thinking. When the current literature studies the influence of culture on critical thinking, it mainly considers from the macro level, mainly including ethnic history, traditional customs, religious beliefs, art, ethics, and so on. However, from a specific and micro cultural perspective, how critical thinking is influenced by a culture still lacks effective research. This paper studies the influence of Confucian paternalistic leadership on the development of critical thinking in the East from a specific cultural perspective. The study discovers that Asians are easier to understand how things change and they are more tolerant to conflict, which means that they see things as interrelated and interdependent. They are more likely to use intuitive and experience-based reasoning if there is a conflict between intuitive and logical reasoning. Benevolence and hierarchy in paternalistic leadership promote the formation of cooperative critical thinking in improving the operation of organizations so that the characteristics of oriental critical thinking can be analyzed more comprehensively.
15
강민정, 하종욱, and 김주형. "The Influence of Oriental Paintings Shown in Art Posters of the 19th Century." Journal of Korea Design Forum ll, no. 40 (August 2013): 19–28. http://dx.doi.org/10.21326/ksdt.2013..40.002.
Full text
16
Demeshchenko, Violeta. "Oriental Motives in the Aesthetics of the New Theater of Gordon Craig." Culturology Ideas, no. 14 (2'2018) (2018): 68–78. http://dx.doi.org/10.37627/2311-9489-14-2018-2.68-78.
Full textAbstract:
The article is an attempt to rethink the creativity of a well-known English director, artist, screenwriter and journalist Gordon Craig who, in his professional work, preferred the traditions of the Eastern Theatre (China, India, and Japan) and their aesthetics. The director also was fond of the ideas of symbolism, which made it possible to use the forms of figurative poetic and associative thinking effectively in theatrical performances being the means of transferring an emotional idea. The article also reveals the creative stages of the prominent English director Gordon Craig emphasising his theatrical experiments through the prism of oriental art, as well as how the director’s work as a whole influenced the formation of a new aesthetic tradition of the European theatre of the twentieth century. Undoubtedly, in the tradition of oriental art and theatre, Craig sought to borrow those living forms that could serve the creation of a new theatre; traditions verified by time could become a solid foundation for creative experimentation. Craig believed that new independent theatre art could arise only based on innovation, which includes the living knowledge of the theatrical past and the synthesis of all the achievements of European and Eastern culture. Craig’s experiments, conducted in the early twentieth century, his theoretical concepts of spatial construction of a spectacle, a new stage design, acting game and the philosophy of the super-puppets entirely influenced the entire theatre art of the twentieth century.
17
Thomine-Berrada, Alice. "Influences orientales à Genève." Bulletin Monumental 163, no. 4 (2005): 387–88. http://dx.doi.org/10.3406/bulmo.2005.1593.
Full text
18
Ozhoha-Maslovska, Alla. "Collections of Japanese Art in Ukraine." Intercultural Relations 3, no. 2(6) (February 16, 2020): 109–23. http://dx.doi.org/10.12797/rm.02.2019.06.06.
Full textAbstract:
The stages of the formation of Japanese art collections on the territory of Ukraine from the beginning of the 19th century to the present are highlighted on the basis of archival materials, periodicals and professional literature. Information about Japanese collections of the pre-war and post-war periods are systematized, while their composition and sources of formation are determined. The influence of the socio-political system on the development of the process of collecting Japanese art in Ukraine is also analysed. The sources of the formation of collections of Japanese art in the collections of The Bohdan and Varvara Khanenko National Museum of Arts in Kyiv, Odessa Museum of Western and Oriental Arts, the Chinese Palace of “Zolochiv Castle” Museum-Reserve, as well as Kharkiv Art Museum are explored. Finally, modern tendencies in the collection of Japanese art in Ukraine are determined.
19
Stoneman, Richard. "Oriental Motifs in the Alexander Romance." Antichthon 26 (November 1992): 95–113. http://dx.doi.org/10.1017/s006647740000071x.
Full textAbstract:
Over the centuries, the fabulous adventures of Alexander the Great have become as prominent in art and literature as his historical achievements. Medieval artists in particular are frequent sources of depictions of the hero in such adventures as the search for the water of life, the flight into the air in a basket borne by eagles, the descent into the sea in a diving bell, the interview with the talking trees of India and the visit to the dwellings of the gods. Familiar as these episodes are—or were—it is easy for us to forget how completely new a thing they represent in the tradition of Greek prose writing. With the decipherments of cuneiform some one hundred years ago, a number of scholars concluded that they could not have been developed entirely within the Greek tradition, and posited direct influence from one or more Babylonian or other near eastern sources or traditions to explain the occurrence in Greek literature of these curious tales. Despite the antiquity of these arguments, they have been accepted without examination by many more recent writers on the Alexander Romance.
20
Kurniawan, Iwan Jaconiah. "Intercultural Interaction: Indonesia and Soviet Society in the Sphere of Art Paintings in the Second Half of the XXth Century." Contemporary problems of social work 6, no. 2 (June 29, 2020): 65–71. http://dx.doi.org/10.17922/2412-5466-2020-6-2-65-71.
Full textAbstract:
the paper studies the problem of defining an intercultural interaction. The authors analyzed scientific works to identify and classify the Indonesian social realism art painting. In the second half of the XXth century, Indonesian artists had a close relationship with the Soviet Society in the sphere of fine art. The true influence can be found in the social-realism art movement between 1950–1965s in Indonesia during the first President Soekarno era. But the social-realism art movement was no longer because of the horizontal political conflict on September 30, 1965 as well-known as revolution. During the President Soeharto regime (1965–1999), all social realism fine art was destroyed. Socialist and communist ideology was banned in Indonesia. That’s why they represented socialism and communism style not growing freely until now. However, some paintings can be saved abroad by Russian scientists and art collectors. Since 2016, more than 30 Indonesian social-realism paintings were conserved, served, and shown into a historical exhibition in the State Museum of Moscow Oriental Art. These paintings became important in Indonesian social realism art history
21
Tes, Agnieszka. "Silence, Spirituality and Contemplative Experience in Contemporary Abstract Paintings. Analysis of Selected Examples." Perspektywy Kultury 31, no. 4 (December 31, 2020): 207–24. http://dx.doi.org/10.35765/pk.2020.3104.14.
Full textAbstract:
In recent decades, there has been increasing interest in including the spiritual dimension in artistic practice and in discourse on art. This phenomenon seems to be universal but is definitely not homogenic. I examine it by referring to meaningful examples of abstract paintings from different cultural and religious backgrounds. I analyze artworks by two contemporary bicultural painters: the American-Japanese artist, Makoto Fujimura, and American-Iranian artist, Yari Ostovany. The Polish non-figurative artist Tadeusz G. Wiktor is also considered. Their oeuvre can be set within the larger context of great religious and spiritual traditions. I stress the influence of Oriental legacy in contemporary examples of abstract art. I investigate how the selected artworks refer to an invisible reality, and I focus especially on the silence they evoke. My aim is to show how contemporary non-figurative art can influence the viewer by creating a contemplative experience. I also place the selected artworks in the theoretical contexts presented by the artists themselves and refer to classical and contemporary texts.
22
Shamsuddin, Salahuddin Mohd, and Siti Sara Binti Hj Ahmad. "Theatrical Art in Classical European and Modern Arabic Literature:." International Educational Research 1, no. 1 (June 14, 2018): p7. http://dx.doi.org/10.30560/ier.v1n1p7.
Full textAbstract:
No doubt that Classical Arabic Literature was influenced by Greek Literature, as the modern Arabic literature was influenced by European Literature. The narrative poetry was designed for the emergence of theatrical poetry, a poetry modeled on the model of the story with its performance in the front of audience. This style was not known as Arabic poetry, but borrowed from the European literatures by the elite of poets who were influenced by European literatures looking forward to renew the Arabic poetry. It means that we use in this article the historical methodology based on the historical relation between European and Arabic literature in the ancient and modern age.
The first who introduced the theatrical art in Arab countries was Mārūn al-Niqqāsh, who was of a Lebanese origin. He traveled to Italy in 1846 and quoted it from there. The first play he presented to the Arab audience in Lebanon was (Miser) composed by the French writer Molière, in late 1847.
It is true that the art of play in Arabic literature at first was influenced by European literatures, but soon after reached the stage of rooting, then the artistic creativity began to emerge, which was far away from the simulation and tradition.
It is true also that European musical theatres had been influenced later by Arabic literature and oriental literatures. European musical theatres (ʿAlāʾ al-Dīn and the magical lamp), the play (Māʿrūf Iska in Cairo) and the musical plays of (Shahrzād) are derived from (One thousand and one Nights).
This study aims to discover the originality of theatrical art in modern Arabic literature. Therefore it is focused on its both side: Its European originality and its journey to Arab World, hence its artistic characteristics in modern Arabic literature. We also highlight its journey from the poetic language to the prose.
23
Rezvan, Maryam. "Russia and Its Oriental Other: Self‑Cognition Through Mutual Influence (Intermediate Results of One Research Project)." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 26, no. 2 (December 2020): 85–87. http://dx.doi.org/10.31250/1238-5018-2020-26-2-85-87.
Full textAbstract:
The article aims at presenting the project Russian Orientalism (Science, Art, Collections), conducted by the team of researchers from the KunstkameraMuseum (St. Petersburg). We offer the reader an interpretation of orientalism, as having an inner unity of the way of perception and vision of the East, its co-creation, expressed in a wide variety of aspects: professional and scientific, artistic, everyday, etc. The resulting book shows that Russia's and “Orient” mutual history testifies to a continuous dialogue, through which we, realizing our dissimilarity, try to understand not only the Other, but also ourselves, through our reflection in it.
24
Baldavári, Eszter. "Magyar építészek Dél-Ázsiában és közvetítőszerepük a magyar építészetben." Modern Geográfia 17, no. 2 (2022): 141–56. http://dx.doi.org/10.15170/mg.2022.17.02.09.
Full textAbstract:
The role of oriental art was significant in architecture at the turn of the 19th and 20th century. While the Art Nouveau movement in Western Europe was influenced by the Japanese and Persian art, Hungary made efforts to find the origin of the Hungarian architecture. This study presents the Asian trip of architect Károly Róbert Kertész, published in his work entitled Architecture of Ceylon. In the 1930’s architect István Medgyaszay was invited to India to design a museum in Mumbai. His archive, containing the plans, photographs and letters born during the trip, can be found in the Medgyaszay Memorial House. During the reconstruction of Medgyaszay’s Indian trip (2021) some mysterious watercolour plans were discovered among his designs. Additionally, as a result of the research in Mumbai (2020) this study introduces István Medgyaszay’s friendship with Perin Jamshedji Mistri, the first professional woman architect in India; and highlights the role of Jenő Cholnoky geographer in the work of both of the aforementioned architects.
25
Nguyen, Lien Mai Thi, and Nhu Chan Minh Dieu Nguyen. "Approaching classical Japanese Haiku poetry through the perspective of ink painting art and application to teaching foreign literature for Literature Pedagogy students at Dong Thap University." Vietnam Journal of Education 5, no. 2 (June 23, 2021): 41–49. http://dx.doi.org/10.52296/vje.2021.98.
Full textAbstract:
Exploring the culture and literature of countries around the world is increasingly important in the current trend of international exchange and integration. Therefore, foreign literature disciplines, including Japanese literature, occupies an increasingly essential position in the curriculum of Dong Thap University. However, the perception and teaching of Japanese Haiku poems have long been challenged due to language barriers as well as cultural differences. In order for enhancing the quality of teaching Haiku poetry to Literature Pedagogy majors at Dong Thap University, the article presents a new approach towards classical Haiku poetry through the perspective of ink painting art (aka painting art). With the aim of observing the beauty of Japanese literature and culture, the study analyzes the causes and some specific manifestations of the similarities between Japanese ink painting art and classical Haiku poetry in terms of artistic methods. The root cause lies in the influence of Zen, as a cultural characteristic of the Japanese spirit, and the specific manifestations include the technique of empty spaces in ink painting art, and the empty poetic strategy in classical Haiku poetry, the features of the conception scenery and the moment characteristic in both Oriental art genres.
26
Nguyen, Lien Mai Thi, and Nhu Chan Minh Dieu Nguyen. "Approaching Classical Japanese Haiku Poetry through the Perspective of Ink Painting Art and Application to Teaching Foreign Literature for Literature Pedagogy Students at Dong Thap University." Vietnam Journal of Education 5, no. 2 (June 29, 2021): 52–60. http://dx.doi.org/10.52296/vje.2021.69.
Full textAbstract:
Exploring the culture and literature of countries around the world is increasingly important in the current trend of international exchange and integration. Therefore, foreign literature disciplines, including Japanese literature, occupies an increasingly essential position in the curriculum of Dong Thap University. However, the perception and teaching of Japanese Haiku poems have long been challenged due to language barriers as well as cultural differences. In order for enhancing the quality of teaching Haiku poetry to Literature Pedagogy majors at Dong Thap University, the article presents a new approach towards classical Haiku poetry through the perspective of ink painting art (aka painting art). With the aim of observing the beauty of Japanese literature and culture, the study analyzes the causes and some specific manifestations of the similarities between Japanese ink painting art and classical Haiku poetry in terms of artistic methods. The root cause lies in the influence of Zen, as a cultural characteristic of the Japanese spirit, and the specific manifestations include the technique of empty spaces in ink painting art, and the empty poetic strategy in classical Haiku poetry, the features of the conception scenery and the moment characteristic in both Oriental art genres.
27
Mamaeva, G. E. "Asian Studies Expert A. A. Semenov: Turkomstaris and Sredazkomstaris Periods (1921–1928)." Bulletin of Kemerovo State University 23, no. 4 (January 5, 2022): 865–75. http://dx.doi.org/10.21603/2078-8975-2021-23-4-865-875.
Full textAbstract:
The research featured the biography of Alexander A. Semenov (1873–1959), an outstanding expert in Asian Studies, who made a great contribution to Soviet and global oriental scholarship. The paper focuses on his work at the Turkestan Committee for Museums and Protection of Antiquities, Art, and Nature (Turkomstaris) and the Central Asian Committee for Museums and Protection of Antiquities, Art, and Nature (Sredazkomstaris) in 1921–1928. The research involved articles published by A. A. Semyonov in 1926 and 1928 in the Proceedings of the Central Asian Committee, as well as valuable data from publications made by Professor A. M. Mironov and Chairman of Sredazkomstaris D. I. Nechkin. A. A. Semyonov owed his education to the outstanding teaching staff of Lazarev Institute: V. F. Miller, N. N. Kharuzin, F. E. Korsh, and M. O. Attai. His scientific worldview was shaped under the influence of orientalist V. V. Barthold.
28
Vertiienko, H. V. "«ORIENTAL APHRODITE» ON THE OBJECTS FROM TERRITORY OF SCYTHIA (on the origins of iconography)." Archaeology and Early History of Ukraine 33, no. 4 (December 25, 2019): 340–47. http://dx.doi.org/10.37445/adiu.2019.04.25.
Full textAbstract:
The article analyzes the origins of the iconography of a woman’s face with a hairstyle that has characteristic curls, which have been deployed in different directions, on the objects of Scythian material culture. This feature of iconography is fixed twice. The first case are four silver and gilded pendants from the barrow 34 near the village Sofiyivka, Kherson region (Museum of Historical Treasures of Ukraine — a branch of the National Museum of History of Ukraine, inv. no. 2755/1—4). The second case, is the image on the working part of a bronze stamp from the Kamyanskoe settlement (Archaeology Museum of the Karazin National University of Kharkiv, inv. no. VN 2089). As for the female hairstyle on these images, it is not typical for classical Hellenic art, but finds parallels in the art of the Eastern Mediterranean and Ancient East. This style is similar to the so-called «Hathoric wig» in the art of ancient Egypt (on stelae, sculptures, amulets, painting on coffins, mirrors, musical instruments, etc.), which influenced the iconography of the hairstyles of female deities («Oriental Aphrodite») of the Mediterranean. The image of the goddess in the «Hathoric wig» could permeate to the Northern Pontic Sea Region through the Hellenic craftsmen, as a replica of the image of «Oriental Aphrodite» cult of whom may have existed in the region. At the same time, these images could be a «copy» (imitation) made by the Scythian craftsmen directly from the Egyptian original, most likely from some faience amulet, which usually has similar size and sometimes reproduces the head of Hathor. According to Herodotus, in the Scythian pantheon, the figure of Celestial Aphrodite (Aphrodite Urania) was corresponded by Argimpasa (Herod. IV, 59). Consequently, in such an iconographic form these images could depict this goddess. The image of the «Hathoric wig» on these objects can be considered the most northern examples of this iconographic element.
29
Shyu, M. James, and Margaret Chen Lee. "Non-Contact Color Analysis and Digital Archive Method for Blue-and-White Porcelain by Using Spectral Imaging Technology." International Journal of Humanities and Arts Computing 7, supplement (March 2013): 189–200. http://dx.doi.org/10.3366/ijhac.2013.0069.
Full textAbstract:
The unique colour representation of Oriental art work distinguishes itself from what has been seen in Western art work. Not only the traditional Oriental watercolour paintings but also the ancient Chinese porcelains show a great deal of interesting colours that have been archived by digital camera in digital archive practice. However, the majority of the current digital cameras operate with RGB filters, which record every pixel in a tri-chromatic manner. There are several limitations for such a tri-chromatic camera. One is that it describes the colour of the object only by three primary colours. Another is that the image captured is strongly influenced by the illumination at the scene, such that the archived image appears as it does specifically under that lighting condition, not as the original object itself. With such limitations, a problem called ‘metamerism’ may occur when an object is viewed under different illuminations. This creates a serious problem when colour is a critical factor in the digital archiving process. Spectral imaging technology is capable of capturing the colour in spectral form, and the spectral reflectance of each pixel is recorded accordingly. With consequent analysis and process, art works can be archived with high precision spectral data with the advantages of resolving the issue of metamerism and of reproducing the art work under any kind of illumination. Another advantage of spectral imaging technology is that it captures and analyzes the spectral data of an art work without any physical contact. In this study ancient Chinese blue-and-white porcelains collected by the Hwa-Kang Museum of the Chinese Culture University are digitised by spectral imaging technology. A custom-built spectral camera is used to capture the spectral image by using a new spectrograph device. Statistics analysis is used to extract the primary spectral reflectance from the captured spectral data. Comparisons can then be made to explore the differences among the colour primaries of the porcelains. This new spectral system and the colour analysis of blue-and-white porcelain as well as the resulting spectral characteristics of this porcelain can be a new benchmark for the museum community in digital archiving.
30
Winarsih, Yayuk, and Sularsih Anggarawati. "PENGARUH EXPERIENTIAL MARKETING TERHADAP LOYALITAS KONSUMEN RESTORAN ORIENTAL DI BENGKULU." Managament Insight: Jurnal Ilmiah Manajemen 12, no. 1 (June 28, 2019): 113–23. http://dx.doi.org/10.33369/insight.12.1.113-123.
Full textAbstract:
This research is conducted to analyze the influence of experiential marketing to customer loyalty at sumpit mas restaurant in Bengkulu. The population of the research is the customer of sumpit mas restaurant. The amount of samples are selected 150 costumers by using accidental sampling. The research consists of a dependent variable that is customer loyalty and five independent variables which are dimension of experiential marketing : sense, feel, think, act and relate. Data analysis was carried out quantitatively, using multiple regression analysis with previously tested for validity and reliability. The result showed that sense,feel,think,act and relate towards of the customer loyalty respectively. The result of this research convey that all of the independent variables simultaneously affect the customer loyalty positif and significantly. Partially test proved that all variables affect positif and significant to costumer loyalty where sense variable has affected most significantly. Therefore sumpit mas restaurant should be pay attetion seriously to increase all independent variables to enhance the customer loyalty such as to give cheff sharingpayment system, set the time standar in order taking, serve customer more friendly, hold costumer gathering event at sumpit mas. Management of the companies should improve experiental marketing so in the future customer loyalty more improve and better.
31
Kim, Joonho, and Jisun Lee. "The Impact of Eastern Philosophy on Western Classical Music Education: Focusing on the Influence of Confucianism in China." Society for International Cultural Institute 15, no. 2 (December 31, 2022): 21–44. http://dx.doi.org/10.34223/jic.2022.15.2.21.
Full textAbstract:
Most East Asian countries have an educational environment based on the spitirual heritage of the Confucian culture. The outstanding performance skills and musical achievements of East Asian performers need to be found in the unique thought and culture of East Asia how classical music originated in the West, especially Europe, was accepted, formed, developed and influenced in these East Asian countries. Throught this study, the successful internalization and performance creation process of Western classical music education in which East Asian value systems are transplanted from other cultures will be explored to reveal the value and expandability of humanistic philosophy inherent in the consciousness of East Asian countries. The educational philosophy of Confucianism, common to all East Asian countreis, has influenced the methods and purposes of the curriculum for a long period of history. In particular, China, the birthplace of Confucianism, has undergone great changes in the negative and positive aspects of traditional Confucianism in modern history, which has an impact on the introduction and spread of Western classical music and the exploration of training methods and spirits for new music styles. This study explored the interaction between the philosophy and art of different cultures by exploring the spiritual and ideological bases for the outstanding achievements of East Asian artists in the process of encountering Eastern philosophy and Western art. In order to enhance the musical perfection of Western classical music, which has been established as the upper culture of music art, oriental values and aesthetic perspectives are affecting the attitude of performers.
32
Mleziva, Jindřich. "Iznik or Paris? Imitations of Ottoman Pottery in the Collection of the West Bohemian Museum in Pilsen." Annals of the Náprstek Museum 37, no. 1 (July 26, 2016): 33–40. http://dx.doi.org/10.1515/anpm-2017-0003.
Full textAbstract:
Abstract The article focuses on imitations of Asian craftsmanship, manufactured during the 19th century and found in the West Bohemian Museum in Pilsen collection. The collection was created at the end of the 19th century. During that period the museum acquired both original Asian products and products manufactured in Europe under the influence of Asian art. In some cases, however, it happened that objects acquired for the collection a hundred years previously were later thought to be Asian originals. The Pilsen ewer is described in accounts records as a teapot made according to a Persian model. Although in the past it was confused with original work, today objects like this are an indication of the influence that Ottoman ceramics had not only on ceramics production in the second half of the 19th century Europe, and a reflection of the interest in and considerable popularity of Middle Eastern and Oriental arts and crafts in Europe.
33
Jing, Tang. "INTERPRETATION OF CHINESE PAINTING IN THE XIEYI STYLE." Arts education and science 2, no. 31 (2022): 116–21. http://dx.doi.org/10.36871/hon.202202015.
Full textAbstract:
The core of Chinese painting in the Xieyi style is to convey an idea in a free form, Xieyi paintings have the beauty of poetry, calligraphy and prints. It uses a colour method based on black and white imagery and the concept of linear modelling with brush and ink. It differs from Western painting in its methods of perspective, which transcend the limitations of time and space. The spirit of Xieyi is a reflection of real life, but refined and sublimated through imagination, ultimately completing the process of creating artistic images. Having great innovative and creative force and inheriting the tradition of Chinese culture and art, Xieyi condenses the inner ideological characters of Chinese nation. Moreover, Xieyi is a unique form of free emotional expression stimulating the continuous development and advancement of the art of Chinese landscape painting. The artistic characteristics of Chinese Xieyi landscape painting are unique and embody the oriental aesthetic thought and Chinese philosophy. Confucianism, Taoism and Buddhism are the spiritual basis that shape and nurture the artistic features of Chinese painting, at the same time, the XXth century European painting also influenced them.
34
Kurata, Michio, Yasunori Ishibashi, Kenji Takii, Hidemi Kumai, Shigeru Miyashita, and Yoshifumi Sawada. "Influence of initial swimbladder inflation failure on survival of Pacific bluefin tuna,Thunnus orientalis(Temminck and Schlegel), larvae." Aquaculture Research 45, no. 5 (October 1, 2012): 882–92. http://dx.doi.org/10.1111/are.12027.
Full text
35
Issac, Abraham Cyril, and Rupashree Baral. "Knowledge hiding in two contrasting cultural contexts." VINE Journal of Information and Knowledge Management Systems 50, no. 3 (December 12, 2019): 455–75. http://dx.doi.org/10.1108/vjikms-09-2019-0148.
Full textAbstract:
Purpose The purpose of this study is to decipher the role of culture in determining knowledge-hiding tendencies of individuals. This study attempts to understand the different strategic factors (SFs) engendering knowledge hiding, model it and finally estimate the driving and dependency potency of these factors in two different cultural contexts – occidental and oriental. Design/methodology/approach The authors undertook content analysis of the pertinent literature to trace out the antecedents. These SFs engendering knowledge hiding were later modeled using total interpretive structural modeling (TISM) with the aid of R programming language and consequently subjected to Matriced’ Impacts Croise’s Multiplication Appliquée a un Classement (MICMAC) analysis to categorize these factors into: autonomous, depending, linkage and driving. Findings The analysis establishes personality traits as a common driving factor engendering knowledge hiding in both the cultural contexts. Emotional intelligence is a key driving factor in an occidental cultural context whereas interpersonal distrust drives knowledge hiding in an oriental cultural setting. The task in hand, its uncertainty and complexity are the other critical factors causing knowledge hiding in the oriental cultural context. Practical implications The study suggests organizations in the occidental setting to streamline their recruitment policy, giving due importance to the personality traits and emotional quotient of individuals. As task uncertainty and complexity are the critical driving factors in the oriental context, the organizations should undertake a delicate balancing act between reducing risk, removing uncertainty and progressing. Originality/value To the best of the authors’ knowledge, this is probably the first-ever attempt to apply comprehensive TISM and MICMAC on knowledge hiding, which characterizes the antecedents of knowledge hiding in two opposite cultural contexts and thereby offers to provide the required impetus for further research on the influence of culture in knowledge-hiding behavior.
36
Elikhina, Yuliia I. "The Dunhuang and Yulin cave museum complexes." Issues of Museology 12, no. 2 (2021): 296–309. http://dx.doi.org/10.21638/spbu27.2021.212.
Full textAbstract:
The article examines the caves of Dunhuang and Yulin — world famous Buddhist complexes. The tradition of cave temples with wall paintings and sculpture came from India. The Dunhuang and Yulin caves were decorated in this manner. The highest peak in the development of Dunhuang art falls on the period of the Tang Dynasty (618-907), it was at this time that numerous murals appeared depicting the Pure Land of Buddha Amitabha, the Lord of the West, where the souls of the righteous dwell, the Pure Land of Buddha of healing Bhaishajyaguru and other subjects. The main source for the creation of works of art in Dunhuang was Chinese Buddhism, which was formed under the influence of local cults and beliefs and was reflected in the sutras. A certain influence on the painting of Dunhuang was exerted by the art of the cave complexes of the Great Silk Road, and later by the artistic and iconographic traditions of the Tanguts and Mongols. The findings from Dunhuang in the collection of the State Hermitage Museum includes three hundred items. In 1914–1915, the Second Russian Turkestan Expedition under the leadership of academician S. F. Oldenburg worked there and brought these artifacts back. In addition, the expedition acquired a large number of manuscripts in Sanskrit, Chinese, Uyghur, Sogdian, Tibetan and Tangut. Currently, these priceless monuments are kept at the Institute of Oriental Manuscripts in St. Petersburg. The Dunhuang and Yulin cave complexes are a monument of world culture in terms of their size, quantity and quality of paintings, as well as in the variety of subjects, which constitute an encyclopedia of Buddhism in pictorial and sculptural images.
37
Rusanova, Nina, and Anna Ozhiganova. "Reproductive strategies of Russian women: results of the pilot survey." Population 25, no. 4 (December 21, 2022): 55–67. http://dx.doi.org/10.19181/population.2022.25.4.5.
Full textAbstract:
The sphere of reproduction as an integral part of the health of population today is medicalized at all stages of the formation of reproductive decisions — from conception to childbirth. The choice of reproductive strategies is influenced by two polar trends: the increasing importance of innovative methods of assisted reproductive technologies (ART) and medically-associated reproduction (MAR), on the one hand, and the growing popularity of traditional methods of pregnancy and childbirth management based on folk healing, yoga, oriental medicine and health improving practices, homeopathy, popular psychology and so on., on the other. Thus, two sides of procreative behavior manifest themselves: both the patterns reflecting a biomedical approach based on scientific innovations and the social behavioral models related to public perceptions of health, well-being and gender roles in the society. The article presents the results of a pilot survey of women of reproductive age (n=54) conducted in April 2022 via an electronic questionnaire. The study focused on two topics: ART (awareness and attitude to various ART programs) and pregnancy and childbirth (perception of different forms of preparation for childbirth, the preferred form of childbirth, attitude to medical interventions in the birth process). Data analysis showed that women's reproductive intentions remain medicalized and take into account the possibilities of ART. Also, the results of the survey confirm the growing demand for humanization of maternity care, which is reflected in the desire of women to carefully approach organization of their own childbirth and team of assistants, to attend courses for expectant parents, be more informed and comprehensively prepared.
38
Tikhonova, Elena, and Dmitrii Tikhonov. "The quatrefoil motif and its probable origins in Sakha folk ornamental art." Siberian Research 5, no. 1 (May 31, 2021): 52–57. http://dx.doi.org/10.33384/26587270.2021.05.01.11e.
Full textAbstract:
The quatrefoil motif is a popular ornament in Sakha decorative and folk arts and crafts. It is popular not only in Yakutia, but all over the world. Until now, however, there have been no generalized works on this ornamental motif. Its symbolic signs have not been studied. Our study has revealed that the quatrefoil motif in ornamentation and decorative art dates back to the Neolithic period in the Halaf culture of Mesopotamia around 5765 BC. A number of researchers believe that this motif was a symbol of male fertility. We hypothesized that the quatrefoil motif probably appeared in the seals of Caucasian persimmon merchants and depicted the quatrefoil of its calyx. Thanks to the growing influence of trade, this motif has spread around the world. The oriental persimmon, as an important product for the well-being of the ancient Chinese population, became an image of the quatrefoil motif, which was adopted by the Xiongnu as a symbol of protection and resurrection. From them, the motif probably spread widely among the Turkic peoples. The Sakha apparently borrowed this motif from the Xiongnu, as indicated by the abundance of ornamental forms and the presence of archaeological, anthropological, and genetic data, which show the existence of sufficiently close links with the Xiongnu culture. The quatrefoil motif similar to the decorative forms of Gothic cathedrals was probably introduced to the Middle Lena by representatives of the Chaatas and Tyukhtyat cultures in Khakassia.
39
Kolb, Alexandra. "Wigman's Witches: Reformism, Orientalism, Nazism." Dance Research Journal 48, no. 2 (August 2016): 26–43. http://dx.doi.org/10.1017/s014976771600019x.
Full textAbstract:
This article investigates the three versions of Mary Wigman'sHexentanz(Witch Dance) in the context of the different political regimes in which they were performed. The changing cultural milieus shaped—through Wigman's imagination if not necessarily consciously—the works' forms and iconographies. The witch figure relates to preindustrial, pre-Christian Germanic identity and sparked considerable interest amongvölkischand indeed Nazi groups. Wigman's dances present a kaleidoscope of different treatments of the witch motif, encompassing (variously) the life reform movement, an intercultural fusion with oriental performance traditions, and a strand of paganism that also influenced National Socialism. They converge, however, around a unifying critique of modernity.
40
Leroux, Georges. "De la mémoire des traces au visage de l’éveil. La question de l’origine de l’image du Bouddha." Protée 29, no. 3 (April 12, 2005): 73–85. http://dx.doi.org/10.7202/030639ar.
Full textAbstract:
Le passage à la représentation du Bouddha au tournant de l’ère chrétienne n’a pas reçu d’explication entièrement satisfaisante dans les études d’iconographie et d’archéologie orientale. Pourquoi le bouddhisme a-t-il renoncé à l’aniconisme qui avait marqué ses origines ? Plusieurs hypothèses, discutées depuis les grands travaux d’A. Foucher sur l’art du Gandhara, engagent la recherche vers un fondement à la fois esthétique et théologique, et non seulement vers une influence stylistique provenant de la Grèce hellénistique. Dans cet essai, les principaux enjeux de cette esthétique sont passés en revue et rapportés aux oeuvres produites dans le Gandhara. Ainsi se trouvent éclairés les principaux canons du style propre à cet art et une réponse partielle est apportée à la question de l’origine de l’image du Bouddha.
41
Terdik, Szilveszter. "The Greek-Catholic cathedral of the Holy Trinity in Balázsfalva (Blaj): Oriental and occidental influences." Hungarian Studies 28, no. 1 (June 2014): 55–76. http://dx.doi.org/10.1556/hstud.28.2014.1.5.
Full text
42
Palić, Ismail. "On names and terminology from Oriental-Islamic culture in Bosnian spelling." Anali Gazi Husrev-Begove biblioteke 27, no. 41 (February 18, 2021): 49–65. http://dx.doi.org/10.51719/25663267.2020.27.41.49.
Full textAbstract:
Names and terminology from Oriental-Islamic spirituality and culture are an important layer of the lexicon of the Bosnian language to which users mostly build a special relationship. That is why orthographic standardization of such words is a very challenging and responsible task. The expectations are always different. In the case of the names and terminology discussed in this article, Muslim theologians, intellectuals, imams, etc. have the greatest influence and the most significant role. They must first of all understand that the vocabulary in question has ceased to be Arabic by the act of borrowing and has become Bosnian, falling that way under the normative ‘jurisdiction’ of the Bosnian language. Only by incorporating all such words into the appropriate Bosnian spelling categories we show that they are fully accepted and domesticated in the Bosnian language. Likewise, as we wander around choosing different ways of writing them (especially those that are foreign to the Bosnian language and spelling), we are actually showing that these words are still a ‘problem’ for us, even after centuries of their presence in the Bosnian language. In doing so, one should know that every battle against natural laws, including linguistic ones, is lost in advance.
43
Kulakov, Vladimir. "Origin of Symmetrical Composition in Decorative Art of the Viking Age." Izvestia of Smolensk State University, no. 1(57) (July 3, 2022): 178–86. http://dx.doi.org/10.35785/2072-9464-2022-57-1-178-186.
Full textAbstract:
For the first time, a symmetrical composition with figures of a deity standing on the godsof carnivorous animals appeared in the Middle Eastern art of the III–II millennium B.C. In the Mycenaean era, this composition became known to adherents of Hellenic art, who realized it both in painting and sculpture. This composition realizes the idea of their authors striving to convey to recipients the concept of the power of the depicted deity and his power over the animal world. A symmetrical composition with standing predatory animals, which is a clear
oriental innovation in the art of ancient Europe, was not represented on our continent in ancient and Hellenistic times. As a result of the gradual increase in the eastern influence on the art of late Rome, symmetry again became known to Europeans in
the products of provincial-Roman masters of the 5th century A.D. In late antiquity, goldsmiths in the Roman provinces used this composition on the parts of military belt sets. These images became models for the ancient German masters who represented
the God Wotan / Odin surrounded by mythical animals and birds dedicated to him.
The decorative art of the Viking Age, alien to symmetry, retains it only in the plot of the pagan canon «Odin and the Crows». Variants of this «pagan icon», realized in the decorative art of the Viking Age, came to an end in the Germanic world of a
composition with symmetrically located predators, which began in the Ancient East
in Akkadian time. In this case, we have a unique example of the multi-thousand-year existence of the pictorial motive, used by jewelers and stonecutters to make impressive images of mystical creatures. The predators surrounding them were intended to
symbolize the unearthly power of the deities.In Byzantium, a symmetrical composition remained relevant until the XIV
century. Modern and contemporary historypreserves paired images of predators in heraldic and architectural compositions. However, their genetic relationship with Ancient Eastern images requires additional study.
44
Petrov, Konstantin K. "Anthologies of Writings by Dong Qichang “Huachanshi suibi” from the Chinese Collection of the Institute of Oriental Manuscripts, Russian Academy of Sciences." Vestnik of Saint Petersburg University. Asian and African Studies 14, no. 3 (2022): 433–48. http://dx.doi.org/10.21638/spbu13.2022.304.
Full textAbstract:
The paper concentrates on the description of a written monument of Chinese aesthetic thought - the anthology “Notes from the Cabinet of Chan Painting” by the politician, artist, calligrapher and art theorist of the end of the Ming era (1368-1644) Dong Qichang (1555-1636). Two woodblock printed editions of this anthology dated 1720 and 1911 are preserved in the Chinese collection of the Institute of Oriental Manuscripts of the Russian Academy of Sciences and so far remain understudied. The paper considers the possible translations of the title of the book into the Russian and English languages, investigates the history of different publications of the monument, describes the formal features of block books, and conducts a comparative analysis of existing editions. The discovered textual discrepancies between different editions of the anthology make it clear that in the Qing era (1644-1912) “Notes” experienced the harmful influence of the “literary inquisition”, not having escaped the fate of many works of the Ming era. A textual and comprehensive analysis of several fragments shows that the earlier edition of 1720 has greater completeness and integrity. In addition, even a formal examination of the monument makes it possible to identify a whole range of historical problems, not related directly to aesthetic thought, which can be studied with the use of the “Notes” as a source. Such issues include the historyof art collecting by Chinese nobles, the socio-economic and political development of late Ming China, the relationships between the Ming Empire and the Manchus, the problem of censorship in the Qing era, etc.
45
Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.
Full textAbstract:
The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phenomena characteristic of art. Modern Korean art proves that the scientific and technological revolution and the dominant avant-garde component of mass culture in general cannot supplant the ultimate traditional artistic creativity. One of the characteristic features of contemporary Korean art is a demonstration of belonging to the culture of the country. First of all, this is the influence of the traditions of Confucianism, Buddhism, along with the painful memories of war and long-term colonization by Japan. One can note the simplicity, orderliness, harmony of colors and shapes as an inalienable feature of Korean contemporary art, but modern tendencies show the striving for the discovery of individuality of the artist, which manifests itself in non-standard artistic forms. Japanese visual art combines the works of autochthonous traditions and European artistic principles. Considerable attention is paid to the issue of the relationship between nature and man, reflected in the work of adherents of the synthesis of Japanese traditions and Western variety of forms. Particular attention is paid to contemporary artists in Japan with the latest technology – video art, 3D painting, interactive installations and installations-hybrids. Chinese cinema with the generation of directors, known as the Fifth Generation, reveals new trends. These artists initially sought to convey events and tragedies during the Cultural Revolution, but over time they turned to other themes and genres. Directors of the "Sixth Generation" paid special attention to social problems, the place of action in their films is unknown China – small settlements or cities. Modern Korean cinema covers two large areas: cinema for women – melodrama, and for men – adventure. Today the adventure genre is oriented mainly to teens, and the melodrama genre has been transformed from the problems of the middle-aged women's interest towards the youth audience, therefore, it is more likely to come closer to the romantic comedy. The tragedy of Korea, which is split up into two parts, worries the movie-makers. In recent years there have been changes in South Korean position in exposing North Korean residents. If the previous decades in South Korean cinema was cultivating the image of the enemy: North Korean could be either a spy or killer, but now the inhabitants of North Korea are perceived and presented in films differently, not embodying exclusively negative features. In Japanese cinema, the emphasis is on the visual array, which allows you to bring forward contemplation and the deep meaning is transmitted by artistic images typical of the oriental art in general. In films, much attention is paid to the smallest details; certain asceticism along with the aesthetization of the frame is a reflection of purely Japanese features – minimalism as the meaning of existence. Familiarity with the peculiarities of the development of contemporary art and cinema in China, Korea and Japan is a necessary component for further dialogue between the cultures of East and West in terms of balanced interaction and artistic transformations of the modern world.
46
Kurata, Michio, Yasunori Ishibashi, Manabu Seoka, Tomoki Honryo, Shigeru Katayama, Hiromu Fukuda, Kenji Takii, Hidemi Kumai, Shigeru Miyashita, and Yoshifumi Sawada. "Influence of swimbladder inflation failure on mortality, growth and lordotic deformity in Pacific bluefin tuna,Thunnus orientalis,(Temminck & Schlegel) postflexion larvae and juveniles." Aquaculture Research 46, no. 6 (October 29, 2013): 1469–79. http://dx.doi.org/10.1111/are.12304.
Full text
47
Ding, Yang, Olena Semykina, Andriy Mykhailenko, Olga Ushakova, and Oleksandr Khliupin. "Modern Chinese and Japanese garden as a symbol of national identity in the context of globalism." Landscape architecture and art 19, no. 19 (December 30, 2021): 98–106. http://dx.doi.org/10.22616/j.landarchart.2021.19.09.
Full textAbstract:
The article considers examples of modern gardens and parks with elements of Chinese and Japanese landscape design, analyzes the degree of their similarity with historic gardens. A comparative analysis of historic gardens and modern gardens and parks is carried out in order to prove which elements of traditional oriental landscape design are cited the most. A set of elements that embody national identity in modern Chinese and Japanese gardens is argued. It is shown how, over time, including under the direct influence of multiculturalism and in connection with the typification of pavilions for mass construction, the concentrated national features of eastern gardens were gradually smoothed out. As the most recognizable elements of modern Chinese gardens, pavilions, sculpture, compositions of stones, Japanese gardens – gates-torii, pagodas, compositions of boulders, "dry gardens", landscaping with sakura, coniferous trees, and Japanese maples were identified. Compared to Chinese gardens, in a modern Japanese garden outside of Japan there may be no buildings at all or their number is minimal, and the natural environment itself is more natural. On the contrary, the Chinese garden outside of China showcases the art of landscape design and the craftsmanship of man-made landscape paintings.
48
Beganovic, Dzemila. "Complex urbarchitectonic structures of Pristina and Novi Pazar cities." Spatium, no. 32 (2014): 39–46. http://dx.doi.org/10.2298/spat1432039b.
Full textAbstract:
Contemporary urban development has changed the traditional cities all over the world. In our region, the typical Balkan cities of oriental origin, structure and outlook were almost totally transformed in the second half of the 20th century. Modern movement brought new models of urban organization, different communication concepts and a variety of concepts of modern buildings. Among others, the idea of complex urbarchitectonic structures in urban tissue spread under specific influences and models. After a short review of modern urban development and the idea of complex urban structures, this paper explores urban transformation of less researched cities such as Pristina and Novi Pazar. The focus is on the phenomenon of complex urbarchitectonic structures built in related cities in a short period from 1969-1989. Four complex urbarchitectonic structures will be presented: Kicma and complex in JNA Street in Pristina and Lucne buildings and Jezero buildings in Novi Pazar.
49
Arkhypova, Ye I. "SOURCES OF KYIV RELIEFS WITH «SECULAR» PLOTS: ISSUE OF ATTRIBUTION AND DATING." Archaeology and Early History of Ukraine 43, no. 2 (June 30, 2022): 83–98. http://dx.doi.org/10.37445/adiu.2022.02.06.
Full textAbstract:
The earliest Kyiv reliefs with figurative images correlate with temples built in the second half of the 11th — early 12th centuries. The iconography and dating of Ovruch pyrophyllite slate reliefs with secular or indefinite plots has been the subject of research by more than one generation of scholars. The reliefs have been found already damaged or reused, so their original placement in the interior or faзade, as well in the temple or palace also remains a matter of debate.
The study of the images of these reliefs in the context of the development of Byzantine art shows that the Kyiv artists copied a Christian patterns that combined secular, mythological and biblical plots, the formation of which took place under the influence of the Classic heritage. According to the conditions of discovery, iconography and style, these are the works of the second half of the 11th — early 12th centuries. The typological and stylistic similarity of four such reliefs permit to suggest that they were made for the same building, although they were found in different parts of the city. They depict the biblical character Samson or David, the mythological character Cybele or the Great Mother of the Gods, a warrior fighting the lion and a fragment of the animal head — a goat or a lioness. Fragments of two other reliefs depict the animal looks like a lion with the rider on its back, possibly Samson or David. The depiction of a man riding a beast is the motif of oriental origin that became widespread in Byzantine and Romanesque art of the 12th century, including in Rus. Two fragments of slabs depicting the griffin in high relief come from the exterior decor. In the art of the 10th—12th centuries, the griffin as a vigilant guard of the sacred place was depicted on the facades of churches in the type of «solemn procession». The Kyiv’s griffin was probably included in the heraldic composition. The question of the placement of the slabs — in a palace or a temple — is still disputable.
50
Fossum, Jarl. "The Myth of the Eternal Rebirth Critical Notes On G.W. Bowersock, Hellenism in Late Antiquity1." Vigiliae Christianae 53, no. 3 (1999): 305–15. http://dx.doi.org/10.1163/157007299x00046.
Full textAbstract:
AbstractIn his famous work, Die Untergang des Abendlandes (ET, The Decline of the West [1928]), Oswald Spengler used the language of mineralogy to illustrate his thesis that in the Hellenistic age Greek philosophy and religion provided the hollow forms in which the Oriental material underwent a 'pseudomorphosis'. The simile used was the following: When a crystalline substance fills a hollow left in a geological layer made by a crystal which has disintegrated, the former is forced to take on the mould of the latter, thereby deceiving the observer who does not subject the substance to chemical analysis. In his slim book of less than 100 pages of text, Professor Glen Bowersock propounds a more perceptive view: 'Hellenism'-by which the author means Greek language, philosophy, and religion-did not disintegrate so quickly. Surely the great Dionysus remained alivc for a long time; in the chapter on 'Dionysos and His World', Bowersock cites that Dionysus is the 'controlling figure' in some beautiful late antiquity art work. Rather than effecting a 'pseudomorphosis' of Near Eastern religion, Hellenism was able to bring about a metamorphosis: it became a vehicle for 'strengthening and even transforming local worship without eradicating its local character' (p. 21). Bowersock also correctly notes: 'Christianity had a powerful influence on the paganism that prospered in the late antique world, to a degree [...] no less important than the influence-much more frequently remarked-of paganism on Christianity' (p. 26). However, in his eagerness to demonstrate the influence of Christianity upon paganism, Bowersock unfortunately makes many mistakes. This is rather glaring in his attempt at a 'thorough examination' of Epiphanius' account of the festival in the Alexandrian