Journal articles on the topic 'Painting, Modern 20th century Indonesia'
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Jun, Min-Kyung, and Kyung-Chul Jeong. "A Correlation between Expressionism and Neo Expressionism in 20th Century Modern Painting." Journal of the Korea Contents Association 11, no. 2 (February 28, 2011): 259–67. http://dx.doi.org/10.5392/jkca.2011.11.2.259.
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Brock, Fiona, Nicholas Eastaugh, Thierry Ford, and Joyce H. Townsend. "Bomb-pulse Radiocarbon Dating of Modern Paintings on Canvas." Radiocarbon 61, no. 1 (July 11, 2018): 39–49. http://dx.doi.org/10.1017/rdc.2018.55.
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ABSTRACTRadiocarbon (14C) dating has previously been applied to modern paintings on canvas from the 20th century to identify potential modern forgeries, and dates indicate a time lag of several years between the harvesting of plant fibers for making canvas, and completion of a painting. This study investigated both the length of this time lag and the potential of 14C dating to inform about an individual artist’s mode of working (for example long-term storage or reuse of canvases, or extended reworking on a single canvas) and/or to establish a chronology for a corpus of work. Two pre-bomb and 16 post-bomb artworks by 17 mid-20th-century Scandinavian artists were 14C dated. The majority of post-bomb samples indicated a time lag of 2–5 years between the harvesting of the plants and completion of a painting, but some samples recorded lags of up to 10 years, and others produced much earlier results, potentially indicating the use of much older canvases or challenges removing contamination prior to dating. The importance of thorough pre-screening of canvas samples for both synthetic fibers and contaminants prior to dating, and selection of the most suitable calibration curve, are highlighted.
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Chen, Jiajun. "The Style and Characteristics of Flower-and-Bird Painting in The Western Fujian Province in Modern Times." Scientific and Social Research 3, no. 6 (December 29, 2021): 157–63. http://dx.doi.org/10.36922/ssr.v3i6.1293.
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The 20th century was a period of change in the development of Chinese flower-and-bird painting. Traditional brush and ink painting blended with Western painting colors and concepts to present new forms of painting. Following the peak of Ming and Qing Dynasties’ development in Minxi (the western of Fujian) painting, a group of freehand flower-and-bird painters represented by the “four Masters of Shanghang” Li Shaoqi, Luo Xiaofan, Qiu Tian, and Song Shengyu, who inherited the Minxi painting style of the Ming and Qing Dynasties, learned the new painting language combines the styles of Paintings of Shanghai school, Lingnanism, and Lingdongism. The unique new style of painting highlights the posture of Minxi flower-and-bird paintings, thus influencing the modern times changes of flower-and-bird paintings of Fujian.
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Gultyaeva, Galina S. "Realistic Painting of the 20th Century China in the Context of Cultural Visualization." Observatory of Culture 18, no. 1 (May 24, 2021): 32–43. http://dx.doi.org/10.25281/2072-3156-2021-18-1-32-43.
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This article examines the phenomenon of Chinese realism, as well as the prerequisites and factors that influenced the processes of reception in modern Chinese art. At the beginning of the 20th century, under the influence of Western academic realism and the artistic system of social realism, a new direction and artistic method was formed — realism, which became mainstream in the art of China of the mid-20th century. According to its aesthetic and ideological motifs, Chinese realism is an object of social realism reception, which was determined by cultural and historical factors, and the development of political, economic and cultural ties with the USSR. Studying the realistic painting, which reflects the atmosphere of the era, the worldview, and the dialogue of cultures, is relevant for both Chinese and Russian contemporary art studies. The article examines the role of realism in the development of Chinese art culture of the 20th century, including its socio-political components, as well as the dynamics of artistic and expressive means and the iconographic system in the context of the historical and cultural situation. In the 1980s and 1990s, as a result of the liberalization of economic and political life, the artistic consciousness formed new concepts of realistic painting — neorealism and cynical realism, associated with a critical rethinking of the historical heritage. The neorealism and cynical realism, which would significantly enrich realistic painting with new forms and content, adopted Western postmodern concepts of pop art, and debunked, in a grotesque and satirical form, the political stereotypes of the past. The analysis of realistic painting of the 1990s demonstrates how the transformation of past painting canons reflects the desire of society to free itself from the pressure of totalitarian ideology and to rethink the value orientations of the previous era.The novelty of this study lies in the fact that it applies a systematic and holistic approach to the analysis of realism in Chinese painting, reveals the diversity of its forms and directions, and gives ground for the specifics of its evolution in the context of the artistic culture of the 20th century China. There are almost no comprehensive studies of this issue in modern art history, so this work is an attempt to create a scientific approach to the study of this artistic phenomenon and the formation of ideas about how the artistic consciousness of an entire epoch was changing.
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Hoffmann, Frank. "20th Century Korean Art, and: Modern Korean Ink Painting (review)." Journal of Korean Studies 13, no. 1 (2008): 118–23. http://dx.doi.org/10.1353/jks.2008.0000.
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Radonjic, Ana, and Slobodan Markovic. "Judgement of paintings belonging to different tendencies in the 20th century painting." Psihologija 37, no. 4 (2004): 549–69. http://dx.doi.org/10.2298/psi0404549r.
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In this study Trifunovic? hypothesis that there are three objective lines in the development of modern art was psychologically evaluated. According to Trifunovic, in the first line (C?zanne - cubism - neoplasticism - suprematism) the geometrization of form prevails, in the second (Van Gogh - expressionism - abstract expressionism) the use of color is dominant, whereas the main features of the third line (Gauguin - fauvism) are symbolic use of color and reduction of perspective. Fifteen reproductions of paintings that represent the three developmental lines were used as stimuli. The subjects were asked to judge the stimuli on nine bipolar 7-step scales. These scales constitute the three factors of instrument SDF 9: Evaluation, Arousal and Regularity (3 scales x 3 factors = 9 scales). Four clusters of paintings were obtained: Abstract-expressionistic (moderate Evaluation, high Arousal and low Regularity), Figural-expressionistic (very low Evaluation, low Arousal and high Regularity), Constructivistic (moderate Evaluation, low Arousal and high Regularity) and Realistic (high Evaluation, high Arousal and high Regularity). The results partially confirm Trifunovic? hypothesis indicating that, besides the formal features, the content (abstract vs. figural) is also significant factor of subjective clustering of paintings.
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Eskilson, Stephen. "Thomas Wilfred and Intermedia: Seeking a Framework for Lumia." Leonardo 36, no. 1 (February 2003): 65–68. http://dx.doi.org/10.1162/002409403321152347.
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The most successful early-20th-century artist of colored light in the United States was undoubtedly Thomas Wilfred (1889–1968). In the 1920s, his “Lumia” compositions were praised by art critics and performed throughout the U.S. After initially embracing a musical analogy to explain Lumia, in the early 1930s he shifted to an analogy based on painting. In pursuit of this new context, Wilfred sought to legitimize Lumia through a relationship with the Museum of Modern Art in New York. His career is emblematic of the difficulties inherent in the creation of art using technology early in the 20th century, years before the postmodern embrace of pluralism.
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Melessanaki, K., C. Stringari, C. Fotakis, and D. Anglos. "Laser Cleaning and Spectroscopy: A Synergistic Approach in the Conservation of a Modern Painting." Laser Chemistry 2006 (December 25, 2006): 1–5. http://dx.doi.org/10.1155/2006/42709.
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We present results from preliminary laser cleaning studies performed on a 20th century modern painting, in which laser-induced breakdown spectroscopy (LIBS) was employed for monitoring the progress of material removal. This synergistic approach, that combines laser ablation cleaning with spectroscopic control, is of obvious importance as it offers a reliable means of ensuring proper conservation and could be the basis of a standard protocol for laser-based restoration procedures.
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Nikolovskaya, Yulia Vasilievna, and Galina Olegovna Semeyskaya. "Image and Style in a Modern Landscape Painting." Человек и культура, no. 6 (June 2022): 78–89. http://dx.doi.org/10.25136/2409-8744.2022.6.39496.
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The subject of research in this article is a description of a number of creative formalist approaches to modern landscape painting, which are born under the influence of rethinking the leading stylistic trends of the 20th century by artists. Approaches in the landscape genre are analyzed, which are based on the study of world experience and the artistic heritage of different countries, as well as the principles of academicism. Particular attention is paid to analyzing specific examples of modern landscape practice. Also, it is extremely important to characterize the plots and images of paintings, variations of the artistic language that are used in visualization. The main conclusions of the study of the topic is a detailed disclosure of the concept of "image" of landscape painting. There is also a distinction between the concept of style in art into a stylistic direction, considered in a narrow sense, and a historical style, considered more broadly. The author's special contribution to the study of the topic is that in modern landscape painting the formalistic approach can become one of the structural components of a new style in art, if this is accompanied by appropriate factors. The form in this perspective is precisely the link that the creator lacks to create a full-fledged creative image that has developed in his imagination.
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Paz-Agras, Luz. "Creative processes in the Avant-Garde Movements." Estoa, no. 15 (2019): 21–30. http://dx.doi.org/10.18537/est.v008.n015.a02.
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The 20th Century Avant-Garde Movements broke with the traditional distinction of artistic disciplines in favour to an ambiguous space where limits are diffuse. Exhibition space played a relevant role in this sense as a laboratory where art object and spectator are together in interaction, getting to experiences that, in many cases, transcend from the exhibition to disciplinary Architecture. Through the analysis of the Proun Space of El Lissitzky, constructed in 1923, and some of the most relevant proposals of Neplasticist authors, focusing on the creative and experimental process, contributions from Painting to Architecture are established. Some of them, partially shaded by the hegemony of Modern Movement, have been incorporated to 20th Century architectural projects and they are a significant chapter about interdisciplinary creative processes.
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Aguilar-Rodríguez, Pablo, Sandra Zetina, Adrián Mejía-González, and Nuria Esturau-Escofet. "Microanalytical Characterization of an Innovative Modern Mural Painting Technique by SEM-EDS, NMR and Micro-ATR-FTIR among Others." Molecules 28, no. 2 (January 5, 2023): 564. http://dx.doi.org/10.3390/molecules28020564.
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During the 20th century, modern painters experimented with different mediums and painting techniques, one of them was Rafael Coronel in his mural painting, Paisaje Abstracto (Abstract landscape). The painting was created with a peculiar pouring technique and an unknown binding medium; ageing produced fractures and severe conservation problems. Therefore, the characterization of the painting medium became an urgent matter in order to understand the current condition of the painting and to develop a proper treatment. The aim of this research was to characterize the chemical composition and painting technique of Paisaje Abstracto. To approach this goal two microsamples were taken and analyzed by optical microscopy (OM), scanning electron microscopy (SEM) with energy dispersive spectroscopy (EDS), nuclear magnetic resonance (NMR) spectroscopy, attenuated total reflection Fourier transform infrared spectroscopy (ATR-FTIR), micro attenuated total reflection Fourier transform infrared spectroscopy (micro-ATR-FTIR) and gas chromatography/mass spectrometry (GC/MS). The analysis allowed for the identification of cadmium sulfide (CdS) and titanium dioxide (TiO2) as inorganic pigments; aluminosilicate fillers; poly(methyl methacrylate) (pMMA) as a binder; MMA monomer, red organic pigment PR181; benzoyl peroxide, dibutyl phthalate and 1-octadecanol as organic additives. This study presents an innovative painting technique with pMMA, a medium not commonly used by artists, which was probably polymerized onto the painting support.
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Gultyaeva, Galina S. "CHINESE NATIONAL PICTURE NIANHUA – A PHENOMENON OF CULTURE OF THE XX CENTURE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 127–38. http://dx.doi.org/10.17223/22220836/41/10.
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Chinese folk painting nianhua (literal translation, “New Year’s picture”) is a kind of Chinese graphic art, which received a wide popularity in the late XIX – early XX centuries. On the eve of the New Year in China everywhere decorated interiors of living rooms with colorful pictures containing New Year’s greetings, they were pasted on windows, doors, gates. Decorative pictures had a utilitarian and cultic purpose: images of mythological characters and gods symbolized happiness, longevity, prosperity, protected from disasters and misfortunes. At the beginning of the 20th century, nianhua was produced in the woodcutting shops in a woodcut way, since the middle of the 20th century have been used modern technologies, including printing. New Year’s paintings significantly different from national academic painting. The philosophical concept of New Year’s painting was to reflect the spiritual life of the people, moral values, and artistic tastes. The images were built on the basis of folklore motifs, a rhythmic combination of bright colors created a decorative effect, so nianhua is a valuable material that demonstrates the aesthetic representations of the Chinese people, their folk traditions and symbols. The themes of the New Year’s paintings are extremely diverse and includes the following: scenes from classical literature, religious and symbolic and benevolent drawings, genre art painting, calendars depicting 12 cyclic signs of animals, agricultural calendars and advertising pictures. During the history of its existence, the New Year’s picture plays an important political and ideological role. Traditional paintings propagated the foundations of the orthodox Confucian ideology about social and ethical relationships, including hierarchy in the family and society: “Wu lun – the five principles of relationships”, “Xiao – filial piety”, “Ren – patience”. In the second half of the XX century, the New Year's picture is developing as an agitational poster. Under the influence of European painting and modern political processes in Chinese society, artists began to use a new artistic method - revolutionary realism on purpose to illuminate sociopolitical events, propagandize government tasks and resolutions. The basic principles of painting the New Year’s picture are the decorative character (the brightness of colors, the rhythmic combination of color spots), the hyperbolism and idealization of images, the folklore basis of plots and the conventional symbolic-metaphoric language.
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Kashkova, Alisa I. "The Archetype of Ideal City in the Naive Painting of Russian Artists of the 20th Century." Observatory of Culture 19, no. 3 (July 5, 2022): 327–35. http://dx.doi.org/10.25281/2072-3156-2022-19-3-327-335.
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The archetype of ideal city is one of the most significant in the development of world culture due to the fact that the idea of perfect world order, embodied in a spatial image, has reflected from ancient times the most important value orientations of the cultures of the Middle Ages and the Modern Times, both of the West and of the East. In Russian culture, the archetype of ideal city is embodied in the images of the Heavenly Jerusalem and the City of Kitezh. We have chosen as an object of research the works of Russian naive artists of the 20th century, which allows us to trace the development dynamics of this archetype in modern Russian culture. The subject of the research is the embodiment and peculiar interpretation of the archetype of ideal city in the works of naive artists Pavel Petrovich Leonov (1920—2011), Vagan Yerevandovich Sakiyan (1926—2002), Yury Dmitryevich Deev (1944—1998). The aim is to identify culturally conditioned interpretations of the national archetypes of ideal city in the naive art of the twentieth century. The article also conducts a multi-level cultural research of the creative world of the naive artists P.P. Leonov, V.E. Sakiyan and Yu.D. Deev, revealing the most characteristic features of this art phenomenon. The study of national Russian culture involves referring to a number of works on cultural studies, philosophy, mythology, history, philology, folklore studies, etc., devoted to the issues of national archetypes. The analysis of the naive painting works by Russian artists is carried out on the basis of cultural-philosophical, comparative-historical, typological, and analytical approaches. The naive art as a cultural phenomenon of Russian culture is very little studied in modern science; meanwhile, it combines many different cultural-psychological, cultural-historical and socio-cultural phenomena.
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Voskresenskaya, V. V. "Symbolism in Russian Painting of the Early 20th Century: the Vitality of Plastic Expressiveness." Art & Culture Studies, no. 4 (December 2022): 108–39. http://dx.doi.org/10.51678/2226-0072-2022-4-108-139.
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The purpose of the article is to reveal the understanding of vitality as the intensity of innovative plastic expressiveness in Russian painting of the early 20th century. It was in that period, since the turn of the 20th century, that the means of artistic expression and the tasks of art were changing fundamentally, which had a great impact on the future development of art. This study, based on the relevant theoretical and methodological perspective of the material already explored, allows identifying the conceptual aspects of Russian artistic culture of the indicated period and outline further area of scientific research. The author proceeds from the belief that vitality is an innovative vital capacity of art that is expressed in the strain of the artist’s creative energy embodied in the plastic expressiveness of the work. The appeal of a number of Russian painters of the early 20th century in line with symbolism to the innovative aspects of the plastic thinking and the consistent fixation of plastic innovations reveal this provision, demonstrating the uniqueness of Russian art in the world artistic culture of the epoch. In this context, it is important to foreground both the recognized achievements of such masters as M. Vrubel or V. BorisovMusatov and the early period of creativity of N. Roerich, K. Bogaevsky, p. Kuznetsov, M. Saryan or K. Malevich. The research problem determines a complex approach, which involves the combination of historical, cultural, chronological, and comparative methods and the formal-stylistic analysis. One of the most important results of the study is the identification of the significance of vitality as innovative plastic expressiveness for the evolution of art of the Modern times.
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Sopandi, Setiadi. "Modern Indonesian Architecture: a Cultural Discourse." Modern Southeast Asia, no. 57 (2017): 20–29. http://dx.doi.org/10.52200/57.a.kqfg8kio.
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The paper highlights the course of Indonesian architectural development through the narrative of national and cultural identity which prevailed almost consistently from the early years of the 20th century. Despite the various contexts and the involvement of participants from different eras, the question of identity recurs among architectural practitioners, political figures, as well as the general public in Indonesia. In this light, architects are perceived as active agents continually contributing models of national identity through architectural forms, expressions, materials, and narratives.
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Zalaffi, Maria Sole, Ines Agostinelli, Najmeh Karimian, and Paolo Ugo. "Ag-Nanostars for the Sensitive SERS Detection of Dyes in Artistic Cross-Sections—Madonna della Misericordia of the National Gallery of Parma: A Case Study." Heritage 3, no. 4 (November 12, 2020): 1344–59. http://dx.doi.org/10.3390/heritage3040074.
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In historical paintings, the detection of low amounts of pigments and dyes by Raman spectroscopy can sometimes be challenging, in particular for fluorescent dyes. This issue can be overcome by using SERS (surface-enhanced Raman spectroscopy) which takes advantage of the properties of nanostructured metal surfaces to quench fluorescence and enhance Raman signals. In this work, silver nanostars (AgNSs) are applied for the first time to real art samples, in particular to painting cross-sections, exploiting their effective SERS properties for pigment identification. The case study is the Madonna della Misericordia of the National Gallery of Parma (Italy). Cross-sections were analyzed at first by optical microscopy, SEM-EDS, and micro-Raman spectroscopy. Unfortunately, in some cross-sections, the application of conventional Raman spectroscopy was hindered by an intense background fluorescence. Therefore, AgNSs were deposited and used as SERS-active agent. The experimentation was successful, allowing us to identify a modern dye, namely copper phthalocyanine. This result, together with the detection of other modern pigments (titanium white) and expert visual examination, allowed to reconstruct the painting history, postdating its realization from the 15th century (according to the Gallery inventory) to 19th century with a heavy role of recent (middle 20th century) restoration interventions.
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Kravetsky, Alexandr. "АЛЕКСАНДР КРАВЕЦКИЙ Изобретая церковную традицию: некоторые особенности церковной практики в ХХ веке." Fontes Slaviae Orthodoxae 2, no. 2 (February 12, 2020): 35–49. http://dx.doi.org/10.31648/fso.5109.
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The article attempts to analyze some aspects of the life of the Russian Church in the second half of the 20th century as an experience of inventing a tradition. Methodologically, the work is based on the materials of the well-known collection The Invention of Tradition. The present work considers some issues related to icon painting, spiritual practices, the behavior of those praying during worship, features of female believers' clothing, etc. and concludes that the phenomena which appeared in church life 20-30 years ago are perceived as a deep antiquity by modern believers.
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Hasan, Puad, and Zaenal Abidin. "Dinamika Pemikiran Islam di Indonesia Kontemporer." Edusifa: Jurnal Pendidikan Islam 8, no. 1 (November 30, 2022): 27–41. http://dx.doi.org/10.56146/edusifa.v8i1.51.
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ABSTRACT
This article attempts to explore the dynamics of Islamic intellectualism and thought in Indonesia by examining its characteristics, origins, development, actors and struggles. In this context, Islamic thought in Indonesia is understood as a stage in which the understanding and practice of Islam established in the Nusantara is revisited, criticized, deepened and "refreshed". Thus, this study refers to that chapter in the history of Islamic thought in the 20th century, when Muslim scholars in the modern era in Indonesia initiated this thought, developed and experienced ups and downs. In this case, it can be seen that Islamic thought in Indonesia is in fact a response to the former understanding of Islam, which is constantly engaged in "dialogue" with the development of society and has strategic implications for the modern understanding of Islam.
Keyword: Islamic thought, Indonesia, Tradition, Modern
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Åžener, Fatma, and Meltem Erdogan. "Neo-Geo and Fashion Interaction." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 595–601. http://dx.doi.org/10.18844/prosoc.v2i1.909.
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Neo-geo, which appeared as an abstract and modern art movement towards the end of 20th century, has had its impact in 21st century as well. New geometry painting perception known as neo-geo is the works where materials and geometric forms are used in any environment. The effects of geometric forms are observed in fashion as in architecture and painting. Fashion designers are the people with an open perception who are able to manage to develop their artistic experience and knowledge using the current time and their abilities in a correct way. The purpose of the current study was to investigate the new geometry as an abstract and modern art movement and fashion interaction and determine its effect on fashion. In this research, the related literature was reviewed and the collections of the fashion designers who were impressed by this art movement was examined and some samples were given. Due to the fact that the art movement of neo-geo appeared towards late 1980s, clothing styles of 80s and its relation with the fashion in those days were given.Keywords: Fashion, neo-geo (new geometry), art.Â
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Wardani, Wardani. "PERKEMBANGAN PEMIKIRAN FILSAFAT ISLAM MODERN (SEBUAH TINJAUAN UMUM)." Jurnal Ilmiah Ilmu Ushuluddin 14, no. 1 (March 1, 2016): 27. http://dx.doi.org/10.18592/jiu.v14i1.680.
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This article is aimed to deal with the development of Islamic philosophy in modern era in many countries, both in theEast and the West, in the world commonly, and in Indonesia particularly. Islamic philosophy in this era has grownthrough four stages. Firstly, at the beginning of 19th century, when the modernization in Muslim countries has beeninitiated by Jaml al-Dn al-Afghn. Secondly, since 19th until 20th century, when some orientalists among Jews havestudied the Islamic philosophy. Thirdly, post-World War II, when the Islamic philosophy has become the concern ofthe Eastern and Western scholars. Fourthly, the golden age of Islamic philosophy has come, since 20th centuryhitherto, when the bordes has fused in the sense that both Western and Eastern scholars have collaborated in jointintellectualagenda to study of Islamic philosophy. The Study of Islamic philosophy in Indonesia, in particular, haspassed three stages of development; firstly, in 1960-1970s, the stage of consolidation has begun through efforts carriedout by Harun Nasution to cultivate rational thought in the mind of Indonesian Moslems; secondly, in 1980-1990s,the stage of institutionalization has begun when the department of theology and philosophy at the Faculty of Ushl al-Dn at Syarif Hidayatullah State Institute for Islamic Studies in Jakarta has been initiated in 1982; finally, since1990 hitherto, the stage of functionalization, when the Islamic philosophy has been studied in Islamic universities, andeven functionalized to solve many problems.
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Fitriana, Annida, and Syahidin Syahidin. "Muhammad Abduh’s Concept about The Implementation of 20th Century Islamic Education." Jurnal Kajian Peradaban Islam 4, no. 2 (June 24, 2021): 48–53. http://dx.doi.org/10.47076/jkpis.v4i2.76.
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Muhammad Abduh was a leading Islamic reformer in the 20th century. Through his ideas, Muhammad Abduh was able to reconstruct exciting Islamic understanding, both in terms of culture and aqidah, including Islamic education. The reconstruction of Islamic Education cannot be done with the awakening of the ideas and programs of Islamic modernism because it becomes the basic framework behind Islamic modernism as a whole, both modernism in thought and Islamic institutions, which are a prerequisite for the awakening of the Muslims in modern times. Therefore, Islamic thought and institutions, including education, must be modernized or reconstructed following the modernity framework; maintain Islamic institutional thinking; with Muhammad Abduh, who initiated modern education. Abduh's thoughts had a profound influence on the lives of Muslims, both in the country where he was born in Egypt, as well as in other Arab worlds, even to the Muslim world outside the Arab world such as Indonesia. The birth of reform movements, such as Muhammadiyah, Al-Irsyad, and Persatuan Islam (PERSIS), cannot be separated from the influence of Muhammad Abduh's thoughts on modernism and have become many references for western thinkers.
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Tyagi, Namita. "A SIGNIFICANT REPRESENTATIVE OF FOLK STYLE HARIPURA POSTERS BY NANDLAL BASU." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (June 3, 2022): 389–96. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.92.
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Folklife has always been inspiring the artist. As a result of this inspiration, the folk painting style has descended at its highest level in the world. The artists have expressed themselves through their art whether it is struggling moments of folklife or the day-to-day lifestyle. The heritage of folk art has always remained between us. In the modern era of painting in the 20th century, artist Nandlal Basu was also inspired by folklife and folk forms. Post that, his new creations had elements of folk forms. The intervention of this inspiration led him to portray the intact heritage of Indian culture and traditions in his art in the form of Haripura posters.In these posters, Nandlal Basu showcased the significance of the integration of folk art along with social public consciousness and excellently exemplified it in the art world. Moreover, Basu has established coordination between modern and ancient art, and through the Haripura posters, he served the country with his meaningful work. Due to the successful efforts of Basu, he will always be remembered as a national artist
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Scheid, Kirsten. "NECESSARY NUDES: ḤADĀTHA AND MUʿĀṢIRA IN THE LIVES OF MODERN LEBANESE." International Journal of Middle East Studies 42, no. 2 (April 13, 2010): 203–30. http://dx.doi.org/10.1017/s0020743810000024.
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In his studio in Beirut in 1929, the young artist Moustapha Farroukh (1901–57) envisioned a composition to change his society. He hoped his oil painting would incite broad support among his fellow Lebanese for a revolution in conventional gender relations and women's participation in the urban social order. He titled the picture The Two Prisoners and based it on a European convention for representing the East: the Nude odalisque (Figure 1). The resulting painting exemplifies the complex role Arab intellectuals of the early 20th century played in the formation of modern art and universal modernity. Leading artists in Mandate-era Beirut felt compelled to paint Nudes and display them as part of a culturing process they called tathqīf (disciplining or enculturing). To a large extent, tathqīf consisted of recategorizing norms for interaction and self-scrutiny. Joseph Massad has revealed that one crucial component of tathqīf was the repudiation of behaviors and desires associated with the Arab Past, such as male homosexuality. An equally important component was the cultivation of “modern,” “masculine” heterosexual eroticism and a dutiful feminine compliance associated with ḥadātha (novelty) and muʿāṣira (contemporaneity). This was accomplished through the use of a genre that was deliberately new and alien in both its material media and its impact on makers and viewers.
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Skliarenko, Halyna. "Interpretation Peculiarities of the Impressionistic Trends in Ukrainian Ar." Folk art and ethnology, no. 1 (February 28, 2022): 30–45. http://dx.doi.org/10.15407/nte2022.01.030.
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The article is dedicated to the interpretation peculiarities of the impressionistic trends in Ukrainian art. Impressionism as the first modernist style has a huge impact on world art, been marked in it both by new purely formal, plastic and also world-view features. Ukrainian art hasn’t also avoided it and attracts its experience to the search for a new artistic language of the turning point in the artistic development of the period of the late 19th – early 20th century in its own way. Although impressionism hasn’t formed a definite exact trend in Ukrainian art, its ideas, in particular, the individualization of artistic vision, subjectivity of perception, colour expressiveness mark a new stage of its development and keep their relevance for a long time. The sources of impressionistic influences in Ukrainian painting at the turn of the 19th – early 20th century, the contradictions of its interpretation by critics and artists, the peculiarities of impressionism significance in the works of avant-garde artists (D. Burliuk, O. Bohomazov, K. Malevich) are considered in the article. A great importance of a large exhibition Impressionism in Ukraine in the phenomenon representation is emphasized. The event has been held on December, 2009 – March, 2010 at the National Museum of Modern Art in Kyiv. A range of impressionistic interpretations in Ukrainian painting of the late 19th – early 20th century is submitted for the first time. An attitude to the trend during the next periods of the history of Ukrainian art, namely in the post-revolutionary 1920s, 1930s – 1950s, 1960s – 1970s, is analyzed in the article. These are the periods, when impressionism as a bourgeois artistic trend has been “deleted” from the Soviet art because of the establishment of socialist realist doctrine. It has been returned gradually into the artists’ creative practices in the following years. Impressionism has preserved its attractiveness until the 1970s due to the peculiarities of the art development in the Soviet conditions (isolation from the world experience, shortage of extensive information about Ukrainian art of the pre-Soviet times) despite its historicity and close connection with art of the turn of the 19th – 20th century.
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Haryanto, Moch Dwi. "ISLAM DI PURWOKERTO AWAL ABAD KE-20 M." Thaqafiyyat : Jurnal Bahasa, Peradaban dan Informasi Islam 20, no. 1 (July 20, 2022): 42. http://dx.doi.org/10.14421/thaq.2021.20103.
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The 20th Century was a new phase of Dutch colonialism in Indonesia. The existence of colonialism in Indonesia brought impacts and changes in several aspects such as economic, politic, social, and culture. Some districts in Java run into a transition from a traditional society into a modern one. To muslims, the changes brought another impact. Muslim in some places in Java comonly thrive into a positive progress. It could be seen in the forming of Islamic organization, Islamic pers growth, and modernization of Islamic education. In Purwokerto, in the early 20th century, it grew and became one of the busiest cities in the district of Banyumas residency as well as one of the most important cities in the southern part of Central Java. That growth made a certain impact to Muslim community in Purwokerto. In the early 20th century, they were divided into 4 religious organizations thus are Serikat Islam, Muhammadiyah, Nahdlatul Ulama, dan Ahmadiyah. Besides, the growth of Muslim community in Purwokerto in this era was along with the growth of Christianity and Chatolic community which was introduced by Dutch Colony. Therefore, this research aims to find out had Muslim community in Purwokerto made progress as were in other common district in Java in that era or vice versa? and why?
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Xiaotao, Li, and Yan Qing. "The influence of the Itinerants' creative ideas on Chinese realistic painting." World of Russian-speaking countries 2, no. 8 (2021): 87–104. http://dx.doi.org/10.20323/2658-7866-2021-2-8-87-104.
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The article analyzes the influence of the Itinerants' creative ideas on Chinese realistic painting, the development of which is inseparable from the study of the Itinerants. The article examines how the painting technique and ideology of the Association of Itinerant Art Exhibitions founded in the late 19th century are relevant to many 20th-century Chinese artists. The authors identify the ideological principles of the Itinerant movement that have influenced different generations of Chinese artists (rejection of the “art for art's sake” principle, emphasis on national characteristics of painting, responsibility for reflecting the life of people in the country, advocating the spirit of critical realism as the only true way to reflect life in art) and prove that without Russian Itinerants there would be no Chinese realism in painting and modern Chinese realistic painting. The article identifies and characterizes three stages of adopting the Itinerant creative ideas in China: the period of the Republic of China (acquaintance of the Chinese public with the Itinerants' paintings and understanding the Itinerant ideology at the time of the “Movement for New Culture”), the beginning of the PRC foundation (the period of comprehensive study of realist painting, training of talented Chinese artists in art educational institutions of the USSR as part of the cultural exchange and mastering the principles of Soviet realist art) and the first decade after the Cultural Revolution (a critical “painting of scars” reflecting the experiences and fates of people during the Cultural Revolution). The authors conclude that the study of the Itinerants' creative ideas from the point of view of cultural studies in the context of the Chinese realist art school development is important for understanding the Russian- Chinese cultural dialogue.
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Syifana, D. Indah. "Development of Hadith Studies in Indonesia in the 20-21 AD Century." El-Furqania : Jurnal Ushuluddin dan Ilmu-Ilmu Keislaman 7, no. 01 (February 28, 2021): 94–118. http://dx.doi.org/10.54625/elfurqania.v7i01.4177.
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Hadith as the second source of Islamic teachings is very important to study. However, in Indonesia the study of hadith in its development is inversely proportional to the progress of other Islamic sciences. This delay took place over a long period of time, starting from the beginning of the entry of Islam to Indonesia until the end of the 20th century AD. Meanwhile, in modern times the study of hadith has progressed rapidly, both in terms of quantity and quality. However, the progress of this era also raises several problems regarding the authenticity and understanding of the hadith itself. This article will discuss the development history and characteristics of hadith studies in Indonesia. The development of hadith will never be separated from the role of the scholars at that time, therefore in this article the author also describes the figures and works produced in the scientific field of hadith.
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Eka Sri wahyuni and Anik Huzaimah. "NEGARA DAN MODERNISASI PENDIDIKAN ISLAM DI INDONESIA." Transformasi: Journal of Economics and Business Management 1, no. 4 (December 12, 2022): 01–09. http://dx.doi.org/10.56444/transformasi.v1i4.235.
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The existence of the SKB of three ministers of social, economic, political, cultural and national civilization and for Muslims the three ministerial SKB has meaning, first, the occurrence of social and vertical mobility of madrasa students which so far has been limited to traditional educational institutions (madrasas and Islamic boarding schools), and secondly, opening up opportunities for the possibility of santri children entering the area of work in the modern sector. The existence of Islamic education policies during the New Order era brought changes to Islamic education and the life of the nation, especially Muslims. The birth of a three-ministerial SKB stating that madrasah alumni could continue their education in public schools both at home and abroad.
And that was born from the process of modernizing Islamic education which began in the early 20th century. In line with the development of social and economic institutions, the Muslim modern elite mostly live in cities, are highly educated, have religious knowledge, work in the New Order bureaucracy and in various secular modern institutions, the social and religious position of the modern Muslim elite makes them have social access. and strong politics. And they spread a lot to membership in the DPR both through Islamic and nationalist parties such as Golkar and others.
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Irawan, Hendi, Januar Barkah, and Muhammad Abdul Karim. "Fall and Revilitazion Traditional Game in Indonesia at 1990-2010." Tsaqofah 16, no. 2 (December 28, 2018): 217. http://dx.doi.org/10.32678/tsaqofah.v16i2.3157.
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The number of traditional game in Indonesia decreasing since change with new style of society and religion, but in late 20th century, with more popular of video game in Indonesia made big change in society and the number of traditional game more decreasing than before.Documentation of traditional game has started either by goverment before modern entertainment more popular in Indonesia at 1980-2000’s, but revilitazion not much do in grassroot. The communities and goverment started to preserving theintangible heritage with many ways also from, either in local or national above 2000's when they reliaze many traditional game has disappear and Indonesian heritage under threat.
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Zulfikri and Mohammed A. F. Badawi. "The Relevance of Muhammad Abduh's Thought in Indonesian Tafsir: Analysis of Tafsir Al-Azhar." Millah 21, no. 1 (August 2021): 113–48. http://dx.doi.org/10.20885/millah.vol21.iss1.art5.
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In this study, the author uses the descriptive-historical approach to explain the influence of Muhammad Abduh's thoughts and Tafsir Al-Manar's coming to Indonesia. Especially in the Tafsir Al-Azhar by Hamka, who was born in the 20th century. This interpretation emerged when Indonesia was experiencing a state of transition from colonialism to independence. At the same time, modern Islamic thought became strong in Indonesia. The modern approach of Tafsir al-Manar has inspired Hamka's model of interpretation in Tafsir Al-Azhar. Here the authors find similarities in terms of methodology, namely social-community (Adab ijtima'i). Apart from that, there are some similarities and differences between the Tafsir Al-Manar with Tafsir Al-Azhar. For example, the view of the verses of "Ahl Kitab, muhkam-mutasyabih, and Israiliyat." Then the implications for the understanding of the heterogeneous Indonesian Islamic community from various religions. Besides this, the interpretation had a significant influence on the development of modern interpretation in Indonesia. It is easy to read and understand the general public to academics in Indonesia, Malaysia, and other Southeast Asian countries.
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Majewski, Piotr. "Constructing the canon: exhibiting contemporary Polish art abroad in the Cold War era." Ikonotheka, no. 30 (May 28, 2021): 135–53. http://dx.doi.org/10.31338/2657-6015ik.30.7.
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The article focuses on the attempts of constructing and presenting the canon of Polish modern and contemporary art in the West after World War II. Initially, the leading role was played by Colourists – painters representing the tradition of Post-Impressionism. After 1956 the focus shifted towards artists who drew in their practice on tachisme and informel. However, the most enduring effects brought the consistent promotion of the interwar Polish Constructivism and its postwar followers. The article discusses the subsequent stages of this process, from the famous exhibition at the Paris Galerie Denise René in 1957, through exhibitions such as Peinture moderne polonaise. Sources et recherches (Modern Polish Painting. Sources and Experiments) from the late 1960s, up to the monumental Présences polonaises (Polish Presences) from 1983 (both in Paris), showing that these efforts contributed to securing a permanent position of Polish Constructivism within the global heritage of 20th-century art.
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Stratulat, Lacramioara, Maria Geba, and Daniela Salajan. "Village from Muscel by Ion Marinescu Valsan State of Conservation and the Chromatic Palette." Revista de Chimie 69, no. 12 (January 15, 2019): 3464–68. http://dx.doi.org/10.37358/rc.18.12.6770.
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Ion Marinescu V�lsan (1865 - 1936) was a Romanian painter belonging to the modern Romanian art from the beginning of the 20th century. Many of the paintings painted by him have picturesque landscapes in his native town, Malureni, Arges County. He was influencedby Nicolae Grigorescu. Village from Muscel painting, by Ion Marinescu V�lsan, was examined by several non-invasive techniques (Vis, UV &grazing light examination, IR reflectography, optical microscopy and X-rays fluorescence spectrometry) to obtain information on its chromatic palette and state of conservation. Zinc white, Lead white, Prussian blue, Cinnabar, Chrome yellow, Yellow ochre, Red ochre, Viridian and Burnt umber were used as the pigments, while the preparation layer is from Chalk, Zinc white, Lead white, identified by XRF analysis.
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Georgieva, Tsvetana. "Pan in the Bulgarian literature of Fin de siècle." Bulgarski Ezik i Literatura-Bulgarian Language and Literature 64, no. 1 (February 9, 2022): 17–28. http://dx.doi.org/10.53656/bel2022-2-tg.
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In the age of the Fin de siècle, the mythological Pan was the subject of numerous interpretations in painting, literature, and the performing arts. The article examines for the first time how the image of Pan fits into the modern Bulgarian literature of the early 20th century - in the works of Emanuil Popdimitrov, Trifon Kunev, Hristo Yassenov and Lyudmil Stoyanov. As an expression of the ideas of the epoch (in the Jugendstil and Secession currents), both in Europe and in Bulgaria, Pan and pantheism apologize for nature, the vegetative principle, youth and childhood, love fire, music and intoxication. The original in the Bulgarian interpretation is the sentimental, sensitive autumn Pan, the parodied Pan / Faun and the old wise man, master of music, and devoid of passion Pan.
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Morales Toledo, Erik Guillermo, Teodora Raicu, Laura Falchi, Elisabetta Barisoni, Matteo Piccolo, and Francesca Caterina Izzo. "Critical Analysis of the Materials Used by the Venetian Artist Guido Cadorin (1892–1976) during the Mid-20th Century, Using a Multi-Analytical Approach." Heritage 6, no. 1 (January 11, 2023): 600–627. http://dx.doi.org/10.3390/heritage6010032.
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The present study sought to expand on and confirm the already available information on the painting materials used by the Venetian artist Guido Cadorin (1892–1976). A multi-analytical approach was employed in the study of six tempera grassa easel paintings and one casein tempera on a panel signed by the artist and belonging to the International Gallery of Modern Art Ca’ Pesaro in Venice, Italy, which dated from 1921 to 1951. The aim of the research was to identify the painting materials, observe the evolution of the color palette through time and assess the state of conservation. Non-invasive imaging and/or spectroscopic techniques were employed, such as hyperspectral imaging spectroscopy (HSI) and Raman spectroscopy. Microsamples were also collected from the edges and detached areas of the canvases that were studied through three non-destructive techniques, namely optical microscopy (OM), energy dispersive x-ray fluorescence spectrometry (EDXRF) and attenuated total reflection fourier transform infrared spectroscopy (ATR-FTIR), and one destructive technique, namely gas chromatography-mass spectrometry (GC/MS). The results allowed the inference of the color palette used to render the artist’s paints, composition of the preparation layer, and characterization of the binding media and varnish layers. Moreover, the state of conservation of the artworks was determined. Thus, the outcome of this research enriches the painter’s profile and might aid the International Gallery of Modern Art Ca’ Pesaro in Venice, Italy in the planning of future conservation treatments in accordance with the guidelines of good practices in art conservation.
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Кирчанов, Максим Валерьевич. "The history of Islam in Indonesian politics of memory." Journal of the Belarusian State University. History, no. 3 (August 8, 2022): 82–92. http://dx.doi.org/10.33581/2520-6338-2022-3-82-92.
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The article analyses the perception of the history of the Muslim community in the modern Indonesian politics of memory. For the first time in Belarusian historiography, the features of the historical politics or the politics of memory in modern Indonesia are considered. The novelty of the article lies in the integration of Indonesian issues into the contexts of modern interdisciplinary memorial studies. The key subjects of the politics of memory in Indonesia are determined in contexts of the revision of the history of political Islam in the second half of the 20th century. The activity of the media is considered as the main form of the revision of history, criticism of old historical narratives and the formation of a new memorial canon of the history of Indonesian Islam. Attempts to revise the history of Islam are analysed, including new interpretations of Muslim activists, who impact participated in the national movement. The author analyses the contradictions of historical politics in the context of integration of the history of Indonesian political Islam of the 20th century into the secular memorial canon. It is assumed that attempts to construct the history of political Islam in the modern collective Indonesian memory have a compromise character. The author shows how intellectuals assimilate the history of Islam, integrating it into the current memorial canon. It is noted that within the framework of the politics of memory, ideologically and politically controversial points related to the history of radical political Islam, which in the early model of national memory were marginalised and forgotten. Modern manipulations with historical memory are analysed as attempts to achieve a memorial compromise between secular intellectuals and representatives of the Muslim community.
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Tarasova, M. V., A. A. Sitnikova, and M. G. Smolina. "Laszlo Moholy-Nagy: the directions of creative work and the influence on the development of art of the 20th century." Siberian Journal of Anthropology 4, no. 4 (2020): 248–68. http://dx.doi.org/10.31804/2542-1816-2020-4-4-248-268.
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The creative work of the Hungarian theoretician and artist Laszlo Moholy-Nagy has recently become an object of reevaluation and scrutinous investigation. Laszlo Moholy-Nagy is also considered one of the forerunners of conceptual art. In a way, he also foresaw the "visual turn" of culture, which she made at the beginning of the 21st century, and he viewed his works in part as "exercises" in vision for a person of the future. Although today it is obvious that the art of L. Moholy-Nagy had a significant impact on the work of contemporary artists, a detailed analysis and understanding of the essence of this influence still remains insufficiently studied. In the development of his artistic method, L. Moholy-Nagy constantly evolved, moving from painting to photography and further to film works. The research explores the representatives of certain types of art in the work of Mohoy-Nagy. A detailed philosophical and art history analysis of the artist's photograms – works created in painting with light (light painting) is carried out in the research. Although the connection between Moholy-Nagy’s art and the artistic practice of the present day has been acknowledged the detailed analysis of the influence of Moholy-Nagy’s ideas on contemporary artists is still in great demand. The aim of our research is to understand the intermedial concept of Moholy-Nagy’s creative activities by means of the analysis of paintings, photographs, photograms and films produced by the artist. Our research is based on the modern theory of art as a mode of communication. The methods of our research include the conceptual, hermeneutic and comparative analysis. The methodological foundations of the research include the conception of the philosophical and art historical analysis, developed and proposed by V. I. Zhukovsky and N. P. Koptseva, which involves the appication of general scientific methods (measurement, analysis, synthesis, interpretation, analogy, etc.) to understanding the meanings of art works. As a result of our research we have revealed the meanings of Moholy-Nagy’s works of art and described their influence on the American, Hungarian and Russian artists of the twentieth and the twenty-first centuries.
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Syahril, Syahril, Rustamadji Rustamadji, Bulkani Bulkani, and Zainur Wula. "The Beginning of Renewal and Religious Reform in Indonesia: Tawḥīd Purification." Journal of Al-Islam and Muhammadiyah Studies 1, no. 1 (May 23, 2020): 12–20. http://dx.doi.org/10.32506/jaims.v1i1.539.
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This article discusses religious reforms and reforms in Indonesia which are linked to the forerunner to the birth of Muhammadiyah. Using a library survey, this article found that the reform movement in Indonesia began to occur in the early 20th century and could not be separated from the birth of Muhammadiyah. In this context, the renewal of Islam in Indonesia through Muhammadiyah is inseparable from the thoughts of Middle Eastern figures, such as Ibn Taymiyah and Muhammad Ibn Abdul Wahhab, especially in the aspect of creed (tawḥīd) in the form of purification.This article presents the idea that renewal and reform are a dynamic movement and is still needed in the context of national development as a form of continuity of awareness in modern society.
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Jeong, Hyeon Goo. "Changes in Tea Consumption in United States in the First Half of the 20th Century." Korean Tea Society 28, no. 4 (December 31, 2022): 35–42. http://dx.doi.org/10.29225/jkts.2022.28.4.35.
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This study examines the American tea culture and tea consumption patterns in the United States, analyzing development patterns of modern American tea culture, as well as trends and factors influencing tea imports and consumption. First, tea consumption in the United States in the first half of the 20th century increased at the same level or slightly higher than in the previous century despite population growth. Second, tea consumption increased dramatically due to the Prohibition Act in the 1920s and black tea particularly increased rather than green tea as more tea was imported from India, Sri Lanka, and Indonesia than from China and Japan due to the influence of the Pacific War and the Korean War in the 1940s and the 1950s respectively. Third, iced tea, which existed before the 20th century, was initially made of green tea but later changed to black tea, and as refrigeration improved, it became a representative American drink. Fourth, tea bags were invented in the previous century for economic feasibility and refine taste at first. Their quickness and convenience stimulated consumer sentiment, and when combined with CTC black tea, they gained an overwhelming advantage in the market. As stated above, American tea culture was still intact even after the 20th century, and it built its own unique tea culture that advanced from the original English tea culture, such as American tea food, informal and entertaining character, iced tea and tea bags.
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Ma'arif, Cholid. "KAJIAN ALQURAN DI INDONESIA: TELAAH HISTORIS." QOF 1, no. 2 (December 15, 2017): 117–27. http://dx.doi.org/10.30762/qof.v1i2.923.
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This paper focuses on a mapping study of the development of Qur'anic and interpretation study generally in Indonesia. It aims to see how far the map of development of the Qur'an Study in the region of Indonesia. Previously, it is important to trace the beginning of the historical entry of Islam, the pattern and system of teaching the Koran, along with its development by looking at the work of commentary scholars and commentary on the interpretation of scholars. The method used is bibliography with supported documentation of related works. The results are the study of the Qur'an in Indonesia from classical to contemporary times evolved from the conventional pattern of the class (learning al-Qur'an in pesantren, madrasah, and home), a ceremonial event and even in competition (model reading al-Qur ' in various events such as One Day One Juz, STQ, MTQ, and others). On the other hand, the growth of interpretation and translation of the Koran in Indonesia is somewhat slower than the writing of interpretations in the Middle East. In this case the author traced the period of history of writing al-Qur'an interpretation according to Nasharuddin Baidan: Classic Period (7-8 H./15 CE); The Middle Period (16-18 AD); Pre-Modern Period (19th Century); The Modern Period (The 20th Century (1900-1950, 1951-1980, 1981-2000, 2001-present) At first glance, it appears that at first the interpretation became an integral part with other religious teachings propagated by the wali songo (such as the teachings of Molimo and also Lir Ilir) .Then began writing the interpretation with Arabic script in the local language (ex melayu, madura) .The work that appears like Tafsir Tarjuman Al-Mustafid.In this period style of writing interpretation is still influenced from the interpretation of Arab lands, such as Jalalain, al-Baidlawi, etc. The modern period is a period of Indonesian interpretation, not only of tahlili but also maudlu'I (thematic themes) .The themes are carried on are social, political, economic, gender, ecological, multicultural , and others.
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BAYRAK, Tekin, and Tolga ŞENOL. "TÜRK KÜLTÜRÜNE AİT BİRER KÜLTÜREL MİRAS OLAN SEMBOLLERİN TÜRKİYE’DE MODERN SANAT VE SONRASI DÖNEMDE RESİM SANATINDA KULLANILMASI." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 33 (September 15, 2022): 57–69. http://dx.doi.org/10.31567/ssd.725.
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It is thought that in the 20th century and later period, the paintings in which the symbols of Turkish culture are used do not take place sufficiently in the literature. In this context, it is important to support the production of works within the relevant framework and to increase the recognition of existing ones. The aim of this study; To explore, understand and interpret the use of symbols, which have an important place in Turkish culture, in modern art and post-painting art in Turkey in terms of form-meaning relationship. The study was carried out according to the hermeneutic pattern in line with the purpose. Three works by Bedri Rahmi Eyüboğlu, Erol Akyavaş, Rauf Tuncer, Hüsamettin Koçan and Süleyman Saim Tekcan, one of the pioneers of Turkish painting art, formed the study group. The document method was used as a data collection tool, and the data were analyzed by concept analysis and artifact review method. It has been determined that the symbols, which are the dominant elements in the related works, are presented to the audience in different styles. The fact that the symbols of Turkish culture were successfully synthesized with the universal plastic expression in the examples of works discussed in terms of form and meaning relationship was considered important in the context of the possibility of reaching wider masses. Keywords: Bedri Rahmi Eyüboğlu, Erol Akyavaş, Rauf Tuncer, Hüsamettin Koçan, Süleyman Saim Tekcan
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Chitrakar, Madan. "Purna Man Chitrakar (1864 - 1939 AD): A Pioneer - Least Celebrated." SIRJANĀ – A Journal on Arts and Art Education 5, no. 1 (December 1, 2018): 16–27. http://dx.doi.org/10.3126/sirjana.v5i1.39738.
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A frequent debate or an issue favorite amongst the art-history buffs is usually found around when and who first used oil paints as a medium of painting and introduced photography in Nepal. On many occasions, the credits were attributed to a legendary name – Bhaju Man Chitrakar or Bhaju-macha. But it appears now many of those narratives were made more based on the popular hearsays rather than actual study of his oeuvre of works or a credible analysis of the circumstances then.
The essay here seeks to analyze the roles of the prominent artists then – spanning late 80s of the 19th century to the late 30s of the 20th century. It is found the role played by a least celebrated artist Purna Man Chitrakar, seemed more credible – in ushering a new era, described as ‘Pre-modern’, with the irrefutable accounts of his workings in oil colors and photography.
Moreover, his mentorship of many of the junior artists later proved momentous – leading to create different new streams in the evolution of Nepali Art – later.
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Suryaningsih, Iin. "Puisi Arab Bersajak karya Zaini-Solo; Kajian Pedagogi Islam-Modern dalam Manuskrip Nusantara." Buletin Al-Turas 24, no. 2 (October 30, 2018): 363–78. http://dx.doi.org/10.15408/bat.v24i2.8748.
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The presence of various modern pedagogical currents carried by the psychologists and observers of Western education, has made a new mapping in the study of modern education in Indonesia. Indeed the study has been popular since the early 20th century AD with a very specific theme evidenced by one of the manuscripts entitled Mir'ātu Afkār al-Rijāl Nadzm Ta'līm al-Muta'līm by a scholar from Solo-Indonesia. This study proves that the content of Modern Pedagogy study by a scholar in Indonesia looks very specific and holistic. The method used is a method of philology that includes textual criticism in manuscripts. This method will also capture the superiority of the study of Archipelago Pedagogy written with Arabic script. The results of this study that the study of Modern Pedagogy can be clearly found in the traces of the history of the past in the archipelago of Manuscript.---Hadirnya berbagai aliran pedagogi modern yang diusung oleh para psikolog dan pemerhati pendidikan Barat, telah membuat pemetaan baru dalam kajian ilmu pendidikan modern di Indonesia. Sejatinya kajian tersebut sudah populer sejak awal abad 20 Masehi dengan tema yang sangat spesifik yang dibuktikan oleh salah satu manuskrip berjudul Mir’ātu Afkār al-Rijāl Nadzm Ta’līm al-Muta’līm karya seorang cendikia asal Solo-indonesia. Penelitian ini membuktikan bahwa muatan kajian Pedagogi Modern karya cendikia di Indonesia terlihat sangat spesifik dan holistik. Metode yang digunakan adalah metode filologi yang mencakup kritik teks pada manuskrip. Metode ini juga akan memotret keunggulan kajian Pedagogi Nusantara yang ditulis dengan skrip Arab. Hasil penelitian ini bahwa kajian Pedagogi Modern secara nyata dapat kita temukan dalam jejak sejarah keilmuan masa lalu di Nusantara berupa Manuskrip.
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Karpenko, Vladimir E., and Nikolay I. Shchepetkov. "Light Forms in Urban Environment." Light & Engineering, no. 04-2021 (August 2021): 6–15. http://dx.doi.org/10.33383/2021-033.
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The paper proposes a method for generalizing and understanding the achievements of modern lighting design by means of classifying light forms and their main features are specified. The variety of types and complexity of light forms are due to avant-garde experiments in the art of the early and mid 20th century and is consistent with the successive change in artistic styles. Advances in computer technology and programming have made it possible to combine lighting elements, visual, colour and optical effects in one form. The new lighting techniques were developed for illuminating the architectural environment, various buildings, structures and forms in the spaces of world exhibitions. In this paper, the following light forms of the urban environment are investigated: projection mapping, light-graphic, light-painting and installation, sculptural, media surfaces and media facades, structural and vertical, energy-saving and virtual. The classification of light forms makes it possible to identify their structure and image, their correspondence to different eras in art, to predict the possibility of their transformation in the perspective of modern visual creativity.
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Mujiburrahman, Mujiburrahman. "ISLAM, PEREMPUAN DAN PENDIDIKAN." Marwah: Jurnal Perempuan, Agama dan Jender 13, no. 1 (February 5, 2014): 21. http://dx.doi.org/10.24014/marwah.v13i1.880.
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The article will discuss various viewpoints on the issues affecting women in Islam, and how they influence the views regarding women education. Their views generally can be divided into conservative, progressive and philosophical. All these views, in general, regard that like men, women are obliged to search for knowledge. In Indonesia, since the 19th century, women have already been involved in learning religion. However, for some cultural reasons, in this period, the access for women to modern education was still limited. On the other hand, from the 20th century up to now, like male Muslims, Indonesian female Muslim have more opportunies in education. Moreover, the symbolic-philosophy of complementary relations between male and female can also become an alternative to conservative or liberal philosophy of education
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Fajriah, Nurul. "Kerukunan Umat Beragama: Relevansi Pasal 25 Piagam Madinah dan Pasal 29 UUD 1945." Substantia: Jurnal Ilmu-Ilmu Ushuluddin 21, no. 2 (October 31, 2019): 162. http://dx.doi.org/10.22373/substantia.v21i2.5525.
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This article is a study of literature describing religious harmony: the relevance of Article 25 of the Medina Charter and Article 29 of the 1945 Constitution. The Medina Charter was made in the 7th century (classical century) and Article 29 of the 1945 Constitution was born in modern times, around the 20th century. Both have relevancy which states that every citizen is free to adhere to their respective religions. The plurality of society in Indonesia has similarities and differences from the plurality of society in Medina around 622 AD. The stability and harmony of religious communities in the Medina at that time was regulated in the Medina charter which is the constitution of the Medina state. Harmony among religious communities in Indonesia is also an important concern of the Indonesian government as stipulated in Article 29 of the 1945 Constitution. Freedom of religion is guaranteed by the state because the state believes that religious diversity is not a disintegrating factor for the Indonesian people.Abstrak: Artikel ini adalah kajian literatur yang mendeskripsikan kerukunan umat beragama: relevansi pasal 25 Piagam Madinah dan Pasal 29 UUD 1945. Piagam Madinah dibuat pada abad VII (abad klasik) dan pasal 29 UUD 1945 baru lahir pada zaman modern, sekitar abad XX. Keduanya memiliki relevansi yang menyatakan bahwa setiap warga negara bebas menganut agamanya masing-masing. Kemajemukan masyarakat di Indonesia mempunyai sisi-sisi persamaan dan perbedaan dengan kemajemukan masyarakat di Madinah sekitar tahun 622 M. Keberlangsungan dan keharmonisan umat beragama di negara Madinah pada waktu itu diatur dalam piagam Madinah yang merupakan konstitusi negara Madinah. Kerukunan antar umat beragama di Indonesia juga menjadi perhatian penting pemerintah dengan adanya kebijakan Negara Republik Indonesia dari segi agama yang tertuang dalam pasal 29 UUD 1945. Kebebasan beragama ini dijamin oleh negara karena keyakinan bahwa keberagaman agama tidak akan menjadi disentegrating factor bagi bangsa Indonesia
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Patina, Tatiana E., and Ol’ga V. Kovaleva. "Formation and Evolvement of the Russian Avant-Garde during 1910–1930. Ideas of the Russian Textile Avant-Garde." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 65 (2022): 315–24. http://dx.doi.org/10.37816/2073-9567-2022-65-315-324.
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The paper presents an analytical review of the studied and processed information on the fundamental role of the education of artists in the system of the avant-garde institutes and art schools in the first quarter of the twentieth century. The study explores the main theoretical aspects related tothe development and formation of the Russian textile avant-garde. For a deeper and more objective understanding of the development of innovative ideas in the art of post-revolutionary Russia in the 20th century it focused on the activities of the main ideologists of the Russian avant-garde in the art of painting: M. F. Larionov, N. S. Goncharova, K. S. Malevich, and V. V. Kandinsky. In the textile art there were studied the activities of V. F. Stepanova, L. S. Popova, and O. V. Rozanova, as well as other personalities who influenced the formation of avant-garde schools. The authors provide an insight into how the ideas of the avant-garde were kept in the ideas of suprematism, constructivism and propaganda textile. The paper allowed conclusion that the study and research of the ideas of the Russian avant-garde opens up fresh opportunities for thedevelopment of modern Russian design.
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Gusev, Nikita S. "Medieval Architectural Monuments of Macedonia in the Descriptions of Russian Travelers (Mid-19th – Early 20th Сenturies)." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 65 (2022): 26–43. http://dx.doi.org/10.37816/2073-9567-2022-65-26-43.
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The study shows the process of “discovery” of medieval monuments of architecture and monumental painting on the territory of modern Northern Macedonia by Russian travelers. The work is based on materials that introduced the Russian reader to the objects of cultural heritage — book, magazine and newspaper publications. Chronologically, the article covers the period from the first half of the 19th century, when the first fragmentary mentions of monasteries and temples appeared, to 1909 — the publication of N. P. Kondakov's book on the results of his expedition to the region. The paper traces route of travelers, addresses their information about the state of monuments and considers reliability of the information published by them. Before the Russian-Turkish War of 1877–1878, there was little interest in these territories. Only travelogues by V. I. Grigorovich, M. A. Khitrovo and M. F. Karlova were published on the topic of the study. In the wake of the fascination with the Balkans in the late 1870s, V. I. Grigorovich's book was republished and the notes of Archimandrite Antonin (Kapustin) about his journey, written earlier in 1865, were published. Then, until the end of the century, this part of the peninsula sank into oblivion, and only in connection with the aggravation of the Macedonian issue, it began to attract new wanderers. However, they paid attention to the ethno-religious situation, mostly ignoring cultural monuments. As a result, despite a fairly wide range of authors of travel essays on Macedonia at the turn of the 20th century, only P. N. Milyukov, A. A. Bashmakov and P. A. Rittikh mentioned medieval temples. The reason for this is that the Macedonian lands were presented to the Russian society as a kind of exotic part of the East, and therefore the medieval cultural heritage gave rise to unjustifiably disdainful attitude.
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Rohman, Fathor, M. Hilali Basya, and Sopa Sopa. "Islam and State: A Study on Al-Mawardi and An-Nabhani’s thought and its Compatibility in Indonesian Context." Hayula: Indonesian Journal of Multidisciplinary Islamic Studies 5, no. 2 (July 30, 2021): 243–60. http://dx.doi.org/10.21009/005.02.06.
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Even though study concerning Islam and politics has been conducted by many researchers, few of them investigating about compatibility of Islamic political thoughts, which originated from the classical and medieval periods that have been influencing Islamic political movements and thoughts in Indonesia, with Indonesian context. Thoughts of Imam al-Mawardi (lived in the 12th Century) and Taqiyuddin al-Nabhani (lived in the 20th Century) are some of them that should be mentioned in this regard. Islamic political thoughts of al-Mawardi become the main reference for Sunni Muslims who are majority in Indonesia, while Islamic political thought of al-Nabhani become the main guidance of HTI (Hizbut Tahrir Indonesia) movement of which its members and followers are many in Indonesia. This article investigates about the political thoughts of al-Mawardi and al-Nabhani concerning the relationship between Islam and state as well as their compatibility with Indonesian context. This study uses the library research in which its primary resources are books written by al-Mawardi entitled Al-Ahkam al-Sulthaniyah and al-Nabhani entitled Ad-Daulah al-Islamiyah. By utilizing qualitative content analysis, data were collected and analyzed. This article argues that the Islamic political thought of al-Mawardi has been adopted by majority of Indonesian Sunni Muslims with some adjustments with Indonesian context, so that his thoughts become compatible with the concept of modern nation-state of Indonesia. On the other side, Islamic political thought of al-Nabhani which developed within a spirit of resistance to Western (European) colonialism has been adopted and campaigned by HTI without adjustment with Indonesian context. This causes al-Nabhani’s thought clashes with the concept of modern nation-state of Indonesia.
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Lysen, Flora. "What to do with the “Most Modern” Artworks? Erwin Panofsky and the Art History of Contemporary Art." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 38–49. http://dx.doi.org/10.5195/contemp.2014.81.
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In the 1930s, when the world-renowned Medieval and Renaissance art scholar Erwin Panofsky became acquainted with the New York contemporary art scene, he was challenged with the most difficult dilemma for art historians. How could Panofsky, who was firmly entrenched in the kunstwissenschaftliche study of art, use his historical methods for the scholarly research of contemporary art? Can art historians deal with the art objects of their own time? This urgent and still current question of how to think about “contemporaneity” in relation to art history is the main topic of this paper, which departs from Panofsky’s 1934 review of a book on modern art. In his review of James Johnson Sweeny’s book Plastic Redirections in 20th Century Painting, Panofsky’s praise for Sweeney’s scholarly “distance” from contemporary art developments in Europe is backed by a claim for America’s cultural distance, rather than a (historical) removal in time. Taking a closer look at Panofsky’s conflation of historical/temporal distance with geographical/cultural distance, this paper demonstrates a politically situated discourse on contemporaneity, in which Panofsky proposes the act of writing about the contemporary as a redemptive act, albeit, as this paper will demonstrate, without being able to follow his own scientific method.
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Zagidullina, Marina. "Mediaesthetics of blank forms: the material basis of cultural nomadism in the era of panmediatization." Przegląd Wschodnioeuropejski 9, no. 2 (November 30, 2018): 293–307. http://dx.doi.org/10.31648/pw.3215.
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The article is devoted to the concept of the “empty form”. This concept is considered from philosophical, communicative, sociological, artistic and cultural points of view. The author follows Aristotle’s philosophy of hylomorphism and “eidos” and its transformation into the 20th century theory of “new materiality” with the “emptiness of the center” and “assemblage of things” concepts, in the modern linguistic approaches and in art and creative industries (i.e. painting, architecture, literature). The metaphor “frame without painting” (G. Zimmel) helps us understand the social potential of the “empty form” concept (as a functional stimulus and condition of perception). The modern communication situation, characterized by a panmediatization of all sides of societal life and a penetration of media in all forms of sociality, provides a number of conditions leading to an increase of the role of “empty forms” (including creativity based on “ready-to-use” empty forms considered as “vacuums waiting to be filled”). Panmediatization makes possible “the cultural nomadism” as a rambling from one empty form to another one. Panmediatization creates a “cultural nomadism” that consists of rambling from one empty form to another. One can see how the panmediatized communication field organizes this rambling: any “cultural nomad”, or rambler, is provided an opportunity to create new senses and new objects in the virtually endless and timeless space of this field. The technical aspect nature of this field generates the phenomenon of media aesthetics – the process of never-ending creative activity and consumption and evaluation of its results, where the aesthetic judgement is embodied in the technical procedures of the panmediatized communication field (i.e. “likes” or “sharing” of social media).