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1
Zorin, Aleksandr. "Tibetan and Mongolian Studies of the Academician Theophilus Siegfried Bayer." ISTORIYA 13, no. 4 (114) (2022): 0. http://dx.doi.org/10.18254/s207987840021195-3.
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This article deals with one of the main directions of research of T. S. Bayer (1694—1738), the first orientalist at the Russian Academy of Sciences. His interest in Tibetan and Mongolian writings was formed several years before his arrival in St. Petersburg, but it was instigated mainly by the sources connected with Russia. In the 1720s, two preliminary works by Bayer on this topic were published, one of them containing a translation of a text related to the ritual practice of Tibeto-Mongolian Buddhism, the first one in the history of European science. After moving to Russia, Bayer got the opportunity to publish a three-graphic syllabary that had been brought from Siberia by D. G. Messerschmidt (1685—1735) and contained a full set of letters and ligatures of the Indian Rañjana (Lañtsa) script, Tibetan and Mongolian alphabets. The circumstances of the acquaintance of the two scholars had a tragic connotation for Messerschmidt, who was deprived of the right to deal with the collections he himself brought to Saint Petersburg, and, nevertheless, their relationship was not hostile. This is confirmed by some materials from Bayer’s personal collection, presently kept at the Glasgow University Library, in particular his copy of a small Tibetan syllabary which seems to have been provided to him by Messerschmidt (the autograph is lost). This manuscript is published in the appendix to the article.
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Zhen, Ni. "Analyze the Development of Tibetan Contemporary Art." BCP Education & Psychology 8 (February 27, 2023): 84–88. http://dx.doi.org/10.54691/bcpep.v8i.4276.
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The development of Tibetan contemporary art, which is divorced from the traditional Buddhist significance, faces many problems, including the common problems of contemporary art and the problems that only occur in Tibetan contemporary art. Because of their unique cultural background, Tibetan people do not accept open contemporary art and depart from traditional forms, and they have their own aesthetic standards for art. Tibetan contemporary artists are in line with the world and create advanced contemporary art works. However, when creating works, even excellent artists will use the wrong images under the complex cultural background of Tibet. This paper analyzes the problems from three aspects of Tibetan contemporary art: openness, pluralism and social responsibility, and then analyzes the results accordingly. It is found that if Tibetan people can be more inclusive and Tibetan artists can pay more attention to the cultural connotation of their works, Tibetan contemporary art will develop better.
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Li, Hang, Jie Fang, Ying Jia, Liqi Ji, Xin Chen, and Nianyi Wang. "Thangka Sketch Colorization Based on Multi-Level Adaptive-Instance-Normalized Color Fusion and Skip Connection Attention." Electronics 12, no. 7 (April 6, 2023): 1745. http://dx.doi.org/10.3390/electronics12071745.
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Thangka is an important intangible cultural heritage of Tibet. Due to the complexity, and time-consuming nature of the Thangka painting technique, this technique is currently facing the risk of being lost. It is important to preserve the art of Thangka through digital painting methods. Machine learning-based auto-sketch colorization is one of the vital steps for digital Thangka painting. However, existing learning-based sketch colorization methods face two challenges in solving the problem of colorizing Thangka: (1) the extremely rich colors of the Thangka make it difficult to color accurately with existing algorithms, and (2) the line density of the Thangka brings extreme challenges for algorithms to define what semantic information the lines imply. To resolve these problems, we propose a Thangka sketch colorization method based on multi-level adaptive-instance-normalized color fusion (MACF) and skip connection attention (SCA). The proposed method consists of two parts: (1) a multi-level adaptive-instance-normalized color fusion (MACF) to fuse sketch feature and color feature; and (2) a skip connection attention (SCA) mechanism to distinguish the semantic information implied by the sketch lines. Experiments on colorizing Thangka sketches show that our method works well on two small datasets—the Danbooru 2019 dataset and the Thangka dataset. Our approach can generate exquisite Thangka.
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Li, Meng Die. "Traditions of the Tibetan New Year’s Festival in Contemporary Chinese Painting: Pan Shixun and Ye Xingsheng." Observatory of Culture 17, no. 2 (June 30, 2020): 214–23. http://dx.doi.org/10.25281/2072-3156-2020-17-2-214-223.
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The article is devoted to the tradition of the Tibetan New Year celebration reflected in contemporary Chinese oil painting. The article’s purpose is to study the cultural features of the Tibetan New Year, on the example of works of the two Chinese artists: Pan Shixun and Ye Xingsheng, and to analyze the degree of art’s influence on the preservation of intangible cultural heritage. Chinese painting contributes to the unity of traditions of the past and present, as well as the integration of classical and contemporary elements in the technique of modern times. In their works, the masters, using elements of classical Chinese, Western and Tibetan painting, conveyed unique features of the national culture and history of Tibet. The work systematizes the complex of customs and religious rites, traditional costumes and treats of the Tibetan New Year festival. The artists’ works are considered as a mechanism for transmitting traditional Tibetan folk and religious art.
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Чандра, Л. "Vaguri the bird-catcher." Iskusstvo Evrazii [The Art of Eurasia], no. 4(31) (December 29, 2023): 302–4. http://dx.doi.org/10.46748/arteuras.2023.04.020.
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Статья посвящена символике и иконографии сиддхи Вагури в буддийском искусстве. Приводятся примеры из трудов санскритского автора XI века Абхаядатты, А. Грюнведеля, Каталога тибетских фондов Национальной библиотеки (Париж) П. Кордье, Полного каталога тибетских буддийских канонов (Сендай), Тибетского дома-музея (Нью-Дели). Перевод статьи Локеша Чандры из «Словаря буддийской иконографии» выполнен С.М. Белокуровой. The article is devoted to the symbolism and iconography of Siddha Vaguri in Buddhist art. The author gives examples from the works of Abhayadatta, A. Grünwedel, the Catalogue of Tibetan сollections of the Bibliothèque Nationale (Paris) by P. Cordier, the Complete сatalogue of Tibetan Buddhist сanons (Sendai), and the Tibetan House Museum (New Delhi). The translation of Lokesh Chandra's article from the Dictionary of Buddhist Iconography has been executed by S.M. Belokurova.
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KUBIK, Adam. "Mysterious helmet from Verden and its “link” with Tibetan helmets." Historia i Świat 6 (September 14, 2017): 133–39. http://dx.doi.org/10.34739/his.2017.06.10.
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The article discusses a helmet that was published in 1914 in Zeitschrift für Historische Waffenkunde. It was possibly found by a German farmer during field works near the town of Verden in Lower Saxony. The helmet which was previously associated with the Saxons and dated between Migration Period and the reign of Charlemagne shows clearly relations with far Asian constructions. Additionally I discuss here another helmet in The Metropolitan Museum of Art, which seems to be a 20th century reworking that imitated the Verden helmet
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Chen, Yijing, Luqing Wang, Xingquan Liu, and Hongjun Wang. "Artificial Intelligence-Empowered Art Education: A Cycle-Consistency Network-Based Model for Creating the Fusion Works of Tibetan Painting Styles." Sustainability 15, no. 8 (April 15, 2023): 6692. http://dx.doi.org/10.3390/su15086692.
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The integration of Tibetan Thangka and other ethnic painting styles is an important topic of Chinese ethnic art. Its purpose is to explore, supplement, and continue Chinese traditional culture. Restricted by Buddhism and the economy, the traditional Thangka presents the problem of a single style, and drawing a Thangka is time-consuming and labor-intensive. In response to these problems, we propose a Tibetan painting style fusion (TPSF) model based on neural networks that can automatically and quickly integrate the painting styles of the two ethnicities. First, we set up Thangka and Chinese painting datasets as experimental data. Second, we use the training data to train the generator and the discriminator. Then, the TPSF model maps the style of the input image to the target image to fuse the two ethnicities painting styles of Tibetan and Chinese. Finally, to demonstrate the advancement of the proposed method, we add four comparison models to our experiments. At the same time, the Frechet Inception Distance (FID) metric and the questionnaire method were used to evaluate the quality and visual appeal of the generated images, respectively. The experimental results show that the fusion images have excellent quality and great visual appeal.
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Sun, Jia. "Blaze and Sublime — A Preliminary Study on the Aesthetic Characteristics of Red Tangka." Art and Society 3, no. 3 (June 2024): 26–31. http://dx.doi.org/10.56397/as.2024.06.03.
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The red Thangka not only reflects the Tibetan people’s reverence and yearning for the vitality of life, the brilliance of the sun and the purification of the deity, but also contains the artistic pursuit of fierce and lofty emotions. Through the systematic analysis of 150 works of 20 red Thangka artists, this paper reveals the multiple symbolic meanings of red in red Thangka and the regularity and difference of emotional expression. The results show that the selection and collocation of red is not only the inheritance of traditional Tibetan aesthetics, but also the innovation of modern aesthetic trends. The combination of schematic design, line use and composition form a fiery and lofty aesthetic style of red Thangka. The aesthetic characteristics of red Thangka not only provide us with a new perspective to better understand Tibetan culture, but also provide a rich mass foundation and creative inspiration for the artistic creation and cultural inheritance of red Thangka in the future. The research results confirm that the artistic creation and cultural inheritance of red Thangka have important practical significance and academic value in the sustainable development of Tibetan art and culture.
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Yan, Zhilong, and Aixin Zhang. "“Ritual and Magic” in Buddhist Visual Culture from the Bird Totem." Religions 13, no. 8 (August 8, 2022): 719. http://dx.doi.org/10.3390/rel13080719.
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Despite numerous research findings related to medieval Chinese Buddhism, the witchcraft role of bird totems in Buddhist history has not received sufficient attention. In order to fill this gap, this paper analyzes how Buddhist monks in medieval China developed a close relationship with bird-totem worship. This relationship has been documented in Buddhist scriptures, rituals, oral traditions, biographies, and mural art. Although bird-totem worship was practiced in many regions of medieval China, this paper specifically examines the visual culture of bird totems in Tibetan and Chinese Buddhism. Furthermore, some details of this culture were recorded in Buddhist texts and images. According to these works, various bird-totem patterns and symbols are believed to be effective ritual arts used by Tibetan and Chinese Buddhist monks to influence nature and the supernatural through ritual and magic.
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Lopez, Donald S. "“Lamaism” and the Disappearance of Tibet." Comparative Studies in Society and History 38, no. 1 (January 1996): 3–25. http://dx.doi.org/10.1017/s0010417500020107.
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At an exhibition in 1992 at the National Gallery in Washington, D.C., “Circa 1492: Art in the Age of Exploration,” one room among the four devoted to Ming China was called “Lamaist Art.” In the coffee-table book produced for the exhibition, with reproductions and descriptions of over 1,100 of the works displayed, however, not one painting, sculpture, or artifact was described as being of Tibetan origin. In commenting upon one of the Ming paintings, the well-known Asian art historian, Sherman E. Lee, wrote, “The individual [Tang and Song] motifs, however, were woven into a thicket of obsessive design produced for a non-Chinese audience. Here the aesthetic wealth of China was placed at the service of the complicated theology of Tibet.” This complicated theology is named by Lee with the term “Lamaism,” an abstract noun that does not occur in the Tibetan language but which has a long history in the West, a history inextricable from the ideology of exploration and discovery that the National Gallery cautiously sought to celebrate. Lee echoes the nineteenth-century portrayal of Lamaism as something monstrous, a composite of unnatural lineage, devoid of the spirit of original Buddhism (as constructed by European Orientialists). Lamaism was a deformity unique to Tibet, its parentage denied by India (in the voice of British Indologists) and by China (in the voice of the Qing empire), an aberration so unique in fact that it would eventually float free from its Tibetan abode, an abode that would vanish.
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Liang, Jingying. "Research on the Content Characteristics of Narrative MV." Highlights in Art and Design 3, no. 1 (May 31, 2023): 37–39. http://dx.doi.org/10.54097/hiaad.v3i1.9166.
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MV (Music Video) is an art form that combines music and pictures, while narrative MV is a form of expressing the inner emotions and stories of music in the way of telling stories through pictures. The MV "Stars" tells the story of a supporting teacher and a Tibetan boy. This article analyzes the MV "Stars", expounds the related concepts of MV, analyzes and studies its content, characteristics and narrative methods. Narrative MVs not only need excellent music works and superb shooting techniques, but also need a vivid story, as well as the portrayal of emotions and details. The research on MV not only discovers its artistic value and expressive power, but also meets people's needs for music and visual art and improves the quality of life.
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Shalem, Avinoam. "“What a Small World”: Interpreting Works of Art in the Age of Global Art History." Getty Research Journal 13 (January 1, 2021): 121–42. http://dx.doi.org/10.1086/713432.
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Menyaev, B. V. "Collection of Manuscripts in Oirat in Ulan-Khol khurul of Kalmykia." Orientalistica 5, no. 5 (December 25, 2022): 1113–32. http://dx.doi.org/10.31696/2618-7043-2022-5-5-1113-1132.
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This article presents a brief overview of the collection of manuscripts in the Oirat language stored in the fund of the Ulan-Khol Temple of the Republic of Kalmykia. The collection under consideration is relatively small (50 manuscripts), but it contains very interesting materials. The manuscripts of the Ulan-Khol Temple were a part of a significant collection of Buddhist writings in Tibetan, Old Mongolian and Oirat in the library of the Shars-Bagut (Northern) Temple, which was located from 1889 to 1939 in the area of Bora, Shars-Bagut aimak located in Erketenevsky ulus. The manuscripts were transferred to the Ulan-Khol Temple by relatives of the clergymen Bodgur Ochirov (1892-1955) and Tsagan Atkhaev (1900-1981). The collection seems to be extremely heterogeneous: it includes fiction literature works, orders, prophecies, ritual texts, prayers, astrological works, texts of divination, weather signs and traditional folk medicine texts. Some collections contain texts in Oirat with Tibetan inclusions as well as ones in Tibetan with Oirat interlinear. The fact proves Kalmyk monks were equally fluent in Tibetan and Oirat. The heterogeneity of the composition of the manuscript collection of the Ulan-Khol khurul indicates that the monks of the Shars-Bagut Temple in their main practice were not only clergymen, but also astrologers, soothsayers, healers. The presented texts are a valuable source for studying traditional religious beliefs, philosophy, ethics, old written Kalmyk literature, astrology and Kalmyk cult rituals.
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Wang, Yunning. "A Study on the Development Path of Dunhuangology and Its Literature Value." International Journal of Arts and Humanities Studies 3, no. 1 (March 22, 2023): 77–80. http://dx.doi.org/10.32996/ijahs.2023.3.1.11.
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Dunhuang, known as the Land of Sand in ancient times, is located in the western part of the Ningxia Hui Autonomous Region, bordering Qinghai and Xinjiang. Dunhuang (Mogao Grottoes) culture and art are honored as the cultural museum of the Eastern world. Among existing ancient works and documents, there are massive manuscripts in Tibetan, Uyghur, Sogdian (Yutian), Khotanese, Post Turkic (Hou Tuque), Sanskrit, Kharosthi, Sogdian (Suli), Tocharisch, Syriac, ancient Greek, and other minority languages, which are of great significance to Dunhuangology and resource development. This paper will analyze and summarize the study of Dunhuang science literature.
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Adi, Sigit Purnomo. "PELATIHAN PEMBUATAN MINIPRINT DENGAN MENGGUNAKAN MEDIA TRIPLEK DI KOMUNITAS MAKMOER ART PROJECT SUKOHARJO." Abdi Seni 12, no. 1 (November 3, 2021): 45–50. http://dx.doi.org/10.33153/abdiseni.v12i1.3748.
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Abstract Miniprint is one of the print size formats in graphic arts that is not yet very popular in Indonesia. Miniprint format prints in small sizes both matrix and paper. Printing in small sizes is fun. Small format requires patience and technical skill in visualizing the artist's ideas and ideas. Considering that miniprints have many features apart from a small format, they can also be carried everywhere and can also be used as an aesthetic element or room decorator and have good selling power, encouraging the author to hold a workshop or training on making miniprints in the Makmoer Art Project Sukoharjo community. The selection of the training venue in the Makmoer Art Project Community is because this community is indeed engaged in the arts and humanity. A community that always provides free workshops to people in need. Community service methods, problem identification, training and mentoring, evaluation. The works produced in this training after completion are then framed in a minimalist way. The miniprints produced are small-sized works of graphic art, using a matrix of plywood. These works are used as aesthetic elements of the house or as room decoration. Works for the aesthetic element of the house are currently popular among the public so that they have a selling value and can be used as an alternative in entrepreneurship.
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Gentle, Paul, and Marco Giliberti. "Were valuable art works an economic form of money during the German Third Reich Period and its aftermath?" Public and Municipal Finance 6, no. 4 (December 20, 2017): 33–38. http://dx.doi.org/10.21511/pmf.06(4).2017.04.
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This examines the special use of art works as a store of value in Germany during the Third Reich era. Some Jews were able to buy their freedom, as the fascists closed in. Then as the Third Reich fell, some escaping fascists used art works to secure freedom outside of Germany. One of the characteristics of money is a store of value. When confidence in a currency is present, the more conventional form of money takes precedence. A respected, economic form of currency and coin has all three elements of money: medium of exchange, store of value and unit of account. This last trait is especially absent when using various art works as money, as there is no agreed upon unit of account with such different art. Furthermore, art works could not qualify as a medium of exchange, since only a very small amount of the population was involved in this way of dealing in art during the stressed times for the Third Reich.
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Boiko, Olha. "CULTURAL ALLUSIONS IN TEXT CREATION OF UKRAINIAN AND RUSSIAN FANTASY." Odessa National University Herald. Series: Philology 26, no. 2(24) (July 22, 2022): 17–29. http://dx.doi.org/10.18524/2307-8332.2021.2(24).251833.
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The article is devoted to the analysis of allusion as an element of intertextuality, which plays an important role in the text - making of Russian and Ukrainian fantasy texts. Scientific investigations are analyzed, in which there are definitions of allusion as a stylistic figure and stylistic reception, hint and indirect reference. The origin of allusion as borrowing of a pretext, and also its semantic-compositional role in expression of constructive intertextuality (according to N. Fateeva) is characterized. It is determined that allusions, according to A. Tyutenko, work to increase the content. The own definition of the concept of allusion as a dual (verbal-non-verbal) means of actualizing the cultural and historical memory of the reader is proposed. The duality of allusion is that it can be intertextual or intermedia, with reference to the fine and audiovisual arts (including cinema, opera, ballet), music, and so on. The cognitive-suggestive function of allusion is important. In addition, the question of distinguishing between the concepts of "precedent phenomenon" and "allusion" arises. In our study, allusions may contain precedent phenomena - names, names, situations, etc .; but allusion is a broader concept because it is a hint, and a hint does not necessarily contain specific onyms. On the other hand, the precedent phenomenon is not always an allusion in the literal sense of the word, it can be a quotation or just a reference to a well-known fact, such as dictionary definitions. Allusion as an intertextual element appears on the verge of combining two contexts - the source, from which the author chooses the element he needs, and the new, newly created. Very often allusive vocations work as analogies, comparisons of the new and the well-known. However, the vast majority of allusions used in fantasy are built on the use of precedent phenomena - universal-precedent or national-precedent. Culturological (religious, mythological, fairy-tale) allusions were analyzed on the basis of a total of 570 fragments (17% of the total number of intertextual elements selected from the source base (3341.)). in the table, exceeds 570 due to the fact that certain varieties overlap: artionyms can be a variety of fairy tales and a variety of literary, intermedia, as well as anthroponyms, poetonyms, etc. We did not distinguish between attributed and non-attributed allusions, the reason is small the number of attributed allusions in fantasy works. Examples from the works of Volodymyr Arenev, Darya Korniy, Niki Kallen, Max Frei and other Ukrainian-speaking and Russian-speaking writers are given. We came to the conclusion that mythological references are convenient to divide by cultural source: Aztec, East (Tibet), Greek culture, Egypt, China, Scandinavian mythology and Slavic. It should be noted that references to Slavic mythology are the most common in Ukrainian fantasy, while in Russian they are almost non-existent. Religious allusions are more part of the recipient's permanent intertextual field, which allows for the creation of intertextual connections with the religious context (sacred texts, material artifacts), as well as to enrich the arsenal of magical elements in fantasy discourse. Folklore allusions are part of a group of ideological allusions - folklore vocations to folk art reflect the people's ideas about the world around them, so they contain mythonyms, theonyms, etc., and are closely related to magical discourse through the involvement of mythonyms, theonyms, names to denote chimerical creatures and other signs of the fantastic.
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Bowen, Barbara C. "A Neglected Renaissance Art of Joking." Rhetorica 21, no. 3 (2003): 137–48. http://dx.doi.org/10.1525/rh.2003.21.3.137.
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This article proposes that we add to the small number of Renaissance works on the art of creating or using facetiae an almost unknown De arte iocandi by an almost unknown Mattheus Delius, who died young. The work is a poem in four books, in Ovidian elegiac couplets, obviously inspired by the De arte bibendi of Vincentius Obsopoeus; both works have been assumed to be paradoxical encomia but arein fact seriousalbeit playful compendia of rules. Delius is interested not in the rhetorical use of jokes as weapons, but in something very close to Erasmus's festivitas. The preface by Melanchthon almost qualifies as an independent art of joking, and together they add valuable information to our knowledge of Reformation wit.
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Thomas, Leslie. "ART WORKS Projects: Claiming Public Space for Human Rights." Revista Electrónica de Derecho Internacional Contemporáneo 3, no. 3 (December 18, 2020): 167–70. http://dx.doi.org/10.24215/2618303xe013.
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ART WORKS Projects (AWP) was born out of desperation. A photo of a small boy who had been murdered in a genocidal attack against civilians in Darfur by a Sudanese government intent upon their eradication led to the formation first of the DARFUR/DARFUR exhibition of large-scale exterior projections and eventually to AWP. The founders, by and large architects, filmmakers, editors, photographers, lawyers, and designers, weren’t naive enough to believe that art can always end genocide (or any other grave human rights abuse), but they knew it impacted them and so they theorized that the same could happen to policymakers, voters, and ultimately, perpetrators.
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Demenova, Victoria V. "Sino-Tibetan Style of Buddhist Sculpture: Articulation of the Attribution Problem." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 272–86. http://dx.doi.org/10.15826/izv2.2022.24.2.039.
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This article is devoted to the concept of “style” and the possibility of its application in the attribution of works of Buddhist metal sculpture. This aspect, which, as a rule, is peripheral for classical Oriental studies, Buddhology, and history, where it is interpreted quite freely, is one of the key ones for art history and museum attribution activities. The author notes the terminological and factual diversity of the designation of the “Sino-Tibetan style” in the circle of researchers of the art of Buddhism. The author poses the question of what exactly the concept of “Sino-Tibetan style” means and whether it is an indication of the body of technical and plastic features of sculptures, or just a designation of the geography of the origin of Buddhist sculptures of the eighteenth and nineteenth centuries made in the western provinces of China. The author refers to three sculptures which are the most controversial ones from the point of view of attribution (Maitreya Buddha from the private collection of A. V. Glazyrin (Ekaterinburg), Shakyamuni Buddha, and Begtse from the collection of the Sverdlovsk Regional Museum of Local Lore), which have several similar stylistic features, and which could presumably be attributed to the “Sino-Tibetan style” of the eighteenth century. Also, the article presents the results of the study of the metal composition of these sculptures using an X-ray fluorescence analyser (spectrometer). Based on the data obtained on the content of substances in the alloy and considering the general artistic and stylistic features of metal images, the author makes a conclusion as to when the attribution designation “Tibeto-Chinese style” is the most accurate one and when it can be applied to Buddhist gilded sculptures created on the territory of China (Manchu Qin dynasty) between the eighteenth and nineteenth centuries.
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Yang, Zeyin. "Application and Development of Digital Enhancement of Traditional Sculpture Art." Scientific Programming 2022 (February 3, 2022): 1–8. http://dx.doi.org/10.1155/2022/9095577.
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Sculpture art, as an important carrier of spiritual civilization, also portrays a prosperous scene as an industry with urban and cultural development. Three-dimensional technology offers a new platform for sculpture creation, allowing for the digitization of sculpture works via electronic information technology, and the display of sculpture works in front of people via displays, facilitating the exchange and dissemination of information and promoting the growth and progress of the entire sculpture creation industry. We plan to use digital enhancement technology to conduct small-scale creation experiments on traditional sculpture works, discuss the method of GA (Genetic Algorithm) in image restoration processing, investigate the method of image segmentation processing based on the genetic algorithm, and propose the method of image segmentation processing based on the fuzzy membership surface genetic algorithm, in order to verify and solve the creation difficulties of traditional sculpture works.
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Akimov, Dmytro. "Marketing researches and promotion works of art in the fine art’s marketing." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 139–44. http://dx.doi.org/10.32461/2226-0285.1.2021.238609.
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The purpose of the article. Research and analysis of marketing technology algorithms by means of market segmentation in fine arts marketing. The methodology of the study is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the processes of segmentation of the fine arts market with the subsequent use of research results in the marketing processes of promoting works of art from artist to consumer. The scientific novelty consists in expanding the notions about the research of marketing processes in the art market. The article establishes that in the second half of the XX century - at the beginning of the XXI century in the art market very actively and effectively were used and are used marketing models and technologies. But professional scientific activity, scientific researches in the field of art market marketing have been conducted and are conducted insufficiently. Therefore, it can be stated that artistic creativity is the area of meticulous attention of large, small, and medium-sized businesses, which, in turn, created the art market, but still has not attracted specialists in this field of sociological, economic, marketing sciences. Scientific, research work on the positioning of works of art aims to determine the main market qualities of works of art, their recognizability for further promotion of works in the markets using advertising and other marketing mechanisms. The main purpose of the article: analysis of the specifics of the realization of classical marketing technologies (marketing researches, positioning of works of fine art) in the marketing of fine arts. Conclusions. The analysis of the problems of using traditional marketing technologies in art marketing carried out in the article gives grounds to state that such technologies are used in the art market, but they differ significantly from other market areas. Besides, due regard should be paid to the effectiveness of marketing technologies in the art market. Note that such traditional marketing technology as marketing researches is insufficiently used in the marketing of fine arts. Technology deserves special attention in art marketing. The technology of positioning works of art and artists deserves special attention in art marketing. The positioning of works of art in the implementation of the marketing approach allows the market to implement such strategies to meet the demand for works of art as: negative demand, lack of demand, latent demand, declining demand, irregular demand, full demand, excessive demand, unwanted demand.
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Pan, Liang. "Trends in the development of institutions and forms of artistic communication in modern St. Petersburg." Философия и культура, no. 4 (April 2024): 127–40. http://dx.doi.org/10.7256/2454-0757.2024.4.70254.
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The subject of the study is the works of contemporary St. Petersburg artists of different generations and creative trends, as well as the forms and features of their communication with each other and with the general as well as professional public. The trends of artistic communication in the city are determined by the activities of such institutions as art and non-art museums, art galleries and exhibition centers, which are a classic form of presentation of contemporary art; alternative venues such as creative spaces and art clusters. The field of attention also includes the attraction of St. Petersburg authors to the organization of small artistic associations, mainly art groups, for example, "Unconquered", "North-7", "Parasites", etc. In addition to works of art, theoretical works and reflections by researchers of contemporary art in St. Petersburg and the spaces of its public presentation are involved. The methodological basis is the analysis of the works of St. Petersburg masters of the beginning of the XXI century in the context of the development of urban institutions of artistic communication. The research is based on theoretical works devoted to the problem of artistic communication and trends in the current art process. Comparative-interpretative and typological methods are used to compare the works of artists and forms of artistic communication. The problem of artistic communication in the field of fine art in St. Petersburg is becoming the subject of a separate study. This area of city life is currently developing quite dynamically, as new art associations, curatorial practices and alternative classical platforms for the presentation of the work of authors belonging to different generations and art movements are emerging. Traditional museums and galleries, as well as creative spaces, art clusters and other often non-core institutions, such as libraries and cafes, are involved in this process. Against this background, the features of St. Petersburg artistic communication crystallize, which is characterized by a desire to organize communities, to fuse realistic traditions and current trends, to escapism and symbolism, as well as an interest in oriental themes and stylistics.
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Gromov, Mikhail N. "Methodology of the Study of Ancient Russian Art and Culture." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 65 (2022): 269–78. http://dx.doi.org/10.37816/2073-9567-2022-65-269-278.
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Old Russian art and Old Russian philosophy have many similar typological features. Therefore, the consideration of ancient Russian art, from a philosophical point of view, has a certain methodological significance. Old Russian texts can be divided into three groups according to the degree of saturation of their philosophical and aesthetic content. The first group consists of the most serious books, including: “The source of knowledge” by John of Damascus, “Dioptra” by Philip the Hermit, “The logic of Aviasaph” and a number of others. The second group, the most numerous, includes the works of Metropolitan Hilarion, Maxim the Greek, Cyril of Turov, some Apocrypha and other works. The third group includes monuments of business writing. The works of the second group require careful textual study. In addition to monuments of writing, it is important to consider non-verbal sources: monuments of painting, architecture, and small plastic art. In the whole, all of them provide a general yet clear overview of the Old Russian art.
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Harbie, Putri R. A. E. "Curation and Presentation to Enrich Value on Intermedia Art in a Contamporary Art Exhibition." IMOVICCON Conference Proceeding 1, no. 1 (July 3, 2019): 108–15. http://dx.doi.org/10.37312/imoviccon.v1i1.12.
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The moving image has evolved into a very common medium used in both narrative and non-narrative way, exhibited in a film festival or art exhibition. Narrative film nowadays distributed digitally and can be exhibited in both the big screen and small screen (such as mobile phone, laptop screen, mini projector) without possibly losing any storytelling value. While non-narrative film/video mostly exhibited in a special treatment to enrich the main message. The small screen was commonly used to present this medium in an art exhibition. Art manager has a responsibility to curate and presents the intermedia works in order to reach either aesthetic value or financial value. There is a myth that intermedia art isn't a profitable collectible item, so when an artist uses the medium it was considered an artwork made for fun.
In this research, the writer will analyze small screen exhibition on one of the largest contemporary art exhibition in Yogyakarta, ARTJOG. The research method used was qualitative with literature, archive, and interview approach. Hopefully, this research will be a good discourse between moving image and fine art.
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Zhabon, Yumzhana Zh, Tsymzhit P. Vanchikova, and Oleg S. Rinchinov. "Tibetan Fond of the Center of Oriental Manuscripts and Xylography of the Institute for Mongolian, Buddhist and Tibetan Studies of the Siberian Branch of the Russian Academy of Sciences: Characteristics, Classification of the Medical Collection." Herald of an archivist, no. 3 (2018): 926–35. http://dx.doi.org/10.28995/2073-0101-2018-3-926-935.
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This article offers a description and subject classification of the medical texts collection from the Tibetan fond of the Center for Oriental Manuscripts and Xylographs of the Institute of Mongolian, Buddhist and Tibetan studies of the Siberian Branch of the Russian Academy of Sciences (COMX IMBTS SB RAS). One of its main tasks has been to identify and attribute medical texts in the Tibetan collection, which is comprised of over 40,000 texts acquired from private libraries of the Buddhist clergy of Buryatia. Intensive source work has resulted in creation of a separate collection of medical texts, which includes 508 manuscripts and xylographs registered under 222 storage cyphers. All texts have been thematically classified into 11 groups according to genre of medical literature. This classification reflects the preferences of Buryat physicians in choosing particular works. Although the collection is relatively small, it contains important texts of Tibetan medicine. The article focuses on classification of the most common in Buryatia commentaries on the rGyud bzhi. The authors have identified several terms that Tibetans used for this category of texts, such as sdong 'grems, mchan' grel, bru 'grel, lhan thabs. In general, the texts in the collection are in line with Tibetan medical tradition and correspond to the level of education in the Buryat Buddhist monasteries. Electronic catalogue and data base compiled by the authors facilitate further study of the Tibetan-language medical sources by Tibetan, Mongolian, and Buryat authors. Medical texts should be available to specialists so that new approaches to their classification and systematization may be developed and rational legacy of Oriental medicine may be incorporated in contemporary medical practice. This will allow to study interinfluence of medical traditions, to determine regional, ethnic, and cultural features of medical literary tradition.
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Agratina, Elena E. "Jean-Honoré Fragonard: The New in the Notions of “Sketchiness” and “Completeness”." Observatory of Culture 18, no. 2 (May 31, 2021): 174–85. http://dx.doi.org/10.25281/2072-3156-2021-18-2-174-185.
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The second half of the 18th century was a time of active changes in the perception of art, rethinking many concepts and phenomena. One of them was the pictorial sketch, which transformed from a preparatory stadium work into an independent, complete piece of art. Many art theorists and critics, as well as painters themselves had contributed to this rethinking. Many young artists, bored of historical painting and indifferent to all the academic principles, were searching for new media of expressiveness, using the sketch-like pictorial manner to give their works a new dynamism and an impression of “easy production”. The article is dedicated to J.-H. Fragonard (1732—1806), an artist in whose works the “sketchiness” became a conscious artistic method used in small-format pieces, in large-scale canvases, and even in panels. The use of such a technique in grand scale works is considered to be an extreme unconventionality, which, however, was not appreciated by Fragonard’s contemporaries and even by scholars of the next two centuries. Fragonard’s series of ‘Fantasy Portraits’ attracted enough investigators’ attention, but his series ‘Progress of Love’ has only recently begun to be recognized by researchers as an unusual and bold for that time artistic experience. Based on the analysis of the artist’s selected works, the author builds her original research, designed to highlight Fragonard’s special role in the evolution of art on the way from the Modern Period to Contemporary History. The relevance of the present article is caused by too little examination of this topic: minimal in Russia and relatively small in France. Besides consultation with research literature, this required the author to constantly directly refer to the 18th-century sources, such as treatises by art connoisseurs and scholars, art criticism, and catalogues of exhibitions arranged by the Royal Academy of Painting and Sculpture or the Académie de Saint-Luc.
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Lopez, Manuel. "Contemplative Practice, Doxographies, and the Construction of Tibetan Buddhism: Nupchen Sangyé Yeshé and The Lamp for the Eye in Meditation." Religions 9, no. 11 (November 14, 2018): 360. http://dx.doi.org/10.3390/rel9110360.
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In this article, I would like to reframe our understanding of the role played by doxographies or classification of views (Skt. siddhānta, Ch. panjiao 判教, Tib. grub mtha’) in the Buddhist tradition as it pertained to Tibetan attempts at defining and organizing the diversity of Buddhist contemplative practices that made their way into Tibet since the introduction of Buddhism to the Tibetan plateau in the seventh century, all the way up to the collapse of the Tibetan Empire in the ninth century. In order to do that, this article focuses on one such doxography, the Lamp for the Eye in Meditation (bsam gtan mig sgron), composed in the 10th century by the Tibetan scholar Nupchen Sangyé Yeshé. The first part of the article will place Nupchen’s text in the larger historical and intellectual context of the literary genre of doxographies in India, China, and Tibet. The second part of the article will argue that Nupchen used the doxographical genre not only as a vehicle for organizing and articulating doctrinal and contemplative diversity, but also as a tool for the construction of a new and original system of Tibetan Buddhist practice known as ‘the Great Perfection’ (rdzogs chen). Finally, and as a small homage to the recent passing of the great religious studies scholar Jonathan Z. Smith, I would also like to reflect on the importance that the issues of definition, comparison, and classification—central concerns of Nupchen’s as well as of Smith’s works—have in creating and articulating religious difference.
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Qu, Yifeng. "Interpretations of Rice Paper Watercolor Painting in Art Teaching." Review of Educational Theory 3, no. 1 (March 30, 2020): 62. http://dx.doi.org/10.30564/ret.v3i1.1635.
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The ricepaperplant pith is also known as Tetrapanax papyrine, Akebia, or tall gastrodia fruit, a kind of shrub or small tree of the Araliaceous. It is native to south China and Taiwan Prov., the raw material of rice paper. Extract its central tissue from the stem to make pith slices which could be made as the watercolor painting paper. It arose in Guangzhou in the 19th century, and the themes are mainly focused on reflecting the social life scenes as well as various characters in late Qing Dynasty, such as officials, soldiers, juggling, weaving, playing instrument, etc. The works are lively, vivid, and bright in colors. As the result of using western painting principles and reflecting Chinese local customs, rice paper watercolor paintings were admired by Westerners at that time. However, as pith paper is fragile, the size of painting was usually small and difficult to conserve, there are few works handed down in China. In recent years, the rice paper watercolor painting has attracted more and more concern, which is of great significance to the study of the development of early Western paintings in China.
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Kravcenko, Vladimir. "Some issues on the development of digital art in the Republic of Moldova." Arta 30, no. 1 (August 2021): 124–29. http://dx.doi.org/10.52603/arta.2021.30-1.18.
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The paper examines the creative segment of digital art, which has been carried out by professional graphic artists in the independent Republic of Moldova, including finished artworks produced in big and small print runs, and also unique graphic works. Sketches and technical drawings of any kind are excluded from the study. Important data is provided about different images (chiesel works, book illustrations, caricatures, postage stamps, ex-librises), which were rendered digitally both in full and in part. Also, concise information is offered on the professionals practicing the respective type of digital art over the years. There is also contoured the process of nationwide spread of the digital images and the specifity of the digital creative tool. The author also examines the professional attitude towards digital art in the Republic of Moldova in terms of the relationship between mass production, traditional handmade art and digital execution technique. The reasons and conditions for the dissemination of digital images in national art are specified. The dynamics of opinions on the role of the computer in the creation and modification of graphic works at different stages of the evolution of digital and traditional technology in the Republic of Moldova is traced.
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Tsiuliupa, Natalia, Victoria Bytsyak, and Larisa Smyk. "PECULIARITIES OF WORKING ON WORKS OF SMALL FORM IN THE PIANO CLASS." Мистецька освіта та розвиток творчої особистості, no. 2 (2023): 74–77. http://dx.doi.org/10.32782/art/2023-2-13.
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Jackson, Philip W. "Dewey's 1906 Definition of Art." Teachers College Record: The Voice of Scholarship in Education 104, no. 2 (March 2002): 167–77. http://dx.doi.org/10.1177/016146810210400201.
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This paper contains an appreciative exegesis of a single sentence extracted from a speech that John Dewey delivered to an audience of teachers in 1906. The sentence was selected for analysis because of the extraordinarily concise manner in which it tacitly connects to a wide variety of Deweyan doctrines, particularly those having to do with Dewey's vision of human flourishing. The overall goal of the analysis is simply to bring the sentence to the attention of a wider audience. By displaying the hidden richness of this small string of words, delivered almost nonchalantly, one suspects, and on such a relatively inauspicious occasion, my hope is to prevent a tiny gem from remaining lost and forgotten within the vastness of Dewey's published works.
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Liu, Zhuang Zhuang, Zhi Feng Liu, and Guo Ping An. "Geometric Mobiles Innovative Design Method Based on the Computer Simulation Environment." Applied Mechanics and Materials 248 (December 2012): 190–96. http://dx.doi.org/10.4028/www.scientific.net/amm.248.190.
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Geometric mobiles is a new kinetic art which become a new technique combined with basic science and modern art. Geometric mobiles design and calculation by mechanics and mathematics in order to have a slowly and elegant movements. An innovative and efficient design method is first established based on virtual technology and polymorphs small cell centroid point analytical rule. The method reveals the intrinsic relationship between Geometric mobiles and mathematics & mechanics modeling, provides the mathematics foundation for art works innovative and next research.
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Walden, George. "Contemporary Art, Democracy, and the State." Royal Institute of Philosophy Supplement 45 (March 2000): 85–95. http://dx.doi.org/10.1017/s1358246100003325.
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Not long before the change of Government in Britain in 1997, the then Heritage Secretary, Virginia Bottomley, made a speech in which she praised British contemporary art, describing it as the most exciting and innovatory in the world. Unexciting as it seemed, her observation was profoundly innovatory, indeed in its small way historic. To my knowledge no British Cabinet Minister, still less a Conservative, has ever given an official seal of approval to what is conventionally regarded as avant-garde art. The Labour Government has echoed its predecessor's praise at a higher volume, as if determined to out-do it. The sanctification by the state of works of contemporary art has now become part of the discourse of officialdom.
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Park, Jung A. "A Study on the Status of Digital Work Recognition Based on NFT: Focusing on text mining analysis." Korea Institute of Design Research Society 7, no. 2 (June 30, 2022): 9–19. http://dx.doi.org/10.46248/kidrs.2022.2.9.
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Recently, NFT, an irreplaceable token called convergence art that combines digital technology and art, is attracting attention in the field of design and art. The purpose of this study is to analyze NFT technology-based digital works that are rapidly growing along with rapid demand for IT technology through issues of the times, the development of cryptocurrency blockchain technology, and the trend change in the art market through text mining. As a method of research, text mining is conducted by setting the last year as a collection period from March 2021 to February 2022, when NFT grew the most rapidly using TextStom of Big Data tools. As a result, first, it was confirmed that works, sales, metaverse, and media, which are major controversial keywords in the NFT field reviewed in previous studies, are the main keywords that provide the foundation of potential means in planning NFT technology-based digital works. Second, NFT's "coin", "sales", "game", "metaverse", and "work" keywords showed that NFT art was provided in the form of a metaverse, or was considered to be the value of content creation in the form of a game or brand character. Third, it can be seen that it is considered as a new platform closely related to NFT digital work creators, such as guaranteeing intellectual property rights in virtual exhibitions related to copyrights in the nature of blockchain and securing accessibility to digital works. Fourth, although it was a small proportion in word sentiment analysis, it was found that NFT could cause financial losses in terms of negativity, and art or profits as investment products had a bubble in market prices, so it was necessary to be cautious. Starting with the analysis map proposed in this study, it is hoped to be helpful as current status data that can be referred to when constructing digital works based on NFT technology.
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Jiang, Bingchao, and Min-Lyoung Choi. "A Study on Water-based Paints Applied for Art Makeup." Journal of the Korean Society of Cosmetology 28, no. 5 (October 31, 2022): 1054–71. http://dx.doi.org/10.52660/jksc.2022.28.5.1054.
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In creating works of ‘Art Makeup’ called ‘the pinnacle of makeup’ specific and systemic learning is required for inexperienced beginners or students to acquire basic knowledge or quality of art makeup. For this reason, we analyzed characteristics of water-based paints in order to examine what changes in colors there were when these paints mixed with water were applied to the skin and became completely dry in a certain time. We also looked into their consistency-how long they lasted against drying speed, stimulation or contact. The findings are as follows. First, in the water-based paints we analyzed, we saw color fading with change in color purity and decreased saturation compared to original products when they were completely dry. Especially, in the case of achromatic color, white, completely dry, decreased in lightness, resulting in very low whiteness compared to the original product, whereas black, completely dry, increased in lightness, resulting in low blackness compared to the original product. Therefore, in expressing works with black and white in high lightness, it would be better if achromatic color is used for the sake of painting over or applying a little achromatic color on a small part of the skin for highlight effect. Second, water-based paints which are applied to the works undergo a drying process to preserve the works. In the drying process, we found a very large deviation in time depending upon color. Hence, in creating art makeup works, arranging sequence of colouring needs to take into account the drying speed which varies depending upon color. Finally, water-based paints had consistency against stimuli such as a little bit movement unless there were direct stimuli to them after they were applied to the skin and became completely dry. But they turned out to be vulnerable to watery stimuli such as sweat. Therefore, location, lighting, and temperature should be taken into consideration in creating works. Especially, in a sweating-triggered environment, a lot of attention should be paid to keep the works intact. If necessary, water resistant products may be a good choice.
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Nguyen Thi Thanh, Nga. "A SURVEY ON THE RESEARCH OF TRADITIONAL CULTURAL SYMBOLS APPEARED IN THE Y.KAWABATA NOVELS IN VIETNAM." Journal of Science Social Science 65, no. 11 (November 2020): 54–63. http://dx.doi.org/10.18173/2354-1067.2020-0071.
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Kawabata is one of Japan’s leading writers. Kawabata’s works are a place to preserve and preserve old traditional values becoming a miraculous bridge to bring Japan across the ocean to the whole world, and to bring the world to the land of beautiful cherry blossoms. Therefore, his works have been the object of many large and small research projects domestically and internationally. Within the scope of the article, we have conducted surveys of works and articles on traditional cultural symbols in Kawabata’s novels under the following angles: Biography, Poetry, Psychoanalysis and Culture, thereby, affirming the talent and the unique art style of Kawabata. Beauty is at the heart of culture and art in Japan so Kawabata’s writing point of view also focused on the ultimate beauty including its expression and the way in which it is expressed.
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Zimmermann, Julia. "Ambivalenzen der Darstellung und Zirkelschlüsse der Interpretation. Die Tanzdarstellung Hiltbolts von Schwangau im ‚Codex Manesse‘ und der Reigen höfischer Tugenden im ‚Roman de la Rose‘." Das Mittelalter 23, no. 2 (November 6, 2018): 427–46. http://dx.doi.org/10.1515/mial-2018-0022.
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AbstractNumerous studies covering courtly dancing and its portrayal in medieval European religious art and literature seem to have, to a large extent, exhausted this subject. Nevertheless, works on courtly dances remain, for the most part, more speculative in nature than apparent at first glance. This is amazing when we consider the importance of courtly dance in literature and art dating from the Middle Ages, as there are only few Middle High German poems in which collective dance is not mentioned. Contrasting with this great number and wide range of references to dance is its small footprint in works dealing with the history of dance. Only a small number of works touch up this issue, and these have only collected and analysed fragments of the source material available. Hence, any conclusions cannot but lack critical depth with regard to the varying degrees of stylisation present, and their importance when attempting to draw comparisons between reports bound by tradition and stereotyped in nature, and those that exhibit greater literariness. This paper aims to discuss these problems and serves as a contribution to the field of the history of dance as reflected in medieval literature.
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Sung, Gum-Ju, and Yong-Mi Jin. "A Study on Hair Art with the Motif of Winter Flowers." Journal of the Korean Society of Cosmetology 27, no. 6 (December 31, 2021): 1307–12. http://dx.doi.org/10.52660/jksc.2021.27.6.1307.
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The purpose of this study is to increase the artistic value of hair art. And it is about providing basic data and expanding contributions to follow-up research. Hair art works reinterpret the inner beauty of winter flowers that bloom in full bloom in the cold winter. The research method collected prior studies and references based on winter flowers. Also, we selected four types of winter flowers and analyzed their shapes and colors. I created 4 pieces of hair art. As a result, the colorful color of work 1 increased the aesthetic effect due to its high chroma. Works 2 expresses the elegance of irregularly blooming petals on a single stalk. In work 3, warm yellow flowers are soft and cozy on a scrawny tree. The flower in work 4 is seductive navy purple. And the large and small flowers were placed stably with increased concentration. In conclusion, the possibility of creating hair art from a new perspective was confirmed by applying several colors with white wigs. In future research, we look forward to the possibility of combining hair art with nature motifs and re-lighting it with formative art to satisfy its value.
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Krasnova, I. V. "FORMATION OF THEIR OWN STYLE IN THE WORK OF ARTISTS OF CHUGUEV." Topical Issues of Culture, Art, Education 4, no. 38 (2023): 7–24. http://dx.doi.org/10.32340/2949-2912-2023-4-7-24.
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The article is devoted to the study of the life and work of representatives of the art school of painting in Chuguev. Due to the huge losses of their heritage, it still remains a blank spot in the history of national culture. The uniqueness of the masters of the brush of a small military settlement, which was Chuguev in the 19th century, consists in the fact that they came from a soldier and peasant environment. Mastering various technical techniques of painting, they worked in different genres. This allowed the Chuguev artists to create works of a secular and spiritual nature, including icons and frescoes. New names of Chuguev painters are introduced into scientific circulation, the characteristic of the works of Chuguev masters that have reached our time is given, and the peculiarities of their creativity are highlighted. The myth of the influence of Western European art on the work of the Chuguev masters is debunked. The Chuguev Art School is part of the Russian art school. Its significance lies in the fact that in the conditions of military settlements, examples of high art were created, understandable and close to every resident. The works created by local artists contributed to the creation of a special spiritual atmosphere in the Chuguev military district, the development of a common mentality and spiritual unification of the swedens – people of different nationalities and faiths.
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Abramkin, Ivan A. "Comparing Literary Criticism and Art History: The Problem of Sentimentalism in Russian Historiography." Vestnik of Saint Petersburg University. Arts 13, no. 1 (2023): 188–206. http://dx.doi.org/10.21638/spbu15.2023.109.
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The article is devoted to the historiography of sentimentalism in the Russian scientific tradition. The purpose of the research is to compare the methods used in literary and art studies to overview this phenomenon. The uncertainty of ideas about sentimentalism in the visual arts requires an appeal to literary studies. A careful analysis of works on sentimentalism in this field revealed the special role of the works of M. M. Bakhtin and G. N. Pospelov, who created original concepts of this phenomenon, and has made it possible to state a wide range of methods. Consideration of the sentimentalism problem in the history of art has demonstrated not only the generality of ideas and a small number of methods in comparison with literary criticism, but also the main principles inherent in the scientific tradition. Firstly, the idea of sentimentalism is based on abstract theses. Secondly, the main approach is to compare sentimentalism with classicism and Romanticism, which prevents determining its place in the art of the 1790s. Thirdly, the pictorial system of sentimentalism is considered in the most general form and turns out to be devoid of a thorough art historical description. A critical analysis of historiography allowed to identify promising areas of modern research of sentimentalism in art criticism: a careful analysis of the artistic features of works, the study of the metamorphoses of the portrait genre as well as a comparison of the Russian portrait with European art of the 18th — early 19th centuries.
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Marter, Joan M. "The Engineer Behind Calder’s Art." Mechanical Engineering 120, no. 12 (December 1, 1998): 53–57. http://dx.doi.org/10.1115/1.1998-dec-2.
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This article reviews the significance of Alexander Calder’s, a renowned sculptor, technical and engineering expertise that has become increasingly clear in recent years. Calder’s most important innovation in the development of wire sculpture was the suspension of his wire forms from a single wire thread. A small wood-and-wire caricature of a monkey was the first, soon followed by several caricatures of Josephine Baker, the star of La Revue N è gre at the Folies Bergè re and an international sensation in 1925. Like Leonardo da Vinci, Calder was primarily interested in problem solving, in experimenting with materials, mechanical systems, and devices. Calder’s studio was like a laboratory, with experimental works piled into corners or suspended from hooks in the ceiling. The most engaging aspect of Calder’s sculpture was its interaction with space. Mobiles participated in lively dialogues with their environs, reacting to air currents and human touch.
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Dudkiewicz, Margot, and Uliana Havryliv. "Experiencing art in city space on the example of the environment of the Galeria Labirynt in Lublin." Przestrzeń Urbanistyka Architektura 2022, no. 2 (December 2022): 49–66. http://dx.doi.org/10.37705/pua/2/2022/04.
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Art in public space is still untapped potential. The garden at ‘Labirynt’ Gallery is an opportunity to publish a work of art and a place for a wide range of artistic activities. Here, access to works will be free and universal, and the art exhibited in public space will enter into a dialogue with the viewer. The design concept was influenced by the terrain, the existing vegetation, and the gallery building style. A new communication system, elements of small architecture, plantings, and illuminations were designed. The design of the Gallery’s surroundings was to make the facility recognizable and friendly.
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Heckenberg, Kerry. "Conflicting Visions: The Life and Art of William George Wilson, Anglo-Australian Gentleman Painter." Queensland Review 13, no. 1 (January 2006): 1–21. http://dx.doi.org/10.1017/s1321816600004244.
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Research for this paper was prompted by the appearance of a group of nine small landscape paintings of the Darling Downs area of Queensland, displayed in the Seeing the Collection exhibition at the University Art Museum (UAM), University of Queensland from 10 July 2004 until 23 January 2005. Relatively new to the collection (they were purchased in 2002), they are charming, small works, and are of interest principally because they are late-colonial depictions of an area that was of great significance in the history of Queensland.
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Prati, Silvia, Francesca Volpi, Raffaella Fontana, Paola Galletti, Loris Giorgini, Rocco Mazzeo, Laura Mazzocchetti, Chiara Samorì, Giorgia Sciutto, and Emilio Tagliavini. "Sustainability in art conservation: a novel bio-based organogel for the cleaning of water sensitive works of art." Pure and Applied Chemistry 90, no. 2 (February 23, 2018): 239–51. http://dx.doi.org/10.1515/pac-2017-0507.
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Abstract Organo- and hydrogels have been proposed in the restoration field to treat different types of surfaces. The possibility to retain solvents and to have a controlled and superficial action allowed to use these materials for the removal of very thin layers applied on ancient historical objects, when the under paint layers are particularly delicate and water sensitive. In the last years, an increased attention has been devoted to the proposal of more healthy products to guarantee the safeguard of the operators. Few attention has been devoted to the development of green methods which foresee the use of renewable and biodegradable materials. The aim of this paper is to test a green organo-gel for the cleaning of water sensitive surfaces like varnished egg tempera paintings. The gel has been tested experimented on mock ups varnished with natural and synthetic materials and has been validated on a small portion of a Cimabue painting for the removal of two varnishes applied on two different test areas of the painting.
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Alieva, Olga O. "The Images, Technique and Stylistic Features of the Baroque Style in the Works of the Urals Stonecutters." ICONI, no. 1 (2021): 40–51. http://dx.doi.org/10.33779/2658-4824.2021.1.040-051.
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The article examines the particularities of the development in the Urals region of the genre of fi gurative sculpture of small forms from assembled stone by means of comparison with the art of the Italian masters from the baroque period, the establishers of this type of stonecutting art. The small fi gurative sculpture from assembled stone (polylite), which has developed as an independent genre of the art of stonecutting in the 17th century in Italy, acquired further development not only in Western Europe, but also in Russia, in the large-scale centers of artistic elaboration of stone in the country. In the region of the Ural Mountains, notwithstanding the pre-revolutionary conditions, the mastery of the principles of preparation of anthropomorphic images in the polylite technique took place only during the Soviet period as a particular school of preparation of specialists. At the contemporary stage it becomes possible to observe an active development of this genre in the artworks of the stonecutters of the Urals. The present-day fl ourishing of the polylite fi gurative sculpture of small forms in the works of the Urals-based stonecutters is connected here not only with the culture of elaborating this material and the successive continuity of the skills of working in the polylite technique, but also with the turn to the traditions of polychrome fi gurative compositions of Florentine masters of the Baroque Era, the effectiveness and naturalist qualities of their depiction.
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Mochalsky, N. A. "ARTIST DMITRY MOCHALSKY AND HIS WORKS." Arts education and science 1, no. 2 (2020): 103–12. http://dx.doi.org/10.36871/hon.202002013.
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"Girlfriends", "Virgin Soil Newlyweds", "A Protracted Explanation", "New Settlers. From a Tent to a New House", "Day off", "Tractor Tent" — these and other works were created by the artist Dmitry Mochalsky during the thaw era, his small genre compositions of the war years were continued in the whole cycle of works "People of Virgin Lands". This stage in the artist's work is characterized by a free manner of painting, the discovery and revival of the traditions of color, coming from the masters of the beginning of the century. The main direction in the works of artists of the 1908s–1988s was the image of the simple man, in contrast to the heroic canvases of the "cult of personality" period, this was facilitated by the weakening of censorship and condemnation of many previous negative trends in art.
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SCHEDEL, MARGARET ANNE. "Alternative venues for computer music: SoundGallery_Living Room_ARTSHIP." Organised Sound 9, no. 3 (December 2004): 301–3. http://dx.doi.org/10.1017/s1355771804000500.
Full textAbstract:
The audience for contemporary classical music is small – the audience for computer music is even smaller. Traditional concert halls are failing to generate interest in new instrumental music, much less computer music, while museums are having much more success with new art, including art with a technological component. By marketing our music to art galleries and museums, we can reach an audience predisposed to accept the new and unusual in artistic expression. Presenting the works of music outside a traditional proscenium setting also helps shatter any a priori definitions of ‘music’ audiences may hold. Using the term ‘Sound Art’ instead of ‘music’ may also help to free people struggling to appreciate unfamiliar sounds.
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Zhao, Yuanyuan. "Formation and Schema Analysis of Oil Painting Style Based on Texture and Color Texture Features under Few Shot." Computational Intelligence and Neuroscience 2022 (June 13, 2022): 1–10. http://dx.doi.org/10.1155/2022/4125833.
Full textAbstract:
Texture has strong expressiveness in picture art, and color texture features play an important role in composition. Together with texture, they can convey the artistic connotation of portrait, especially in oil painting. Therefore, in order to make the picture form oil painting style and oil painting schema, we need to study the texture and color texture in combination with the previous oil painting art images. But now, there are few samples of good oil paintings, so it is difficult to study the texture and color texture in oil paintings. Therefore, in order to form a unique artistic style of modern oil painting and promote the development of modern oil painting art, this paper studies the texture and color texture characteristics in the environment of few oil painting works. This paper establishes a model through deep neural network to extract the image incentive and color texture of oil painting art works, which provides guidance for promoting the development of oil painting art. The experiments in this paper show that the depth neural network has high definition for the extraction of texture and color texture of small sample oil painting images, which can reach more than 85%. It has high guiding significance for the research and creation of oil painting art.
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Lee, Jennifer. "Portable Prototypes: Canterbury Badges and the Thomasaltar in Hamburg." Arts 10, no. 3 (July 27, 2021): 51. http://dx.doi.org/10.3390/arts10030051.
Full textAbstract:
Pilgrims’ badges often depicted works of art located at a cult center, and these cheap, small images frequently imitated monumental works. Was this relationship ever reversed? In late medieval Hamburg, a painted altarpiece from a Hanseatic guild narrates the life of Thomas Becket in four scenes, two of which survive. In 1932, Tancred Borenius declared this altarpiece to be the first monumental expression of Becket’s narrative in northern Germany. Since then, little scholarship has investigated the links between this work and the Becket cult elsewhere. With so much visual art from the medieval period lost, it is impossible to trace the transmission of imagery with any certainty. Nevertheless, this discussion considers badges as a means of disseminating imagery for subsequent copying. This altarpiece and the pilgrims’ badges that it closely resembles may provide an example of a major work of art borrowing a composition from an inexpensive pilgrim’s badge and of the monumental imitating the miniature.