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Journal articles on the topic 'Water spirits in art'
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Flores, Ysamur M., and Sabine Jell-Bahlsen. "Mammy Water: In Search of the Water Spirits of Nigeria." Western Folklore 53, no. 1 (January 1994): 91. http://dx.doi.org/10.2307/1499655.
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Kasfir, Sidney Littlefield, Sabine Jell-Bahlsen, Tobias Wendl, and Daniela Weise. "Mammy Water: In Search of the Water Spirits in Nigeria." African Arts 27, no. 1 (January 1994): 80. http://dx.doi.org/10.2307/3337178.
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Wessing, Robert. "Spirits of the Earth and Spirits of the Water: Chthonic Forces in the Mountains of West Java." Asian Folklore Studies 47, no. 1 (1988): 43. http://dx.doi.org/10.2307/1178251.
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Miller, Tracy G. "Water Sprites and Ancestor Spirits: Reading the Architecture of Jinci." Art Bulletin 86, no. 1 (March 2004): 6. http://dx.doi.org/10.2307/3177398.
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Ottenberg, Simon. ": Mammy Water: In Search of the Water Spirits in Nigeria . Sabine Jell-Bahlsen." American Anthropologist 93, no. 1 (March 1991): 254–55. http://dx.doi.org/10.1525/aa.1991.93.1.02a00990.
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Diana Sari, Sivalis Diana Sari, and Nurwani Nurwani. "TRANSFORMASI PANGURASON DARI RITUAL KE SENI PERTUNJUKAN." Gesture : Jurnal Seni Tari 7, no. 2 (January 8, 2019): 26. http://dx.doi.org/10.24114/senitari.v7i2.13297.
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ABSTRACT This study discusses the Transformation of Pangurason Performing Arts Ritual. Describes the presentation of Pangurason tortors in the transformation of saucers to the Batak Toba Society in Samosir, and also describes the transformation of Pangurason tortors in the art of tortor cup performances.The theory used in this research is Ritual theory, Transformation, presentation theory form. The time used in this study is during (two months), which starts from October to December 2016. The location of this study was conducted in Pangururan Government of Samosir Regency. The population in this study were artists who knew about Pangurason and the samples were all actors involved in tortor Pangurason and actors involved in tortor bow transformation, data collection techniques including observation, interview, literature study, and documentation, then analyzed by descriptive method qualitative.Based on the data collected, it can be seen that Pangurason is a cleansing or purification of a place that has been considered sacred, so that the place is far from distress, and not disturbed by evil spirits. Formerly when Pangurason was used because at that time, the place wanted to be disturbed by evil spirits, then sibaso or shaman made a ritual to reject the reinforcements, by making a bowl of water, kaffir lime and banyan leaves.The transformation transforms the form of ritual presentation into the performing arts and uses the media or property of the saucer as an attraction in the tortor cup art show. Keywords: Transformation, Pangurason Ritual, Performing Arts
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Bychkov, Victor. "The Aesthetic Views of E.T.A. Hoffmann." Философия и культура, no. 2 (February 2023): 91–109. http://dx.doi.org/10.7256/2454-0757.2023.2.39345.
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The essay is devoted to an analysis of aesthetic views of one of the most distinguished German Romantics, which came through with particular fullness in his fiction. Hoffmann’s aesthetic views focus around his understanding of art. He is convinced that art has an anagagogical nature. It elevates the human being from everyday life to the sphere of the divine and thereby ennobles everyday life itself. Art draws the artist away from the world and manifests to the world his prophetic gift, which is often perceived as “poetic madness.” The fantastic in art, as well as the terrible and the frightening, does not contradict artistic truth. The elements of the terrible give philosophical significance to the work of art and please the recipient. Art is cognitive to a high degree, because nature itself reveals its secrets to the artist and allows him to intuit the “truth of nature.” Hoffmann is convinced about the ontological status of art. It must “be something, and not mean it.” Artistic creativity takes place fully within the inner world of the artist as he aspires for his ideal. Hoffmann allows for a certain degree of vagueness in a concrete work of art, whose purpose is additional aesthetic effort on the part of the recipient, who must be internally ready for communication with art. Creative activity is based on imagination and reason. It is based on natural foundations and is inspired by the illuminating effect of divine energy. Hoffmann considers music as the highest form of art and the ideal for all the arts. According to Hoffmann, music is the truly Romantic form of art. He sees the meaning of music in its foundation in nature, its aspiration for the heavens, the fact that it includes the world of the spirits in its orbit, and that it incites a longing for the unattainable in the listener. Hoffmann paid much attention to irony as one of the features of Romantic art.
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Houlberg, Marilyn. "Sirens and Snakes: Water Spirits in the Arts of Haitian Vodou." African Arts 29, no. 2 (1996): 30. http://dx.doi.org/10.2307/3337364.
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Drewal, Henry John, Marilyn Houlberg, Bogumil Jewsiewicki, John W. Nunley, and Jill Salmons. "Mami Wata: Arts for Water Spirits in Africa and Its Diasporas." African Arts 41, no. 2 (June 2008): 60–83. http://dx.doi.org/10.1162/afar.2008.41.2.60.
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Завьялова, О. Ю. "Марионетки и их связь с духами (Мали) / Puppets and Their Relations with Spirits (Mali)." Вестник антропологии (Herald of Anthropology), no. 2024 № 2 (June 2024): 170–85. http://dx.doi.org/10.33876/2311-0546/2024-2/170-185.
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Традиция марионеток — одна из самых популярных в Мали, причем у представителей многих народов. Это живая традиция, которая является основой самоидентификации для бамана, бозо и других, как говорят сами информанты. Данная статья написана на основе бесед с известным малийским марионеточником Яя Кулибали. Марионетки Кулибали радуют всех людей, однако, основная их задача радовать духов, в частности духов воды фаро. Именно поэтому марионетки чаще всего выступают у народа рыбаков бозо, которые более других связаны с водой. Изготовление марионеток также требует исполнения определенных ритуалов, традиционно они изготавливались из конкретных видов деревьев. Внутри «костюма» марионетки могут скрываться от одного до трех кукловодов, которые манипулируют стержнями куклы. Как и о любой такого рода традиции о происхождении марионеток существуют легенды, и все они говорят о том, что люди получили знания об этом искусстве от духов. Сами марионетки бывают нескольких видов: от струнных до стержневых, разного размера; соответственно, у них всех разная роль и разные выходы. Марионетки используются как для развлечения, так и для сакральных целей. Представления марионеток называющееся sogobɔ — ритуал начала сезона дождей и жертвоприношение духам фаро, но марионетки также участвуют и в ритуалах секретных мужских союзов — это Cɛko. Представления марионеток (как и представления масок, как и другие традиционные представления) делятся на три части по степени сакральности: первая часть доступна для всех зрителей, третья же только для узкого круга посвященных. Связь людей с духами не нарушается даже в угоду исламу, так как праздники, особенно такие как выходы марионеток и масок, сами по себе являются жертвоприношением для духов. The puppet tradition is one of the most popular in Mali. This is a living tradition, which self-identification of Bamana and Bozo peoples is based, according to the informants themselves. This article is based on conversations with the famous Malian puppet master Yaya Сoulibaly. His marionettes delight all people, however, their main task is to please the spirits, in particular faro — the spirits of the water. That is why puppets are most often performed among the Bozo fishermen, who have a closer connection with water than others. Making puppets also requires the certain rituals: traditionally they were made from specific types of wood. As with any tradition of this kind, there are legends about the origin of marionettes, and according to all of them people received this art from spirits. There are several types of puppets themselves, from string marionettes to rod ones, and all of them have different roles and performances. Puppets are used for both entertainment and sacred purposes. The marionettes performance called sogobɔ is the ritual of the beginning of the rainy season and the sacrifice to the faro spirits, but marionettes also participate in the rituals of secret male unions (Cɛko). Puppet performances are divided into three parts according to the degree of sacredness: the first part is accessible to all spectators, while the third is only for a narrow circle of initiates. The connection between people and spirits is not broken even for the sake of Islam, since holidays, especially such as the appearances of puppets and masks, are themselves sacrifices for spirits.
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Larsen, Kjersti. "Wilkens, Katharina: Holy Water and Evil Spirits. Religious Healing in East Africa." Anthropos 107, no. 1 (2012): 316–17. http://dx.doi.org/10.5771/0257-9774-2012-1-316.
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Bove, Francesco, Carlo Tagliabue, and Maurizio Mittino. "Products and Process for Guala Closures: An Overview of Aluminum Closures Production and the Drive for Innovation." Key Engineering Materials 710 (September 2016): 198–203. http://dx.doi.org/10.4028/www.scientific.net/kem.710.198.
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Guala Closures Group is the world leader in the production of aluminum closures for the beverage industry, with interests in the spirits, wine, water, oil, vinegar and pharma market. The company holds 70+ active patents worldwide and the annual gross income is approx. 500M €. Guala Closures Group has been a proven industrial leader in its sector that not only is now the largest manufacturer of caps and closures worldwide with a production capacity of 14+ billion closures per year, but has many times lead the venture for innovation in the industry. The goal of this paper is to expose the production processes that stand behind Guala Closures Group, its products, the technological innovation and its success.The paper will begin with a thorough analysis of the current state of the art for the production process of aluminum closures. Secondly, the analysis will shift onto the key factor to success in the manufacturing world of aluminum closures: Drive for Innovation.
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Ryblova, Marina. "VASILY BUSLAEV’S BATTLE WITH THE ELDER: ATTEMPT AT INTERPRETATION OF THE EPIC MOTIF." Проблемы исторической поэтики 19, no. 4 (September 2021): 40–54. http://dx.doi.org/10.15393/j9.art.2021.10062.
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The article analyzes the battle of Vasily Buslaev with the elder, presented in the epic “Vasily Buslaev and the Novgorodians,” which has already been discussed in domestic folklore studies. Contrary to the opinion of preceding researchers, who claimed that the elder personified Novgorod or the Christian church, while the battle reflected the struggle of the old system with the new, the author presents his vision of both the image of the elder and the essence of his battle with Vasily Buslaev. They are analyzed in the context of the mythology and practice of the fist-fighting organizations associated, in turn, with youth initiation rites. An analysis of the material, verbal and action codes showed that the elder appears in the epic as a “tainted” otherworldly character associated with the waters of the Volkhov and witchcraft. The attributes of the elder and the methods of his slaying also indicate the possibility of his correlation with the ancestor and the image of Perun. The methods of Vasily’s execution of the elder are clearly analogous to the ancient rituals of sending the ancestors’ souls off to the next world, widespread among the Eastern Slavs. They were associated with the idea of the ancestors’ souls coming to earth at certain points in the calendar year, and the need to send them back to the other world, by launching them on the water, among other ways. In full accordance with the structure and meaning of youth initiations, the battle and the death of the elder may be interpreted as a transfer of magical abilities, strength and a new share to Vasily, who was being initiated. This scheme is fully consistent with the mythology of ancient youth initiations, in which male ancestors (spirits) took an obligatory part.
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Bychkov, Victor. "Wackenroder’s “Phantasies” about Art as a Manifest of Romantic Aesthetics." Философия и культура, no. 8 (August 2023): 111–26. http://dx.doi.org/10.7256/2454-0757.2023.8.43886.
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Wackenroder is a Romantic author of a metaphysical-religious orientation. For him, the creator of art and its most adequate perceiving subject is God. As for art, he sees it as most tightly connected to religion, for both help the human being to rise from the earthly hassle to the heavenly sphere. The art of all times and nations contains a common essence – the beautiful – which is expressed in a variety of ways. Therefore the human being is capable of learning how to see beauty in any art medium. Wackenroder speaks of two symbolic languages that help the human being grasp heavenly matters: the language of nature and the language of art. Creativity is based on inspiration, which is a divine gift. In creating their art artists must begin with nature and present it in a transformed way. The process of creativity begins in the inner world of the artist, when he or she constructs a future painting in its completeness. The contemplation of a work of art is like prayer. Therefore perception of art requires specific training. Before contact with art, the recipient must initiate in him or herself the ability to perceive the beautiful and sublime. The grasping of a true work of art is inexhaustible. Every act of contemplating an artwork reveals to our soul something new. The process of perception of art is enthusiastic in nature; Wackenroder presents it as a confession of our spirit. In his musical aesthetics the place of honor belongs to the spiritual content of music. In painting Wackenroder most highly esteems the pacifying art of Rafael, the allegorical art of Michelangelo, and the cognitive art of Leonardo Da Vinci.
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Swaraj, Sampda, and Binod Mishra. "Decolonial Re-existence through Animist Realism: Water Spirits and Shamanic Mantras in Janice Pariat's Boats on Land." eTropic: electronic journal of studies in the Tropics 22, no. 1 (July 3, 2023): 130–54. http://dx.doi.org/10.25120/etropic.22.1.2023.3974.
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Colonialism's deleterious impact on Indigenous epistemologies has engendered an exigent concern in the project of decoloniality, calling for a re-existence of marginalized cosmovisions. To accomplish this, an epistemic delinking from the paradigm of Eurocentric discourses is imperative in the interest of a comprehensive appreciation and recognition of Indigenous knowledge systems. In this vein, the present study employs the literary trope of animist realism to analyze two short stories from the anthology Boats on Land by the Khasi author, Janice Pariat. Her creative writing explores the animist philosophy of the Khasi community who dwell in the humid tropical State of Meghalaya, India. Through an attentive reading of the animist belief in water spirits and shamanic mantra rituals, this paper critiques colonial narratives of Khasi animist worldviews as "satanic", "supernatural", or psycho-pathological aberrations. The paper presents Khasi animist wisdom as a sophisticated and equitable principle of mutual coexistence and respectful relationality between human and more-than-human realms, replete with spiritual, ecological, and cosmological overtones. Indigenous animist epistemologies are indispensable as sustainable alternatives to the knowledge structures of colonial modernity. The present study contributes to the envisioning of a coexistence of Indigenous and Western knowledge systems in the spirit of mutual recognition and constructive engagement within an evolving epistemological landscape in the ongoing decolonial enterprise.
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Stokes, Deborah. "Fish/Fetish(!?): A Note on “Mami Wata: Arts for Water Spirits in Africa and Its Diasporas”." African Arts 43, no. 2 (June 2010): 8–9. http://dx.doi.org/10.1162/afar.2010.43.2.8.
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Plowright, Poh Sim. "The Art of Manora: an Ancient Tale of Feminine Power Preserved in South-East Asian Theatre." New Theatre Quarterly 14, no. 56 (November 1998): 373–94. http://dx.doi.org/10.1017/s0266464x00012458.
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When is a widely-known fairy tale more than a story? Poh Sim Plowright recently went to South Thailand and North Malaysia to examine the relevance of the ‘birdwoman’ folk tale to the lives of the villagers1 in those two regions. Here the local people still participate in a ritual dramatization of a story which for them represents a crucial renewal of life in their yearly calendar – a celebration of the roots of feminine magical power which goes back to the ancient historical south-east Asian practice by which a victorious ruler would carry back as booty to his kingdom the wives and dancers of the vanquished. Since most of the members of these royal harems were mediums gifted with special powers of healing and communicating with spirits, they were seen as valuable additions to a ruler's aura of divinity – and consequently to his terrestrial power. More importantly, the theatrical art form known as Manora, which enshrines the ‘birdwoman’ tale, is said to have been founded by two royal female trance mediums, regarded as primal healers and guardians of a life-renewing elixir: thus, each performance also serves as a shamanic and healing ritual. The performances here described by Poh Sim Plowright also have links with drama in China and Japan, and at the end of her article she explores the powerful connection with W. B. Yeats's celebrated ‘birdwoman’ play, At the Hawk's Well, which features a ‘Hawk’ Woman guarding a ‘well of miraculous water’ against male intrusion. Poh Sim Plowright is Director of the Centre for the Study of Noh Drama and Lecturer in Oriental Drama at Royal Holloway College, University of London.
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Setem, I. Wayan, I. Wayan Kondra, and I. Made Gede Putra Jaya. "TOYA CAMPUHAN: AIR DAN PERADABAN MANUSIA DALAM PENCIPTAAN SENI LUKIS." Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa 14, no. 1 (August 19, 2022): 115–31. http://dx.doi.org/10.33153/brikolase.v14i1.4232.
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TThe purpose of this research and art creation is to create and present artworks with “Toya Campuhan: Water and Human Civilization” as the source of inspiration. World civilization, especially in ancient Bali, has emerged and developed around water as its source of life. Water sources, such as river confluences, act as a pulse, supporting the joints that contribute significantly to various parts of physical and spiritual life. Due to this, water must be conserved, so that they always provide benefits for the journey of human life far into the future. However, the current condition of rivers in Bali is really worrying, as various pollutants pollute them. Slowly but surely, the water condition will worsen if we continue to let it be. This evokes my empathy, emotion, and hope about a healthy river confluence as a mission that I wanted to convey through the creation of this painting. This creation model becomes a cultural expression as a medium for increasing public appreciation to raise the spirit of ecological resilience over the problem of water pollution. This creation is based on research, where the method consists of two parts, namely the research method and the creation method. The research method uses an anthropological approach, especially related to ethnography. Meanwhile, the creation method passes through three stages: exploration, improvisation, and the embodiment of the work, which is preceded by a study of similar works of art and literature review.
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Wei, Yiwei, Peinan Ren, Xiaoyi Wang, Qingxun Meng, and Qingjiang Dong. "The Supreme Goodness is Like Water." Journal of Education, Humanities and Social Sciences 3 (September 22, 2022): 46–50. http://dx.doi.org/10.54097/ehss.v3i.1548.
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In China, there are mainly two philosophies that had tremendous impact on our civilization, which are Confucianism and Taoism. Taoism is the only belief system native to China, which had a grander perspective, about the relationship among the universe and human as well as human and human. The most important literature of Taoism is Tao Te Ching. The main doctrines of Tao Te Ching include: a natural state of being and Non-action.To Laozi, the way of water is completely different from the way of people with desire. As the source of life, water nourishes all living things on Earth. Water contributes to the world without regard for gain of loss. Remaining low, level, and quiet, water embraces and reflects everything under heaven. Water is invincible because it desires nothing and contends for nothing. It’s soft but not weak, instead, it’s full of strength. Water has three important virtues we can learn from, Which is “H2O”——humility, harmony and openness. The influence of Taoism lies in every single aspect of Chinese culture, such as traditional Chinese painting, music and Taiji(an ancient but popular Chinese self-defense art). Beyond that, Taoism has broken the boundaries of nations and attracted global attention and recognition. Of all ages, Taoist ideas have invested Chinese culture and art with a unique tone and an aesthetic beauty that emphasize inner spirit rather than outward forms.
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Cao, Yu. "A Study on Expression of Taoism Water Thoughts in Installation Art." Advances in Social Development and Education Research 1, no. 1 (December 1, 2023): 176. http://dx.doi.org/10.61935/asder.1.1.2023.p176.
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Water, the origin of life, is one of the five elements that Chinese ancient philosophers applied to clarify the formation and correlations of all things in the world. Taoism attaches great importance to life and wellness, thus, as a symbol of life, "water" has always been respected in Taoism. The founder of Taoism, Lao Tsu, claimed that the most sublime deeds are just like what water does. Therefore, water resembles the spirit of Taoism. According to this, this article chooses water as the way the author viewing the world. For human civilization, water is closely related to life. From one perspective, the reliance and worship of water could be observed from the rituals of praying and offering sacrifices to Gods or ancestors. From another perspective, Taoism uses water to purify body and mind, release souls from purgatory and symbolize holy space and time. Furthermore, the concept of "harmony between man and nature" in Tao Te Ching (《道德經》), written by Lao Tsu, focuses on the protection and utilization of water resources. This concept has become the inspiration of many artists in recent years and an issue that we cannot avoid in environmental protection, The diverse functions fully demonstrate the characteristics of Taoism. This paper reveals the unique valve of "water" in Taoism from the life meaning, the representation of time and space, the regenerative capacity, the nature of circulation, and the awareness of ecological protection of water resources. This paper further analyzes the artistic and social value of "water" in Taoism. At the same time, the author hopes to arouse people"s awareness of water resources" protection.
This article attempts to analyze the artistic and social expression of Taoist "water" in western installation arts. Water has long been worshiped and esteemed in Taoism, the aboriginal ancient Chinese religion and belief system, which advocates a harmonious mind and balanced life. Central to the Taoist philosophy are concept of Tao, Wuwei, Ziran and Yin and Yang. Taoist water has diverse symbolic and practical functions: it is vital to life and wellness, as it can treat illness, be applied to rituals, and believed to lead to eternal life. Water is also an element of purification of both body and mind. Also, it represent time and space in a unique way. Water is a metaphor for the coexistence between man and nature. We choose 5 representative works, i.e. Random International's Rain Room, Leandro Erlich's Swimming Pool, Jason deCaires Taylor's The Silent Evolution, Marina Bay Sands'Rain Oculus, LA & FreelandBuck's Rain Oculus, to interpret how one or more above functions are demonstrated in them. We can see that Taoist water thoughts are still vigorous and inspiring in today's artistic and social issues, with its rich life connotations, the representation of time and space, the regenerative capacity, the nature of circulation, and the awareness of ecological protection of water resources.
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Maudina, Elvira Mela, and Saripudin Didin. "Dinamika Kesenian Sasapian: Dari Tradisi Ritual hingga Media Promosi Pariwisata (1999-2017)." FACTUM: Jurnal Sejarah dan Pendidikan Sejarah 10, no. 1 (April 29, 2021): 45–58. http://dx.doi.org/10.17509/factum.v10i1.28855.
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ABSTRACTThis research was written to answer the main problems related to how the dynamics of sasapian art occurred in 1999-2017. This research uses historical methods, consisting of several research steps. First, heuristics( collection of sources), criticisms, and most recent historiography (historical writing). From the research conducted, the results obtained that the appearance of sasapian art in Cihideung Village is backgrounded by the socio-cultural condition of cihideung village people who are very attached to magical life. This sasapian art first appeared between 1920-1940s, when sasapian art was considered as a means of communication between the people and the spirits of ancestors / karuhun, as well as as a form of gratitude to the Creator for abundant crops, and the availability of abundant water. Sasapian art continues to be traditionalized at Hajat cai/Ngaruat Solokan. In 1999, tourism developed in Cihideung Village, a tradition of Hajat cai/Ngaruat Solokan that displays sasapian art slowly began to be abandoned. Sasapian art began to reform as a means of people's entertainment. In 2007, sasapian art innovation was introduced under the name Sapi Gumarang, and created a tourism event called Cihideung Festival, since then sasapian arts changed function as a means of promoting tourism, which supports the implementation of creative economy in Cihideung Village. Factors that influence the dynamics that occur in Cihideung Village are globalization, tourism rate, and artist creativity.Keywords: Sasapian Art, Cihideung Village, Ritual Traditions, Tourism.ABSTRAKPenelitian ini ditulis guna menjawab permasalahan utama terkait bagaimana dinamika kesenian sasapian yang terjadi pada tahun 1999-2017. Penelitian ini menggunkan metode historis, yang terdiri dari beberapa langkah penelitian. Pertama, heuristik (pengumpulan sumber), kritik, dan yang terkahir historiografi (penulisan sejarah). Dari penelitian yang dilakukan, maka diperoleh hasil bahwa kemunculan kesenian sasapian di Desa Cihideung dilatar belakangi oleh kondisi sosial budaya masyarakat Desa Cihideung yang sangat lekat dengan kehidupan magis. Kesenian sasapian ini muncul pertama kali antara tahun 1920-1940-an, saat itu kesenian sasapian dianggap sebagai sarana komunikasi antara masyarakat dengan roh-roh leluhur/karuhun, serta sebagai wujud penyampaian rasa syukur kepada Sang Pencipta atas hasil panen yang melimpah, dan ketersediaan air yang melimpah pula. Kesenian sasapian terus ditradisikan pada acara Hajat cai/Ngaruat Solokan. Tahun 1999, pariwisata berkembang di Desa Cihideung, tradisi Hajat cai/Ngaruat Solokan yang menampilkan kesenian sasapian perlahan mulai ditinggalkan. Kesenian sasapian mulai bertranformasi sebagai sarana hiburan rakyat. Tahun 2007 diperkenalkan bentuk inovasi kesenian sasapian dengan nama Sapi Gumarang, serta dibuat event pariwisata bernama Cihideung Festival, sejak saat itu kesenian sasapian berubah fungsi sebagai sarana media promosi pariwisata, yang mendukung terlaksananya ekonomi kreatif di Desa Cihideung. Faktor-faktor yang mempengaruhi dinamika yang terjadi di Desa Cihideung yaitu globalisasi, laju pariwisata, dan kreatifitas seniman.Kata Kunci: Kesenian Sasapian, Desa Cihideung, Tradisi Ritual, Pariwisata.
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SHIM, Jungah. "A study on the Concept of ‘Material Imagination’ by Gaston Bachelard and the Value of Natural Materials and Techniques in Three-Dimensional Art." Society for Art Education of Korea 89 (March 1, 2024): 177–210. http://dx.doi.org/10.25297/aer.2024.89.177.
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This study researched the interaction between the artist and the material in the creation of three-dimen-sional art based on Gaston Bachelard's 'material imagination' and the phenomenology of images. The crea-tive act of humans with spirit, body, and soul dealing with natural materials deserves to be called a 'crea-tive struggle'. The material imagination evoked by water, fire, air, and earth can allow artists to encounter archetypal images, and enhance the artist and their artworks. The researcher suggests that a more pro-found world of art can be unfolded if the artist selects natural materials and utilizes poetic images evoked by the materials' dialectical imagination and alchemical reveries. To present practical case for this, the ter-racotta technique was analyzed focusing on the fact that alchemical reveries occurs with the participation of all basic materials in its process. And the value of handwork was emphasized, and the four perspectives suggested by Bachelard to contemplate material's values was interpreted, and the three stages of partic-ipation were applied to the creative process of art, and Kwon Jin-gyu's terracotta work Hand was evaluated as a case study.
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Shrestha, Prakash. "Challenges and Scopes of Pottery Industry." Pravaha 24, no. 1 (June 12, 2018): 147–58. http://dx.doi.org/10.3126/pravaha.v24i1.20234.
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Pottery is unique art of making artifacts from clay. It produces different kinds of clay and ceramics items such as flowerpots, water and grain storage jars, large vessels for distilling rice spirits called rakshi, cooking pots, tableware, stoneware cups, bowls, and plates, stoneware pitcher and mug, etc. This research aims to examine challenges faced by the pottery industries and to examine scopes of the pottery industries in Nepal. This research is based on the descriptive method. The results show that there is good scope in the this industry but the people involved in this industry are facing different kinds of challenges or problems like shortage of raw materials, manpower, and lack of space to dry the formed pottery, firing pottery, to store the finished goods along with the different raw materials. The sales of the product in the national and international markets are being increased. This industry is being affected by the change in lifestyle and different substitute products. The intermediaries get good profits but they face the problem of getting the products damaged, demand dependent on the festive occasion, problem of transportation, etc. Study shows that there is a huge demand for Nepali handmade ceramic products in the international market due to their improved quality. Buyers are willing to pay a premium for handmade goods, which are propelling exports. Pravaha Vol. 24, No. 1, 2018, Page: 147-158
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Ofrim, Alexandru, and Lucia Terzea-Ofrim. "Écrire pour guérir. Les formules magiques écrites dans la médecine populaire roumaine (XVIIe-XXe siècles)." Swedish Journal of Romanian Studies 6, no. 1 (May 15, 2023): 100–118. http://dx.doi.org/10.35824/sjrs.v6i1.24897.
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In traditional Romanian society, where the vast majority of the population was illiterate, writing remained mysterious and inaccessible. For the peasants from the Romanian village, writing and the book have acquired separate meanings, being used in a particular way through magico-religious rituals. In order to defend against the action of evil forces and for the healing of the sick body, the traditional community instituted ceremonial, apotropaic and thaumaturgical practices, involving a set of alternative uses of writing. The clerics played an important role in consolidating these practices. The village priests made the written amulets (apocryphal texts, prayers and incantations) intended to be worn closest to the body to ward off unclean spirits which could cause harm to women who had just given birth and to the new-born. Books and writing were seen as repositories of healing forces that could ward off disease and trouble. In the Romanian rural society, between the two World Wars, it was still believed that evil spirits, agents of disease, could be drawn from the sick person's body with the help of “healing letters” (rom. “răvașe de leac”), containing prayers, various religious symbols, names of saints but also magic formulas, often presented in an enigmatic and incomprehensible way. The formulas are written upside down, from right to left, then from left to right (like the famous palindrome “Sator arepo tenet opera rotas” or “Abracadabra”) or distributed in geometric figures (spirals, triangles, crosses). These “healing papers”, with a strong iconic charge, were applied to the body or the text and the image were drawn directly on the skin of the sufferer. Drinking water in which one had washed a plate on the surface of which healing formulas had been written or swallowing the paper on which magic formulas were written were other common practices. Romanian ethnologists have documented the survival of these practices until the mid1970s. Similar practices are found in other parts of Europe.
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Wang, Yanting, Along Bu, Xin Xin, and Lin Lu. "Xishu Celebrity Memorial Gardens under the influence of water culture." E3S Web of Conferences 143 (2020): 01005. http://dx.doi.org/10.1051/e3sconf/202014301005.
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The celebrity memorial gardens are the most prominent in Xishu gardens, showing strong memorial. As the most characteristic cultural element of Xishu area, water contributes a lot to the development of Xishu gardens and becomes an indispensable element in gardening. By tracing back to the background of the formation and development of water culture, this paper analyses the relationship between the historical celebrities and water in Xishu, and summarizes the art of water in Xishu celebrity memorial gardens under the infiltration of water culture. This paper not only reflects the aesthetic value of water from the perspective of formal beauty, but also creates the poetic and artistic conception and the connotation of humanistic spirit through the combination with other gardening elements. At last the article reveals its significance and value of water culture in celebrity memorial gardens and tries to provide inspiration for future regional garden design.
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Abramov, Petr. "ONTOLOGICAL AND ANTHROPOLOGICAL MEANINGS OF MYTHOPOETIC CONCEPTS OF THE ELEMENTS." Bulletin of Chelyabinsk State University 474, no. 4 (August 15, 2023): 20–29. http://dx.doi.org/10.47475/1994-2796-2023-474-4-20-29.
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The purpose of the article is to analyze matter, and more specifi cally the elements, which were understood in a similar way in diff erent cultures. The following basic qualities of the elements are revealed: water is the source of all being and vitality, earth is stability and corporality, air is space, as well as the “breathing” of the spirit, fi re is the guiding and purifying principle. Fire, especially in its most refi ned manifestation of light, and also air act as a pair of «upper» celestial, active elements. Earth and water follow the «upper» elements and complement them. «Axis of the world» connects the earth and sky, uniting all the elements. As its manifestations, which set the vertical and center the cosmos, are the world mountain and tree, as well as fi re, such as the «center of the universe», Hestia of the Pythagoreans. Natural numbers such as 2, 3, 4 set the structure and dynamics of the development of nature and man. In mythopoetic perception, the realistic setting of everyday consciousness is inextricably woven into the holistic panpsychist symbolic picture of the world. It is concluded that the archetypal mythopoetic ideas about the elements act as a source of meaning for philosophical knowledge: for the philosophy of art, anthropology and ontology.
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Zhang, Ningning, Pablo Domínguez de María, and Selin Kara. "Biocatalysis for the Synthesis of Active Pharmaceutical Ingredients in Deep Eutectic Solvents: State-of-the-Art and Prospects." Catalysts 14, no. 1 (January 19, 2024): 84. http://dx.doi.org/10.3390/catal14010084.
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Biocatalysis holds immense potential for pharmaceutical development as it enables synthetic routes to various chiral building blocks with unparalleled selectivity. Therein, solvent and water use account for a large contribution to the environmental impact of the reactions. In the spirit of Green Chemistry, a transition from traditional highly diluted aqueous systems to intensified non-aqueous media to overcome limitations (e.g., water shortages, recalcitrant wastewater treatments, and low substrate loadings) has been observed. Benefiting from the spectacular advances in various enzyme stabilization techniques, a plethora of biotransformations in non-conventional media have been established. Deep eutectic solvents (DESs) emerge as a sort of (potentially) greener non-aqueous medium with increasing use in biocatalysis. This review discusses the state-of-the-art of biotransformations in DESs with a focus on biocatalytic pathways for the synthesis of active pharmaceutical ingredients (APIs). Representative examples of different enzyme classes are discussed, together with a critical vision of the limitations and discussing prospects of using DESs for biocatalysis.
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Chen, Lu. "The influence of the author's aesthetics on the traditional Chinese flower arrangement art style." Society for Chinese Humanities in Korea 84 (August 31, 2023): 383–94. http://dx.doi.org/10.35955/jch.2023.08.84.383.
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China's traditional culture has a long history. Among many cultures, the traditional flower arrangement art is more distinctive. It has been included in the national Intangible cultural heritage list, and has been widely recognized by the academic community. Compared with traditional art forms such as painting and calligraphy, flower arrangement art is unfamiliar to people, and there are relatively few studies on the value of Chinese traditional flower arrangement art. However, with the rapid development of economy and society, People's living standards are improving day by day, and their spiritual and cultural values have been fully enriched. Therefore, as a popular art, flower arrangement has once again returned to the public's view. By analyzing the traditional art style of flower arrangement in China, it is beneficial to improve the education of beauty and inherit and promote traditional culture. The author conducted an in-depth analysis of literati aesthetics and traditional Chinese flower arrangement art style, and on this basis, systematically elaborated on the profound impact of literati aesthetics on traditional Chinese flower arrangement art style.The traditional flower arrangement art in China has an early origin. Throughout history, there have been numerous works created by literati and literati with the theme of flowers, plants, and trees. Flower arrangement mainly refers to the art of combining artificial decoration with natural plants. Due to its poetic shape, dignified and elegant visuals, and the artistic conception of both form and spirit, traditional flower arrangement has been widely respected. As one of the traditional arts, flower arrangement itself has a unique style, possesses national spirit and era characteristics, and is led by literati aesthetics. It analyzes the aesthetic values of ancient literati, In order to clarify the style and characteristics of traditional flower arrangement art, and ultimately expand the influence of traditional flower arrangement art, traditional flower arrangement art will radiate new vitality.
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Shik, Ida A. "IMAGES OF THE ORIENT IN SOVIET PORCELAIN OF THE 1920S – 1940S: POLITICS AND AESTHETICS." Articult, no. 1 (March 2024): 13–27. http://dx.doi.org/10.28995/2227-6165-2024-1-13-27.
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In the article, the researcher revealed the specificity of images of the Orient interpretation in the Soviet porcelain of the 1920s – 1940s within the framework of the political propaganda theme. Porcelain artists responded to significant contemporary events related to the Orient. In addition, they created works on common to Soviet art topics such as work and leisure, motherhood and childhood, the emancipation of women accenting national features. In aesthetic terms, the interpretation of the “Oriental theme” was transformed within the framework of the general line of the Soviet porcelain style evolution: from the “imaginary East” pictures in the spirit of Orientalism to more realistic compositions. The international art deco style consistently manifesting itself in the porcelain sculpture of the 1920s and 1930s had particular importance to the Orient theme treatment.
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Isanović, Nusret. "The great mosque in Damascus – a work of symbiosis of islam and the culture of the orient." Zbornik radova Islamskog pedagoškog fakulteta u Zenici (Online), no. 2 (December 15, 2004): 123–45. http://dx.doi.org/10.51728/issn.2637-1480.2004.123.
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The emergence of Islamic art as a cultural and historical reality of Islam is linked to the Ummayads. The crowning work of Islamic culture of the Ummayad Period is one of the most interesting works of Islamic architecture in general - the Great Mosque in Damascus. This work marks the coming out of Islamic art from the phase of vacillation and a wavering search for a more authentic artistic expression into a phase of a more confident relationship with its own spiritual origins and more certain aesthetic and artistic self-defining. The Great Mosque in Damascus is a work of synthesis of the spirit of Islam and the most diversified and indigenous elements of the cultures of the Near East. It is considered the first total accomplishment of Islamic sacral architecture. Finally, it contains all the basic features of a mosque (minaret, mihrab, maksura and, within its courtyard, a shadarwan – a water fountain for performing ablution). In this respect, it can be considered a model for all the future mosques of the classical period of Islamic history, especially congregational ones.
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Lo, Vivienne. "Looms of Life." Asian Medicine 18, no. 1-2 (January 22, 2024): 148–66. http://dx.doi.org/10.1163/15734218-12341531.
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Abstract The classics of Chinese medicine are redolent with allusions to weaving as they describe a new imperial anatomy and physiology of the medical body. The superior physician in the Yellow Emperor’s corpus manipulated ji 機, the trigger mechanisms at strategic points on the surface of the body, which provided remote relief from the symptoms of illness. Through stimulating these points, medical practice with needle and moxibustion could control the many spirits that inhabited the body, weaving them into a numinous fabric. This paper explores the spatiotemporal geographies of meaning expressed in the manuscripts and artifacts excavated at the Laoguanshan tomb sites. In particular, an analysis of the medical texts, models of mechanical pattern shaft looms, and a tiny lacquered medical figurine recovered there suggest that local translational knowledge transfer between medicine, weaving, and water technologies occurred in the upper reaches of the Yangzi Valley. The resulting innovations were at the heart of a new imperial Chinese medicine.
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Iqbal, Saira. "Scenic and Scientific Representation of Water in Mughal Architecture: A case study of ShahJahan’s Quadrangle Lahore Fort, Pakistan." Academic Research Community publication 2, no. 2 (May 27, 2018): 11. http://dx.doi.org/10.21625/archive.v2i2.485.
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Nothing is useless in this world. Everything has its specific purpose and objectives with respect to its importance. The present-day hardware and materials utilized as a part of building swallow noteworthy measure of our national vitality. Ancient monumental buildings and palaces are still a place to relax without fans, coolers and air conditioners. There is a need to study the traditional buildings because they are time-tested. Mughal Architects are legendary for their creativity. Without beauty, architecture would just be the combination and amalgamation of some material. Hence, art is the soul and spirit of architecture. Mughal Architecture is the example of “Feeling of Wonder” that is the source of aesthetic experience. Mughals showed the great skills in infusing the Islamic idea with local tradition. Water has had been an important element in Asian culture and architecture. Water is an architectural element that is extensively used in our ancient buildings and in the garden of the Mughals. Water not only pleases the eye on a hot summer day, but also provides passive cooling. This paper deals with the utilization of water not only for the purpose of beautification of the site but also for studying the scientific utility of water. This study is a mixture of basic and applied methods according to architectural research methods. The study in this research will show how Mughals used water as an eminent representation of undaunted Mughal mastery in retaining and regulating the temperature along with the beautification purpose via fountains, water channels, and pools.
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Prendergast, Frank. "The Meaning of Dark, Light and Shadows: Inferences in Art, Materiality and Cultural Practices." Culture and Cosmos 26, no. 01 (October 2022): 3–32. http://dx.doi.org/10.46472/cc.0126.0201.
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Our visual awareness relies on light acting on the eye to perceive materiality and colour. Medieval thought wrestled to articulate and comprehend its nature. The notebooks of Leonardo Da Vinci, for example, included his descriptions to define light and make comparisons so as to differentiate between light and shadow. His focus was on the illumination of surfaces from the perspective of a painter, seeing shadows as ‘the diminution of light by the intervention of an opaque body’ and ‘the counterpart of luminous rays’. In his mind, a shadow ‘stood between light and darkness’, with darkness being ‘the absence of light’. The anthropological record provides another gateway to such enquiry, holding oral and textual evidence on the meaning of light and cast shadows in the belief systems of some cultures. In one such example, recorded in the late nineteenth century, an observed reflection of the self in water was regarded as the person’s spirit and, significantly, the shadow cast by the body was imagined as the person’s soul. And how might such phenomena have been comprehended and used in the prehistoric past? Without ethnographic evidence the answer is unknowable and any conclusions are potentially conjecture. Researchers strive to overcome such hurdles using a suite of scientific tools and reasoning, and by drawing on the diversity of architecture and art. This paper follows a similar methodological trajectory to explore the qualitative nature of these phenomena using case studies spanning five millennia.
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Bicheev, Baazr A. "Iconography of Buddhism: The Tradition of Depicting the Old White Man." Vestnik of Saint Petersburg University. Arts 13, no. 3 (2023): 576–97. http://dx.doi.org/10.21638/spbu15.2023.310.
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The Old White Man is a local deity revered by Buddhists in Russia. His image, based on textual traditions and Buddhist iconography, prompted the name — the Old White Man, now widely accepted. In the written sources he is also known as the “Conqueror and subduer of the [master spirits] of earth and water”. The early images appeared in Mongolia under the influence of the Chinese traditional pictures of Tú Dì, ancient deities associated with localities, while later they were influenced by traditional images of Shòuxing, the deity of longevity. At an early stage of the iconographic tradition, the Old White Man is depicted as a priest or a high official; his functions are rendered via the characters of his companions, the host spirits of mountains (sabdaks) that have the features of man and animal or animals, such as a pair of deer, chained leopard (wolf), as well as ritual objects, including a carved staff or a dragon head staff. At a later stage, there may be symbols associated with the giver of longevity and fertility (bald phallic head, cave, and peach). The text of the “Sutra of the Old White Man” includes the description of his appearance (a white-bearded, bare-headed old man in a white robe), attributes (a dragon head staff) and an allegorical landscape of a mountain and fruit trees. Neither early nor recent Mongolian and Buryat pictures fully correspond to the description. Much closer to it is the Kalmyk iconographic tradition. The Old White Man’s image of the Kalmyk nomads goes back to the ancient mythological idea of the deity as the keeper of domestic animals. Due to transformations in the religious sphere, the keeper of domestic animals becomes the Old White Man, the lord of all living beings and all earthly space. Traditionally, he is presented as a standing old man, bare-headed and his long gray hair gathered in the form of a triratna. He is dressed in a belted robe, with another swinging robe thrown on it. In his right hand, he holds a staff with a dragon’s head and a rosary in his left. There are no companions or animals. The symbolic landscape serves to enhance the grandiose figure of the old man. The details of the attire and the landscape refer to the former Chinese influence.
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Brodhead Glaser, Brian. "Be Spiritual Work of Art in the Poetry of Robert Duncan." Polish Journal for American Studies, no. 9 (2015) (July 20, 2023): 75–95. http://dx.doi.org/10.7311/pjas.9/2015/5.
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In this essay I argue Hegelian phenomenology helps us to see that language can be a form of postmodern spirituality. I aim to contextualize postmodern poetry in a dialogue between spirituality and art that, I suggest, we can join Hegel in viewing as older than Christianity. Both Phenomenology of Spirit and Robert Duncan’s postmodernism show us that language is a spiritual means for transcendence of the self. In the first section of the essay I look at how Duncan used syntactic choices in the writing of poems as the occasion for self-transformation, contrasting the models of poetic structure in two of his books of the 1960s, the Opening of the Field (1960) and Bending the Bow (1968), on the basis of what these two different structural models foreground about Duncan’s syntactic decisions. In the second section of the essay, I analyze Hegel’s phenomenological narrative of the hymn, focusing on his discussion of the role that language plays in this dimension of spiritual life. In the concluding section, I return to Robert Duncan’s later poetry, arguing that Hegel’s conception of the hymn can help us to see that Duncan moved in his creative work from using syntax as a means for self-transformation to turning to it as a resource for self-transcendence.
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Nose, Akira. "Components in water reduce the alcohol-stimulative taste of spirits." MOJ Food Processing & Technology 9, no. 2 (March 21, 2021): 39–42. http://dx.doi.org/10.15406/mojfpt.2021.09.00258.
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Effects of solutes on the stimulative taste of ethanol in transparent spirits such as vodkas were reviewed. It was demonstrated that MgCl2, MgSO4, and NaHCO3 could reduce the alcohol-stimulative taste of spirits and, at the same time, strengthen the hydrogen-bonding structure of water-ethanol in spirits. It was suggested the reduction of the alcohol-stimulative taste is related with a change of the hydrogen-bonding structure in spirits by proton nuclear magnetic resonance (1H NMR) spectroscopy. These salts in spirits seem to be originated in water added to spirits before bottling. Some salts in water could affect the stimulative taste of ethanol in spirits.
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Howey, Meghan C. L. "Other-Than-Human Persons, Mishipishu, and Danger in the Late Woodland Inland Waterway Landscape of Northern Michigan." American Antiquity 85, no. 2 (February 7, 2020): 347–66. http://dx.doi.org/10.1017/aaq.2019.102.
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Other-than-human persons and the role they play in transforming social, economic, and ideological material realities is an area of expanding interest in archaeology. Although the Anishinaabeg were an early and vital focus of cultural anthropological studies on nonhumans given their significant relationships with other-than-human persons, known to them as manitou, emerging archaeologies advancing this topic are not largely centered on ancestral Anishinaabeg sites and artifacts. This article analyzes a set of nonvessel ceramic artifacts from Late Woodland archaeological sites in the Inland Waterway in northern Michigan, which are interpreted to be ceramic renderings of manitou. I argue that these were manitou-in-clay, vibrant relational entities that are brought into being for and through use in ceremonial perspective practices related to Mishipishu—a complexly powerful, seductive, and dangerous nonhuman being known as the head of all water spirits. I contextualize the making and breaking of Mishipishu manitou-in-clay as acts of petition by hunter-fishers who had been seduced by this manitou in dreams, as they headed out on necessary but high-risk early-spring resource harvesting in the inland lakes of the Inland Waterway. This case advances insights into how relationships with other-than-human persons were coproductive of the world in the northern Great Lakes region during the Late Woodland period.
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Hall, Judith G., Maile M. Taualii, and Wedlidi Speck. "Northwest Indigenous Art and the Inspiring Spirits." American Journal of Medical Genetics Part C: Seminars in Medical Genetics 187, no. 2 (May 13, 2021): 254–60. http://dx.doi.org/10.1002/ajmg.c.31890.
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Cockx, Lara, Giulia Meloni, and Johan Swinnen. "The Water of Life and Death: A Brief Economic History of Spirits." Journal of Wine Economics 16, no. 4 (November 2021): 355–99. http://dx.doi.org/10.1017/jwe.2021.9.
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AbstractSpirits represent around 50% of global alcohol consumption. This sector is much less studied than other alcoholic beverages such as wine or beer. This paper reviews the economic history of spirits and analyzes recent trends in the spirits markets. The technology to produce spirits is more complex than for wine or beer. Distillation was known in ancient Chinese, Indian, Greek, and Egyptian societies, but it took innovations by the Arabs to distill alcohol. Initially, this alcohol was used for medicinal purposes. Only in the Middle Ages did spirits become a widespread drink. The Industrial Revolution created a large consumer market and reduced the cost of spirits, contributing to excess consumption and alcoholism. Governments have intervened extensively in spirits markets to reduce excessive consumption and to raise taxes. There have been significant changes in spirits consumption and trade over time. Over the past 50 years, the share of spirits in global alcohol consumption increased from around 30% to around 50%. In the past decades, there was strong growth in emerging markets, including in China and India. Recent developments in the spirits industry include premiumization, the growth of craft spirits, and the introduction of terroir for spirits. (JEL Classifications: L51, L66, N40, Q11, Q18)
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Halperin, Daniel. "A Month for the Entertainment of Spirits; Mammy Water In Search of the Water Spirits in Nigeria:A Month for the Entertainment of Spirits.;Mammy Water: In Search of the Water Spirits in Nigeria." Anthropology of Consciousness 4, no. 2 (June 1993): 25–26. http://dx.doi.org/10.1525/ac.1993.4.2.25.
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VanPool, Christine S., and Todd L. VanPool. "The Reality of Casas Grandes Potters: Realistic Portraits of Spirits and Shamans." Religions 12, no. 5 (April 29, 2021): 315. http://dx.doi.org/10.3390/rel12050315.
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Most Native American groups believed in a form of animism in which spirit essence(s) infused forces of nature (e.g., the wind and thunder), many living plants and creatures, and many inanimate objects. This animism created other-than-human persons in which spirits were fused with matter that allowed them to interact with and even influence humans. Art in Western culture tends to denote “imagination”, and many scholars studying Native American art bring a similar perspective to their analyses. However, many Native Americans do not equate art with imagination in the same way, but instead use art to realistically portray these other-than-human persons, even when they are not typically visible in the natural world (e.g., the Southwestern horned-plumed serpent). Here, we apply a cognitive framework to evaluate the interplay of spirits at various levels that were created as Casas Grandes artisans used art as a means of depicting the inherent structure of the Casas Grandes spirit world. In doing so, they created links between ceremonially important objects such as pots and spirits that transformed these objects into newly created animated beings. The art thus simultaneously reflected the structure of the unseen world while also helping to determine the characteristics of these newly created other-than-human persons. One technique commonly used was to decorate objects with literal depictions of spirit beings (e.g., horned-plumed serpents) that would produce a natural affinity among the ceremonial objects and the spirit creatures. This affinity in turn allowed the animated ceremonial objects to mediate the interaction between humans and spirits. This approach transcends a view in which Casas Grandes art is considered symbolically significant and instead emphasizes the art as a component that literally helped create other-than-human collaborators that aided Casas Grandes people as they navigate ontologically significant relationships.
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Rymar, Dariusz. "The Dialectic of Teleological Journeys." Forum Philosophicum 29, no. 1 (June 28, 2024): 81–108. http://dx.doi.org/10.35765/forphil.2024.2901.05.
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Researchers’ attention has been drawn to parallels between Homer’s Odyssey and the Epic of Gilgamesh. However, hitherto, no connections have been observed between Kazantzakis’s Sequel and the Mesopotamian work. Convergent are the primary motivations and actions undertaken by the protagonists of both poems, particularly their “peregrinations” to the boundaries of the world, dictated by eschatological anxieties. Moreover, the hero of Kazantzakis’s Sequel undergoes a transformation analogous to the legendary ruler of Uruk: under the influence of concerns, the proud kings opt for solitary wanderings, which results in better self-understanding and higher axiological awareness. The comparison of symbols, such as the sun, fire, lightning, the Water of Life and Death, and theriomorphic allegories, indicates Kazantzakis’s utilization of numerous intermediary sources stemming from the ancient Near Eastern tradition. An additional aim of the article is to indicate interpretative possibilities of books describing the wanderings of the Odyssean spirit after abandoning the project of building the “ideal city,” as versions of ars moriendi: the art of overcoming the fear of death.
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Bertoni, Aura, and Maria Lillà Montagnani. "Public architectural art and its spirits of instability." Queen Mary Journal of Intellectual Property 5, no. 3 (August 2015): 247–63. http://dx.doi.org/10.4337/qmjip.2015.03.01.
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Yang, Hua. "Water Spirits of the Yangzi River and Imperial Power in Traditional China." Religions 13, no. 5 (April 22, 2022): 387. http://dx.doi.org/10.3390/rel13050387.
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Most research on the water spirits of the Yangzi has focused on popular worship and paid little attention to the Confucian discourse and its major role in establishing imperial legitimacy. Yet it is a crucial aspect to understand traditional politics in China. The water spirits of the Yangzi River and its tributaries and lakes were venerated, offered imperial sacrifices, and incorporated into codes of state ritual in traditional China. The canonized sacrifices to the water spirits of the Yangzi River basin symbolized the religious–political legitimacy of the imperial regimes. When an imperial court offered sacrifice to the water spirits of the Yangzi River basin incorporated by previous dynasties, this action demonstrated that the current court directly connected to past regimes and inherited the authority of sacrifice passed down from the ancient and the orthodox tradition of Confucian ritual classics. Since the majority of dynasty capitals in traditional China were located in the north with fewer rivers, worshipping water spirits of the Yangzi River basin would imply recognition and blessing from southern divinities. The practice of granting noble titles and temple plaques to those water spirits would further demonstrate the imperial courts’ control over the divine power. By communicating with and managing the water spirits of the Yangzi River, the imperial courts would also symbolize their political and military administration over the south and they are united, rather than divided, regimes.
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Wei, Zhang, and Xuemin Cheng. "Inheritance and Innovation of Traditional Ceramics in Yuan River Basin." Mobile Information Systems 2022 (July 18, 2022): 1–7. http://dx.doi.org/10.1155/2022/1602312.
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Yuanshui River is the third largest tributary of the Yangtze River and one of the four major water systems of Dongting Lake. It originated in Jiguanling, Wu Yun, Duyun City, Guizhou Province, and Pingyue Mountain, Majiang County. It flows eastward to Tuokou Town, Hongjiang city, Hunan Province, where it joins Qushui and is called Yuanshui. Ceramic is the representative of Chinese traditional culture. In the long-term development process, there are many kinds of ceramics with brilliant history and exquisite skills. At present, when the traditional national culture is seriously lost, protecting and developing the traditional national ceramic skills in Yuanshui River Basin will help us to fully understand the traditional national culture in Yuanshui River Basin, carry forward the excellent traditional national culture in Yuanshui River Basin, and enhance national self-confidence. Based on this, this paper analyzes the inheritance and innovation of traditional ceramic crafts in Yuanshui River Basin and constructs the mechanical characteristic model of ceramic crafts with data simulation method. Combine the innovative consciousness of keeping pace with the times with the spirit and quality of the times to realize the all-round development of ceramic art.
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Ren, Ran. "Ahead of His Time: Leonardo da Vinci’s Contributions to Engineering." Journal of Education, Humanities and Social Sciences 21 (November 15, 2023): 18–25. http://dx.doi.org/10.54097/ehss.v21i.13025.
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Leonardo da Vinci, a polymath of the High Renaissance, is renowned for his contributions to the arts, most well-known being the "Mona Lisa" and "The Last Supper". However, Leonardo’s genius extended far beyond the realm of art, penetrating the fields of science and engineering, which were in their infancy during his lifetime. This paper delves into the lesser-known aspects of da Vinci's genius, focusing on his innovative ideas and designs that were far ahead of his era. It explores the breadth and depth of his engineering concepts, from the design of flying machines to the development of hydraulic systems. The paper reveals that da Vinci's engineering sketches and notes, often dismissed as fanciful during his time, have proven to be scientifically accurate and technologically feasible. His designs for machines such as the helicopter, parachute, and armored vehicle, though not realized in his lifetime, have significantly influenced modern engineering. Furthermore, his understanding of water dynamics has contributed to the development of modern hydraulic and civil engineering. This paper argues that da Vinci's engineering contributions, though not as widely recognized as his artistic works, are a testament to his unparalleled foresight and innovative spirit.
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Sonstroem, David. "TEETH IN VICTORIAN ART." Victorian Literature and Culture 29, no. 2 (September 2001): 351–82. http://dx.doi.org/10.1017/s1060150301002066.
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IF JOURNAL ILLUSTRATIONS OF THE ERAS reflect their times truly, Victorians and their predecessors did not manage their faces as we do ours. We of the twenty-first century grin or grimace without restraint, but the Victorians checked the impulse to show their teeth. When we engage in an unguarded smile, our show of teeth is intended and taken to mean merely that we are in good spirits or good company. Pictorial evidence indicates that when the Victorians did likewise, the expression held other meaning.
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Peter Muhoro Mwangi, Dr. Peter Muhoro Mwangi, and Professor Mellitus Wanyama. "Psycho-Therapeutic Concerns in Performance Arts and Community Development in Africa." Kabarak Journal of Research & Innovation 5, no. 1 (November 24, 2017): 129–34. http://dx.doi.org/10.58216/kjri.v5i1.52.
Full textAbstract:
This paper explores the position of art as a vehicle of socio-economic development; engineered by playwrights as mouth pieces of their societies. The arts domain has always been a contested field of experimentation in handling community-oriented issues concerning human life. Plato in The Republic, authoritatively condemned arts terming it a less important realm of education  as “artists begin from ideas advance further ideas and end up in ideas.†This view was however challenged by Aristotelian views, clearly stating the value of imitating the right actions. In contemporary societal disposition, there has emerged a new wave of correction ideas for community artists with the development concerns of a people. Art emerges as a mirror of society and so whatever is performed  for its good builds the psychological needs of the community members. The spirit of togetherness and cooperative movement is best expressed through performing arts while engaging, the people in development projects, for instance; building of community schools, cattle dips, police stations, water projects, social halls and churches among others. There is a great opportunity for developing a people’s future through the voice of the performers. Performance and education  emerge as important paradigms for shaping not only an individual but community goals, ambitions and aspirations. Ideally, the performance enhances psychotherapeutic ingredient in the audience. An active synergized  audience participates in creating an atmosphere of oneness, people’s  power, innovation and societal empowerment. A culture of brotherhood, sisterhood and  pacification entrenches itself in the minds of community members who are then able to participate in decision-making ventures especially that involve the youth and women  groups. In the long run, the ensuing differences and conflicts that rock the community are addressed harmoniously and courageously through dialogue captured in dramatic arts.
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Bee, Lady. "The Outsider Art of Burning Man." Leonardo 36, no. 5 (October 2003): 343–48. http://dx.doi.org/10.1162/002409403771048137.
Full textAbstract:
The author describes art installations featured at the annual Burning Man event in Black Rock City, Nevada. Burning Man is community based, collaborative and interactive and attracts a unique community of artists, performers and free spirits. The goal of the event is to remove the artist from the world of commerce and competition, emphasizing instead collaboration, cooperation and shared experience.
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Barnwell, Andrea D. "Spirits in Steel: The Art of the Kalabari Masquerade." African Arts 31, no. 4 (1998): 80. http://dx.doi.org/10.2307/3337653.
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