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1
Hassler, Donald M. "Still Life Art". Academic Questions 31, nr 4 (16.10.2018): 517–18. http://dx.doi.org/10.1007/s12129-018-9746-9.
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Ruprecht, Louis A. "Still Life". liquid blackness 6, nr 1 (1.04.2022): 140–65. http://dx.doi.org/10.1215/26923874-9546602.
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Abstract This essay explores the subtle interplay between sculptural bodies and animate bodies by exploring several “moments” in the history of classical and neoclassical aesthetics. These exemplary moments include the ancient Roman period (Pliny's reflections on Greek sculpture); the eighteenth and nineteenth centuries (Winckelmann's reflections on Greek sculpture and later Italian excavations at Pompeii); the twentieth century (Nazi adaptations of ancient Greek sculpture in Munich); and the twenty-first century (recurring discussion of polychromatic Greek art). Given that most of the art under discussion was “pagan,” this slippage between sculptural bodies and animate bodies highlights the presence of desire, specifically a desire for forbidden bodies.
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Coldwell, Paul. "Still Life". IMPACT Printmaking Journal 3 (14.05.2024): 11. http://dx.doi.org/10.54632/1305.impj14.
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The pandemic and the subsequent lockdown caused me to reflect on my practice and some key influences on my work. I have long been associated with the Estorick Collection of Modern Italian Art, particularly with their collection of works by Giorgio Morandi, a key influence on my work for over four decades. I curated the exhibition ‘Morandi’s Legacy: Influences on British Art’ for them in 2006, and over the years, I have contributed to several catalogue essays and gallery talks. As part of their plans to reopen in September 2021 after being closed due to COVID, I was invited to rehang their Morandi collection alongside the work that I had done in lockdown. I wholeheartedly embraced the opportunity to present my work alongside Morandi’s. Centred on the idea of still life, I wanted to explore similarities and differences between our works, most prominently to contrast the enforced restrictions imposed by lockdown with the self-imposed restrictions that Morandi had worked under. It also caused me to reflect on the nature of the studio as a place of self-reflection and play. The work I presented consisted of small plaster sculptures, woodcuts, and a series of four photo-etchings, all engaged with the idea of still life. The objects I featured included picture frames, bottles, miniature furniture, and asthma inhalers, a veiled reference to the fact that COVID attacks the lungs. Furthermore, and a radical departure for me, I included several poems I had written during lockdown. My illustrated talk will explore the ideas that underpinned the exhibition.
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Winstead, Ted. "Still Life with Movement: Video as Art". Imagine 5, nr 5 (1998): 18–19. http://dx.doi.org/10.1353/imag.2003.0114.
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Bekkerman, Sonya. "Mikhail Larionov's Still Life with Crayfish". Gastronomica 2, nr 4 (2002): 10–12. http://dx.doi.org/10.1525/gfc.2002.2.4.10.
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Mikhail Larionov's Still-Life with Crayfish is a result of the artist sintense engagement with Russian folk art traditions. In attempting to liberate Russian art from the influence of the West, Larionov discovered new formal languages by looking to his heritage and bringing into his paintings images derived from icons, lubki (popular prints) as well as painted shop signs and children sart. Although Larionov did not spearhead the Russian crafts revival, his participation became critical for its dissemination. Still-Life with Crayfish exemplifies Larionov's insistence on russifying Western forms. The lessons of Czanne and the bold experiments of the Fauves figure prominently;however, the artist's conception of line, depth and color is a clear reference to lubki. The strident palette reflects Eastern influences, and the feast itself conveys an essentially Russian character. Larionov spassionate interest in creating new art forms inclined him to draw upon a diversity of sources. His admiration for the stability and timelessness of Russian peasant culture, life and art played a critical role in developing his oeuvre and allowed him to create a distinctive style independent of the West without wholly rejecting it.
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Rini, Yeti Septo, i Setyo Tohari Caturiyanto. "BUNGA LAYU DALAM FOTOGRAFI STILL LIFE". TEXTURE : Art and Culture Journal 4, nr 1 (28.04.2022): 1–10. http://dx.doi.org/10.33153/texture.v4i1.4192.
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Flowers are one of the extraordinary forms that are enjoyed by their beauty. Starting from a childhood experience, this work tries to manifest anxiety through the art of photography. The object selected in this work is a lay flower. Wither is where a condition is not fresh or pale. Based on changes in flower color, irregular textures and shapes are interesting to visualize in a photographic work. One of the genres of photography used is still life photography. A work of art that creates an image of an inanimate object or object to make it appear much more alive. The work of this work, uses air-filled media with other supporting objects. The selection of media that contains water is used to facilitate the arrangement in order to achieve aesthetic or beauty value. The values of beauty include unity, complexity, and sincerity in creating such works. All of these things are related to the results in the process of working on the work. The Creation of Withered Flowers in Still life Photography has meaning, not just a visual form without aesthetic value.
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Vallance, Elizabeth (Beau). "Exploring Visual Culture Downtown: Shop Windows as Still Life". Visual Arts Research 35, nr 1 (1.07.2009): 35–49. http://dx.doi.org/10.2307/20715486.
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Abstract That aesthetic experience can be encountered almost anywhere enables use of a wide range of everyday encounters with visual culture in teaching art; vernacular still-life arrangements can be a rich resource in teaching students to see as artists see. Here, I make this argument through one case, the looking-and-writing assignments in an undergraduate elementary-education course. I propose a framework for including shop-window designs as visual-culture teaching resources, arguing that the artful compositions in shop windows can introduce and explore traditional subjects in painting. The article addresses two questions: (a) Can art-novice students respond to shop-window compositions with innovative interpretations, using art-appropriate terms? (b) Does student interpretation of paintings as commercial communication encourage defensible interpretations of artworks? After a brief review of some still-life principles, Dewey’s concept of aesthetic experience, and a concept of how framing operates conceptually in the museum setting, some examples of art-novice interpretations of downtown imagery provide the background to questions for further research.
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Moyle, Peter B., i Marilyn A. Moyle. "Fish imagery in art 62: Chase'sfish and still life". Environmental Biology of Fishes 40, nr 2 (czerwiec 1994): 158. http://dx.doi.org/10.1007/bf00002542.
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Grube, Vicky. "Beyond Still Life: Collecting the World in Small Handfuls". Visual Arts Research 34, nr 1 (1.07.2008): 99–108. http://dx.doi.org/10.2307/20715465.
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Abstract This study uses portraiture methodology to understand how ideas travel among preschool children in an art studio. The researcher, also the art teacher, is watchful of the children’s feelings, perspectives, and experiences, and analyzes her data through the writing. The researcher sees children co-constructing knowledge, negotiating truth, and redefining themselves while their relationships deepen. Buber and Husserl’s reflections concerning our search for an identical other are layered in with anecdotal episodes of the researcher and the children. Relationships, influenced by the cultural and practical world, are in constant flux. External needs and desires impact subjective experiences, and pairs — once engaged in shared consciousness — rebound, searching for a mirror more in focus. In the preschool art studio, intersubjectivity, married somehow to repetition, sets forth the proliferation of ideas.
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Pichkur, M. "Digital still life painting: art production, composition, imitation and stylization". Art and education, nr 4 (2020): 42–49. http://dx.doi.org/10.32405/2308-8885-2020-4(98)-42-49.
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Oh, Seung-Hyun, i Gi-Hyung Kwon. "Hair Art Character Applying the Still Life of Paul Cezanne". Korean Society of Beauty and Art 21, nr 2 (20.06.2020): 227–39. http://dx.doi.org/10.18693/jksba.2020.21.2.227.
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King, Julia A. "Still Life with Tobacco: The Archaeological Uses of Dutch Art". Historical Archaeology 41, nr 1 (marzec 2007): 6–22. http://dx.doi.org/10.1007/bf03376990.
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Hiiop, Hilkka, Andres Uueni, Anneli Randla i Alar Läänelaid. "Still Life with Grapes and Nest". Baltic Journal of Art History 20 (27.12.2020): 197–211. http://dx.doi.org/10.12697/bjah.2020.20.08.
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A complex conservation process revealed the layer of the painting inits original subtlety and delicate retouchings recreated the integralsurface of the painting. As a result, we can confirm that it is a paintingof high artistic quality dating most probably from the middle ofthe 17th century, painted on an oak panel of German origin. Weremain doubtful about the Internet auction suggested authorship,as the painting does not reach the artistic quality of Jan DavidszDé Heem, a top rank artist from the Netherlands. It is possible tocontinue with the art-historical analysis (and other investigations)of the painting, to find further proof for the hypothetical dating andmaybe even reach an attribution but we must not forget to ask thequestions whether and to whom it would be necessary. What matters
for the owner of the painting is the fact that an artwork which decorates
the wall of his home has both aesthetic and historical value –
even without knowing its exact date or the painter.
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Kuncoroputri, Sari Dewi, Belinda Sukapura Dewi i Muhamad Ali Rahim. "Handphone sebagai Inspirasi dalam Berkarya Still Life". Ideas: Jurnal Pendidikan, Sosial, dan Budaya 9, nr 2 (7.06.2023): 639. http://dx.doi.org/10.32884/ideas.v9i2.1348.
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At present, to save time and energy when doing a job, communicating, obtaining daily needs (such as food and drinks) and so on, technology is the solution, with one of its rapid developments being smartphones as a service provider support community life. It is this device that inspires artists to make artworks. The purpose of this artwork is to convey the artist's ideas through still life works of art. The method used is descriptive qualitative method. The data collection technique applied was a literature study (data collection). The results displayed are still life style two-dimensional (2D) paintings made in 2023 with the main objects being carried are food, drinks, smartphones, and things related to the main object.
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Thomas, KErstin. "The Still Life of Objects – Heidegger, Schapiro, and Derrida reconsidered". eitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 60. Heft 1 60, nr 1 (2015): 81–102. http://dx.doi.org/10.28937/1000106256.
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Kerstin Thomas revaluates the famous dispute between Martin Heidegger, Meyer Schapiro, and Jacques Derrida, concerning a painting of shoes by Vincent Van Gogh. The starting point for this dispute was the description and analysis of things and artworks developed in his essay, “The Origin of the Work of Art”. In discussing Heidegger’s account, the art historian Meyer Schapiro’s main point of critique concerned Heidegger’s claim that the artwork reveals the truth of equipment in depicting shoes of a peasant woman and thereby showing her world. Schapiro sees a striking paradox in Heidegger’s claim for truth, based on a specific object in a specific artwork while at the same time following a rather metaphysical idea of the artwork. Kerstin Thomas proposes an interpretation, which exceeds the common confrontation of philosophy versus art history by focussing on the respective notion of facticity at stake in the theoretical accounts of both thinkers. Schapiro accuses Heidegger of a lack of concreteness, which he sees as the basis for every truth claim on objects. Thomas understands Schapiro’s objections as motivated by this demand for a facticity, which not only includes the work of art, but also investigator in his concrete historical perspective. Truth claims under such conditions of facticity are always relative to historical knowledge, and open to critical intervention and therefore necessarily contingent. Following Thomas, Schapiro’s critique shows that despite his intention of giving the work of art back its autonomy, Heidegger could be accused of achieving quite the opposite: through the abstraction of the concrete, the factual, and the given to the type, he actually sets the self and the realm of knowledge of the creator as absolute and not the object of his knowledge. Instead, she argues for a revaluation of Schapiro’s position with recognition of the arbitrariness of the artwork, by introducing the notion of factuality as formulated by Quentin Meillassoux. Understood as exchange between artist and object in its concrete material quality as well as with the beholder, the truth of painting could only be shown as radically contingent. Thomas argues that the critical intervention of Derrida who discusses both positions anew is exactly motivated by a recognition of the contingent character of object, artwork and interpretation. His deconstructive analysis can be understood as recognition of the dynamic character of things and hence this could be shown with Meillassoux to be exactly its character of facticity – or factuality.
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Gutgesell, Natalie. "THE BALTIC PORTRAIT AND STILL LIFE PAINTER ALEXANDRA VON BERCKHOLTZ (1821–1899)". Baltic Journal of Art History 18 (30.12.2019): 249–94. http://dx.doi.org/10.12697/bjah.2019.18.08.
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The Baltic artist Alexandra von Berckholtz was among the mostimportant portrait painters of her time. However, her works haddisappeared from art-historical memory because, after her death, theywere sold and spread all over the world. An international researchproject started in 2014 was able to rediscover her works and her lifestory.Von Berckholtz was given her first art lessons in 1841 by the courtpainter Louis Wagner in Karlsruhe, Germany. From 1847 until 1854she studied in Paris at the studio of the history painter Joseph-NicolasRobert-Fleury, who had considerable influence on her pictorialstyle which combined realism and idealism. Another significantinfluence was Richard Lauchert, a former student and close friendof Franz Xaver Winterhalter. Von Berckholtz’s numerous travels,e.g. to Switzerland, France, and the Czech Republic, were also arich source of inspiration. She changed the conventions of nobilityportrait and concentrated on still lifes in her later work, in whichshe reflected the Dutch style of the Baroque period. Alexandra vonBerckholtz associated with important personalities from the fieldsof art, music, politics, and technology, and was socially active.
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Kulakova, Olga Yu. "Dutch Flower Still Life of 17th Century: Interest and Oblivion through the Centuries". Observatory of Culture 18, nr 5 (29.10.2021): 496–505. http://dx.doi.org/10.25281/2072-3156-2021-18-5-496-505.
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Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in the price. Still lifes and landscapes were cheaper than allegorical and historical scenes, but there were exceptions, for example, in the works of Jan Brueghel the Elder and Jan Davidsz. de Heem. Art theorists Willem van Hoogstraten and Arnold Houbraken, resting upon academic tastes, downplayed the importance of still-life painting. Meanwhile, the artists themselves, determining the worth of their paintings, sought for maximum naturalism, and such paintings were sold well.In the 20th century, this genre attracted the attention of collectors in Europe and the United States. A revival of interest in Dutch still lifes in general, and in flower ones in particular, began in the 20th century, the paintings rose in price at auctions, and collecting them became almost a fashion. Art societies and art dealers of the Netherlands and Belgium organized several small exhibitions of still lifes. The course for studying symbolic messages in still lifes, presented by Ingvar Bergström, is continued by Eddie de Jong, who emphasizes the diverse nature of symbolism in Dutch painting of the 17th century. Svetlana Alpers, on the contrary, criticizes the iconological method and presents the Dutch painting of that period as an example of visual culture. Norman Bryson’s view of Dutch still lifes is formed against the background of the development of a consumer society, economic prosperity and abundance. Finally, there has been an increasing interest in the natural science aspects of flower still-life painting in the researches of the last twenty years. Curiosity, skill, and admiration for nature are the impulses that can still be felt in the images of bouquets and fruits.
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Тихомиров, Андрей Генрихович. "Musical Classics: Museum, Archive or Still Life?" Музыкальная академия, nr 1(777) (31.03.2022): 184–91. http://dx.doi.org/10.34690/229.
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Эссе написано в качестве ответа на полемические размышления В. В. Задерацкого «Звуковой фон жизни и мы». Автор разделяет обеспокоенность Задерацкого коммерциализацией академического музыкального искусства. Согласен он и с его критикой авангарда. Концентрация представителей этого направления на изобретении новых музыкальных технологий приводит к тому, что достижения авангарда быстро устаревают, как любая техника. Кроме того, автор относится критически к отказу ряда композиторов от музыкальной диалектики в пользу бесконечного варьирования комфортных для слуха созвучий, несмотря на то что такая музыка находит позитивный отклик у части современной публики, желающей получать от музыкального произведения необременительно-приятные переживания и ощущение сопричастности к духовному действу. В этой ситуации возникает вопрос о судьбе классической музыки, искусства, призванного вызывать сильные и глубокие эмоции. Автор считает утопией мысль Задерацкого о миссии музыкантов как создателей «музея классической музыки», поскольку музыкальный язык подвержен старению в большей степени, нежели язык визуальных искусств. В наше время этот процесс ускорился: классика все больше отдаляется от современного музыкального языка, носителем которого являются бытовые жанры. Лекарством для распадающейся связи времен могло бы стать регулярное появление в афишах концертных организаций и оперных театров современных произведений, авторы которых, по примеру классиков, соблюдают баланс между элементами звукового фона жизни (по крайней мере, трех активных поколений) и базовыми принципами музыкального мышления, выработанными композиторами прошлого. In his response to the polemical reflections of Vsevolod Zaderatsky “The sound background of life and us,” the author of the essay shares the concern about the commercialization of academic musical art. Also, he agrees with Zaderatsky in his criticism of the avant-garde. The concentration of its representatives on the invention of new musical technologies leads to the fact that the achievements of the avant-garde quickly become obsolete, like any technique. In addition, the author criticizes the refusal by a number of composers from musical dialectics in favor of the endless variation of harmonies comfortable for the ear despite the fact that such music finds a positive response from a part of the modern public who wants to receive from a musical work an easy and pleasant experience and a feeling of spiritual involvement. In this situation, the question arises about the future of the classical art, music that evokes strong and deep emotions. The author considers Zaderatsky's idea about the mission of musicians (proposal to create a “museum of classical music”) as a utopia, since the musical language is subject to aging to a greater extent than the language of visual arts. In our time, this process has accelerated: the academic music is increasingly moving away from the modern musical language, as it is presented in everyday genres. The cure for the disintegrating connection of times could be the regular appearance in the repertoire of concert organizations and opera houses of such modern works, where, following the example of the classics, the authors would maintain a balance between the elements of the sound background at least of three living generations and the basic principles of musical thinking, elaborated by composers of the past.
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Meng, Hao. "The Development of Still-life Painting in China in the Second Half of the Twentieth Century Under the Influence of Russian-Soviet and Western Art". Философия и культура, nr 9 (wrzesień 2022): 121–32. http://dx.doi.org/10.7256/2454-0757.2022.9.38692.
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Still life as an independent painting genre in Chinese fine art was formed in the second half of the XX century under the strong influence, first of all, of Western European and Russian, and then American art. This relatively short period of time includes several periods at once, in which one or another influence dominated. However, it was the integration of the ideas and principles of foreign art schools that allowed Chinese masters to develop those features of the artistic and figurative language that determined the features of the genre of still life in the space of modern art. The object of the article is the process of development of Chinese still life in the second half of the twentieth century, the subject is a set of expressive and artistic means used by Chinese artists to create a still life under the influence of foreign artistic trends. This article aims to determine the place and features of the genre of still life in the works of Chinese painters of the second half of the XX century, as well as to characterize the conformity of this genre to the trends of Russian and Soviet, as well as European art. The study concluded that this genre received rapid development in the second half of the XX century, which occurred under continuous foreign artistic influence. The occupation of a strong position in the space of Chinese art by still life and the formation of its original character with national specifics occurred at the end of the twentieth century.
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Kholmuratovich, Muratov Khusan. "Methodology of Improving Independent Learning Skills of Future Fine Art Teachers (On the Example of Still Life in Colorful Paintings)". International Journal of Psychosocial Rehabilitation 24, nr 5 (31.03.2020): 2043–48. http://dx.doi.org/10.37200/ijpr/v24i5/pr201880.
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Widi Nugroho, Yulius. "Still-life Photography as Visual Poetry Media for Social Criticism of Lumpur Lapindo". Lekesan: Interdisciplinary Journal of Asia Pacific Arts 5, nr 2 (28.10.2022): 93–111. http://dx.doi.org/10.31091/lekesan.v5i2.2083.
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Visual media photography is prioritized to present actual and factual information as news media and art media, and Visual Poetry is a work of art that combines two visual and verbal media as one work. The purpose of this research is to make still life photography works and the meaning of photo works as a medium for Visual Poetry. The object of the photo is about the condition of the Lapindo Mud on Porong Sidoarjo Indonesia, which has been neglected for years without serious handling. This creation method uses a photographic method of photographing natural objects. Methods of collecting data by observation, interviews, and documentation offline and online. The discussion of meaning uses the semiotic theory of Roland Barthes. The result of this creation is to capture visual phenomena which are then converted into words and finally assembled into poetry. The meaning of the final work of the photo comes from the visual and verbal media that are presented together, and of course it remains open to meaning that is free from the audience. Visual Poetry's work is used as a social critique of the condition of the Lapindo Mud which is physically and socially neglected. The conclusion of this creation is that visual and verbal media have their respective advantages and limitations, but can be combined into new works and new meanings. The benefit of the creation of this work is the development of methods of visual meaning that can produce new art media.
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Benzecry, Claudio E. "Book Review: Still Life. Ecologies of the Modern Imagination at the Art Museum". Cultural Sociology 15, nr 3 (29.05.2021): 459–60. http://dx.doi.org/10.1177/17499755211019685.
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Pristianto, Arief, Tanto Harthoko i Arti Wulandari. "SAMPAH POLA KONSUMTIF DALAM KARYA FOTOGRAFI STILL LIFE". spectā: Journal of Photography, Arts, and Media 2, nr 1 (16.02.2019): 25–34. http://dx.doi.org/10.24821/specta.v2i1.2465.
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AbstrakSampah menjadi persoalan yang tidak pernah selesai, dari zaman purba hingga sekarang, keberadaannya semakin banyak dan mulai tidak terkendali. Berbagai berita baik di media cetak maupun elektronik selalu menawarkan bermacam-macam produk yang menggiurkan masyarakat untuk melakukan peran konsumtif, dan akan berbahaya jika masyarakat tidak menyadari bahwa dari sisa konsumtif akan terjadi sampah. Penciptaan karya fotografi ini bertujuan untuk memunculkan foto-foto tentang sampah pola konsumtif dari penulis. Berdasarkan atas pola konsumtif tersebut diperoleh data otentik tentang perilaku konsumsi diri sendiri yang kemudian dikonstruksi menjadi rancangan untuk pemotretan. Foto yang dihasilkan merupakan karya seni fotografi still life dalam ranah fotografi kontemporer. Karya-karya yang dihasilkan menunjukkan bahwa kamera bukan hanya merepresentasikan ide dan perilaku kelompok manusia, melainkan juga dapat merepresentasikan pola tindakan biologis manusia.Kata kunci: sampah, pola konsumtif, still life, fotografi seni AbstractWaste of Consumptive Behavior in Still Life Photography. Waste becomes a never ending issues, from the ancient times to the present, it is getting more and more and even it is getting out of hand. Various news either in printed and electronic media has always offered a variety of tantalizing products to perform the role of the consumer society, and it will be dangerous if people are not aware that the residual consumption will end up as wastes.The creation of this photography work aims to bring photographs of waste as a result of author’s consumptive behavior.Based on the mentioned consumptive behavior, a set of authentic data about own consumptive behavior was collected and constructed as master plan for the photography creation. Resulting photographs show thay thay belong to the genre of still life photography in the domain of contemporary photography. The photographs proved that camera was not only able to represent ideas and the habit of certain people, but also to represent the pattern of human’s biological life. Keywords: waste, consumptive behavior, still life, fine art photography
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Ben-Ur, Aviva. "Still Life: Sephardi, Ashkenazi, and West African Art and Form in Suriname's Jewish Cemeteries". American Jewish History 92, nr 1 (2004): 31–79. http://dx.doi.org/10.1353/ajh.2005.0020.
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Lutz, Raechel. "“Still Life with Vitamins: Art and Science at the 1939 New York World’s Fair”". Environmental History 21, nr 2 (27.01.2016): 365–78. http://dx.doi.org/10.1093/envhis/emv187.
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Юшкова, О. А. "Simple things and metaphysical still life in Moscow art of the 1960s and 1970s". Iskusstvo Evrazii [The Art of Eurasia], nr 4(31) (29.12.2023): 280–95. http://dx.doi.org/10.46748/arteuras.2023.04.018.
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Статья посвящена проблеме обращения художников разных направлений к мотиву «простые вещи», что нашло отражение в натюрморте 1960–1970-х годов. Обычно каждое направление рассматривается отдельно от общего художественного процесса. Автор на примере натюрморта прослеживает, как трансформируется проблематика, заданная временем, в творчестве мастеров официального круга, сурового стиля и различных вариантах андеграунда. Простые вещи неизбежно должны были привлечь внимание после почти тридцатилетнего преобладания тематической картины в советском искусстве. В период оттепели начинают цениться малые жанры, в которых выражение личностного мироощущения не зажимается большой темой. В статье анализируется подход к натюрморту с набором простых предметов В.Ф. Стожарова, А.В. Васнецова, О.Я. Рабина, М.А. Рогинского, А.Б. Гросицкого, В.Г. Вейсберга и Д.М. Краснопевцева. Становится очевидно, что в творчестве представителя официального круга художников, В.Ф. Стожарова, преобладает интерес к выражению национального характера через предметы старорусского быта. Представитель «суровых» А.В. Васнецов передает в натюрмортах атмосферу человеческого тепла домашнего очага, что особенно ценилось в то время. М.А. Рогинский, яркий художник андеграунда, творчество которого не вписывается полностью ни в одно направление, через простые вещи бедного послевоенного быта выражает свое понимание России, в котором нет критики, глумления или восторга, но есть глубокое понимание основ российской жизни. В.Г. Вейсберг и Д.М. Краснопевцев в жанре натюрморта воплотили основные позиции метафизического направления в андеграунде, сосредоточенного на вопросах экзистенциального мироощущения. Таким образом, натюрморт не только возвращается на художественную сцену в качестве отнюдь не «малого жанра», но и оказывается достаточно гибкой формой для выражения различных позиций и проблем своего времени, а простые предметы выступают как их метафоры. The article examines the issue of artists from diverse backgrounds exploring the theme of “simple things” through still life paintings during the 1960s–1970s. Typically, each artistic style is evaluated in isolation from the wider artistic process. However, the author employs still life artwork as a case study to track how the challenges of that period were translated in the work of artists from the official sphere, the austere movement, and various underground movements. Simple things naturally drew attention after almost three decades of thematic painting dominating in Soviet art. In the Thaw period, small genres, where expression of a personal worldview wasn't hampered by larger themes, gained appreciation. This article analyses the approach to still life featuring simple objects by V.F. Stozharov, A.V. Vasnetsov, O.Y. Rabin, M.A. Roginsky, A.B. Grositsky, V.G. Veisberg and D.M. Krasnopevtsev. It is evident that V.F. Stozharov, a member of the official circle of artists, focuses on expressing the national character through Old Russian life objects. A.V. Vasnetsov, on the other hand, conveys the atmosphere of homely warmth in his still lifes, which was highly valued during that era. M.A. Roginsky is an underground artist whose work defies categorization. Through depictions of everyday life in the aftermath of war, Roginsky exhibits a deep understanding of the foundations of Russian society without resorting to criticism, mockery, or excessive enthusiasm. V.G. Veisberg and D.M. Krasnopevtsev embodied the key positions of the metaphysical trend within the underground still life genre, focused on existential worldviews. This demonstrates how still life not only resurfaces as an important artistic genre but also proves to be a diverse enough form to express a range of positions and issues in its contemporary era, with everyday objects acting as their metaphors.
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Tsamakis, Konstantinos, i Ioannis Karakis. "Neuroscience and art". Acta medico-historica Adriatica 20, nr 1 (2022): 155–73. http://dx.doi.org/10.31952/amha.20.1.8.
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The objective of this article is to highlight the bidirectional relationship between neuroscience and art in the life and times of the most preeminent sculptor in modern Greek history, Yannoulis Chalepas. Analysis of biographical sources and testimonies on the life and works of Yannoulis Chalepas was performed. Findings are discussed in relation to the neuropsyc-hiatric maladies that he faced in his lifespan and their impact on his art. Yannoulis Chalepas’ life and art are trichotomized in a charismatic, premorbid era (1851-1877), a prolonged, medieval, morbid period (1878 1917), and a transfigurative, post morbid era (1918-1938). The amalgamate of medical evidence suggests that Yannoulis Chalepas suffered from schizophrenia. That was reflected in his art through two distinct periods of artistic productivity and stylistic creativity. The bidirectional relationship between neuroscience and art in the history of humanity is also exemplified in the legacy of Yannoulis Chalepas. The borderland of artistic ingenuity with aberrant behavior, the misconceptions of neurocognitive disorders with psychosis along with their associated social stigma, the effect of artistic expression in the manifestation of psychiatric disease, as well as its healing and often transformative power are concepts that still tantalize equally scientists and artists around the globe.
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Chophy, G. Kanato. "On Tradition, Modernity, and Tribal Art. The Case of the Ethnic Nagas in North-East India". Anthropos 119, nr 1 (2024): 19–28. http://dx.doi.org/10.5771/0257-9774-2024-1-19.
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The art of the ethnic Nagas in north-east India is still enmeshed with the colonial portrayal of tribal life. What is enacted as tribal art by “insiders” has a quality of “staged authenticity,” while “outsiders” appraise the fast-changing traditional art as if suspended in time. Here, the stakeholders that mediate the production and representation of Naga art and aesthetics exacerbate the inconsistency. The boundary between an insider and outsider is blurring in other areas of social and cultural life, but traditional art is appropriated to reinforce the dichotomy. In this context, identity polemics and tourism industry are posited as prime movers shaping the contours of contemporary Naga art and aesthetics. Along this argument, this article draws upon Erving Goffman’s dramaturgical analysis to analyse Naga art life as a process of continuity and change.
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Petit, Laurence. "Inscribing Colors and Coloring Words: A. S. Byatt's "Art Work" as a "Verbal Still Life"". Critique: Studies in Contemporary Fiction 49, nr 4 (lipiec 2008): 395–412. http://dx.doi.org/10.3200/crit.49.4.395-412.
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Azatyan, Vardan, Frederic J. Schwartz, T. J. Clark, Sami Khatib, Miško Šuvaković i Ursula Frohne. "Art and Scholarship in Moments of Historical Danger". ARTMargins 10, nr 3 (październik 2021): 159–90. http://dx.doi.org/10.1162/artm_a_00304.
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Abstract Consider the nature and function of art and art historical scholarship in the present: Is there still a line—even fine or porous—securing the fragile autonomy of the arts and humanities from commodification in late capitalism? Can art still serve as a negative and critical mirror for reality under the seemingly complete commodification and technological mediation of social life? Is there any real need for art and art historical scholarship even to exist today? Can the arts and humanities serve an emancipatory social agenda, and, if so, how? What role might the humanist ideals once shared by liberals and communists play in the reformulation of art and scholarship today?
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Лай, Юеге. "ЖАНР ХУАНЯО і БУКЕТИ БАРОКО: МЕТАМОРФОЗИ БУТТЯ". Art and Design, nr 3 (5.12.2019): 89–96. http://dx.doi.org/10.30857/2617-0272.2019.3.9.
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The purpose of the study is to identify the figurative and symbolic parallels of the depiction of flowers in the art of China and Europe. Methodology. The study made use of the methods: historical-cultural, comparative, artistic-stylistic, iconological, iconographic. Results. It is shown that in the art of China and Europe, the image of flowers is interconnected with the embodiment of the ideal, beautiful. In our figurative and artistic analysis of the masterpieces of Chinese painting, it is shown that the masters of the “flowers and birds” genre, in the content and form of embodiment, follow the law of the universe formed in Taoism, according to which a cycle occurs in life, as in nature. In the genre of European floral still life of the 17th century, a philosophical, cognitive attitude of a person to the real world surrounding him is expressed. For the Dutch and Flemish still life, associated with the spiritual culture of Christianity, instructive meaning is important. Artists glorify the beauty of the world created by the Creator and, at the same time, adjusts the viewer to reflect on the transience of life. It can be seen that the formation of the European flower still life as an independent genre was influenced by the fine and decorative art of China, in particular, the “flowers and birds” (huanyao) genre. Common features with the style of gunbi (thorough paintbrush) are manifested in a careful study of colors, in a harmonious combination of realistic authenticity with the decorative and linear conventionality of the artistic image. The image of flowers in European painting and art in China is associated with the idea of harmony of the world, presented in the elements. The Baroque floral still life, like the huanyao genre, contain a deep symbolic meaning. The scientific novelty of the publication lies in the fact that for the first time it compares the huanyao genre with baroque bouquets, figurative and symbolic parallels of the image of flowers in the art of China and Europe are found. Practical significance validated the possibility of using the results of the study to develop textbooks and programs for the in-depth study of the art of China and Europe.
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Indriyanto, Wahyu Bagus, i Muhammad Mukti. "Educational and Philosophical Values of Wayang Bengkong Kajar Village, Lasem District, Rembang Regency". International Journal of Multicultural and Multireligious Understanding 10, nr 11 (9.11.2023): 99. http://dx.doi.org/10.18415/ijmmu.v10i11.5244.
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Wayang Bengkong art is a traditional art that still exists in the Rembang community. The uniqueness of Wayang Bengkong art is that this performance is staged using only three puppets, namely Mbah Bengkong, Raden Panji, and Sri. This puppet tells the story of life admonitions that aim to give good advice in living life. The purpose of the study was to describe the educational value contained in the performance of Wayang bengkong Lasem, Rembang Regency. This study used a qualitative approach that produced descriptive data. Educative values in this art can be translated into beauty values (aesthetics) and expediency values (Religious, Social, Ethical). These values are in line with the values that Wayang Bengkong Lasem is trying to convey, which is called Lao Tse teachings. This Lao Tse teaching includes the mind, mind (including spiritual), and physical. The implementation of these educative values is carried out through these three teachings. The teaching means that in living his life, man must take care of his mind, mind, and body to do things that lead to good. The art of Wayang Bengkong Lasem has good positive values to be taught to the next generations of the nation. Advice for local governments should pay more attention to traditional arts that still exist today. Do not let this art become extinct because of the lack of public knowledge about this art.
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Aditia, Dio Rama, Zulisih Maryani i Oscar Samaratungga. "MOBIL MAINAN DIECAST SKALA 1:24 DALAM FOTOGRAFI STILL LIFE". spectā: Journal of Photography, Arts, and Media 1, nr 1 (13.02.2018): 13–22. http://dx.doi.org/10.24821/specta.v1i1.1894.
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Mobil mainan merupakan suatu benda yang biasa dimainkan oleh anak-anak. Akan tetapi berbeda halnya dengan mobil mainan jenis diecast, yakni mobil mainan yang terbuat dari logam kemudian dicetak ke dalam bentuk yang diinginkan. Mobil mainan diecast yang memiliki berbagai macam ukuran tidak hanya dimainkan oleh anak-anak karena pada perkembangannya diecast menjadi karya seni yang menarik untuk dikoleksi dan dipajang salah satunya mobil dengan ukuran skala1:24. Dengan demikian muncul keinginan untuk menampilkan mobil mainan diecast dalam bentuk karya fotografi. Alasan pemilihan ukuran skala 1:24 adalah ukurannya yang terbilang sedang dan mempunyai detail kemiripan yang cukup baik sehingga cocok digunakan untuk foto stilllife. Selain itu, ukuran mobil mainan diecastskala 1:24 juga cenderung kurang diminati oleh para kolektor shingga diharapkan penciptaan karya seni ini dapat meningkatkan minat para kolektorterhadap diecastskala 1:24. Teknik fotografi still life merupakan salah satu metode dalam fotografi yang digunakan untuk keperluan komersial. Teknik still life digunakan untuk mempermudah penataan objek yang dikombinasikan dengan diorama. Kemudian penataan cahaya dan komposisi dalam teknik ini mampu menjadikan sebuah objek menjadi lebih bernilai jual. Ditambah dengan teknik olah digital focus stacking yang membantu menguatkan detail dari sebuah produk mobil mainan. Penciptaan karya fotografi ini bertujuan untuk menampilkan sebuah mobil mainan yang menyerupai mobil sesungguhnya sehingga dapat menarik perhatian penikmat foto dan juga pencinta mobil mainan diecast khususnya yang berskala 1:24. Hasil dari penciptaan karya seni ini didapatkan bahwa mobil mainan yang semula hanya benda mati saja, melalui fotografi dapat diciptakan menjadi sebuah karya seni visual yang tampak lebih nyata. Mobil mainan diecast merek Welly ini banyak ditemukan hasil pengecatan yang kurang maksimal. Akan tetapi, penggunaan set diorama sebagai elemen pendukung sangat membantu untuk menguatkan kesan lebih nyata sehingga secara umum penciptaan karya seni ini dapat menambahkan nilai jual pada mobil mainandiecast skala 1:24.Kata kunci: mobil mainan, diecast skala 1:24, fotografi, stilllife Abstract Diecast Toycar 1:24 Scale in Still Life Photography. A toy car is an object commonly played by children. Diecast is way a different type of toycar which is made of metal and then formed into the desired shape. Diecast cars with variety of sizes not only played by children because in its development the diecast is becoming into an interesting work of art to be collected and displayed, one of them is with a scale of 1:24. Thus, it seems interesting to feature diecast toycars in the form of photography works. The reason for choosing scale of 1:24 is because this size is quite moderate and the detail similarity is good enough so that it will be suitable to be used in still life photography. In addition to that, the size of the 1: 24 scale diecast toycar also tends to be less desirable by collectors so it is expected that the creation of this artwork can increase the interest of collectors for the 1:24 scale diecast. Still life photography technique is one of the methods in photography used for commercial purposes. Still life technique is used to facilitate the arrangement of objects to be combined with diorama. Then, the arrangement of light and composition in this technique can make an object becomes more valuable. Coupled with the technique of digital focus stacking that helps strengthen the details of a toycar product. The creation of this photography work aims to showcase a toycar that resembles a real car so as to attract the attention of photo enthusiasts as well as diecast car enthusiasts especially for 1: 24 scale. The result of the creation of this artwork shows that toycars which were originally only inanimate objects, through photography can be made into a work of visual art that looks more real. The paintings in Welly diecast toyscars are found not really good enough. However, the use of diorama sets as a supporting element is helpful to reinforce a more realistic impression so that in general the creation of this work can add a commercial value to a 1:24 scale diecast toycar. Keywords: toycar, diecastscale 1:24, photography, still life
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Sujjapun, Ruenruthai. "Literature for Life". MANUSYA 3, nr 2 (2000): 92–107. http://dx.doi.org/10.1163/26659077-00302008.
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“Literature for life” is a unique type of Thai contemporary literature . It has risen to prominence in the history of Thai contemporary literature in at least two periods. The first period was between A.D.l947 and 1957 and the second was the October 14, 1973–October 6, 1976 era. Literature for life was influenced by the concept of “art for life’s sake,” which was much discussed in literary magazines between 1947 and 1957, particularly by Asni Phonlachan, who criticized traditional Thai literature from the point of view of “art for life’s sake” and Udom Sisuwan, who saw Sri Burapha’s novels as “literature for life”. The concept of “art for art’s sake” influenced not only critics but also writers during that decade. Literature for life returned to popularity in the period between October 14, 1973 (2516) and October 6, 1976 (2519) because of political conflict. Young activist writers expressing their beliefs in the need for social change made literature for life the mainstream of Thai literature during that time. Nowadays, political ideology being no longer so prominent an issue, literature for life is less powerful but still exits.
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Sievers, Wiebke. "How Turkish is it? Art and culture in Vienna". Migration Letters 11, nr 3 (15.09.2014): 329–40. http://dx.doi.org/10.33182/ml.v11i3.227.
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The Viennese Turkish community constitutes 4% of all people residing in Vienna. This considerable presence has also brought with it many artistic and cultural activities. In this paper I question how far these activities have diversified Viennese cultural life. The results are two-fold: my quantitative analysis of public-funding data shows that Viennese Turkish artistic activities are still perceived as a marginal addendum to Viennese cultural life. However, as my qualitative analysis of selected activities highlights, they have contributed to making the diversity of both Austrian and Turkish cultures visible, albeit only in the margins, rather than in the center of Viennese cultural life.
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Athanasopoulou-Kypriou, Spyridoula. "and/Or the Art of Living". Samuel Beckett Today / Aujourd'hui 15, nr 1 (1.11.2005): 311–23. http://dx.doi.org/10.1163/18757405-015001027.
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Taking exception to the psychoanalytic and theological interpretations, I stress the play's resistance to interpretation and suggest that the play might well be about the art of living in a meaningless world. Borrowing the term 'semiotic chora' from Julia Kristeva, I read as a representation and dramatization of the space where subjectivity has not yet been constructed and thus many possibilities are still open. I also suggest that the play offers a therapeutic journey to the abject elements of human life.
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Varshney, Lovely. "The Importance and Value of Art, Design in Development of Society". ECS Transactions 107, nr 1 (24.04.2022): 8197–201. http://dx.doi.org/10.1149/10701.8197ecst.
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Art has been present for many years in our society. Therefore, even when man was not civilized, it was still with human. However, many of us don’t take art very seriously. We think it’s something anyone can do. But art needs lots of creativity and is vital for our society for the following reasons. As: natural behavior, Media for communication, cultural awareness, attracts tourism, child development, and improved academic performance etc. It is possible to develop a strong sense of community belonging with the help of art. Art is a very valuable part of our culture. Can you imagine a world without art? It’s unpleasant. Because art is helpful in the development of our life from the first stage of our childhood and is always helpful in some form or the other in life. Through this paper it can be said that our society gets a strong development from art.
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Levantesi, Susanna, Andrea Nigri i Gabriella Piscopo. "Longevity risk management through Machine Learning: state of the art". Insurance Markets and Companies 11, nr 1 (25.11.2020): 11–20. http://dx.doi.org/10.21511/ins.11(1).2020.02.
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Longevity risk management is an area of the life insurance business where the use of Artificial Intelligence is still underdeveloped. The paper retraces the main results of the recent actuarial literature on the topic to draw attention to the potential of Machine Learning in predicting mortality and consequently improving the longevity risk quantification and management, with practical implication on the pricing of life products with long-term duration and lifelong guaranteed options embedded in pension contracts or health insurance products. The application of AI methodologies to mortality forecasts improves both fitting and forecasting of the models traditionally used. In particular, the paper presents the Classification and the Regression Tree framework and the Neural Network algorithm applied to mortality data. The literature results are discussed, focusing on the forecasting performance of the Machine Learning techniques concerning the classical model. Finally, a reflection on both the great potentials of using Machine Learning in longevity management and its drawbacks is offered.
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Wango, Kamau. "‘Foundations of Still-Life Painting’ – Colour Application, Textural Effects and Development of Holistic Composition. Analysis of Selected Still-Life Paintings by Second Year Students at Kenyatta University, Nairobi, Kenya". East African Journal of Arts and Social Sciences 6, nr 1 (17.04.2023): 237–69. http://dx.doi.org/10.37284/eajass.6.1.1176.
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Still-life painting as a formative painting unit is important in enabling students to interact with elements of art in the arrangement of specific static objects that form a precise composition. This arrangement of objects in composition is essential in helping students to comprehend the concept of composition in creative work. Since they are dealing with arranged, static objects as opposed to flowing figures and other fluid or gestural forms that suggest movement as would be the case in regular painted pictorial compositions, a still-life composition provides an opportunity to apply the principles of art in a concise way. This in turn underscores the compositional essence of each element as it relates to any principle, the interrelation of which formulates the composition itself. It is envisaged that the execution of a good still-live composition shall assist students to apply the same compositional tenets in regular paintings. For instance, students are henceforth aware of the application of comparative proportions, the use of textural effects, illumination, shadows, balance, and placement of objects on the picture plane, as well as colour contrasts, harmony, and tones. This paper examines how students engage with still-life painting, arrangement of objects and the wider notion of composition. Since this unit provides the first opportunity for this engagement, the paper specifically seeks to determine the extent to which students internalize and subsequently apply, through visual depiction, the interrelationships between objects, their proportions, the use of perspective to create depth, textural effects, application of colours and colour tones, shadows, the effect of light and its sources, drapery, compositional base as well as the usefulness of backgrounds. In order to attract their interest, sustain their attention and enhance their creativity, the students were allowed to choose, assemble, and arrange their own objects in creating their still-life compositions. Unlike the traditional approach where students draw or paint a similar set of objects arranged before them, this alternative approach of painting objects of their choice eliminated the possibility of unnecessary comparison of work at this stage and instead provided the students with the opportunity to paint objects that actually fascinated them and spurred their imagination. Students’ attention was drawn to the visual difference between a regular, painted pictorial composition and a still-life composition. A regular pictorial composition comprises of undulating features that show movement or is expressive of a phenomenon be it the study of nature and the environment or an aspect of personal expression or social commentary. A still-life composition is static and shows only interrelationships between objects. Students were free to use watercolours, oils or acrylics and their respective materials and tools. The researcher then selected paintings that best demonstrated this internalization and suggested indicators of artistic skill at this formative level.
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Shi, Jian He, i Xian Wei Wu. "On the Central Concept of Architectural Philosophy: Art". Applied Mechanics and Materials 174-177 (maj 2012): 1892–94. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.1892.
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Aesthetic taste as the main value of life is the central task of building arts. Artistic characteristics of architecture reflect human glory and always exist in our thousands of years of architectural history. The art pursuit of architecture is still the focus for the public especially architects. Therefore, the central concept of the construction philosophy is the art of architecture.
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Oltmishev, Tohir T., i Abdurakhim R. Ibragimov. "SECRETS OF MONA LIZA?" CURRENT RESEARCH JOURNAL OF HISTORY 03, nr 02 (1.02.2022): 1–8. http://dx.doi.org/10.37547/history-crjh-03-02-01.
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Leonardo da Vinci, the founder and typical representative of the Upper Renaissance style, tried his hand at many forms of art, advancing advanced ideas in mathematics, mechanics, and physics. Each of his works is based on the study of life, warmed by the heart of the artist and expresses his attitude to life. Her masterpiece, Monna Lisa, still haunts all art lovers. It is unknown at this time what he will do after leaving the post.
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Неглинская, М. А. "Evolution of the still life in Chinese ink painting (the first half of the 20th century)". Iskusstvo Evrazii [The Art of Eurasia], nr 2(33) (28.06.2024): 72–81. http://dx.doi.org/10.46748/arteuras.2024.02.005.
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Цель статьи — обобщить развитие жанра натюрморт в традиционной для Китая тушевой живописи гохуа 1910–1950-х годов. Исследованы предметные композиции ведущих мастеров — У Чаншо и Ци Байши. Период их творческого подъема сопровождался резкими социальными переменами в китайском обществе, с чем связана политизация искусства, затронувшая и созданные художниками живописные натюрморты. Жанровые и стилевые новации мастеров гохуа первой половины ХХ века способствовали рождению современного китайского искусства. В статье проанализировано соответствие смысла живописных изображений и каллиграфии. Автор исходит из установленного ранее факта: начало китайскому натюрморту положили композиции XVIII века, изображающие «сто древних предметов» (байгу) и новогоднюю инсталляцию (суйчжао-ту). В статье показано сохранение традиций и обновление тематики в китайских натюрмортах постимператорского периода. The purpose of the article is to summarise the development of the still life genre in the traditional Chinese ink painting Guohua of the 1910s–1950s. The subject compositions of the leading masters, Wu Changshuo and Qi Baishi, have been studied. The period of their creative rise was accompanied by dramatic social changes in Chinese society, which was associated with the politicisation of art and also affected the still life paintings created by the artists. The genre and style innovations of two Guohua masters during the first half of twentieth century contributed to the birth of modern Chinese art. The article analyses the correspondence between the meaning of pictorial images and calligraphy. The author proceeds from the previously established fact: the beginning of Chinese still life was laid by the 18th century compositions depicting One Hundred Ancient Objects (Baigu) and the New Year's installation (Suizhao-tu). The article shows the preservation of traditions and renewal of themes in Chinese still lifes of the post-imperial period.
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Deng, Puyi. "Art and Science in Renaissance Works: The Beauty of Human Anatomy in Michelangelos David". Communications in Humanities Research 3, nr 1 (17.05.2023): 136–43. http://dx.doi.org/10.54254/2753-7064/3/20220226.
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The integration of art and science remains a popular subject until now. There are many studies on the connection between art and other scientific disciplines of the Renaissance, but there is still room to explore the relationship between art and medicine, especially with anatomy. Therefore, the paper begins with a retrospective on anatomical progress during the Renaissance and a brief introduction to Michelangelos life and his research experience in anatomy. Then, taking Michelangelos David as a critical point, several manifestations in the sculpture related to human anatomy are precisely dissected by reviewing literature and analyzing artwork. This is followed by an exploration of the reasons to the connection between art and science, ultimately illustrating the impact of this trend on modern society. The conclusions of this paper demonstrate the relationship between art and science is that art carries science, and science inspires art. The interdisciplinary convergence of the two still has a powerful vitality and profound meaning nowadays.
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Suhendi Afryanto, Arthur Supardan Nalan i Gustiyan Rachmadi. "Gong Rénténg Transformation From Sacral to Profan". Mudra Jurnal Seni Budaya 39, nr 1 (3.11.2023): 52–60. http://dx.doi.org/10.31091/mudra.v39i1.2520.
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One type of gamelan art that is developing in West Java is Gong Rénténg which used to be often used in sacred ceremonial activities. The sacredness built into the art is inseparable from the belief system adopted by the community as its supporting community. Gong Rénténg's whereabouts then and now are experiencing dynamics of change which are quite important to study, especially his journey which was stopped for various reasons. Stagnant regeneration factors, changes in people's perspectives due to changes in belief systems, as well as the influx of imported arts that continue to intrude on traditional art life, are some of the main reasons this art has experienced ups and downs in its life. The research carried out has the style of cultural research involving key informants as triggers to explore the depth of the material. There are three models of cultural research as approaches taken by researchers, including; Life Story models, Grounded Theory, and Personal Narrative. While the research method used still uses qualitative research by taking locations in two different areas, namely: (1) Ciwaru Village, Cimalaka District, Sumedang Regency, and (2) Kedungsana Village, Plumbon District, Cirebon Regency. In Ciwaru village, the object of research is the art of Gong Rénténg Pusaka Langgeng, while in the village of Kedungsana it is the art of Gong Rénténg Ki Muntili. The results of the research conducted obtained the following information: (1) The Gong Rénténg Pusaka Langgeng art still adheres to adat in a standard way even though the next generation continues to decrease, and (2) The Gong Rénténg Ki Muntili art does two ways to keep it alive, namely ritual ceremonies as part of ancestral traditions are carried out as well as the process of inheritance with new interpretations.
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Sakse, Līga. "PRINCIPLES AND LOGIC OF THE DEPICTION OF FLOWERS IN VANITAS PHOTOGRAPHY". Culture Crossroads 12 (10.11.2022): 72–84. http://dx.doi.org/10.55877/cc.vol12.125.
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Art must reflect something that cannot be called trivial or perceived by rational means, as well as what we cannot experience in reality – the borderline between life and non-existence, death among other things. Certainly, ways of depiction vary – there are works of art where the temporariness of life and the inevitability of death have been modelled as a type of a game and there are also those works of art that bear an indirect reminder of death – through allegories or metaphors. Vanitas belongs to the latter. Vanitas is an allegorically presented still life that emerged as an independent genre in about 1550 and became most widespread in the 16th and 17th centuries in Belgium and Flanders. Traditionally the composition of a still life of this type included a human skull, a burnt-out candle, small cut flowers as well as other objects that all seemed to say – everything and anything is transient. The purpose of the paper is to undertake the comparative analysis of vanitas still lives by artists from the USA, Japan and Germany. The photographs of flowers will be used to read the cultural historical message contained in them as well as the technical means of expression used in photography that are enhanced by a profoundly personal depiction. The perceivable designation created by the photographer and the aesthetic object registered by the collective consciousness will be defined and described taking into consideration, as far as possible, the social context that has led to the creation of the given artefact. Works of art will be summarised according to different principles of depiction and the main trends that are reflected in contemporary art photography and have not been encountered before will be outlined. It will result in a general overview through applying acceptable norms that will make it possible to determine whether the picture is or is not contemporary as well as to establish criteria characterising the concept of the contemporary.
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Иванов, А. В. "Idealization in art". Iskusstvo Evrazii [The Art of Eurasia], nr 3(30) (30.09.2023): 204–13. http://dx.doi.org/10.46748/arteuras.2023.03.014.
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В статье анализируется понятие идеализации. Разбираются различные смыслы, которые в него вкладываются. Особое внимание уделяется истолкованию идеализации в немецкой классической философии, особенно в философском наследии Шеллинга. По Шеллингу, процесс идеализации подразумевает художественное постижение и выражение идеальной сущности вещей, людей и событий через ее явленность в образно-символической форме. Идеализация противостоит, с одной стороны, натурализму в искусстве, а с другой, рационалистическим идеализациям действительности в смысле ее приукрашивания. Показывается присутствие художественной идеализации в различных жанрах изобразительного искусства: натюрморте, пейзаже, портрете, исторических полотнах. The article analyses the concept of idealization. The various meanings that are put into it are being analysed. Special attention is paid to the interpretation of idealization in German classical philosophy, especially in Schelling’s philosophical heritage. According to Schelling, the process of idealization implies comprehension and artistic discovery of the ideal essence of things, people and events through its manifestation in figurative and symbolic form. Schelling's idealization opposes, on the one hand, naturalism in art, and, on the other, its rationalistic idealizations of reality in the sense of its embellishment. It is shown the existence of artistic idealization in various genres of fine arts: still-life, landscape, portrait, historical canvases.
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Arjun, Banagi Yathiraj, Bhaskaran Unnikrishnan, John T. Ramapuram, Rekha Thapar, Prasanna Mithra, Nithin Kumar, Deepak Madi, Vaman Kulkarni, Ramesh Holla i Bhagawan Darshan. "Factors Influencing Quality of Life among People Living with HIV in Coastal South India". Journal of the International Association of Providers of AIDS Care (JIAPAC) 16, nr 3 (6.08.2015): 247–53. http://dx.doi.org/10.1177/2325957415599213.
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Background: Antiretroviral therapy (ART) has increased life expectancy of HIV/AIDS patients, but the quality of life (QOL) still remains the same. Methods: In this cross-sectional study, 356 people living with HIV (PLHIV) were interviewed to assess their QOL using WHOQOL-HIV BREF questionnaire. The association between QOL with sociodemographic, clinical and cohabitation status of the participants was tested using ANOVA and Student t-test, and p value < .05 was considered statistically significant. Results: Physical domain of QOL showed maximum score of 16.4, while a minimum score of 12.2 was seen in social relationship domain. Participants with higher socioeconomic status (SES) and self-motivated to take ART had shown better scores across all the domains of QOL ( p < .05). Conclusion: In our study, quality of life was high among males, younger patients, married participants, higher socioeconomic status, longer duration of ART, self-motivation to take ART, absence of opportunistic infection, and with higher CD4 count.
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Li, Huizi. "On the Leadership Training of Chinese music teachers -- Taking Teacher A as an example". BCP Social Sciences & Humanities 18 (30.06.2022): 310–18. http://dx.doi.org/10.54691/bcpssh.v18i.1127.
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With a unique system of symbols, the music art is a special form of art. The symbolic system based on the musical structure cannot find its prototype in the real life of the human. It is different from the symbolic system of the literature and poetry with the established system of language words as well as that of the plastic art with the concrete medium in the real life. Hence, the room for imagination, experience and comprehension created by the appreciation of music works is much broader and freer than that of the appreciation of literature, poetry and painting. Although it can not provide us with a concrete view of the real world just like the language art, it can still present a world of infinite broadness and richness in the emotional realm. In other words, it can trigger an emotional change in a rapid and direct manner. The strong emotional experience can give us an in-depth reflection on the life and ourselves.
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van Gastel, Joris. "Campania Felix?" Nuncius 32, nr 3 (2017): 615–39. http://dx.doi.org/10.1163/18253911-03203005.
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Neapolitan still life painting, even though Italy’s most prolific “school” of the genre, has attracted little theoretical analysis. Where scholars have considered the genre almost exclusively in terms of stylistic developments and questions of attribution, this paper, alternatively, draws inspiration from insights formulated largely outside the field of art history: Umberto Eco’s characterization of still life paintings as “visual lists” and Michele Rak’s characterization of seventeenth-century literature in the Neapolitan dialect as “literary still lifes.” Building on these insights, this paper aims to explore the ways in which Neapolitan still life painting was anchored in local literary traditions and how, moreover, these literary traditions help us to understand the way in which these paintings resonate with the specific social and political situation that characterized Spanish Naples.
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Korniev, A., i Zhe Zhang. "The world of things in traditional Chinese painting". Culture of Ukraine, nr 78 (23.12.2022): 119–25. http://dx.doi.org/10.31516/2410-5325.078.15.
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The relevance of the article. The formation of genre and the principles of genre classification in the art of East Asian countries is one of the least researched problems in the theory and history of art. It is generally accepted that still life appeared in the art of China as a result of the influence of the Euro-pean artistic system. Meanwhile, motifs related to the depiction of elements of the subject environment can be traced in other genres of Chinese painting. In modern artistic practice, still life is considered mainly as an element of academic education, but its creative potential remains little realized. Therefore, the relevance of the research is determined by the needs of both theory and artistic practice.
The purpose of the article is to determine the main approaches to the depiction of things, their typological complexes, their role and significance in Chinese classical art.
The methodology. In the research we used general scientific and special research methods. In particular, methods of systematization, content analysis and typology were applied; methods of formal, stylistic, semantic, comparative analysis.
The results. The article outlines the main approaches to studying the origins of still life as a genre in the Chinese artistic tradition. As a result of the analysis of samples of easel and decorative painting, the main models of the representation of things were revealed, their typology, role and means of representation in the visual and content structure of the works were determined. The semantic aspects of pictorial motifs and their connections with the development of handicrafts, Confucian education, tastes and values of the privileged top of society and the development of collecting, are highlighted.
The scientific novelty. For the first time, in the work we touched upon the issue of the formation of still life as a genre and its origins in Chinese painting, highlighted the previous artistic experience of depicting objects of the material environment, defined the main thematic complexes, established their role and significance in classical works.
The practical significance. The results of the research can be used in the development of educational courses in the history of art and provide the necessary material both for creative experiments and for the development of various projects in the field of visual arts.
Conclusions. The results of the analysis of various materials of fine art allow us to claim that in Chinese classical art, other, different from European, options for the representation of the world of things were formed. Typologically, they are represented by three models: a “portrait” of a thing (a close-up of one object with a careful depicting of form and decoration), a thing as a component of a portrait, a catalogue of things (a decorative composition on the theme “4 treasures of a scientist”, “4 noble arts”, “100 antiquities”). In all models, the depicted objects act as personifications of material and spiritual values of society, a sign of Confucian virtues, and as benevolent symbols. The “100 antiquities” complex, which was formed by XVIII century, combined previous lists of valuable things and became a reflection of craft achievements, educational tradition and awareness of its value, and the development of collecting.