Дисертації з теми "Art Oriental influences"
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Brisart, Thomas. "Un art citoyen: recherches sur l'orientalisation des artisanats en Grèce proto-archaïque." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210339.
Повний текст джерелаLe développement de la citoyenneté en Grèce à partir de la seconde moitié du VIIIe siècle avant J.-C. a donné lieu à une extension du pouvoir politique et militaire à une part plus importante de la population des cités. La propagation de ce qui constituait autrefois les principaux modes de reconnaissance a amené les élites à développer de nouvelles façons de se distinguer dans le paysage social. Dans un même temps, les citoyens de chaque cité ont développé des institutions communales, telles que les cultes civiques et les repas en commun, afin d'unifier le groupe qu'ils formaient et de renforcer le fossé qui séparait celui-ci du reste de la société. Le travail de contextualisation entrepris dans cette thèse a montré que l'art orientalisant constituait un outil facilitant la mise en place de ces deux évolutions.
D'une part, parce qu'ils faisaient explicitement allusion aux cultures du Proche-Orient, dont les richesses exerçaient une réelle fascination sur les Grecs de cette époque, les objets orientalisants permettaient de rehausser le prestige de leurs propriétaires. Autrement dit, ils constituaient des modes de reconnaissance sociale particulièrement efficaces. De nombreuses données archéologiques et textuelles ont permis de confirmer ce point de vue, mettant en évidence que les objets orientalisants étaient utilisés lors de banquets prestigieux, comme offrandes ostentatoires aux dieux et aux morts, ou encore pour contenir de précieux parfums.
D'autre part, en tant qu'esthétique nouvelle, complètement libérée des formes géométriques utilisées durant les siècles précédents, l'art orientalisant figurait également au rang des pratiques censées unifier la citoyenneté. Cette seconde conclusion a été mise en évidence au travers de l'étude du cas de la Crète, où, au VIIe siècle, l'art orientalisant a en grande partie été utilisé dans le cadre d'institutions civiques :les banquets publics, les cultes civiques, et les guerres.
This dissertation aims at the understanding of the reasons lying behind the orientalization of artefacts in Greece during the so-called "Orientalizing period" (i.e. the 7th cent. BC). In order to achieve this goal, the author focused on archaeological contexts and textual information. They allowed him to replace the orientalizing objects back in their original social context and to understand their initial purposes.
The birth of the citizenship in Greece at the end of the 8th cent. BC gave rise to the extension of the political and military power to a wider part of the population. This created a need for the former elite to develop other means of social distinction. Conversely, the communities of citizens developed communal institutions, like civic cults, communal dinners, etc. meant to cement and to level the group, and to reinforce the gulf that separated it from the rest of the society. This thesis showed that orientalizing art contributed to the setting up of these changes.
On one hand, because Greek orientalizing artefacts explicitly alluded to Near Eastern cultures, that were indeed perceived as being particularly rich at that time by the Greeks, they could enhance the individual prestige of the people using them. Archaeological research confirmed this hypothesis, showing that Greek orientalizing objects were used during conspicuous banquets, as lavish offerings for the dead and the gods, and for containing precious perfumes.
On the other hand, as artefacts decorated in a new style, completely freed from the geometric aesthetics displayed in the previous centuries, orientalizing objects also figured among the practices developed for strengthening the citizens’ corps. This second conclusion was reached through the study-case of Crete, where orientalizing art of the 7th cent. seems nearly exclusively used in a context of civic institutions :public banquets, civic cults and festivals, and wars.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
Bernier, Yolande. "Genshoku : parfums d'origine pour les Œuvres de la terre." Master's thesis, Université Laval, 2013. http://hdl.handle.net/20.500.11794/24717.
Повний текст джерелаQin, Zhao-Kai. "The Influence of Oriental Art and Ideas on Robert Motherwell's Work: An Investigation of Certain Affinities Between His Work and Chinese and Japanese Calligraphy and Ink Painting." VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd_retro/166.
Повний текст джерелаLabrusse, Rémi. "Esthétique décorative et expérience critique : Matisse, Byzance et la notion d'Orient." Paris 1, 1996. http://www.theses.fr/1996PA010677.
Повний текст джерелаPark, Hye-Jun. "L'espace méditatif dans l'installation contemporaine et son inspiration extrême-orientale : étude de quelques exemples représentatifs." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040201.
Повний текст джерелаThis study attempts to shed some light on the creation of what might be called “meditative spaces” in Contemporary Art, spaces which seem to engender a special state of mind induced by peaceful interiorization. Most of the artists we study are inspired by Far Eastern thought: Kim Ho-deuk, Kim Kichul, Kimsooja, Kim Sung-bae, Yee Sookyung from Korea, Miyanaga Aiko and Yamamoto Motoi from Japan, Wolfgang Laib from Germany, and Tania Mouraud, from France. This meditative space is created by the elaboration of different kinds of sensory environments, often poly-sensory ones, which incite the spectator to immerse themself, leading them thereby to some kind of meditation. What matters here is not only the artist’s idea or concept, but also the care the artist takes to create their work. Care in the creation and performance which, sometimes, uses traditional craft techniques, sometimes wholly different, very original ones. The quality of attention always comes first: it can be seen in their way of proceeding, using slow, repetitive, ascetic movements, which sometimes even look like a ritual. Thus they open Art to a new dimension that could well be called spiritual. From reflection one slowly moves to meditation, and perhaps even—when the spectator joins the artist in his/her intuition—to the very source which gave birth to the work. Fundamental questions are thereby raised, about Life, Death, and Time. Churches and temples are less and less attended today, but many people still look for a kind of place, an “uplifting” open space, or an “inward” one: a meditative space. Will they be able to find it at the gallery or in the museum ?
Bouquillon, Anne. "Influences continentales et marines dans les sédiments cénozoïques de l'Océan Indien nord oriental." Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37603329n.
Повний текст джерелаTagliatesta, Maria Francesca. "L'immagine dell'India nel medioevo italiano : arte e letteratura." Paris 3, 2005. http://www.theses.fr/2005PA030054.
Повний текст джерелаThe aim of the present work is to consider some cultural relationships between India and the Italian Middle Ages - following a route, from East to West, through the Iranian countries, the Middle and Near East - the Mediterranean and Byzantine world - and then trying to examine various cultural topics relating to iconography, architecture and history of art. An evaluation of the classical texts gives a preliminary picture of the real and imaginary perception of Indian culture. This is followed by an analysis of commercial contacts in Mediaeval times, showing the main communication routes, not only for trade but also culture, and underlines this blending of historical reality and imagination (the oriental mirabilia). The study takes a closer look at iconography and architecture in order to trace some possible links between the imagery of the Unicorn and its representations in Mediaeval churches of Italy. Further important architectural topics such as the Indian and Buddhist arch has been taken into account to present an analysis of some Mediaeval architectural forms in Italy
Maari, Boutros. "Tradition populaire et création artistique : L'émergence de la peinture moderne en Syrie." Paris, EHESS, 2006. http://www.theses.fr/2006EHES0243.
Повний текст джерелаThis thesis retraces the principal stages of the history of the modern art in Syria. This type of art has its origins at the beginning of the XXth century in Syria. Although mainly influenced by contacts with the West, it, nonetheless, is based on the popular and religious arts, which were practiced around the region before the XXth century. The military and economic supremacy of the West, manifested parallely in the cultural domain with the appearance of painting, is ill-perceived by the syrian painters. The ill-feeling is differently expressed by generations, each of them elaborating its style in guise of means to surmount the problem. The most important attempts have been accomplished by the second generation who tried to endow its "modern" production with specific arabo-islamic character. But, for lack of sufficient deepening, this movement produced a certain banalisation of artistic heritage, reduced to simple ornamental motives. Today, the major figures of the third generation, that lives its full maturity, try to free themselves from these preoccupations, looking for a dialog and a deeper contact, with themselves on the one hand, with their tradition on the other
Jalba, Rima. "If and how are Instagram's top male makeup influencers shifting the beauty norms & beauty representations in a female oriented industry." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21404.
Повний текст джерелаEsseili, Ahmad. "La peinture contemporaine au Moyen-Orient arabe et ses sources traditionnelles islamiques." Paris 4, 1987. http://www.theses.fr/1986PA040412.
Повний текст джерелаThis study aims to establish the relationship between the contemporaneousness in Arabic painting and the traditionalism in Islamic art through a synthetic, analytical and methodological vision. My dissertation consists of three parts : the first part discusses the influences of modernism and the European orientalism : negative influences upon popular arts but positive ones upon the birth of the contemporary Arabic painting in its relation to the modern Arabic renaissance in the nineteenth century. The second part probes the Islamic influences in the painting of Lebanon, Egypt, Syria and Iraq. In addition, we have examined those Islamic influences within the occidental current - from academicism to abstractionism. In the third part, our methodology starts from the factors of sociopolitical, cultural and artistic ones in order to establish a wholly and objective vision that respects the aesthetical, historical and critical dimensions of work leading us to three categories of Arabic painting : 1. It is completely occidentalized. 2. It is an Arabic orientalist's vision. 3. It is more authentic i. E. It comes from the fusion of both traditional Islamic aesthetic and modern occidental one. The most important elements in the general conclusion are the following: 1. We showed up the subject - content (in painting) as an Arabic, Islamic and aesthetic notion. 2. We discovered three stages within the current of Arabic painting. 3. We examined the attitude of contemporary Arabic painting vis-a-vis the limitation (interdiction) in the figurative painting
Carreño, Montse 1970. "F(r)icciones con lo real: las cajas chinas." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/381241.
Повний текст джерелаAbdallah, Thouraya. "La découverte de l'Asie orientale par la France du XVIe siècle." Grenoble 2, 1994. http://www.theses.fr/1994GRE29023.
Повний текст джерелаThe specific aim of this study is to demonstrate the progress in knowledge of the far east among frenchmen in the sixteenth century : at the beginning of the century the french image of that part of the world was based on myth, which was itself inherited from mediaeval sources. Gradually knowledge became more empirical, based on travel literature written mainly by foreigners (spanish, italian or dutch), translated into french and published during the sixteenth century. The other main source for french knowledge of the far east was the accounts of jesuit missionaries which were based on years of scrupulous observation and experience of that region, as is shown by numerous collections of their letters translated and published in french. The other sources studied are the productions of the cartographers and the humanists which were published in french at the time. It is concluded that, by the end of the century, india remained more or less unknown to the french, whereas china and japan gained significantly more attention : china fascinated by virtue of the splendour of its civilization, and japan was seen as fertile terrain for new converts to christianity
Stark, Hillary Lynn. "The Influence of Visual Sources of Nutrition-Oriented Information on Young Adults' Dieting Efforts." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404539/.
Повний текст джерелаThirard, Catherine. "Étude des bâtiments non cultuels des monastères paléochrétiens du Proche-Orient : étude des sources et des monuments." Paris 4, 1998. http://www.theses.fr/1998PA040120.
Повний текст джерелаThe study of the spatial and architectural organization of the paleochristian monasteries (IVth-VIIth century’s a. D. ) Of the Alexandria patriarchate, the Jerusalem patriarchate and the Antioch patriarchate, necessitates comparison of indications given by texts and by archaeology. On the one hand, the analysis of some hagiographic accounts, and of the basilian and pachomian rules, shows the variety of the ways of life, from the anachoretic life to coenobitism, sheltered by the monastic communities of the paleochristian near east. The same monastery could lodge, at one and the same time monks living totally or partly with the community, or ascetics living in cells. On the other hand, the monastic sites which have been the subject of archaeological excavations, can be classified in three main groups: the + monasteries with grouped buildings;, the laures, the architectural components of which are linked by a path, and the + monastic towns ;. The last, of large dimensions shelter monasteries with grouped buildings and laures. Archaeological study shows the architectural elements of the monasteries' components, such as the refectories, the kitchens or even the towers, whereas the texts may help to understand their purpose
Lin, Tung-Lung. "The Heidegger Collection." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2626/.
Повний текст джерелаIwamoto, Luciana. "A influência japonesa nas artes e na moda europeia da virada do século XX." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/100/100133/tde-27072016-143945/.
Повний текст джерелаThe aim of this research is to study the period between mid-19th century and beginning of 20th century to identify which aesthetic and cultural values aspects and components would eventually have been integrated to European fashion design and art movements. The occidental interest towards the orient have always existed, although, it was intensified after the opening of Japanese ports on 1854, after more than two centuries of seclusion. The encounter of such different cultures triggered enthusiasm in Europe, and several authors suggest that this gathering led the way of art, design and many several fields, resulting in an aesthetic movement called Japonism. Therefore, this qualitative research, on history, generated from bibliographical and field study in museums and exhibits, intends to bring into thought the importance of cultural exchange between Japan and Europe on the end of 19th Century and beginning of 20th century, specifically on art and fashion
Ning, Zhuo tao. "Chine-Occident : les transferts culturels entre idéologie et tradition." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAG032.
Повний текст джерелаThe research on the history of the Chinese contemporary art implies two essential questions. First of all, we may question the use of the word "contemporary". The never-ending debate concerning contemporaneity has lead to the second question which concentrates on a more geographical point. Does a contemporary Chinese art really exist? From Ma Yuan to Dong Qichang, the first part of this research aims at tracing the evolution of Chinese art. It will be interesting to see how current artists seized the traditional Chinese culture and resurrected this art through the prism of their contemporary reality. It is necessary to link this ascension to the rising of the Popular Republic of China. The hatred of the Communist Party for art, associated to the will of producing a new utilitarian art, were the source of innovative aesthetics and formal codes directly influenced by the Russian socialist realism and the Nazi propaganda
Gabsi, Ouafa. "L'art contemporain du Sud de la Méditerranée : à la recherche d'une identité, d'une place et d'une reconnaissance à l'heure de la mondialisation." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010508.
Повний текст джерелаHow is contemporary art of the southern Mediterranean perceived and cognized by experts in the world of Western art ? It is this very question which actually interested us. To answer this, we had to understand the links between art and globalization and discuss the contributions of cultural and postcolonial studies related to this subject. From that initial question, we have gathered and studied hegemonic discourses involved in the field of culture, negotiation processes, differences policies and modes of identification of the artists from the South in an ethnocentric vision. To carry out our research, we conducted two studies. The first concerns a thematic study of the headings of international exhibitions on contemporary art from the south of the Mediterranean (Europe and the United States from 1999 to 2014). We support the idea that the subjects of exhibitions convey a discourse that reflects the cultural ideas of Western hegemony and trends concerning genre, ethnicity, class, confining the status of the southern Mediterranean artist to a "peripheral" role. The second survey which is comprehensive in nature, deals with the beliefs of the southern Mediterranean artists and their positioning in comparison with identity markers in the construction of ethnic categories. How do they perceive these markers, do they give them some recognition ? This study was conducted before and after the revolutionary movements of the Arab Spring
Tami, Alan. "L'art de la guerre au temps des croisades (491/1098 - 589/1193) : Du théocentrisme irrationnel aux influences mutuelles et adaptations pragmatiques dans le domaine militaire." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00735126.
Повний текст джерелаMehmedi, Rijad. "Recherches sur les ivoires du Proche-Orient ancien (Âge du Bronze - Âge du Fer) : les documents égyptisants et leurs sources égyptiennes." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAG036.
Повний текст джерелаThe purpose of this thesis is the study of a group of ivories found in several sites of the ancient Near East, known as egyptianizing ivories. We studied various interpretations as to the origin and meaning of these objects by consulting the bibliographic sources at our disposal. Without proposing a fundamental revision of the hypotheses made so far, this study, based on archaeological, iconographical and textual evidence, tries to highlight the different routes of transmission of the Egyptian iconographic motifs into the iconographical repertoire of the Ancient Near East, with a special emphasis on the art of ivory carving. After a general discussion on the ivory and the various sources available to the artists of antiquity, we concluded that the egyptianizing ivories were the product of local artists of the ancient Near East, that were inspired by the Egyptian art, either through trade or through the Egyptian artefacts found at several sites in the Levant. As for the interpretation of these motifs, we believe that the artists of the Ancient Near East have represented Egyptian cult objects without necessarily understanding the religious or symbolic meaning that these motifs had for the Egyptians. That said, these artists were not completely unaware of the general message attached to these objects; they have adopted and adapted the Egyptian iconography by following the conventions of the ancient neareastern art according to their needs
連彩伶. "The influence of appreciation-oriented teaching on the children art painting performance." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/50106081755942238547.
Повний текст джерела國立新竹教育大學
人資處美勞教學碩士班
94
The Study of the Appreciation-Oriented Teaching’s Influence on High Graders’ Performance of Art Painting in the Elementary Schools Abstract The study is to discuss the curriculum strategy and plan of the appreciation-oriented teaching’s influence on high graders’ performance of art painting. 130 sixth-graders from 4 classes were randomly chosen as samples for the research, of which 65 students from 2 classes were set as the experimental group and the rest from the other 2 classes as the controllable group. The research process was carried out with a six-week teaching schedule to make comparison to see the difference and changes between 2 groups in the following 3 dimensions: 1. The Concept of Space: to promote students’ level and recognition about the performance of space through leading skills 2. The Sense of Shape and Form: to activate students’ motivation for spontaneous observation and discovery, in addition to develop their unique creation and self-oriented sense of form through curriculum designing and inspiring 3. The Sense of Line: to lead children capable of observing and comparing the diversity and beauty of the performance of line, in order to improve their sense of quality and expression of emotion The teaching strategies and methods applied in the research provide children the crucial element they need during creating. Children therefore establish confidence and create meaningful pieces with the self-oriented sense of beauty through self-constructed recognition and thoughts. The result of the research are concluded as following: 1. By conducting the appreciation-oriented strategy, students in the experimental group made progress on the performance of the space concept. 2. The learning of appreciating beauty and the reinforcement on the awareness of beauty help students’ creation and inspiration on the performance of shape and form, at which the experimental group is superior to the controllable one as well. 3. After providing image stimulants in “Observation, Discovery” and “Appreciation vs. Creation Teaching”, a post-test shows that students’ self-oriented sense of line in the experimental group obviously increases. According to the research analysis, the overall performance of the experimental group, comparing with the controllable one, reveals obvious improvement and progressing. The result also states out the importance of the curriculum planning. The suggestion for the following research is to extend the range of sampling down to mid and primary graders and make the curriculum design more consistent, so that the research will be more general and objective.
Liu, Shih-hsuan, and 劉世萱. "A case study on the influence of narrative-oriented art therapy on a low-motivated primary school student." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/74531782290876825254.
Повний текст джерела臺北市立大學
藝術治療碩士學位學程
104
This study investigates into how narrative-oriented art therapy influence the learning process in low-motivated primary school student. It also discusses the process in narrative-oriented art therapy. By interviewing client’s teacher and mother to relevant the information about the student’s learning motivation. The study has conducted a 40-minute individual narrative-oriented art therapy once a week for a total of eight weeks. Entire session has been video-taped and content analysis has been adopted so as to understand how client’s learning motivation change under the entire therapy session. In this study the client is a fifth grade elementary school student, Xiao An, who was introduced by his teacher. Since the teacher has discovered that Xiao An was not concentrated in class, often failed to turn in his homework on time, and acquired grades below average. She has decided to turn the case to counselling office. Xiao An was aware of his learning deficiency and has admitted his low learning motivation. He expected himself to catch up with the learning progress and be more patient to subjects he’s not good at. The study results are separated into three part, including Xiao An’s experience under narrative-oriented art therapy, influences narrative-oriented art therapy has imposed on Xiao An’s learning motivation, and finally, restriction and recommendation. The study result has discovered that narrative-oriented art therapy has enabled Xiao An to realize his ideals and expectation toward learning. Xiao An has started to discover his transformation and has thus regained confidence and interest in learning. From completely lacking self-control in learning to gradually regaining self-control, this transformation has influenced Xiao An’s learning motivation. The teacher and his mother have both observed the progress Xiao An has made in his learning aspect.