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1
Surlapierre, Nicolas. "La fabrique de l'Atelier : les trajets italiens de Ferdinand Springer (1926-1939)." Studiolo 1, no. 1 (2002): 177–92. http://dx.doi.org/10.3406/studi.2002.1097.
Повний текст джерелаАнотація:
The fabric of the Atelier : the Italian journeys of Ferdinand Springer (1926-1939). The influence of Italy in Ferdinand Springer's work allows not only to assess the ascendancy of contemporary Italian painting but also to broach the issue of surrealism and metaphysical painting. In addition to the «Old Masters», Ferdinand Springer's two main references are Carlo Carrà and Giorgio Morandi. Morandi's «anti-rhetoric of the everyday» contrasts with Carlo Carrà's metaphysical painting which multiplies the references to a reflection on art and the wider dialogue between modernity and memory. Ferdinand Springer's production clearly enjoys the merger of these two characteristics ; he persistently bestows the «anti-rhetoric of the everyday» with features of metaphysical painting having found, in Italy, the «unrealising» origin of the «disquieting strangeness». His painting is thus marked by syncretism, halfway between the familiar and the bizarre, always abetting the emergence of unclear identities.
2
Song, Hyosup. "Three Korean literati paintings of an orchid in the deconstructive process." Semiotica 2016, no. 208 (January 1, 2016): 223–36. http://dx.doi.org/10.1515/sem-2015-0116.
Повний текст джерелаАнотація:
AbstractLiterati paintings were drawn by Korean Confucian scholars from the end of the Koryeo period to the end of the Joseon period. As painting these works was considered a method for a scholar’s self-cultivation, literati paintings express plenty of in-depth metaphysical points of significance. Meanwhile, these paintings revealed changes that correspond with changes in cultural circumstances. The present study considers such transformation as a deconstructive process. This research analyzes three Korean orchid paintings to address the following three questions: (1) How are the literati’s thoughts represented in their forms of paintings in the East Asian tradition of poetry–calligraphy–painting in one? (2) How are the interrelations among the pictorial image, verbal message, and empty space revealed in individual literati paintings? (3) How are such interrelations deconstructed amid new cultural circumstances?
3
Smith, David Nowell. "Surfaces: Painterly Illusion, Metaphysical Depth." Paragraph 35, no. 3 (November 2012): 389–406. http://dx.doi.org/10.3366/para.2012.0066.
Повний текст джерелаАнотація:
This essay analyses the way in which the relation between surface and depth in modern painting is endowed with philosophical significance in the work of Michel Foucault, Maurice Merleau-Ponty and Michel Henry. Whereas Foucault considered the work of Magritte and Manet to undermine the notion of depth as such, by showing the movement of ‘similitude’, Merleau-Ponty and Henry saw post-impressionist painting as engendering an experience of depth that exceeds the Cartesian model of space as res extensa. The motif of painterly surface thus brings into debate two significant movements in French twentieth-century thought: structuralism and phenomenology; in each case, the engagement with painterly technique becomes a way of grasping broader questions regarding the relation between perceptual experience and linguistic meaning.
4
Wysłouch, Seweryna. "Lech Majewski, metafizyka i Bosch." Przestrzenie Teorii, no. 38 (July 11, 2023): 41–58. http://dx.doi.org/10.14746/pt.2022.38.3.
Повний текст джерелаАнотація:
The subject of the analysis is the problem of metaphysics in Lech Majewski’s novel Metafizyka [Metaphysics] (2002) and in the author’s film adaptation entitled Ogród rozkoszy ziemskich [The Garden of Earthly Delights] (2004). In the novel, metaphysical sensations are conveyed through discourse: 1) the reflections of the rationalist protagonist who undergoes a crisis of worldview following the death of his partner, and 2) in interpretations of the mysterious triptych by Hieronymus Bosch, showing an irreal world: an earthly paradise which the characters attempt to emulate by repeating scenes from the painting. In the film, Majewski aban metaphysical discourse in favour of exposing The Garden of Earthly Delights and showing elaborate psychological portraits of his characters, especially the heroine who is fascinated by Bosch. Therefore, despite having the same plot, the novel and the film are two separate, autonomous works.
5
Tes, Agnieszka. "Wybrane dzieła współczesnego polskiego malarstwa abstrakcyjnego w świetle Ingardenowskiej koncepcji jakości metafizycznych." Argument: Biannual Philosophical Journal 9, no. 1 (June 30, 2019): 81–100. http://dx.doi.org/10.24917/20841043.9.1.5.
Повний текст джерелаАнотація:
Selected works of the contemporary Polish abstract painting in the light of Ingarden’s
conception of metaphysical qualities: The main thesis of my article is that Roman Ingarden’s concept of metaphysical qualities can be adapted to analyze and interpret artworks that
represent some tendencies in abstract painting. I start by summarizing this concept, taking
into consideration the elements of its reconstructions that are present in the source literature,
especially those aspects that concern art. Although Ingarden’s idea can be used with many
examples, I employ it to analyze chosen artworks by the outstanding Polish abstract artists
Tamara Berdowska, Władysław Podrazik, Tadeusz G. Wiktor and Jan Pamuła. I do not intend
to refer to these paintings strictly in Ingarden’s terms, but I use these criteria in a way that
allows me to enrich the interpretation of these artworks by showing them in a new light. By
recognizing the role of contemplation of art, I try to fnd the genesis of the analyzed examples
and reveal how metaphysical qualities manifest in them and infuence the viewer. I underline
aspects that are distinctive of the presented artists and are related to the exceptional ability of
abstract language to correspond to Ingarden’s idea. Subsequently, when developing my point of
view I maintain the relationship between aesthetic and metaphysical sense that creates a kind
of interdependence. These artists intentionally go beyond purely aesthetic efects to relate to
transcendence. By adapting Ingarden’s concept to some contemporary abstractions, I try to link
philosophical and critical ways of approaching these artistic phenomena with special regards to
their metaphysical connotations that tend to be overlooked in contemporary discourses.
6
Agbeshie, Abraham. "Vintage elements: Sourcing an aesthetic inspiration for contemporary Ghanaian painting." Journal of African Art Education 3, no. 1 (June 29, 2023): 23–47. http://dx.doi.org/10.59739/jaae.v3i1.062302.
Повний текст джерелаАнотація:
This study identified and discussed how some contemporary Ghanaian painters have so much interest in vintage elements. The descriptive research method was used as a qualitative inquiry for this study. The expert type of purposive sampling method was employed to select five contemporary Ghanaian painters (Brother Owusu-Ankomah, Patrick Tagoe-Turkson, Elijah Sofo, Emmanuel Adiamah, and Papa Kofi Kum-Essoun) whose artworks focused on vintage elements in material content and subject matter. The study used direct observation and unstructured interviews to collect data. Thus, the data were analysed into an illustrative description using the visual analysis tool. The thoughts of interest of the five contemporary Ghanaian painters revealed that the incorporation of vintage subjects helped communicate their metaphysical ideas in an artistic context. The study argues that vintage elements are rife in Ghana and should not only be seen as material content but as scenic and thematic subjects for contemporary Ghanaian painting. It is, therefore, recommended that the thoughts and usage of vintage elements in the art of painting by the five contemporary Ghanaian painters (Brother Owusu-Ankomah, Patrick Tagoe-Turkson, Elijah Sofo, Emmanuel Adiamah, and Papa Kofi Kum-Essoun) should be continued to inspire other contemporary Ghanaian painters including the upcoming contemporary Ghanaian artists to also adopt vintage elements in their paintings to help communicate their metaphysical ideas into artistic contexts.
7
ROSTOVA, N. N. "Philosophy of «metaphysical painting» of Giorgio de Chirico." Personality.Culture.Society 20, no. 1-2 (2018): 149–57. http://dx.doi.org/10.30936/1606-951x-2018-20-1/2-149-157.
Повний текст джерела
8
Van Vuuren, H. "‘Saltimbanque en Vriendin’ Opnuut Gelees." Literator 7, no. 2 (May 7, 1986): 74–84. http://dx.doi.org/10.4102/lit.v7i2.882.
Повний текст джерелаАнотація:
N.P. van Wyk Louw’s poem, “Saltimbanque en vriendin” (Tristia, 1962), has to be read against the background of the saltinnbanque tradition in literature and painting. Poems of Baudelaire, IVIarsman and Rilke illustrate the mechanism of this tradition: a metaphysical world implied behind the physical world of the artist.The paintings of Georges Rouault and Pablo Picasso around the figure of the clown/saltimbanque are discussed. It is shown that the saltimbanque usually represents the poet/author/artist himself. Finally it is pointed out that "Saltimbanque en vriendin" can be read as the groundplan for "Groot Ode”.
9
Kormin, Nikolai Aleksandrovich. "Art and aesthetic structures of metaphysics of color." Культура и искусство, no. 5 (May 2020): 47–76. http://dx.doi.org/10.7256/2454-0625.2020.5.32877.
Повний текст джерелаАнотація:
This article analyzes the aesthetics of color as a branch of metaphysics of light and entire photonic zone, which from phenomenological perspective can be viewed as the source of intentional radiations in various bands. It is demonstrated that the image of light is the result of work of aesthetic and artistic consciousness that pan the world and place of a human therein; at the same time, it is important to underline the set-up of meaning with all its predicates in the a posteriori score of color perception itself. Special attention is given to examination of the phenomenology of color. Metaphysically, it represents an even, when the color reflect itself in the value and acquires a prospect. Structuring of modern phenomenological attitude to reality leads to the emergence of new opportunities for the experience of working with color, reconsideration of beauty of coloristic data. According to Husserl, color originated by fantasy, can be an act of life within aesthetic consciousness. Despite the rich research material on the topic, these is still no special research that would demonstrate the artistic shift of boundaries of the color image in relation to metaphysical axes of reference (which becomes a leitmotif for metaphysical painting Giorgio de Chirico), as well as possibility of existence of cross-platform toolset that works on several instrumental systems of aesthetic consciousness and allows conducting the analysis of aesthetic methods of examination of the color itself. This article helps to fulfill such gap.
10
Косякова, Валерия Александровна. "Proletarian “neoicon”: Metaphysical Light of Electricity in Kliment Redko’s Painting Revolt." Платоновские исследования 1, no. 20(20) (July 15, 2024): 301–11. http://dx.doi.org/10.25985/pi.20.1.12.
Повний текст джерелаАнотація:
Статья посвящена анализу картины Климента Редько «Восстание», относящейся к периоду раннего советского модернизма. Автор обнаруживает стратегию перекодировки православной иконографии «Спаса в силах», «Преображения», «Неопалимой купины» на почве технократических идей, сопровождавшихся метафизическим и мистическим пониманием энергии и электричества в период раннесоветской модернизации. Климент Редько, обучавшийся в школе иконописи Киево-Печерской лавры, реинтерпретирует исихастское понимание Фаворского света, повлиявшее на традицию православной иконописи. На его картине «Восстание» символическим «пантократором», выводящим народ из темной дореволюционной «пещеры», становится фигура Владимира Ильича Ленина. Концепцию «электроорганизма», а затем «люминизма», Редько представил в абстрактных работах, манифесте 1922 года, а позже синтезировал ее с фигуративной живописью в попытке создания «пролетарской иконы». В статье анализируется «иконография» Ленина, специфика цветосветовой семантики картины «Восстание», а также метафизические коннотации репрезентации электричества. The article aims to investigate the role of electricity in early Soviet modernism. The author analyzes the concept of the metaphysics of light in the works of Kliment Redko, exploring the relationship between the Orthodox understanding of the nature of light and the nature of electricity that was actively conceptualized during the period of early Soviet modernism. A strategy of recoding the traditional Orthodox iconography of and the based on the new technocratic ideas is revealed. Kliment Redko (who studied at the icon painting school of the Kiev-Pechersk Lavra) reinterprets the understanding of the Tabor Light, which heavily influenced the tradition of Orthodox iconography. In his painting , Vladimir Ilyich Lenin becomes the new “Pantocrator” who brings people out of the dark pre-revolutionary “cave”. The concept of “electroorganism”, and then “luminism”, has been developed by Redko initially in his abstract works and the 1922 manifesto, but later was synthesized with figurative painting in an attempt to create a “proletarian icon”. The article analyzes this “iconography” of Lenin, the specifics of the color and light semantics of the painting, as well as the metaphysical connotations of the attempt to depict electricity.
11
Rimpau, Laetitia. "<i>A noir – O bleu !</i> Von Laut und Schrift zur Fläche. Joan Miró und seine Methode der <i>peinture-poétique</i>." Zeitschrift für Katalanistik 21 (July 1, 2008): 121–50. http://dx.doi.org/10.46586/zfk.2008.121-150.
Повний текст джерелаАнотація:
Summary: Joan Miró is a towering figure in the landscape of modern art. In the 1920s, when the Catalan painter came to Paris, he totally renewed his conception of techniques and aesthetics. Generally, the works of this period are regarded as “dream pictures”, “automatic paintings”, as a constant part of French Surrealism. The following study tries, in opposition to the current approach, to show that Miró was sceptical about the surrealistic theories and practise of art, conceding having only “une tendance surréaliste”. In the Écrits, Miró offers details about important origins of inspiration: the poetry of Arthur Rimbaud (poet-seer), Guillaume Apollinaire (poet-painter) and the Dadaists (poetry-provocation). Miró not only developed a “poetic style”, but experimented with poetic texts for the process of painting. Miró’s peinture poétique can be related to Rimbaud’s famous sonnet Les voyelles (1871). The painter transferred Rimbaud’s vision of pure sounds, his suggestive and metaphysical dimension of letters into visual painting, using the language as phonetic material. In different drawings, paintings and collages the vocals A, E, I, U, O correspond to symbolic signs and can be seen as objective, abstract geometric forms. For the painter-poet Miró, writing and painting are analogue processes. Various combinations of “letter-pictures” seem to have offered an inexhaustible inventory for Miró’s poetic art. [Keywords: Miró, Rimbaud [Arthur], poetics, Les voyelles, Apollinaire [Guillaume], Calligrammes, Dadaism, Surrealism, peinture poétique].
12
Louria-Hayon, Adi. "A Post-Metaphysical Turn: Contingency and Givenness in the Early Work of Dan Flavin (1959–1964)." Religion and the Arts 17, no. 1-2 (2013): 20–56. http://dx.doi.org/10.1163/15685292-12341253.
Повний текст джерелаАнотація:
Abstract Dan Flavin’s fluorescent light installations have long served art historians by marking the turn from the late modernist illusionist space of painting to the new immanence of specific objects. In the narration of this genealogy, the crux of minimalism, as Hal Foster calls it, rests on a nominal approach that proclaims metaphysical relations as an obstacle and calls out to evade any notion of meaning. By contrast, this essay asserts the primacy of metaphysics in Flavin’s [en]lighted work. By tracing the artist’s scholastic education, his contemporary theo-political stance, and his rejection of objecthood, I argue that Flavin was continuously preoccupied with Catholic theology and that his work is imbued with Christian iconography. Thinking alongside the fourteenth-century philosopher William of Ockham and the twentieth-century post-Husserlian phenomenology of Jean-Luc Marion, the evolution of Flavin’s light constructions proves relevant to the quandary of metaphysics and the role of theology in radical immanence. To bracket his metaphysics is to ignore the full implications of his art.
13
Rostova, N. N. "Ilya Glazunov: The Sacrificer of the National Spirit." Orthodoxia, no. 4 (September 29, 2023): 129–41. http://dx.doi.org/10.53822/2712-9276-2022-4-129-141.
Повний текст джерелаАнотація:
The article explores the philosophical meaning of Ilya Glazunov’s paintings. The author states that the artist understood the art not as the aesthetic category, but through the idea of worship. The artist considered it his ultimate mission to bring Russian meanings back to the Russian people. Essentially, this entails overcoming our metaphysical groundlessness. This approach allows us to characterize the art of Ilya Glazunov as modern and even topical in the era of cultural and intellectual desolation. In this sense, the literalism of Glazunov’s images becomes the strong side of his works. The author of the article introduces the concept of the triptych of the Russian consciousness in the twentieth century, comprised of Mikhail Nesterov’s The Soul of the People, Pavel Korin’s Farewell to Rus and Ilya Glazunov’s Eternal Russia, and explores the idea of Holy Russia shared by these artists. In this connection, the author considers the philosophical meaning of the idea of the God-bearing people, sobornost’ and the diff erences between the Christian logic and the logic of the Antichrist. The author examines the artist’s attitude to avant-garde, realism and icon painting and explains why Ilya Glazunov preferred realism in art. While avant-garde images are apophatic and icon painting exists only within the church consciousness, realistic religious painting turns out to be a direct path to the perception relying on sobornost’. Special attention is paid to Ilya Glazunov’s illustrations of the works of classical Russian literature and his attitude to Fyodor Dostoevsky. The argumentation is entirely based on the analysis of Ilya Glazunov’s specifi c paintings.
14
Merjian, Ara H. "Giorgio de Chirico's ‘Jewish Hour’: Metaphysical Painting in Ferrara, 1915-18." Art History 41, no. 5 (October 26, 2018): 922–57. http://dx.doi.org/10.1111/1467-8365.12403.
Повний текст джерела
15
Lee, In-hee. "Nietzsche"s Philosophical Human Figure in De Chirico"s ‘Metaphysical Painting’." Journal of Korean Philosophical Society 167 (August 31, 2023): 259–94. http://dx.doi.org/10.20293/jokps.2023.167.259.
Повний текст джерела
16
Oleynik, Maria. "Visual Representation of the Marine Theme in the Artistic Culture of Russia (XVIII–XX Centuries)." Ideas and Ideals 14, no. 2-2 (June 27, 2022): 350–62. http://dx.doi.org/10.17212/2075-0862-2022-14.2.2-350-362.
Повний текст джерелаАнотація:
Тhe meaning of visual representation includes perception of information through the visual image. This form of information delivery to the general public was known in pagan cultures and asserted itself in Christianity. Since the late 20th century the concept of visualization united in itself not only religious and artistic images, but also the vision of mass culture. The performed research places emphasis on the establishment and the development of visual representation in Russia’s art culture of the ХVIII-XIX centuries. During the reign of Peter the Great, in a succession of state reforms and due to the influence of samples of European art, a transformation of national art culture occured. In this context, maritime art is viewed as one of the visual representation forms. The seascape, as a separate genre of painting, originates in the Dutch landscape. The first marinas were brought by Peter the 1st to decorate palaces and country residences. The victory in the Battle of Chesme (1770) and the joining of Crimea to the Russian Empire prompted Catherine the 2nd to invite J. P. Hackert to perpetuate the glory of Russian weapons. The artist became the first marine painter on Russian soil and performed a series of twelve paintings. The flourishing of the national seascape in Russia took place in the 19th century. The first who took the post of artist at the Ministry of the Sea was I.K. Aivazovsky. Since then the seascape acquired special significance and perpetuates the sea victories of Russia. A subtle metaphysical meaning is present in some romantic landscapes by I.K. Aivazovsky. Sea battle paintings acquired clear realistic features in the painting of A.P. Bogolyubov. The artists are concerned not only with the image of the sea, but also with the architecture of the ship, which forms a separate painting genre: the ship portrait genre. The image of the ship in the paintings of the XIX-XX centuries combines the lines of scripture and poetry, focusing the attention of the viewer on a deep semantic reading of the landscape.
17
Sakhno, Irina. "The Metaphysics of Presence and the Invisible Traces: Eduard Steinberg’s Polemical Dialogues." Arts 11, no. 5 (September 9, 2022): 85. http://dx.doi.org/10.3390/arts11050085.
Повний текст джерелаАнотація:
The article examines the paintings by Eduard Steinberg, a Soviet non-conformist painter from the 1950s to the 1980s from the standpoint of the plastics of his language. The author focuses on Steinberg’s polemical dialogues with the greatest names in Russian and European avant-garde art, including both common points and disagreements. By analyzing the painter’s texts through the prism of poetics of the invisible and the ontology of traces, the author observes Steinberg’s early art of the 1960s and 1970s as an attempt to create a symbolic language and attach an ideographic status to art. Through simultaneous use of two artistic strategies—mystical and religious symbolism, coupled with metageometry Steinberg arrives at optical formalism and spectator dialectics, vying to see the invisible and record the polysemantic nature of the symbolic sign. The article analyzes the influence Vladimir Veisberg and his “invisible painting” had on Steinberg, including the “white on white” style, as well as Giorgio Morandi’s still-life vision of metaphysical painting. The author believes that by relying on analogies and reminiscences, Steinberg refers his audience to his predecessors and joins them in an intertextual dialogue. A special place here belongs to Kazimir Malevich with his radicalism, his trend towards metasymbolism and the language of the basic forms—the circle, square and cross. All of these are close to Steinberg’s geometric plastics of the 1970s and 1980s. Staying true to the pure forms of Suprematism, Steinberg builds up an aesthetics of the geometric forms of his own, where abstract art comes together with the ontological progress towards God. The Countryside series (1985–1987) shows influence of Кazimir Malevich’s Peasant Cycle, some principles of icon painting and Neo-Primitivist art.
18
Beaudin Pearson, Natasha. "Merleau-Ponty and Barthes on Image Consciousness: Probing the (Im)possibility of Meaning." Dianoia: The Undergraduate Philosophy Journal of Boston College 6, no. 1 (October 2, 2019): 8–18. http://dx.doi.org/10.6017/dupjbc.v6i1.11727.
Повний текст джерелаАнотація:
Why exactly do paintings and photographs affect us, despite being flat, inanimate objects? Merleau-Ponty and Barthes both attempted to answer just as much and arrived at two conflicting accounts of the ontology of image consciousness. In Merleau-Ponty’s conception, paintings offer an infinite number of hermeneutic possibilities, while in Barthes’, photographs are a “closed field of forces,” thereby making their meanings necessarily contingent and circumscribed. In an effort to identify the point of contention between the two theories, this paper first outlines Merleau-Ponty’s phenomenology of painting and contrasts it with Barthes’ theory of photography. Next, it considers both theses through the lens of psychoanalytic theory, positing that both Merleau-Ponty’s philosophy of art and Barthes’ notion of the studium correspond to Sigmund Freud’s idea of the pleasure principle, while the Barthesian notion of the punctum maps onto the Freudian concept of the death drive. Finally, I argue that the crux of Merleau-Ponty’s and Barthes’ disagreement on the metaphysical status of images has to do with the possibility -- or impossibility -- of meaning.
19
Duan, Lian. "The Peircean order of signification and its encoding system in Chinese landscape painting." Semiotica 2018, no. 221 (March 26, 2018): 199–218. http://dx.doi.org/10.1515/sem-2015-0032.
Повний текст джерелаАнотація:
AbstractApplying Peirce’s semiotics to the study of art history, this essay explores the order of signification in the Peircean theory and the visual order in Chinese landscape painting. Since the purpose of Chinese landscape painting is not simply to represent the beauty of scenery but to encode and manifest the philosophy of Tao, then, the author argues that the establishment of the encoding mechanism in Chinese landscape painting signifies the origination, development, and establishment of this genre in Chinese art history. In this essay, the Peircean order of signification is described as a T-shaped structure, consisting of a horizontal dimension of signs (icon, index, and symbol) while and a vertical dimension of the signification process (representamen, interpretant, and object). Correspondingly, the visual order in Chinese landscape painting is also described as a T-shaped structure as well: the horizontal dimension at the formal level consists of three signs (mountain path, flowing water, and floating air, the three constitute a compound sign), while the vertical dimension at the ideological level consists of three concepts (the way in nature, the metaphysical Way of nature, and the Tao). The significance of this order is found in re-interpreting the formation of landscape painting in Chinese art history.
20
Kim, Eun-a. "Philosophical Background of Development of the Theories of SeoHwaDongChe, SeoHwaDongChul and SeoHwaDongWon." Korean Society of Calligraphy 41 (September 30, 2022): 159–80. http://dx.doi.org/10.19077/tsoc.2022.41.07.
Повний текст джерелаАнотація:
This article is to reveal the meaning of the thoughts of SeoHwaDongChe (書畵同體: Calligraphy and drawing are same as each other), SeoHwaDongChul (書畵同出: Calligraphy and drawing are beginning together) and SeoHwaDongWon (書畵同源: Calligraphy and drawing sprout from same root) focusing on the understanding of the correlation between Seo (Calligraphy) and Hwa (Painting) that appeared on the stream of the aesthetics of Seo and Hwa flowing through such eras as Tang, Song and Yuan dynasties in China. The transition process of the relation between Seo and Hwa from DongChe to DongChul that finally went to DongWon embraces such art-philosophical leveled question as ‘Where did Seo and Hwa come from’, which shows the art spirit and aesthetic goal of the literary noblemen who approached the creation of Seo and Hwa. Such thoughts also contain the idea that painting works must be expressed with YongPil (用筆: ways of brushing) and PilEui (筆意: intention of brushing) of calligraphy in order to fully realize the art world sought for by the literary noblemen. First of all, in this aspect, it is required to analyze what kind of art calligraphy is in aesthetic and philosophical viewpoints in order to correctly understand the thoughts of DongChe, DongChul, DongWon and DongBeop (書畵: Calligraphy and painting are same in rules of creating works).
In the Chinese history of SeoHwa (Calligraphy and Painting), creation of every piece of work begins from drawing a stroke. The commonness between Seo and Hwa and SeoHwaHyoNeungIlCheSeol (書畫效能一體說: the theory that Seo and Hwa have same effect) argued by Shí Tāo (石濤) based on his IlHoikRon (一劃論: the theory of one stroke) emphasized that every painter must learn the calligraphic principle for actual art creation activity. Looking into the relation between calligraphy and painting with consideration of such emphasis, it is desirable to create painting pieces using PilHoik (brush and stroke) of calligraphy. That is, the thoughts of DongChe, DongChul, DongWon and DongBeop are thought to be as same as the philosophical thoughts related with use of one stroke.
In the tendency of art creation, calligraphy has CheeDoSeol (取道說: the theory of taking truth) leveled art spirit with which the artist must take the principle of truth in metaphysical aspect and set such truth as the base of calligraphy. Such CheeDoSeol based calligraphic forms are related with the thought of GwanMulCheeSangRon (觀物取象論: the theory of taking forms by viewing things), which causes artists to give painting leveled meaning to the character forms and fonts simply showing why painting must take PilBeop (rules of brushing) and PilEui of calligraphy.
In such aspects set forth above, therefore, this article looks into how the theories of Seo and Hwa have been established and transited in relation with the perception of calligraphy and painting in the Chinese history of Seo and Hwa in the viewpoints of IlHoikRon, SeoHwaHyoNeungIlCheSeol, CheeDoSeol, metaphysical perception of calligraphy, GwanMulCheeSangRon and painting styled character fonts and forms.
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Mulhall, Stephen. "Constructing a Hall of Reflection." Philosophy 72, no. 280 (April 1997): 219–39. http://dx.doi.org/10.1017/s0031819100056850.
Повний текст джерелаАнотація:
Tom Phillips' painting for the dustjacket of the hardback edition of Metaphysics as a Guide to Morals depicts a faintly translucent, darkly-coloured, multi-layered lattice of letters, in which each character abuts directly upon others above, below and beside it, each overwrites or is overwritten by others of varying dimensions, but none is immediately decipherable as part of a word; and at the centre of this array is a geometrically precise, illuminated circle—perhaps emanating from a light located behind or under the layers of letters, perhaps from one directed at them from above. This image is open to many interpretations. It could represent the sun from Plato's myth of the cave shining through the dialogue in which he presents it (a myth that irradiates Iris Murdoch's text); it could also represent the light of Miss Murdoch's attention playing over the palimpsest of texts that make up the Western tradition of metaphysical thought. But for anyone encountering it upon closing the book after a first reading, it may also seem very precisely to crystallize one's initial impression of that text.
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Florkovskaya, A. K. "The Fearlessness of Vitality: Transforming the Sublime in Painting of the 2000s." Art & Culture Studies, no. 1 (2021): 48–61. http://dx.doi.org/10.51678/2226-0072-2021-1-48-61.
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The article is devoted to vitality in the art of the twentieth century, interpreted as the Sublime. Vitality manifests itself in art in a very diverse way. The dramatic attitude of the world, suffering, and pain are often synonymous with “vitality” today. But the art of oblivion is also permeated with vitality, “intoxicating”, helping to overcome the horror of existence; as well as art, attaching to the metaphysical source of being. It can be defined as sacred optimism and the ancient art and the art of the avant-garde are especially vividly evidence of it. In this case vitality is in direct contact with the Sublime. Seeking out the “other world”, overcoming the limitations of the mortal and suffering world is carried out through the transformation of the Sublime. Today the subject of the Sublime in art is at the peak of research interest. This is evidenced by the project The Art of the Sublime, launched in 2008 by the Tate Modern gallery (London, UK), dedicated to the study of this phenomenon from the Baroque era to the present day. It touches upon all types of visual art from painting to installation. Research shows how evolution goes from the natural Sublime, realized in the depiction of rare and impressive natural phenomena, to the technological Sublime, which declared itself in the second half of the twentieth century, to the distinction between the Sublime and the beautiful. In modern Moscow painting, we meet the implementation of the principle of the Sublime in the work of the artist Vladimir Matveev. Relying on the sacred art of Russian icons, and the avant-garde, the color discoveries of post-impressionism and the energetic abstraction of neo-expressionism, he creates his version of the Sublime in contemporary painting. In his large-format canvases, the artist expresses the essence of the vital as the Sublime, metaphysical and mental principles with the help of rich color and sharp juxtaposi- tion of abstract and natural forms.
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Zamfir, Ioana. "Accuracy, veracity, and theological truth in the 16th century atlas <i>Theatrum Terrae Sanctae</i>." Proceedings of the ICA 4 (December 3, 2021): 1–5. http://dx.doi.org/10.5194/ica-proc-4-116-2021.
Повний текст джерелаАнотація:
Abstract. The characteristics and appearance of an authentic map (in conformity with reality), together with the convention about how authenticity should be obtained in a map, continued to change since the beginning of modern cartography along the centuries. As Critical Cartography has emphasised, the authenticity of a map was in many cases just a convincing appearance, hiding intricate ideologies. However, the political role of maps is just one aspect of their significance, which does not exclude the existence of genuine beliefs and ideals which were guiding cartographers and map authors in the creation process.With a long tradition of understanding maps as illustration devices, Renaissance geography blended intimately with the assumptions and debates of the artistic domain of painting. Among these, veracity was a much praised ideal, signifying the ability of the art work to make present the absent things or giving a new life to people or events gone long ago, a perspective which allowed for rich metaphysical implications. In his theological atlas Theatrum Terrae Sanctae, Christian Adrichom used a variety of formula through which he expressed his view on the evocative power of maps, deriving from contemporary theories concerning truth, vision and representation. In this article we will employ the textual analysis of Adrichom’s affirmations, approaching them through the filter of the Intellectual History methodology. This method allows us to discover that the author explored the metaphysical implications of painting realism in order to present and use his maps as Christian devices, equating the veracity of the cartographic medium with the authenticity of Christ’s life and with the theological understanding of truth.
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Koltai, M. Gábor. "A reneszánsz színpadi horror világképe." Theatron 14, no. 2 (2020): 56–69. http://dx.doi.org/10.55502/the.2020.2.56.
Повний текст джерелаАнотація:
This paper examines how the epistemological crisis born of the destabilisation of the old word order reshaped early Modern English theatre, and how its reaction to the threatening chaos led to the emergence of the genre ‘revenge tragedy’ – although ‘metaphysical horror’ would be a more accurate moniker. Three exceptionally important representatives of this unique genre, Thomas Middleton, John Webster and John Ford, all had a different way of processing the foundational cultural experiences of the era (in the fields of theology, anatomy, astrology, painting, politics and gender,) and elevating them to become a dramaturgical organising principle.
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Markov, A. V. "SCENIC REPRESENTATIONS OF A CONCERT IN THE INDEPENDENT RUSSIAN POETRY." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (May 11, 2021): 347–52. http://dx.doi.org/10.35634/2412-9534-2021-31-2-347-352.
Повний текст джерелаАнотація:
The article examines the influence of pictorial models on the complex image of a concert in uncensored Russian poetry. It is proved that this image has always had an existential meaning associated with the characteristics of the individual and collective experience of death and immortality, and was not associated with the everyday environment of the concert. The concert turned into a universal symbol of the intense experience of time, its complex movement, allowing to revive dead musical material, and therefore revive the memory of individual people. Such a unique combination of collective experience and individual experience of immortality became possible thanks to the experience of painting: by the example of the image of the concerts of an owl in Dutch painting following the parable of Dion Chrysostom and the concept of restoration by Adolf Ovchinnikov, it is shown that such an experience of individuality as wisdom capable of combining the ideas of death and immortality was supported by the very technologies of painting and the metaphorical meanings in the fable and parable. A detailed analysis of several poems (Alexander Mironov, Ivan Zhdanov, Viktor Krivulin) proves that the same model of the intermedial experience of a concert, with all the differences in the poetics of these authors, expressed the same metaphysical meaning.
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Smilde, Berndnaut. "Nimbus." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 1 (March 24, 2020): 174–77. http://dx.doi.org/10.37536/ecozona.2020.11.1.3651.
Повний текст джерелаАнотація:
The Nimbus works present a transitory moment of presence in a specific location. They can be interpreted as a sign of loss or becoming, or just as a a fragment from a classical painting. People have always had a strong metaphysical connection to clouds and through time have projected many ideas on them. Smilde is interested in the temporary aspect of the work. It's there for a few seconds before they fall apart again. The physical aspect is really important but the work in the end only exists as a photograph. The photo functions as a document of something that happened on a specific location and is now gone.
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Baumeister, Thomas. "Merleau-Ponty about Le doute de Cézanne." Aesthetic Investigations 4, no. 2 (September 6, 2021): 254–68. http://dx.doi.org/10.58519/aesthinv.v4i2.11918.
Повний текст джерелаАнотація:
Merleau-Ponty’s essay about Cézanne’s doubt from 1946 is still in discussion. Merleau-Ponty tries to explain the peculiarities of Cézanne’s pictorial language, for instance his abandonment of the geometrical perspective, as expression of, what he calls, the “primordial perception”, which is free from the distortions of metaphysical dualism and of modern sciences. There are two main problems here: 1. that primordiality remains an obscure notion, which is more explained by Cézannes work, than it explains it. 2. Merleau-Ponty tends to forget, that Cézanne’s perception is first of all a painters perception, inspired by the idea of what a painting should be and by a conception of the physical performances by which it comes into being. Cézanne tries to liberate painting from the Albertinian idea, that the work is similar to a window, opening the view on a section of reality. Contrary to this he stresses the autonomy of the work, its presence as being painted, without giving up its contact to the reality depicted.
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Merjian, Ara H. "A surrealist ‘little sister’?: Dorothea Tanning’s (femme) Fatala (1947), metaphysical painting, and the roman policier." Word & Image 37, no. 2 (April 3, 2021): 178–91. http://dx.doi.org/10.1080/02666286.2020.1866976.
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Sulikowska-Dejena, Agata. "A Plein Air Painting Event as a Liminal Experience Building the Artists’ Community." Przegląd Socjologii Jakościowej 20, no. 3 (August 31, 2024): 36–49. http://dx.doi.org/10.18778/1733-8069.20.3.03.
Повний текст джерелаАнотація:
The subject of the article is a plein air painting event, considered as a liminal experience that is widely practiced by traditional artists to create and maintain communities in the local and supra-local art fields. The interest in organizing this kind of meetings among artists, modern art galleries, and art schools is not decreasing, and one can talk about the exceptionally long duration of the phenomenon. This article discusses the experience of participants for whom these joint meetings have a metaphysical dimension. The descriptions and expressions used by the artists have become the inspiration to use Victor W. Turner’s concept in the analysis. That is why this practice is discussed as a liminal experience and a rite of passage, whereas the relations between its participants are understood in terms of a specific type of community that is called by Turner ‘spontaneous communitas’. All the considerations and conclusions included in this text are based on qualitative research conducted among visual artists.
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Ziółkowski, Sebastian. "Angoisse(s) salacrienne(s). Réappropriation de motifs expressionnistes dans L’Archipel Lenoir et Histoire de rire d’Armand Salacrou." Cahiers ERTA, no. 29 (March 31, 2022): 152–75. http://dx.doi.org/10.4467/23538953ce.22.006.15627.
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Salacrou’s anguish. Reappropriation of some expressionist motifs in L’Archipel Lenoir and Histoire de rire by Armand Salacrou This paper aims to highlight the exploitation of some expressionist motifs in two plays by the French playwright Armand Salacrou (1899-1989), L’Archipel Lenoir and Histoire de rire throughout the painting of a metaphysical anxiety. In those pieces we can see realisation of such expressionist concepts as the war of brains (bataille des cerveaux), irradiation of the author’s I which conditions an antinaturalistic and caricatured expression of anxiety in an axiologically misstructured world. We can also appreciate elaboration of the expressionist motif of psychological murder which is an illustration of empoisoned relations between man and woman who do seek to destruct and moulder each other.
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Guardiano, Nicholas. "Notes toward a Semeiotic of Art." Cognitio: Revista de Filosofia 24, no. 1 (May 27, 2023): e61862. http://dx.doi.org/10.23925/2316-5278.2023v24i1:e61862.
Повний текст джерелаАнотація:
Although Charles Peirce only rarely applied his semeiotic principles to art, his ideas are highly informative for contemplating the exchange of qualitative meaningin the iconic signs constitutive of art. Reflecting on Peirce’s theory of the icon, three hypo-iconic sub-types, the formative role of the sign-interpretant, and the metaphysical “qualisignificance” of a universe “perfused with signs”, I provide some theoretical notes toward sketching a semeiotic of art. Further illustrative of a Peircean semeiotic of art is the American painting of the Hudson River School and the modern poetry of Wallace Stevens that progressively advance its insights in their own beautiful signs. These philosophers and artists have intellectual roots in Emerson’s transcendentalism with its Neoplatonic legacy, and together form a unique American strand of aesthetics.
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Matsan, Konstantin M. "Apologetics in V.N. Ilyin’s Works on Aesthetics." Almanac “Essays on Conservatism” 64 (June 30, 2021): 335–43. http://dx.doi.org/10.24030/24092517-2021-0-2-335-343.
Повний текст джерелаАнотація:
In the article the author tries to view the works of Russian philosopher V.N. Ilyin on aesthetics as apologetic. Ilyin’s philosophic system that he himself termed as general morphology is based on such categories as “form”, “image” and “icon” as key elements, and thus it has obvious aesthetic dimension. General metaphysical principles stated in Ilyin’s theoretic and philosophic works that were not published in his lifetime, were reflected in his publicistic works – on aesthetics and liturgics. According to Ilyin, “form” is something by way of which the invisible ousia (essence) of the thing manifests itself on the surface – the phenomenon of invisible in visible image. For Ilyin the illustration of that principle was icon-painting. Ilyin also called his morphological system materologism – the doctrine on Logos running through the substance. Through the prism of this statement Ilyin views the phenomenon of bell-ringing, the “metaphysical task” of which was in “spiritualization of inorganic substance”, in that case – metal. An important part in Ilyin’s morphology was the metaphysics of light: light was something that allowed initially to discern forms and was the prerequisite for beauty and for admiring the beautiful. The appeal to beauty as something that was perceived directly in inner experience and lead the thought out of the limits of abstract logical construct, according to Ilyin, was part of the ontological argument of the divine being. Not only it contained the logically necessary conclusion of the divine being as the Absolute, but also included as a condition the “fact and act” of the man’s personal religious experience, – the experience of the direct perception of the divine reality in prayer and in church service, that, in its turn, was connected with the perception of the beauty of liturgical forms and with the cult as the phenomenon of the Absolute in circumstantial. This is the reason of the importance of the works on aesthetics and liturgics of Ilyin as an apologist.
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Ekong, Joseph T. "Rethinking John S. Mbiti’s Metaphysical Trajectory of Time in Africa." European Journal of Philosophy, Culture and Religion 6, no. 1 (August 30, 2022): 43–56. http://dx.doi.org/10.47672/ejpcr.1170.
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Purpose: To reawaken the consciousness of all Africans to the implications of the metaphysical trajectory of time in Africa, which John S. Mbiti presents, in relation to personal and collective human development in Africa.
Methodology: This work is expository, critical, and evaluative in its methodology.
Findings: In Western thought, there is mathematical and linear time, as dominant ideas. Dominant because some philosophers, in particular Bergson, have their notion of time as mainly inclined to be lived, organic. It is linear time in the sense that, it is an imagined line through which the distant past, present and infinite future is figured. Linear time as such does not exist, but it is a metaphysical notion existing in our minds. Linear time is unidirectional and mathematical. In Africa, African Philosophy is still fledgling. That is, it is not fully developed and documented. Consequently, even the field of “time” lacks a robust written commentary.
Unique Contribution to theory, practice and policy (recommendation): Within the traditional African milieu, according to Mbiti, time is a two dimensional phenomenon, with a long past, a present and virtually no future. This is contrary to the linear time concept in western thought, with an indefinite past, present and future. This work is expository, analytical and critical in its methodology. The first part of the discussion is concerned with the nature of time (and its constituent elements) as a metaphysical concept. The second part focuses on the ordering of time as found among the Africans. Finally, the third part discusses some of the different activities (in customs and traditions), which point to the future. These include the meaning of life, rites of passage, painting and divination, etc. In the conclusion, a fundamental question is raised regarding, whether or not, the present organization of time, in Africa, as presented by John S. Mbiti, be perpetuated or changed, taking into account the pros and cons it bears.
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Harte, Tim. "A Visit to the Museum: Aleksandr Sokurov's Russian Ark and the Framing of the Eternal." Slavic Review 64, no. 1 (2005): 43–58. http://dx.doi.org/10.2307/3650066.
Повний текст джерелаАнотація:
In this close analysis of Aleksandr Sokurov's 2002 film Russkii kovcheg (Russian ark), Tim Harte explores the interplay between the medium of painting and cinema in this unprecedented ninety-minute single-shot film set in the grand halls and galleries of the Hermitage Museum. As Harte argues, the film's unique premise and setting allow Sokurov to convey how the museum, its art and history, and subsequently cinema can affirm a nation's culture, transporting die past ever so evocatively into the present in order to sustain culture's vitality. Throughout Sokurov's ninety-minute single-shot fusion of Western art and Russian history, a continual emphasis on the image of the frame prevails, with the frame constituting an important artistic and metaphysical threshold for the filmmaker. Constandy moving through the ubiquitous frames, Sokurov establishes his own cinematic rendering of culture's eternal essence.
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Kuznetsova, Ekaterina. "ARNOLD BÖCKLIN’S PICTORIAL MOTIFS IN THE POETRY OF IVAN BUNIN AND ANDREY BELY." Lomonosov Journal of Philology, no. 1 (March 22, 2023): 180–94. http://dx.doi.org/10.55959/msu0130-0075-9-2023-1-180-194.
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The article deals with the reception of Arnold Böcklin’s pictorial heritage in the Russian culture and literature of the Silver Age. It has gone through all the stages from a violent passion to cooling and almost complete oblivion. Th e focus is on the lyrics of Ivan Bunin and Andrey Bely of the 1900s. The author reveals the ways of acquaintance of the Russian public with the paintings of the Swiss painter (foreign travels, reproductions) and the peculiarities of their perception. By means of comparative analysis, the author reveals the similarities in the plots and images of some of the poems of two contemporary poets with the most famous paintings of the artist: The Island of the Dead and Th e Battle of the Centaurs. It is concluded that the culture of Russian modernism as a whole was characterized by a metaphysical interpretation of Böcklin. Bunin valued more symbolic lyrical landscapes that convey a sense of the mystical enigma of being and human life, or allegorical canvases (Oceanids), impressive because of the beauty of the plastic scene. Bely sought in the artist’s work support for the assertion of the existence of another, otherworldly reality, the realm of myth and ancient legends, and this was refl ected in his poetry. And in the symphonies, allusions to Böcklin create a satirical effect. Nevertheless, both in Bunin’s poem and in Bely’s works, we fi nd interesting examples of a modernist artistic synthesis that combines painting and literature and is aimed at spiritualizing reality, overcoming positivism and materialism. We see how the images of the Swiss artist become the language for someone else’s creative thought, fi t into a different national culture.
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Kostetskaya, Anastasia. "Symbolism in Flux: The Conceptual Metaphor of "World Liquescence" Across Media, Genres and Realities." Slavic and East European Journal 59, no. 3 (2015): 413–30. http://dx.doi.org/10.30851/59.3.004.
Повний текст джерелаАнотація:
“Symbolism in Flux: the Metaphor of World Liquescence across Media, Genre and Realities” examines cultural implications of conceptual metaphor, in this case the metaphor of liquescence of the human emotional domain. The central question discussed in my paper is how poetics of water is metaphorically present in visual discourses of boundary transgression and blending, both static and dynamic, namely painting and film of the Russian Symbolist period. In my analysis of the painterly and cinematic texts selected, I apply concepts from cognitive linguistics, specifically Conceptual Metaphor Theory and Conceptual Blending Theory that see the roots of the human proclivity for metaphor in somatic embodied experiences. They provide tools and terms useful for theorizing discourses that implement the “water principle” as their modus operandi in approaching various metaphysical issues. They are particularly instrumental within the specific historical-cultural context of Russian Symbolism with its close attention to stirrings of the soul which in many cases are expressed via the “water metaphor.” I look at representations of the conceptual blend fusing human and water ontologies in these “Silver Age” texts: two paintings by V. Borisov-Musatov and two scenes from a film by E. Bauer. The innovative aspect of my work is found in my applying it to interacting art forms, which supports the central stance of Conceptual Metaphor Theory: that metaphor is not just a figure of language, but first and foremost, a figure of thought.
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Lu, Peiying. "The Influence of Neoplatonism on Michelangelo and His Works." Journal of Education, Humanities and Social Sciences 11 (April 20, 2023): 155–59. http://dx.doi.org/10.54097/ehss.v11i.7608.
Повний текст джерелаАнотація:
Neo-Platonism had an influence on many artists during the Renaissance. Michelangelo is one of the most perfect artists to inherit and develop his ideas. This paper will take Neo-Platonism and the influence of Neo-Platonism on Michelangelo's artistic creation as the theme, combining the ideas of Neo-Platonism and the presentation of Michelangelo's works. In exploring this connection, it is found that Michelangelo did not accept Neo-Platonism as some sort of convincing philosophical system, much less as the fashion of the age, but as a metaphysical release of his own. Therefore, Michelangelo had a more complex ideological development process than their contemporaries. Neo-Platonism laid a solid theoretical foundation for Michelangelo's artistic creation. Finally, this paper analyzes the ways in which Michelangelo's sculpture "Dying Slave" and painting "Genesis" are influenced by Neo-Platonism. Due to the strong religious connotation of Neo-Platonism, the works of Michelangelo and the contemporary masters with more simple humanistic thoughts have a stronger religious tragedy color.
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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], no. 4(31) (December 29, 2023): 280–95. http://dx.doi.org/10.46748/arteuras.2023.04.018.
Повний текст джерелаАнотація:
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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Olshin, Benjamin B. "How to Talk about Physical Reality? Other Models, Other Questions." Journal of Philosophy and Culture 5, no. 1 (March 1, 2014): 25–66. http://dx.doi.org/10.4314/jpc.v5i1.2.
Повний текст джерелаАнотація:
Investigating the nature of our apparent physical reality is a profound challenge. Our models from physics, while powerful, do not treat reality per se. The famous painter Paul Gaugin articulated the relevant existential questions famously in a grand painting - questions that also give the painting its title: D’où venons-nous? Que sommes-nous? Où allons-nous? People of religious faith, of course, assume that one can know the ultimate truth of reality, and, then, know the answers to these questions. But even in such a case, there is the issue of how a believer has obtained their faith, through a revelatory or other epistemological process. Joseph Campbell grasped the difficulty of framing the key questions, noting that, “the transcendent is unknowable and unknown. God is transcendent, finally, of anything like the name ‘God.’ God is beyond names and forms.” This metaphysical puzzle concern, in part, models. Physics uses models, and such models are powerful tools: they allow us to navigate through the physical reality we live in, and manipulate aspects of it. However, the models do not lead humanity closer to any ultimate truth, or even give us a clue that there might be an ultimate truth. The problem of using models and talking about reality can be viewed in a new way however, using certain structures in Chinese philosophy. The ancient Dao De Jing states: “The heavens and the earth are not partial to institutionalized morality”. We can extend that to say, “The universe is not partial to institutionalized models”.
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Jassim Hassan Al Bayati, Sahib, and Safaa Salah Rashid. "The image of the soldier in contemporary Iraqi painting." Al-Academy, no. 106 (December 15, 2022): 187–204. http://dx.doi.org/10.35560/jcofarts106/187-204.
Повний текст джерелаАнотація:
The research tagged (the image of the soldier in contemporary Iraqi painting) dealt with the concept of the image as one of the basic concepts in the creative achievement, whether it is in the field of art, literature or beauty. Therefore, the concept of the image expanded to express the various aspects of human creativity, including the field of painting. To know the image of the soldier in contemporary Iraqi painting, the research included four chapters. The first chapter focused on the methodological framework of the research, while the second chapter included three sections. The first topic dealt with the philosophical and artistic concept of the image. The second topic was concerned with the representations of the soldier's image in modern painting, while the third topic dealt with the characteristics of the soldier's image in Iraqi painting.The third chapter was devoted to research procedures. In order to achieve the goal of the research, a number of results were reached in the fourth chapter, including:1- The imaginary image of the soldier appeared through a visual scene that combined different times and places in one space, as Alaa Bashir relied on the combination of the two aerial perspectives (or the so-called bird’s eye), and the ground according to metaphysical philosophy, which aims to transform the world and things into imaginary visions. Where the idea transcends the reality. (model 1)2- The realistic sensory image of the soldier was shown by the colors and their poetic effects on the influences and suggestive codes carried by the color, and the depth of the spirit of originality mixed with heritage, which makes us feel belonging, authenticity and national identity, defined by the priorities of the sensible and what is aesthetically perceived. (Model 2)1- The figurative image is one of the images that arise in the art of painting, and it witnesses an intense presence in the context of the significance of the image and the referral to a mental conception through concepts abstracted from its sensory image.2- The imaginary image in art witnesses a moral dimension regarding the mind’s retrieval of things abroad, and building them in a way that reveals new relationships that were not realized before.3- According to mental images, images are manifested in art within the limits of the work of knowledge and mental awareness. Images are formed when the mind is the repository, as the analyzer and compound of the meanings of things outside.4- The sensory image in art works on dismantling reality by relying on simulation, as imagination works in it to depict the moral abstract in a sensual way, relying on experience as a source of all knowledge and its domain is the mind
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MARKOV, ALEXANDER VIKTOROVICH. "THE LAWS OF CHRISTIAN CULTURE IN THE LATE POETRY OF ELENA SCHWARTZ." Cultural code, no. 3 (2020): 7–14. http://dx.doi.org/10.36945/2658-3852-2020-3-7-14.
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The imagery of Fra Beato Angelico's fresco is grotesquely transformed in the poem dedicated to it by Elena Schwartz, as a reason for discussing the destiny of human. Painting is viewed as a way to relate a person to physical and metaphysical space, turning the circumstances of the current life into the details of another being, and tourism into a kind of pilgrimage to other worlds. The article reconstructs the structural opposition of the poem and proves that they create a working model of Christian culture. It has been established that Schwartz views Renaissance art not as naturalistic and representative, but as exploring the boundaries of various material phenomena and their existence in time. She also interprets medieval art as deductive rationalism, which gives the keys to the experiences of modernity. Reflections on art make it possible to reassemble the impressions of the experience, understanding medieval dogmatic intuitions not just as correct, but as modern. Schwartz, criticizing representative art and reconstructing medieval presumptions of art creation, clarified the boundaries of the artistic expression of Christian dogma.
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Zhang, Xiaolong. "What is visual Vaporwave? Vaporwave arts and their history and position in China." Mutual Images Journal, no. 10 (December 20, 2021): 295–326. http://dx.doi.org/10.32926/2021.10.zha.vapor.
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By Vaporwave we refer to a digital-born electronic music genre and a trend in visual aesthetics. It emerged in some US-based online communities in the early 2010s, and now its visual expressions are in vogue in Chinese visual media context. In this article, Vaporwave’s aesthetics are discussed through three stages of analysis. In the first part, the paper outlines relevant theories and general features of Vaporwave’s (both visual and musical) aesthetics; next, the paper focuses on Vaporwave's visual characteristics, and, to provide a deeper understanding of its visual aesthetics, I discuss a school of painting derived from early twentieth-century Italy—Metaphysical art. In the second part, the article discusses why and how vaporwave aesthetics are inseparable from some Japanese visual characteristics and how it is represented in China, with particular reference to examples of Japanese comics from the 1980s/early 1990s and one popular Chinese video-focused social media TikTok in recent years. In the third part, the article focuses on illustrating Vaporwave's visual features in the Chinese context in recent years, and several examples are provided.
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Harman, Mary. "Holographic Reconstruction of Objects in a Mixed-Reality, Post-Truth Era: A Personal Essay." Arts 8, no. 3 (August 16, 2019): 102. http://dx.doi.org/10.3390/arts8030102.
Повний текст джерелаАнотація:
The ephemeral holographic image is an appropriate medium to express the nature of reality and illusion, an early interest I explored with trompe-l’œil painting. To make a representational hologram, one needs a worthy object to copy, and one that is hand-made by the artist adds to the unity of the work. The resulting copy physically resembles the original, and when both are placed together in the final composition, the material object now has an immaterial, metaphysical presence one could identify as soul. In this paper, I present a recent artwork that exhibits these characteristics, and the theme of Reality, Truth and Lie is firmly placed within the current political context. The historical background to my work, relevant aspects of the technical process, and closer analysis of the ambiguities inherent in the hologram are all noted in my narrative, and I add my own personal comments and opinions. One invaluable source has been the published accounts of other artists/holographers who describe their own experience in holography, a medium that fuels ideas rather than being only a tool to express them.
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Bychkov, Victor. "Wackenroder’s “Phantasies” about Art as a Manifest of Romantic Aesthetics." Философия и культура, no. 8 (August 2023): 111–26. http://dx.doi.org/10.7256/2454-0757.2023.8.43886.
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Wackenroder is a Romantic author of a metaphysical-religious orientation. For him, the creator of art and its most adequate perceiving subject is God. As for art, he sees it as most tightly connected to religion, for both help the human being to rise from the earthly hassle to the heavenly sphere. The art of all times and nations contains a common essence – the beautiful – which is expressed in a variety of ways. Therefore the human being is capable of learning how to see beauty in any art medium. Wackenroder speaks of two symbolic languages that help the human being grasp heavenly matters: the language of nature and the language of art. Creativity is based on inspiration, which is a divine gift. In creating their art artists must begin with nature and present it in a transformed way. The process of creativity begins in the inner world of the artist, when he or she constructs a future painting in its completeness. The contemplation of a work of art is like prayer. Therefore perception of art requires specific training. Before contact with art, the recipient must initiate in him or herself the ability to perceive the beautiful and sublime. The grasping of a true work of art is inexhaustible. Every act of contemplating an artwork reveals to our soul something new. The process of perception of art is enthusiastic in nature; Wackenroder presents it as a confession of our spirit. In his musical aesthetics the place of honor belongs to the spiritual content of music. In painting Wackenroder most highly esteems the pacifying art of Rafael, the allegorical art of Michelangelo, and the cognitive art of Leonardo Da Vinci.
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Bychkov, Victor. "Metaphysics of a landscape in symbolism." Культура и искусство, no. 4 (April 2020): 53–70. http://dx.doi.org/10.7256/2454-0625.2020.4.31966.
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This research is dedicated to examination of a specific role of landscape in symbolism. Based on comprehensive analysis of the works of symbolists and artists of their circle – Segantini, Böcklin, Gauguin, Nesterov, Čiurlionis, the author attempts to determine the characteristic features of using the images of nature in the overall system of pictorial artistic-aesthetic expression. Special attention is paid to the problem of inscription of human figures into landscape, as in doing so many symbolists and artists of their circle were bringing the landscape to life, forming a special creative space. Landscape of symbolists is viewed as a peculiar animated space that carries a mediating role between the visually palpable images and indescribable pleroma of metaphysical being. Such approach to symbolism is considered innovative. In the course of this research, it is demonstrated that special artistic space as a carrier of symbolic meanings or a spirit of symbolism in painting emerges in each painters a set of artistic means of expression characteristic only to their works. At the same time, some symbolists view the unreachable in external forms of visible nature by focusing attention of the opposition of earth and sky, life and death, human and divine beginning, reality and its mythological grounds. Some symbolists create the world of practically abstract and musically accented color forms and graphic solutions. While others paint landscape imbued with tranquility, tenderness and picturesque hymns of the Creator. In general, symbolic landscape leans towards a fairly vivid philosophical aspect.
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Pedersen, Elisabeth Skou. "Den bogstavelig død. Det neobarokke vanitasmotiv i Durs Grünbeins "I provinsen" (1999)." K&K - Kultur og Klasse 39, no. 111 (June 25, 2011): 83–95. http://dx.doi.org/10.7146/kok.v39i111.15757.
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THE LITERAL DEATH. THE NEO-BAROQUE VANITAS MOTIF IN “IN THE PROVINCE”This paper investigates the use of Baroque imagery in the cycle of vanity poems “In the Province” (OIn der Provinz”) (1999) by the German poet Durs Grünbein (1962-). GrünbeinOs poetics revolves around a notion of human life as essentially material and physical. In his treatment of death, this point of view connects him with Baroque vanity poetry following the tradition of Andreas Gryphius (1616-1664). On the basis of a concept of a transhistorical Baroque discourse, I discern a negotiation of Baroque tropes in the poems, focusing on the use of antithetical, analogical, and allegorical figures, as well as an objectifying gaze similar to that of the Baroque vanitas painting. Shifting the metaphysical framework of the historical Baroque to a predominantly physical one, Grünbein reinstates the value of the individual in its bodily existence, thereby reinterpreting the meaning of the OvanityO of material things. Comparing this formal remodelling to the postmodernist and modernist Neo-Baroque concepts, I argue that a reading of Grünbein’s vanitas can be used in a new conceptualization of the Neo-Baroque, which I term ‘dialogical’.
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Stoicescu, Andreea. "Sacred Art Between Tradition and Personal Expression: The Orthodox Icon and Artistical Transgressions of the Canon." Diakrisis Yearbook of Theology and Philosophy 4 (May 31, 2021): 61–78. http://dx.doi.org/10.24193/diakrisis.2021.5.
Повний текст джерелаАнотація:
The aim of this article is to present a personal reflection regarding the theoretical/philosophical relation between the generally accepted theological grounding of icon painting and other contemporary artistical endeavours to integrate the religious feeling – of Christian-Orthodox inspiration. This reflection is based on a mixture of ideas from different thought-frameworks which have as common ground the need for speculating on issues such as ‘tradition understanding’, ‘personal expression’, ‘art and religiousness’, exactly those key-themes that are constituting the fundamental threads of my argumentation. Hence, my appeal to authors like Lucian Blaga, Leonid Uspensky, Martin Heidegger, Paul Evdochimov, and Christos Yannaras. The point of departure for my study is the powerful and unavoidable conflict between the need for personal artistic interpretations of religious themes – expressed through contemporary artistic techniques and the application of contemporary metaphysical modelings – and the need for attaching oneself to an ‘authentic’ tradition of religious experience and to a community with deep roots in history. My all-round thesis is that this conflict cannot be, at least, clarified by choosing, from the artistic point of view, between two extremes: contemporary secular art on the one hand, and sacred, canonical art on the other hand, but by finding conceptual common pathways.
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Ushakova, Olga M. "Wagnerian Contexts and Wagner’s Codes of T.S. Eliot’s Poetry, 1910-20s." Literature of the Americas, no. 10 (2021): 266–309. http://dx.doi.org/10.22455/2541-7894-2021-10-266-309.
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The paper deals with the analysis of reception and poetic transformation of aesthetic concepts and music ideas of Richard Wagner (1813–1883) in the works by T. S. Eliot (1888–1965). The research material includes the poems of the 1910-20s (“Opera”, “Paysage Triste”, “The Love Song of J. Alfred Prufrock”, The Waste Land) as well the essay “Dante” and lectures “The Varieties of Metaphysical Poetry”, “The Music of Poetry”. The research is aimed to solve the problem of genesis of Eliot's Wagnerianism and identify the Wagnerian codes for his poetic texts. Following the representatives of literary Wagnerianism Eliot assimilated the ideas of revolutionary art, anti-bourgeois pathos, ideas of synthesis of arts, indivisibility of poetry and music, mythopoesis, etc. The poetry of the 1910–20s reflected Eliot’s interest in a wide cultural context (Wagnerianism and “Wagnerovschina”), Neo-Mythologism, etc. The poetry of this period is characterized by representation of Wagnerian “situations” and plots (the Grail plot), themes, composition strategies (system of leitmotifs, multi-layered text, etc.), music techniques (atonality, “endless melody”, suggestiveness, etc.), the direct quotations from Wagner’s works, etc. The author of the paper suggests that The Waste Land was created as a Gesamtkunstwerk, a complex multi-level poetic intermedial structure incorporating the elements of different arts (music, painting, scenography, dance, etc.).
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Niu, Xuebiao. "WU CHENG’EN’S NOVEL “JOURNEY TO THE WEST” AND ITS RESOURCES FOR ANIMATED ADAPTATIONS." Scientific and analytical journal Burganov House. The space of culture 19, no. 3 (June 10, 2023): 22–38. http://dx.doi.org/10.36340/2071-6818-2023-19-3-22-38.
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This article explores the potential for producing animated movies based on the Chinese classic novel «Journey to the West». The author traces the evolution of the plot and characterizes the main features of the famous literary work, the adaptation of which was repeatedly used not only by Chinese, but also by Japanese, Korean and other animators. Over the years and centuries, the pilgrimage of the Tang monk and his companions to India in search of the sacred sutras has evolved from historical accounts to folklore tales, and eventually to plays, after which the journey has become the subject of several novels by different authors, with Wu Chen’en’s novel being the most renowned classic. And it is the very process of turning a real story and real people into a legend, a myth, geographical movement and physical travel into a metaphysical path, followed by characters whose image goes back to ancient archetypes that made the novel so popular during different centuries and in different countries. Furthermore, the article highlights the distinctive features of the novel that make it particularly suitable for adaptation through animation. Unlike written art, visual art can directly incorporate the images and forms of various folk art forms such as folk painting, sculpture, popular print, shadow theatre, Peking Opera, and traditional painting. Chinese animation based on the novel has successfully utilized these art forms. Additionally, one should consider the genre of the novel, which is rooted in the collective unconsciousness and rich in formal, plot, and thematic elements. As noted by Russian philologist and semiotician J. Lotman, animated cinema is the most appropriate means for adapting fantastic stories. At the same time, Wu Chen’en’s novel «Journey to the West» has the value of not only a national cultural heritage, but also a global one. The author notes the important idea of the Canadian media theorist Marshall McLuhan about the relevance in the information society of the Chinese way of thinking with its idea of a net world and a net person. Animated films based on the plots of «Journey to the West», can effectively broadcast the values of the Chinese worldview and mentality and thereby contribute to the mankind’s response to the challenges of the time.
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Berehovska, H. "William Kurelek’s “Multicultu-ralism”: author’s creative method." Culture of Ukraine, no. 72 (June 23, 2021): 176–82. http://dx.doi.org/10.31516/2410-5325.072.25.
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The purpose of the study — to analyze the phenomenon of the author’s style “multiculturalism” in the painting of the Canadian-Ukrainian artist W. Kurelek, as well as to characterize the unique author’s artistic technique.
The methodology. Symbolic-metaphysical and philosophical aspects of the artist’s work are studied on the basis of art analysis of individual paintings. The method of formal and stylistic analysis helped to identify the appearance of individual works, characterized the artistic processes that took place in the Canadian-Ukrainian environment, which had a significant impact on the work of W. Kurelek. This method effectively helped in the stylistic characterization of the canvas, in particular in identifying the formal organization of the work: space, time, color, light, rhythm, composition, perspective.
The scientific topicality. The role of W. Kurelek in the formation of the multicultural process in Canada is proved, in particular the importance of his art — chronicles of the formation and development of Canadian emigrants (Frenchmen, Irishmen, Ukrainians, Jews, Poles), as well as the first comprehensive study of the author’s creative method “multiculturalism”.
The practical significance. Theoretical material can be used in scientific art and cultural studies, as well as for teaching courses in: history of Ukrainian culture in the diaspora, art of the Ukrainian diaspora, the development of Ukrainian art in Canada, in the preparation of textbooks and manuals.
The conclusions. The author’s creative method “multiculturalism” of the Canadian artist, the grandson of the first Ukrainian emigrants W. Ku-relek has been studied. The uniqueness of this creative method lies in the system of abilities of the artist. First of all, it is a comparative approach to the selection of ideas and thematic outlines of works, which was based on a long analysis of the historical context, socio-cultural environment and futuristic predictions, which the artist observed and tried not just narratively capture in his work.
From childhood, from his first emigrant grandparents, and later from his own experience of “dual” identity, it was very important for the artist to record in painting the presence and contribution of each emigrant group that was a member of multicultural Canadian society. In order to properly crystallize the author’s style, W. Kurelek traveled to all twelve provinces of Canada, capturing the geopolitical, climatic, natural and social characteristics of each province. He studied the histories of the aboriginal tribes, the arrival of the first emigrants, and the stages of the “multiplication” and integration of the various waves of emigrants on Canadian land. The uniqueness of this style was that the artist did not generalize the standard image of “Frenchman”, “Irishman”, “Pole”, but went by inductive method, studying the history of a person, his life, as well as the history of a country, its art , traditions, music, literature, customs, even cooking.
The unique artistic author’s “mixed” technique obtained by long-term experiments and the influence of Nikolaides’ artistic method on the compositional structure of W. Kurelek’s work are also analyzed.