Статті в журналах: "Themes in art"

1

ARNOLD, MARION. "THEMES IN CONTEMPORARY ART." Art Book 12, no. 4 (November 2005): 68–69. http://dx.doi.org/10.1111/j.1467-8357.2005.00621_8.x.

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2

Stastny, Kimm, Elizabeth L. Katz, E. Louis Lankford, and Jan D. Plank. "Themes and Foundations of Art." Journal of Aesthetic Education 31, no. 1 (1997): 111. http://dx.doi.org/10.2307/3333476.

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3

Johari Fard, R. "P-1150 - Themes analysis & theme therapy: a new approach to art therapy." European Psychiatry 27 (January 2012): 1. http://dx.doi.org/10.1016/s0924-9338(12)75317-8.

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4

Garlake, P. S. "Themes in the prehistoric art of Zimbabwe." World Archaeology 19, no. 2 (October 1987): 178–93. http://dx.doi.org/10.1080/00438243.1987.9980033.

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5

Drioli, Alessandra. "The Art of Science Communication." Journal of Science Communication 12, no. 01 (March 21, 2013): C02. http://dx.doi.org/10.22323/2.12010302.

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The science&art research played an important role in the topics covered by JCOM because actually the convergence of languages and themes of art and science increasingly continue to act synergistically in the most diverse knowledge fields.

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6

ÖZDEL, GİZEM. "ART THEMES URBAN MARKETING POWER USED BY MOVIES." TURKISH ONLINE JOURNAL OF DESIGN, ART AND COMMUNICATION 4, no. 3 (July 1, 2014): 29–39. http://dx.doi.org/10.7456/10403100/003.

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7

Khabutdinova, M. M., and G. Aksoy. "Historical themes in Elmira Galimova’s operas." Tatarica 22, no. 1 (June 15, 2024): 119–35. http://dx.doi.org/10.26907/2311-2042-2024-22-1-119-135.

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The article systematizes the material on various principles of reflecting historical subjects in Tatar opera. It gives a detailed analysis of the art opera “The Wing of Syuyumbike” to a libretto by Fleura Yanysheva and the opera “Kul Sharif’ to a libretto by Farit Yakhin and the music by Elmira Galimova where the tragedy of the loss of statehood and the fall of the Kazan Khanate are revealed through the tragic fates of famous personalities (Kul Sharif, Tsarina Suyumbike). We prove that the opera “Kul Sharif’ is an interesting example of combining historical-descriptive and biographical approaches with “historical imagination”, while the symbols in the art opera “The Wing of Syuyumbike” are based on legendary and mythological material.

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8

Marques, Walter Rodrigues, Maira Teresa Gonçalves Rocha, Herbia Araujo Soares, Bruna Monique Cunha Rodrigues, Rafaela dos Santos Silva, Celso Ulisses Costa Campos, and Paulo César Alves de Carvalho. "The nuances of art teaching: transversal themes and interdisciplinarity." Concilium 23, no. 12 (June 29, 2023): 337–54. http://dx.doi.org/10.53660/clm-1552-23h67a.

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The article problematizes the relationship between art teacher education and cross-cutting themes and their implication in professional practice. It aims to clarify concepts and crossings, seeking to explain how to use these approaches without, however, extrapolating other disciplinary fields. For this, it brings some considerations about the History of education, the official curricula and the practical application of it. It presents the relations of the practice of teaching Art in events that take place on the school floor, which led to questioning how Art fits into these events, what is its function. Theoretically, it is based on: Barbosa, Tourinho, Coutinho, Richter, who present concerns in art teaching in contemporary Brazil; Buoro, Ferraz and Fusari, who bring their experiences at school, explaining reality and prejudices; Lowenfeld, the importance of teaching art to children; federal and state legislation on education and the Arts. The methodology adopted was bibliographical and documentary research, of a qualitative nature. The results pointed to the need for a better definition of the disciplinary fields as well as curriculum updating.

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9

Adams, Nicholas, and Martin Kemp. "The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat." Technology and Culture 32, no. 3 (July 1991): 599. http://dx.doi.org/10.2307/3106115.

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10

Maynard, Patrick, Martin Kemp, Erwin Panofsky, and Christopher S. Wood. "The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat." Journal of Aesthetics and Art Criticism 52, no. 2 (1994): 243. http://dx.doi.org/10.2307/431174.

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11

Monsevich, Violeta. "HISTORICAL THEMES IN UKRAINIAN ART THROUGH THE PRISM OF IDEOLOGIZATION OF ART CULTURE." Knowledge, Education, Law, Management 1, no. 7 (2021): 89–93. http://dx.doi.org/10.51647/kelm.2021.7.1.14.

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12

Arnheim, Rudolf, and Martin Kemp. "The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat." Leonardo 24, no. 1 (1991): 92. http://dx.doi.org/10.2307/1575491.

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13

Elkins, James, and Martin Kemp. "The Science of Art, Optical Themes in Western Art from Brunelleschi to Seurat." Zeitschrift für Kunstgeschichte 54, no. 4 (1991): 597. http://dx.doi.org/10.2307/1482575.

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14

Summers, David, and Martin Kemp. "The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat." Art Bulletin 73, no. 3 (September 1991): 496. http://dx.doi.org/10.2307/3045819.

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15

Alashari, Duaa, and Mohd Azhar Abd. Hamid. "A Systematic Review on Arabic Calligraphy within Islamic Architecture." Ulum Islamiyyah 33, no. 1 (April 25, 2021): 1–15. http://dx.doi.org/10.33102/uij.vol33no1.263.

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Islamic architecture is distinguished by the formulation in various forms and artistic models of the Arabic calligraphy style. Arabic inscriptions are found in several areas of Islamic architecture both in the external elements as well as in the building's internal elements. The art of calligraphy as describing the building has many impacts to improve the different roles that this art offers. This art often has a symbolic significance according to the structure. This study aims to explore existing research into the use of the art of calligraphy as an important component of Islamic architecture. Preferred Reporting Items for Systematic Review and Meta-Analyses (PRISMA) as lead to direct this systematic review and 14 related studies have recognized and selected from databases Web of Science, Scopus, and Dimensions. This paper helps to provide some sources of information that can be used by people who would like to understand and study Islamic calligraphy and Islamic art. Two research questions applied in this review to obtain themes within the data, and two significant themes arose, namely art in Islam and forms of art. The analysis of two main themes further presented a result of five sub-themes that emerged from forms of art and six sub-themes that developed from the types of khat themes.

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16

Tneth, Aung Ko. "Art Building Design Using Byblos Local Value Themes Approach." Journal La Multiapp 1, no. 6 (December 31, 2020): 23–27. http://dx.doi.org/10.37899/journallamultiapp.v1i6.293.

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This article discusses the design of an arts building with an approach to the theme of local values. This design is carried out considering the importance of the existence of an art and culture in big cities to boost the local economy and also become an attraction for the tourism sector, as well as the desire of the community to enjoy the beauty of art, as well as the desire of artists to be witnessed and exhibit their works of art. The location that is used as a place for the art building must fill the city spatial planning, where the location of the building that I designed is on Jalan Tanjung Bunga is the central business district, where several supporting facilities such as public transportation, clean water, electricity, telephone network etc., this is the basis for my choosing a location on this flower promontory road. Efforts to increase the attractiveness of the Arts Building by combining traditional Makassar ethnic styles. So that visitors can also find out the typical regional ornaments through this art building. Paying attention to the harmony and balance of design elements in the Arts Building is expected to provide comfort to visitors and organizers of a show.

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17

Guerrero, Rosalie S., and Maria Lourdes L. Chavez. "Contemplative Visual Art Making as Spiritual Practice among Individuals in Early and Middle Adulthood: A Phenomenological Inquiry." Philippine Social Science Journal 6, no. 1 (May 3, 2023): 30–40. http://dx.doi.org/10.52006/main.v6i1.643.

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Existing literature shows that visual art-making as a spiritual practice is more common among older adults. This study aimed to examine the experiences of individuals in early and middle adulthood who are into contemplative visual art-making as spiritual practice using Giorgi’s descriptive phenomenological method. Twelve participants aged 31 to 58 were interviewed online. Results revealed 11 themes from three substructures constituting the overall structure of contemplative visual art-making as a spiritual practice. The first substructure is the lived experiences in visual art making consisting of four themes; the second is the forms of contemplative practice in visual art making consisting of five themes; and the third is the benefits experienced in contemplative visual art making consisting of two themes. Results underscore the value of a contemplative approach to one's visual art-making as a spiritual practice. Similar studies focusing on males, LGBT+, individuals who are self-taught in visual art making, and members of indigenous communities are recommended for further research.

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18

CAI, DONGLIN. "Chinese Mythological Elements and Contemporary Art Works." International Art Research 3, no. 1 (March 24, 2024): 1–7. http://dx.doi.org/10.55375/iar.2024.3.1.

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"Contemporary art" is an "alternative construction" that seeks a way out in the context of "modernity". It is a work of art constructed using the way of thinking of contemporary people; it is the development of post-modern art and continues after modern art and is derived from it; it is a new concept, new form, and new path. Chinese totem aesthetic art has substantial symbolic value and significance. Among the art categories, dance dramas with mythological themes deeply explore elements of various regions, ethnic groups, and dance types and incorporate traditional dance vocabulary. A large amount of vocabulary is used in dance dramas with mythological themes. This vocabulary not only makes the dance dramas present a unique national style but also sorts out and excavates the cultural relics of different mythological themes, effectively promoting the fullness of dance dramas with mythological themes.

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19

Everett, William A. "National Themes in Scottish Art Music, ca. 1880-1990." International Review of the Aesthetics and Sociology of Music 30, no. 2 (December 1999): 151. http://dx.doi.org/10.2307/3108443.

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20

Romaine, James. "Themes of Paradise in Contemporary British and American Art." Religion and the Arts 22, no. 1-2 (February 16, 2018): 218–28. http://dx.doi.org/10.1163/15685292-02201017.

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Abstract The idea of paradise has inspired the artistic imagination in, at least, two directions. One is an impulse to create a more perfect tomorrow by addressing social ills today. The other is sometimes manifest in a desire to recover a lost spiritual consciousness or creative imagination. These directions are evidenced in the work of two contemporary artists. In an exhibition entitled Tomorrow is Another Day, created for the 2017 Venice Biennale, Los Angeles-based artist Mark Bradford draws the viewer toward an imagined social horizon, beyond which dawns a more perfect world. Simultaneously on view in Venice, but not a part of the Biennale, Damien Hirst’s Treasures from the Wreck of the Unbelievable explores a rapacious hunger for immortality. Purporting to be the salvage of an ancient shipwreck, Hirst’s exhibition tests the modern, post-enlightenment, viewer’s willingness, even ability, to believe.

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21

Ottenberg, Simon. "Sources and Themes in the Art of Obiora Udechukwu." African Arts 35, no. 2 (July 1, 2002): 30–92. http://dx.doi.org/10.1162/afar.2002.35.2.30.

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22

Castaldo, Daniela. "Musical Themes and Private Art in the Augustan Age." Greek and Roman Musical Studies 6, no. 1 (March 22, 2018): 96–114. http://dx.doi.org/10.1163/22129758-12341314.

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Abstract Some musical themes represented in terra sigillata reflect the political propaganda of the Augustan regime, as in the presence of Apollo citharoedus, of Sirens and of Hercules with the Muses. This visual repertory shares many features with the Augustan poets (especially the elegists) and with other private art of the Augustan period. Arretine ware potters often included Dionysiac, symposiastic and erotic scenes in their repertory, moving well beyond Augustus’ official program. They recall formal and cultural models of the Hellenistic era.

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23

Fontal-Merillas, Olaia, and Marta Martínez-Rodríguez. "Key themes in art education research: A bibliometric review." Arte, Individuo y Sociedad Avance en línea (May 17, 2024): 1–18. http://dx.doi.org/10.5209/aris.93852.

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La investigación en educación artística es un campo especializado situado en la intersección entre las cuestiones en torno a las artes visuales y las cuestiones educativas, lo que a su vez constituye un espacio heterogéneo que debe ser abordado por el mundo académico. Por este motivo, el presente trabajo realiza un análisis bibliométrico de la producción científica internacional sobre “Educación artística” en la base de datos Web Of Science Core Collection (WOS) entre los años 1900-2024. Se aplican técnicas bibliométricas para determinar la producción global y las dimensiones a lo largo de las cuales se distribuyen los términos y la estructura conceptual del campo de investigación. En cuanto a los resultados, el análisis de la estructura conceptual de la educación artística define dos áreas; la primera se refiere a los procesos de enseñanza-aprendizaje, y la segunda a los procesos terapéuticos, de intervención social y comunitaria. Esta investigación nos lleva a concluir que, globalmente, la Educación Artística se ha consolidado como una comunidad de investigación bien definida, con temas y líneas de investigación compartidas.

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24

Trushnikova, E. L. "INTERDISCIPLINARY APPROACH AND A CULTURE OF PARTICIPATION IN THE METHODOLOGY OF TEACHING ART HISTORY." Современная высшая школа инновационный аспект, no. 2 (2022): 38–48. http://dx.doi.org/10.7442/2071-9620-2022-14-2-38-48.

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Рroblems of the content and methods of teaching Art History at higher school are discussed. The essence of interdisciplinary approach, participatory culture application, art pedagogy, museum pedagogy in involving students in participation in the formation art history course content is revealed. The survey of “Design” Bachelor students is analyzed. The survey was conducted to expand the subject themes and introduce local art themes into the content of art history content. It is concluded that participatory culture and cultural meditation can be a methodological support to introduce local themes and the ways of its study and research.

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25

Taylor, Stephen, and Charles Rattray. "Themes and variations." Architectural Research Quarterly 11, no. 3-4 (December 2007): 338–42. http://dx.doi.org/10.1017/s1359135500000841.

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The work of Stephen Taylor Architects extends from urban strategies to the individual dwelling. Underlying this continuum is a deep understanding of the city and its component parts and a concern to develop typologies that contribute to civic life. Taylor studied in London at South Bank University and the Royal College of Art (RCA) and worked first for Richard Reid, his former tutor at South Bank and the author of a number of studies of housing types. After brief periods in the offices of Richard Rogers, Stanton Williams and others, Taylor established a partnership with Andrew Houlton in 1993. For several years in that partnership and for the five years subsequently, Taylor has occupied the same site in Shoreditch, east London. To begin with, the practice occupied the basement and he lived over the shop. As the office expanded, it colonised a set of spaces on three floors organised around a small court. We met there in a space at the back, beyond the court, and began by discussing the arrangement of the spaces.

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26

Florkovskaya, Anna K. "Religious and Ecclesiastical Art of Russia in the 20th—21st Centuries: Posing the Problem of Interaction." Observatory of Culture 20, no. 6 (December 21, 2023): 582–91. http://dx.doi.org/10.25281/2072-3156-2023-20-6-582-591.

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The article is devoted to the cross-cutting consideration of the problem of dialogical interaction between two close phenomena of art related to religious themes: church, liturgical art, which participates in worship, and secular art on religious themes. The stages of their interaction in Russian art of the 20th—21st centuries are considered. The prehistory of this phenomenon dates back to the middle of the 19th century, when the division into religious and church art already existed in fact, but was realised only in the early 20th century in connection with the work of Mikhail Nesterov. Then, over the course of the century, we observe a series of stages of interaction between religious and church art in their convergences and divergences. The era of the Silver Age, with its heightened sense of the religious beginning in art and life, is replaced by times of state atheism, very heterogeneous, including with regard to religious themes. The time of 1920 —early 1930s is characterized by a relatively free artistic search in the sphere of religious themes. At the beginning of the Stalinist period, religious themes in both church and secular aspects were banned, and at the end of the period there was a revival. During the Thaw years, along with the persecution of the church in unofficial culture, a broad interest in religious themes in secular painting emerged and a gradual, albeit localized, rise in contemporary church art began. The late Soviet period is characterized by the gradual establishment and initial legalization of religious and church art. In the 1990s — 2010s, a broad revival and development of church art began, and the religious theme became the focus of attention, including contemporary contemporary art. Once again, as in the early twentieth century, there are conditions and artistic aspirations for a mutually enriching dialogue between church and religious art. The study of various aspects of this interaction in Russian art is an urgent and multifaceted task.

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27

Stavila, Tudor. "The themes of works of Bessarabian painters between 1888-1917." Arta 30, no. 1 (August 2021): 24–32. http://dx.doi.org/10.52603/arta.2021.30-1.03.

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The themes and subjects approached by the plastic artists, in a certain period of time, in a certain geographical space, including the names of the works, indirectly reflect the existing tendencies in the respective epoch. These moments are indisputable, regardless of the evolutions of art in various cultural environments, in the centers of international art or on its peripheries, objectively reflecting the styles and priorities of the time. Thus, realism operates with certain terms that define the options of the current, different from those of impressionism, expressionism, etc. The Bessarabian visual arts are no exception in this case. More refractory and more specific, the evolution of local culture was due to the historical situation of the land, ruled by the Tsarist Empire for a century, with the late emergence of professional art and the direct influences of Russian and Ukrainian itinerants’ realism characterized by special themes. But these trends were also marked by the emergence of non-conformist representatives of Russian art, such as Vladimir Falileev, Alexander Shevchenko, Nathan Altman, participants in Bessarabian salons in the early twentieth century. More eloquently, these renewals of local art occur after the internship of Eugenia Maleshevsci in Europe, the sporadic return to the homeland of Pavel Shilingovschi, but also the appearance in Bessarabia of a true representative of the new currents, such as Auguste Baillayre.

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Reel, Candice, Rebecca Allen, Bailey Lanai, Sami Sneed, and Daniel Potts. "Bringing Art to Life: Measuring Engagement Through Art, Connection, and Dignity." Innovation in Aging 4, Supplement_1 (December 1, 2020): 834. http://dx.doi.org/10.1093/geroni/igaa057.3054.

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Abstract The BATL program aims to improve the quality of life for community-dwelling people living with dementia (PWD) through art therapy, intergenerational contact, and life story preservation. This study utilized a modified ENGAGE measure (Hartmann et. al, 2017) to evaluate ethnographic transcripts recording activity and social engagement over time (N=100). A five-member analysis team independently coded the observation transcripts for engagement and qualitative themes. Results reveal average communication engagements (M=28.30, SD=13.36) significantly exceed the average art engagements (M=9.86, SD=5.56) over time t (98) = 20.85, p<0.001). Emergent themes included reminiscence, intergenerational communication, and creating art. These mixed method results suggest the intergenerational contact and reminiscence portions of BATL were fundamental features in comparison with art-making. More studies are needed to determine if the BATL intervention 1) has greater comparative effectiveness than typical programs in adult service centers, and 2) is scalable nationally to enhance the quality of life in PWD.

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Stevenson, Christine. "Essay Review: Art and Optics, the Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat." History of Science 29, no. 1 (March 1991): 99–101. http://dx.doi.org/10.1177/007327539102900104.

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30

Trzcińska, Izabela. "Esoteric Themes in the Artistic Works of Janina Kraupe." Nova Religio 19, no. 4 (May 1, 2016): 80–101. http://dx.doi.org/10.1525/nr.2016.19.4.80.

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The purpose of this article is to present the character and art of Janina Kraupe, a renowned Polish painter influenced by esoteric thought. While Theosophical concepts constitute one of the most important inspirations in her life, she borrows the concept of universal evolution from Anthroposophy, and her artistic experiments with geometric forms and the symbolism of color are influenced by astrology, Kabbalah, and Christian mysticism. Kraupe searches for a common ground in all these traditions, and her art is a synthesis of religious themes.

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Sandefur, Jim, and Dane Camp. "From the Editors: Patterns: Revitalizing Recurring Themes in School Mathematics." Mathematics Teacher 98, no. 4 (November 2004): 211. http://dx.doi.org/10.5951/mt.98.4.0211.

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Patterns are the very essence of mathematics, the language in which it is expressed. In recognizing and creating patterns of every conceivable type, mathematics is an art. It is also the science of analyzing and synthesizing such patterns. The art and science of exploring patterns have been entwined with mathematics from the very beginning, a relationship that is akin to the role of rhyme in poetry.

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32

Díaz, Jazz. "Art and Ethnic Studies." Ethnic Studies Review 42, no. 2 (2019): 173–79. http://dx.doi.org/10.1525/esr.2019.42.2.173.

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Jazz Díaz is an activist artist (artivist) who combines Art and Ethnic Studies. She describes her political consciousness and decolonizing process in navigating Western-centric art spaces. She highlights critical themes that her artwork addresses, and the essay includes examples of her work.

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Mirzakhoshimova, N. M. "THE THEME OF LIFE IN IMAGES." Art and Design: Social Science 02, no. 04 (November 1, 2022): 3–5. http://dx.doi.org/10.37547/ssa-v2-i4-02.

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The national ornaments used in the buildings and their modern interpretation, magnificent paintings and sculptures revealing various themes attract attention. In every era man has sought to express his spiritual needs.Renewed socio-political and aesthetic environment, together with the continuation of the art traditions of the past gave rise to new creative ideas, themes and artistic solutions. Reflecting the achievements of our country, preserving its prestige, explaining what qualities of creators and spiritual creators should possess, as well as people of today, became the actual subject of works of art.

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Ray, Alisa. "Art therapy postcards:." South African Journal of Arts Therapies 1, no. 1 (July 13, 2023): 111–33. http://dx.doi.org/10.36615/sajat.v1i1.2494.

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This research article draws on a master’s thesis. Inherited perpetrator trauma may result from a family legacy of past familial collaboration with the South African apartheid regime. This historical narrative emerges from a familial relationship with the artist Irmin Henkel, the author’s step-grandfather. Henkel was known as the official portrait painter of the 1960s apartheid regime Cabinet. A heuristic self-study and arts-based approach were used to create a five-step protocol that art therapists can use to treat inherited perpetrator trauma. The approach used postcards as an art therapy tool. I repurposed family photographs into postcards to engage with the past. I also wrote reflective narratives. Inherited perpetrator trauma theories were used. A dialectical thinking approach was used that considers more than one perspective. Three main themes emerged: guilt, denial, and toxic shame. The creation of postcards from historical family narratives successfully uncovered the themes. The protocol has not been tested beyond the self-study. However, the use of museum spaces and the theory of object relations is considered in this article. Making toxic shame conscious and confronting and transforming this trauma can prevent a repeat of past historical transgressions and encourage healthier relationships to self, family, community and a broader South African society.

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35

Lindberg, David C. "The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat. Martin Kemp." Isis 83, no. 2 (June 1992): 300–301. http://dx.doi.org/10.1086/356121.

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36

Serbest Yilmaz, Betul. "THEMES FROM ILIAD OF HOMER IN EUROPEAN ART OF PAINTING." Ulakbilge Dergisi 5, no. 9 (February 28, 2017): 103–28. http://dx.doi.org/10.7816/ulakbilge-05-09-06.

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37

Billings, Mary-Michael. "Issues vs. Themes: Two Approaches to a Multicultural Art Curriculum." Art Education 48, no. 1 (January 1995): 21. http://dx.doi.org/10.2307/3193557.

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38

Paponnet-Cantat, Christiane. "Painting Themes, Social Memory and National Identity in Cuban Art." International Journal of Arts Theory and History 8, no. 2 (2014): 33–45. http://dx.doi.org/10.18848/2326-9952/cgp/v08i02/36248.

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39

Walling, Donovan R. "Brainstorming Themes That Connect Art and Ideas Across the Curriculum." Art Education 59, no. 1 (January 2006): 18–24. http://dx.doi.org/10.1080/00043125.2006.11651574.

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Howe, Jeffery. "Symbolist Spirituality: Religious Themes on the Art of Fernand Khnopff." Religion and the Arts 8, no. 4 (2004): 415–57. http://dx.doi.org/10.1163/1568529044012201.

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Jalali, Seyed Mohammad Jafar, and Han Woo Park. "State of the art in business analytics: themes and collaborations." Quality & Quantity 52, no. 2 (June 13, 2017): 627–33. http://dx.doi.org/10.1007/s11135-017-0522-7.

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Oggins, Jean. "“Reversing Vandalism”: Coping themes in a library's community art exhibit." Arts in Psychotherapy 34, no. 3 (January 2007): 263–76. http://dx.doi.org/10.1016/j.aip.2007.03.002.

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Španjol-Pandelo, Barbara. "Iconography and Medieval Art Historical Studies: Iconographers, Methodologies and Themes." IKON 10 (January 2017): 399–400. http://dx.doi.org/10.1484/j.ikon.4.2017034.

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Kromm, Jane E. "Psychoanalysis, Artists, and the Interpretation of Religious Themes in Art." Listening 20, no. 3 (1985): 221–29. http://dx.doi.org/10.5840/listening198520321.

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Logue, Jessica. "Classics in Western Philosophy of Art: Major Themes and Arguments." Essays in Philosophy 24, no. 1 (2023): 121–25. http://dx.doi.org/10.5840/eip2023241-22.

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46

Beregovska, Khrystyna O. "Ukrainian-Polish Émigré Themes in the Art of William Kurelek: An Attempt to Analyze." Revista Gestão Inovação e Tecnologias 11, no. 3 (June 30, 2021): 890–900. http://dx.doi.org/10.47059/revistageintec.v11i3.1984.

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Karimimoshaver, Mehrdad, Bahare Eris, Farshid Aram, and Amir Mosavi. "Art in Urban Spaces." Sustainability 13, no. 10 (May 17, 2021): 5597. http://dx.doi.org/10.3390/su13105597.

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This study investigates the effect of art on promoting the meaning of the urban space. After considering the semantic dimension of the urban space and the mechanism of transferring the meanings of art through the views of experts, a model is presented for examining the art’s cooperation in promoting urban space meaning. In the first stage, the categories of space meanings influenced by art were extracted using the qualitative method of interpretative phenomenological analysis, and by examining 61 in-depth interviews in 6 urban spaces eligible for urban art in Tehran. In the second stage, these categories were surveyed in these spaces through 600 questionnaires after converting to the questionnaire items. Based on the results, “experience and perception capability”, “social participation”, and “relationship with context” were the main themes of the semantic relationships between art and urban space. Further, the lower scores related to the theme of “social participation” in the quantitative investigations indicate that this theme was weaker than the other themes in promoting the meaning of the urban space through the art in the selected urban spaces.

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Morwood, M. J., and D. R. Hobbs. "Themes in the prehistory of tropical Australia." Antiquity 69, no. 265 (1995): 747–68. http://dx.doi.org/10.1017/s0003598x00082314.

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The wetter tropical zones of northern Australia are linked by their monsoonal climates. Their archaeology shows its own distinctive pattern as well, and rock-art is an important source of evidence and insight. This study focusses on a part of Queensland, setting this local sequence alongside Arnhem Land (reported by the paper of Taçon & Brockwell) and in the northern pattern as a whole.

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Etinhof, Olga E. "ON THE QUESTION OF CLASSICAL THEMES IN THE ART OF PRE-MONGOL RUSSIA." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2021): 152–83. http://dx.doi.org/10.28995/2686-7249-2021-1-152-183.

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A narrow range of Byzantine texts, primarily chronographic ones, containing classical themes and images, were translated in Russia starting from the 11th century.These texts became the literary basis of secular and ecclesiastic art. Several iconographic motifs from mythological stories and the “Ascension of Alexander the Great” entered the art of pre-Mongol Russian. Byzantium was the main source of the antique elements in Old Russian culture. Some motifs were also adopted in Old Russia from Romanesque art, through close contact with Western Europe. The tradition of using ancient subjects for the decoration of churches in relief, which was widespread both in Byzantine and in Romanesque art, was continued in Russian monuments. Сlassical subjects on the walls of churches served as apotropaic images, but their symbolism could also include other aspects. Antique motifs are encountered even in the frescoes of monastery churches which followed a strict, ascetic iconographic programme in spite of the general orientation of Old Russian art towards the monastic culture of Byzantium. The author deals with the problem of specific samples. It is unlikely that objects of applied art could have served as models for church sculpture.

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Roddy, Stephen. "The Kyoto School and Sound Art." Resonance 4, no. 1 (2023): 69–87. http://dx.doi.org/10.1525/res.2023.4.1.69.

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This paper explores the thought of key Kyoto School philosophers Nishida Kitar_ō, Tanabe Hajime, and Nishitani Keiji as a novel framework through which to consider the historical development and philosophical underpinnings of sound art. Connections and divergences between these thinkers and key developments in the history of sound art are analyzed and explored. After an introduction to Kyoto School thought, the intersections between the Kyoto School and relevant 20th-century art movements are examined. The paper then spotlights four important themes developed in Kyoto School thought and analyzes key sound art pieces in relation to these themes. The article closes with a brief concluding reflection.

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