The Udmurt Ritual Belt “Zar” and Its Tripartite Composition: A Semantic Inquiry

Photographs and negatives of V. Scherbakivskyi are an important source for studying the genesis of Ukrainian sacred construction, architecture, folk art, and ethnography. They are the basis for the restoration of the artistic tradition, remain relevant, and go far beyond the boundaries of historiographical discourse. The goal is to publicize and analyze information about Vadym Shcherbakivskyi's negatives, which are stored in the funds of the Institute of Ethnology of the National Academy of Sciences of Ukraine, to show his familiarity with photographic practice, to highlight their value for architecture, folk art, ethnology, and church history. The object of the study is the legacy of V. Scherbakivskyi's negatives, collected by the Museum of the National Academy of Sciences. The subject is the practice of using visual material by Vadym Shcherbakivskyi to study the genesis of Ukrainian sacred construction, folk art, ethnography and to restore the artistic tradition. Methods: comparative-historical analysis is used for the reconstruction, study and research of certain ethnographic territories of Ukraine; synchronous and diachronic — to characterize the content variability of its photo-fixation, its use for building the genesis of Ukrainian sacred architecture and its origin. The article highlights the cooperation of V. Shcherbakivskyi with the National Academy of Sciences, his scientific research in Galicia at the beginning of the 20th century. and in the Poltava region, it is shown how the collected visual sources allowed V. Shcherbakivskyi to assert the existence of an independent "Ukrainian church style", that the Ukrainian artistic tradition is a confirmation of national identity, it is highlighted how his photo-fixation of Ukrainian church architecture became an important factor in the breakdown of the Great Russian piece in appropriation other people's achievements. It is shown how visual sources serve as artifacts for the study of architecture, folk art, ethnology and Church history, the tasks set for the processing and digitization of photos and negatives of V. Shcherbakivsky and the publication of an album for the 150th anniversary of his birth.

Paper-cut, as a traditional folk art, has become a treasure of Chinese folk art in its long history of development. Paper-cut gives people artistic enjoyment visually with its unique creative techniques, full composition and vivid and interesting patterns. Methods: Traditional folk paper-cut art records the folk customs of the Chinese nation and embodies the temperament and national style of the Chinese nation. Its unique way of thinking and expression provide unique creative ideas and rich visual art resources for modern graphic design. Chinese folk paper-cut is an organic combination of decoration and practicality. Results: It can not only show the rich and colorful folk life, but also meet the aesthetic needs of a variety of situations. How to combine rich traditional culture and art with graphic design concepts and the spirit of the times to design works with national style, so as to better integrate folk paper-cut art with graphic design, is the pursuit of graphic designers. Conclusion: Based on visual communication design, this paper discusses the comparison and integration between traditional Chinese folk paper-cut art design and modern graphic design.

The purpose of the study is to analyze the concepts of "folk arts and crafts" and their comparison with folk and decorative arts. The use of materials on the culture of the Ob Ugrians allows us to define the boundaries of these phenomena, which are interpreted differently in legal, educational and cultural contexts. The concepts of "folk arts and crafts" and "folk art" have similarities in that they both relate to traditional forms of culture that were created and passed down from generation to generation by the people. The concept of "decorative and applied art" includes various objects of art that are created for the purpose of decorating clothes, dishes, and interiors. The equivalence of these concepts lies in the fact that this activity of creating handmade products has unique artistic qualities. The materials for the study were the works of Soviet and Russian art historians and ethnographers. The author relies on the fundamental research of the art historian M.A. Nekrasova on the theory of folk art. Special attention is paid to the works of northern historians specializing in the traditional art of the Ob Ugrians. The article analyzes the conceptual framework in federal and regional legislation. Having studied various forms of artistic creativity – folk crafts and folk art, we have identified their specific features, which were formed under the influence of historical, socio-economic, cultural changes. Adherence to tradition is an important feature of the folk culture of the indigenous peoples of the North, which allows us to preserve its unique characteristics. Folk arts and crafts of the Ob Ugrians today continue to develop and adapt to modern realities, while maintaining their identity. Folk art and crafts have a special system of meanings, which are determined by their history, functioning, and specific expression, including in modern reality. The folk art of the Ob Ugrians has its own trajectory of development within the settlement of these peoples. At the same time, all traditional culture has deep roots in the ethnic environment and is transmitted through mechanisms related to ethnic identity and social translation.

This piece is the second of a three-part forum published in this issue. Part I is the “Executive Summary” and “Introduction” of The Alliance for California Traditional Arts’ Tending the Taproot: Opportunities to Support Folk & Traditional Arts in the United States report by Amy Kitchener, Shweta Saraswat-Sullivan, and Lily Kharrazi, published in December 2022. Part II is a summary of the Living Cultural Heritage and the Traditional and Folk Arts in the Nonprofit Sector report by Carole Rosenstein, Mirae Kim, and Neville Vakharia. Part III is a forum of essays in response to the two reports, by people with diverse engagement with and perspectives on the data and findings: Tayshu Bommelyn, Martha Gonzalez, Debora Kodish, Selina Morales, Elizabeth Peterson, Langston Collin Wilkins, and Andrew Zitcer.

Henan Province, often regarded as the cradle of Chinese civilization, is famous for its rich heritage of traditional folk art. These art forms, extremely intertwined with the region's cultural identity, are not only valuable as cultural artifacts but also serve as a powerful source of encouragement for contemporary Public Art (PA) design. The function of Henan's traditional folk art schema in shaping modern PA, focusing on how folk motifs, patterns, and symbolism are incorporated into PA installations. Henan's diverse folk art traditions, such as the complicated paper-cutting, sophisticated ceramics, and the profound symbolism of bronze, offer a distinct aesthetic language that informs PA designs in urban spaces. Through a qualitative analysis of case studies, this research examines notable PA projects in Henan, including the murals at Zhengzhou's Erqi Square, the Song-inspired displays at Kaifeng's Iron Pagoda Park, the structural design embellishments in Yingcheng Folk Culture Street, and the thematic installation at the Luoyang Peony Festival. These examples reveal the seamless blending of traditional folk art with present artistic expression, representing the ability of conventional schemas to bridge the gap between history and modernity. The research highlights that folk art forms not only preserve cultural heritage but also transform public spaces by enriching the visual landscape, fostering community identity, and sparking cultural dialogue. In conclusion, incorporating Henan's folk art into PA design plays a vital role in the renewal and preservation of cultural heritage, reinforcing the significance of traditional arts in the developing cultural description of modern cities

The combination of painting art and apparel design has a long history. More artistic thinking methods are added in the current apparel design so as to render personal feelings. Various artistic concepts of abstract painting play an important role in promoting the development of apparel design. In terms of apparel design, they not only can draw nutrition from art and society, but also have unique power. They are not only the source of inspiration and concept of apparel design, but also an important reference of visual language. This paper mainly starts from the inspiration of abstract painting on apparel design and explores the important role of abstract painting in apparel design. With the integration of multiple cultures in the society and the constant development of economy, people attach more and more importance to apparel design and pay more and more attention to aesthetic value and dressing taste. Currently, designers and consumers are increasingly seeking visual pleasure. Therefore, apparel design becomes more and more diversified. Seeking inspiration from various kinds of art becomes a new design thought pursued by designers. However, characteristics of abstract painting art such as free image, unrecognizability, pursuit for new aesthetic form and expression of feelings and harmony can bring new inspirations to apparel design. The application of abstract painting art in apparel design will be a trend of fashion and make us pay more attention to art and expand the mind of apparel design. Connotations of abstract painting Abstract painting is a western vocabulary which is relative to figurative painting. Abstract painting is different from figurative painting. It does not describe objective reality and nature. Abstract painting is generally understood as an art which does not describe the natural world and expresses things in a subjective way with color and shape. French art theorist Michelle Surf understood abstract painting in this way: I call all kinds of art without any warning and any memory of reality as abstract art, whether this reality is the starting point of the painter or not. Abstract painting art is not only the integration of image generalization, artistic creation and theoretical conception, but also the unification of imagination and emotion of artists. Abstract painting plays a role as artistic design pioneer Abstract painting plays a role as pioneer in the history of modern art in the 20 th century. Its development not only changes people's concept about traditional art, but also can promote the visual effect of diversity and richness of abstract painting and the formation of new aesthetic form.

This study aims to analyse the inheritance of folk arts in the wall painting art as an example, and to propose the main measure for the application of folk arts in the wall painting art, to allow our country's folk arts to continue the inheritance while enriching the wall painting art form, and to encourage the integrated development of both. Folk arts refers to the art that is inherited and developed among the public. The purpose of folk arts creation is to beautify the environment and enrich the popular culture. Folk arts includes the traditional art forms of various ethnic groups in China and is the embodiment of various art forms. Folk and traditional arts are rooted in and reflective of the cultural life of a community. They encompass the body of expressive culture associated with the fields of folklore and cultural heritage. Tangible folk arts include historic objects which are crafted and used within a traditional community. It applies a qualitative, because of its flexibility in recording observations of elements of folk arts in wall painting. To this day, wall painting still has a large market in Chinese society, and folk arts has gradually developed into the most popular element. Overall, this study will provide an invaluable source of information about folk arts and wall painting. It will benefit wall painting designers, artists, researchers, art students, and scholars interested in studying this theme and traditional elements.

The article analyzes the process of studying the traditions of folk art of Ukraine in out-of-school education institutions.It is noted that the formation of national identity in the younger generation is of great importance. This can be done in several ways, including by joining students to a national culture whose branches are folk art and its traditions. At the same time, folk art is a historical phenomenon. It is based on prehistoric times, which reflect the diverse needs of people, replenish the material and spiritual treasure of the Ukrainian people. Perhaps the most important folk tradition is oral folk art, language. Thanks to language, oral folk art is passed down from generation to generation and is the basis of national consciousness and culture.It is determined that the most common types of folk art in Ukraine, which are available to teenagers and do not require toocomplex equipment, are embroidery, Easter painting, ceramic toys. The analysis showed that in the lessons of groups studying the traditions of folk art of Ukraine, working with a variety of material, students gradually learn about the achievements of the past, gain practical experience, enrich the soul and heart with positive emotions. Modern products created by the students of the clubs are stylized, latest copies, imitations of ancient household items, things around us, apartments and more. They seem to unite the native and eternal symbols of our people, national and family shrines. It is determined that the purpose of the program is the development of personal abilities through folk art, while the main tasks are the formation of the following competencies: cognitive, which introduces the concepts and knowledge of folk art; practical, which helps to master the skills of creating a variety of products; creative, providing education of creative abilities; social, contributing to the formation of a caring, respectful attitude to folk traditions, national consciousness and the formation of aesthetic taste, the promotion of folk crafts. It was also noted that extracurricular activities create a unique creative educational environment, open to every child, which can not create any institution of general secondary education, as there is no appropriate specialization and specialists to develop special skills and talents of students.

Reviewed by: Folk Art and Modern Culture in Republican China by Felicity Lufkin Yurou Zhong Felicity Lufkin. Folk Art and Modern Culture in Republican China. Lanham, MD: Lexington Books, 2016. 217 pp. $95.00 (cloth). Folk Art and Modern Culture in Republican China is a valuable addition to the studies of folk art, folklorics, and modern Chinese cultural history. Felicity Lufkin, employing the keen sensibility of an art historian, gives shape to the fraught intertwinement of folk art and modern culture in Republican China. Through rich illustrations and strong formal analysis, Lufkin visualizes how Chinese folk art, on the one hand, came to be understood to be primitive, backward, and in need of intellectual intervention and, on the other, held considerable power over the development of modern Chinese culture and politics. In conversation with earlier works by Chang-tai Hung and David Holm and, more recently, Xiaobing Tang and James Flath,1 Lufkin zooms in on folk art—woodcut prints and Chinese New Year pictures (年畫 nianhua) in particular—to ponder the relationship between art and politics in twentieth-century China. In chronological order, Lufkin delineates how the study of folk art in Republican China took its cue from the earlier movement of folklore studies, converged with and diverged from the New Print movement, and eventually was appropriated by both the Guomindang (GMD) and the Chinese Communist Party (CCP). Part 1 depicts how the artistic, intellectual, and public discourses shaped, negotiated, and assimilated folk art in the years leading up to the full outbreak of the Second Sino-Japanese War. Lufkin gives [End Page E-7] full volume to both the attraction to and ambivalence over the concept of folk art: from the abounding joy of Xu Beihong (徐悲鴻 1895-1953) at seeing Niren Zhang (泥人張) clay figures—which he compared to masterpieces of the best European sculptors—to his reluctance to meet folk artists in person (chapter 1); from Lu Xun's endorsement of and the Modern Print Association's embrace of "folkloric prints" to the criticisms that the association received for fixating on images of localized everyday life in Guangzhou without contributing to the buildup of revolutionary ethos (chapters 2 and 3); from the success of the first major Chinese exhibition of folk prints held in Hangzhou in 1937 to the curators' realization that recontextualizing folk art in a modern exhibition hall and in accordance with enlightenment discourse could not guarantee the full exorcizing of feudal remnants (chapter 4). Insofar as folk art was a source for both pride and shame for modern Chinese artists, intellectuals, and educators, "two contradictory views regarding folk and popular prints simply coexisted" (105). On the one hand, the perceived backwardness and primitivism embodied in folk art seemed to beckon elite intervention and top-down reform. On the other, despite efforts to reify the negative connotations of folk art and to fossilize it as an unchanging specimen from the past, the "diversity and cultural richness" of folk art persevered and even "intensified" at a moment of national crisis (106). Part 2 showcases how both the GMD (chapter 5) and the CCP (chapters 6 and 7) utilized folk prints during the Second Sino-Japanese War for wartime mobilization, national salvation, and the promotion of party politics. While, in Nationalist-controlled areas, the GMD narrowed their use of folk-based propaganda mostly to the resistance Door God (chapter 5), the CCP in Yan'an and other Communist base areas explored more extensively the use of folk art such as the new-style New Year pictures and papercuts (chapters 6 and 7). Lufkin is careful to note, however, that while both parties found that the "new wine" of wartime propaganda "fit comfortably and appealingly into the 'old bottles'" (136), such successful appropriation of folk art at a time of national crisis did not dispel anxieties surrounding the old forms, for fear that it would promote "feudal superstition" (164). Such suspicion of and dissatisfaction with the folk prints left room for further reform. Without making explicit the causality between the lingering suspicion of folk art and renewed reform measures in the People's Republic of China, Lufkin ends the book with a compact conclusion highlighting the key events...

Author(s): Palmer Wolf, Dennie; Holochwost, Steven J.; Bar-Zemer, Tal; Dargan, Amanda; Selhorst, Anika | Abstract: The authors investigated the association between participation in Nations in Neighborhoods (NiN), a program of folk and traditional arts instruction, and achievement in English language arts in a sample of low-income elementary school students, many of whom were recent immigrants and English language learners. The program drew on the core practices of traditional and folk arts – sociocritical literacies that bridge home and school, multi-modal instruction, apprenticeship learning, and communal effort – to provide students with the confidence and strategies of accomplished learners. English language arts achievement was assessed using a standardized state proficiency exam. Students who participated in the program received significantly higher overall scores on the exam after controlling for gender, ethnicity, English language learner and special education classifications. These findings suggest that an arts education program featuring folk and traditional arts engages students in practices that have measurable effects on their literacy development.

Very rich traditional folk art culture contains in Central China. Inheriting and carrying forward these folk art resources in the education form is human obligatory responsibility for development of society and national culture. Meanwhile, folk art inheritance will also bring infinite vitality to education and deepens the emotion of local people for local traditional culture. This paper aims to explore and analyze fusion of folk art culture and art design education in Henan. Through specific teaching practice, the thought of local folk art and college art education reform and new creative development direction of folk art design are explored.

Folk art and applied folk art have been constantly shaped by cultural and political actors, as well as social and economic processes and the local society affected by them. In the context of these changes, the definitions of authentic, original, and genuine were given a new interpretation, which can be examined in different contexts. The question of authenticity in material folk art arose shortly after the birth of the concept of folk art and the “discovery” of folk art, and has accompanied the history of the revival of material folk art. Nevertheless, although discourses on the subject have been ongoing for a long time in the fields of folklore, theoretical works dealing with material folk art have not paid much attention to the issue of authenticity. The study first describes the contexts through which the issue of authenticity was articulated in artifact production inspired by folk art. The changed social conditions during the 20th century have also generated, and are still generating, new legal dilemmas in the field of artifact production at both community and individual levels, such as the extent to which folk art is individual or community-owned (taking into account the narrower and wider community), and the copyright of an authentic folk artist or craftsman or a creator recognized as a folk artisan. The questions lead to the evolution of the definition of authenticity and point out, among other things, the role that the issue of authenticity plays in the process of the heritagization of folk art.

The Study of Inheritance and Development of Heilongjiang Farmers’ Paintings

This piece is the first of a three-part forum published in this issue. Part I is the “Executive Summary” and “Introduction” of The Alliance for California Traditional Arts’ Tending the Taproot: Opportunities to Support Folk & Traditional Arts in the United States report by Amy Kitchener, Shweta Saraswat-Sullivan, and Lily Kharrazi, published in December 2022. Part II is a summary of the Living Cultural Heritage and the Traditional and Folk Arts in the Nonprofit Sector report by Carole Rosenstein, Mirae Kim, and Neville Vakharia commissioned by Alliance for California Traditional Arts. Part III is a forum of essays in response to the two reports by people with diverse engagement with and perspectives on the data and findings: Tayshu Bommelyn, Martha Gonzalez, Debora Kodish, Selina Morales, Elizabeth Peterson, Langston Collin Wilkins, and Andrew Zitcer.

The subject of this research is the analysis of works of the three prominent artists of various Russian manufacturing centers of lacquer miniatures of the XX century – P. D. Bazhenov (Palekh), I. K. Balakin (Mstyora), V. A. Belov (Kholuy). The goal of this article consists in the attempt to create a “comparative biography" of the artists of various lacquer crafts, as well as demonstrate fruitful work of the miniaturist-innovator in different fields of art that are not a part of the traditional folk art. Among the manifestations of such innovation, the author indicates that the listed miniature artists found themselves in other fields of fine art, such as easel paintings, stage performance, posters, caricatures. The application of biographical method of research allows focusing attention on experimentation and innovation as the key feature that unites all three masters of lacquer crafts: P. D. Bazhenov in Palekh (1930s), I. K. Balakin in Mstyora (1940s – 1950s), V. A. Belov in Kholuy (1960s – 1970s). The scientific novelty lies in studying the practices of implementation of peculiarities of the aforementioned types of art in the works of lacquer miniatures. The main conclusion consists in the fundamental provision on justification of the artistic pursuit by any artist of folk art, which was oppugned during the Soviet period of the history of Russian folk art.