Nature Of Art Research Articles

Dramatic Arts Innovation and learning management in the 21st century

This research synthesis for writing academic papers aims to simplify the Thai dance teaching style by national artists and senior teachers. This academic paper uses a method of collecting information from national artists and research papers of 6 national artists and senior teachers in performing arts, namely 1. Kru Chalery Sukhawanich 2. Kru Chamrieng Phutpradab 3. Kru Lamul Yamakup 4. Kru Siriwat Disyanan 5. Kru Suwannee Chalanukroh 6. Kru Rattiya Wiksitphong. The research synthesis tool is qualitative data analysis using content analysis. The principles of analysis and data synthesis were used by content analysis to categorize and group the data. The results of the study revealed that teaching by national artists and senior teachers has a teaching process, namely teaching, making a look, living and staying visible and focusing on skills with 4 characteristics. As a result of the synthesis, it was found that teachers must develop both theoretical knowledge and practice concurrently to create an expert and expertise. There are various techniques and methods of conveying. Gratitude is a good role model. Having morals and ethics, emphasis on the development of teaching to learning to develop students to have higher performance.

Historical Evolution and Cultural Identity of National Dance: Taking Andai Dance as the Research Object

The Andai Dance is a traditional folk dance that spreads in the Horqin area of Inner Mongolia. It has strong local and national characteristics, and the dance style is passionate and generous, fully expressing the true feelings of the Mongolian people. It is a form of expression of national folk art integrated with singing and dancing performance and music singing. This paper profoundly explores and studies the inheritance and development of Mongolian Andai Dance in Horqin Grassland, including the form and characteristics of traditional Andai Dance. Understand the evolution of the movement and function of Andai Dance, let the new Andai Dance inherit the most vivid musical and dance elements of the traditional Andai Dance, protect and inherit the traditional culture, and explore the new development trend of Andai Dance in professional creation, performance, and mass popularization.

Peculiarities of sports training in Cossack fight

The article deals with topical issues of sports training in the Ukrainian national sport - Cossack fight. The history of the creation and further development of the Cossack fight based on the traditional Ukrainian martial culture is shown. An analysis of modern competition rules was made and the features of their first edition were determined. The technical differences of the competitive sections in the Cossack fight are revealed. The peculiarities of the training process of athletes depending on their age and the competitive section in which they specialize are shown. The trends in the development of martial arts, which determine the popularity of certain competitive divisions among athletes of different age groups, have been determined. Differences in the training of novice wrestlers and qualified athletes from the national team of Ukraine in Cossack fight are shown. The prospects for the further development of the Cossack fight and other types of national sports martial arts in Ukraine and the world have been determined.
 The Cossack fight received an impetus for development in Europe and the world. In the Ukrainian national types of martial arts, Cossack fight and Horting, the principles of building the training process are similar. In the Cossack fight and Horting, there are competitive sections with the use of sports weapons. Training in the competitive division of "fencing" has significant differences from other competitive divisions. It is shown that the Cossack fight is becoming a national brand of Ukraine. Ukraine is increasingly recognized in the world by Ukrainian national martial arts. Cossack fight and Horting are in the same category as taekwondo, Thai boxing Muay Thai, sawat, sumo.

“...seems to be built not of stone”: Without Foundation by V. Petrov (Domontovych) as an Architectural and Pictorial Novel-Ekphrasis

Intermedial analysis remains one of the leading interpretive strategies of contemporary literary studies, which determines the relevance of the study. The aim is to read the novel Without Foundation (1948) by V. Petrov (Domontovych) through the prism of intermediality. The research methods are determined by the objective. The method of intermedial analysis, contextual analysis, hermeneutic, comparative and semiotic methods are used. It is indicated that the writer transports a number of codes of plastic arts into the word: composition, colour and linear ratios, volumes, light and shadows, texture, etc. Verbal descriptions of works of art as visual objects in a novel often become a self-contained main narrative with extensive reflections on artistic phenomena. Certain episodes of the novel are a kind of verbal extension of the characters depicted in the paintings. Masterpieces of world and national art, as well as precedent-setting names of artists, provide the writer with the opportunity to find motives, moods, and images that are in tune with his or her own, and enrich the arsenal of visual and expressive means. The main basis of the artistic narrative is the architectural structure, which, determining the unity of the thematic and poetic design of reality, determines the subject, type of hero, system of characters, problematics, plot and compositional structure, chronotope, and type of narrative. Built not of stone, but in the writer's imagination, the Varangian Church becomes an architectural prototype that models a literary work, partially structuring it. Thus, the multifaceted verbal visualization of the Cathedral, in its artistic concept, tends to be similar to the artistic solution of C. Monet with regard to the Cathedral of Rouen. The author also devoted a "series of paintings" to the Varangian Church, which depict the urban space associated with the architectural object. Conclusions. The complex system of visual codes and their multiplicity testify to the originality and novelty of the Ukrainian writer, whose novel, in its language directly related to plastic arts, became a "prologue" to contemporary novels-ekphrasises.

Pedagogical ideas of Vitalii Ivanovych Hazinskyi in the context of professional training of music and pedagogical education applicants

The article summarizes the pedagogical ideas and stylistic features of the teaching activity of the outstanding representative of the Odesa Choir School, Professor Vitaly Ivanovych Gazinsky, in the context of training future music teachers and teachers of art disciplines for professional activity. Peculiarities of the artist's personal, professional, compositional, creative, performing qualities in achieving pedagogical achievements, high skill, gaining fame and recognition in a wide range of cultural environments of our country and abroad are noted. The historical significance of Vitaly Gazinskyi's multi-spectral activity in the development of the Podil choral school and national choral art in general is emphasized. On the example of the analysis of music-pedagogical, scientific and creative-performance activity of the conductor, the question of formation of personal and professional qualities of future music teachers is considered. The theoretical and practical aspects of the choirmaster's pedagogical activity, the formation of his humanitarian worldview and professional competences, outlined in the scientific and methodological works of Professor Vitaly Gazinskyi, are highlighted. The provisions of the educational and methodological manual "Educational Choir" regarding the use of the synthesis of scientific and creative activities in the system of musical and pedagogical education are substantiated. The content of the mentioned work is analyzed, which reveals the methodological foundations of the formation of professional skills and personal skills of future music teachers and teachers of artistic disciplines, in particular in the role of leaders of children's, youth creative teams, professional choirs. Emphasis is placed on the development of the artistic and aesthetic component of students' personality in the organization of the educational process using a wide range of disciplines of general training, as well as music-theoretical and vocal-choral disciplines. It is noted that the pedagogical, creative-performing, conducting and choral achievements of the great artist V. Gazinsky deserve the attention of teachers, choirmasters, musicologists and other circles of scientists.

MALAY PROVERBS VISUAL CULTURE: TRENDS AND PATTERNS THROUGH BIBLIOMETRIC ANALYSIS

Proverbs and folklore shape civilization and mankind over time. A non-tangible national art and cultural heritage, Malay proverbs carry the wisdom from the elder generation to their predecessors by defining a specific civilization. Sanskrit proverbs and Malay proverbs have some similarities. Young people use graphic digital media to consume, entertain, and interact. Future scholars can utilise the study to learn more about the field's current state. This study used Bibliometric Analysis to examine the relationship between visual graphics, digital media, and Malay Proverb from 2000 to 2023. Scopus and Lens.org provided 178 papers for study. To add context, this document includes the year, writer, keyword, and country. This study only accepts peer-reviewed journal articles, conference papers, and books. Publication year, authors, journal/conference/book titles, abstracts, keywords, and citations will be extracted. For analysis, Scopus and lens.org provided publication year, journal/conference/book title, authors, keywords abstract, and citation information. The study found that Malay Proverb research has consistently expanded, peaking at 20 articles in 2020. The trend and development in research on Malay Proverb and graphic digital media from 2000 to 2023 shows the study of Malay Proverb as a medium of communication and expression and its integration with current graphic digital media.

Review of the popular science collection “Аяз Гыйләҗев” (comp. Khabutdinova M. M. Kazan: Jyen, 2023. 672 b)

The purpose of the article is to review the popular seienee eollection called “Аяз Гыйлэжев” (“Ayaz Gilyazov”) (comp, by M. M. Khabutdinova Kazan: Jyen, 2023. 672 p.). The collection includes memoirs about Ayaz Gilyazov (1928-2002), the People’s Writer of the Republic of Tatarstan, winner of the State Prize named after G. Tukay, as well as the author’s autobiographical works, critical and journalistic articles, interviews, photographs and documents from the writer’s personal archive. The diaries and documents stored in the personal archive of the writer and publicist Ayaz Gilyazov, a classic of Tatar literature, a prominent representative of Tatar prose of the second half of the 20* century, have been collected and presented to the scientific community by Candidate of Philology Milyeusha Khabutdinova, a literary scholar who compiled a collection of reviews, which are of great significance in the studies devoted to the development of social consciousness in the 20* century. The publication is based on the principles of chronological and genre diversity. The material is subsumed into eight sections. The last section, entitled “Татар кодексы” (“The Tatar Codex”), has a quote from Rafael Sibat’s review of Ayaz Gilyazov’s work “Иэгез, бер дога!” (“Let’s Pray!”). The writer’s contribution to the national literary art and methods of research along with the methods for analyzing and the scientific principles of evaluation of his works are highlighted in the preface to Milyeusha Khabutdinova’s collection and in her articles about the writer’s letters and diaries, as well as in the memoirs of M. Sh. Shaimiev, the First President of the Republic of Tatarstan and State Adviser, the scholar I. Andreeva, the writers G. Akhunov, R. Zaidulla, Sh. Rakipov, R. Valiyev, A. Litvin, M. Galiev, T. Galiullin and R. Mukhamadeev

ЭСТЕТИЧЕСКИЕ ВОЗЗРЕНИЯ И.ЮСУПОВА

В статье рассмотрены особенности эстетических воззрений И.Юсупова, раскрыты их содержание на основе определения его эстетических программ, основанных на реализме, а также на анализе основных структурных элементов его эстетической программы.В нашем обществе изучению важнейших проблем эстетики уделяется особое внимание, поскольку воспитание всесторонне развитой личности невозможно без эстетической культуры. В центре внимания нашей страны всегда находится формирование всесторонне развитой личности на основе политических и эстетических идеалов, духовно-нравственных принципов правого демократического государства, гражданского общества. Это, в свою очередь, требует от нас изучения и определенного отношения к эстетике всех народов, проживающих в нашей республике, в том числе и каракалпаков. В этом смысле особое место здесь занимает становление и усиление проблематики методов реализма в национальной литературе и искусстве.

Les elevés des Wandjina de George Grey. De L’art Aborigène à L'art primitif (1838–1906)

George Grey’s Wandjina Copies. From Aboriginal Art to Primitive Art (1838–1906) The history of the recognition of Palaeolithic art has been written from the perspective of European discoveries in the last third of the 19th century. Through this case study of the publication of the Wandjina paintings (Australian Kimberley) by George Grey between 1838 and 1841 and through the contextualisation of the interpretations attributed to them the article investigates the intellectual and political space in which conceptions relating to the ability of Aborigines to produce this art emerged within the debates of contemporaries and, later, of English and French prehistorians. It also provides an insight into the different contexts that shaped the will to reconstruct the heritage of non–European cultures in a colonial context.

THE NOTIONS OF XIE-SHI («WRITING REALITY»), XIE-YI («WRITING IDEA») AND THEIR RELATIONSHIP TO REALISM

This article discusses terminological problems in the context of contemporary art practice and theory in China. Contemporary Chinese sculpture criticism has evolved in the context of certain influence of Western theories of art. Against the background of the integration of Western theories and terminology system of sculpture in the present stage, the Chinese sculpture community has perceived and internalized terms such as realism, depiction, figurative, abstract, and so on. This has greatly enriched the theory and practice of Chinese sculpture. At the same time, there are sculptural terms rooted in the Chinese national art practice, such as “xie-shi” and “xie-yi”. Unfortunately, limited by the cultural and linguistic contexts of China and the West, and by the fact that most Chinese sculptors still preserve the creative habit of relying on traditional experience and personal judgment, these terms lead to vagueness and speculation in defining the type of sculptural artwork. This situation can very easily lead to ambiguity and misinterpretation in interlingual translation, which becomes an obstacle to the understanding of Chinese sculptural art in other countries and limits the development of Chinese sculptural criticism. This is an important academic problem that requires long-term research. The author would like to express his gratitude to Prof. Maria Burganova for drawing his attention to this problem. According to the results of the author's search in the Chinese full-text database of periodicals, master's theses and doctoral dissertations CNKI, there are still no papers on Chinese art history specifically dealing with this relevant topic, which remains to be explored.

Investment Policy Impacts on the Australian Aboriginal Art Market

AbstractLegislation designed for one purpose may have unrelated side effects. In this article we examine the impact of recent changes in the application of the sole purpose test for artworks to be used as assets in retirement funds on the Australian Aboriginal art market. This is important since art sales represent a significant source of non‐government income for remote Australian Aboriginal communities. In this article we estimate the impact of this change and others on the price index based on the hammer prices paid for 13,555 works by 187 artists at art auctions from 1994 to 2019.

Using Deep Learning Methods for Image Generation

Introduction. Artists have always used different mediums to express their creativity and explore their imagination. With the advancement of digital technology, artists now have access to a vast array of tools that allow them to create works of art that are more sophisticated, complex, and visually engaging than ever before. Recently, there has been a growing interest in using artificial intelligence to create images for artistic purposes. Art imaging involves the application of algorithms and machine learning (ML) techniques to create digital works of art that can mimic the styles, techniques, and aesthetics of traditional art forms. Artificial intelligence systems can learn from massive amounts of data to create images that are incredibly realistic and detailed, as well as unique and original. The purpose of the paper. In this paper, an approach based on fuzzy logic was used to estimate the cost of housing in Kyiv. Fuzzy methods allow to apply a linguistic description of complex processes, to establish fuzzy relationships between concepts, to predict the behavior of the system, to create a set of alternative actions, to formally describe fuzzy decision-making rules. The purpose of the article. In this work, an approach based on generative models was used for image generation. Machine learning methods, namely deep neural networks, open wide opportunities for solving the given problem. Results. This paper considers the application of deep learning methods for image generation. A comparative analysis of existing means of image generation was carried out. A proposed modification of the generative model. The developed system generates an image of a fixed size (64x64, 256x256, 1024x1024) of an artistic nature, the minimum value of the FID index during training is 128. The program implementation of the model was performed in the Python programming language. Keywords: convolutional neural networks, machine learning, art generation, generative competitive network.

미술과 감상 영역 ‘질문’의 의미 변천: 2022 개정 및 이전 교육과정 내용 분석 연구

This study investigates the changes in content related to ‘questioning’ within the development process of the national level art curriculum. It also assesses the significance of recently introduced question-related contents within the domain of art appreciation. Through a comprehensive literature review, this study delves into the nuances and implications of ‘questioning’ in school art appreciation classes. Furthermore, a content analysis was conducted to compare the meanings of ‘questioning’ in the 2022 revised national art curricu-lum with those of the previous curricular. Consequently, this study reveals several key findings. First, teach-ers are encouraged to incorporate questioning strategies given the transformation of students’ emotional responses to a work of art from passive to active appreciation. Second, the concept of ‘understanding’ within the 2022 curriculum provides the basis for introducing ‘essential questions’ in art appreciation classes. Third, the notion of ‘inquiry’ may be linked to students’ authentic curiosity, yet it necessitates fur-ther scholarly discourse to clarify its meaning. Fourth, teacher-initiated questions can help students ‘explain’ a work of art. Fifth, the 2022 curriculum assumes that a work of art serves catalysts for inspiring students’ new inquiries with the expectation that a diverse range of student-generated questions during art apprecia-tion classes will enhance their learning experience.

인류 보편 언어로서의 미술에 대한 고찰

This study aims to find out what art means as a language and how it becomes universal, noting that art is newly defined as a "art as a universal languguage of humanity" in the 2022 revised national art curriculum, and to find out what meaning art as a language has in terms of art education. In that way, the relationship between the perspective of looking at "language" and the subjects using it was examined by analyzing the flow of language theory of Sosher, Bart, Derrida, and Wittgenstein from structuralism to post-structuralism. Based on this perception of language, we analyzed contemporary art works to derive the possibility of art becoming universal, and explored the possibility of art classes as a universal human language in the school field through art education cases. As a result of the study, it was possible to derive that art as a universal languguage of humanity has the meaning of constant communication and meaning-generating behavior in which the subject of expression-appreciation forms a common meaning through the form of work. In addi-tion, the universality of art as a language is acquired due to the diversity and participation behavior caused by the continuous generation of differences in signifiant-signifié, and it was of educational significance that it could play a role in breaking the clichéd form and engaging the subjects with a new perception. The results of this study could be an answer in terms of art education on how to realize identity and inclusion.

On Fridays We Play Games with Friends

Abstract For a 2022 panel presentation for the National Art Education Association, five art educators who were originally connected within a cohort of graduate students shared the significance of how play invites working together, creates intentional community, and informs and sustains their art, teaching, and research practices. This article features the transcript of the panel discussion, which examines their experiences of playing games together resulting in problematizing issues of access, articulating themes of relationality, and emphasizing the seriousness of play.

우호적 접촉 강화와 공동체 역량 함양을 위한 미술교육

This study is concerned that elements that hinder community solidarity, that is, elements of hostile relation-ships such as discrimination, prejudice, and hatred, are threatening the safety of society and are emerging as social problems, and investigates the role of art education in this regard. It started with concern. As if reflecting this social atmosphere, the 2022 Revised Art Curriculum was designed to bring community capabilities to the fore, strengthen community solidarity, and foster community members who cultivate eco-logical sensitivity and pluralistic values. The author focused on friendly contact within the community as a way to strengthen social solidarity, reduce hostile elements, and strengthen community capacity. The direc-tion of art education for this purpose was also explored, categorized into three categories: 'contact with the world', 'contact with media', and 'contact with other cultures'. Friendly contact with various subjects can be a good way to strengthen community capacity through art. Throughout human history, there has never been no conflict, and when conflict and hostile situations arise, we hope to reveal a more humane and friendly moral sense, and that will be an important role of the 2022 Revised Korean national Art Curriculum.

2022 개정 미술과 교육과정 정체성 역량 고찰

Identity was the most actively discussed issue in current society, which was characterized by delocaliza-tion, multiculturalization, and pluralization. Contemporary art has also faced various problems surrounding humans occurring in the same era and provided clues through images to solve them. The starting point was respect for humans, and it always started with a discussion about identity. While witnessing these changes in art, school art education has focused on identity as a starting point for leading an individual's life in the 21st century educational transition. However, identity was a concept that changes and is con-structed, and has gone through various transformations before being converted into an educational competency. Reflecting the overall spirit of the 2022 revised Korean National Curriculum with the vision of ‘leading talent with inclusiveness and creativity,’ ‘initiativeness’ was also emphasized in the 2022 revised Korean National Art Curriculum, which reflected self-identity. autonomy, self-development, self-reflection, self-exploration, self-understanding, self-orientation, and subjectivity understanding were proposed as iden-tity competencies with sub-competencies. This study examined the meaning of identity in education and various discussions related to identity based on the identity issue of contemporary art as a basis for under-standing the identity competency of the 2022 revised Korean National Art Curriculum. This study focused on explaining its meaning in detail and helping people understand and apply it in their educational settings.

문화복지의 쟁점과 문화의 복지적 역할

This paper aims at examining the significance and limitations of culture in welfare from the perspective of welfare, focusing on 2022 National Culture and Arts Activity Survey [abbreviated as 2022 Survey]. 2022 Survey shows that low-income group show more interest in improving the quality of works than cost, and that it is the high-income group that brings up the cost. The fact that low-income people have a high participation rate in cultural volunteering and clubs, showing their will and passion for culture and arts means that nostalgia for culture and arts is universal regardless of income. The welfare role of culture includes helping vulnerable group reflect on their lives, provide emotional comfort, discover hidden creativity, raise their intellectual level, and strengthen their sense of community integration. In this regard, this study is significant in that it has made it possible to supplement the weakening of welfare in cultural welfare and to rethink the quality of life based on the results of the 2022 Survey that expanded the cultural entertainment rate by income level.

긍재(兢齋) 김득신(金得臣, 1754-1822)의 산수화 연구

Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754-1822) is known as one of the three genre painters along with Kim Hong-do (金弘道, 1745-1806?) and Shin Yun-bok (申潤福, 1758-1817 afterwards) or only as a painter who had been largely influenced by Kim Hong-do. In fact, he was a 44-year veteran Dohwaseo painter who had participated in important national art projects. Aside from his famous genre paintings, his extraordinary talent in portraits, landscapes, birds and animals, and flowers and animals established him as one of the best painters during the period. Especially, his results in Nokchwijae (祿取才: the state examination for court painters) demonstrates his ability in landscape painting among other themes as well as how much recognition he received at the time; some of these works are currently available.
 Kim Deuk-shin’s landscape paintings carry two styles of landscape painting in Late Joseon Dynasty: literati landscape painting of the ideal and conceptual landscape and true-view landscape painting that painted mountains and rivers in Korea. This allows better understanding of his diverse works, as well as the variety of trends and transformations of the landscape painting in the Late Joseon Dynasty. In addition, compared to other themes such as genre, figure painting of Taoism and Buddhism, birds and animals, and flowers and animals that had been apparently influenced by Kim Hong-do’s style, his landscape painting has a different pattern due to being directly and indirectly influenced by a number of preceding painters including Jeong Seon (鄭敾, 1676-1759), Sim Sajeong (沈師正, 1707-1769), Kim Eung-hwan (金應煥, 1742?-1789), and Kim Hong-dothat were largely established in the area of landscape painting At the same time, it is also possible to observe the Gaeseong Kim family’s painting style from Kim Deuk-shin’s landscape paintings as they show association with those of his uncle Kim Eung-hwan, brother Kim Seok-shin (金碩臣, 1958-?) and Kim Ha-jong (金夏鍾, 1793-1875 afterwards). Kim Deuk-shin’s landscape painting style may have been passed on to Kim Seok-shinand Kim Ha-jong through secondary influence from Kim Eung-hwan, who was influenced by Jeong Seon and Sim Sajeong. Based on this, his landscape painting style appears to have had a significant influence on the establishment of the painting style within the Gaeseong Kim family and on later generations of court painters.

문화예술분야 사회적기업 성과지표에 대한 탐색적 연구

Arts and cultural social enterprises are organizations that create diverse social values through cultural activities. This study aims to explore performance indicators for arts and cultural social enterprises to enhance our understanding of their performance and investigate their sustainability. To this end, we reviewed and synthesized literature on arts and cultural social enterprises both domestically and internationally, focusing on the Social Value Index (SVI) and the Art & Culture Social Performance Evaluation Model (ARC-SPEM) currently in use. This synthesis informed the proposal of new performance indicators spanning social, economic, and artistic dimensions. Subsequently, a survey among arts and cultural social enterprise experts and a hierarchical analysis process (AHP) were conducted. The analysis highlighted the relatively recognized importance of social performance indicators compared to economic and artistic ones. ‘Cultural welfare and appreciation’ and ‘arts and cultural education’ emerged as priorities in the social dimension; ‘providing jobs for artists’ was prominent in the economic dimension; and ‘art as a social activity’—which employs art to generate diverse values— was underscored in the artistic dimension. However, a case study on the current performance measurement practices of arts and cultural social enterprises in Korea revealed inconsistencies in the criteria, terminology, and categories used across organizations, along with a lack of comprehensive quantitative and qualitative data for appropriate performance assessment. We conclude that to ensure the sustainability of arts and cultural social enterprises, it is crucial to concurrently consider the peculiarities of art jobs, donations and sponsorships, service-oriented activities, and genre-specific value chains from social, economic, and artistic perspectives. Furthermore, artistic performance indicators not only impact artistic outputs but also influence social and economic outcomes, highlighting the need to acknowledge each organization’s unique artistic nature. This study’s significance lies in its systematic and comprehensive identification of performance indicators, acknowledging the unique attributes of arts and cultural social enterprises. It provides a foundation for revisiting previously overlooked performance metrics and facilitates communication with various stakeholders by introducing new artistic performance indicators tailored to the arts and cultural sector.