Art Culture Research Articles

PHOTOGRAPHIC ART AND ANTHROPOLOGY: DECODING THE MULTIFACETED CULTURE OF CORPORALITY

The art of photography has been challenging and reshaping our perception of the world since its inception. Likewise, anthropology, as a discipline that studies human cultures, social structures, and beliefs, offers a valuable perspective for understanding the body presentation in photography. Combining anthropological theories and methods, as well as analysing and interpreting works of photographic art, the article examines how identity is interpreted, constructed, expressed in culture and social structure in photographic art, including through a body image. The body is the most direct and authentic manifestation of identity. However, identity is not some kind of fixed label; it is multi-layered and multidimensional, constantly developing and changing both in a person and in the environment. As an artistic medium, photography makes it possible to show this changeability and versatility of identity. Moreover, the body does not exist in isolation in photography; it is placed in a cultural, historical and social context. This context gives the photographer and the viewer a clue to deciphering the body, helping to deeper understand the body’s place in culture and the values and beliefs it carries. Photography captures not only the body but also the many interpretations and meanings given to the body in culture. By exploring the relationship between the body and social structure, we find that certain body features are used in various sociocultural contexts to differentiate social status, gender, race, and other social markers. By highlighting or challenging these features, photography deepens our understanding of the role of corporality in social structures. Thus, the application of anthropological approaches to the analysis of the art of photography provides us with a fresh perspective, allowing us to gain a deeper understanding of the cultural, social and individual meanings embedded in photography. Through anthropological interpretation and understanding of the body, through the expressive means of photography, works of greater depth and breadth can be presented, and the viewer, owing to the anthropological perspective, can gain a deeper understanding of the cultural context and social environment in which he or she lives.

Strengthening Religious Moderation Through Media of Traditional Cultural Arts Attractions in Tanjung

This study aims to examine the strengthening of the attitude of religious moderation implemented by the Sasak people who are Muslim and Hindu people who embrace Hinduism through the media of cultural arts. This research was designed in a qualitative descriptive manner using a case study model. The results of this study found three important findings related to the strengthening of religious moderation through art and culture media. First, there was cultural arts contact between the Sasak people and the Balinese people in the past which collaborated. Second, the arts collaboration that occurs is displayed in traditional, cultural, religious and important activities as a vehicle to enliven the event. Third, the arts and cultural expressions in activities, both informal and formal, have the opportunity to strengthen religious moderation.

Pembelajaran Ansambel Musik Sejenis Pada Siswa Kelas VII.1 Di SMP N 29 Padang

This study aims to describe the implementation of similar music ensembles in grade VII.1 students at SMP Negeri 29 Padang. This type of research is qualitative research with a descriptive approach. This research instrument is the researcher himself and is assisted by supporting instruments such as stationery and cameras. Data collection techniques are carried out by means of literature studies, observations, interviews and documentation. The data in this study used primary data and secondary data. The steps of analyzing the data are collecting data, identifying the data, clarifying the data, describing the data and inferring the data. The results showed that cultural arts learning in class VII.1 at SMP N 29 Padang used the 2013 curriculum syllabus by applying the 2013 curriculum pattern method, namely, student-centered learning patterns, active patterns, group patterns, multimedia-based learning patterns, and plural learning patterns. Cultural arts learning which was supposed to be 3 meetings to 2 meetings made it a little difficult for students to face the exam of similar musical ensembles. The lack of facilities and infrastructure does not hinder teachers in developing their creativity in order to continue to achieve learning objectives

Integrated Framework for Virtual Tours and 3D Visualization of Cultural Tourism in Pattani, Thailand Based on WebGIS Platform

This paper presents a framework for developing a lightweight WebGIS platform as a web map service for publishing and servicing cultural tourism information. The archaeological sites, history, and cultural arts in Pattani Province were used as case studies in this article. It incorporates various digital technologies to create digital archives in providing web-based information services, including geospatial databases, virtual tours and virtual reality, 3D models, and online cultural maps for tourism. The framework describes the necessary infrastructure based on open-source code that is specially developed and provides libraries with free software interoperability, which can be considered as a real-time data management facility and simple completion. It is a relatively low-cost but a reasonably efficient system that is very useful and suitable for local authorities and small organizations with budget constraints to be able to implement practical cultural heritage management for a digital tourism experience that can be displayed on computer equipment, smartphones, and VR headgear efficiently. Furthermore, it also offers a conceptual framework in disclosing future research directions.

«Неизбежный нравственный переворот» и идея революции в русской общественно-политической мысли XIX–начала ХХ века

The article examines the relationship between the concepts of moral and religious upheaval and political revolution in Russian philosophy of the 19th – early 20th century. The genesis of the concept of moral upheaval is traced in detail in the reflections of P.Ya. Chaadaev, A.I. Herzen, F.M. Dostoevsky, V.S. Solovyov and L.N. Tolstoy. It is shown that Russian thinkers believed that the central element of this upheaval was the religious renewal of life, which consisted in replacing false church Christianity with true (gnostic) Christianity. Particular attention is paid to Herzen's idea that the highest goal of social development, which has religious significance, is artistic culture, therefore any revolution is fruitful only if it leads to the strengthening of the value of culture. Based on the later works of N.A. Berdyaev it is shown that the idea of revolution has a religious justification, but it is fundamentally different for its Western and Russian versions. It is concluded that Herzen and Berdyaev understand the Western version of the idea of revolution and the associated ideology of liberalism as a rationalization of the Catholic worldview which is directed against the development of culture and creativity in man, therefore, having triumphed in Europe, liberalism deprived it of the possibility of the upheaval and led to its cultural and spiritual degradation. The main result of the article is the idea that the Russian version of the idea of revolution which is a form of rationalization of Gnostic Christian religiosity left for a person the possibility of creativity and “re-creation” of the world, although only in the rational form of scientific and technological progress. That is why the revolution and the communist ideology did not have such negative consequences for Russia as the liberal ideology had for the West. As a final result it is shown that Russia and even more so Europe, will only embark on a fruitful path of spiritual development when they finally overcome the idea of revolution and make that moral and religious upheaval that Russian thinkers spoke about.

Research on participation in cultural arts spaces and cultural arts education programs

Research on participation in cultural arts spaces and cultural arts education programs

조선시대 장수(⾧壽) 문양을 활용한 텍스타일 디자인 연구

Whether in the East or the West, all human beings wish for health and longevity. Since ancient times, the origin of longevity has been passed down through historical records and oral traditions. In the Joseon Dynasty, our nation developed a collection of items containing the expression of longevity. There are cultural assets such as clothes, furniture, and buildings with longevity patterns used in the royal family of the Joseon Dynasty. It is being reinterpreted by being grafted into many fields as a formative expression in art culture and contemporary design culture. This study investigated the preferences of modern people about animals and plants that wish for longevity, and developed textile design based on the results.

ПОСТАВАНГАРДНЫЙ ФАРФОР КОНЦА 1920-Х – ПЕРВОЙ ПОЛОВИНЫ 1930-Х ГОДОВ И ПРОБЛЕМЫ ПОЛИТИЧЕСКОЙ АГИТАЦИИ

Soviet porcelain of the late 1920s – the first half of the 1930s was an integral part of Stalin’s “propaganda for happiness” by means of artistic culture. Porcelain artists interpreted the themes of industrialization, the development of agriculture, the army and navy, “great construction projects”, northern expeditions and the industrial development of the Arctic, the Soviet East, the cultural revolution, sports in optimist manner typical for official aesthetic and propaganda discourses. Nevertheless, the porcelain of the late 1920s and the first half of the 1930s appropriated the ideas of Suprematism, Constructivism, Cubo-Futurism and Art Deco, the pictorial imitation of collage, as well as the combination of visual and verbal principles through the addition of inscriptions, inherited from propaganda porcelain. Artists often preferred generalized forms, used bright, contrasting colors, aimed to concise color (only several paints), graphic and some conventionality. Works of the late 1920s and early 1930s often corresponded with the porcelain of the first post-revolutionary years, reproducing its visual codes. It’s important to note the integration of images of modern, in particular, constructivist architecture, into thematic porcelain compositions.

Живопись во Времени и Пространстве культуры: к столетию со дня рождения Г. О. Рокчинского (1923–1993)

Статья посвящена наследию народного художника РСФСР Гаря Рокчинского (1923–1993). В быстротечном потоке Времени творчество, одухотворенное традициями предков, органично впитывает ускользающее, живет настоящим и явственно прозревает будущее. Исследование призвано выявить в живописи дух Времени, концентрируемого в Пространстве мировидения художника. На основе произведений живописи второй половины XX в. реконструированы этапы становления и формирования творческой Личности. Произрастая на почве любви к родине, духовный мир художника воплощается в разнообразии жанров живописи и графики (пейзажа и портрета, тематической композиции), а также самобытной малой пластики. В анализе творческих поисков Г. О. Рокчинского, обозначенных циклами «Земля и люди», «Джангариада – образная память предков» и «Буддизм как философия Жизни», раскрыта глубина постижения этнической Вселенной. В произведениях, составляющих наследие художника, воплощен код национальной культуры, сохраняющий образную память народа. The study aims at understanding the creative activities of the Kalmyk artist Garri Rokchinsky (1923–1993) through the disclosure of features that make it possible to present his heritage in the space and time of traditional culture. The material included Rokchinsky’s paintings created in Shiroklag and Kazakhstan, where the artist received an art education while in deportation, as well as his canvases painted later in Kalmykia; the results of art history and cultural studies were also used. The research process in the study is a reconstruction that synthesizes the methodological foundations of history, art history, cultural studies and philosophy. The formation of the artist’s personality took place under the influence of the traditional worldview of his ancestors, which was reflected in a consistent appeal to the history of the Kalmyk people. Love for his homeland inspired Rokchinsky to understand himself and his ethnic heritage in various genres of painting, graphics and original small plastic arts. The idea that it is in fruitful activities that a person acquires ethnic identity, formed in a deeply meaningful connection of the concepts “clan”, “people” and “homeland”, was embodied in Rokchinsky’s extensive pictorial cycle Land and People. The artist’s picture of the world was further expressed through the traditions of Mongol zurag flat painting in the epic cycle Jangariada. Rokchinsky deeply understands the connection with the culture of Mongolia, the ethnic ancestral home of the Kalmyks. At this point a philosophical doctrine was introduced; the artist develops its ethical foundations in his works, which allowed him to assimilate the spiritual essence of Buddhism. In the author’s opinion, the artist’s turn to non-objective painting, which embodies the truths of existence, was a natural facet of comprehending world culture. The paintings of Rokchinsky, born in the harmony and contradictions of Existence, express the originality of the fine arts of Kalmykia as part of the artistic culture of Russia. At the same time, the universe created by the artist is one of the ethnic facets of the world artistic heritage. The space and time of Rokchinsky’s works embody the “genetic code” of national culture, preserving the figurative memory of the people. The methodology implemented in the study made it possible to reconstruct the process of formation, preservation and continuity of traditions in the art of Kalmykia, clearly represented by the works of Garri Rokchinsky, a People’s Artist of the RSFSR, whose 100th anniversary is celebrated in the Republic of Kalmykia in 2023.

An Economic Analysis of Tax Incentive for Project Investment in Cultural Arts Contents

An Economic Analysis of Tax Incentive for Project Investment in Cultural Arts Contents

The Legal Protection of Ngajat Lesung Dance as a Copyright for Traditional Cultural Expressions

<p><em>Traditional art must be protected as it is included in Intellectual Property Rights (IPR), including Copyrights. The Copyright law aims to protect works of art created by artists. In addition, it can facilitate individual creativity or expression for the broad benefit of humanity, ensuring that the rights to property owned by artists are recognized, respected and can be defended on actions that violate their rights. Ngajat Lesung dance is a traditional dance that belongs to the Village of Sejuang, Seluar District, Bengkayang Regency. The empirical legal approach is the method for conducting this research. This method involved by directly collecting predetermined data and information. The collected results were then collected and analyzed to determine how the implementation of Legal Protection for Ngajat Lesung dance as a Copyright of Traditional Cultural Expressions in Seluas District, Bengkayang Regency. Copyright Legal Protection for Ngajat Lesung dance has yet to be carried out optimally by the Regional Government of Bengkayang Regency through the Department of Youth, Sports, and Tourism. This is because the efforts made by the Regional Government have not been maximized to educate artists regarding the protection of Copyright law for traditional culture, causing the artist's ignorance of the importance of protection for the work that has been made. In addition, the artist thinks that registering the Copyright for Traditional Dances requires a large fee and is very expensive. Therefore, the Regional Government of Bengkayang Regency through the Youth, Sports, and Tourism Service, is expected to pay more attention and educate to help the artists inventory and register Ngajat Lesung Dance. This dance is part of various Traditional Cultural Expressions in the field of Intellectual Property. Registering the Copyright of Ngajat Lesung Dance and having it listed as a Traditional Cultural Art with the Directorate General of Intellectual Property is important. </em></p>

MARKETING STRATEGY OF OMAH MBUDUR TOURISM DESTINATION IN WANUREJO VILLAGE, BOROBUDUR DISTRICT

The tourism sector is a profitable industrial sector for now, tourism involves many people and can revive various business fields so that it can become a global industry. Along with the development of information technology and transportation, this has become a trigger for the increase in new tourism products. Each tourism product needs to have its own characteristics so that it can compete with other tourism products. The purpose of this study was to find out the existing tourism products in the Omah Mbudur Tourism Destination, to find out the existing management system in the Omah Mbudur Tourism Destination, and to find out the marketing strategy used by the management. While the method used in research is descriptive qualitative. The results of this study indicate that Omah Mbudur is a destination with a village tourism concept that carries the theme of cultural arts related to basic human needs, namely clothing, food and boards along with activities such as VW safaris, jeep adventures, regional arts and so on. The management of the Omah Mbudur tourist destination is a mutual cooperation system, namely by entrusting the staff to their respective fields with the aim of characterizing the culture of the community.

Effects of Participation in Cultural Arts Education on Children’s Self-Efficacy, School Adjustment, and Self-Resilience - Focusing on the GS Retail and KFHI Rainbow Box project-

Effects of Participation in Cultural Arts Education on Children’s Self-Efficacy, School Adjustment, and Self-Resilience - Focusing on the GS Retail and KFHI Rainbow Box project-

Implementasi Pelatihan Qiro’ah Dalam Meningkatkan Kemahiran Membaca Al-Qur’an Terhadap Santri TPQ Al-Halim Desa Sambungrejo Sukodono Sidoarjo

The Qur'an is the sacred text of Muslims that serves as a guide in life. Therefore, in reciting the Qur'an, it is necessary to understand from the letters to the reading rules. In the process of learning to read the Qur'an, teaching methods have a very crucial role, and there are several approaches that have been implemented to facilitate learning. The method is chosen as a means and tool of teaching transformation to achieve the desired goal. The goal of qiroah training is to facilitate students in improving their skills in reading the Qur'an, especially among TPQ AL-HALIM students. In addition, qiroah training aims to instil students' appreciation of Islamic cultural arts, develop students' talents and interests in the field of reciting the Qur'an, and promote a sense of independence.

Ярославские традиции в церковной стенописи Тверского края эпохи классицизма

In the article an attempt is made of clearing up the source of the North-East Tver region artistic culture flourishing in the 19th century that especially became strikingly apparent in church wall-painting. Beginning with the early 19th century the painters from the city of Yaroslavl were actively working in the Tver region and introduced various traditions of Yaroslavl into the fine arts. One of the characteristic features of the Yaroslavl painters’ language was the combination of Old Russian and West European devices in the classicism stylistic context that found a reflection in the Tver region monuments. At present the phenomenon of different trends coexistence in the beginning of the 19th century is well known in the specialized literature through the example of icon-painting. A similar occurrence took place in the monumental art but so far it hasn’t been investigated in the scholarly literature. The works of the Yaroslavl painters Banshchikov and Smirnov are preserved in the Resurrection cathedral in Kashin as a masterpiece of wall-painting without renovations or restorations. Through the example of the cathedral paintings the devices of the Yaroslavl painters are being analyzed, in particular the use of the rare Old Testament cycle in the painting programme created on the basis of the popular German engravings from Christoph Weigel Bible (1695). A comparison of the Yaroslavl painters’ style in the Korsun Icon of the Mother of God church in the village of Zelentsovo and a number of the North-East Tver region murals is carried out. The analysis of the interregional connections and the study of the Old Russian traditions firmness in the classicism period favour the deepening one’s knowledge about the view of the Russian art development in the first half of the 19th century. For the Yaroslavl region bordering the Tver region districts Yaroslavl as a strong monumental art centre became one of the main sources of the new artistic traditions.

THE WAYANG GOLEK PERFORMANCE AS ONE OF THE VARIETY OF THE ARTISTS OF THE PUP THAT ARE AVAILABLE ON THE ISLAND OF JAVA

The Indonesian nation has diverse cultural and ethnic backgrounds. One form of cultural diversity that exists is wayang. The islands of Java and Bali have become places for the development of traditional wayang arts. The UN oversees an institution called UNESCO as an institution that focuses on issues regarding education, culture and science, which then records wayang as a work of cultural art in the international world. By giving this award, the Indonesian people should protect and preserve wayang.This study aims to examine, identify, and know the meaning of cultural traditions and symbols contained in wayang golek performances and their influence on the surrounding community and daily activities. In this study, the method used is the observation method, by collecting data from various sources of journals and the internet, while in analyzing using the phenomenological method.From the research that has been done, it is found that the wayang golek show contains teachings and good values conveyed by a dalang with his characteristics so that the messages to be conveyed can be easily accepted by the public watching the wayang performance. Wayang shows have an impact on several aspects including social, political, economic, and religious aspects.Keywords: Wayang Golek, Symbol, Value

Mathematics Learning Model (Based on Multicultural Education)

This research begins with the problem of low mathematics achievement caused by students' neglect of multiculturalism, which can be overcome through mathematics learning based on multicultural education. In line with this, efforts to foster awareness, understanding, tolerance, mutual understanding and national spirit can be developed through multicultural education that is integrated in mathematics learning. Therefore, it is important to develop a mathematics learning model based on multicultural education. Stimulation can be provided through cultural integration in mathematics content as a starting point for students to bring up critical thinking. Methods in this study This research is a study using the method of literature study or literature review. namely a comprehensive overview of the research that has been done on a specific topic to show the reader what is already known about the topic and what is not known, to find rationale for research that has been done or for ideas for further research.From the research it is known that the multicultural education-based mathematics learning model was developed through the integration of content explored from regional cultural wealth, using multicultural contexts in illustrating mathematical concepts or principles. For example, cultural arts artifacts sharpen social sensitivity. Teachers develop socio-cultural norms in the classroom through an acculturation process in order to reduce prejudice and build a conducive school culture so that all students can achieve optimally.

SPATIAL ARCHETYPES IN THE ARTISTIC WORLD OF V.E. SAVKIN AND YU.D. DEEV

The language of naive painting, like verbal, is a universal communicative system, which gives reason to use a diachronic approach to explore its content arising from the depths of human nature. Being a combination of historical experience and psychological energy, the archetype becomes a symbolic unit of the analysis of naive paintings. The universality of the archetype is manifested in its ability to be realized in different time contexts, which makes it a very attractive subject of research in the works of naive artists of the second half of the XX century. Repeated reference to the archetype of the “ideal city” accelerates its adaptation to new cultural realities, becoming a method of interaction of a self-taught artist with the world. The relevance of the research is related to the interest in the implementation of the utopian project of the city within the framework of modern art space. The scientific novelty lies in the fact that for the first time the archetype of the ideal city will be considered in the works of naive painting by artists V.E. Sakiyan and Yu.D. Deev. The research is aimed at studying the diachronic aspect of the creative interpretation of the «ideal city» archetype in the images of Russian artistic culture.

Effect of Learning Management Using Interactive Teaching Mode on Students’ Learning Achievement and Creative Ability of Chinese Contemporary Oil Painting

Background and Aim: The societal and economic growth, demand for cultural arts rises. Art education, seen as human heritage, fosters personal growth and creativity. Traditional teaching is teacher-centered, limiting student innovation amid globalized challenges. Oil painting education faces traditional constraints. Research explores interactive teaching's impact on Chinese oil painting students’ learning achievement and creative ability. To enhance oil painting education, innovative methods meet student needs, elevating outcomes. Interactive teaching betters oil painting education, boosting results, creativity, participation, and communication. It improves traditional methods, fostering proactive learning, and creativity, and offering suggestions for better meeting oil painting students' needs. Materials and Methods: To assess students’ learning achievement, researchers compared exam scores before and after tests. To evaluate creative ability, an observation record sheet documented students' performance in four aspects, with scores converted to student percentage scores. A benchmark of 70% was set for high-level creative ability, and data was collected accordingly. Through comparative analysis, this study explores students’ learning achievement and creative ability under interactive teaching methods. Results: From the study, it was found that: 1) Pre-interaction teaching, students averaged 14.18 in oil painting performance. After interactive teaching, scores significantly rose to 27.20 (t=125.004*, p=0.01); 2) Following the adoption of the interactive teaching model, the average score for students' oil painting creations was 85.40, with a standard deviation of 7.168. This score exceeded the benchmark of 70% for high-level creativity (with a maximum score of 100). Conclusion: Interactive teaching significantly enhances the student’s learning achievement and creative ability in contemporary Chinese oil painting students. It ignites interest, fosters teacher-student and peer interactions, and deepens mastery of oil painting knowledge and skills. The results underscore the positive impact of interactive teaching on oil painting education, providing strong support for educators. Under this approach, students' oil painting creativity notably improves, offering more opportunities for free expression, feedback, and guidance from teachers and peers.

Creation of a Miniature Painting Class as an Artistic Cultural Event

The miniature painting class at the Imperial Academy of Arts existed for more than half a century, but no researcher has examined the prerequisites for its formation. Information about the class’s activities is sketchy, and the names and number of students remain unknown. From a review of the historiography on the subject it becomes clear that there are almost no documents devoted to the problem of teaching miniature painting at the Imperial Academy of Arts. Since the reign of Peter the Great, the miniature portrait has gone through several stages: a reward portrait depicting reigning persons (a distinctive sign that speaks of the special position and status of the awarded person); a fashion accessory, along with fans and snuff-boxes; finally, a portrait that can always be taken with you to preserve the image of your favorite person. By the middle of the 18th century, the chamber portrait was particularly popular among city dwellers, which met the new ideas about the value and special significance of private life and a person’s inner world. However, not only the fashion for miniature portraits contributed to the opening of the miniature painting class, one should not forget about the economic side of the issue, which was very relevant for the Academy. Children from poor families were accepted to study in the classes of the Academy of Arts, so that in one class, which was not the largest, the sons of apprentices, soldiers, church servants, merchants, musicians could study, and the material issue was not of secondary importance for them. That is why the question of transferring miniaturists to work at porcelain factories becomes very urgent. The creation of a class of miniature painting was a kind of response to the needs of the time, when with the advent of the XVIII century. Russia is gradually included in the pan-European development of artistic culture.