ART has significantly improved survival among children, adolescents and young adults who acquired HIV perinatally or during early childhood (early-life acquired HIV, ELHIV). However, challenges persist, including virological failure (VF) and suboptimal immune recovery. This study aimed to describe clinical, virological and immunological outcomes of ELHIV individuals in Spain since 2020, and to identify factors associated with VF and impaired immune recovery. A multicentre, retrospective cohort study was conducted using data from 642 ELHIV individuals actively followed in the CoRISpe and CoRISpe-FARO cohorts. Data included demographics, ART history, virological suppression (viral load ≤50 copies/mL), CD4/CD8 ratio and CDC immunological categories. Logistic regression identified factors influencing VF and immune progression. The median age of participants was 24 years, with 67.6% aged ≥18. Most (93.6%) acquired HIV via vertical transmission, with ART initiated at a median age of 1.93 years. At the time of analysis, 99.1% were on ART. Although 81.1% achieved virological suppression, 10.5% experienced VF, associated with PI-based regimens, independent of age, and a lower CD4 nadir. Immune recovery, defined as a CD4/CD8 ratio ≥1, was achieved by 52.3%. Impaired recovery was linked to older age at ART initiation and lower CD4 nadir, particularly among adolescents (12-18 years) and young adults. Children (<12 years) showed better immune profiles, with 97.8% achieving CD4 counts ≥500 cells/mm³. Early ART initiation and tailored interventions are essential to optimize outcomes in ELHIV populations. PI-based regimens were a risk factor for VF, whereas integrase strand transfer inhibitors appeared protective. Adolescents and young adults require targeted support to improve adherence and immune recovery, aligning with UNAIDS goals.

This art reflects the civilization, culture, and spiritual beliefs of the Bhils and the Bhil tribe. This art is primarily created by the local residents of Gujarat and Madhya Pradesh. It is not a painting, but the last remaining vestige of a bygone era. It continues to breathe its last through its lines, colors, shapes, and various mediums. This art is a trace of a bygone era that flourished in the lap of nature centuries ago. Rathwa murals are a vibrant, sacred, and historic art. Which depicts the life, spirituality and cultural heritage of the Rathwa tribe on the wall. This art was depicted in the form of memories of their ancestors and cosmic symbols. To highlight the importance and uniqueness of this art, the Indian Postal Department released a commemorative postage stamp on it in 1999. My research highlights the significance of Rathwa art and its cultural, economic, political, and environmental aspects. This paper explores the interrelationship between tribal art and the National Philatelic Collection in India, which honors Rathwa mural painting, the traditional art of the Rathwa tribal community of Gujarat. This study contextualizes the cultural significance of the art (locally known as Pithora), analyzes the origins of the stamp in the context of India Post's broader thematic issues on tribal arts and crafts, and discusses the implications for cultural preservation and heritage recognition.

Recent publications in the field of art education, which adopt the historical and dialectical materialism, have criticised the process of teaching art history in a chronological manner, subjecting art to general history. This article aims to demonstrate how the concept of historicity, as employed by Marx, Lukács, and Vygotsky, can underpin an alternative approach to addressing such curricular issues. By understanding historicity as the origin and essentiality of culture and human objects, we understand that the infinite poetic variations of specific times and places, even while maintaining the autonomy of art, are affirmed through aesthetic and historical connections. Contemporary art is a historical synthesis that maintains a complex relationship of rupture and appropriation with the history of art. Aesthetics, as the philosophical foundation of art, unfolded in the school curriculum, presupposes an immanent study of art history, an understanding of works and artistic movements in their constitutive relation within art itself. The identification of historicity or the aesthetic nexuses of art, as relationships between poetic units from various times and places, underpins the immanent knowledge of art history. For example, we can mention works by contemporary artists such as Hélio Oiticica, Lygia Clark, and Vega Nery, who, even as they radically broke with modern art, retained poetic traits initiated in modernism and earlier movements. The study of the relationship between ruptures and the continuity of artistic traditions becomes more effective by identifying and feeling the historical links between the different poetics in the school curriculum.

Gazellah Bruder is an artist based in Port Moresby, Papua New Guinea. She presents four paintings she created while an artist-in-residence (August to October 2025) in the Leipzig International Art program at the Leipziger Baumwollspinnerei in Germany. In an artist statement, Bruder describes how her paintings are inspired by conversations surrounding complex subjects—colonization, de-colonization, identity, and restitution—and presents a critique of the devastating human impact on the earth’s oceans and ocean life. Her work calls for restitution to the oceans. Then, in an interview with art historian Stacy L. Kamehiro, Bruder discusses the four paintings and her artistic process in detail.

The article provides a scientific analysis of folk stage dance as a sociocultural phenomenon representing national identity in wartime. The relevance of the study is determined by the current military realities in Ukraine, which have exacerbated the problem of preserving cultural memory, spiritual resilience, and national identity of society. The role of artistic practices as forms of cultural resistance, social consolidation, and transmission of national values is substantiated. The concept of national identity is analysed in the context of art history and cultural studies approaches. The specifics of folk stage dance as а synthesis of folklore foundations and professional stage choreography, capable of accumulating ethno-cultural codes, movement symbolism and the historical memory of the Ukrainian people, are revealed. It is proven that in wartime, folk stage dance performs an expanded range of functions - artistic and aesthetic, sociocultural, educational, representative and therapeutic - acting as a form of non-verbal communication and a symbol of spiritual unity. Particular attention is paid to the role of folk stage dance in the educational space of higher education institutions, where it combines artistic training with the formation of civic attitudes and national self-awareness among students. The contribution of leading Ukrainian choreographers to the establishment of folk stage dance as a professional genre and the preservation of the cultural continuity of the Ukrainian choreographic tradition is highlighted. It is concluded that folk stage dance during wartime is а powerful factor in the spiritual security and cultural stability of Ukrainian society.

This article investigates a unique iconographic anomaly in late medieval Dunhuang silk paintings: the conflation of the bodhisattvas Mañjuśrī and Samantabhadra. Focusing on two key artifacts from the 9th and 10th centuries and tracing their legacy to later folk prints, this study argues the phenomenon is not a scribal error but a creative Anomaly—a deliberate ritual synthesis. The analysis reveals this synthesis was driven by two forces: a phonetic re-semanticization in the local dialect and a theological logic born from the integration of Huayan School doctrines with Esoteric ritual practice. The paper demonstrates how Huayan metaphysics were operationalized through condensed Esoteric invocations, turning the inscription into a functional ritual shorthand. Crucially, this study demonstrates the genealogical survival of this Silk Road variant in Ming and Qing dynasty woodblock prints. It uncovers a parallel, non-canonical lineage of visual piety, sustained through workshop copybooks rather than elite textual discourse. This trajectory challenges the linear narrative of Buddhist art history, highlighting the generative power of localized adaptations existing outside the purview of the written canon.

Historically, patronage has been the main support system through which arts have been produced and nurtured in any time period and any region in the world. Starting from ancient rulers to present day market-driven systems, art creation has been in the need of patronage to sustain. An Art history of Hyderabad has witnessed the development of visual art culture through royal patronage to institutional support. Along with patronage, the motivation behind it is equally important as it can significantly influence the creation of art itself. This study focuses on studying the art patronage in Hyderabad from the ancient times till late nineteenth century when the art scenario changed drastically. Study of all the arts of the past and existing literature on them provides us the evidences to understand the motivation behind these patronages

Abstract Background In the context of the prevalence of digital socialization, phenomena such as “social avoidance” and “social anxiety” are widely observed among college students, constituting varying degrees of social barriers. These barriers not only affect academic performance but also impede the development of social adaptability. Traditional group psychological counseling often suffers from low participation due to "stigma." Art and design activities (e.g., collaborative design, workshops) possess characteristics of non-verbal expression, task-oriented approaches, and creative expression, potentially offering a low-resistance intervention pathway to alleviate social pressure. This study aims to explore the moderating role of participation in collaborative art and design activities on social barriers among college students and its underlying psychological mechanisms. Methods A study screened 120 college students with Liebowitz Social Anxiety Scale (LSAS) scores above the cutoff value (&amp;gt;30) and randomly assigned them to two groups: (1) Art Collaborative Design Group (n = 60), which participated in a 10-week "Campus Landscape Renovation" design workshop emphasizing teamwork, creative brainstorming, and collaborative production; (2) Theoretical Learning Control Group (n = 60), which attended equivalent-duration lectures on art history appreciation, focusing on individual lectures and independent assignment completion. Assessment tools included: LSAS for measuring social anxiety and avoidance levels; General Self-Efficacy Scale (GSES) for evaluating confidence in various situations. Data were collected at baseline and at the end of the intervention. Results Table 1 shows the comparison of social impairment and self-efficacy indicators between the two groups after the intervention. As shown in Table 1, after the intervention, the total LSAS score of the collaborative design group was significantly lower than that of the control group (35.2 ± 6.8 vs 48.5 ± 7.2, p&amp;lt;.001), and the fear, anxiety, and avoidance factors were also significantly reduced (both p&amp;lt;.001); the GSES score of the collaborative design group was significantly higher than that of the control group (29.4 ± 3.2 vs 24.1 ± 3.5, p=.004). This indicates that collaborative art and design activities can effectively alleviate social barriers and enhance self-efficacy among college students in a campus setting, and have the potential to be used as a supplementary means of mental health education. Discussion The research results confirm that participation in collaborative art and design activities can effectively mitigate social barriers among college students. Compared to traditional passive learning, art and design activities “task-oriented” and “objectify” social interaction. During the design process, students shift their attention from “self-evaluation” to “evaluation of the work,” and this shift in attention effectively reduces anxiety caused by the focus effect. Furthermore, the collaborative creative experience in design activities establishes a positive peer support network, strengthening real-world interpersonal connections. Future recommendations suggest that universities introduce interdisciplinary art and design workshops into their mental health education as a non-medical intervention to improve students’ social functioning. Funding No. 23VSZ020; No. GWZZH-M-001.

This study focuses on the important visual text "A Mirror for the Emperor", exploring how it transforms Confucian "rites" into social norms through visual mechanisms. Unlike previous studies that mainly remained within the fields of textual analysis or political history, this paper approaches it from the perspective of visual culture and etiquette dissemination, analyzing its unique value as a "visual etiquette mechanism". Methodologically, this study combines Panofsky's three-level analysis method of iconography, visual semiotics, and political etiquette theory to conduct in-depth interpretations of the three core images: "Appointing Talents for Governance", "Warning Stelae and Criticism Boards", and "Filial Piety Ascending to Heaven". At the same time, this study pays attention to its regional reconfiguration in Shandong, Henan, and Shaanxi, revealing the recontextualization process of these images in local academies, temples, and families. Additionally, this study draws on Cosmological Ethics and normative social psychology to examine how these visual symbols construct the paradigm of normative compliance. The research on Ming Dynasty etiquette images also confirms that the visual presentation of natural symbols reinforces society's understanding of "the harmony between heaven and man", thereby extending the political admonition consciousness to a widespread reverence for cosmic order and social order. The research results indicate that the visual mechanism of "A Mirror for the Emperor" mainly manifests in four aspects: Firstly, through elements such as postures, objects, and spaces, it constructs a stable visual grammar, making "rites" have systematic expressibility; Secondly, the images align with the political tensions of the Wanli period and become symbols of admonition; Thirdly, the regional re-production realizes the cycle of "central generation - local adaptation", promoting the diffusion of the ritual system in grassroots society; Fourthly, the visual medium transforms ethical norms into daily learnable postures, strengthening social integration. The academic contributions of this study can be summarized as four points: expanding the artistic history perspective beyond textual studies; emphasizing the cultural function of etiquette in visual communication; integrating iconography and etiquette theory to reveal the interaction mechanism between visual and power; and placing Chinese etiquette images within the academic discourse of global visual culture and cross-cultural comparison.

Abstract This paper explores the phenomenon of heautoscopy (a form of autoscopy), or illusory multisensory self-reduplication, in relation to the art of the Viennese modernist Egon Schiele. It employs an interdisciplinary approach to studying self-perception and corporeal awareness, drawing from the fields of cognitive neuropsychiatry and the philosophy of modern art. The study explores the characteristics of heautoscopy, connecting them to severe conditions involving the loss of self-identity in psychiatric disorders, and to Schiele’s unprecedented double and triple self-portraiture. At the turn of the century, Schiele revolutionized this genre by introducing multiple selves to his canvases, interpreting this pathological theme explicitly. This paper draws on studies of anecdotal descriptions of heautoscopic experiences in autobiographical narratives and scientific literature, as well as on the work of art historians and Schiele’s biographers. The decoding of these data leads to the identification and classification of persistent shared characteristics and patterns. Drawing connections between the two phenomena, this study aims to provide a comprehensive interpretation of analogous mechanisms of delusional thinking in psychopathology and modern art, offering a new perspective upon the pathology/modernism equation debate, as well as highlighting valuable insights into cognitive neuropsychiatry and neuroaesthetics.

The lavish, gem-encrusted goldwork of the Ming dynasty (1368&amp;ndash;1644) represents a pinnacle of Chinese decorative arts, emerging concurrently with the seven maritime expeditions of Admiral Zheng He (1405&amp;ndash;1433). While traditional research has treated the maritime history of the voyages and the art history of courtly gold as parallel but separate narratives, this study argues for their intrinsic interdependence. This study posits that Zheng He&amp;rsquo;s voyages acted as a direct and dynamic catalyst for the transformation of Ming imperial goldsmithing. This transformation was dual: first, an aesthetic revolution prompted by the influx of overseas gemstones, shifting the paradigm from the understated elegance of jade to vibrant polychromatic splendor; second, a technical synthesis facilitated by contact with Islamic traditions, leading to the refinement of indigenous filigree (huasi, fine wirework) and granulation techniques for mounting these new stones. Integrating historical texts, archaeological evidence from the Tomb of Prince Liangzhuang, and recent comparative studies of Indian Ocean trade, this paper traces the feedback loop between imported materials and adapted techniques. The findings challenge the view of Ming art as a self-contained tradition, demonstrating instead that the &amp;ldquo;imperial style&amp;rdquo; was a globalized product of cross-cultural exchange.

Abstract The intensification of environmental crises across the globe—manifested through climate change, biodiversity loss, pollution, and resource depletion—has profoundly reshaped the cultural imagination of the twenty-first century. Within this context, contemporary art has increasingly emerged not merely as a site of aesthetic production but as a critical platform for ecological reflection, public engagement, and environmental activism. This review paper examines the evolving relationship between environmental crisis and contemporary art practice, with particular emphasis on Indian contemporary art since 2000. Drawing upon secondary literature including scholarly articles, exhibition catalogues, curatorial essays, and critical art histories, the study synthesizes major theoretical frameworks such as ecocriticism, environmental aesthetics, postcolonial ecology, and art activism. The review identifies how Indian artists employ installation, site-specific practice, recycled materials, community participation, and indigenous knowledge systems to address urgent ecological concerns. At the same time, the literature reveals significant debates regarding the effectiveness, accessibility, and institutionalization of environmental art. While many practices successfully generate awareness and alternative ecological imaginaries, others risk remaining symbolic or confined to elite art spaces. By critically comparing existing scholarship, this paper highlights key contributions, conceptual tensions, and research gaps, particularly the need for more empirical studies and regionally diverse documentation. The review concludes that contemporary art in India functions as an important cultural mediator between environmental knowledge and public consciousness, yet its transformative potential depends on deeper interdisciplinary collaboration and socially embedded methodologies. Keywords: environmental art, contemporary art, ecocriticism, sustainability, Indian art, art activism, environmental aesthetics

So far, very little attention has been paid to Johan Turi’s artworks. His pencil drawings have mostly been regarded as illustrations of his narrative, and have been characterized as naive expressions. No mention has been made of the other art that Turi created. Aside from the drawings that were included in the original edition of Turi’s Muitalus sámiid birra as edited by Emilie Demant-Hatt, virtually none of Turi’s other pieces have ever been exhibited or published. They have gained visibility only through their inclusion in the anniversary edition of Muitalus, which appeared in 2010. In this article, some of Turi’s previously unknown artworks are interpreted as Turi’s attempts at creating Expressionist art. Turi was introduced to various forms of modern art at Hjalmar Lundbohm’s home in Kiruna, and also, most probably, while visiting Emilie Demant and Gudmund Hatt in Copenhagen in 1911. Turi’s artworks are also interesting in the way in which Turi combines realistic representations with images that are either surreal or that expose more than the human eye can actually see. Turi’s art transgresses the limits of photographic representation, and includes objects that are hidden from the human view. A major undertaking awaits art historians and indigenous methodologists to further analyze Johan Turi’s artworks in their cultural and historical contexts.

Moving away from a tradition of craft production to an increasingly bureaucratic, mass-produced mode, the field of organization studies is becoming more formulaic. The subfield of “organizational aesthetics” is an example of a potential antidote, a nomadic foray into more exotic research contexts. However, the exploration of aesthetic phenomena for organizational purposes has largely conformed to an entrenched utilitarian paradigm that pursues managerial relevance and prioritizes “function” over “form.” This essay highlights the blocking capacity of the utilitarian paradigm, questioning its assumptions and promoting a non-utilitarian perspective on aesthetics, inspired by the writings and poetry of Jim March. Drawing on art history, I direct attention to the aspects of aesthetic phenomena that militate against organization and commercial exploitation, and stimulate appreciation of beauty, sensory experiences and more elegant, less formulaic writing.

The publication is devoted to a cross-analysis of sources in which the ancient Ruthenian city of Kholm, now the county town of Chełm in the Lublin Voivodeship (Poland), appears as a prominent artistic center of medieval Ukraine-Rus at the intersection of Western European and Byzantine cultures. The relevance of the study is associated with the important task of defending cultural values that have long been eroded as inferior or insignificant, or demonstrated to the world only as a peripheral component of northeastern culture. New scientific research by Ukrainian experts in the fields of iconography, archeology, architecture, and art history is presented by the authors to strengthen and update the chronicle history of Princely Kholm and its temples. The authors highlight specific architectural and iconographic features of Kholm monuments and related details in the cities of Ukraine-Rus, Western Europe to illustrate the historical process of the middle of the 13th century. and the little-known artistic life of that era. The article represents a deepening of studies in the domain of Ukrainian national historical and artistic heritage for an adequate understanding of the artistic issues of Princely Kholm of the 13th century in its own historical context.

The study substantiates the universal properties of cultural archetypes of Male and Female, characterizing the connection of individual and collective, unconscious manifestations in the products of human creative activity based on the artistic representation of images in Chinese traditional and modern culture. The subject of the study is Chinese realistic painting as a form of culture and worldview, striving to reproduce the authenticity of the image and its external similarity to reality. The object of the research is the artistic representation of cultural archetypes and symbols of the masculine and feminine principles as universals of collective memory. The author examines in detail such aspects of the topic as the archetypal content of the image of "Father" and "Mother" in Chinese fine art, from antiquity to the present in the context of the search for authentic symbols in ancient Chinese traditional painting and painting of the twentieth century. Special attention is paid to examples of the representation of patrimonial archetypal symbols in Chinese painting during the Cultural Revolution and the transformation of masculine images in the "art of scars." Similarly, feminine archetypal symbols are considered, dating back to the ancient beliefs and cults of the "Great Mother", which were embodied not only in ancient Guohua painting, but also in socialist realism painting, as well as in the "art of scars". The methodological basis of the work is a semiotic approach implemented in the concepts of Russian cultural scientists, art historians and Chinese specialists studying gender symbolism in painting. The scientific novelty of the research lies in a meaningful analysis of the archetypal forms of Chinese painting, conducted by the method of comparative description of visual images in the context of traditional visual means, as well as against the background of socio-cultural changes of the twentieth and twenty-first centuries, which marked the birth of a national state for China. The conclusions about the similarity of gender symbols in different styles and genres of painting are new, regardless of historical time and socio-cultural context, due to their connection with the primordial, archetypal properties of expressing the image of "Father" and "Mother". The research results and conclusions are based on a culturological understanding of the phenomenon of Chinese realistic painting as a phenomenon of social life and a manifesto of a new type of worldview that retains its connection with the deep structures of the collective unconscious.

This study explores the themes and imagery of murals in the industrial park of the Holding «Stroitelny Alliance» in the Moscow Region. The murals prominently feature Russian folk and authorial fairy tales, as well as literary works whose heroes are widely recognized as fairy-tale characters. The main goal was to understand these characters as carriers of the Russian cultural code, which forms the conceptual program of the murals. Key figures include Vasilisa the Wise, Marya Tsarevna, the Swan Princess, Chernomor, the Thirty-Three Bogatyrs, Ivan Tsarevich, Danilo the Craftsman, and Lefty. The murals function as allegories rather than literal illustrations of texts. The research object is the fairy-tale murals of the «Stroitelny Alliance» Holding in the Moscow Region, with the subject being the fairy-tale characters depicted. An interdisciplinary approach was employed, combining art history methods (iconographic, formal-stylistic) with comparative, intertextual, and intermedial analyses. This revealed connections within the artistic space (monumental painting, applied arts) and external interactions (architecture, design, business, ethnocultural heritage). Significant results include analysis of ISP «Koledino» murals as an ethnocultural prototype for the «Yesipovo-4» murals; identification of the process of codifying national values in fairy-tale characters and their transmission through «Yesipovo-4» murals; and interpretation of the cultural code in contemporary contexts. The study introduces new empirical material and proposes methodologies for analyzing objects in the art buffer zone, such as autonomous industrial murals. Terminological solutions for analyzing these objects (replication, intermedial remake and remix, compositional collage) are offered. This research contributes both theoretically and practically to art studies and cultural understanding in industry.

Abstract Complex layers of words—images in mixed media culture has changed social norms; also the communication process. The AI era has raised the cultural gap, changing the meaning of art and design in a historical context. Although, certain cases in popular culture break this pattern, offering a timeless aesthetic appeal that transcends generations. One of them is music video "70 Million" by Hold Your Horses!’s band (2011)—offering revolutionized conventional pop-rock music videos, inserting a new dimension into them—making art history education that is often seen as dry, bored, and uninteresting—become something carried fresh knowledge; even in parody. Using symbolic interpretive approach with textual analysis, this article analyse the iconic translation and its relevance context in the music video; this research also develops the D-A-M-E (Decoding–-Adaptation/Adoption &amp; Modification—Encoding) Model as a theoretical framework. Becoming medium communication, song combined with the music video has the potential to become creative media that brings message timeless—closely related to ideology and the creator's vision. This music video breathes new life into art history, using collage as one style of its translation visual icon of art history—making it fresh, vibrant, challenging perceived banality—until now, in the AI era. Keywords: translational analysis, artificial intelligence, collage, iconic image, cultural banality, art history, media education

Summary Rephotography is a powerful form of revising and recirculating visual narratives, and is entangled with environmentally concerned artistic practice and art history. From a documentary arts perspective, this text reflects on recirculating microhistories raised through rephotographic practice at the industrialized river rapid Nämforsen in Sweden. Through archival study and fieldwork inherent to rephotographic practice, forgotten stories of resistance emerge. Among the many image-makers at Nämforsen were Eduard (Edvard) Bechteler and Ruth Zachrisson who undertook acts of resistance to hydropower development in a variety of ways that might today be understood as environmentalism. These microhistories have a striking relevance as Northern Sweden is once again the subject of industrial exploitation, this time under the banner of the so-called “green transition”.

Abstract. Fresco painting, a prevalent mural technique, is highly susceptible to damage due to the hygroscopic nature of lime plaster, often resulting in partially destroyed artworks. Restoring these masterpieces poses significant challenges: merging remaining fragments with new additions requires skilled restoration, while reconstructing original compositions demands expert historical insight. The absence of textual or graphical records further complicates this task. Recent advancements in neural inpainting offer potential solutions but lack the precision required by art historians. We introduce the Stable Restorer model, enhancing neural inpainting with fine-grained control over generated content. Building on the Flux model with LoRA adaptation, our approach employs multiple text prompts linked to attention masks for precise local editing. Our Mural Paintings dataset, comprising 15k samples of diverse frescos, facilitates rigorous evaluation. Results indicate that our model not only competes with but surpasses state-of-the-art methods, offering art historians enhanced control over reconstructed fresco regions.