Art Theory Research Articles

Ukrainian works of folk art through the prism of scientific attribution

Studying the methods of methodological interactions opens up new opportunities for understanding the meaning, artistic and evaluative value of a particular artwork. The attribution of folk art works is one of the most pressing issues in the scientific discourse. The purpose of the article is to develop an effective research toolkit for the attribution of folk art. The research methodology combines discourse interpretation with a disciplinary approach, using both general and specific scientific methods. Essential to attributing folk art is determining the sequence of various known methods. The study’s main results are derived from a systematic and comprehensive examination of key theoretical and practical aspects of folk art, specifically identifying the most effective scientific methods for its attribution. An important outcome is the development of the article’s methodological structure, focusing on the conceptual framework of folk art theory to understand its morphology. Key methods include historical and geographical, semiotic, and analogical approaches. As a result of the analysis, the article develops a methodological construct that has an analytical logic and is a theoretical justification for the concepts of attribution already existing in art history. The selected methods in the study acquire a constant hierarchy and sequence of actions, taking into account each individual situation, which has its own explicability. This analytical process involves the gradual generation of a strategy, methodology, interpretations, and interpretations that form the final knowledge of a folk artwork, as well as reveal gaps that require further search for materials and facts. In a combination of practical and theoretical methods, a folk artwork becomes an extended system and part of traditional everyday life, revealing its own objective features. The practical value of the work lies in the field of educational training of art experts, and is also important for use in special educational components

The Influence of K.S.Stanislavsky's Teaching on the Development of Chinese Theatre

At the beginning of the last century, the world's performance system was gradually formed and developed. The Stanislavsky performance system was established on the basis of absorbing the essence of various world plays: a combination of performance, directing, drama teaching and methods. The Stanislavsky system is a precious treasure of the world. It is of great significance to the theory and practice of Chinese watchmaking art. In China, "From the 1930s to the end of the 1970s, in the performing arts, it can be said that Stanislavsky was a god-like being. While accepting him, the Chinese theater scene in the 20th century also had experience in learning and researching the system. a complex process that reacts to the evaluation shows a trend of ups and downs. However, to this day, although Stanislavsky is long gone, his system remains focused on the relevance of concrete learning research.

“Language and body semiotics”. Grigory E. Kreidlin’s research on embodied semiotics

The interaction between the body and the environment through non-verbal signs and the assignment of linguistic designations to these signs determines the transition from mere existence to the semiotic level. One of the basic principles of this approach is the following: the body as a tool in interaction with the environment and other subjects serves as a basis for evaluating all contexts and events primarily as favorable (for the existence and development of the body), unfavorable and neutral, as well as for determining the importance of individual events. In this way, the body becomes the source of the meanings inherent in signs. The body as a source of symbolic meanings has been considered in a wide range of fields, from psychoanalysis, philosophy, and art theory to studies in anthropology and cognitive science. The knowledge accumulated at the present stage allows us to study in more detail how body movements and, in general, the presence of the body and its parts in the communicative space are embedded in symbolic communication. The two-volume “Language and semiotics of the body”, written by a team of authors led by G. E. Kreidlin (2020), considers movements, body parts and their linguistic designations as a coherent and consistent sign system, which corresponds to the approach adopted within embodied semiotics, in which communicative events acquire their meaning based on the experience of their existence in the surrounding world and bodily interaction with it. This article considers the text of the collective monograph “Language and semiotics of the body” and modern approaches to the study of the symbolic representation of the body language as a culturally specific phenomenon. Although G. E. Kreidlin himself speaks of his field as non-verbal semiotics or multimodal linguistics, the publication of the book “Language and Semiotics of the Body” can be said to mark a significant contribution to the representation of embodied semiotics in the Russian-speaking linguistic space.

Maniera and the education of a painter: iterations of Mannerist art theory in academic classicist doctrine and its critique

ABSTRACT This article seeks to discuss narratives underlying the debate on artistic training and (self)education of artists in two distinguished moments: the sixteenth-century Italian Mannerism and nineteenth-century artistic movements which opposed academic instruction. Mannerist treatises were the first to encompass aesthetic and pedagogical concerns in the context of newly established art academies – providing a fundamental, albeit essentially unrecognised, conceptual background for the subsequent discussions on art education. The goal of this article, therefore, is to examine how the rich discursive production of Mannerist authors provided the frame of reference and delineated the limits of this debate until the late nineteenth century – by setting forth the perennial question of the polarity between imitation and individuality. For the conceptual treatment of empirical sources, we adopted an archaeological approach, which enabled us to identify how the derivations and appropriations of Mannerist concepts provided the theoretical base for both the firm establishment of Academic dogmas and, in parallel, their critique. By this methodological choice, we hope to make apparent how these narratives continually revolve around the same ideas in a binary logic of delivering critique and suggestions of reform and change, contributing thus to the deeper understanding of the debate on art education.

MAKNA CINTA TERPENDAM DALAM PUISI HOSHI KARYA SHIRAISHI KAZUKO: KAJIAN SEMIOTIKA

Poetry is a form of literary work that has unique characteristics because it is written in a dense and beautiful language, and in poetry there are often connotative and figurative words. This research discusses the contemporary poetry of Hoshi by Shiraishi Kazuko using the semiotic approach of the Ferdinand de Saussure. The data collection methods used in this research were observation and literature study methods. This poem tells the story of a writer who tries to convey a hidden feeling that he wants to express to someone. The results of the analysis on this poem shows the meaning of the signs contained in this poem describing such as: (1) how the writer feels trying to find the truth in himself, (2) is in a state of having a lot of thoughts and considerations, (3) feelings that have been buried for a long time, causing a feeling of discomfort and uncertainty (4) the writer who comprehend his feelings and his thoughts in silence, (5) the longing and hope of the character makes him want to close his eyes and fall asleep into fantasies.

FILSAFAT TARI DALAM KEBUDAYAAN BALI

Balinese dance is an ethnic Balinese dance that is imbued with Balinese Hindu cultural values, as an embodiment of Balinese cultural character. The characteristics of Balinese culture are socio-religious which contains its own philosophy which can be categorized as sacred art and profane art. With the categories sacred and profane, Balinese dance is classified into wali, bebali and balih-balihan arts. As a sacred art, Balinese dance is a treat of beauty to the forces of nature, and as a profane art, it is a treat of beauty to society. This article aims to understand the philosophy of dance in relation to Balinese culture which is based on Hindu religious teachings. The problem that is the main subject of the study to explain this goal is, what is meant by Balinese dance, and what is its relationship with Balinese culture. The study of the problems above is based on the results of observations of Balinese dance which were analyzed using the approach of art philosophy and aesthetic theory which is divided into morphological aesthetics and psychological aesthetics. The results of this study show that Balinese dance contains a philosophy of life that is imbued with the teachings of Balinese Hinduism in realizing truth and purity aesthetically

Revolutionary Enclosures (Until the Apricots)

Jasbir K. Puar and Dima Srouji build upon their respective work in architecture, visual art and decolonial theory to produce a collaborative examination of colonial pathologies for Sharjah Art Biennial 15, 2023. Srouji’s architecture and art practice encompass a variety of mediums that allow her to explore notions of heritage and public space in Palestine and the region. Puar is a writer and scholar whose current work focuses on settler colonial violence, disability and debility in Palestine. Their collaborative installations integrate understandings of space and planning with the contemporary politics of resistance in the context of Palestine and the surrounding region. At Sharjah Art Biennial 15, Puar and Srouji present ‘Revolutionary Enclosures (Until the Apricots)’ (2023), a series of household items that respond to the material conditions of lockdown, interweaving the artists’ experiences of COVID-19 quarantine in Palestine and their memories of the Second Intifada (2000–2005), a major Palestinian uprising against Israel. The project reframes everyday objects emblematic of the trauma of enclosure for Palestinians as transformative matter and reservoirs of affective practices of resilience, community and caregiving: hoarded cans of tuna form the constituent parts of a radiator signifying warmth; resin apricots evoke the exchange of sustenance among neighbours; shrapnel becomes decorative wallpaper motifs; a stairwell used as shelter from air raids transforms into a communal reading space. Exploring the collective rhythms and materialities of these conditions, Srouji and Puar conjure the everyday making and remaking of the commons through and against the constraints of siege and containment. The conversation published here took place between March and September 2023, and thus predates the latest phase in the catastrophic violence that has historically defined Israel’s relationship to Palestine and the Palestinians. Triggered by an unprecedented and shocking attack by Hamas on 7 October, Israel’s genocidal military campaign in Gaza is not an anomaly, but in line with and part and parcel of the systematic ethnic cleansing of the Palestinians and the Apartheid system that the settler colonial state of Israel has relied on for its sustenance since 1948. The questions asked here by Maasri and Toukan, as well as the artworks discussed by Jasbir and Srouji, probe aspects of this very condition that has brought us to the unabashed genocidal violence we are now all witness to today.

Fostering appreciation of beauty in education: toward a goal of enhancing individual and collective well-being via self-transcendent emotions

Fostering appreciation of beauty in education: toward a goal of enhancing individual and collective well-being via self-transcendent emotions

THE PHILOSOPHY OF KANT AND THE BOOTS OF VINCENT

This article aims to summarize the Kantian philosophy of visual aesthetics, realize the logical discrimination between plastic aesthetics and the philosophy of aesthetics, the distinction between art object and artwork, and the essentialization of the value significance of the artwork exemplified in a relevant case study: the painting ”Boots” by Vincent Van Gogh.

Settler aesthetics—Theorizing and contesting settler colonialism through art practice

AbstractThe growing scholarship on settler colonialism largely understudies aesthetics. Settler colonial logics work not only through the elimination, dispossession, and criminalization of Indigenous populations but also through the erasure of Indigenous narratives and aesthetics. Aesthetics communicate a particular system of knowledge and power that can either refute or perpetuate settler colonial projects. I use the term “settler aesthetics” to foreground an understanding of aesthetics as dynamic socio‐spatial practices through which state and non‐state actors assert power, construct particular visions of a city, and shape conditions of belonging. Settler aesthetics demonstrate how the logic of elimination and the work of settler memory reproduces and is reproduced through various visual modalities. I argue that as geographers, we must examine both contemporary settler colonial projects that continue codifying cities as purely settler spaces without Indigenous presence and resistance, and spaces that insist on Black, Latinx, and Indigenous presence and livingness. This paper therefore explores how scholarship on decolonizing and anti‐colonial art practice and theory can inform emerging scholarship on settler colonial urbanism that centers perspectives and practices of Black and Indigenous presence and resistance.

Aesthetic Education through Classical Chinese Poetry in Higher Vocational English Teaching

Classical Chinese poetry, steeped in profound cultural heritage and imbued with timeless aesthetic value, represents a treasure trove that holds immense potential for enhancing aesthetic education within the realm of vocational colleges. By integrating this ancient literary form into the curriculum, vocational English classrooms can embark on a journey that transcends mere language instruction, nurturing in students a deeper appreciation for beauty and fostering a holistic educational experience. The strategic implementation of aesthetic education through the lens of classical Chinese poetry in vocational English classrooms is a deliberate effort aimed at cultivating students' refined aesthetic taste. It encourages them to delve into the intricate world of poetic imagery, rhythm, and metaphor, thereby awakening their senses to the intricacies of language and the beauty that lies within. This process enriches their understanding of English and broadens their cultural horizons, enabling them to appreciate the interconnectedness of diverse cultures and artistic expressions.

Renaissance as an Aesthetic Mechanism: the Renaissance and the Russian Silver Age

The object of this study is the phenomenon of renaissance in culture, the subject area is the causes and mechanism of the deployment of Renaissance processes. The problems we are starting from are the blurring of the term "renaissance" in humanitarian studies and the lack of its conceptualization from the point of view of aesthetic sensuality. One of the well – established perspectives of the Renaissance phenomenon is its generalization as a universal phenomenon. Understanding the "renaissance" as a recurring event and a feature of culture raises the question of the foundations and characteristics of the "Renaissance". The article identifies such signs from the standpoint of philosophical aesthetics, referring to the changes in the spatial-temporal concepts of the European Renaissance and the Russian Silver Age, as well as the productive consequences of this recoding. The originality of the author's approach lies in the fact that the approach to the topic is carried out through the study of historical transformations of sensuality and sensitivity, which have not yet received a detailed understanding of aesthetics. To describe cultural revivals as aesthetic processes, the concept of the "aesthetic mechanism" of the Renaissance is proposed, based on the idea of changing chronotopes. The main conclusions are that the re-symbolization of space and time, defined by I. Kant as a priori forms of sensuality, causes a change in the phenomena organized by them, and the result of changing the worldview and the existential position of the subject is the intensification of culture, which constitutes the Renaissance.

Na krawędzi odkrywki. Praktyki postartystyczne i zaangażowanie klimatyczne na plenerach w Opolnie-Zdroju

The author analyzes the network of activist-artistic practices carried out as part of transdisciplinary gatherings in Opolno-Zdrój, located on the edge of the Turów open-pit coal mine, where the pioneering artistic ecological plein-air event Ziemia Zgorzelecka “Science and art in defense of the natural human environment” took place in 1971. The author describes these activities, conducted by the Office for Post-Artistic Services, using the theory of post-artistic practices and “usology,” and pointing out similarities and differences with related concepts of artivism, socially engaged art, or art with community. Borrowing concepts from the field of environmental humanities and written art theory in the context of the climate crisis, the author shows how those associated with the Office experiment with using art as a tool to enter into relationships and intervene in the reality of Opolno-Zdrój. The post-artistic practices carried out in Opolno-Zdrój are a successful exercise in “ecologizing” the methods and language of art, which allow for meaningful engagement with the issues of the planetary climate and environmental crisis, and provide a valuable tool for expanding imagination, useful speculation, and practical shaping of the future. Key-words: climate, ecology, post-art, post-artistic practices, extractivism, plein-air, Opolno-Zdrój, “Turów” mine

马一浮“六艺论”及其印学思想初探

As a representative figure of modern new Confucianism, Ma Yifu not only has deep national learning and solid traditional learning, but also has original ideas in the field of Indian studies.Ma Yifu's “six arts theory” and his art practice also have mutual achievement relationship, reaching the academic and art two-phase confirmation, so that his works give new meaning and connotation, more pointed to the “sacred” level.This paper presents Ma Yifu's “six arts theory” as a link between aesthetic ideas, combined with its printing works, and expounds its printing ideas.

马一浮“六艺论”及其印学思想初探

As a representative figure of modern new Confucianism, Ma Yifu not only has deep national learning and solid traditional learning, but also has original ideas in the field of Indian studies.Ma Yifu's “six arts theory” and his art practice also have mutual achievement relationship, reaching the academic and art two-phase confirmation, so that his works give new meaning and connotation, more pointed to the “sacred” level.This paper presents Ma Yifu's “six arts theory” as a link between aesthetic ideas, combined with its printing works, and expounds its printing ideas.

남북문화 동질성 회복 위한 북한 서예문화 현황 고찰 (2)

This study is a review of the second sub-topic of the research project of the Korea Research Foundation, 'A Study on North Korea's Calligraphy Origin and Juche Calligraphy Growth and Establishment Process'.
 Regarding Calligraphy Origin, contrary to the general point of view, North Korea established Korean calligraphy and created another concept of calligraphy called 'Juche Calligraphy(主體書藝)'. The content related to Calligraphy Origin, this research project, has a greater gap between the two Koreas than any other field.
 This study aims to objectively grasp the reality of North Korea as it is and accurately derive the reality before the problem of right and wrong. This is a shortcut to knowing North Korean calligraphy properly. It was judged that its academic value was great. The logic was developed by making some criticisms on this.
 North Korea established the origins of Korean calligraphy and Juche calligraphy based on the Juche ideology(主體思想). First, North Korea said that 'Korean calligraphy origin was Shinji letter (including Garimto letter) from the Gojoseon period. It is more than 1,000 years earlier than the first Chinese letter, Gapgolmun(甲骨), and Pyongyang is the origin of oriental calligraphy. Through the evidence, excavated relics, and historical ruins, North Korea tried to prove its existence. The representative data are the 16 Shinji letters in “Yeongbyeonji” and the 38 Garimto letters in “Dangunsegi”, as the standard for claiming the origin of Korean calligraphy. And Shinji letters is the model(典範) of the Hunminjeongeum typeface, and it is the world's longest-standing typeface with Korean national calligraphy in the ancient period.
 However, there is a problem in that South Korean academia does not recognize academic value, such as Taebaekilsa, Dangunsegi, and Gyuwonsa, which are presented as evidence in North Korea. In addition, various theories exist in South Korea regarding the Hunminjeongeum font, and after the discovery of the Hunminjeongeum Haerye version(훈민정음 해례본) in the 1940s, the origin of the Hangeul creation was placed on the theory of hieroglyphics. These are still areas that require continuous discussion between the two Koreas.
 Second, the birth background of Juche calligraphy is that our own national calligraphy took place in the context of Chinese character worship of the ruling class and the Japanese national culture extinction policy. The Juche calligraphy theory seems to have started with Kim Jong-il's Juche art theory in 1992 and was formalized in Oh Kwang-seop's『Juche calligraphy』in 1997.
 In North Korea, it is regarded as “Joseon Independence” by handwritten by Kim Il-sung five years old as the origin of Juche calligraphy. With the emergence of “Joseon Independence”, a new stage has unfolded in the revolutionary calligraphy development of the working class. It is said that it opened the way for the development of independent and revolutionary calligraphy that is fundamentally different from the calligraphy of the previous period. In particular, the calligraphy shape during the anti-Japanese revolutionary struggle is a tradition of Juche calligraphy and is the original.
 Third, as a process of developing Juche calligraphy, ① played a role as a strong ideological weapon of Kim Il-sung's revolutionary struggle and construction projects after liberation. ② Kim Jong-il created monument calligraphy and opened a new era of calligraphy. ③ It solidified the institutional and educational conditions related to calligraphy that have taken root in today's North Korean calligraphy.
 As such, it is confirmed that the calligraphy culture between the two Koreas is very differentiated.

남북문화 동질성 회복 위한 북한 서예문화 현황 고찰 (2)

This study is a review of the second sub-topic of the research project of the Korea Research Foundation, 'A Study on North Korea's Calligraphy Origin and Juche Calligraphy Growth and Establishment Process'.
 Regarding Calligraphy Origin, contrary to the general point of view, North Korea established Korean calligraphy and created another concept of calligraphy called 'Juche Calligraphy(主體書藝)'. The content related to Calligraphy Origin, this research project, has a greater gap between the two Koreas than any other field.
 This study aims to objectively grasp the reality of North Korea as it is and accurately derive the reality before the problem of right and wrong. This is a shortcut to knowing North Korean calligraphy properly. It was judged that its academic value was great. The logic was developed by making some criticisms on this.
 North Korea established the origins of Korean calligraphy and Juche calligraphy based on the Juche ideology(主體思想). First, North Korea said that 'Korean calligraphy origin was Shinji letter (including Garimto letter) from the Gojoseon period. It is more than 1,000 years earlier than the first Chinese letter, Gapgolmun(甲骨), and Pyongyang is the origin of oriental calligraphy. Through the evidence, excavated relics, and historical ruins, North Korea tried to prove its existence. The representative data are the 16 Shinji letters in “Yeongbyeonji” and the 38 Garimto letters in “Dangunsegi”, as the standard for claiming the origin of Korean calligraphy. And Shinji letters is the model(典範) of the Hunminjeongeum typeface, and it is the world's longest-standing typeface with Korean national calligraphy in the ancient period.
 However, there is a problem in that South Korean academia does not recognize academic value, such as Taebaekilsa, Dangunsegi, and Gyuwonsa, which are presented as evidence in North Korea. In addition, various theories exist in South Korea regarding the Hunminjeongeum font, and after the discovery of the Hunminjeongeum Haerye version(훈민정음 해례본) in the 1940s, the origin of the Hangeul creation was placed on the theory of hieroglyphics. These are still areas that require continuous discussion between the two Koreas.
 Second, the birth background of Juche calligraphy is that our own national calligraphy took place in the context of Chinese character worship of the ruling class and the Japanese national culture extinction policy. The Juche calligraphy theory seems to have started with Kim Jong-il's Juche art theory in 1992 and was formalized in Oh Kwang-seop's『Juche calligraphy』in 1997.
 In North Korea, it is regarded as “Joseon Independence” by handwritten by Kim Il-sung five years old as the origin of Juche calligraphy. With the emergence of “Joseon Independence”, a new stage has unfolded in the revolutionary calligraphy development of the working class. It is said that it opened the way for the development of independent and revolutionary calligraphy that is fundamentally different from the calligraphy of the previous period. In particular, the calligraphy shape during the anti-Japanese revolutionary struggle is a tradition of Juche calligraphy and is the original.
 Third, as a process of developing Juche calligraphy, ① played a role as a strong ideological weapon of Kim Il-sung's revolutionary struggle and construction projects after liberation. ② Kim Jong-il created monument calligraphy and opened a new era of calligraphy. ③ It solidified the institutional and educational conditions related to calligraphy that have taken root in today's North Korean calligraphy.
 As such, it is confirmed that the calligraphy culture between the two Koreas is very differentiated.

Projecting Worlds Today

Abstract This essay aims at an appraisal of Nicholas Wolterstorff’s magum opus on the subject of art, the book Works and Worlds of Art, published in 1980 by the Clarendon Press in Oxford. The book is well known by analytic philosophers of religion, but its innovative value still seems to receive less recognition from other schools of thought and from artists and scholars in the area of Arts. Therefore, this introduction situates the book in the history of Philosophy of Art, with special focus on the state of affairs for the discipline in the twentieth century, engaging dialogue with other philosophical proposals in the period. Finally, the core concepts of Wolterstorff’s philosophy of art will be presented and defined in order to offer a glimpse of the richness that this book could still provide to contemporary scholarship.

Aesthetic Value in Marketing Art Gallery: Conceptualization and Scale Development

This study aims to develop a measurement tool for a new concept in aesthetic marketing called Aesthetic Value. The paper provides a framework for understanding individual motivations in consuming art galleries, starting with exploring art theory, aesthetics, and experience as a source of aesthetic value. The research then defines the construct and its dimensions, which are used to create a measurement tool and develop a conceptual model. Data collected from survey is used to evaluate the overall aesthetic value model. Finally, Exploratory Factor Analysis (EFA) determines the number of components that should be retained in the construct. The study concludes that Aesthetic Value has four dimensions: artwork, facilities-place, knowledge, and emotion. This conceptualization provides a robust foundation for understanding customer value in the context of consuming art galleries by considering various relevant elements of Aesthetic Value. The article also discusses the potential use of this concept in the future, allowing researchers to accelerate further theoretical development in this area.

Book studies in Poland between 1945 and 2015: The sources of theoretical inspiration

The aim of the paper is to picture a retrospective panorama of the theoretical legacy of post-war Polish book studies. Of key importance to the author is the question of the object of the discipline and, consequently, its scope. The author discusses directions in book studies and the bibliological process making up — starting in the 1930s and with Jan Muszkowski’s concept — the core tradition and foundation of book-studies theories: the theories built around the paradigm of ‘life of the book,’ looking at it as an integrally defined process of production, dissemination and consumption; Karol Glombiowski’s functional theory, thanks to which ‘systemic’ and ‘functional’ approaches became a commonly accepted methodological premise in book studies; the concepts formulated by Janusz Dunin, who linked the bibliological tradition of historical source studies of editorial forms of books to the functional theory and to ‘communication’ perspective; the theory formulated by Radoslaw Cybulski, who, in combining the established morphology of the book with a semiotic and communication perspective, adopted ‘book consumption,’ that is, an ‘integrated system of satisfying the needs of book users,’ as a functional category to describe the behaviour of participants in the book market; the concepts focused on the ‘social communication situation’ as a research concept and perspective stemming from the sociological and semiotic reorientation of humanistic thinking. At the end, the author discusses the trends which have considerably expanded research perspectives in recent years: books in the media space; the ‘culture of the book’ paradigm, which is conducive to an ‘anthropologisation’ of the bibliological process, perceived no longer only institutionally, from the perspective of social communication, but also through relations, interactions and value judgements of people participating in it, which shifts research priorities towards the questions of reading and often also towards ‘regional’ approaches; and the theory of book art and research into book aesthetics. At the various stages of the development of bibliology and in relation to respective research approaches, the focus shifted from the book as a cultural artefact and its ‘life,’ that is, the bibliological process with its institutions, to the functions of the book with regard to the public in the process of social and cultural transmission, and, finally, to the public as the creator and user of the culture of the book, whose actions are ‘recorded’ in bibliological documentation.