Works Of Art Research Articles

Constants and Variables of Artworks: A Critical Study

This study discusses and analyses artistic production, explaining its motives, stages, and characteristics. In this context, the study reviewed fine artistic production throughout successive eras and explained the tangible changes. The study discussed and concluded the motives for producing creative works, their origin, their most essential features, and the reasons for their diversity. Based on these conclusions, the most critical constants and variables associated with reading and appreciating artistic works were identified. The study reviewed various artistic trends and schools representing successive eras, explained the mechanism the artists adopted to produce their creative work, and clarified the nature of artistic work and the requirements for reading and tasting it. The study confirmed that artwork recipients- regardless of their level of culture- must consider the foundations and constants of the artistic work identified in the survey so that they can read and taste it. The recipients need to understand these foundations so that they can communicate with the artistic work and have the ability to taste and evaluate it. The study gained importance in this context because of the knowledge developed about the constants and variables of tasting artistic works, representing a communication bridge between the recipient and the creative work. The recipient’s awareness of the constants and variables of reading and tasting works of art produces a positive movement for plastic art and its positive impact on building a complete and ideal society. The civilisation and the sophistication of societies are measured by the extent of their interest in and support of the arts and the positive impact on the citizens’ behaviour towards their culture and environment.

Linguistic analysis of fiction texts in the context of the frame theory

The aim of the study is to identify and analyse frame structures, activators, and concepts in texts to reveal their impact on the reader' s perception. The research employed the methods of semantic, structural, and intertextual frame analysis. Cronbach' s alpha was also used to verify the instruments used. The following cases were used in the work: Oxford English Corpus and International Corpus of English (ICE). It is noted that frame activators such as "great heat", "hell heat", "hot wind", and "scorching sun" evoke associations with scorching heat and unusual warmth in the desert. These frames convey the impression of life danger, exhaustion, and severity of conditions. In turn, phraseological units such as "fresh waters", "bloody sunset", and "dried earth" reveal the contradictory nature of the image of the desert, where even such natural phenomena as water and sunset acquire a new, deep shade of meaning. The application of this theory was found to reveal complex language structures and their influence on the understanding and perception of texts. The obtained results open up new opportunities for educational and literary analysis, deepening the understanding of language mechanisms in fiction. Further studies in the field of linguistic analysis of texts should be aimed at considering the interaction between different works of art, focusing on the frame perspective. It is also worth paying attention to the possibilities of using the theory of frames to fulfill practical assignments, such as automatic text analysis.

Indoor Microclimatic Conditions and Air Pollutant Concentrations in the Archaeological Museum of Abdera, Greece

Indoor microclimate conditions and air pollutant concentrations (O3, TVOC, CO, CO2, and particulate matter mass concentrations in six size bins) were measured in the Greek Archaeological Museum of Abdera, which houses priceless works of art from the birthplace of the ancient philosopher Democritus. The monitoring campaign took place during the spring and summer months, when there were the greatest number of visitors. In the exhibition rooms, daily variations in relative humidity ranged from 4% to 10%, and daily variations in air temperature ranged from 0.9 °C to 2.6 °C. These uncontrolled changes may endanger the housed antiquities. The microclimate in the storage rooms varied substantially less than in the exhibition halls due to dehumidifiers and the lack of visitors. Concerning air pollution, indoor O3 concentrations were higher than the recommended limit values for the conservation of artwork. Even more worrisome are particulate matter mass concentrations above the air quality guidelines. Despite the fact that the building is well insulated and that only artificial lighting is used in the exhibition halls, it is difficult to achieve adequate conditions for the protection of the works of art.

Material culture in the Old Testament: Conflict and propaganda with Missionary Christianity

Cultural materiality as evident in the Old Testament (OT) was borne out of personal and corporate experiences of ancient Israelites with YHWH (Ex 16:32–34; 25–36; Nm 16–17, Jos 3–4). At the dawn of Christian Missions, certain indigenous religious objects became ‘idolatrous’, but across the Atlantic Ocean, they were works of art kept in museums and art galleries. This negatively impacted biblical reception by the locals. This work investigates select OT icons and wades into their ontological and existential significance in relation to the conflict and propaganda of Missionary Christianity towards indigenous icons. The narrative criticism and the Interpretative Phenomenological Analysis (IPA) including Focus Group Discussion (FGD) were engaged in the study while the Symbolic Interactionism was the theoretical framework. The objects preserved by ancient Israel were to serve as relics for future generations who were to have an existential knowledge of YHWH’s dealings with their forebears. Western missionaries claimed to have transmitted biblical messages to Africa, yet their approach led to conflicts in biblical reception by the indigenous people who struggled between being detached from their existential realities, and accepting the gospel with its Eurocentric biases. The Western missionaries’ inability to transmit the biblical understanding of cultural materiality in their dealings with Africans invites suspicion in the missionaries’ efforts with a pretentious display of ignorance of the ontological significance of indigenous materiality.Contribution: This article offers insight into the conflict and propaganda inherent in the Western missionaries’ approach in transmitting biblical messages of cultural materiality, and challenges of biblical reception among indigenous people in Nigeria.

Horia Lovinescu, Between the “Terror of History” and Psychoanalytical Dreams

This paper focuses on Horia Lovinescu (1917-1983), a member of one of the most important dynasties of modern Romanian culture. Six of Horia Lovinescu’s dramas are interpreted in a close reading system, by psychoanalytical tools and by focusing on the family constellations the author imagines. These plays are related to the historical context (“the terror of history”), in order to understand how works of art are the reverberation of biographical-creative data of the greatest importance and how they echo in a paradoxical way social-political transformations. This double reading, psychological and historical, is justified by the playwright himself, through the construction of his plays and through his many allusions to psychoanalysis in his writings. Keywords: Horia Lovinescu, psychoanalysis, historical reading, communism, dramas, artistic creation, myth.

영화 속에 나타난 백인 예수의 정치적 영향력과 사회언어학적 상징성

Shaun King's assertion that “the statues of White Jesus must be destroyed” presupposes that the portrayal of Jesus as white in popular media and artistic works in the United States has symbolized racial discriminatory consciousness associated with white supremacy since the early days of American history and continues to influence the current society and political landscape. This paper examines how the portrayal of White Jesus in films, in particular, operates in relation to racial stereotypes, how it has functioned as a political tool through its theologization, and what sociolinguistic symbolism it has been utilized with. After analyzing these aspects, the paper seeks various alternatives to overcome this phenomenon.

THE MEMOIRS OF ERAST NUDATOV AS A SOURCE OF SHEVCHENKO’S BIOGRAPHY OF RAIM PERIOD (1848—1849)

The paper aims to evaluate the reliability of Erast Nudatov’s memoirs who was an ensign of the fourth linear battalion of the Separate Orenburg Corps at the time of his acquaintance with Shevchenko. The memoirs were recorded by the Russian journalist and writer Dmitry Klemensov, whose real surname was Montvid. Due to the lack of other sources for reconstructing the conditions of the Aral Sea Expedition’s stay in Raim in 1848—1849, D. Klemensov’s publication repeatedly attracted close attention from researchers. However, many of them have been overly credulous toward the information it contains. Some of Klemensov’s assumptions had no factual basis and led to the spread of several legends in Shevchenko studies, primarily concerning references to Shevchenko’s artistic works (now unknown). Shevchenko did not draw any political caricatures, let alone “obscene pictures.” It seems that due to the limited memories of E. Nudatov, D. Klemensov had to largely speculate on a number of episodes, depicting Shevchenko as involved in various incidents occuring in the Raim fortress or those heard by the ensign during his service. The information provided by E. Nudatov has been cross-checked with documents, reliable memoirs, etc. The journalist’s treatment of his story turned out to be too fictionalized, not least because of the publisher’s financial interest. It is indicative that the editorial board of the “Kiievskaia Starina” journal, known for its commitment to preserving the poet’s memory, did not publish the proposed material. Perhaps this was due to doubts about its authenticity or disagreement about the terms of publication. In conclusion, it is advisable to only use an information from D. Klemensov’s material, confirmed by other sources. The rest of the stories, in particular those about Shevchenko’s antics, which are definitely too many for the three months of the exile’s and the ensign’s joint stay in Raim, should be used with great caution, bearing in mind the low reliability of these memoirs.

Studi Deskriptif Karya Seni Rupa Berbahn Clay Tepung

This study aims to describe the process of making art works made from clay flour and works of fine art made from clay flour in class IV A SDN 32 Bengkulu City. This type of research is qualitative, with participant observation techniques, and qualitative descriptive method. The research subjects were all students of class IV A 32 elemnetary school in Bengkulu City, totaling 20 students. The research instrument used was a human instrument (the researcher himself), by using observation guidelines and interview guidlines. Data collection techniques in the form of observation, interview, and documentation. Data analysis was carried out during the process of making the work and after the work was finished by referring to the fine arts elements and the principles of fine arts. Research results are (1)the process of making fine works of clay flour begins with preparing the tools and materials used, namely scissors, cutter, small rollers, straw, pins, toothpicks, cutton bud handles, ruler, lighters and painting brushes, followed by the implementation of making works from determining the theme, making shapes out of clay’s flour dough, laying out and arranging the forms that have been made and drying the work. (2) The results of artwork made with flour clay has used the guidelines elements of fine arts and the principles of fine arts, namely the elements of point, lines, fields, shapes, colors, textures and space. Then, the principle of unity, balance, rhythm, emphasis, proportion, and harmony.

Helmuth Plessner’s Philosophy of the Work of Art in Anthropological and Phenomenological Perspective

This paper aims to explore the theme of art in Helmuth Plessner’s philosophical anthropology and show the possibilities of its use in the analysis of artistic creation and artwork. The article is divided into three parts: in the first part, it presents the background of Plessner’s anthropological project and the intersection of his philosophy with Edmund Husserl’s phenomenology. This strategy enables the synergy of both approaches which can be used for reflection of art. The second part displays the scope and ingenuity of Plessner’s approach through a selection of texts where he addresses art. And finally, the third part delves into a functional elaboration of the anthropology of an artwork, specifically, using Max Beckmann as an example, into the question of anthropological foundations in art making, and the question of new form in art. For the latter question, I use the approach to architecture as an example relying on corporeality and Umwelt as guiding concepts. This analysis provides, on the one hand, description of anthropologically significant phenomena of artistic production of the first half of the twentieth century, and on the other hand, reveals functional determinations of corporeality, the world, and resonance with the world, the so-called equilibrium, which can be used to understand the artwork, and artistic production in the creation of a new form in art. Keywords: philosophical anthropology, phenomenology, Helmuth Plessner, Edmund Husserl, Max Beckmann, corporeality, Umwelt, resonance, new form.

‘Objects bring us traces of life’: Cavaleri, Cernuschi and Giambattista Vico’s theory of history

Abstract This essay explores the profound impact of Giambattista Vico’s philosophy of history on two nineteenth-century museographic projects.1 The two collections are Michele Cavaleri’s museum in Milan and Enrico Cernuschi’s museum in Paris. Vico’s emphasis on historical knowledge as the key to understanding human civilization, and his unique approach to the aesthetics of primitive cultures influenced scholars and collectors interested in the origins of art and architecture throughout the eighteenth and nineteenth centuries. I first discuss the Milanese school of philosophy, which played a pivotal role in re-evaluating Vico’s contributions, and its impact on both Cavaleri and Cernuschi. The two collectors, deeply rooted in Milan’s intellectual circles, incorporated Vico’s ideas into their museums, which aimed to showcase the interconnectedness of art, culture and history. Their endeavours to advance the contextual understanding of works of art are discussed, shedding new light on the influence of Vico’s anthropological historicism on nineteenth-century thought and culture.

Wreath of sonnets “Movement” by Yu. V. Linnik

Yuri Linnik is an outstanding poet, scientist, philosopher, literary critic, culturologist, art critic, writer, creator of many museums, teacher and member of the Writers’ Union of Russia, whose work has left a deep mark on the world of modern poetry. The focus of our attention is the wreath of sonnets “Movement”, which helps to consider some thematic, stylistic and versification features of sonnets of Yu. V. Linnik of recent years. An analysis of the artistic and expressive means, structure and main ideas embodied in these poems, as well as comments, allow a deeper understanding and appreciation of the sonnet work of the poet in 2015–2018. The wreath of sonnets “Movement” is a vivid example of Yuri Linnik’s skill in using artistic techniques and creating a special style. He masterfully plays with language and rhythm, achieving deep emotional richness and expressiveness. In general, the wreath of sonnets “Movement” by Yuri Linnik is imbued with philosophy, deep images and harmony of nature and space, which makes his works real works of art inspiring for readers.

LANGUAGE CONCEPTS «DAY» AND «NIGHT» IN THE POETIC WORLD OF F.I. TYUTCHEV (THE EXPERIENCE OF CORPUS RESEARCH)

The present study is devoted to the interpretation of linguistic concepts “Day” and “Night” in the artistic texts of the classic of Russian poetry F.I. Tyutchev. The research is carried out in an interdisciplinary aspect based on the linguistic understanding of the concept and the interpretation of this concept in the literary study of the poetic text. In addition, the research uses corpus linguistics methods and corpus technologies for the analysis of a work of art. The relevance of the topic selection is due to the increasing interest of scientists in corpus studies of literary text. The research has a scientific novelty, which is justified by the insufficient development of algorithms for corpus research of poetic text, especially in terms of identifying concepts and their interpretation. The paper comprehensively reveals the theoretical foundations of the study of concepts in various aspects: linguistic, literary, corpus. The works of Kazakhstani scientists on the concepts on the basis of which the theoretical basis of the study is being built are reflected. The structure of the concept, its types and relationship with the author's idea are revealed. In the practical part, the interpretation of the concepts “Day” and “Night” in the lyrics of F.I. Tyutchev is presented, a corpus study is conducted to identify the frequency of use of a particular concept, the relationship of the concept with the thematic focus of the poem and its ideological content, interesting observations and conclusions are made. In addition to the theoretical substantiation of the problem of interpretation of artistic concepts in a poetic text, the paper presents an algorithm for the study of the concepts “Day” and “Night” in F.I. Tyutchev's poems, based on work with the RNC (Russian National Corpus).

The Effect of Static Stretching Body Exercises in Increasing Hamstring Muscle Flexibility in Dancers at UKM Sangsekarta

Indonesia cannot be separated from its diversity of arts and culture, including traditional dance. Dance is a work of art to express oneself through movements carried out by the body, therefore muscle flexibility is required in carrying out each movement in a dance. Flexibility, also known as flexibility, can affect the quality of movement in dancers. The hamstring muscles are one of the muscles that contribute to controlling body movements, whether practicing posture, running, jumping, or performing various kinds of dance movements. So training is needed to improve and maintain the flexibility of the hamstring muscles in dancers, one of which is by doing static stretching. Static stretching is often done by dancers, with the aim of training the dancer's physical endurance, muscle and bone strength, as well as helping to train breathing. The aim of this research is to determine the effect of providing static stretching body exercises in increasing hamstring muscle flexibility in dancers. This research design uses a pre-experimental design with a one group pre-test and post-test design. The sample for this research were dancers at UKM Sangsekarta, Muhammadiyah University of Malang. The sampling technique in this research used purposive sampling with a sample size of 27 people. The data measurement tool uses the Sit and Reach test. Data analysis tests were carried out using normality tests and hypothesis tests using SPSS. With the results of the pretest normality test being 0.074 (>0.05) and posttest 0.017 (<0.05) with the statement that the data is not normally distributed and the hypothesis test with a value of 0.00 (<0.05) with the statement that there is an influence. The conclusion in this study is that there is an effect of providing static stretching body exercise in increasing the flexibility of the hamstring muscles in dancers at UKM Sangsekarta.

Analisis Pembelajaran Seni Anak Usia Dini melalui Kegiatan Finger Painting

When children learn, they often have difficulty using crayons, which hinders their ability to color. Therefore, we need a medium that allows children to express their artistic talents more widely. One solution is to use finger painting as a learning medium. Finger painting is a painting activity that uses the fingers as a tool. This research aims to describe AUD art learning through finger painting. The type of research used is descriptive with qualitative methods. This type of research examines an object and searches for facts with the correct interpretation. The research results show that learning art for AUD through finger painting can stimulate children's creativity in expressing their ideas in the form of works of art, besides that finger painting can be used as an effective and efficient alternative method for improving artistic abilities in early childhood.

A Study on the Utilization of Deep Learning-Based Image Generators for Nail Art Design Creation: Focusing on the Colors and Patterns of Fish Scales

This study aimed to develop nail art designs inspired by the colors and patterns of fish scales. Various images of fish were collected, and the colors, patterns, and textures of their scales were analyzed. Using deep learning-based image generator, designs replicating the colors and patterns of fish scales were created. Based on these designs, five nail art works were produced. The colors and patterns of fish scales are suitable for creative nail art designs, and designs inspired by fish scales demonstrate excellent visual effects due to the appropriate application of principles of form and expression techniques. Moreover, nail art designs inspired by fish scales can enhance the artistry and distinctiveness of nail art. This research highlights the potential of using fish scale colors and patterns in nail art design and represents a novel approach to using deep learning-based image generators as creative tools in nail art design. However, the nail art works produced in this study were limited and reliant on subjective evaluations. Future research should apply diverse evaluation methods to measure the quality and satisfaction of nail art designs and expand the study to include nail art designs using other natural materials besides fish scales.

THE SIGNIFICANCE OF ACMEHERMENEUTIC APPROACH IN PREPARING STUDENTS OF FACULTIES OF ARTS FOR PERFORMING ACTIVITIES

The article reveals the significance of the acmehermeneutic approach in the preparation of art faculty students for performance. From the standpoint of the classics of philosophical hermeneutics and the works of modern scientists, the essence of the main concepts of the article, namely: "hermeneutics", "interpretation", "acmeology", was considered. The author's understanding of the acmehermeneutic approach is presented, which is defined as a new direction of performing activities of students of the faculties of arts, which provides a comprehensive coverage of the content of the images of a musical work, which is performed in unity with its form. Proposing the application of an acmehermeneutic approach in the process of performing activities of students of art faculties, we consider it expedient to: deep understanding by students of the figurative essence of a musical work, the formation of students' ability to reveal, understanding of the means of expression that the composer chose to express his feelings, enabling the activation of students' emotional response to a musical work through their involvement in the intellectual understanding of the origins of beauty. Key words: acmehermeneutic approach, students of art faculties, performing activity, interpretation, works of art, intellectual understanding.

Artists’ and Creators’ Reframed Relationship with Nature Since the COVID-19 Pandemic

Abstract This report is part of a wider research project, Reframing Creativity, which studied how the COVID-19 pandemic affected the work and creative practice of professional artists, producers and makers. Here we discuss a specific finding about artists’ and creators’ relationships with nature. After conducting a first round of interviews with 11 participants, we identified that around half of them had talked about having found a valuable connection with nature since the pandemic—even though nature was not a topic in our sequence of questions. This led to a deeper analysis of nature and creativity through a second round of interviews with 11 further participants. For both rounds of interviews, we used a semi-structured questionnaire with a snowball sampling method for recruitment. We conclude that artists and creators developed new meanings and perspectives on their relationship with the outdoors as an unexpected result of the new first-hand experiences they were able to have outside, that is, as a result of the opportunities the pandemic enabled. We also argue that creators face an urgent need to find a healthy balance between the unstoppable advancement of digital technologies, accelerated by the pandemic, and the fundamental need to be connected with the natural world. These new creator-nature connections should be fostered, preserved, and researched further.

SOCIO-CULTURAL CONDITIONS OF FORMATION AND POPULARIZATION OF ART DECO STYLE IN GALICIA

The Art Deco style was reflected in the works of Ukrainian fine and decorative arts artists. In domestic art analysis, this style has been studied fragmentarily, so there is a need to fill these gaps. The author of the article investigated the socio-cultural conditions of the formation and popularization of Art Deco style in Galicia. It was determined that active socio-cultural phenomena influenced the development of the artistic life of Galicia during the interwar twenty-year period. This became the proper basis for the formation of new European styles, in particular Art Deco.Keywords: Art Deco style, socio-cultural conditions, Galicia, interwar period, artistic association.

O retrato

The sight of the human face has always exerted a powerful attraction on us. Whether in painting or photography, in cinema or theater, the representation of the human figure awakens in the viewer a varied range of emotions that range from the simple identification of a person to the inexhaustible mystery of the work of art in museums, passing through the history of customs and the religious function of icons. Lotman warns us that precisely because portrait is the simplest genre, it is also the most sophisticated: “The portrait is a kind of double mirror: in it art is reflected in life and life is reflected in art”. In what was one of his last works, Lotman describes the trajectory of portraiture in painting through the ages. He says: “In essence, the entire set of portraits can be considered as a polysemic set of meanings of the word ‘human being’.” The portrait, crossing societies and trends, has never ceased to be that mystery that at the same time reveals and hides the soul.

La teak: Painted animation as an educational media maintaining tree sustainability AR 3D filter-based

Forests which are often given the nickname the lungs of the world are starting to dwindle day by day. There are many cases of illegal logging for the benefit of private industry individuals without thinking about the impact that will be caused. The bad influence that appears is not only felt now but also in the future. Education regarding the existence of a tree is deemed necessary to be made. Taking into account these problems, this study aims to create a combined work of art that carries the idea of the tree itself. Artwork is made from two elements of art, namely painting, and animation. Many say that there is a wall between traditional art and digital art. This research also intends to prove that the two types of art can be united. The method of creating works is in the form of static paintings which are used as tracker/marker objects for making augmented reality (AR) animations. The results of the creation of works in this study show that they can provide knowledge to the wider community regarding the importance of trees and instill in them a sense of love for the environment, as well as provide more experience to the community regarding new media.