Display Of Art Research Articles

Analysis of the Four Treasures of Xuancheng Wenfang and the Road to Chinese Painting

Chinese painting is a unique form of artistic display in China, a concrete embodiment of the traditional culture of the Chinese nation, carrying more than 3,000 years of historical accumulation, and a treasure of world culture. The tools and materials used in the creation of Chinese painting-- the Four Treasures of Wenfang also have profound connotations, and from the use of the Four Treasures of Wenfang, we can glimpse the personality and long historical charm of the Chinese nation. Therefore, this article starts from the symbolic spirit of the four treasures of Chinese painting, analyzes the profound connotation therein, and finally feels the rich meaning and spirit of Chinese painting. Chinese painting is a unique form of artistic expression in China, a concrete embodiment of the traditional culture of the Chinese nation, carrying more than 3,000 years of historical accumulation, and is a treasure of world culture. The tools and materials used in the creation of Chinese painting-- the Four Treasures of Wenfang also have profound connotations, and from the use of the Four Treasures of Wenfang, we can glimpse the personality and long historical charm of the Chinese nation. Therefore, this article starts from the symbolic spirit of the four treasures of Chinese painting, analyzes the profound connotation therein, and finally feels the rich meaning and spirit of Chinese painting. Culture is the soul, industry is the carrier, and in-depth excavation of excellent traditional Chinese cultural resources with local characteristics to achieve creative transformation and innovative development is of great significance for cultivating cultural and creative industries to become new growth points and promoting the high-quality development of the county economy. In this regard, we must think deeply and find the best path for the development of excellent traditional culture "double creation".

Study on the metaphorical nature of textile fiber artworks of non-heritage

Fiber art is closely related to human life, modern fiber art on the basis of the performance of traditional fiber art, from the material, form and color to break the traditional mode, pay more attention to the spiritual connotation of fiber art works themselves, pay more attention to visual resonance and Starting from the basic theory of metaphor, the metaphorical expression methods in different Starting from the basic theory of metaphor, the metaphorical expression methods in different fields are analyzed and elaborated. The metaphor of contemporary fiber art is extremely important and forward-looking for inheriting and carrying forward China's traditional culture. Taking the connotation of the traditional culture of the 24 solar terms as the starting point, this paper Taking the connotation of the traditional culture of the 24 solar terms as the starting point, this paper explains, summarizes and studies the presentation and expression forms of traditional Chinese folk art on the traditional culture of the 24 solar terms. and conducts in-depth research and detailed analysis from the perspective of the artistic display of fiber works, and integrates the design concept of the project is based on the concept of modern fiber works to reproduce new vitality and charm of traditional culture.

An “Artistic Display of Wares”: The Wallpaper Trade During Otago’s Goldrush, 1860-1867

ABSTRACT In comparison with interior design and architecture studies in Britain, Europe, the United States and Australia, little research has been conducted on interiors of the 19th century in New Zealand. Publications on New Zealand’s architectural heritage have largely focused on house exteriors, often including only passing reference to components of interior design. The fragments of knowledge about New Zealand’s early interiors that emerge from existing literature provide insight into the web of factors that shaped them. These include socio-cultural factors, the influence of media, and global and local economies. Picking up on these themes, this paper focuses on the wallpaper trade in Otago prior to, during and following the goldrush, between 1860 and 1867. The picture that emerges is of an Antipodean trade in predominantly British wallpapers, and a trans-Tasman network that facilitated the flow of wallpapers and traders between the Australian colony of Victoria and the province of Otago in New Zealand. Insights into the wallpaper patterns available in 1860s Dunedin are provided by photographs of shop windows and the display of wallpapers in the Furniture Court of the 1865 New Zealand Exhibition, as well as an archaeological sample from the 1860s.

44‐2: Electronic Tile for Decoration of Outdoor/Indoor Walls

We have proposed and developed e‐Tile for wall decoration and ornaments for interior/exterior. A prototype of 2 m x 2 m large energy‐saving reflective panel was realized by arraying 400 e‐Tiles on a flat plane. Prototypes of cubic displays were also realized by constructing e‐Tiles to cubic shape. Artistic display effects and 3D impression could be found in these cubic prototypes. We hope e‐Tile is a promising solution to extend the application field of e‐Paper to decorative use including architectural applications.

What’s Politics Got To Do With It?


 
 
 Street art is a type of visual art that is often created in urban environments, adorning the walls of buildings, streets, and other publicly viewed surfaces. Despite its unfair reputation as “vandalism,” street art is increasingly recognized as an expressive art form and a feature of urban visual culture. Challenging traditional conventions of art, street art is radical both in its production and display. In its production, street art is anti-authoritarian and reclaims public space; in display, street art engages with everyday onlookers dialectically. As street art has transformed the possibilities of artistic display and production, so too must libraries respond by providing the information literacy needed to study and understand street art within its sociopolitical contexts. Libraries can intervene by liaising between street artists and users to increase public awareness of street art and dismantle negative stereotypes, and by providing classroom instruction that connects information literacy with the sociopolitical aspects of street art. Finally, art libraries can communicate the risks in creating street art to protect potential practitioners.
 
 

Longing for everyday life. Experiencing COVID-19 social isolation in a Latin American city

ABSTRACT This article examines the transformations in meaning and use of public and domestic spheres in the context of the strict COVID-19 stay-at-home measures in Greater Buenos Aires. Building on a mixed-methods approach that included a survey with close to 3000 responses and 12 in-depth interviews, we explore how restrictions on the navigation of public space transformed the ways in which both the city and the private sphere were lived. We found that our subjects developed a wide array of strategies to compensate for the closure of public spaces, adapting their everyday life to the limits of their housing arrangements. They described how windows, balconies, yards, and terraces were reappropriated for political or artistic display, while bedrooms and living rooms had to be openly exhibited through videoconference calls for work and education. At the same time, these transformations aggravated pre-existing inequalities, as social isolation was experienced very differently depending on household composition, gender, social class, age, housing and urban conditions. As our subjects longed for the spaces and activities the city provides, the disappearance of public space showed precisely how important it is for lived experience and the everyday reproduction of life.

Interpretation of Surrealism among University Fine Art Students - Analysis of Selected Surrealist Work by Fourth Year Students at Kenyatta University, Nairobi, Kenya

Surrealism, whether in drawing or painting, remains an engaging and fascinating Art style and continues to be of great influence in the way artists, including students of Art, perceive self-expression and generation of new meaning in their work. Surrealism is considered among the most influential artistic movements of the 20th Century. It started in the 1920s as a literary movement that eventually took on a visual dimension, its foundational principles have continued to influence the thought process and styles of many modern artists in the realm of self-expression. Though students at the University undertake drawing in the context of a number of units in their undergraduate programme, surrealism is introduced as a fourth-year unit since they are expected to have adequately mastered drawing and consolidated an expressive individual style over time. This study examines, through analysis of selected works, the extent to which students are able to, firstly, internalize the concept and visual tenets of surrealism such as distortion, abstraction, and juxtaposition of forms and apply these tenets in the composition of new artistic work of their own. Secondly, the study sought to determine whether their drawings demonstrated individual capacity for self-expression and the derivation of meaning that appealed to the audience. The students were introduced to surrealism through examination and discussion of examples of previous students’ surrealist work, analysis of the subject matter, the origination of ideas, and style of execution in pencil as a manipulative tool. The students were also introduced to rendering surrealist images from various sources into artistic compositions that are interpretable by the audience and, therefore, bear the ability to generate artistic meaning. This being a drawing unit and for the purpose of uniformity of medium, they were instructed to work in pencil on A3 drawing paper. They were expected to internalize each other’s work through class presentations and focused critiques. The students, subsequently, produced a large body of drawings that were sampled and selected in terms of artistic execution and/or display of a significant impetus for self-expression. They were ultimately expected to demonstrate the ability to interpret the meaning of imageries derived from the unconscious mind or whatever dreamlike sources they may have referenced. The work was analysed in accordance with the guidelines outlined in the analytical framework.

Potreba za umetnošću - obrisi individualnosti u poplavi slika

The research presented in this paper begins from the time of turmoil in the field of arts and thinking (about art) in the late 19th and early 20th century. The shift from traditional techniques and operational procedures to modern ones, which is followed back from the time of industrial revolution, contributed to the elimination of art as the relevant operational procedure and consequently to the elimination of the values on which the traditional art survived. Although modern art drew its inspiration from the well of resistance to tradition and social reality in which the masses played an important role, the paper attempts to follow the task the art has inherited from earlier times - the artistic display of sense at the level of image, which differentiates it in the recent cultural, economic and intellectual conditions from the mass industrial production of consumable images. The paper examines the possibility of differentiation of artistic image in postmodern period, at the time of excessive expansion of mass media and electronic simulation techniques, following the realisation that the modernist ideal of progress and the exclusivity of art are unviable. The paper presents the arguments of the philosophers who deny the possibility of art in postmodern era. Contrary to that, it indicates that there is a vast area of artistic production which testifies with its exquisite experiential and cognitive value in the field of image to the need for artistic mimesis and its articulation of reality at the time of simulation.

Spatiality and materiality: the girl’s bedroom in fin-de-siècle advice literature

This essay examines late nineteenth-century advice literature, such as the magazines for young adults, domestic advice manuals, and home decoration books, to determine how guidelines about the spatial and material construction of a girl’s bedroom supported the idea of teen femininity in fin-de-siècle Britain. These primary sources of information, boosted by the rise of household art, offered an effective means of understanding adolescent girls’ relationships to the modern interior. Fin-de-siècle advice literature, a mixture of facts and fancies, frequently illuminated the tasteful design of a room of one’s own as a socially aspirational model to help female adolescents reach the ideal and practical perfection of girlhood. Bedroom décor constituted a type of visual vocabulary that demonstrated a young girl’s sense of spatiality and materiality along the lines of upholstered refinement and artistic display. In a broader sense, the spatial configuration of a bedroom provided scope for a girl’s orientation toward artistic furnishing in keeping with the law-and-order paradigm.

Ochrona zabytków archeologicznych w prawie japońskim

Protection of archaeological sites in Japanese law In popular perception Japan is often associated with cherry blossoms, the samurai, the geishas, rice fields and delicious ramen soup. However, each of these elements is relatively new. The country’s culture is rich and ancient, and the Japanese are very aware of their heritage and are eager to protect it. The Japanese government encourages universal public participation in supporting and appreciating artistic activities. The most important cultural goods are considered national treasures, which are particularly valuable to the world and to the Japanese nation. These can be works of art such as paintings, sculptures or architectural masterpieces, as well as other forms of artistic expression such as suiseki – art of artistic display of stones, chadō – tea ceremony, ikebana – flower arrangement, and even the artists themselves. The purpose of this article is to outline the Japanese heritage law with respect to protection of archaeological sites; the long history of the island nation means the Japanese archaeologists have plenty of sites to work on. Since 1945, archaeological research has become an important way of constructing the Japanese national identity. While the key goal of archeology in Japan is still about building national identity in relation to the past, there is a noticeable diversity in research goals and methodology used by the current generation of practicing archaeologists.

Tales of treatment and new perspectives for global health research on antimicrobial resistance

Global health champions modernism and biomedical knowledge but tends to neglect knowledge, beliefs and identities of rural communities in low-income and middle-income countries. The topic of antimicrobial resistance represents these...

ASSESSING THE IMPACT OF ARTISTIC ARCHITECTURE ON PERCEIVED USABILITY AND WILLINGNESS TO USE MOBILE COMMERCE APPLICATIONS

Creating a useful portable browser or program is a demanding challenge for organisations due to the size constraints of the display area, which additionally is contingent on usability, internet connectivity, efficient backup power and mobility. Users also expect performance equivalent to that of microcomputers. Portable display programmers need to surmount these challenges without compromising users’ concerns for safety and confidentiality. Various works in the past couple of years revealed the ability of a strongly perceived artistic architecture of a mobile website as a push to overcome clients’ reduced skill. The investigation conducted in this report sought to determine the distinct impact of eight artistic display on the of a mobile website or program and the corresponding clients’ . Organisations may thus take advantage of this knowledge to improve usage, trust, frequency of adoption and consequently financial rewards on m-commerce applications. This study uses a with a screening objective. Data for the experiment was sourced through a web-based questionnaire program, . At the same time, social network sites were used to disseminate the questionnaires to enable gathering a good number of respondents. The data collection instrument had statements with threshold for Ninety-six participants took part in the inquiry. In contrast, seventy-six participants completed the exercise, signifying an estimated. was used in the study of the association concerning the . package was utilised in the evaluation of the . Findings revealed that artistic architecture bears a substantial impact on of portable websites and programs as well as influences artefacts on such platforms. , as well as the of an application, turned out as two features with the highest impact on the two factors. That the orientation of their effects is a reverse of the conjectured outcome suggests that future work should explore this issue.

From Obsolete to Contemporary: National Pavilions and the Venice Biennale

Abstract For over a century, the Venice Biennale and its national pavilions have served as a platform for international artistic display. Despite the fact that national representation has been a pivotal aspect of the Biennale since the first pavilion was built in 1907, there is a lack of deep understanding of the nature of this model. The purpose of this article is to offer an historical account of the conceptual and material predicament of national representation at the Venice Biennale. The focus is directed mainly at the introduction in 1993 of a more transnational approach in the context of an increasingly interconnected and globalized world.

British Modernists and the Images of the First World War 1914–1920

The article is devoted to the problem of modernist perception of the situation of mechanized war, as young British artists adapted the latest forms and concepts in wartime works. The First World War was not like previous military clashes. The increased role of technology in the process of hostilities created the impression of the impersonality of the war, the soldiers were perceived as a part of a large machine that claimed millions of lives. British modernists, faced with a new military reality, were looking for suitable possibilities of modernist art in order to convey the broken, like geometric abstraction, “machine” character of war, taking away lifes, blowing up the earth, crushing equipment and airplanes. Artists understood that the time heroic realism and allegories has passed; the war, deprived of a human face, going on with the participation of a large number of equipment, required other means of artistic display – broken lines and geometric shapes, contrasting colors.

Science of the Self as Depicted in the Story of the Snake-Catcher : Rumi's Mathnawī in Context

The Mathnawī uses metaphors to presents man’s multi-layered self. . Jalaluddin Rumi (d.1207) communicates through stories with great potential to be developed into various forms of visual and performing arts. Through his creative imagination, and using elements from Persian mystical literature Rumi presents his messages in an attractive and tangible form. Adopting metaphors and symbols he pictures various faces of nafs (self) relating each face, to an individual animal. “The Snake Catcher’s tale” is an excellent artistic display of man's battle with his animal self. It offers a complex religious subject in an easy-to-digest manner that can be visualized and set into play.

‘America Is Our Field’: Anthropological Regionalism at the American Museum of Natural History, 1895–1945

This article outlines the regional interests and emphases in anthropological collection, research, and display at the American Museum of Natural History, during the first half of the twentieth century. While all parts of the world were eventually represented in the museum’s collections, they came from radically different sources at different times, and for different reasons. Despite his identity as an Americanist, Franz Boas demonstrated a much more ambitious interest in world-wide collecting, especially in East Asia. During the post-Boasian years, after 1905, the Anthropology Department largely continued an Americanist emphasis, but increasingly the museum’s administration encouraged extensive collecting and exhibition for the Old World cultures. For the most part, these collections and exhibits diverged from anthropological concerns, expressing imperialist messages, biological documentation, or artistic display. In thus constituting the ‘stuff’ of an anthropology museum, one can trace the transvaluation of objects, the importance of networks, institutional competition, and the role of disciplinary definitions.

The Emperor Teophilos (829–842) between classicism and exoticism

The topic which the present paper discusses concerns the art historical (and historiographic) problem of the transmission and reception of ancient models and spoliae during the reign of Theophilos, in a particularly difficult moment, between the Iconoclastic age and the Macedonian one. In the millenary history of Byzantium, the Macedonian period has been seen as the most favourable to a rebirth of Classical antiquity, as it was shown and ideologically attested by artistic display. However, the preceding phase of the affirmation of the Macedonian dynasty has been rather underestimated, and specially the very attitudes of the emperor Theophilos toward art, which are somewhat more complex from an art-historical point of view. Indeed, in the Byzantine art of the period, at least in Constantinople, it is possible to discern a transition from an experimentation and appropriation of exotic features, as some stylistic elements of Islamic art, to a programmatic rebirth of a kind of “classicism” aiming at strengthening the continuity of political power. Thus, besides a taste for experimentation, we find nonetheless an opposite polarity, so far not sufficiently explored, open to a more instrumental or ideological visual strategy, through the re-semantization of Classical art forms because of their “authoritative” association with imperial dignity. In such a perspective, an interesting case is that of the Roman door of Hagia Sophia in Constantinople, the so-called “Beautiful Door”, on which Theophilos placed his own monograms to ratify the endurance of both political and religious authority, on a highly symbolic threshold for Byzantine imagery of power.

Coleridge's Parentheses and the Question of Editing

IN A NOTEBOOK ENTRY of 1807-8, Coleridge constructed a whimsical psychological theory to account for the accidental exclusion of words when writing. He was puzzled as to why he should have initially chosen ‘the detect, instead of to detect’: It is worth noting & endeavoring the to detect the Law of Mind, by which in writing earnestly while we are thinking, we omit words necessary to the sense. It will be found, I guess, that we seldom omit the material word; but generally the word by which the mind expresses its modification of the verbum materiale … I think this a hint of some value.1 According to Coleridge, modifiers were liable to be overlooked in favour of the noun, verb, or adjectival phrase to which they referred, and he acknowledged in the same note that he ‘often omitted’ definite articles in this fashion, albeit not in this example. Coleridge did not extend his interest in understanding the cognitive state underpinning slips of the pen from words themselves to a class of rhetorical devices which modify their usage: bracketed parentheses. But his Letters, Notebooks, and Marginalia signal he could have done so, for the round bracket is a double mark of punctuation which he habitually used and misused, especially in the several forms of his occasional prose. Three interrelated concerns help us ‘to detect the Law of Mind’ that governs Coleridge's treatment of brackets: first, the intrinsic importance of parenthesis as a figure, operating as a distinctive avatar of Coleridge's artistic display which dramatises key aspects of his imaginative and philosophical consciousness; second, his unlucky but valuable proclivity for solecism: consistently forgetting a bracket, either an initial or terminal one; and third, the history of various editorial policies which this repeated oversight prompted on the part of Coleridge's editors, faced with the challenge of how to punctuate his texts after him. Of course, it may be objected that neglecting to close a bracket is easily done, as indeed it is, and to be expected over a long career of nonce-writing. Yet I wish to suggest that using brackets improperly is a feature as revealingly Coleridgean as using them too frequently. Coleridge's idiosyncratic deployment of round brackets is a stylistic effect which possesses a peculiar virtuosity: it iterates with micrological force the fundamental involutions of his idealist philosophy. The single bracket betrays the cerebral deliberations of Coleridge's search for a unique discourse to parry conflicting viewpoints, one consolidated in parentheses. It is an orthographic sign which punctuates his critical aspirations for the kind of prose which could guarantee a limitlessly provisional mode of articulacy.2

The Artistic Display, Performance and Management Qualities of Nollywood Actors and Actresses: Implication for Professionalism in the Performing Arts Industry

The artistic presentation of Nigerian actors and actresses is gaining better acclaim and recognition across the film industry both in Nigeria and Africa. Nollywood films are recognised because of their creative performance in the film industry when compared with the performance of other film industries in Africa. The continuous exposure of Nollywood actors and actresses to prominent actors and actresses from across the world especially Hollywood and Bollywood film industries has helped actors and actresses in Nollywood to diversify their artistic qualities professionally. Despite Nollywood success flanked by Nigerians actor and actress in home videos and across films produced in Africa more has to be done in terms of production, film content, quality and originality. Today Nollywood as a film industry with highly rated actors and actresses are seen as a platform for modelling the future and prospect of film making in Africa especially as the youths are seeking to make career in the performing art industry. As such, Nollywood will continue to be a point of reference for other African film makers and industries on the continent when seeking for artistic display and performances.

Design of Prestressed Concrete Continuous Rigid Frame Bridge with V-Shape Piers

This paper introduces the design of a prestressed concrete continuous rigid frame bridge with V-shape piers built in Shijiazhuang city, China. The model and structural shape of this bridge were stated considering the factors such as hydrology, environment, artistic display and construction technology. The V-shape piers in main elevations combining the changed sections and larger hanged roof of box-girder gave out the lively and attractive views of whole bridge. The design software MIDAS/Civil was applied to build the numerical model for analyzing the static properties of the bridge structure. The results show that the loading performances of the bridge meet the specifications of current Chinese design codes. The bridge has been constructed and operated since Jan. 2010, which is becoming a main linkage between city and outskirts, and a landscape of the Taiping River Park of the city.