Artistic Genres Research Articles

Analysis of Legends in Translations

In this article, one of the oldest genres of Uzbek folk art in translations, it narrates events and incidents related to social life on the basis of fictional fiction. Because it was created in the process of people's desire to know and understand natural phenomena and social events. That is why the legend provides concise information about social life, people's outlook, customs and historical events.

1991년부터 2020년까지 서울시립미술관 해외작가 소장품에 대한 시대별 변화 및 특징 연구

The purpose of this paper is to study the changes in and characteristics of SeMA’s acquisitions of non-Korean artists from 1991 to 2020 through a periodical perspective. In the 1990s, SeMA's collections of non-Korean artists developed around crafts and ceramic art, and artists from Western and select Asian countries were emphasized. In the 2000s, printworks related to the Seoul Olympics made by important global artists comprised the highest proportion of the museum's non-Korean acquisitions, and a wider variety of genres were collected, emphasizing painting and photography. Also, similar to the 1990s, in this period Western and Asian artists dominated the museum’s collection, though non-Western artists increasingly helped to diversify it. In the 2010s, SeMA showed even greater diversification in the artistic genres it collected, including painting, photography, installation, and new media, and emerging global artists were collected. As for the artists’ nationalities, there was a tendency in this period to collect works by multinational artists, including those from the Middle East. In addition, increasing emphasis was placed on ‘Korea’ and Korea-born foreign artists, a trend that had continued from the 2000s. Developing a discourse of globalization centered on local government art museums, this study examines the characteristics of non-Korean artists acquired by SeMA’s from the perspective of time.

Between Aesthetics and Imagination: The Ongoing Transformations of Ukrainian Art in the Times of the War

The paper attempts to examine, under the conditions of the war against Russia, the highly relevant question of the relationship between the ongoing Ukrainian war-influenced nation-building process and the nation’s art practices. The latter are considered by the authors to be of utmost importance as both the reflection of the former and, at the same time, as something that can influence it, thus, possibly slightly changing or altering the overall shape that the Ukrainian nation, which is being born, will take. It is suggested that imagination plays a major role as something that allows one to go beyond liberalism’s utilitarian or deterministic understanding of a nation. Accordingly, an artist is called someone who can, at least hypothetically, overcome a double limitation — that of processes of globalization and standardization of art market products and, on the other hand, total conditioning by the past of the nation. The Ukrainian nation is considered as a project in the process of making, an important role in which could be played by the artist’s imagination, relatively less determined by tangible parameters and determinants. In accordance with this statement, numerous examples are provided of how artists of modern Ukraine interpret, in the languages of different styles and genres of art, the ongoing war and the changes caused by it in the collective imagination of the Ukrainian nation, the process of formation of which continues. Using the "world-system", according to I. Wallerstein, method of comparative epistemology, the authors of the article prove the possibility and the effectiveness of studying the cultural habitus of Ukraine from the standpoint of transcendental aesthetics.

The symbol of the bull in Spanish literature and painting

Agriculture is the greatest achievement of man. The development of farming revolutionized the culture of ancient peoples and fundamentally changed their lives. A man associated the ox with agriculture because the ox represented the pulling power, the main "tool" for tilling the land. That is why ancient man associated the bull with fertility, deified or turned it into a sacred animal of the deity. All this led to the worship of the bull, which was reflected in the religion and culture of the ancient states. In this regard, Spain is no exception. The symbol of the bull appeared on the Iberian Peninsula for the first time in the prehistoric period. It was a "primitive" cave wall painting that Picasso considered the pinnacle of art. Thus, his article discusses the importance of the bull as a symbol for Spain and what mark it has left in Spanish literature and painting. The emphasis is on crucial prose and poetry as well as authors, poets and visual artists who have written or drawn about bullfighting. Spain, the symbol of the bull has taken deep roots, the bull has become part of the Spanish identity, and the corrida - a bullfight - has become a public feast for the Spanish people. That is why the Spanish philosopher José Ortega y Gasset notes that it is impossible to understand the history of Spain without understanding the bullfight. We find the bull in all areas of Spanish culture. For example, in traditional Spanish dance and song. Flamenco embodied the symbol of the bull in such a way that, for many, flamenco and corrida are perceived as one genre of art. The bull was a source of inspiration for writers, poets, artists, composers. They tried to convey the world of bullfighting, the atmosphere of the celebration, and the sublimity of the fighting bull. Many artists were fascinated by this eternal struggle between man and nature. They have always been attracted to the spectacle that is only characteristic of bullfighting - dancing and playing with death and fate... Because of this, Spain is the only nation to make death a public spectacle, according to Lorca. This attribute sets this nation apart from all others. It should be noted, nevertheless, that many authors, especially those who are associated with the generation of ´98, were not drawn to the bull theme and instead perceived bullfighting as a symbol of Spanish provincialism and backwardness. Miguel de Unamuno is one such author.

Beyond Comparative Poetics: An Evaluation of The Nucleo-genre Paradigm

The dominance of Western theories in an age of globalization and swift technological advances, which brought to collective consciousness manifestations of literary and artistic genres in distant geographical places that were once viewed as primitive or exotic, necessitates raising the question of comparative poetics anew. During the second half of the twentieth century, scholars such as James J.Y. Liu, Earl Miner, Stephen Owen, and Wai-lim Yip engaged in comparing Western to Eastern poetics. However, their work fell short of reaching a unifying approach to the study of world poetics. This is the gap that Alaa Abd al-Hadi, a thinker, poet and postcolonial critic, came to fill out. Abd al-Hadi’s Nucleo-genre Paradigm is universally oriented. Based on qualitative logic and Lutfi Zadeh's fuzzy sets, it posits that there are essential elements common to various cultural manifestations of a single genre across time and space. It is these common elements, which help decide whether a certain manifestation belongs to a certain genre, that allow for cross cultural communication and understanding while respecting cultural specificities, manifested by an infinite number of aesthetic elements. Unlike the other approaches to the field of comparative poetics, Nucleo-genre Paradigm distinguishes between two levels of genre, the poetic level of production and the aesthetic level of reception, and gives primacy to reception, which is often disregarded in genre theories. In this paper, an attempt is made to evaluate the contribution of the Nucleo-genre Paradigm beyond comparative poetics.

Culture-Creating Potential of Audiovisual Technologies in the Mass Art of the Second Half of the Twentieth and Early Twenty-First Centuries

The purpose of the research is to specify and explicate the culture-creating potential of audiovisual technologies, to determine their impact on mass art in the second half of the twentieth and early twenty-first centuries. Research methodology. The article uses the following methods: cultural-historical, which identifies the main evolutionary stages of technical means and audiovisual technologies; methods of description and analysis, which made it possible to reveal the process of creating mass art products with the help of audiovisual technologies; the principle of synergy as a tool for understanding the mutual coordination and mutual influence of culture and technology during the formation of mass art in the second half of the last century. Scientific novelty. The paper first reveals and considers the cultural potential of audiovisual technologies of this period and explicates the related transformational processes in mass art. Conclusions. It has been found that the phenomenon of mass art today functions in a complex technological regime formed in the last century and continues to be developed and function at the global industrial level. It has been proved that thanks to such inventions and technologies as CDs and DVDs, personal computing, magnetic audio recording, magnetic pickup and electric guitar, CGI animation, digitalization, streaming multimedia and sound design, and others, various forms, types and independent genres of mass art (rock culture, Net Art, show programs, 3D video mapping) emerged and developed, the aesthetic and emotional experience of audiovisual product users was enhanced, as well as new professions and specialists (animator, sound engineer, producer, etc.) emerged to operate and improve audiovisual equipment to create a variety of artistic products in various formats in the future.

Explore the similarity of impressionist music and impressionist painting

The 19th, the end of the century, impressionist painting and impressionism music in the background of innovation, the development of impressionism witnessed the transformation of western traditional art and the rise of modern art, in the history of western art left a heavy, painting, music and other art genres, discipline fusion reached a new step. This paper analyzes and compares the subject matter, structure and expression techniques of impressionist painting and music, explores the similarities of two different arts, and explores the important role of the interaction and integration of art in the development of art.

Manifested World of Fedir Nedoshovenko, Artist and Teacher

The purpose of the study is to examine and analyse the creative heritage of Fedir Nedoshovenko, the painter and teacher, whose works represent the Kyiv school of Ukrainian painting of the second half of the 20th century. The artist’s activity, his artistic practice – both in painting, teaching – is inextricably linked with a deep understanding of the laws of fine art in the context of the European artistic culture. The methodology of the article is formed by a set of methods such as art history and structural axiological methods. The methods of empirical research of works of art are used: observation, comparison, and experiment. Abstraction, analysis and synthesis are applied at the empirical and theoretical levels of research. Historical method and systematic approach are used as methods of theoretical generalisation. Scientific novelty consists in understanding the artist’s creativity, his artistic and pedagogical activity, which is determined by the principles of artistic genres. For the first time, achievements in the genre of portrait, still life, easel painting, specific features, means and methods of artistic expression of each genre in the artist's work are analysed. Conclusions. The activity of Fedir Nedoshovenko was in the pre-war and post-war period within the boundaries of the Kyiv State Art Institute, on the territory of which the artist lived with his family and taught. The content of the artist's work in a broad sense was a man, diverse nature, human life. The practice of the history of world art confirms that the true reflection of reality, announced by realistic aesthetics, is an important objective law of realistic art, which the artist taught and studied.
 Key words: memories, ancestry, origins, school, war, pedagogy, easel painting, artistic and stylistic features, composition, painting, artistic image, colour, colouring.

Ornament as Symbolic Form of Culture

The purpose of the work is to determine the specifics of ornament functioning as a symbolic form of culture, its meaning and role in marking the socio-cultural environment. The methodological research consists in the application of analytical, structural, cultural-hermeneutical, axiological, and semiotical methods, which allow us to consider the phenomenon of ornament from different aspects of cultural knowledge. The scientific novelty of the research lies in the discovery of the specifics of human signs and symbolic activities based on the example of ornamental decoration and signification. The ornamental functions, its sign-symbolic and socio-psychological components in the cultural-historical environment are researched. We have proven that the carrier of cultural and historical information is ornament and it is the means of communication between generations in space and time. Conclusions. Self-management of a human in the field of culture is implemented by means of symbols and signs, which are organised in such symbolic forms as language, religion, science, and art. Ornament is an artistic means of shape creation of art. Ornament is a dynamic figurative form that demonstrates the temporal cycles of senses in different artistic genres showing the static of image, the topos. Due to dynamic and temporal component codifies the cultural memory of the community, the ornamental chronotope is a storage of national cultural narratives that are re-actualised during the socio-cultural crises, and during request for deep markers of collective knowledge.
 Key words: ornament, sign, symbolic form, culture.

Presentation of Space in E.A. Poe's Horror Stories

Introduction. The article is devoted to the consideration of the category of space in E.A. Poe's prose. On the example of horror stories, the role of artistic space in the author's linguistic picture of the world is determined and its key structural and semantic characteristics are revealed. The relevance of the research is connected with the growing interest in the ways and means of conceptualizing reality in a literary text, to the problems of the artistic genre and to the specifics of the author's idiostyle.Methodology and sources. The main research methods are semantic analysis, which consists in determining the key binary spatial oppositions, and functional-stylistic analysis, focused on identifying ways and means of representing artistic space in the works of E.A. Poe. The empirical basis of the study was stories written in the genre of horror literature: “The Masque of the Red Death”, “The Pit and the Pendulum”, “William Wilson”, “The Fall of the House of Usher”, “Berenice”, “The Cask of Amontillado”, “The Oval Portrait”.Results and discussion. During the analysis, it was found that in E.A. Poe's stories, the representation of space is based on the inseparable relationship of its objective description by the author with his subjective perception of the hero/narrator and is characterized by an abundance of emotionally evaluative and perceptual vocabulary that verbalizes a large range of anxiety states. To the significant techniques of spatial modeling in the stories of E.A. Poe should be attributed to the polarization of space, realized in texts through semantic binary oppositions “open-closed”, “inside-outside”, “top-bottom”, as well as its deformation and hyperbolization.Conclusion. Space appears in E.A. Poe's stories as the most important parameter of conceptualization of reality. The surrounding world in the author's horror literature is inseparable from the images of Gothic literature, which is expressed not only in the use of the chronotope “castle”, in a number of texts transformed into the chronotope “bad house”, but also in the implementation of its motivic complex.

Methods of Drawing Portrait Genre in Fine Arts

Art is one of the forms of social expression, and it was created as a result of visualizing the images created in human thinking, emotions and abstract thought by means of images. The images created as a result of the impact of the external world surrounding a person, the processes and events occurring in it on feelings and thinking are the basis of image creation. Portrait painting, which reflects a person’s inner world, feelings and emotions through facial expressions, lines, likeness and mimicry, eyes and gaze, which are considered as a mirror of mood, is considered a very complex genre of fine art and painting. The portrait genre, which is one of the main genres of painting and graphics, has taken a very wide place in fine arts. As in other genres, portrait works take their content from public life and reflect public existence through specific artistic images and influence public life. Therefore, the portrait artist is not satisfied with giving only external signs of a person in his works, such as external resemblance, pose, movement and facial expressions. At the same time, the tries to show the spiritual world, psychological characteristics and what kind of character the person he paints.

Analysis on the Maidens Painting in The Tang Dynasty: Taking Mrs. Guoguo’s Outing in Spring as An Example

Maidens painting is an art genre that became prevalent during the Han-Wei dynasties. However, it was not until later in Tang that the genre prospered. This paper examines the much-recognized artwork, Mrs. Guoguo’s Outing in Spring, painted by Zhang Xuan, and lists out analysis from multiple perspectives, including the usage of colors, the visual balance of the artwork, and the choices of attires of the figures. To list a few characteristics of the painting, viewers can see that the arrangement of figures in the artwork is not balanced when viewed from both sides. However, the painting still displays excellent symmetry. The accumulation of colors, known as “ji se ti” and women’s choice of wearing men’s clothing are other features of the artwork. In this paper, multiple theoretical sources have been adopted to assist parts of the analysis. To sum up, the painting was inherited from its pre-descendants and influenced other artists in the same era as Zhang Xuan and the later generations. Most importantly, the art genre was not limited only to the border of China but has also passed on its traditions towards arts overseas.

Peculiarities of Future Educators’ Training for the Forming of the Fundamentals of National Consciousness in Children of Older Preschool Age

The peculiarities of professional training of future educators for the forming of older preschool-age children’s national consciousness are substantiated in the article. The main tasks, directions, and means of national education of children of older preschool age are analyzed. The main ethnographical means that contribute to the forming of the fundamentals of the national consciousness of children in the sixth year of life are specified and characterized, and the content of pedagogical activities aimed at expanding their horizons with specific ethnographical knowledge and ideas about important social phenomena and events is determined. All this can be realized with the help of various genres of oral folk art, traditions and customs of the Ukrainian people, folk games and toys, folk industries and crafts, and national symbols. All the ethnographical means listed above in figurative and rhythmic forms reflect real life in all its diversity (everyday life, social phenomena, work, human relationships) and contribute to national education, forming of the fundamentals of the national consciousness of older preschool-age children.
 It was established that preschool national education should help the child to form and apply the acquired social knowledge, and contribute to the forming of the skills of spiritual perception of national and cultural heritage. The result of national education should be reflected in the children's acquisition of social experience, the inheritance of the spiritual and moral values of the Ukrainian people, the achievement of a high level of national consciousness, as well as in the forming of a personality as a patriot of one's country. It is worth noting that national feelings are the basis of national consciousness and they do not arise by themselves, but only as a result of long-term educational influence on the personality, starting from the older preschool age.
 The future IPE teachers’ training for the development of national consciousness in children of older preschool age should be aimed at self-realization and the disclosure of their individual creative abilities. Gradually, the student’s vocabulary is enriched with everyday words, proverbs, sayings, tongue twisters, riddles, and other works of oral folk creativity, they learn to dramatize fragments of familiar Ukrainian fairy tales, make toys, decorate national dishes, clothes, and other household items. A systematic approach in work promotes the development of higher education getters’ interests in ethnography.

The image of the creation of plastic artists in the moldovan nonfiction film

Art, having in its center the human being – the creator and his work, has always been in the attention of filmmakers, imposing itself in the evolution of cinema through complex subjects inspired by all the genres of art. In 1970, at the studio „Moldova-Film” was launched the first nonfiction film dedicated to the plastic artists – „Alexandru Plămădeală” directed by Anatol Codru. Then, followed the release of several films in this category, signed by different directors: ”Obsession” (director V. Druc, 1983), „Gleb” (director V. Jereghi, 1983), ”Confession” (1985), ”Mihai Grecu. Beyond Color” – both directed by M. Chistrugă, „Mihai Beţianu” (director Igor Isac, 1992) and others. We will try to elucidate how cinematic art currently serves the arts, which generated it, supporting them and capitalizing on them through its cinematic language.

The ideology of the "right-wing threat" in Soviet Art of the turn of the 1920–1930s

The object of the study is the Soviet practice of transferring the ideology of the "right-wing threat", widely spread at the turn of the 1920s–1930s, into the space of fine art. This concept, which arose thanks to Stalin's purposeful efforts, was his effective weapon in the fight against the opposition. It was assumed that its existence would be limited by the factional struggle in the CPSU(b). However, the logic of public life in the country has made it inevitable that a purely political ideologeme will be transferred to all areas of culture. Based on the material of art magazines, newspapers, yearbooks published from 1929 to 1932, the chronology, main stages and features of the adaptation of the ideologeme in relation to fine art are considered for the first time. It is shown that accusations of belonging to the "right opposition", "right deviation" were made not only to creative associations or to individual artists, but also in relation to genres of fine art (for example, to still life and landscape). Manifestations of bourgeoisness were found both in the content of the works and in their form. It is revealed that the initial publications contained sincere attempts to understand what the "right threat" in art is, how its manifestations in this area can be determined. However, very soon such attempts were almost completely abandoned, and the phrase "right-wing threat" turned into a formal cliche, a political label.

The Introduction of Street Art's Etymology-Related Context and Discipline Against an Artwork in the Public Space

This paper provides an introduction and overview of the term ‘street art’. Related artwork in outdoor public areas such as ‘graffiti’, ‘murals’, and ‘public art’ are also debated to gain an understanding of the terms. Since the late 1960s, graffiti has developed in the United States and had a huge impact on the atmosphere of Western art and the development of art knowledge. The distinctions between different terminologies reflect the understanding of artists, scholars, academics, researchers, and the public. This review will be investigated using a conceptual of etymological perspective. This discussion also considers the publication and influence of artists such as John Fekner, David Wojnarowicz, Richard Hembleton, and Keith Haring at the beginning of the existence of artistic genres. This is necessary because the term "street art" is frequently used interchangeably in a few publications and discussions. Based on this review, three additional recommendations are made for the following researcher to do a series of studies.

V.V. Vereshchagin kak istoricheskij zhivopisec. K voprosu o klassifikacii zhanrov v iskusstve

The article discusses the work of V.V. Vereshchagin (1842-1904) in the context of the question of art genre classification. Analyzing artist's main painting series - Turkestan, Balkan, Russian, including “1812", from this point of view, the author concludes that VV. Vereshchagin is an outstanding master of the historical painting. The article discusses the phenomenon of a Large-Scale history painting as a credo of the 19th century Russian history painters.

신영복 한글서예의 캘리그라피적 가치

Shin Young-bok is called by various titles. They are university professors, economists, life-threatening prisoners, death row prisoners, oriental classicists, writers, essayists, thinkers, intellectuals of the times, teachers of the times, and calligraphers. In this study, 'calligrapher Shin Young-bok' was illuminated. As his various titles suggest, the thoughts that blossomed in his tumultuous life fully permeated into his writings and served as a means of communication with contemporaneous people. The reason why this was possible is that it has established itself as an art familiar to the public while renewing the aspect of an independent character art that has broken away from traditional Korean calligraphy.
 The calligraphy art genre, which has emerged since the mid-1990s, meshes with the social and cultural trend that values individual taste and individuality. At the center of this is Shin Young-bok's Korean calligraphy. His Korean calligraphy is not very different from the calligraphy genre we recognize as it is used in various designs such as broadcasting or movie titles, book titles, and product logos. In other words, his handwriting has no awkwardness in the modern calligraphy art culture. Accordingly, by analyzing the calligraphic expressiveness of Shin Young-bok's Korean calligraphy, it was possible to find the important value of his letter art. First, there is a formal beauty that implies individuality and emotion. Second, it belongs to an art genre that reflects the times. Third, it is a letter art that the public can get close to.
 As such, Shin Yeong-bok's Korean calligraphy is in a pioneering position in that it has deviated from the reproduction of traditional calligraphy and realized the formative beauty of a new typeface, and has artistic significance as a milestone in the ever-changing calligraphy art. It is clear that the current calligraphy art culture is a product of the expansion of traditional calligraphy, and it can be seen as a natural change in calligraphy art according to the needs of the times. As long as the lives of people who use letters are conducted, the direction of art to contain emotions in letters will lead the development of calligraphy art culture.

Entropy and complexity analysis of AI-generated and human-made paintings

Creativity is the ultimate characteristic of human intellect and expression, and it is inextricably linked to art. Previous research works attempted to analyze and parameterize the manifestations of art, but they had not escaped the human factor. However, the advent of Artificial Intelligence (AI) models has shaken up the research world, raising questions about the nature of creativity and whether in its artistic form it is a uniquely human quality. In this work, we aim to examine the relationship between creativity and the nature of the creator by using paintings created by both AI and humans in various artistic genres. By analysing the paintings through a mathematical lens, utilizing an entropy analysis formulated by the classic Shannon entropy and a complexity measure based on multi-scale entropy, we hope to gain a deeper understanding of the prowess of AI models and possible new insights into the ability to distinguish between a human-created work and an AI-generated one. Based on the results, we observe that differences between AI and human art can be found not only in the schematic representation, but also in the colour changes, with the AI finding it more complicated to represent painting styles without well-shaped objects, as well as colour changes regarding pixels of similar intensity values.

헤어미용 분야의 디지털 일러스트 프로그램 활용 제안을 위한 분석 연구

In everyday life, people live together while experiencing various art genres. From the historical aspect of cosmetology development, ‘Design’ has evolved while representing the reflection of the times. ‘Beauty’ symbolizes the times from the past to the present in human lives, telling a story along with history. In a modern society in which the Fourth Industrial Revolution and IT are the mainstream, ‘Digital’ is a keyword. With the outbreak of COVID-19 pandemic in 2019, there have been dramatic changes in people’s lives around the world. In particular, non-contact online businesses have rapidly flourished. People have sought a decent hobby for self-satisfaction in their daily lives, minimizing direct interactions with others. It is important to understand and recognize these circumstances, develop a plan to overcome such crisis and make the public understand the ground of existence by sector. Even digital illustration is very advantageous in diverse aspects such as usability and characteristics, it has been very hard to find a related study. Most cases are in mid-stage illustration (motives mimesis), just suggesting a planning process. Sometimes, when a material is abstract while the results are subjective, something new is being created. Considering that beauty is also included in the sphere of art, there might be helpful in planning follow-up studies. It is anticipated that the study results would be the ground to keep suggesting diversity in beauty art.