Hands Of Artists Research Articles

Rabindranāth Tagore's Ideals of Aesthetic Education

Rabindranath Tagore (1861-1941) belonged to a large family whose members contributed significantly to the intellectual and cultural growth of Bengal in the last hundred years. The rich variety and sheer magnitude of Tagore's writing is nothing short of phenomenal. He wrote more than two thousand poems, for which is best known, and composed both the lyrics and the music for approximately three thousand songs. He was also the author of a wide array of novels, short stories, plays, and essays. Later in his life took up painting and with characteristic vigor produced a considerable output in this field before his death. It is by no means an exaggeration to claim that he touched everything that the artistic hand could utilize as a medium of self-expression.' In 1913, Tagore was awarded the Nobel Prize in Literature for a collection of poems, translated into English as the volume titled Gitanjali: Song Offerings. He was the first non-European to win this prize. Tagore was responsible to a large degree for building an awareness among Indians of the need for international brotherhood. The close relationships which had established with numerous prominent figures in the Occident such as Einstein, Schweitzer, Bergson, Keyserling, Bertrand Russell, Romain Rolland, Gilbert Murray, and Sylvain Levi helped him to promote a stimulating interchange of ideas. In India, Leonard Elmhirst, a British educationist, and C. F. Andrews, a British missionary, were directly involved with his social and educational endeavors. With the growth of his literary career gained worldwide recognition and as a result began to travel widely, mostly on educational missions. He thought it vitally necessary to create a consciousness among the people of Asia of the essentially similar worldviews shared by the various races on the continent; propagated

On My Artistic Development Leading to Drawing on Fabrics

The author describes the development of her painting and drawing during the past 15 years. Her work is related to her notions of time and space, to the idea that to live means to exist between one's external and one's internal world. As one's external world is often limited by the lonely time spent in one's room, her concerns in her work are personal enclosures. She tries to express simultaneity in or between internal and external worlds: how public affairs are seenfrom a bedroom; how the eyes perceive a shadow moving in a landscape and in memory; how a portrait comes into being between the drawing surface, the artist's hand and the face of the person depicted. Her work, shaped by circumstances andpersonal inclinations, has developedfrom paintings that were tightly structural, very colourful and of small size towards monochromatic and loosely structured drawings of large size that closely depict her perception of visual reality.

建築における追体験と追創造 : 建築における追創造の研究 1

When a man experiences some particular thing, he will develop a kind of understanding of the thing in his mind. If such an experience is not gained conceptually, the understanding is quite subjective and does not have objective universality, as in the case of aesthetic experince. It is possible, however, that one may have the same experience as another person has experienced before and both have a similar understanding of it. Let me call such experiences "Re-experience (Nacherleben)", and I will further define the creative part of this "Re-experience" as "Re-creation (Nachschaffen)". To accept an architectural work as culture means the re-experience and then re-creation of a concrete individual work. In other words, it is to follow the process of the creation of that work. It is to reveal the life man who has accepted or contemplate it and to make that life flame. So, we could say this acceptance will lead to another new creation. As the principle of creation lies in the relation between a man and his work, so lies that of re-creation between a work and an accepter. Therefore, in re-creation the subjecthood of the accepter plays an important part as the subjecthood of re-creation itself. On the completion of a work, it leaves the artistic hands of the creator, that is, revealing the originality of its own and of course still reflecting the character of the creator's subjecthood, the work begins to exist in the subjecthood of the accepter. When we consider the principle of re-creation as above mentioned, we can clearly understand the substance of architecture and we might be able to find here a guiding principle for the kind of building we should aim to realize in future.

The Aesthetics of British Mercantilism

*W A -yHATEVER ELSE art involves, it characteristically begins with material transmuted from one category of use to another, with a metamorphosis its result. Inert matter is transformed, by the artist's synchrony of eye and hand, into the beloved of Pygmalion. The same categorical shift may be applied in an effort to understand how agents other than artists effect changes in the artistic style of a period. When, for instance, Heinrich Wolfflin observed a metamorphosis occurring in Italian architecture-a transition, that is, from a classical style of the Renaissance to an organismic movement of mass disassembling and reconstructing conventions while arching into unexpected dimensions of space-he expressed the metamorphosis anthropomorphically so that the Baroque style seemed to be a personified movement which itself orchestrated the eyes and hands of artists. Much later in his career Wolfflin partially corrected his mistake, of substituting the organismic result for the cause, by isolating the Counter-Reformation as a nonaesthetic agent for the shift.' But the distorted intentionality of spiritualizing the Counter-Reformation remained.

Photography and the Photographic Image

Three-quarters of a century ago, the efforts of the Photo-Secessionists resulted in photography's acceptance as a serious form for artistic expression. Until recently, serious photography has continued to be defined by Photo-Secessionist aesthetics — prints produced without retouching or alteration, sharply focused, with full tonal range and made without the intervention of the artist's hand—i.e., “straight photography.” The stand of the Photo-Secessionists was crucial to preventing photography from becoming a debilitating mimicry of oil and brush techniques. Yet such a stand could not, because of the newness of the form, differentiate photography from the larger aesthetic traditions of western art.

A Fragment of Euphronios in the Musei Civici in Milan

A Fragment of Euphronios in the Musei Civici in Milan

The Interview in Teacher Selection

Probably the most important single responsibility of the public school principal or superintendent is the selection of teachers. The technique employed is rather well standardized. An applicant is usually asked to submit both a record of his academic achievements and a list of refer ences. These latter are, in due course of time, requested to render a written estimate of the applicant's fitness for the particular opening available. This type of procedure usually constitutes the first hurdle. If the individual being considered for the teaching position has a satis factory academic record, and if he has been able to impress his friends favorably enough for them to recommend him highly, he is ready for the next step in the selective process. He is interviewed. Most of us have a great deal of faith in the interview. As a result of years of practice, we believe that there is no way to become acquainted with an individual quite so satisfactorily as by visiting with him for a time. We pride ourselves on recognizing quickly certain so-called symptoms, or signs of character, such as a firm hand shake, a strong jaw, a kindly expression, a high forehead, artistic hands, or well sep arated eyes.1 Largely on the basis of these impressions, which are about all in the way of new information that the interview furnishes, we make our final selection. The prevalence of this practice of making the interview the acid test of the applicant's fitness for the job has sufficed to direct considerable attention to it.2 Most of the experimental studies, such as the oft-quoted observations by Hollingworth,3 are concerned with the reliability and validity of the interview. In Hollingworth's report 57 applicants for sales positions were interviewed by 12 sales managers. Each candidate was assigned a rank of from one to 57 by each judge, rank one meaning