Artistic Heritage Research Articles

Role and Contributions of Bangladesh National Museum in Preservation and Promotion of Contemporary Cultural Heritage and Works of Art

The Contemporary Art & World Civilization Department of Bangladesh National Museum is holding a crucial position in ensuring the preservation and promotion of our contemporary cultural heritage and works of art. This study aims to assess the role and contributions of the Contemporary Art & World Civilization Department of Bangladesh National Museum in the context of the acquisition and preservation of the history and heritage of Bengal through analysis of gathered artifacts and input from diverse sources, including general visitors, civil society, field experts, and researchers. Additionally, this research seeks to identify potential avenues of future growth and development within the department. Firstly, the matter of expanding gallery space and separating the department may be taken into consideration. The acute lack of space within the main museum warrants a separate building or branch museum to be able to house the large collection of the department. The security devices must also be functional. Secondly, as the research findings suggest, this department houses a considerable number of delicate works of art. Conservation of these artifacts is of utmost importance. Thirdly, the gallery walls of this department require renovation. And lastly, the matter of storage management is of utmost importance. Many priceless artifacts may be harmed after being exposed to elements or due to improper storage management. It is necessary to better equip the storage with relevant technology and train conservation officers in managing them. The findings of this study will offer valuable insights to the general public, civil society, experts, and researchers, and contribute to the enhancement of the department’s activities.

Integrating Miao Traditional Elements into Chinese Figure Painting: Exploring Significance and Cross-Cultural Exchange

This paper endeavors to investigate the utilization of Miao traditional elements in Chinese figure painting, assessing its significance and potential value in the realm of Chinese painting creation. The study examines the contemporary landscape of Chinese figure painting, identifying its prevailing issues, while also delving into the fundamental characteristics and application techniques of traditional Miao elements. By analyzing the works of prominent artists Pang Xunqin, Liu Quanyi, and Feng Yuanming, who have adeptly incorporated Miao traditional elements into their paintings, this research aims to bolster the preservation and perpetuation of Miao cultural heritage, augment the artistic expression within Chinese paintings, and foster cross-cultural exchanges and dialogues. Employing a qualitative research approach, this investigation adopts literature review and artwork analysis to discuss the integration of Miao traditional elements in Chinese figure painting. The research findings illustrate that the traditional elements inherent to the Miao ethnicity exude unparalleled artistic allure and cultural significance within Chinese figure paintings, thereby presenting novel creative resources and modes of expression for the wider domain of Chinese artistic creation. This research contributes to the enrichment of Chinese artistic heritage while facilitating a harmonious exchange of cultural values between the Miao minority and the broader Chinese cultural landscape.

RELIGIOUS PRACTICES AMONG MALAYSIAS DIVERSE SOCIETY

Religious practices in Malaysian society are an important aspect of their daily lives. Malaysia is a multicultural and multireligious country, with Islam being the predominant religion, while Buddhism, Christianity, and Hinduism are also recognized. In the religious practices in Malaysia, there are several key features that influence how Malaysian people carry out their religious beliefs.Firstly, Islam is the primary religion in Malaysia, with the majority of the population being Muslims. Islamic practices include performing the five daily prayers, fasting during the month of Ramadan, and adherence to Sharia law.Secondly, there are Buddhist religious practices among the Chinese and Thai communities in Malaysia. They follow Buddhist teachings by attending temples, engaging in meditation, and practicing values such as kindness and simplicity.Thirdly, the Indian community in Malaysia practices Hinduism. They worship various Hindu gods and goddesses through religious ceremonies, such as worship and offerings at Hindu temples. Festivals like Deepavali are also part of their religious practices.Fourthly, Christianity is also present in Malaysian society, especially among the indigenous population and the Chinese minority.They attend churches and perform religious rituals based on Christian teachings, including reading the Bible and celebrating Christmas.Fifthly, there are also minority religions such as Sikhism and traditional religions among the indigenous Orang Asli communities. They practice unique religious rituals based on their beliefs.Religious practices in Malaysia often closely intertwine with local culture and artistic heritage. Additionally, Malaysia celebrates various religious festivals with enthusiasm, reflecting the diversity and tolerance in Malaysian society.This study attempts to examine the overview of religious practices in the diverse society of Malaysia. The research uses qualitative methods involving data collection, data analysis usinghistorical research methodology, and document analysis. The study findings indicate that religious practices in Malaysian society reflect the religious and cultural diversity of the country. Despite differences in religious practices and beliefs, Malaysia has successfully achieved a unique religious harmony where various religious communities coexist peacefully and respect each other. This is a significant feature that enriches Malaysias cultural heritage.

Arts in Modern Ghanaian Festival: Kwahu Easter in Context

This paper explores modern art forms and tourism products associated with Ghana's Kwahu Easter festival using a large qualitative sample of 30 stakeholders. Findings reveal continued cultural vibrancy across artistic genres, including handicrafts, cuisine, dance, Music, sculpture and storytelling. Youth incorporates modern narratives, materials and technologies to augment heritage arts, signalling evolution rather than erosion from globalisation. Strategic development opportunities centre on participatory workshops showcasing living culture, community-based ecotourism capitalising on natural assets, enhanced destination events, grassroots adventure sports establishment, and nuanced hospitality/lodging that sustains regional character. Key constraints around access, infrastructure and controlled scaling require acknowledgement. Overall, braided traditional and emerging creative production persists through intergenerational transmission, with targeted support around mentorship continuity, policy funding and coordinated promotion consolidating these strengths. Artistic reinvention and participation, not rigidity, underpin the Kwahu Easter celebrations' resilience and accretion of meaning over generations. The festivals showcase Ghanaian culture's systemic ability to dynamically nurture heritage on its own evolving terms through embracing internal diversity and global exchange.

“I Am From Here”: Rock Art, Heritage and Identity

ABSTRACT Complimentary to the common perception of rock art, i.e., painted or engraved images on rock surfaces, as an archaeological source informing about the past, this article argues that what equally and additionally makes rock art heritage is the role the ancient images play in the present, influencing and shaping contemporary cultural processes. Developing this idea, the article discusses the use of rock art motifs in contemporary art, focusing on the example of the art of Arzhan Yuteev, a native Altaian painter from Gorno-Altaisk in southern Siberia. Although rock art has attracted the attention of many Siberian artists in recent decades, Yuteev’s art is unique in this regard, as his drawing upon prehistoric art is not only aesthetically inspired but is also significantly embodied in an identity narrative. This narrative was particularly noticeable in the exhibition Heritage, held in the artist’s hometown in 2019, where Yuteev’s works were displayed. The three works presented in this exhibition are analyzed in detail in the paper, providing the key data to answer the questions: how are the prehistoric art motifs incorporated into this narrative, how do they contribute to the idea of reclaiming the heritage and what is the social efficaciousness of Yuteev’s art.

History of Shoushan Stone Culture Three Kingdoms to North & South Dynasties Period

During the Three Kingdoms period, Sun Wu's influence expanded to central Fujian, leading to the establishment of administrative districts. Northerners sought refuge from the turmoil by migrating south, significantly impacting Fuzhou's development. This influx of people reshaped the city's culture and enriched its Central Plains influence. Over time, Fuzhou's cultural landscape evolved as local culture integrated with Han culture, and the efforts of prefects and scholars further promoted the spread of Han culture. Notably, the discovery of the Shoushan stone pig in Fuzhou during the Southern Dynasties reflects the lasting influence of Central Plains culture on local customs, highlighting the city's artistic heritage. Furthermore, the historical roots of Shoushan stone carvings, originating in the Southern Dynasties, challenge prior beliefs and emphasize the connection between Shoushan stone culture and different historical periods.

The lost gardens of the Palace of Meirás (Pazo de Meirás), a journey through time

The Pazo de Meirás (Meirás Palace) is a vast historical and artistic heritage complex with a great cultural and political importance in the recent history of Spain, being one of the most recognizable buildings for the Spanish people nowadays. Therefore, the current conservation status of the gardens has been assessed through the reconstruction of its historical evolution. Originally, the Pazo de Meirás and its gardens were built linked to the artistic and romantic style imprint of the outstanding writer Countess Emilia Pardo Bazán (1856­–1921). The gardens experienced their greatest splendor during this period. In fact, the historical floral diversity of the gardens, with a total of 154 recorded taxa, is among the highest in Galician manor houses. However, the context of the Spanish Civil War (1936–1939) involved a drastic change: the palace became the summer residence of the head of the Spanish state, General Francisco Franco (1938–1975). Despite subsequent neglect and a fire in 1978, the estate’s intrinsic value led to its return to the Spanish State in 2020. Currently, the gardens could constitute a significant cultural asset linked to the Countess of Pardo Bazán and to the socio-political changes that took place in Spain during the 20th century.

Mirza Shafi Vazeh’s artistic heritage through the eyes of researchers

Mirza Shafi Vazeh’s artistic heritage through the eyes of researchers

Vsevolod Meyerhold: avant-garde and reformer of theatrical culture

The object of the research in this article is the work of an outstanding figure of Russian theatrical culture Vsevolod Emilevich Meyerhold, whose 150th birthday is celebrated in 2024. An actor and director, teacher and theorist, he left an indelible mark on the history of theatrical art of the XX century, the search and discovery of which became the property of not only Russian, but also world artistic culture. Considering the problems of the evolution of Meyerhold’s work (from the aesthetics of symbolism to the theater of the social mask and synthetic theater), the author focuses on those phenomena of his artistic heritage, some of which remained experiments, while others served as the basis for the development of a new theatrical system.

Diptych A. S. Byatt “Angels and Insects” as a sample of Postmodern Victorianа

Attention in this research is focused on the A. S. Byatt’s diptych “Angels and Insects”. The article analyses the specifics of the Victorian code functioning in the diptych, which forms the basis of the original Victoriana of a modern British novelist. “Angels and Insects” is chosen as a special and demonstrative example of the reception and interpretation of the Victorian era’s cultural, historical and artistic heritage by modern British writers, and “Angels and Insects” demonstrates a productive dialogue with Victorianism and, at the same time, conceptual shifts in its understanding and highlighting of the problems of Victorian life that were on the margins of Victorian narratives. Since the Victorian code defines the diptych’s architectonics, then the purpose of the article is a study of the Victorian code features and peculiarities of its representation in the diptych “Angels and Insects” by A. S. Byatt. In the article we used such methods as hystorical-literary and historical-cultural, as well as elements of gender analysis method. A. S. Byatt reproduces the Victorian era with the help of stylization and pastiche. The atmosphere of Victorianism is created through the depiction of a vivid panorama of the Victorian: key Victorian ideological and philosophical trends and antinomies, scientific and religious controversies, Victorian values, a special Victorian lifestyle, estates and interiors, traditions and customs, the distribution of male and female roles in society and the family, the circle of everyday interests and leisure. At the same time, Victorianism is reinterpreted as postmodern vision and with the help of a postmodern writing strategy. A. S. Byatt draws attention to what was hushed up and marginalized in Victorian times, raising the topics of incestuous and homosexual relationships, creating different types of Victorian women, including images of the new Victorian woman (Matty Crompton, Emily Tennison): intelligent, talented, and independent. A. S. Byatt updates the classic realistic Victorian novel’s tradition (dating events and specific names of action’s places, realistic details of the material world, portraits and landscapes), but does so in a language accessible to the modern reader. The identification of the Victorian code key components in the diptych constitutes the originality of the study. The analysis of the Victorian code in “Angels and Insects” makes possible to state that there is a “Victorian text” in its both novellas. All of the above gives reason to conclude that “Angels and Insects” can be considered an original artistic encyclopedia of Victorianism.

The colours of deception: marble imitations in Alentejo stucco altarpieces

This paper will discuss how modern interventions changed the image of stucco altarpieces and their original polychromies. These works of art form a consistent group whose presence can still be seen in the Alentejo (Portugal), built between the 16th and 20th centuries. Although its popularity in this region over the centuries cannot be overstated, this artistic heritage has been misunderstood in terms of constituent materials, artisanal construction techniques, and polychrome coatings. All of the mimetic potentials of these altarpieces were laid out in their colourful finishing which successfully imitated other materials, particularly marble. This visual image was irreversibly altered because of intensive whitewashing or modern repainting with synthetic materials. We will examine how local populations have reacted to this historical heritage through various examples, taking into account psychological, cultural, and even economic factors.

Образ героини повести В. Яновского «Любовь вторая»: интертекст и автобиографический контекст

The article is devoted to a little-known story by the young emigrant writer V. Yanovsky “Love Second”. The author is known to the modern reader mainly by his memoir book “The Elysian Fields” (1983). However, he has a considerable artistic heritage, among which the analysed work takes one of the leading places. Thematically, it continues the plot line of homeless meaningless existence, which is topical for the young emigration, which connects it with the works of such authors as Gazdanov, Poplavsky, Felsen. Some fragments of the heroine’s search for a job are based on the biography of the writer himself. In this part of the plot, the influence of the “human document”, relevant to the poetics of the authors of the young emigration, is strong. However, unexpectedly Yanovsky turns his plot in the direction of the heroine’s discovery of the meaning of life, who discovers God through a sudden mystical experience. In this part, the plot is enriched with a new series of intertextual cross-relations, including the prose of L. Tolstoy, “The Book of My Life" by St. Teresa of Avila, Poplavsky’s novel “Apollo Bezobrazov”.

Образ мордовского края в творчестве Камиля Тангалычева

the article is devoted to the study of the peculiarities of artistic embodiment of the image of the Mordovian region in the creative work of K. Tangalychev and fits into the complex of studies of domestic literary studies concerning the problem of analyzing the author’s individual style. The subject of analysis is the ways and methods of creating the image of the small homeland in the prose and poetic texts of the author. Objective: to reveal the specificity of representation of the image of the Mordovian region in the artistic heritage of K. Tangalychev. Research materials: poetry collections of K. Tangalychev “The Nearest Village” (2001), “The Tin Century” (2014), “The Pedigree of the Sunset” (2017), and the book of essays “The Return of the Strawberry” (2023). Results and novelty of the research: the creative work of K. Tangalychev, the poet and publicist, occupies a special place in the literary process of Mordovia. Tatar by nationality, living in close proximity to the Mordovian and Russian peoples, he praised the multinational region rich in cultural traditions. A distinctive feature of his artistic works is a dialectical combination of national and international, everyday life, ancient history and modernity. The scientific novelty of the article is due to the fact that it represents the first experience of a comprehensive study of the image of the small homeland in the literary heritage of the author. In the course of the study it was established that K. Tangalychev’s nonfiction works are deeply lyrical, and his poetry is permeated with autobiographical beginning. The central artistic dominant of his works is the image of his small homeland – the native village Akcheevo, which is mythologized into a symbolic image of ancient Greek Hellas – the place of strength and creative inspiration of the poet. The sacredness of this geographical topos is created by the key constants – the image of a mother praying for her son; native nature reflecting the divine essence of the universe; fellow villagers preserving national traditions; the legendary historical past of the Temnikovsky region. The lyrical hero, closely merged with the image of the poet himself, deeply experiences the destruction of human ties with his spiritual Home, hence, the motif of memory as the plot-forming basis of creativity of K. Tangalychev acquires special importance.

ИЗУЧЕНИЕ ФОЛЬКЛОРНЫХ ТРАДИЦИЙ РОДНОГО КРАЯ В КОНТЕКСТЕ ПРИОБЩЕНИЯ СТУДЕНТОВ К ИСТОКАМ НАЦИОНАЛЬНОЙ КУЛЬТУРЫ

Upbringing the younger generation on the basis of national traditions contributes to the spiritual and moral enrichment of society. The article is devoted to the problem of introducing students — future teachers — to the origins of national culture through folklore, which has a great educational potential. The author focuses on the study of folk tales in the educational process as a direction related to the preservation of traditional folk culture, the formation of a meaningful attitude to the national artistic heritage. Karelian fairy tales are valuable folklore material with educational potential in the development of aesthetic and moral qualities, instilling love for the native land, glorifying its beauty and unique traditions. The author pays attention to the artistic representation of the characters of Karelian fairy tales, reveals their mythological basis and artistic traditions of embodiment. The article describes the experimental work carried out by the author in the academic year 2023/2024 at the Department of Technology, Fine Arts and Design of the Petrozavodsk State University and the Petrozavodsk Specialized School of Arts. Plunging into the world of folklore traditions of their homeland, the students comprehend the need to implement a national and regional component in university and secondary education. The study of folklore traditions helps to introduce students to the origins of national culture, the formation of ethno-cultural and civic identity, and the ability to carry out practical activities.

Patriotic principles in the work of M.A. Sholokhov

The article is devoted to the understanding of patriotism according to M.A. Sholokhov. The theme of love for the Motherland is consistently considered in the works of various periods of the famous Soviet writer's work. Being a direct participant in the fateful events for the USSR, Sholokhov managed to reflect patriotism as a multilevel and, at times, contradictory concept. The analysis of the patriotic model of behavior on the example of the main characters and supporting characters of the writer's works is considered in the context of such plot and compositional elements as binary oppositions (good - evil, truth – lies, honor – inhumanity, mercy – cruelty, personal – collective). The description of this concept is accompanied by an appeal to the categories of space and time, an understanding of the ideological, moral and spiritual dominants that guide the literary heroes of the works. Patriotism, presented in the historical context of M.A. Sholokhov's literary heritage, should be considered as a constant that contributes to the reflection of the character and registers the internal logical connections of this constant, its meaningful content throughout the plot. The patriotic paradigm of the worldview of the writer's artistic works is characterized not only by the ability to motivate sacrificial acts, but also by the prerequisite to form the basis for a conflict of personalized positions and views. Using the example of the heroes of his works, M.A. Sholokhov shows us, the readers, what a true patriot should be. It is stated that the artistic heritage of the Master in modern socio-political realities can successfully contribute to the patriotic education of Russian youth, since fiction has a serious impact on the upbringing of a personality, on its inner potential and the choice of moral and ethical guidelines, and contribute to the formation of high moral qualities of a person.

Museums of Soviet Belarus in the era of perestroika and glasnost’ (1985–1991)

Temporary distancing enables us to examine the difficult and contradictory time of museum sphere development in the USSR, which is known in history as Gorbachev’s perestroika and glasnost. The article attempts to demonstrate the expansion of the museum network in Soviet Belarus, to trace the process of its profile differentiation, and to trace the branching of museums during this time using archival sources from the collections of the Ministry of Culture of the Belarusian SSR, published statistical materials, as well as periodicals. The source base utilised made it possible to examine public efforts and state policies in the area of museum life. One of them is the public discourse of the late 1980s and early 1990s regarding who owns the cult artistic heritage that museums have preserved during the years of anti-religious actions. The author highlights the increase of museum collaboration with Belarusian collectors while listing and discussing museum innovations from the perestroika and glasnost era. Between 1985 and 1991, there was a significant shift in the development of Belarusian museums, which gradually became more focused on international contacts. The author notes that when examining the beneficial improvements in museum life during the perestroika and glasnost era, it was during this time that there was a final, normative reluctance to record and publicize the accomplishments of Soviet society. The state policy aimed at the development of Belarusian culture and the cultures of the national communities of Belarus as an integral part of universal human culture was reflected in the filling of fresh content in all areas of work of Belarusian museums. The material and technological foundation of museums has been damaged, and their budgetary support has been constrained, by the country’s deteriorating socioeconomic position. This called for the adoption of new management techniques, organizational structures, and technological advancements, which happened following the failure of the Soviet Union. In general, the article expands the existing ideas in historical museology about the era of perestroika and glasnost, its role in the expansion, democratization, and professionalization of museum activities.

On the Positive Impact of Digital Technology Enabling Fine Arts Heritage

On the Positive Impact of Digital Technology Enabling Fine Arts Heritage

Architectural design of an open cultural space for a cultural heritage art museum

Starting from the interaction between art museums and the public and the way to get along with them, art museums can be closer to the life of the public, and provide the public with spiritual enjoyment, while also playing a certain role in promoting the dissemination and inheritance of local and even national culture. The audience, as the receiver of the exhibition information of the art museum, is also the medium of cultural dissemination of the art museum. This interactive relationship is exactly what we want to explore in the process of art museum design.

Comparative Study of Japanese and Indonesian Panji Mask in Light on Fine Art Elements and Principles

Panji masks are one of the mask arts that originated in Indonesia and come in a variety of styles. One of the existing Panji mask styles is the Yogyakarta style, made of Pule wood and used in dance or theater performances. While in Japan, masks used in dance or theater performances, known as Noh masks, are made of cypress wood. Panji masks and Noh masks are long-standing cultural heritage arts. This study aims to identify and analyze the similarities and differences between the elements of art and the principles of art preserved in the Panji and Noh masks. A comparative qualitative method was used for the study. Library research, observation, interviews, documentation, and focused group discussions (FGD) were used to collect the data. Data processing and preparation, data reduction, data presentation, and conclusion drawing were all completed in stages. The results revealed similarities and differences between the Panji and Noh masks. Several principles are shared by Panji and Noh masks, including point elements, line shape, the principle of unity, balance, rhythm, proportion, and the principle of harmony. The line, field/shape element, color element, texture element, and emphasis principle are all different. These similarities and differences are due to a variety of factors, including the two countries’ geographical proximity (both on the Asian continent), as well as their history, customs, and culture.

Графика Максимилиана Волошина

The paper studies a less known part of Maximilian Voloshin’s artistic heritage — his graphics, variously presented on the pages of albums kept in Pushkin House Manuscript Department. The artist’s albums that he kept throughout his life, can be called a poet's notebooks, as they contain not only drawings, but also poetry, draft poems, articles, notes and bibliography references, financial calculations and addresses. The works of Voloshin the artist are present on the pages of his albums in various forms. It includes self-portraits and portraits of his contemporaries: writers, musicians, artists, painters, political figures, scientists: Aleksandr Peshkovsky, Jakov Glotov, Maxim Kovalevsky, Elizaveta Kruglikova, René Ghil, Anatole France, Konstantin Balmont, Valery Bryusov, Elena Davidenko, Margarita Voloshina, Elena Kirienko-Voloshina, Pyotr Struve, Ekaterina Junge, Aleksandr Junge, Pavel von Tesch, Polyxena Solovyova, Natalia Manaseina, Konstantin Bogaevsky, Konstantin Kandaurov, Josephine Bogaevskaya, Vera Efron, Elizaveta Efron, Mikhail Feldstein, Ekaterina Andreeva-Balmont, Alexey Tolstoy, Mikhail Chuiko, Elena Chichagova-Rossinskaya, Bella Feinberg and many others; pictures, landscapes. This collection of materials expands our understanding of the creative biography of the artist and poet, his literary and cultural ties, and clarifies our understanding of some events and trends in the cultural process of the early twentieth century.