Art Reference Research Articles

Application of the Beauty of Meaning in Chinese Sculpture Art

Chinese sculpturing is a significant form of expression in traditional Chinese art. Like other traditional art forms, Chinese sculpture art is also deeply influenced by the philosophical ideas of its predecessors, striving for the beauty of subtle and implicit meaning in artistic expression. This article provides a brief interpretation of the beauty of meaning in Chinese sculpture art, with a focus on analyzing its application in Chinese sculpture art. This article analyzes the role of the beauty of meaning in the development of Chinese sculpture art from the fields of lines, blocks, surfaces, spatial patterns, and freehand brushwork, to provide reference and inspiration for relevant artists and sculpture designers.

How Much Land Does a Man Need?: Indian theatre as inspiration and Kathakali in performing Lev Tolstoy

Indian theatre is currently studied at a theoretical level in Romanian academic theatre institutes, including both state and private universities. Particularly, one of the Indian theatre forms, Kathakali, is studied with an emphasis on the actor’s physicality in the play; however, the use of specific acting techniques from Kathakali is highly encouraged in the construction of new performances that the students create. Even if it is a highly coded form of theatre and difficult to understand if one does not have the required training, there are students who opt to use several performative elements of the theatre form in their productions to create a valuable intercultural dialogue with diverse cultural and artistic references. Throughout this article, I propose a concise analysis of how I elected to use some elements of the theatre form in the composition of a role within the university. The understanding of these cultural choices and how studying even theoretical forms of theatre or dance-theatre, even if they are conceptually distanced from us, can help us expand our creative area – an important matter for many European creators.

Second-order observation of art in two films about Colombian violence: Carne de tu carne and Memoria

Using dialogism and second-order observation, I interrogate how art is mobilized through the lenses of specific film codes and how this encounter frames the interpretation of past violence in two films: Carne de tu carne (Mayolo 1983) and Memoria (Weerasethakul 2020). At the same time, I examine how this encounter disrupts the systemic identity of the two medias, exposed to a complex exchange of meanings. I conclude that both films interrogate the communication of violence through an appropriation of art references. But, while Carne de tu carne develops a political horror genre marked by tremendismo, Memoria explores slow cinema and an imperceptible indexicality language relied to the context of a Global South memorial discourse.

The Relevance of Illustration in Book Marketing in the 18th and 19th Centuries in Slovakia

In each era, there are distinctive features that have influenced the possibilities of promoting intangible art products in the broader context of marketing. The possibilities, methods and forms of promotion have changed and evolved over the centuries and have depended on the development of mass means of communication, as well as on new methods and forms of promotion that reflected the requirements of the target groups during a particular period of time. In the present article, we focus on brand building of the printer (i.e. the printer’s signet), on the relevance of illustration in book marketing that takes the form of an artistic reference to the content of the work (the content frontispiece) and we also focus on building the PR of the author (the frontispiece portrait). The present study deals with the period from the 18th to the 19th century and in terms of geography, it is concerned with the territory of Slovakia.

Piloting creative engagement strategies to explore themes of parenthood with fathers

IntroductionThe role of the arts in health is increasingly recognised, with participatory arts-based approaches facilitating public engagement. However, little is known about men's involvement in art-based participatory research. We aimed to investigate how men who are fathers may be engaged creatively to explore experiential aspects of fathering and parenthood.MethodsFathers collaborated with an artist, sharing individual perspectives around fatherhood by telephone and email, leading up to creative representations of fatherhood. Initial conversations were prompted by images from a 2020 exhibition catalogue entitled “Masculinities” (Barbican Centre, London) inviting participants' responses to the photographic curation. The catalogue served as an artistic reference to gauge a sense of participants' creative predispositions, as well as a foundation to facilitate spontaneous dialogue about personal meanings of fatherhood. Fathers' experiences of contemporary arts varied greatly; yet all fathers confidently shared responses ranging from photographers' representation of masculinity and fatherhood and perceptions of what was excluded or privileged within this very specific curation. These discussions further led to conversations around representations of fatherhood and highlighted particular areas of interest in terms of fathers' involvement in research and public engagement. The artist provided reflections to each participant by email with links to arts resources building on the initial conversations. Two further shorter sessions followed as fathers' key messages emerged, and the final forms of their own creative expressions crystallised.ResultsThe final pieces included a musical composition around sharing vulnerability as a new father, a word cloud to represent gendered language of parenthood, an animated graphic image representing the bond between father and child, a combination of short poetic stanzas highlighting assumptions around fatherhood, an experiential photographic record of a father and a son in the early years, and a cartoon strip around emotional intelligence in parenting.DiscussionArts-based participatory engagement enabled to capture deep-rooted experiences of being a father in modern society, illuminating common cultural and intergenerational perspectives, while also tapping into unique individual experiences. The richness and diversity of these unique responses suggest that arts-based methodology can facilitate public engagement with men and lead to deep reflections on complex and socially constructed phenomena such as fathering and parenthood.

ТИПИ ХУДОЖНЬОЇ РЕФЕРЕНЦІЇ: ПРОБЛЕМИ ІНТЕРПРЕТАЦІЇ

The article is devoted to the problems of artistic reference, the ways of its presentation in the artistic text and the possibilities of understanding. The types of artistic reference characteristic of the modern French novel are analyzed. The conducted analysis allows us to talk about three main types – introductory, identifying, undefined. Besides, attention is focused on the interconnection of the categories of reference and modality, as well as on its representation in different parts of architecture and composition.

Schulz and Mourning. About the Writer’s Second Body

The paper addresses the problem of the mourning cult of Bruno Schulz. The presented approach is critical of its excess in the Schulzean biographical discourses as well as literary and artistic references to his life and work, but it is by no means provocative like that of Janusz Rudnicki, who in the 1990s mocked the “hagiographic” idiom of Jerzy Ficowski. Analyzing archive records and testimonies, the author attempts to reconstruct the circumstances of Schulz’s death in possibly the minutest details. Comparing contradictory pieces of information with the official version made popular by Ficowski, he shows how profoundly it has been marked by the unperformed work of mourning over Schulz and the Holocaust – both the failed work of Ficowski himself and of his postwar correspond- ents whose letters determined the form of The Regions of Great Heresy. Using the idiom of thanatology and taking the role of a necrographer rather than that of a Schulz specialist, the author supposes that the dynamic of loss in the case of Schulz reaches far beyond the act of the writer’s execution on the street to include also the posthumous annihilation of his corpse and grave. This particular kind of necroviolence, perhaps the most hateful from the vantage point of the Jewish tradition and the heritage of Western culture in general, which consists in removing the material remains of the deceased has been called by Holocaust scholars “necrocide.” The absence of material traces and the “mourning objects” that usually help to cure the semiotic crisis which is death makes writers and artists commemorate Schulz with lyrical and artistic epitaphs. Their function is to restore the bodily identity of the dead person by creating his other body, told about and imagined in effigie, existing not beside but instead of the missing “mourning object.” However, the expansion of those elegiac narratives, particularly those produced outside Poland, often results in unintended reductionism. As a human being, writer, and artist, Schulz has been reduced in them to an emblem of the Holocaust, while such obituaries ignore the history of his archive. The other, historical and material body of the writer consists of his manuscripts, drawings, graphic works, and official documents. It exists, drawn and quartered, in archives, to be put up for auction for tens of thousands of dollars, exposed in museums and art galleries, and hoarded by collectors as precious relics.

The Characteristic Analysis of Characters in Gatotkaca Gandrung Dance by R. Ono Lesmana Kartadikoesoemah

It started with the appreciation of a dance artist from Sumedang, R. Ono, for the Gatotkaca Gandrung dance in the Solo style. Then, he attracted his attention to create a Gatotkaca Gandrung dance piece in the Kasumedangan style. Different from the Solo style, the dance created by R. Ono is played by four dancers, namely Gatotkaca, Pergiwa, Pergiwati, and Cakil, with their distinctive characters full of meaning in life. The purpose of this research is to analyze the characteristics of the characters in the Gatotkaca Gandrung dance by R. Ono through the study of choreography, makeup, and costume. This study used a descriptive analysis research method using a qualitative approach. The researchers collected data using observation, interviews, documentation, and literature study. The data obtained is analyzed by reducing the data, presenting the data in narrative form, and drawing conclusions. The results obtained are Gatotkaca, as the main character, has the character of monggawa lungguh from his hiber movement, makeup, and costumes reflecting his independence, strength, toughness, responsible, courage, sacrifice, agility, and calmness in dealing with problems. Pergiwa and Pergiwati, as supporting characters, have the character of putri lungguh who reflects a graceful and cheerful nature. In addition, Cakil is a symbol of the lust of human anger. As a supporting actor, he also reflects the nature of cunning, mischievous, crotchety, agile, and brave. This character research can be used as an artistic reference in formal and informal learning that can be applied in life.

The preoccupations of the compressive references and their impact on the formations of postmodern art

The artistic process operates whether in general in all arts or specifically in one type of arts or one of the genres of arts types on the preoccupations of the pressing artistic references as the founder of the artistic work in the material formulations on the one hand and on the other hand as a translator to understand the artistic achievement in general and plastic art in particular and for the importance The researcher chose the title of her research tagged (the preoccupations of the pressing reference and its impact on the formations of postmodern arts).The first chapter of the methodological framework deals with the problem of research, importance, objective, limits, and then terminology and its definition, and then the second chapter, which consisted of two chapters in the concept of the pressing technical references, and the second chapter dealt with the aesthetic preoccupations of the pressing technical references in the artistic achievement, and then the indicators of the theoretical framework, and then the research procedures that formed the third chapter With the analysis of the sample, and then the fourth chapter, the results and conclusions, and the most important results were: The reference system in general, and the pressing artistic reference, in particular, works to generate a different artistic achievement on the aesthetic and intellectual level, and the functional and intellectual preoccupations as an expressive aesthetic value for the artwork.The most important conclusions: The expressive power as an intellectual value linked to the form is determined by the pressing artistic references as the mediator responsible for translating ideas from the invisible in the imagination of the artist to the visible in the material medium and then to the invisible in the mind of the recipient. And then the sources

Quaternion attitude and disturbance observer mass estimation with low-cost sensors for industrial vehicles with trailers

Information about the vehicle mass and ground slope is important for many assistance functions in road and logistics vehicles. In intralogistics, safe speed limits for tractors depend on both slope and trailer mass. This work presents an estimation procedure for the attitude of a vehicle and the mass of a trailer attached to it. The estimator works in two steps. First, the attitude is estimated using an extended Kalman filter based on acceleration and angular rate measurements complemented by a single track vehicle model. In the second step, this information is used together with velocity and motor torque data to estimate the trailer mass and friction coefficient. A Kalman filter based disturbance observer for parameter estimation is compared to a recursive least squares identification. The mass estimation is extended by a structural break test to detect sudden mass changes when hitching and unhitching trailers. Multiple variants of the estimation scheme are implemented on an intralogistics vehicle. The performance of the proposed attitude and mass estimation solutions is demonstrated in comparison to state of the art reference algorithms in a large number of experiments. Compared to state of the art estimators, the proposed estimator yields a median 54 % reduction of pitch estimation RMSE and 40 % reduction of the mass estimation error. The structural break detection is able to detect all instances of hitching and unhitching of trailers with few false positives.

‘I do, I undo, I redo’: Louise Bourgeois and Samuel Beckett

Louise Bourgeois and Samuel Beckett were both from comfortably bourgeois families; both had a strained relationship with one parent and undertook psychoanalytic treatment while grieving the deaths of their fathers; both were academically successful and placed great emphasis on studying; both were marked by the First and Second World Wars; both experienced the disorientations and liberations of exile and working between languages; and finally, after a period of relative neglect, both achieved celebrity and critical acclaim later in life. Drawing on Bourgeois’s notebooks and diaries in her New York archive, in which Beckett makes fleeting appearances, this article presents a comparative reading of Bourgeois and Beckett, and identifies a significant number of affinities in their creative preoccupations and strategies, points of confluence that call into question assumptions by their respective critics that their creative practice is exceptional. A comparative reading with a female artist has the additional benefit of situating Beckett outside the masculinist heritage in which he has been inscribed, and brings into focus the gender bias that has been evident in both sets of scholarship. At once modernist and contemporary due to their longevity and the variety of their prolific output (over seventy years for Bourgeois and sixty for Beckett), Bourgeois and Beckett have both been successfully canonised: vital points of reference for artists and writers today, exhibitions and productions of their work also draw huge crowds. Their respective critics have hailed the work of Bourgeois and Beckett as remarkable and distinctive, setting them apart from their fellow artists and writers. They share a creative strategy, however: both dedicated themselves to a narrow range of themes and pursued these through the adoption of a diverse range of media, play with scale, and an unceasing experimentation with form.

Pre-modernist Elements in the Origin of Basque and Catalonian Nationalism

Pre-modernist Elements in the Origin of Basque and Catalonian Nationalism Mikel Lorenzo-Arza The removal of poet Antonio de Trueba's (1819–1889) mortal remains from Mallona Cemetery and their reburial at San Vicente Church was quite the occasion in 1920s Bilbao. The impact of the event was due to Trueba's importance in the history of the city, but no less to the Modernist swan sculpted by Mariano Benlliure (1819–1889) to adorn the new altar tomb (Díez Patón 93–108). Even after the closing ceremonies at Arriaga Theatre, it was the swan that lived on in the collective memory, as a subtle artistic reference to Antonio de Trueba's desire to embellish his fellow citizens' lives, much as the Pre-Raphaelite painters wished to do for their Victorian counterparts. Bilbao's industrialists shared the Victorians' economically liberal and socially conservative roots, as well as the desire to consolidate their "leisure class" status, to use Thomas Veblen's term for the founders of the mining emporia built in the wake of the Second Industrial Revolution (1851–1890) (10). In its emulation of the aristocracy (25), Bilbao's industrial bourgeoisie needed to refine its economic power by acquiring artistic assets (25). Writer Vicente Arana (1848–1890), cousin to Sabino Arana Goiri (1865–1903), and Antonio de Trueba's foremost disciple, perceived their need for ennoblement. He depicted the pantheon of Basque regional literary heroes as a chivalrous world where industrialists could claim kinship with the parientes mayores and their traditions.1 He afforded them a repertoire of literary models through which to establish themselves as a distinct group during the Restoration (1876–1917). This article dissects Vicente Arana's broader project by analyzing his two Pre-Raphaelite novels, Jaun Zuría o el caudillo blanco (1887) and Leyendas del Norte [End Page 113] (1890), and their impact on the development of early Basque nationalism (1892–1900) (Juaristi, Bucle 12-389).2 The movement's founder, Sabino Arana, published Bizkaya por la independencia (1892) in a pre-Modernist atmosphere that flattered his initial conjectures about the "Nordic" ancestry of the Basque people and their need to extricate themselves from their Latin bondage.3 We suggest that Vicente Arana's novels played a paradoxical role in the aesthetic casting of the "Basque race" in that environment. On the one hand, the effeminate characters in Jaun Zuría o el caudillo blanco prompted Sabino Arana to call on Basques to protect their manliness and Nordic roots from Spanish "cripples;" and on the other hand, the Vikings in Leyendas del Norte, a compilation of a series of Icelander sagas, imbued the Nordic people, qua social engineering ideal, with a mythical dimension fueled by [End Page 114] Sabino Arana's nationalism. The message was that Basques should proceed with caution in their contact with the Spaniards immigrating to their country. The texts we will be dealing with come from these decades, years characterized by a series of changes that were to have a key impact on the culture medium where Modernism developed: industrialization, positivism and Marxism led to a bourgeois neo-idealism that sought to ward off shabbiness by enshrining aesthetic formulations from the past. Vicente Arana's novels heralded part of the Modernist desire to avoid vulgarity in everyday life. Sabino Arana's Basque nationalism, in turn, shared with Modernism the exaltation of indigenous features, charting a backward course to times long gone to reinstate a "paradise" eclipsed by the present. In Modernism, the desire to return to a legendary and/or historic past alternated with a kind of populism whose roots sank deep into the timelessness of the nation, an idea we could identify with the notion of intra-history put forward by Miguel de Unamuno in En torno al casticismo (1895). This article also explores the interrelationship between Catalonian nationalism and this same intellectual environment, which preluded what Juan Ramón Jiménez (1881–1958) and José Nogales (1860–1908) christened "Modernism," and encouraged Basque and Catalonian nationalism to institute their racial projects. Víctor Balaguer's (1824–1901) Cuentos de mi tierra (1865), with its depiction of a vigorous, expanding Catalonian race, was linked to the later...

Wygnani z raju - analiza toposu domu w filmach Andrieja Zwiagincewa


 
 
 The topos of ‘home’ is one of the most important motifs in Andrey Zvyagintsev’s films. The director perceives ‘home’ as a material and symbolic term. It applies to the place where a family lives and to the house of God. The article refers to Eliade’s well-known concept of home, but also to the more modern one created by Zbigniew Kadłubek, who writes about oikology in the context of faith. The article reveals the richness of mythical, cultural, religious and artistic references. Each film exposes different images of ‘home’, but they use common metaphors, such as the fall, destruction and the apocalypse. Contemporary man, turned away from God, recreates the mythical thread of exile and ceases to have a safe place to be in the world. In such works as The Banishment, Leviathan, Elena, and Loveless, the director fully showed the consequences of losing the spiritual dimension of life. The proposed interpretations of Zvyagintsev’s films expand the reception of his work in Poland.
 
 

L’influence de l’Italie dans la pensée critique de Paul Bourget : du dilettantisme à la psychologie systématique

"The trips to Italy that Paul Bourget made throughout his life seem to have influenced his literary career and his intellectual, from the dilettante to the successful novelist and critic. How these Italian artistic sensations conditioned Bourget to establish psychological criticism that was increasingly systematic? How is this italianisation reflected in his novels and what are the artistic references that determined this inclination? Following the course of this pilgrimage and the development of his writings, Italy seems a point of inflection in the evolution of Paul Bourget’s psychological thought. The purpose of this article is precisely to shed light on this hypothesis and to contribute to a better understanding and reading of Bourget’s psychological criticism."

Filmul despre și pentru copii în cinemaul stalinist din România

While the ’50s represented a new decade of expressiveness in western cinema, along with new ideological approaches, the feature film in the European communist space was determined by the nature of the political totalitarian regimes and the specific phenomena of the “cultural revolution.” In totalitarianism, the relation between civitas/community and the feature film followed the ancient model of the rapport of the Greek city to the civic and ethical finality of the theatre. Under these circumstances, the film becomes the most vulnerable of arts. Cinema was confiscated and transformed into engaged art, with an essential role in building the paradigm of the “new man.” Although the ’50s meant the development of the technical-material modern background, the increase of film production and consumption of feature film, in Romanian cinema, the artistic references were few. The concern for film production of the prewar and interwar periods were drastically limited by the political class and the cultural ignorance of the politruks. The films Nufărul Roșu [The Red Water Lily] (1955), Mingea [The Ball] (1958), and A fost prietenul meu [He Was My Friend] (1963) followed the directions of the Stalinist ideology that lasted longer than in the USSR. Only Elisabeta Bostan overcame the limits imposed by the communist regime and the censorship of the era. Thus, her films still retain the unaltered charm of childhood.

A Study on the Nationalization of Tian Han's Dramas

The exploration of nationalization of Tian Han's drama is first manifested in the drama content rich in national consciousness. Showing national life, shaping national character and carrying forward national spirit constitute the basic themes of Tian Han's drama creation. "Nation" refers to a community of people who share a common language, a common region, a common economic life and a common psychological quality manifested in a common culture. Only by analyzing the "nationalization" life content reflected in Tian Han's drama and the modern consciousness of keeping pace with the times, and deeply exploring the inheritance relationship between Tian Han's drama creation and the aesthetic spirit and artistic principles of China's traditional drama, can the mansion of national drama created by Tian Han be highlighted. Through the author's rational thinking about life and society, this paper grasps the distinctive theme and nationalization tendency of the drama, investigates the artistic reference of Tian Han's drama to China's traditional drama, observes the nationalization of Tian Han's drama creation as a whole, and further understands the exploration process of Tian Han's drama nationalization.

Color works in highlighting the functional and aesthetic aspects of interior designs

Color is one of the most important elements involved and contributing mainly to designs and visual works, whether they are fixed or mobile, for internal spaces through what color gives it the possibilities on the physical and intellectual level, if the process is linked to the functional performance or the aesthetic value, which is thus included within the system of processors and basic works in Designing the interior spaces and highlighting the functional and aesthetic aspects of them through the executed designs that are linked to certain techniques and mechanisms. Therefore, they are processed according to the references and pressure structures or the creation and modern dealing with materials and designs to implement operations in highlighting the functional and aesthetic aspects of the interior spaces. The introduction to the research includes the methodological framework for research and finding concepts and definitions for some The terms that were mentioned in the title of the research, then the theoretical framework, which included two sections: the first topic (color - the essence of the concept and work), and the second topic (the work of color in treatments for the design of interior spaces) leading to a number of results and conclusions, the most important of which are:1. Colors functioned as functional, symbolic and aesthetic at the same time through the various relationships between color and the rest of the visual elements.2. The process of highlighting the functional and aesthetic aspects of the process of employing colors in the inheritance, pressure structures, and cultural and artistic references was linked.

ARTISTIC REFLECTIONS IN THE GLOBAL SENSATIONAL SQUID GAME SERIES

Squid Game, Netflix platformunda yer alan dokuz bölümlük Güney Kore yapımı bir dizidir. Gerilim-dram türünün bir örneği olan dizide oyun sahnelerinde çocuksu masum temalar gösterilmesine rağmen gerçekte çokça kan ve şiddet unsuru yer almaktadır. Söz konusu dizide, birçok sahnede bilinçaltına yönelik etkileme yöntemleri uygulanmaktadır. Bilinçaltındaki bilgiler çağrışımlar yoluyla izleyici hem sorgulatıp hem de merak ettirmektedir. 
 Dijital platformların sıklıkla kullanıldığı günümüzde Squid Game dizisi; gerek sosyal medya paylaşım ve tartışmaları gerek konusu gerek içerdiği şiddet sahneleri ve gerekse küçük yaşta izleyiciler tarafından da izlenmesi gibi unsurlar nedeniyle dünya çapında adından söz ettirerek gündemde kalmayı başarmaktadır. Son dönemlerdeki popüler dizilerden olan Squid Game şiddet sahneleriyle çok tartışılsa da, bazı bölümlerde sanatsal göndermeler de bulunmaktadır. Rene Magritte, Van Gogh, Picasso, Claude Monet, Maurits Cornelis Escher, Friedrich Nietzscheve ve Jacaques Lacan gibi sanatçı ve düşünürlerin eserlerinden izler barındıran dizi bu bakımdan incelenmiştir. Bu amaçla araştırmada dizide yer verilen ve kimi sahnelerde kullanılan sanatsal yansımalar ve bu yansımalarla ilgili sanatçı eserlerine yapılan göndermeler ele alınmıştır.

Self-portrait in the photo booth: self-representation in the selfie era, a Photo-based Educational Research Project

This visual essay is the result of an inquiry that analyses the selfie with students in the art teacher training programme in the Faculty of Education. These students are familiar with the selfie in a recreational context, in which the result and the aesthetics of the immediate prevail, overlooking elements of the photographic act. The visual experimentation triggered by the limitations of this strongly standardised and automated process is a challenge for young people. The results show a great capacity for visual reflection and denote a deep critical sense. The aim of this artistic research is to slow down the act of self-portraiture and to make it a more conscious process. The methodology of this Photo-based Educational Research is based on transforming the classroom into an artistic laboratory. For this purpose, a visual, experimental and theoretical research proposal is designed. The empirical part involves a photographic project that establishes the use of the photo booth as a technical condition. The theoretical dimension consist of the study of contemporary artistic references that consider the self-portrait and the selfie as a central theme.

CONFLUENCE OF ART AND TECHNOLOGY WITH SPECIAL REFERENCE TO CONTEMPORARY ART PRACTICE IN INDIA

For centuries, across the worlds, artists have struggled to invent new techniques to perfect their articulation, which in turn has changed art and its relation to the viewer. In the course of art history technology has served as a useful aid to develop innovative methods for making art. For long the utilitarian notion of technology did not clash with the metaphysical or intuitive notions of art. But in modern times the reproduction technology has raised questions concerning authenticity and originality of an artwork. In the present transitory times, the digital technology is continuously redefining art and the manner in which the art/audience response circuit has undergone a paradigm shift. The present paper attempts to delineate a capsule account of the confluence between art and technology in general and discuss how Indian contemporary artists engage the art/technology interface in their art practice.