Idea Of Art Research Articles

The Image of Paris in Venetian Art Through the Prism of the Works of Giorgione and the Giorgionesques

This article is devoted to the emergence of individual plots illustrating the story of the Trojan Prince Alexander (Paris) in Venetian art in the first decade of the sixteenth century. Although Trojan themes were widely represented in the works of Florentine artists, ancient history received a different interpretation and a new edition in the works of Venetian masters Giorgione and artists in his circle. The publication examines the reasons for the interest in the Trojan theme among Venetian artists and how this theme was implemented in the art of the Most Serene Republic during the fifteenth and sixteenth centuries. The evolution of the plot of The Court of Paris and the variety of ideas of Venetian artists visualizing the story of the Trojan Prince are shown. As a result of the work done, it was revealed that the new image of Paris, which appeared in Venetian art in the first decade of the sixteenth century, reflects the ideal of a new personality, gentile uomo, and corresponds to the mindset of Venetian society, which arose at the turn of the century and associated with the decline of the economic and political greatness of the Most Serene Republic. The paper presents descriptive and formal stylistic analyses combined with iconographic and iconological methods of studying works of art. The relevance of this work is evidenced by the evolution of the image of Paris and the many interpretations of his life story, from the ancient epic to the visual form, thanks to which he takes root in the spiritual and artistic culture of Venice, becoming a symbolic figure in the humanistic consciousness of society at the beginning of the sixteenth century. The novelty of this topic lies in the analysis of little-studied works by Venetian masters, which were created based on ancient myths. We have proposed a new approach to interpreting the image of Paris and individual scenes from his life in the works of Giorgione and his followers. This interpretation brings the fundamental semantic meaning of the plot closer to the requirements that arose in the mindset of Venetian society at the turn of the fifteenth and sixteenth centuries. This approach allows us to consider these plots as integral historical and artistic phenomena, illuminating the semantic meaning of several works studied in a general context.

Women's Patchwork Dresses with Mixed Media Techniques in the Creation of Painting

The purpose of this final project entitled "Women's Patchwork Dresses with Mixed Media Techniques in the Creation of Painting" is to visualize several forms of women's dresses in the form of Mixed Media works between patchwork and acrylic paint, the art idea of visualizing female figures as subject matter depicting dresses or women's clothing with sewing techniques, with the aim of achieving the author's goal of utilizing patchwork waste as a work of art. with the embodiment process, namely; 1). Sketch, is the process of designing a rough image or initial process, 2). Preparation of tools and materials, is the initial process before making work, 3). The stringing process is a process that visualizes the selected fabrics onto the background cloth, 4). Giving color to the sketch that has been made, 5). Final Process, is the final stage in making a work that can be considered as a finishing process, resulting in works with mixed media techniques between patchwork and acrylic paint depicting princesses or female figures in different dresses that reflect their respective characters. the work made by the author with the concept of utilizing patchwork waste is very basic in nature where a work will require accountability and in-depth explanation of the work of art. All works use the Robe de Style dress style which was popularized in the 1920s as an alternative to the chemise dress. Obstacles when preparing the type and color of cloth and painting the female figure, but by applying balance, domination, and proportion, the author succeeded in visualizing it in the form of a female figure.

Differentiation of design solutions according to architectural and artistic criteria

The paper proposes a classification of buildings and structures into levels by the criterion of whether their design solutions contain such architectural and artistic qualities as architectural idea, artistic image and integrity of architectural composition. In total, four levels of construction have been identified. At the lower first level, the utilitarian-functional approach prevails, where the shell of the building body strictly follows the function and carries no artistic meaning. The second level is decoration or embellishment, when patterns, mantles and decor are superimposed on the object. At the next level, work concerns the form: the exterior express the units or program, cantilevered spaces, offset volumes (left-right, up-down, forward-inwards), various surface finishes. The highest level is when the volume conveys an architectural idea, an artistic idea, and all the composition techniques and means work to reveal it.

Philosophy of art as the meeting point of philosophy and painting: the case of Leonardo da Vinci’s Mona Lisa

Renaissance philosophical thought is generally characterised as anthropocentric. During this period, a new sense of identity emerged; pride and self-assertion and an awareness of one’s own power became distinctive. At the same time, the arts were becoming increasingly important, leading to a cult of beauty, harmony and human creativity. The most famous example of this flowering of individual creative activity in the arts is Leonardo da Vinci’s Mona Lisa, which despite many interpretations remains one of the most mysterious and inscrutable works of art. This article attempts to trace the correlation between the Mona Lisa’s portrait image and the philosophical ideas of the Renaissance. It is not a secret that painting in general contains a certain attitude to its corresponding reality. Moreover, pictorial art tends to represent the philosophical ideas of its time. It conveys them in its own artistic way, rather than in verbal forms. This means that to comprehend things and concepts, we can interpret messages not only written down on paper, but painted on canvas. This philosophical approach to painting highlights the coincidence of ideas in philosophy and art. It is also an example of synchronicity: two completely different fields, although not overlapping in methodology and form of expression, nevertheless seeming to illuminate one another. In addition, this view can suggest a plausible and fruitful philosophical way of thinking about art.

Conflict and Fusion Between Graffiti Mural and Public Space

Public space plays a crucial role in the development of graffiti mural arts, and the integration of graffiti murals into public spaces is inevitable. The publicity of murals often conflicts with the expressive nature of graffiti artists. Graffiti artists struggle to find a sense of belonging in public space unless their artistic ideas are elevated to the mainstream or public will. However, once these artistic ideas align with the mainstream, graffiti murals may lose some of their original rebellious spirit. This paper primarily discusses this issue and attempts to find feasible solutions.

Questionnaires of Artists as a Method of Contemporary Art Conservation

The article highlights the transformation and alternative approach to conservation as the main criterion for the restoration of modern art, which implies preserving the author's idealism. The resistance against poor-quality restoration originated in the 19th century when artists began to express their attitude toward restoration. Later, the focus switched to a new narrative. Artists would state that the materiality of the work is no longer the main goal of restoration, the most important thing is the preservation of their original idea. In modern conservation, a widely accepted approach is to seek a dialogue with the artist, if he is still alive, to avoid neglecting or denying his primary intentions when researching or conserving a work of art. Of course, collecting and archiving artists' intentions is worth a lot of effort. Some artists are approachable and readily express their opinions on acceptable patterns of aging. They determine tolerance for discoloration, resin cracking, contamination, and physical damage. Others decline to talk about the future of their work. The article also examines the history beyond the formation of the artists' surveys, which is put down in chronological order. The first attempts to organize the timeline trace back to the early 1900s. In 1977, the collection of information from living artists has begun, bringing along new directions of research on the preservation of modern art, which are being improved over the years. In the 21st century, conservators look at lists of material and technical data from a broader perspective. They document their application to other works of the artist, their possible future development, and the impact of conservation measures on the artist's intent. The artist survey is the main approach to the conservation of contemporary art. Over the years, many scholars have developed general artist survey items. A survey of a particular collection derives from these items. Setting the problem. The second half of the 20th century marks the reconsideration of the approach to the restoration of modern art. A wide range of issues regarding the preservation of the work in the context of the artist's idea was raised. The purpose of the article is to highlight the stages of forming a survey of artists and solving the problem of the approach to the conservation of modern art. Analysis of the latest research is contained in the scientific works of Carol Mancusi-Ungaro, Dr Hélia Marçal, Cornelia Weyer, and many others.

INVESTIGATION OF THE POSSIBILITIES OF ENAMEL GRAINS FOR THE FORMATION OF MICROMOSAICS

The paper investigates the possibilities of grains from hot enamels for the formation of micromosaics. Enamel grain with a diameter of 0.4…5.0 mm is made from pieces of crushed hot enamels that acquire a spherical shape during firing in a muffle furnace or with the help of a gas burner flame. The mosaic image is formed by densely laying out on a metal base with an applied adhesive layer of enamel grains of the same or different diameter in accordance with the artistic idea. Enamel grain from hot enamels has high techno-logical and aesthetic characteristics characteristic of hot enamels: hardness, durability, wide colour palette, beautiful shine, etc. All this makes enamel grain a promising material for mosaic work. The technique of mi-cromosaic from enamel grains has the widest potential for decorating jewellery and art products, as it al-lows you to embody any design ideas.

„Eine Sprache ausstellen“

Abstract In their attempt to reposition Germany in an international context after World War II, actors from both the fine arts and the literary scene turned to the idea of art as a universal language. Two major projects that shaped the West German cultural sphere in the 1950 s and 1960s – the contemporary art exhibition documenta 2 and Hans Magnus Enzensberger’s anthology Museum der modernen Poesie – placed this idea at their conceptual core. The debates surrounding these projects show, however, that the notion of art as a universal language was as contested as it was compelling. In close readings of paratexts, including previously overlooked archival material, it becomes evident that very different conceptualizations of monolingualism and community are attached to the idea in each context. Evaluating these differences through the lens of translation studies, curatorial studies, and political theory enables a more nuanced discussion of the concept’s post-war renaissance and its ideological implications.

Jewelry of Eastern Lanna Identity: Strategies and Approaches for Contemporary Jewelry Design from Cultural Identity

Today’s jewelry designs look more contemporary, emphasizing self-expression by reflecting the perspectives and ideas of designers and artists in the context of society, culture, ethnicity, aesthetics, technology and ways of life through designs that are unique and in line with today’s lifestyles to create new artistic approaches. This research presents strategies and guidelines for designing contemporary jewelry from cultural capital by using the eastern Lanna area as a case study. The researchers conducted a unique analysis by studying the image and identity of the provinces in the eastern Lanna region, which led to the development of strategies and guidelines for jewelry design that reflect the eastern Lanna identity, as well as assessment of the perceptions of and satisfaction with jewelry prototypes designed by these strategies and such guidelines. The results showed that, in this research, the BLEND strategy was used in contemporary jewelry design, which was developed from the interpretation of the identity, image and characteristics of the provinces in the eastern Lanna group, into a design development in the form of a mixed design, or hybridization. These guidelines for creative design have generated design terms and conditions to present the value of work that expresses identity through four elements, namely 1) color, 2) materials, 3) patterns/shapes, and 4) story contents, which are synthesized through the perception of representative images to design and produce jewelry prototypes. The results of the evaluation of the jewelry prototypes as a whole revealed that the jewelry can express the eastern Lanna identity in an effective way, resulting in the creation of new knowledge in design, which is the development of concepts and processes to interpret new meanings in design in order to create value and worth as part of the utilization of cultural capital in the development of the country.

Comparative analysis of two editions of the story by Valentina Gavrilyeva about Little Red Riding Hood and the Gray Wolf, Manchaary and Kere Katiris

The relevance of the research is due to the increased interest of readers in the work of Yakut writer Valentina Gavrilyeva, as well as the need to comprehend and analyze her works from the perspective of new aesthetic and methodological requirements of the time. The purpose of the study is to perform a comparative analysis of the magazine (1970) and book (1971) editions of the story "Little Red Riding Hood and the Gray Wolf, as well as the story of how the old man Bahylayka almost "got smarter" and about Manchaary, who secretly took Care of Katie" by Gavrilyeva. The article is devoted to identifying amendments and ways to improve the work, analyzing the dynamics of the growth of the author's skill in connection with the preparation for the publication of the collection "Rosehip" and studying at the Literary Institute. This story is the only work in the work of the writer, which we have established two editions. In this regard, a comparative analysis of the works by Gavrilyeva is performed for the first time, which may indicate the scholarly novelty of the study. At the end of the work, the author's ideological and compositional improvements were revealed, namely, adjustments to the artistic idea and parts of the composition, changes in the names of characters. The results of this study can be applied in the further study of the history of the development of prose in Yakut literature, the poetics of the work of Yakut writer Valentina Gavrilyeva

КАЗАХСКАЯ ДЕТСКАЯ ЛИТЕРАТУРА И ТВОРЧЕСТВО А. СОПЫБЕКОВА

This article examines the trends in the development of Kazakh children's literature in the 1950s and 1960s, focusing on its thematic and ideological orientation. It also delves into the creative world of poet Adyrbek Sopybekov, whose significant contributions to the field are explored. The author analyzes fantastic poems and other selected works by A. Sopybekov, considered the best examples of children's poetry, and paying close attention on their thematic, ideological features, and artistic aspects. Children's poetry during the years of national independence remains a relatively understudied topic. Examining the creative laboratory of poets who have worked significantly in this direction, and thereby studying the direction and nature of modern children's poetry, drawing conclusions about thematic and ideological features, artistic aspects, is one of the urgent tasks facing the science of national literary studies. While valuable insights into Adyrbek Sopybekov's children's works have appeared in the press, a dedicated, comprehensive analysis of his creative portrait within the framework of Kazakh literary studies is still lacking. This article aims to address this gap by offering a broader differentiation of the poet's work, thereby assessing his characteristic style, his methods of conveying artistic ideas to children, and the educational value inherent in his writing. Additionally, it seeks to evaluate A. Sopybekov's contributions to Kazakh children's literature of the 1950s and 1960s and to gain a deeper understanding of his poetic skill.

The Affective Engagement of Dancers: The Case of Kitt Johnson and Her Site-Specific Work

The article investigates how dancers can actively shape and handle the ways they are affected throughout their artistic practices. To do so, we adopt a phenomenological-ethnographic approach, analysing the dance-artist Kitt Johnson's site-specific performance production called Mellemrum ('the space between spaces'). We put ethnographically based interview data in a dialectical interaction with the existing notions of affectivity and affective scaffolding — showing their usefulness, while also noting the need for the further notion of what we call affective engagement. This notion, we argue, is needed to account for how artists actively handle their affective involvements. Specifically, as we show, in Mellemrum the dancers deliberately and strategically juggle between (i) a self-affective engagement, (ii) an affective engagement with the environment (space and people), and(iii) an affective-aesthetic engagement with the choreography and artistic ideas of the performance.

THEORETICAL PRINCIPLES OF THE FORMATION OF SPIRITUAL CULTURE IN FUTURE TEACHERS OF ARTISTS

The problem of spirituality, spiritual culture and their role in the formation of the creative personality of student youth is quite relevant. The process of forming spirituality is an important aspect of the modern humane educational paradigm. According to the scientific community, it is spirituality that expresses the degree of "humanization" of the pedagogical process. Questions of spirituality have interested humanity at all times and have been studied by many sciences: philosophy, pedagogy, psychology, sociology, ethics, aesthetics, etc. In the New Ukrainian School Program in the Progress to Values, it is stated that now it is important to intensify efforts to raise the spiritual level of Ukrainian youth, to form a stable system of deep moral and spiritual values in them. The purpose of the article is to describe the concept of spiritual culture and the formation of artistic ideas in future teachers during the study of Ukrainian folk art. Analysis, synthesis and modeling methods were used to study the state of research. The results of our research was carried out with the help of empirical methods: pedagogical observation, questionnaires, interviews, testing, the method of experimental evaluations. Mathematical statistics methods were used to process the research results. In the research, we used a complex of general scientific and pedagogical methods. To ensure an objective and comprehensive study of the researched phenomenon, an analysis of scientific, scientific-methodical, and art sources was carried out; the state of development of the problem and prospects for further research were determined; generalization of pedagogical experience in teaching art in a higher education institution. The formation of a spiritual personality takes place in the interconnected process of education and training. An important role in the formation of the spiritual sphere of the individual belongs to education. Its tasks are classified according to the following directions: formation of a scientific outlook; education of a conscious attitude to learning, development of cognitive activity and culture of mental work; education of political consciousness and development of civic activity; education of a creative attitude to work, preparation for a conscious choice of profession; education of morality and culture of behavior; formation of legal awareness and education of civil responsibility; education of aesthetic culture and development of artistic abilities, etc.

Heidegger and Cavell on artistic medium in the post-medium condition

ABSTRACT The article proposes a theory of artistic medium through a conjoint reading of Martin Heidegger and Stanley Cavell. My thesis is that the concept of the medium such reading yields is a necessary dimension of the idea of art still operative in the contemporary “post-medium condition,” in which the material bases of works are no longer bound to conventional identification within the system of the arts. I show that Rosalind Krauss’s conception of “reinventing the medium” as the essential artistic task of this situation is adumbrated in a central tenet of Cavell’s philosophy of art: an artistic medium is created—rather than applied—in a successful artistic instance. I further show that this notion, consistently associated with the figure of circularity in Cavell’s text, is grounded in Heidegger’s understanding of the artwork as a world-disclosing event, paradoxically creating its own conditions. In the last two sections of the paper, I explore the significance of artistic medium for both philosophers as the bearer of the transcendental claim for “material meaning” against the prevailing Cartesian paradigm of modernity. Finally, I argue that Heidegger’s interpretation of the artwork’s material basis as “coming-forth-concealing,” furthered by Jean-Luc Nancy’s notion of “matter-as-difference,” makes the concept of the medium, so construed, universally applicable to the variety of arts in the post-medium condition, and grounds the ontological necessity of this multiplicity.

Introduction

Social transformations in Sinic intellectual history reveal a complex interaction among evolving cultural, philosophical, and artistic ideas and socio-political shifts. The Sinic region, encompassing areas in East and Southeast Asia influenced by Chinese script and culture—particularly Confucianism and various forms of Chinese Buddhism—includes China, Taiwan, Hong Kong, Macau, parts of Japan, Korea, Vietnam, and other neighbouring countries. The term “Sinic”, originating from the Latin word for China, highlights the shared cultural and linguistic heritage across these regions. This history illustrates how shifts in intellectual thought have continually influenced and been shaped by changes in societal structures and governance. The present publication explores the intricate relationship between the individual and the state—a theme that resonates deeply through the annals of Asian thought. This relationship, characterized by an evolving dialogue between personal autonomy and state authority, serves as the backdrop to the discussions presented in this issue. Each paper contributes to a broader understanding of how individuals have negotiated their space within the structures imposed by state ideologies, influencing and reshaping them in turn.

AN EPISTEMOLOGICAL PERSPECTIVE ON THE RELATIONSHIP BETWEEN MUSIC AND METAPHYSICS

ABSTRACT Thinking together about all the elements of music based on concrete indicators and the qualities of this field that point beyond what is known, brings to the agenda an accumulation of knowledge on the axis of art, philosophy and music. The idea of art, which is the subject of music, or the key issues that transform music into art, point to the deep meanings of music in connection with metaphysics. The approaches adopted in the history of thought, scientific advances and social turning points have shaped the quality of music and the meanings attributed to music. In this descriptive study, which aims to make an epistemological examination of the relationship between music and metaphysics through this accumulation, metaphysical issues that enable us to characterize music as art are revealed. Thus, regardless of the context, it is possible to see a metaphysical perspective that progresses intertwined with music in many circumstances, with various semantic contents, forming itself both as a natural result of music and on an axis that inspires music.

Distinctive Muslim Architectural Style of The Delhi Sultanate Period : A Fusion of Ideas of Persian and Indian Artists

Distinctive Muslim Architectural Style of The Delhi Sultanate Period : A Fusion of Ideas of Persian and Indian Artists

Авторский балет на сцене Татарского академического государственного театра оперы и балета им. М.Джалиля в советский и постсоветский периоды

The article is devoted to the analysis of the activities of the ballet troupe of M.Jalil Tatar Academic State Opera and Ballet Theater in the Soviet and post-Soviet periods. It shows that after the premiere of the first ballet “Vain Precaution” by P.Hertel in 1939, the troupe continued to master the performances of the classical heritage “Giselle” by A.Adam (1945) and “Swan Lake” by P.Tchaikovsky (1947). At the same time, the troupe was working on creating a national ballet performance. Turning to the historical past and folklore, the authors of the libretto and choreographers immersed the viewer in the life and culture of the Tatar people, and the composers built the score based on centuries-old musical traditions. All this was expressed in the ballets “Shurale” by F.Yarullin (1945) and “Zyugra” by N.Zhiganov (1946). At this time, new productions appear in the repertoire, reflecting the current ideas of Soviet art at the time of creation. These are “Bakhchisarai Fountain” by B.Asafiev (1946) and “Laurencia” by A.Crane (1953). In the 2000s, a number of premieres took place produced for the Kazan ballet stage – “The Tale of Yusuf” (2001) by L.Lyubovskiy, choreography by N.Boyarchikov, G.Kovtun; “Peer Gynt” (2003) by E.Grieg, “The Golden Horde” (2013), R.Akhiyarova – choreography by G.Kovtun; “Сarmina Вurana, or the Wheel of Fortune” (2013) by K.Orff, choreography by A.Polubentsev. The author sets the task of identifying trends in the development of the repertoire in the post-Soviet period. His focus is on original ballet performances. The conclusion was that the result of the search for choreographers on the Kazan stage, expressed in the synthesis of genres, styles, and appeal to new subjects for the ballet theater, was the enrichment of the repertoire of M.Jalil Tatar Academic State Opera and Ballet Theater and entertainment culture in general.

The Myth of Heterosexuality: Queer Australian Artists, Art Historians and Gallerists in London, 1930–1961

ABSTRACT The 1961 Recent Australian Painting exhibition at the Whitechapel Gallery in London is an important and much-discussed moment in Australian art history. It is when the idea of Australian art as “isolated” and “exotic” first became popularised in both British and Australian cultures. The prominent Australian art historian Bernard Smith criticised the idea, but in many ways his book Australian Painting, published the year after, repeated the assumption. What is overlooked in accounts of the show is that many of its artists were not “isolated”, frequently having spent extended periods in Britain living and studying. But, more than this, what is rarely, if ever, discussed is how many of the artists in the show were queer, as was its curator, the director of the Whitechapel Gallery, Bryan Robertson. In many ways, the social and professional connections between Australian and British artists were forged through their shared homosexuality. It is this that puts Australian artists in connection with the British art scene and, on occasion, explains their influence upon it. Queerness has often connected Australian artists to those around the world—it is also the case for the Australian women artists in Paris before and after World War I.

Designing exhibitions of Chinese art in Soviet Art Museums: from collectible to problematic method

The object of research is Chinese fine art presented in Soviet museums, museum practice and scientific discourse that has developed around the study of Chinese art in the USSR. The subject of the research is the specifics of designing exhibitions of Chinese art in Soviet art museums and the issues of its historical transformation. The analysis of a number of exhibition events held in Soviet museums and dedicated to Chinese fine art is proposed. During the consideration of the topic, such issues as the factors that influenced the methods of Soviet scientists in planning Chinese expositions, the degree of their effectiveness in relation to communication between the Soviet viewer and works of Chinese fine art are traced. This material is used to reconstruct the process of transformation of Soviet art critics' approaches to presentation and communication in the field of Chinese art. The comparative historical method is used to allow a comparative analysis of the Early Soviet and late Soviet periods in order to comprehend the issues of the evolution of scientific knowledge about Chinese art, approaches to its research, museum presentation and communication in this area. A descriptive method of analyzing exhibitions and collections of Chinese fine art in Soviet museums is used. For the first time, the nature of Soviet museum studies of Chinese fine art is generalized, the approaches of Soviet researchers to presentation and communication in the field of fine art in China are revealed, and their historical transformation is traced. The main conclusions of the study are as follows. The nature of the evolution of Soviet researchers' approaches to presentation and communication in the field of Chinese fine art in USSR museums is determined by the movement towards the development of deep scientific ideas, which in the late Soviet period provide a reliable basis for the effective implementation of certain approaches to exposition planning, the complication of exhibition events, the movement of Soviet museological theory from an ideologized view of exposition material as a means education of a citizen of a new formation, to the perception of an independent artistic idea of exposition works. Since the second half of the 1980s, new principles of artistic communication between the viewer and works of fine art have been formed in the USSR: an independent artistic idea of exposition works is brought to the fore, which provides favorable conditions for the Soviet viewer to perceive traditional Chinese aesthetics as a separate phenomenon of ancient and original Chinese culture.