Category Of Art Research Articles

Fluidity of Image (Photo)Montage in Cultural and Artistic Contexts of the Time

The paper explores the fluidity of (photo)montage in image in the cultural contexts of the times, emphasizing the uniqueness of the medium of photography and its ability to transpose the referent as opposed to reality. The text analyses the dialectic between technical mistakes and creative processes that lead to the emergence of new artistic categories and practices. It provokes a discussion on how photography challenges the image. Meanwhile, the processes of spontaneous errors are being examined, including double exposure or accidentally botched photographs for example, that contribute to new forms of artistic interpretation and experimentation. The topic of the imaginative is present throughout the article, from Husserl’s phenomenology to Dadaism and Surrealism, with an emphasis on the transformation of dream images and their interpretation. The component of authenticity in montage and photomontage is emphasized, including how these techniques create new visual identities. The text uses theoretical takes of major thinkers such as Roland Barthes to open up a broader discussion on the ontology of the image and its interpretation, providing a comprehensive view of the transformation and significance of photography in modern art.

EVALUATING THE LATERALITY OF MARTIAL ARTS PRACTITIONERS THROUGH THE KINEMATIC ANALYSIS OF STRIKING TECHNIQUES

The purpose of this study was to objectively measure and highlight laterality differences of high-performance martial arts athletes with hitting techniques and comparing the results registered by each subject. The hypothesis of this research is that through kinematic analysis on both fighting stances (dominant and non-dominant) we can highlight the differences in laterality for each subject. We used a system of inertial measurement units based on 17 motion tracking sensors composed of 3D gyroscopes, 3D accelerometers and 3D magnetometers namely the MVN Xsens Awinda system. We acquisitioned data from 8 high-performance athletes practicing martial arts with hitting techniques. We calculated and analyzed kinematic parameters for some of the most frequently used techniques in this category of martial arts, more specific direct and circular kicks. In order to obtain information related to the level of laterality of the monitored athletes, we compared the values of these parameters for the technical executions on the dominant and non-dominant side and highlighted the significant differences through the Wilcoxon Signed Rank nonparametric significance test. To facilitate comparisons between subjects in terms of laterality, we drew up an original evaluation scale and created diagrams based on the scores obtained by them. Based on these evaluations, directing and individualizing training and choosing combat tactics can be made much more informed.

Formal Integration of Decorative Elements in the Creation of Figurative Sculpture

Figurative sculpture and decorative elements belong to the same category of art; the development of sculpture art requires innovation and constant exploration of new development paths, while many characteristics of decorative elements can give the creation of sculpture works a variety of inspiration. This paper explores the significance of figurative sculpture and decorative elements, examining their intrinsic connections and historical practices. The study aims to uncover the potential of figurative sculpture in the creation of decorative elements, highlighting how the integration of these forms can contribute to the development of art and the creation of meaningful figurative sculptures.

Some style tendencies of Hellenism which formed the basis for the pictorial canon of Eastern church rite

The article systematically presents and substantiates the stylistic concept of some unique artistic tendencies of Hellenism, which share a common sacred nature with the pictorial canon of eastern churches. It also proposes updated retrospective artistic principles to reassess the role of these tendencies. This finding allows us to reveal additional roots of the pictorial canon and review the cause-and-effect relationship between the narrative-symbolic-decorative attributes of ancient funeral rituals and the spiritual-philosophical foundations of early Christian art. It suggests filling the gaps in art history and cultural studies within the framework of relevant themes by introducing modeled and unified conceptual-categorical constructions into scientific circulation. The purpose of the research. The main purpose of the article is to rethink and systematize some artistic and stylistic tendencies of the Hellenistic’s era in late antiquity, from which all Eastern church pictorial traditions drew their conceptual and stylistic foundations during their formation period. The methodology. A combination of specialized methods was applied: historical-comparative method for identifying key artistic tendencies; cultural-deductive method for formulating artistic categories; abstraction method for delineating key stylistic features of sacred attributes, as well as for identifying differences and similarities; expert artistic assessment method for theoretical characterization, substantiation, and expansion of conceptual-categorical components; stylistic correlation method for unifying newly discovered stylistic connections of Hellenistic artistic products and the Christian tradition. The combination of the listed methods allows us to reveal the concept of the stylistic basis for the pictorial tradition in the church paraphernalia of the Eastern rite and to systematize the existing authoritative evidence base regarding to origins of the pictorial canon of the Egyptian and Greco-Roman periods. Conclusions. Our analysis shows that in the broad context of the formation of the pictorial canon, peculiar to the churches of the Eastern rite, some artistic trends of the first centuries of the new era turned out to be an unchanging and stable conceptual basis for the pictorial canon in a complex artistic and philosophical coordinate system. Thus, the artistic canon of the Eastern churches, formed between the VI and IX centuries, is nothing more than a borrowed status-functional category for the multi-level gradation of Christian value aspects with specific techniques and means of Hellenistic fine art of the times of ancient Egyptian and Greco-Roman syncretism. Their intermedial nature and appellative character in relation to the Theogony of the ancient world limit the traditional interpretation of the Christian symbolism of the vast majority of canonical images in the artistic plane. The scientific novelty. For the first time our research analyzed the cause-and-effect relationship between canonical Christian stylistic attributes and Greco-Roman and Egyptian features as the ideological basis of the latter for the formative role of the former. It reassessed and re-evaluated some Hellenistic artistic tendencies in terms of their significance and complexity. A number of expanded cultural and art historical concepts and categories of the ancient world are proposed and substantiated.

Naxi Ethnic Group's Seven-Star Sheepskin Shawl: A Semiotic Analysis

With the rapid development of economic globalisation, the process of modernisation has brought great challenges to the development of Chinese ethnic minority Naxi costumes while changing our lifestyles. Although the importance of traditional ethnic costumes as an important cultural heritage has attracted extensive attention from scholars at present, studies that explore traditional ethnic costumes in depth from a semiotic perspective are still relatively scarce. The seven-star sheepskin shawl is the most distinctive attire of the Naxi ethnic group. Beyond its practical functions of providing warmth and durability, as well as its decorative purpose, it encapsulates the rich historical and cultural significance of the Naxi people. This paper delves into the seven-star sheepskin shawl from a semiotic perspective, examining it at three levels: syntactics, semantics, and pragmatics. Morris's semiotics consists of three integral parts: syntactics, semantics, and pragmatics. Through the application of Morris's semiotic theory alongside case studies, this paper concludes that the Naxi seven-star shawl embodies stylistic art, cultural connotations, and functional categories. The objective of this paper is to deepen our comprehension of Naxi culture, aiding us in grasping the cultural significance concealed within the seven-star sheepskin shawl. Furthermore, it provides valuable insights and inspiration for contemporary dress design.

Comparison of virtual reality perceptions of teachers working in Türkiye and South Africa

With the study reported on here we aimed to determine and compare teacher perceptions of the concept of virtual reality between Turkish and South African teachers using metaphors. We adopted a phenomenological approach, and a questionnaire was administered to a total of 100 teachers in both countries, using random sampling. The study included 4 schools – 2 secondary schools selected from each country. The data obtained were analysed and categorised into themes using the metaphor mismatch technique. The following themes were identified and interpreted, learning, entertainment, technology, art, travel, and imagination. Teachers presented metaphors based on relevance to their area of practice and perceived potential use of virtual reality in teaching and learning. Based on the number of metaphors identified, teachers held a narrow perception in the categories, entertainment, technology, and travel, while more metaphors, with varied sample explanation responses were identified in the categories of learning, art, and imagination. The findings of this study can be used to develop a user road map for teacher professional development and to inform policy on the use of virtual reality in teaching and learning.

Identities of Farming Culture in Jiangnan: The Creation of Animation to Inherit Folk Customs of Polder Rice Farming in Water Towns

Background and Aim: Jiangnan farming culture, a custom culture formed by Jiangnan people in their long history of agricultural production and life, highlights the features and connotations of the region. Recent years have witnessed a shift from a traditional agricultural society to a modernized and urbanized one, which is influencing the traditional agricultural cultural system deeply. In the context of increasingly globalized and intelligentized economic development, factors such as differences in survival and consciousness caused by the special geographical environment in Jiangnan (southern Yangtze River) have accelerated the modernization of farming civilization in the region. Confronting such a crisis, this study adopts an interdisciplinary research thinking pattern to protect, inherit, and spread Jiangnan farming culture in animation works by establishing a connection between the culture and animation art as well as combining theories such as semiotics, design, and communication. Materials and Methods: Data was collected through literature research, field investigation, and expert interviews to analyze the value, connotation, and characteristics of Jiangnan farming culture, as well as extract its symbolic and animation elements. Results: The research found that Jiangnan farming culture as a typical polder rice farming culture in China is featured by its unique Jiangnan water town characteristics, which serve as a foundation for creating animation works in this article with polder rice farming as the theme to inherit and spread Jiangnan farming culture. Conclusion: 1. As an independent art category, the animation plays a key role in building a farming cultural space and shaping the image of farming culture in cross-cultural communication. 2. Through the narrative expression of animation art, farming ideas are spread and passed on through animation lenses, allowing people to further understand the origin of Jiangnan farming culture. 3. Animation brings unlimited creative space to Jiangnan farming culture, which can promote its future innovation and sustainable development.

The role of public art has changed in recent times: a study

Public art which falls under the institutional category of visual arts primarily focuses on audience engagement and public representation. Additionally, there are other types of art in public settings that are designed for audience participation. The term Public Art means to those works of art commissioned and sponsored, monuments, memorials, and civic statues and sculpture installed in physical public domain by the Government and agencies and organization, which are especially significant within the Art World. The term is sometimes also applied to include and art which is exhibited in a public space these public art are basically symbolic, imaginary and illustrative representation on the Historical, political and cultural and civic values of the state. While speaking of public sculptures we often speak in terms of its artistic identity i.e. we always look at it and recognize merely as a piece of art only. We cannot undermine its importance in day to day social, cultural and political life. The presence of these pieces of art in any society holds a cultural recognition of that particular society. These are like the index or contents of a book that are sufficient enough to explain the entire subject matter. These public sculptures have become a part and partial of our day to day life. Since the colonial times to the modern era, in India, public art has undergone numerous changes. The institutions of public art and the public realm, media, genres, and forms of public art have all changed over time. Since the last two decades, site-specificity, public engagement, and process-based activities have been the main focuses of art in public spaces. Two types of public space can be distinguished. The first is the actual public space as a location, site, piece or thing. The second is the discursive public space, which is an abstract/conceptual area created briefly as a result of private individuals coming together to talk about or share important and light-hearted subjects. According to Habermas, this discursive space is the public sphere, which includes gatherings and encounters of people in public places like coffee shops, streets, community centers, and parks.

Research on the spatiotemporal distribution and factors influencing intangible cultural heritage in Fujian Province from a multiscale perspective

The spatiotemporal distribution of intangible cultural heritage in Fujian Province, China, and the factors that influence it were explored using multiple spatial scales. The samples include five batches of Chinese national-level and six batches of Chinese provincial-level intangible cultural heritage items, totaling 554. The samples involve city-scale, county-scale, and traditional dwellings, and the analysis uses various methods, such as gravity migration theory and the GeoDetector model. The results show that, in terms of historical timescales, the moving trajectory of the center of gravity of the intangible cultural heritage distribution in Fujian Province involves reciprocation from north to south, and the center moves south in time from the pre-Qin period to the modern period. Spatially, intangible cultural heritage in Fujian Province forms an overall aggregate pattern, among which traditional skills fall into an aggregate pattern; five categories, including traditional drama, fall into an aggregate-random pattern; and four categories, including traditional medicine, fall into a random pattern. The traditional art category and other intensive distribution areas are located in coastal areas, and the traditional dance category is scattered in northwestern Fujian Province. Experiments on the factors influencing intangible cultural heritage distribution were conducted at the city and county levels. At the city level, human geography factors, such as the resident population, urbanization rate, and gross domestic product, have a greater influence on distribution. At the county level, the influence of physical geographical factors clearly increases. The dominant factors for coastal cities are the normalized difference vegetation index (NDVI), average precipitation, and coastline, and that for inland cities is elevation. From the perspective of categories, the dominant factors of traditional music and Quyi are human geography factors, and those of other types of intangible cultural heritage are the synergistic effects of physical geography and human geography. The conclusions of this study are helpful for systematically protecting and developing the intangible cultural heritage industry and improving research theories and methodological systems of the spatiotemporal distribution and mechanism influencing intangible cultural heritage.

Please Walk on This: Gutai and the Emergence of Walkable Art

Abstract This essay traces the emergence of ‘walkable art’, a term used to describe works of fine art made to be walked on by audiences. Focusing on the two earliest examples of such works, created respectively by Gutai artists Shōzō Shimamoto and Akira Kanayama in 1955 and 1956, it argues that the rise of walkable art evinced an attempt to mediate the reconstruction of human subjectivity in postwar Japan through a close engagement with bipedalism. By offering a new model for conceptualising a spectator’s relationship to ground-based works, the category of walkable art that emerged in mid-1950s Japan challenges canonical, Euroamerican-centric narratives of horizontality. It also attests to the expanded interest among postwar artists from the Americas, Asia and Europe in using the ground to develop new approaches for displaying and experiencing art.

The Development of Stage Arts Driven by New Infrastructure

With the continuous advancement of stage technology, modern stage designers are able to operate various elements of stage art at a more sophisticated level, achieve more complex stage effect previews, and optimize the visual impact of performances. This technological advancement not only improves the rapid and accurate communication of design intent, but also gives stage design a highly personalized and innovative feature. The development trajectory of stage design shows the infinite possibilities of the integration of art and technology, and reveals the continuous leap from traditional handicrafts to modern stage machinery, and then to today s digital technology integration and innovation. This process highlights the vigorous vitality of stage design driven by the exploration of new processes and new materials, as well as its cutting-edge nature in exchanges and cooperation with other art categories and scientific fields. In future development, stage art design, as a multidisciplinary interactive field, will continue to play an important role in artistic creation and technological innovation, and constantly promote stage art to explore unknown areas.

‘Confusingly Unique’:

Given the reception of his work, transfer of the custody of the drawing Moscow (c. 1955) by Willem van Genk (1927-2005) to the Rijksmuseum is more remarkable than it might seem. A ‘labelling history’ shows that the man and his work were volleyed back and forth between the categories of psychiatric art, hobbyist art, naive art, art brut and outsider art – this, even though the artist himself would most likely have preferred to be recognized simply as ‘an artist’. The Rijksmuseum finally succeeded in doing so (albeit perhaps unwittingly). At the same time, Van Genk’s ‘case history’ reveals aspects of recent Dutch art history that have long been overlooked, such as the remarkable enthusiasm for naive art in the late nineteen-sixties. It also highlights some of the problems that can arise from our urge to categorize and label, both within and outside art history.

INTEGRATION OF MUSIC AND ART: SOME ASPECTS TO TEACHING HISTORY OF ART

One of the trends in the process of updating the contemporary education is the use of the integratd approach to teaching. The integrated approach to teaching creates the environment which helps learners to understand relations between the areas of content of different arts. This approach is first and foremost oriented towards the development of learners’creative thinking and imagination. The program developed for teaching potential designers in Daugavpils University includes courses on history of Art. The History of Art operates with such common art categories as harmony, rhythm, genre, form, style, content, contrast, imaginative contrast etc. Being aware of mutual links between such arts as painting and music will develop understanding about associative imaginary links of the language of artistic expression. Comprehension of composer’s or painting’s creative work or an individual composition within the context of spiritual quest of the epoch allows us to broaden our perceptions about general regularities of the development of historical processes and art in one or another historical period. Those developmental periods of art, when the interaction between its different kinds was the most intensive and satiated the whole cultural aspect of the epoch (romanticism, impressionism, expressionism), attract the greatest attention. In music literature, the most delicate form of sound patterns is manifested in musical landscapes. Natural phenomena, due to their nature, can be not only seen but also heard, and therefore, the range of their reflection in music is tremendously broad. The research aim based on an integrated approach to teaching, to research the interaction between music and painting, as example using the creative work of Latvian landscapist Vilhelms Purvītis and Latvian composer Alfrēds Kalniņš. The paper focuses on the possibility to integrate art and music in the context of enrichment of students’ knowledge and skills.

Distinction, difference, and the place(s) of Latine working-class immigrants in the creative city

ABSTRACT This urban ethnography examines the “place(s)” of working-class Latine immigrants who participate in the production of cultural spaces in the creative city. In order to better understand their power to shape the space and the city itself, “place” is framed using theories of habitus and the production of space. Moving beyond professional elite artists and complicating the established categories of artist and worker, the analysis focuses on 37 in-depth interviews with first- and second-generation Latine immigrant artists and cultural workers. Based in the City of Santa Ana’s historic and gentrifying downtown, the research examines different locations from which working-class mostly Mexican immigrants help produce the creative city while also accepting and dissenting their various political, economic, and social positions. Latine immigrants in the creative city inhabit multiple physical and social locations with shifting levels of visibility and mobility shaping both minimal and maximal forms of difference. Although mostly temporary, expressions of alternative subjectivities and dispositions can exhibit distinctions associated with cultures of solidarity for working-class immigrant communities facing both exploitation and displacement.

Technological Art: History of the Concept and Its Interpretation

The article examines the interdisciplinary nature of technological art, which involves the interaction of art, science, and technology. It discusses the impact of rapid technological development on the socio-cultural landscape of the world, as well as the modification of our perception of the surrounding environment. The main focus is on the history of the concept of “technological art”, which encompasses the evolution of the interplay between art and technology from mechanical through digital media to virtual and augmented reality technologies. Various interpretations of this concept are considered, particularly in the works of Frank Popper, who highlights the shift in aesthetics in the digital age, Paul Virilio’s critical view of technologies through their destructive impact on society, and Edward A. Shanken, who sees new perspectives for creativity in technological art. Jill Fantauzza notes a certain tension between technological art and traditional art, while Ellen Perlman speaks of two different directions in the functioning of technological art — the first aimed at integrating cutting-edge technologies as a form of artistic expression with the actualization of philosophical ideas, and the second direction aimed at inclusive engagement of a broad audience, presenting technological innovations with an entertainment or educational purpose. The author concludes that technological art should be viewed not only as a category of art that uses technological tools but as a broader reflection of the process of integrating the latest achievements into artistic processes, affecting the socio-cultural landscape. By combining aesthetic, conceptual, and technological dimensions, technological art fosters the emergence of new forms of art, expanding the arsenal of artists with new methods.

Re-actualization of Traditional Themes in Contemporary Craft Art through the Concept of Hybrid Aesthetics

In the beginning, craft as a category of art was established because of its traditional cultural elements. However, in its development, contemporary craft art features many other styles and elements of art, making it difficult to distinguish craft art from other types of art. To adjust to the development and new characteristics of contemporary craft art, it is necessary to develop new methods in the creation of craft art. One of them is cultural hybridization. This article offers a method of creation by adopting the concept of a hybrid aesthetic. Through this method, artists are invited to experiment with visually re-actualizing traditional cultural elements in the creation of craft works among modern art elements. The main question that needs to be asked is how the hybrid aesthetic method can provide certain strength in reaffirming the definition of craft art according to the development of contemporary art. The adoption or application of the hybrid aesthetic concept in the creation of contemporary craft must still consider traditional elements and the adoption of other elements with the application of new methods of creation. The hybrid aesthetic concept produces a unique genre and has the opportunity to sustain an aura of originality through the re-actualization of traditional elements in a strong visual in the global art scene.

VI Международная конференция молодых ученых «Пространство и время в русской литературе и философии»

We provide here the review of the 6th International Conference of Young Scientists “Space and Time in Russian Literature and Philosophy”, held on November 14–16, 2023 at “A.F. Losev House – Research Library and Memorial Museum” in Moscow and dedicated to the 170th anniversary of V.S. Solovyov and the 130th anniversary of A.F. Losev. The Conference ended with the summing up of the All-Russian competition of works by young scientists “Daring of the spirit”. We note that since the existence of the conference and for six years now, “Solovyov Studies” journal has been its permanent organizer, along with “A.F. Losev House”, the Gorky Institute of World Literature of the Russian Academy of Sciences and the A.F. Losev Center for Russian Language and Culture, Institute of Philology, Moscow Pedagogical State University. We provide the information on the course of the conference over three days and the work of 11 meetings, at which the results of 80 research by young scientists and specialists from various scientific and educational organizations in Russia, China, Hungary and Israel were presented. We give a detailed analysis of the topics of the reports read at the conference, the main thematic areas, philosophical and literary problems related to the understanding of space and time as ontological and artistic categories, as well as those that aroused the greatest interest among its participants.

Chinese Mythological Elements and Contemporary Art Works

"Contemporary art" is an "alternative construction" that seeks a way out in the context of "modernity". It is a work of art constructed using the way of thinking of contemporary people; it is the development of post-modern art and continues after modern art and is derived from it; it is a new concept, new form, and new path. Chinese totem aesthetic art has substantial symbolic value and significance. Among the art categories, dance dramas with mythological themes deeply explore elements of various regions, ethnic groups, and dance types and incorporate traditional dance vocabulary. A large amount of vocabulary is used in dance dramas with mythological themes. This vocabulary not only makes the dance dramas present a unique national style but also sorts out and excavates the cultural relics of different mythological themes, effectively promoting the fullness of dance dramas with mythological themes.

Female Images in Documentary Cinema About the North Caucasus: Kitsch and Ways of Overcoming It

The heterogeneity and diversity of the North Caucasus culture, which has been rediscovered in recent years due to the growing demand for domestic tourism, inevitably attracts the attention of journalists, filmmakers and researchers. The relevance of the issues is confirmed by the release of a variety of audiovisual content devoted to the socio–cultural specificities of life in the Caucasus. Documentary materials about the region in various genres – from reportage to large documentary films – are released regularly and provoke contradictory audience responses. The novelty of the study lies in the compilation of a list of artistic expressive means of audiovisual works that contribute to the creation of a certain image of the region’s inhabitants and the peculiarities of their socio–cultural life. The author analyses contemporary documentary materials about the role and status of women in the culture of the peoples of the North Caucasus, published on the Internet or released on the big screen for 2015–2021. The artistic analysis of the pictures allowed us to identify the main expressive means used by the authors of audiovisual works. Among them we can single out visual metaphor, leitmotif, cliché, montage, presence of the author and voice–over text, interviews, audio accompaniment. These artistic means are not characteristic features of one type of cinema, but they are tools of audiovisual narrative and occur in different proportions in the films. A comparative analysis of the films was conducted, which helped to systematize the material and to determine that these documentaries about the region exist in such artistic categories as kitsch, propaganda and visual anthropology. This has a direct impact on the viewer’s perception of the documentary material and generates a multitude of interpretations both within and outside the region.

Yu Opera Artistic Instruction Components Are Mined and Taught Throughout Elementary Classrooms in The Luoyang Area of Henan Province, China, as an Example

Background: Henan Yu Opera is a form of artistic expression and cultural exchange that falls under the broader category of traditional Chinese art. In the context of school education, the aim of incorporating Yu opera is to introduce this cultural heritage to students, propagate the richness of traditional Chinese culture, and instill an appreciation for the splendor of Yu opera. The intent is to nurture a sense of beauty, both in terms of emotional appeal and physical expression. Objective: The goal is to popularize Yu opera among students, cultivating an understanding of its cultural significance. However, the current focus on skill development overshadows the broader impact of Yu opera on Chinese culture. Method: The study investigates the core curriculum for Yu opera beauty education in primary schools in Luoyang, Henan Province, employing an analysis of instructional frameworks and their alignment with cultural and aesthetic goals. Results & Conclusions: The study on Yu opera education in primary schools reveals a disproportionate emphasis on performance skills over the broader cultural impact of the art form. Bridging this gap is crucial for fostering a more comprehensive and meaningful appreciation for the beauty and cultural significance of Henan Yu Opera among students.