Aesthetic Concepts Research Articles

Ecorelational Aesthetics

The article introduces the concept of ecorelational aesthetics, understood as a realm of artistic production and practice that creates a space for meaningful encounters between the human and the nonhuman, which can facilitate rethinking disability and its place in the world. Ecorelational aesthetics helps dismantle anthropocentric and ableist ways of thinking, and reconceptualizes disability as a crucial form of cultural and biological diversity rather than an aberration or deviation from nature. Analyzing Sunaura Taylor’s paintings, Claire Cunningham’s performances Beyond the Breakwater and We Run Like Rivers (with Julia Watts Belser), the concept behind Hanna Cormick’s performance The Mermaid , and the choreodocumentary Gatunki chronione ( Protected Species , dir. Rafał Urbacki and Anu Czerwiński), the article examines key aspects of this aesthetics which accentuates the essential vulnerability of all human and nonhuman beings and promotes an ethics of (inter)dependence and care. The article also uses this as an opportunity to reflect critically upon Rosemarie GarlandThomson’s notion of conserving disability as a valuable resource, i.e. an alternative way of being in the world that facilitates our cultural, epistemic, and ethical growth.

The Reshaping of the Aesthetic Concept of Music—Commenting on Hailin Luo Xiaoping's "General Theory of Music Aesthetics" has a Feeling

The Reshaping of the Aesthetic Concept of Music—Commenting on Hailin Luo Xiaoping's "General Theory of Music Aesthetics" has a Feeling

Los viajes del Barón von Humboldt a Cuba: vistas/visitas de su narrativa personal

Alexander von Humboldt (1769-1859) traveled a lot and wrote a lot. Belonging to a noble Prussian family, he studied botany, geology, and mineralogy at the School of Mines in Freiberg and at the University of Göttingen. In 1799, at the age of 30, Humboldt undertook a journey of approximately ten thousand kilometers through Spain and America. His two brief visits to Cuba (1800-1801, 1804) resulted in the Ensayo Político sobre la isla de Cuba (Political Essay on the Island of Cuba). Considered a minor book compared to his vast oeuvre, von Humboldt reinvents and takes stock of both the Cuban flora and fauna in what he called “views”. His “personal narrative” or views, which constitute the poetics of his book, do not contradict his politics; on the contrary, they shape it. My purpose in this essay is to examine the aesthetic elaboration of the German naturalist's “views” of the Cuban landscape. Not only is the aesthetic conception of his book romantic, but also its exoticism prefigures, in a certain way, Latin Americanism, as an exotic and magical discourse. [Article copies available for a fee from The Transformative Studies Institute. E-mail address: journal@transformativestudies.org Website: http://www.transformativestudies.org ©2023 by The Transformative Studies Institute. All rights reserved.

Exploring the Aesthetic Principles of Traditional Lingnan Architecture in Guangzhou Influencing Economic Development and Socio-economic Perspective—A Notch from Public Well-being and Modernity

Architecture plays a pivotal role in shaping the built environment and influencing societal development. Aesthetic principles of architecture, technological integration, and skill development are key factors that impact architectural design outcomes and broader societal implications. The purpose of this research is to look into the impact of architectural aesthetic principles on socioeconomic development, public well-being, and architectural modernism, while also looking into the mediating role of technological integration and the moderating role of skill development. A quantitative research approach was adopted, using a cross-sectional design. Data was collected through a structured questionnaire from 375 architects in Guangzhou, representing diverse architectural practices. SPSS was used for descriptive and inferential statistical analyses such as correlation, regression, and mediation analysis. The study revealed a positive relationship between aesthetic principles of architecture and socio-economic development, indicating that aesthetically pleasing designs can foster economic growth and urban development. Moreover, aesthetics significantly influenced public well-being, with thoughtfully designed spaces positively impacting the emotional and psychological well-being of users. Aesthetic principles were found to contribute to architecture modernity, inspiring innovative design practices. Technological integration emerged as a mediator, highlighting its role in translating aesthetic concepts into sustainable design solutions that impact socio-economic development, public well-being, and architecture modernity. Skill development was identified as a moderator, enhancing the integration of aesthetics and technology in architectural design. This study advances the understanding of the interplay between aesthetics, technology, and skill development in architectural practice. The findings offer practical implications for architects, policymakers, and educators, guiding the creation of aesthetically-driven, sustainable, and socially impactful designs. The study contributes to architectural theory and practice, fostering a holistic approach toward the creation of built environments that enhance the quality of life for individuals and promote sustainable development. The use of self-reported data and cross-sectional methods are the potential limitations of the study.

Aesthetic Implication in Shen Congwen's 'Border Town'

Shen Congwens novel Border Town creates a beautiful Xiangxi World with strong pastoral sentiment. In addition to narrating natural beauty, human feeling, and human nature beauty, the novel also reveals sadness in beauty, and the interweaving of the ideal world and reality, showing Shen Congwens aesthetic concept of truth, goodness, and beauty. From the beautiful Xiangxi World and the sad in the novel, this paper explores the aesthetic implication of Border Town. First, the author creates a beautiful Xiangxi World by describing the beauty of nature, human feeling, and human nature. The other is a unique aesthetic style through a touch of sadness and introverted creative techniques combined with the beauty of human nature. Through the aesthetic analysis and discussion of Shen Congwens Border Town, this paper sums up some previous ideas. Also, it puts forward some personal ideas to have a more profound understanding of the aesthetic implication of Border Town.

Study of Cognitive Structures of Professional Music Education Students Regarding the Concept of Aesthetics

Study of Cognitive Structures of Professional Music Education Students Regarding the Concept of Aesthetics

ESTETIKA KARYA SENI ILUSTRASI DOODLE ART KOTA MAKASSAR

Art is a work or human action that has a point of beauty that makes the human heart moved. In other words, art is an element of culture which aims to fulfill the needs of humans or community groups for aesthetic values. Doodle Art is a work of art that uses a lot of imagination and truth in processing and setting images on a medium. The purpose of this analysis is to find out the aesthetics of Makassar City Doodle Art Illustration Art works. For this reason, the target of the analysis is directed at the Makassar Doodle Art community, namely the millennial community of young people in Makassar City. This type of research is interpretive qualitative research and uses Monroe Breadsley's aesthetic theory approach which emphasizes elements of unity, complexity and seriousness. The population in this research is the Makassar Doodle Art community, totaling 50 people and the research sample is the Makassar Doodle Art Community, totaling 10 people. The data analysis techniques used are literature, video and photo documentation from existing samples, namely the Makassar Doodle Art community, Makassa city. The conclusion that can be presented in this article is that apart from the aesthetic concept, it is also about the process of creating illustrations (doodles) in the Makassar DoodleArt community. The process of creating Doodles using simple, improvised equipment can produce good work that can be analyzed.

Music Drama

In this fragment of Theodor Adorno’s Versuch Uber Wagner (1952), the author analyzes Richard Wagner’s aesthetic conception of the Gesamtkunstwerk, or a “total work of art.” Drawing on both Wagner’s theoretical works and his operas, Adorno reveals the contradictions of this concept, emphasizing its fundamental difference from Hegel’s definition of art. Examining the relationship between the evolution of opera, the autonomy of the artist, and the development of cultural industries, he shows that despite Wagner’s rejection of the division of labor and his desire for perfect unity, the Wagner’s Gesamtkunstwerk not only fails to eliminate this division of labor but further reinforces it. According to Adorno, Wagner’s music drama is deeply contradictory: the music is locked within the action, leading to an intensification of subjective expression and an excess of plot over music. Wagner himself was aware of these contradictions both at the level of conception and at the level of the practical realization of the work.

Three Views on I.M. Pei’s Aesthetic Concept of Design

Three Views on I.M. Pei’s Aesthetic Concept of Design

Analysis of the Artistic Characteristics of Literati Paintings

As a unique form of Chinese traditional painting, literati painting has its own distinctive features and far-reaching influence compared with other schools. Through the combination of literati painting with nature, personal feelings and social environment, it expresses the unique artistic style and unique aesthetic concept. At the same time, the literati paintings also reflect the extensive knowledge and noble sentiment of the Chinese literati and officialdom, and carry a wealth of historical and cultural connotations. It is believed that the active study and inheritance of literati paintings will promote the development and innovation of Chinese painting and contribute more wonderful works and ideas to the art world. This article through to the literati painting origin, the main style characteristic and the creation theme thorough analysis, demonstrated the literati painting in the Chinese traditional painting unique status and the importance.

John Ruskin par la voix de Marcel Proust: acheminement vers le moi artiste

John Ruskin by the voice of Marcel Proust : Journey to the artist’s self The translation of La Bible d’Amiens and Sesame et les Lys was a way for Proust to take an interest in religious art, but also to cultivate his own vision of art. Ruskin was for Proust a guide who participated in the support of his artistic self by transfering a certain number of aesthetic conceptions to which his mind would never have been able to access on its own. Proust succeeds in recognizing the decisive dimension of the Christian religion and its implications for Ruskin's aesthetics. Transcending the religious dimension, Proust realizes that Christian architecture, as understood by Ruskin, acquires a meaning other than religious, namely that of a past sublimated by the powers of art. Thus the historical dimension is annihilated in favor of an aesthetic perception of works from the past. Our article therefore aims to show how this experience of translation allowed Proust to deconstruct the aesthetic vision of the author of the translated text, while constructing a vision of art that is his own.

Folklore paradigm of Tatar and Russian poetry of the 1960<sup>s</sup> –1980<sup>s</sup>

The article examines the folklore paradigm of Tatar and Russian poetry of the 1960s and 1980s based on poetic works and reveals the function peculiarities of oral folk art traditions, which influenced the formation of the artistic individuality of verbal art. Folklore traditions contribute to the development of a different poetic concept of the world, a new concept of the lyrical hero, the content and form of works. The significance of the article is determined by the fact that the peculiarities of the influence that folklore traditions had on Tatar and Russian poetry of the 1960s and 1980s have not been extensively addressed before. Tracing the folklore paradigm of Tatar and Russian poetry makes it possible to identify specific features of the development of different national literatures, to determine their general and special patterns of application and functions of oral folk art traditions. The scientific novelty of the article is determined by the following: firstly, our attention is focused on the functional and artistic role of folklore motifs and images as a special form of artistic generalization; secondly, we reveal the common and special aspects of their application by poets of different literary traditions. The research results state that the folklore paradigm of Tatar and Russian poetry is different, the motifs and images of oral folk art serve to actualize the author’s position in accordance with philosophical and aesthetic concepts and specific creative attitudes. Folklore images and motifs are perceived by poets as an opportunity to change artistic paradigms in the 1960s and indicate the return of literature to national classical traditions.

THE PRESENT SITUATION OF CHINA CALLIGRAPHY AS A CULTURAL PHENOMENONTHE PRESENT SITUATION OF CHINA CALLIGRAPHY AS A CULTURAL PHENOMENON

Calligraphy art occupies an important position in the history of China. It is not only a “national treasure”, but also a “gentleman’s art”. It is a concentrated expression of personal aesthetic concept, academic accomplishment, personality temper - ament and ideological realm. China’s calligraphy art is an important part of China’s traditional culture, which embodies the essence of traditional culture and ancient philosophy. The ideas, traditional virtues and humanistic spirit of China’s traditional culture are the essence of China’s traditional culture, and also constitute the cultural foundation of China’s modernization. Calligraphy is a writing culture based on Chinese characters, and its artistic expression and aesthetic standards are derived from China’s traditional philosophy and culture. The complicated process of China’s cultural modernization affects modern calligraphy and its social cognition, and the development of calligraphy art is closely related to the internal situation. Taking China’s calligraphy and China’s culture as the research object, and China’s history as the research basis, this paper deeply analyzes the present situation of modern calligraphy and China’s calligraphy culture, and adopts interdisciplinary research methods, including history, art history, cultural history, aesthetics and philosophy, and makes detailed thinking on various topics, such as the history of China in the 20th century, the characteristics of modern calligraphy, and the role of China’s calligraphy in culture and education. The conclusion is: It summarizes the present situation and cultural achievements of China’s calligraphy as a cultural phenomenon, which has played an important role in maintaining Chinese national identity and conveying national cultural mentality. According to this statement, a person’s personality and quality can be reflected in calligraphy, which can even emphasize a person’s social status, and a person who writes well in calligraphy can win the respect of strangers. There - fore, calligraphy art bears the effective inheritance of Chinese national identity and cultural spirit, and the popularization and inheritance of calligraphy art con - tributes to the prosperity and development of Chinese art and culture.

Aesthetics of Non-Conformism in Design Of Stage Space by Daniel Lider (1965–1975)

The purpose of the article is to identify the specifics of the manifestation of non-conformism tendencies in the work of Danylo Lider, People's Artist of Ukraine, chief artist of the Ivan Franko National Academic Drama Theatre in Kyiv in 1965–1975. Research methodology. The article uses a typological method (to identify the peculiarities of non-conformism in accordance with the specifics of stage design); a functional and typological method, which helped to identify the specifics of non-conformism in D. Lider's plastic solutions; a method of art historical, figurative and stylistic, formal and stylistic analysis of the design of the stage space of performances developed by D. Lider in 1965-1975. Scientific novelty. Non-conformism as a method of artistic thinking in the context of the specifics of the design of theatrical art of Ukraine in the 1960s-1990s is studied. The specificity of the manifestation of non-conformist tendencies in the work of one of the leading Ukrainian theatre artists D. Lider is revealed. Based on the analysis of architectonic elements and features of the visual image of the stage space of the plays "Diary Page" by O. Korniichuk (directed by V. Lyzogub, 1965), "Yaroslav the Wise" by I. Kocherha (directed by B. Meshkis, 1970), "The Time of Yellow Leaves" by O. Kolomiiets (1973), "Hello, Pripiat!" by O. Levada (directed by S. Smiian, 1974) revealed the characteristic features of Danylo Lider's non-conformism. Conclusions. The non-conformism of national theatre artists, in particular D. Lider, has a number of specific features that distinguish it from non-conformism in literature and the visual arts. The artist expresses a huge ideological, spiritual and artistic protest by means of multidimentional metaphorisation. Using myths and the tendency of his own consciousness to deep philosophical mystification of reality, he creates amazing, fantastic worlds within a given stage space. A peculiar reaction to the limitations of positivist aesthetics and naturalistic tendencies of socialist realism in D. Lider's work was the play of metaphors and associations. Non-conformism in the design of D. Lider's stage art is manifested in a complex synthesis of the master's philosophical, ideologicall and aesthetic concepts with the actual searches for new artistic forms. Its characteristic features are: a tendency to an highly complex, symbolic portrayal of one's own ideas and impressions, to a sophisticated coding of artistic means; immersion in the spiritual world and unusual forms of expression of new psychological material obtained as a result of comprehending the literary source of the stage production; creation of a figurative and plastic structure of the performance that goes far beyond the dramatic material; destruction of the canons of traditional artistic design in the style of socialist realism in search of a new reality; emphasis on the nuances of the deep shades of human feelings. Key words: non-conformism, stage space design, D. Lider, architectonics, metaphorisation, symbolic representation.

Combining Patient-specific Implant With Malar Reduction to Repair Mid-facial Asymmetry Caused by Craniofacial Fractures in Asians.

Mid-facial asymmetry caused by bone defect or deformation resulted from craniofacial fracture was a common secondary complication needed to repair. Patient-specific implant (PSI) designed with the unaffected side as a template is a good choice to repair this kind of facial asymmetry. However, in Asians, the broad and prominent zygomatic bone in unaffected side is not an optimal template, because the oval facial shape was considered as a more attractive appearance in Asian esthetic concept. To repair the mid-facial asymmetry and to improve the facial contour, the authors combined PSI implantation with malar reduction in one-stage surgery. The authors referred the facial proportion index (the optimal ratio of mid and lower face was 1.27) as a basis for preoperative precise design to determine the ideal facial shape of unaffected side, and used mirror image overlay technique with the ideal shape of unaffected side as a template to design the PSI. With this surgical strategy, patients not only can repair facial asymmetry but also can get a more attractive appearance.

Myth, Imagination and Digital Imaging: On the Aesthetic Expression of Nationality in Chinese Fantasy Films

Chinese fantasy movies have been based on Chinese myths and legends or ancient novels about monsters since the beginning, and have mixed martial arts, kung fu, traditional opera and other folk-art forms in the form of expression. As China's digital film technology production system matures, the boundaries between national films and transnational films in Chinese fantasy films are becoming increasingly blurred. This article mainly analyzes how Chinese magic movies, driven by technology, use local cultural elements to generate images and aesthetic conceptions with national characteristics. It proposes that magic movies should create a visual style with oriental aesthetic attributes, build cultural confidence, and enhance China through image dissemination. cultural influence.

Exploration of Aesthetic Ideas in Bronze Patterns of the Xia, Shang and Zhou Periods

From the perspective of historiography, bronze is a highly concentrated material representation of the social, political, religious and cultural aspects of the Xia, Shang and Zhou Dynasties. From the perspective of aesthetics, bronzes are the physical embodiment of the artistic aesthetics of the Xia, Shang and Zhou dynasties. However, by integrating history and aesthetics, bronzes are the epitome of the development of Chinese aesthetics from primitive aesthetic consciousness to traditional Chinese aesthetic thought. The patterns in bronzes became an important carrier of the aesthetic concepts of the ancestors. With the development of productive forces, the development of bronze craft reached its peak in the Shang and Zhou Dynasties, and bronze wares played an important role in the political and social life of the ancestors as a tool for rituals and divination, and the decorations in them left a colorful mark in the history of the world's fine arts. This paper takes bronze patterns as the entry point, takes the basic theories of aesthetics and art history as the basis for elaboration, places the Xia, Shang and Zhou bronzes in different era backgrounds, analyses and explains the aesthetic characteristics of their decorative patterns and the aesthetic ideas behind them, reveals the basic aesthetic connotations of the Xia, Shang and Zhou bronze patterns, and unearths the spiritual roots of the formation of traditional Chinese aesthetic ideas.

Diaspora aesthetics: Music performance and practices of belonging among the South Asians in Hong Kong

ABSTRACT This article uses the concept of diaspora aesthetics to examine how South Asians use traditional culture, such as music, to negotiate belonging during their integration process in Hong Kong. Music is an embodied aesthetic practice through which diaspora materialises, shaping identity and belonging in ethnic minorities. Drawing on interviews and ethnographic observations of South Asians in Hong Kong, this article explores how expressions of South Asian-ness become embodied in people who participate in music performance at socio-cultural and religious events. While the South Asians have long been experiencing marginalisation in Hong Kong, the discussion of diaspora aesthetics demonstrates how music performance can concurrently demonstrate hybrid forms of belonging, intercultural dialogue, and a sense of integration.

‘Is Childhood Then so All-Divine?’: Representations of Childhood in the Poetry of Anne Brontë

Despite the increasing criticism of her traditional critical and cultural reputation as the “third Brontë” in recent years, the underestimation of Anne Brontë’s philosophical and political engagement remains tenacious. This is especially relevant when it comes to scholarly work on her poetry, where biographical and/or religious critical frameworks dominate. By contrast, this article is interested in Brontë’s poetic intervention in Victorian debates surrounding political and aesthetic conceptions of the child and childhood. Brontë simultaneously deploys and subverts traditionally Romantic imagery, interrogating this mode most explicitly in later poems such as ‘Memory’, ‘Dreams’ and ‘Z-’s Dream’. In these mature pieces, Brontë undercuts the more conventional presentation of such topics in her earlier poems with a self-reflexive meditation on the authenticity of nostalgic visions. Therefore, Brontë’s engagement with childhood becomes more vexed over time, mirroring the more realist representation of childhood in her novels. However, Brontë’s poetic work also reveals a deeper and more conflicted identification with the Romantic aesthetic of childhood than one might imagine the writer of Agnes Grey (1847) could possess, providing access to a more complete picture of Brontë’s position on these essential questions of innocence, nostalgia and childhood.

Analysis of the Influence of Land Art on Fiber Art

Land art uses nature as a creative medium, combining art and nature to form a visual art form rich in artistic integrity. Land art is integrated with the aesthetic concepts of different periods, broadening people's horizons for exploring art, and allowing people to clearly express the relationship between human beings and nature in their thinking. By analyzing the background of the production of land art, the characteristics and cases of land art, this paper explores the influence of land art on fiber art.