Figurative Art Research Articles

On the Way to Three-dimension — "Les Demoiselles D'Avignon" by Picasso

The brilliant modern arts with numerous schools have given birth to numerous masters in art. For many readers and ordinary people, modern art is a conundrum, which bewilder people with extreme linguistic forms and spiritual backgrounds. Besides, it posed challenges to people’s aesthetics with revolutionary gestures. Picasso is an important representative figure in modern art and cubism is a major achievement in his exploration of art with far-reaching influence. This paper helps the audience understand the modern art master Picasso and cubism through the study of "Les Demoiselles D'Avignon".

Общество станковистов: композиционные и сюжетные параллели

The aim of the research is to identify the origins of stylistic lines and techniques and the commo¬nality of plot motives and compositional solutions in the works of a number of artists from the Society of Easel Painters association. The scientific originality of the research lies in a comprehensive analysis of the creative heritage of the Society of Easel Painters masters, including the lost works discovered through the publication of their reproductions. The author manages to analyse the commonality of plot motives and compositional decisions in the artists’ creative work, linking this with a general attitude towards clarity in choosing a plot, and with mutual influence, play and competition for the best realization of a particular motive, with an attempt to form the main style. As a result, it was proved that the masters of the Society of Easel Painters, against the background of their common desire to create a new figurative art and reflect modernity, with all the individuality of their plastic language, adhered to similar compositional techniques, as well as similar plot motives and thematic lines (often new for Russian fine art).

LION FIGURES AND ICONOGRAPHY ON THE DOOR KNOCKERS OF HOCA AHMED YESEVI TOMB

By blending old Turkish beliefs with Islam, Hodja Ahmet Yesevi ensured the formation of an understanding of Sufism based on Turkish wisdom, love of Allah, tolerance and human love. The first Turkish mystic, Hoca Ahmet Yesevi, was buried in the city of Yesi after his death, and his small tomb, which was built in the 12th century, was rebuilt at the request of Emir Timur with the understanding of a kulliye including Yesevi's tomb. It is known that its structure was an important place of visit in almost every period. In addition to the life and works of Hodja Ahmet Yesevi, this visit, which embraces his tomb, which is the heart of Turkestan Geography, has attracted the attention of scientists, and the Mausoleum of Hoca Ahmed Yesevi was also examined in terms of its architecture and decorations, and it was evaluated in terms of the place and importance of this building in Turkish Art. At this point, the element that draws our attention is the lion figures on the bronze knockers of the wooden door opening to the Room with Copper Cauldron in Hoca Ahmed Yesevi Complex. On both wings of the door, the “şemse”shaped door handles decorated with rumi spiral branches and palmettes with openwork technique are attached to the floor with a lion head figure. There are more small lion heads on both sides of these lion figures, clinging to the şemse. Considering that the tomb of Hodja Ahmed Yesevi is located and that they belong to this complex where the memory of the saint was lived and where he was kept alive, it should be thought that the lion figures here were not used for decoration purposes only, or that the lion figures were not only for protection from evil and enemies. In the article, the use of lion figures in Turkish art before and after the adoption of Islam and their symbolic meanings is emphasized and the lion figures on the door knockers are evaluated in the light of the legends about him, especially in the wisdom of Hodja Ahmed Yesevi and it is tried to come to a conclusion. Despite the inability of such a bond materially, the descendants of Hodja Ahmed Yesevi to Hz. Ali's attachment to Hz. Ali is seen as the "Lion of Huda", and the three numbers that the Turks include in Islamic Sufism and Sufism are primarily Allah, Hz. Muhammad and the Hz. Ali, and the fact that these three lion figures are on the door make these lion figures away from being an ordinary decoration element. Keywords: Ahmed Yesevi, tomb, lion figure, iconography, door knockers

What was the first “art”? How would we know?

Archaeologist Adam Brumm recalls the moment in late 2017 when his phone buzzed with a WhatsApp message that included a rather astounding image: three little pigs leaping across the limestone walls of Leang Tedongnge cave on the Indonesian island of Sulawesi. It was a few months after the field season, and Brumm sat in his office at Griffith University in Brisbane, Australia. His field team had remained in Indonesia. Their notes to him that afternoon were nonchalant, Brumm recalls, along the lines of “Oh by the way, we found this spectacular cave painting.” He was quickly scrolling through the messages on his iPhone, when he saw the first images of the pigs flash by on his screen. “I nearly had a heart attack,” Brumm says. “They were absolutely incredible. I replied, at 3:58 pm: ‘Holy hell!!!!! Amazing pig paintings!!!’” At least 45,500 years ago, a human hand had painted the pigs in ochre, making them the oldest known examples of figurative art by at least several thousand years—and, by some standards, the oldest artwork in the world (1). Researchers believe this 45,500-year-old Indonesian cave painting, apparently of a pig, is the oldest known depiction of the animal world. It’s among several recently unearthed prehistoric images that are shedding new light on the dawn of art. Image credit: Maxime Aubert (Griffith University, Nathan QLD, Australia). But which painting, drawing, or carving deserves the superlative “oldest” is debatable. The moniker depends, in part, on how archaeologists define art itself. The Sulawesi pigs are certainly the oldest known figurative, or representational, art. That entails work depicting objects from life, Brumm explains, such that an average observer would glance at the paintings and recognize them as pigs rather than abstractions. Representational art is common in art history, from Greek Hellenistic marble goddesses to …

The Prospects of the Arts Promotion in the Context of Limitations and Consequences of Self-Isolation

The rapid development of events related to the coronavirus pandemic has led to a crisis not only in the financial sector, but also in the field of art and culture. According to various international organisations, losses for the sphere of culture and art amount to tens of billions of dollars due to the forced quarantine. Museums and philharmonic societies closed and hundreds of concerts were cancelled. The artists faced a problem – to find and involve an audience in their work, contacting them only via the Internet. Many cultural institutions were able to transfer their resources to the digital sphere quite quickly (using digital resources). The relevance of the study is due to the fact that the crisis brought about by the coronavirus pandemic forced representatives of the cultural and artistic sector to look for new forms of functioning and communication with the audience. In this regard, this paper is aimed at identifying the consequences of forced self-isolation on the development of art and creativity of specific cultural figures. The leading method for the study of this subject is the method of analysis, which makes it possible to comprehensively assess the following areas: the activities of Ukrainian and world museums, theatres and philharmonic societies during quarantine, their methods of maintaining communication with the audience; the theme of the work of artists and illustrators during the pandemic, their ways to share their work without the possibility of organising exhibitions and art residences; work of musicians in isolation. One of the main conclusions in this situation was the need to use digital technologies as a platform to demonstrate the results of the creative process. Another important issue remains the search for new funding opportunities for the cultural sector during a crisis, since dependence on the state budget and donors can be unstable.

Neolithic Cupmarks from Vasagård on Bornholm, Denmark: Dating the Rock Art Tradition in Southern Scandinavia

This article presents the first evidence for cupmarks in the southern Scandinavian Middle Neolithic, in the form of two cupmarked stones recovered during excavations at the Neolithic enclosures of Vasagård on the island of Bornholm in the Baltic Sea. Until now, cupmarks, which are frequently found on dolmen capstones, have been associated with the rich and figurative rock art known from the Bronze Age (c. 1700–500 bc). The evidence from Vasagård opens up the possibility that more cupmarks could be Neolithic. The association of the cupmarked stones from Vasagård with ritual gatherings suggests an affinity with contemporary sites, including Orkney, where cupmarks have been linked to architectural transformations.

تحرر النص الأدبي بلاغة وقراءة في نقد النقد البلاغي

تحرر النص الأدبي بلاغة وقراءة في نقد النقد البلاغي سارة سمير عبد الحکيم بکر. قسم البلاغة والنقد الأدبي، قسم اللغة العربية والدراسات الإسلامية، کلية التربية ، جامعة عين شمس، القاهرة، مصر. البريد الإلکتروني: sarahbakr1986gmail.com الملخص: دارت اهتمامات هذا البحث حول معالجة مفهوم التحرر البلاغي، والوقوف على حدوده، والتصور المقدم من الاتجاهات النقدية الحديثة لصياغة ذلک التحرر، وتحليله. ورصد التزامن بين دعوات تحرر البلاغة والنص الشعري المعاصر، والکشف کذلک عن المغالطات الفکرية والمعرفية التي انطلقت منها بعض هذه الدعوات. وذلک في إطار ما يعرف بنقد النقد البلاغي الذي يعنى بمراجعة الأقوال النقدية، والکشف عن مبادئها النظرية، وأدواتها التحليلية.وقد دعتنا طبيعة البحث إلى انتقاء المنهج التحليلي النقدي باعتباره الأقرب إلى طبيعة هذه الدراسة؛ لتحليل الخطاب النقدي لتلک الدعوات التحررية. وقد خلصت الدراسة إلى مجموعة من النتائج أهمها: 1- دعوات التحرر- بمفهومه العام- جزء لا يتجزأ من اتجاهات تجديد البحث البلاغي والأدبي. وإن اختلفت المشارب وتعددت الرؤى، فإن ثمة روابط واهتمامات مشترکة. 2- لا تتضمن البلاغة العربية – في جوهرها- أية إعاقة لتحرر النص الأدبي بناء وتحليلا ونقدا، ومفهوم البديع في التراث البلاغي يؤکد ذلک، إذ يقوم على تتبع السبق في تأليف الشعراء والکتاب، فيرصد محاولات التجديد، والإبداع في الصياغة الأدبية. 3- تتضمن دعوة التحرر في کتاب الدکتور منذر عياشي بعض المغالطات المضطربة، وهي نتاج شيوع لغة التعميم التي اختزلت البلاغة العربية في بعض الشواهد والقراءات النقدية التي تتردد دون وعي بالطاقات الإبداعية لتلک البلاغة التي ألصق بها کذبا تهمة تراجع الأدب. الکلمات المفتاحية: التحرر، البلاغة، النص الأدبي. Librating Literary Text from Rhetoric: a Reading in Criticizing Rhetorical Criticism Sarah Samir Abdel-Hakeem Bakr Department of Arabic Language and Islamic Studies, Faculty of Education, Ain Shams University, Cairo, Egypt. Email: sarahbakr1986@gmail.com Abstract: The topic of the present study addresses the concept of rhetorical liberation, delimiting its scope, the perception introduced by the contemporary critical trends to formulate, and analyze this liberation. It observes the coincidence between calls for rhetorical liberation, and the contemporary poetic text. It also reveals the cognitive and intellectual fallacies from which some of these calls are issued. This is addressed within a framework that is called criticizing the rhetorical criticism that is concerned with reconsidering the critical views and exploring their theoretical principles and analytical tools. In conformity with nature of the study, the critical analytical approach is adopted as it is the closest to the nature of this study to analyze the critical discourse of these liberating calls. The most important conclusions of the study include the following: 1- Liberating calls – in general terms- are part and parcel of trends calling for innovation of the rhetorical and literary study. Even if methods are different and visions are several, there are common links and interests. 2- Arabic rhetoric does not include– in essence- any obstacles to liberate the literary text in terms of structure, analysis, criticism. The art of creative figures of speech in the rhetorical heritage asserts that; as it tracks the pioneering efforts in the work of art of the poets and writers, and observes attempts of innovation and creativity in literary writing. 3- Calls for liberation in a book by Dr. Munther Ayachi include some disturbing fallacies which are the result of the spread of the language of generalization which limits Arabic rhetoric in some citations and critical readings that are unintentionally repeated for their creative powers of this rhetoric to which he falsely frame it for literary decline. Keywords: Liberation , rhetoric , literary text.

Аrhitektura v izkustvoto—izkustvo v arhitekturata

<i>Аrhitektura v izkustvoto—izkustvo v arhitekturata</i>

The Cage Case. Arts and Social Neuroscience.

A great story told by a musician is the basis of the best stage experimentation of the second half of the 20th century. The musician is John Cage, whose work synthesizes the entire system of arts within the extraordinary world of the avant-garde. This great story begins with the experimental artistic activities which were developed in the 1920s, consolidated in the thirties and continued through the post-war period up to the dawn of the fifties. Apart from the socio-historical cross-section Cage’s experimentation provides, it is also a pretext for reflecting on the artist’s work as well as the relationship between neuroscience and art. Important contributions to this topic come from the neuro-scientific-social research on new expressions “of creativity, imagination, genius” (Pecchinenda, 2018). This study is based on the assumption that Cage was the forerunner of neuronal experimentation that would be central to the experiments and research of many other artists. The theoretical reference model can be found in the research of the neuroscientist Kandel et al, whose work was the starting point for this investigation. Kandel grasps the definitive break between scientific logic and humanistic sensitivity in the methodological reductionism practiced by neuroscience and in the experiments of contemporary creativity. According to Kandel, both neuroscience and artistic experimentation have similar objectives and problems, and in some respects seem to develop similar methodological practices. Kandel identifies the use of memory, synthesis and knowledge of the world in authors such as Mondrian, de Kooning, Pollock, Rothko, Louis, Warhol as well as the New York school of which Cage was an important member. The relationship between art and neuroscience is synthetized in the avant-garde action of Cage and in all the artists who launched continuous attacks against traditional forms. The transition from figurative art to abstraction is “comparable” to the reductionist process that is used in the scientific field to explain complexity and phenomenology. The prolegomena of this discourse are anticipated by a previous work written by Kandel in 2012 and can also be found in other studies on the relationship between neuroscience and art, in particular in the reflections of the neurobiologist and father of neuroaesthetics, Semir Zeki. Zeki analyzed artists work as a practice perfectly comparable to the research carried out by neuroscientists. Cage, the focus of this investigation, carried out a sound-stage-vision experimentation affecting theatre, media and art which can be examined from at least two different perspectives. The first concerns the definitive subversion of “innate rules of perception” (Kandel) and the second deals with the relationship between art and neuroscience.

Mode Harmonic Concept of Oleksandr Cherepnin’s Composer Creativity

The relevance of the topic is determined by the existing contradiction between the great importance of Olexandr Cherepnin’s compositional works, which are widely recognized in the modern cultural world and contain many innovative artistic and theoretical ideas, and the lack of proper coverage in the scientific literature. The analysis of the array of musicological literature devoted to the peculiarities of the musical culture of the XX century proves the fact that the artistic personality of O. Cherepnin and his life and creative path still generally remain beyond the attention of researchers.&#x0D; The purpose of the article is to reveal the meaningful and terminological features of the mode harmonic concept of O. Cherepnin’s compositional works.&#x0D; The methodology. The main methods applied in this study are systematic approach and methods of comparative and musicological (mainly mode harmonic) analysis.&#x0D; The results. O. Cherepnin’s musical language has overcome a long way before it was formed into a single mode harmonic concept. This mode harmonic concept of the artist’s works was first embodied in many of his works, and then was theoretically comprehended by him and given in the article “Basic Elements of My Musical Language” (1962). Therefore, from the beginning, the features of the composer’s mode harmonic language were formed under the influence of artistic necessity and were not subjected to theoretical conceptual principles. The mode harmonic concept of the artist, which became a generalization of his creative activity and artistic ideas, is based mainly on the theory of ambivalence of major and minor. At the same time, the composer does not use the major­minor as the mode basis for his works, basing (as the author himself and researchers of his work emphasize) primarily on the theory of modality.&#x0D; &#x0D; Cherepnin’s mode harmonic concept of musical language is based on a nine­stage scale, which is considered by the composer as universal and is found in most of his works. The most separate and independent components of the nine­stage scale are the three major­minor tetrachords and the two hexachords. The presence of different pitch positions of the scale allows to determine the tonal center at the level of separate fragments of the musical fabric of the work.&#x0D; &#x0D; The harmonic vertical (harmonic structure) of the majority of O. Cherepnin’s works is also formed on the basis of the vertical segments of the specified nine­stage scale. Such mode segments, which in separate works of the composer or their parts play the role of mode harmonic basis, are defined by us as “submodes” (my term — Ch. H.). The most common are tritone consonances, and each “submode” has its own chord that performs the function of the tonic one. The most important among them, according to the composer’s point of view, is a major­minor tetrachord, i.e. vertical four­tone chord. All these consonances are very diverse in their interval structure and intensity of sound. Five­ and six­tone chords are used by the artist much less due to their intense phonism and the need for at least an acoustic solution. Pentatone scales, which are constantly presented in an incomplete form (with the omission of one or two tones), and symmetrical modes are also widely used in O. Cherepnin’s works. Bright ethnic elements of the composer’s mode harmonic concept, which are widely used in his works, are the specific tritone consonances, called by O. Cherepnin as “Georgian trisounds”.&#x0D; The topicality of the study lies in the disclosure of one of the main conceptual foundations of the multifaceted musical language of O. Cherepnin — his mode harmonic component, which has not yet been sufficiently studied.&#x0D; The practical significance. The obtained results of the research allow to reveal the world importance of O. Cherepnin’s artistic figure and composer’s works, to highlight his innovative musical­theoretical ideas and to determine the special place of the artist in the constellation of contemporary composers who actively experimented with tonal­harmonic systems. The obtained conclusions generally expand the view on the nature and structure of mode harmonic thinking of composers of the XX century.

Metaphysics of postmodern figurative art in Ukrainian art of the late XX - early XXI century

The purpose of the article is to study the artistic traditions and conceptual innovations in the works of Ukrainian artists of the XX-XXI centuries. In contemporary Ukrainian art, figurative language is produced simultaneously with the renewal of public consciousness and in certain aspects directly contributes to its formation. Figurative imagery using Ukrainian artists of this cultural period is not only the result solely of sensory experience, they also absorb the institutionalization of social experience that allows them to reflect different levels of reality. The methodology is the cultural-semiotic analysis of the forms of manifestation of visualization of modern art culture. The application of a systematic approach allowed us to study semiotic systems that contribute to the comprehensive disclosure of the problem of the semantics of modern forms of visualization. The integrative approach has enabled research in new forms of visualization of modern artistic language, which combines informational and aesthetic functions. Due to the revealed changes, traditional images are visualized with the help of a new artistic language, which does not correspond to the traditional meanings of the artistic image. The scientific novelty of the work lies in understanding the metaphysics of postmodern figurative art in contemporary Ukrainian art. A characteristic feature of the development of modern culture is the rapid social transformation, covering all areas of human activity. For the structure of art, the nature of which is due to constant change and renewal, the problem of the relationship between tradition and innovation is important. Thus, contemporary artists in their figurative, non-figurative and conceptual practices use the memory of artistic culture and artistic traditions as a mediator between the past and the present. Ukrainian art practitioners build a multiple and diverse artistic and image system based on the mechanism of interaction of traditions and innovations, involvement in the creative process of specific stylistic combinations of past and present, and reflection on cultural realities. Conclusions. Ukrainian culture is being revived in the following main directions: the process of self-consciousness and the formation of national historical memory has intensified, and the vector of development of social consciousness has been determined. Also, due to the weakening of totalitarian control, upgraded ideological and spiritual social norms. In the context of freer cultural development, artists use simple and clear images in various unusual contexts, often visualizing the determinants of the renewal of the collective consciousness. At the same time, the entry of domestic art into the world art arena meant the urgent need for rapid change in all spheres of art. This speed led to a number of complex problematic issues related to the difficult interaction of traditions and innovations, as well as folk and classical in contemporary art, determined the formation of a new series of images.

3D RECONSTRUCTION AND PRESENTATION OF CULTURAL HERITAGE: AR AND VR EXPERIENCES AT THE MUSEO D’ARTE ORIENTALE DI TORINO

Abstract. For years, virtual reconstruction in the figurative arts, and sculpture, in particular, has been developing and consolidating. The workflow from the acquisition to three-dimensional modelling and to the integration of missing parts, has been optimized through processes entirely implemented in the digital dimension. The most recent developments in augmented reality and virtual reality technologies, together with the possibility of using low-cost and widely available devices, have made it possible to establish new links between the real and the virtual. The experiences presented in this paper comes up within the agreement between the Politecnico di Torino and the Museo d’Arte Orientale (MAO). The workflow set up for this research involves: structure from motion (SfM) survey, 3D modelling, and 3D philological reconstruction, then develops a proposal to implement augmented and virtual reality experiences aimed at the communication and fruition of the exhibits. The case study concerns two Japanese statues, and proposes their visualisation with the respective weapons virtually reconstructed, and through VR, involving the reconstruction of the interior space of a temple recognised as philologically compatible with the location of the statues within a statuary complex.

Aesthetic and Cultural Approach to the Change in the Making Techniques of Karagöz Figures

Karagöz developed as a unique culture in Anatolian lands. Despite many controversies about how Karagöz came into existence, there is a consensus that it emerged in the 16th century. Figures, as cultural objects, have production methods and techniques interwoven with the doctrines of the past. Today, figure-making for different purposes, inherited from the past, is present in Karagöz figure art. The aesthetic reflections, technique, and material harmony of the figures for show purposes must carry the cultural essence of Karagöz. This study examines museum collections and exhibitions, interviews with Karagöz masters, and a data analysis from an academic perspective. Considering these factors, it becomes clear that the training of masters for figure-making art is significant. Long-term training organized by institutions will contribute to this art and might be beneficial for good examples to reach the audience. Transferring the figures to future generations while preserving their cultural essence, making them in a suitable technique, and aesthetic understanding synthesized with modern techniques; will also contribute to the survival of this art.

Evidence-based art in the hospital.

BackgroundEvidence-based art is the investigation of art effects and art investigated for effects. In this study the evidence regarding patient preferences for art styles and effects of art in nonpsychiatric hospitals and outpatient departments was reviewed.MethodsResults from original articles were retrieved by a scoping PubMed search and by browsing the internet using the terms “evidence based art”, “evidence based design”, “art and hospital” and “design and hospital”, “art effect”, “design effect”, “landscape preference” and “abstract art figurative art”. The quality of art was not operationalized as a criterion.ResultsOf the articles 7 original sources showed patient preference for natural scenes and figurative art, 2 studies showed no preference, 16 studies showed positive art effects on well-being and behavior and 5 studies showed a positive effect of nature pictures on measurable findings.ConclusionControversial results together with theoretical aspects suggest natural scenes in patient rooms and diverse art in public areas.

COMEN CUP COMPETITION POINTS ANALYSIS OF ARIANA FIGURE IN ARTISTIC SWIMMING

The aim of this study is to examine the athlete performance of Ariana, one of the obligatory figures in artistic swimming COMEN competitions, in terms of year and age. It is important to analyze the competition results of the athletes according to years, age groups, individual development and countries. For the figure performance points of the athletes, the official COMEN Mediterranean Artistic Swimming Cup competition results were checked. Within the scope of the research, the competitions held in 2014 – 2019 were examined. The performances of the same athletes competing in different years and the countries with regular participation are listed for evaluation. Ariana point averages of these countries were calculated according to general and years. One Way ANOVA and Wilcoxon Signed Ranks tests were used for statistical analysis. There was a significant difference between the groups when comparing the Ariana artistic swimming figure by years (p&lt;0.01). As a result of comparing the years with each other, it was found that there was a difference between 2017 and other years (p&lt;0.01). The results of the competition were compared by dividing them into 13, 14 and 15 age groups. There was a significant difference between these age groups (p&lt;0.01). Ariana point averages and total mean and standard deviation values of 9 countries that participated continuously in 2014-2019 were determined. When the Ariana figure points of the same athletes were divided into 13-14, 14-15 and 13-15 age groups, it was understood that there were significant differences between the groups (p&lt;0.01). As the age of the athletes increases, the increase in Ariana figure points shows a significant difference. This situation is also present in the points of the same athletes in different age groups. The points of Bulgaria, France, Greece, Hungary, Italy, Russia, Spain, Switzerland and Turkey, which participated continuously in the years covering the research, are decisive for the competition ranking and the estimation of the Ariana figure points. The average point according to the year of the competition and the average point of the countries that regularly participate have been made suitable for planning for the development of athletes. With the study we prepared, it was possible to make figure point plans in determining the performance development goals of artistic swimmers.&#x0D; &#x0D; &lt;p&gt; &lt;/p&gt;&lt;p&gt;&lt;strong&gt; Article visualizations:&lt;/strong&gt;&lt;/p&gt;&lt;p&gt;&lt;img src="/-counters-/edu_01/0820/a.php" alt="Hit counter" /&gt;&lt;/p&gt;

Macro/Microcosm at Vézelay: The Narthex Portal and Non-elite Participation in Elite Spirituality

The tympanum of the central narthex portal of Sainte-Madeleine at Vézelay is considered to be one of the greatest works of public figural art of the Middle Ages. The current consensus is that its main subject is the Pentecost, along with the related Mission and a reference to the Ascension. Most scholars have ignored the four undulating components in the four quadrants of the tympanum proper or tried to explain them in ways that do not take into consideration their basic unity. But once we recognize that these four components represent the four elements, we see that the main components of the tympanum (the peoples of the world/the zodiac and months/Christ) function as the mundus/annus/homo of a neoplatonic macro/microcosm, with the divine/human Christ in the center and the Magdalene at his feet, the purpose of which was to encourage the pilgrim to model himself or herself on Christ or on the Magdalene. This was a work of art so complex that its intended audience could not possibly have understood it to any appreciable degree except through a guide, who both mediated it and allowed the complexity, in the process facilitating institutional control in the non-elite participation in elite spirituality.

Стрит-арт как произведение изобразительного искусства

Purpose. Street art has exploded: it pervades our back alleys, surrounds us at bus-stops, covers billboards, competes with advertising and generally serves as urban wallpaper in most cities. But what is street art? A far cry from mere graffiti, street art has gained some social acceptance, but it remains neither officially sanctioned like public art, nor institutionally condoned, like its more traditional artistic cousins in museums. Somewhere in between these two extremes, street art has emerged, occupying a metaphysically suspect grey area between illegal activity and bona fide art. This paper explores the nature of this emerging art form. Methods. The basis of the presented research was the following methods: analysis, synthesis, system analysis, deductive method and the method of comparative law. Results. Street art in modern society is a fairly popular type of activity, but there is no legal regulation of this area directly. The question is raised about the need to improve the methods of protecting the rights of authors to modern works of art and, in particular, to street art. There is a need for regulatory legal regulation in the field of copyright protection in the field of street art. It is proposed to clarify the existing legal norms in the field of intellectual property law, and in particular in the category of copyright, or to fill in the gaps by using the general principles of civil law. The problems of the implementation of copyright on the works of street art are studied, a distinction is made between legal and illegal works of street art. Discussion. The issue of creating separate regulations governing street art is quite controversial today. Taking into account the popularization of this area every day more and more, this problem is becoming more acute, it is necessary to understand how street art figures protect their violated rights and legitimate interests

Moslem Sculptor (Negotiation of Sculptor at Prumpung Magelang Towards The Doctrine of Sculpting’s Prohibition on Islam)

Normatively, Islamic doctrine prohibits figurative art in the form of sculpture or painting. The prohibition actually comes not from the Koran but from various narrations of the Prophet's hadith. However, it has been transformed into an orthodox doctrine for its adherents. This research does not aim to find the essential meaning of the hadith text which prohibits figurative art, but to find out how the Moslem sculptors, who live at Prumpung Magelang area, respond and negotiate toward it, so in the end they decided to compromise with their profession as a sculptor. Reception theory is used in this study to map the creative reasoning model of Moslem sculptors when negotiating with texts. Through the reception approach, and field data collection through in-depth interviews with several informants consisting of Muslim sculptors at Prumpung Magelang, this research concludes that the existence of the statue, according to the perspective of the Moslem sculptors at Prumpung Magelang is merely works of art so that in existence there are no theological problems.

The eyes of scallops and the creativity of submarine animals: convergence and conflict in science, philosophy and art

What could be more curious than the eyes of underwater animals? What do they see in their alien, watery world? In the early twentieth century, there was unprecedented observation of underwater life forms using aquariums. Central to this article is an aquarium photograph of a scallop – scientifically known as Pecten – taken by scientist Francis Ward in collaboration with scientist, William Dakin. Through investigation of the image, the article first explains the story behind the generation of the image, then links the image to debates on the eyes of Pecten in the philosophy of Henri Bergson, and lastly draws connections between the expressive dimensions of the image and modern art. Taking the eyes of scallops as a case study, the article addresses the expanding science of marine animals, technologies of underwater observation, and the impact of evolutionary biology, especially the perceived similarity of scallop eye and human eye, to modern thought. The argument is made that from 1900 to 1917 an interest in underwater animal vision and the creativity of nature created common ground between disparate figures in science, philosophy and art and that despite modernity’s concern for autonomy these disciplines became entangled and mutually informing.

Entre el Delirio y la Ironía: el Joker. Sátira y Cinismo en la Obra de Chema Cobo

The iconography of the joker, clown, jester, etc. has been very attractive and has been worked from different points of view throughout the art history. From cinema to painting, passing through literature and theatre. The resurgence of this character after the screaming of the Hollywood super production directed by Todd Phillips and interpreted by Joaquin Phoenix has become an excuse to revise the figure from different perspectives, and a way of finding the relationship between this figure and our present. Authors such as Velazquez or even within circus performances have nurtured this character. In this text we want to point out the case of the artist Chema Cobo (Tarifa, 1952), a relevant figure in Spanish Contemporary art since the 70s, and who has been working on this theme since the 80s. Cobo has nurtured his practice from this character, presenting him as the master of ceremonies, becoming his own alter-ego, and one of the pillars of iconography.