Combined digital media technology and advanced computing science in folk art design application

This study examines the symbolic and cultural meanings of the Eight Immortals Crossing the Sea window-paper cutting from Penglai, Shandong. As a representative work of Shandong folk art, it reflects the region’s integration of myth, belief, and visual expression. The research aims to explore how the visual form, compositional language, and symbolic imagery of this paper-cutting transform a traditional Taoist myth into a meaningful system of visual communication. Using semiotic and iconographic methods, the study analyzes the work’s symbolic structure and semantic content. The eight immortals and related motifs—such as phoenix, cloud, willow, and longevity peach—construct a rich network of visual symbols that express moral virtue, cosmic harmony, and collective blessing. The circular composition and rhythmic arrangement embody the Shandong aesthetic of fullness and balance, translating mythological transcendence into familiar cultural signs. The findings show that this folk paper-cutting converts myth into visual communication through three main processes: symbolic simplification, compositional harmony, and cultural recontextualization. It functions not only as decoration but also as a living medium of belief and moral education. The research highlights how Shandong folk art transforms intangible spiritual heritage into enduring visual language, contributing to the preservation and revitalization of local culture.

This article explores the emergence of neo-folk art in contemporary China through the viral figure of Ding Zhen, a young Tibetan man whose grassroots fame on short-video platforms was rapidly appropriated by commercial and state interests. Bridging media studies, ethnic representation and platform governance, the study conceptualizes ‘neo-folk art’ as a hybrid cultural form shaped by vernacular creativity, digital infrastructure and ideological curation. The analysis unfolds across four dimensions: (1) the transformation of folk art from revolutionary minjian to digital remix; (2) the co-construction of Ding Zhen’s fame through meme logic, fandom and affective economies; (3) the platformed landscapes of Shangri-La as tools of visual governance and (4) the negotiation of folk aesthetics in the curated environment of the Chinternet. Drawing on textual analysis of viral content, user-generated remixes and official campaigns, the article shows how ethnic identity, authenticity and algorithmic visibility intersect to produce new forms of symbolic capital. Rather than viewing folk expression as residue or revival, the article argues that neo-folk art functions as a mode of infrastructural folk imagination – a performance of tradition shaped within the logics of platform capitalism and state media.

The article analyzes the process of formation, development and achievements of the research laboratory of History and Theory of culture of East Siberian State institute of culture. During the whole period of its activities the laboratory has sig-nificantly influenced the formation of the specialists in the field of folk art cul-ture, opening of the specialization postgraduate course at the higher educational institution and dissertation councils for the defense of the candidate and doctoral theses. Thanks to its work, the teachers of the higher educational institution have the opportunity to develop their research in the field of history and theory of cul-ture.

In the face of global demographic shifts, it is crucial to adopt sustainable solutions that support active and healthy aging. Engagement in creative activities, such as crafts, may positively affect the social determinants of health by promoting mental, physical, and social well-being. While the use of crafts as therapeutic interventions is well documented, research on crafts as a professional activity remains limited, especially among older adults and across different sectors. This multi-methods study combined quantitative data analysis with qualitative exploration of individual narratives to examine how older professional artisans in a UNESCO Creative City of Crafts and Folk Art in Portugal perceive the impact of craftwork on their health and well-being. Fifty-five artisans aged 55 and older took part in walking interviews in their ateliers and completed health and quality of life (QoL) scales (PHQ-8 and WHOQOL-BREF). Thematic content analysis was performed by two independent coders. Participants were 60% men (n = 33) and had a mean age of 67.5 years (SD = 8.02). Each participant was active in one of eight craft sectors represented in the study. The artisans had overall good QoL scores, with the psychological domain showing the highest average (WHOQOL-BREF M = 84.92, SD = 10.98). All but one participant (98.1%) scored below 10 on the PHQ-8, indicating the absence of depressive symptoms. Thematic analysis revealed artisans’ perceptions of both positive and negative impacts of craftwork on their well-being, with 17 areas of impact emerging from their discourses. Positive attributions predominated, with craftwork being associated with psychological well-being, personal and professional fulfilment, creative identity expression and a sense of generativity. In contrast, financial instability and labor precarity emerged as the main strains of craftwork. The study suggests that older artisans understand their professional involvement in crafts and folk art as contributing to their well-being, even in the face of economic challenges associated with this work. These results support policy recommendations, aimed at improving the economic and working conditions of artisans, as well as knowledge transmission programs as strategies to promote active and healthy aging, foster intergenerational learning, and preserve intangible cultural heritage.

This article analyzes the expression of folkloric units, particularly folklorisms, in bilingual Uzbek-Russian dictionaries. The author, while highlighting the inseparable connection between language and oral folk art, emphasizes cultural-national codes, lingvocultural differences, and the importance of accurately reflecting paper examines how these folkloric lexemes are presented in Uzbek-Russian dictionaries these aspects in the translation process. Using examples such as “alp,” “o‘dag‘a,” “ziyodon,” and “banot,” the and the translation methods applied. Moreover, the article discusses the translation strategies for proverbs and sayings, including direct, equivalent, and explanatory translation. It also outlines the criteria for selecting equivalents for proverbs that express national identity and universal human values. The article demonstrates that accurate representation of folkloric units in translation serves to strengthen mutual understanding between the two languages and cultures.

The object of study is the archetypal image of three sisters in Feodor Dostoevsky's novel "The Idiot", Feodor Sologub's novel "The Minor Demon" and Anton Chekhov's drama "The Three Sisters". Each of the three novels has undoubtedly attracted the attention of researchers many times, but the archetypal approach makes it possible to see familiar characters from the point of view of the manifestation of images of the collective unconscious in them. Special attention is paid to the technique of tripling the archetype, which was used in works of oral folk art, and evolved in literary texts, adapting to specific artistic tasks. Using the example of the image of three sisters in myths, fairy tales and literary texts, one can trace how the features of the archetypal sister are absolutized, and the image itself goes beyond formal kinship relations, acquiring truly supernatural power. The research is based on Carl-Gustav Jung's theory of archetypes and a mythopoetic approach to literary text. Author of the article conjectures that in Feodor Dostoevsky's novel, the three sisters are the most attractive of the "beginnings" of existence; in Feodor Sologub's novel they are depicted as seductive and sensual, in Anton Chekhov's drama they are ephemeral and pathetically unsuited to a rough life. But in all three novels we see common features: firstly, the three sisters always have an influence on the behavior of other characters.; secondly, they certainly fit into their environment as a harmonious part of it, they do not seem repulsive to others, although they may arouse suspicion, fear, even horror, but these feelings do not turn them into outcasts; thirdly, they are not only an instrument of fate, but also victims of it, they are not above fate and from they are not free.

India has long been regarded as a country that exhibits cultural and traditional vibrancy in its traditional arts and crafts. The term “folk art” refers to the distinctive styles and patterns of art that are characteristic to each Indian region. Indian folk art from the Madhubani area of the state of Bihar is perhaps best known for its Mithila (also known as Madhubani) paintings. Due to current social and economic developments, the Madhubani art of the Bihar state has been changing, with less emphasis being placed on its original creation. It is necessary to undertake research to explore the contemporary context of artisan makers and Madhubani art processes, and investigate options for the preservation of this art form, including various methods, techniques, materials and designs for the next generations. This study investigates and proposes painting on selected substrates and developing contemporized textile-based products, which maintain the authenticity of the traditional artform and take these craft making practices into consideration. Knowledge gained through this investigation suggests that craft can be embodied by merging its desirable qualities with the possibilities offered through new combinations of design and material. This study reveals that design researchers working with artisan makers can play a catalytic role in facilitating the propagation of local craft knowledge into other industries.

As a significant branch of Chinese folk art, Northeastern Errenzhuan carries profound historical accumulation and embodies the distinctive characteristics of Northeast folk culture. Against the backdrop of accelerating modernization and the influx of diverse cultures into the Chinese market, systematically mapping its developmental trajectory holds urgent academic value and practical significance for protecting this important intangible cultural heritage and understanding its artistic essence. This study employs literature review and case analysis methods, focusing on the evolutionary characteristics of Northeastern Errenzhuan during Chinas modern and contemporary historical stages, and delving into the transformation of its artistic form and social functions. The research points out that the value of Northeastern Errenzhuans traditional repertoire as classical art needs to be cherished and inherited, while its adaptation to the contemporary wave of marketisation and entertainment constitutes a crucial space for its survival.

Background and Aim: Manchu shamanic music, a vital component of Northeast China’s intangible cultural heritage since its 2010 designation, faces existential threats from declining rituals, urbanization, and global cultural influences. Rooted in Tungusic traditions, it integrates spiritual communication through pentatonic scales and ritual practices, yet risks erosion due to aging practitioners and waning youth engagement. This study examines the artistic characteristics of Manchu shamanic music and evaluates its inheritance status and developmental strategies, aiming to bridge preservation and modernization. Materials and Methods: Utilizing mixed methods, the research combines archival analysis of Qing-era texts, ethnographic fieldwork in Heilongjiang, Jilin, and Liaoning provinces, and semi-structured interviews with 12 shamans and cultural inheritors. Fieldwork included participant observation in eight rituals and documentation of regional variations. Results: The music features pentatonic structures (predominantly Zhi mode), three-note melodies, and 2/4 rhythms, reflecting syncretism with Han Chinese traditions. Historically, it influenced folk arts like Errenzhuan theater and Taiping Drum dance. Modern revitalization efforts include artistic innovations (e.g., Dongchui Border Drum dance drama) and digital adaptations (e.g., Nishan Shaman game). Challenges include aging shamans (average >60 years) and low youth awareness (<12%). Conclusion: Sustainable preservation requires interdisciplinary strategies: integrating AI for melodic analysis, fostering community-driven initiatives, and enhancing youth engagement via gamification. Balancing cultural authenticity with innovation, such as hybrid performances and policy-supported training, can transform shamanic music into a dynamic, living tradition amidst globalization.

The article examines the problems of determining the formal and semantic indicators of modern folklore and its connections with the modern social reality of the Ukrainians. Nowadays the trend in folklore is the study of folklore phenomena according to the new socio-political and cultural conditions of cooperation between the personality and the team; problems of determining the phenomena of folklorism, folklorization and non-folklore thinking. This article emphasis on understanding folklore as a process of adaptation, transformation and reproduction of folklore in everyday life, culture and art with an emphasis on its social and artistic reasons, which determine the entry of a genetically literary work within the “artistic canon” of folk art. It is pointed out active modern folklorization processes in the Ukrainian cultural space. Folklorization is interpreted as the introduction of a folk work into oral circulation from printed sources, from the stage or from the media. It is also noted that, along with traditional folklore, which continues to function actively, the cultural life of society includes postfolklore, which is interpreted in the article as a qualitatively new cultural product related to digital consciousness (cyber-folklore, newslore, Internet folklore) and diagnosed state of development of modern social values and cultural codes. Special attention is focused on the active existence of folk works about the Muscovites in the conditions of Russian aggression, in which the lexical unit “moscal” acquires new connotations. The researched works are conceived as samples that are on the border of folklore and post-folklore consciousness. Today folklore innovations, which appear on the basis of traditional social and moral and ethical stereotypes, accumulation of folklore experience, through the prism of which the reality is understood, often having an oral type of existence, may contain audiovisual component, intertextual component and spread rapidly in modern cultural space and illustrate modern understanding of reality.

The topic of forming critical thinking skills in primary school students through folklore studies the importance of folklore in the development of students' thinking abilities. The research conducted on this topic aims to teach students to critically analyze examples of oral folk art, such as fairy tales, folk tales, proverbs, and sayings, and to enhance their logical thinking and argumentation skills.

In light of global demographic changes, sustainable solutions promoting active and healthy aging are crucial. Crafts, besides preserving cultural heritage, offer a meaningful occupation. Barcelos (Portugal), a UNESCO Creative City of Crafts and Folk Art, stands out for its strong craft activity, predominantly by older artisans. However, studies addressing their profiles, family transmission dynamics, and craftsmanship as an example of active aging are lacking, which this study aims to explore. An observational cross-sectional study was conducted, with primary data collection through on-site questionnaires at the ateliers. A non-probability sample of older artisans (aged 55 or older) from different craft sectors was recruited. The participants (n = 55) were mostly male (60%, n = 33), with a mean age of 67.5 years (SD = 8.02) and 6.4 years of formal education (SD = 3.32). They worked across eight craft and folk art sectors, with the Imagery sector being the most represented (52.7%). A weekly average of 51 h (SD = 17.05) dedicated to the activity was reported. Most participants started in crafts before the age of 20 (76.3%; n = 42), and 60% (n = 33) continued the craft activity after retirement. The activity was transmitted by family members from previous generations (63.6%; n = 35), and 70.9% (n = 39) had family members involved in the activity; among those practicing the craft with other or same-generation relatives (n = 34), 58.8% engaged in the craft with collateral or affinal relatives. Most artisans reported that the activity began in the family three or more generations ago and dates to the 19th century. This study makes an original contribution to gerontological research, highlighting craftsmanship as an example of active and productive aging. It informs public policy discussions supporting older artisans, fostering intergenerational craft transmission, family business sustainability, and cultural heritage preservation.

The article explores the role of modern youth in preserving the authenticity of cultural heritage. It analyzes various ways of safeguarding heritage — from craft techniques to creative reinterpretation of folk art in design, illustration, digital media, and fashion. The article concludes that it is essential to integrate cultural traditions into the contemporary art space in order to actualize and further develop them.

Folk art, particularly traditional dance, serves as a powerful reflection of local culture and plays a crucial role in preserving community values. The Rondhek Dance in Banyumanis Village, Jepara, is a testament to this, representing a vibrant folk art that remains well-preserved and carries profound historical, social, and aesthetic significance. This dance seamlessly blends movement elements from the Reog and Ledhek traditions, creating a dynamic choreography imbued with symbols of togetherness and mutual cooperation. This research aims to meticulously analyze the performance form of the Rondhek Dance. Employing a qualitative methodology with a choreological approach , data was gathered through observation, interviews with Mr. Kaolan (the dance creator and head of the studio) as well as the dancers, and documentation. The findings indicate that the Rondhek Dance features distinct performance characteristics. These include beautiful stage makeup that highlights the brave yet gentle female warrior character , red and yellow costumes symbolizing courage and cheerfulness , a musical accompaniment combining Javanese gamelan and drums with gending lancaran and meaningful lyrics , and simple floor patterns like circles and straight lines signifying unity. Ultimately, the Rondhek Dance functions not merely as entertainment, but also as a vital means of preserving tradition, the spirit of mutual cooperation, and the cultural identity of the Banyumanis community.

Ledhek Mbarang is a form of folk art typical of Blora Regency which still survives and develops amidst the currents of modernization and social change. This art is characterized by performances that are performed by moving from house to house, resembling the concept of traveling buskers, but with a strong content of dance, music, and local traditions. This study aims to describe in depth the form of Ledhek Mbarang performance in Dologan Village, Japah District, Blora Regency, including its supporting elements, the performance process, and the challenges faced in its preservation. The research method used is a qualitative method with an ethnochoreological approach, which combines ethnographic studies with dance art analysis. Data were collected through direct observation of the performance, visual documentation, and in-depth interviews with artists, audiences, and local community leaders. The research results show that the Ledhek Mbarang performance comprises several key elements: sound design involving gamelan as musical accompaniment, performers consisting of dancers and gamelan musicians, communicative and interactive dance movements, makeup and costume that reflect traditional identity, and the use of specific props to enhance the performance's expressiveness. The performance typically begins with the beating of drums or jedor (a traditional drum) on the roadside to signal the beginning of Ledhek Mbarang.

Farmer paintings, as an important component of Chinese folk art, vividly exhibit the authentic features of rural life through their unique artistic techniques and spatial narrative methods, encapsulating profound historical memories and the veins of social change. This article will analyze the spatial composition characteristics of farmer paintings to explore how farmer painters embody the multidimensionality of rural life from a multi-integrated perspective, the reasons behind this perspective, and its underlying social functions and cultural significance. The aim is to provide a new perspective for the sustained development and preservation of folk art.

This article provides a scientifically grounded analysis of the major types of folk arts held in Karakalpak museums, focusing on both material culture and associated intangible elements. By combining object-level analysis with museum practice perspectives, the paper shows how museums mediate meanings, preserve fragile materials, and engage communities. Concrete examples are given for each art form, and a comparative table summarizes core characteristics, museum tasks, and conservation challenges. Finally, recommendations are offered to strengthen the interpretation, conservation, and living transmission of Karakalpak folk arts.

Abstract Private collections featuring Holocaust-related objects, either in the form of daily objects of Jewish life or representations thereof, are an under researched source of knowledge in the aftermath of genocidal violence. As defined here, Holocaust mementos encompass everyday objects predating the Holocaust and originally belonging to Jews, objects relating to the persecution of Jews, and three-dimensional folk art that depicts the Holocaust. This article focuses on two distinct geographical and social contexts of collecting—private collections of Holocaust-themed folk art in Germany and private collections of Jewish artifacts and personal belongings in the former shtetls of Poland and Belarus. The author examines how private collections of Holocaust objects come into being and how they function. This article discusses the collectors' fascination with such objects as rare, exclusive, and emotionally charged relics whose discovery testifies to their owners' supreme expertise and dedication, as vehicles of introspective exploration, and as soterial objects that provide comfort and allow self-righteous positioning vis-à-vis a difficult past.

Based on the literary and artistic context of Yan'an in the 40s of the 20th century, this paper focuses on the nationalization of Ma Da printmaking art, and discusses how it can realize the combination of Marxist literary and artistic theory and excellent traditional Chinese culture with the "creative transformation of folk art and traditional painting resources" as the core. It is found that through the modern translation of the single-line shape of paper-cutting in northern Shaanxi, the symbolic empowerment of the plane composition of the New Year paintings, the activation of the vigorous charm of the Han Dynasty portrait stone, and the integration of line modeling, the layout of "treating white as black", and the combination of poetry and painting in traditional Chinese painting, Ma Da has constructed a creative paradigm of "folkization of form, daily subject matter, and politicization of function". In terms of technique, he broke through the Europeanized three-dimensional modeling, turning to flat single lines and symbolic black and white; In terms of schema, the narrative of daily labor is reconstructed with scattered layouts; In terms of cultural connotation, the unity of traditional practical rationality and revolutionary instrumental rationality should be realized. The practice of the Ma Da provides a model of "creative transformation of traditional resources" for modern Chinese printmaking, and has methodological enlightenment for literary and artistic creation in the new era.