Interpretation Of Art Research Articles

SPACE-TIME CONTINUUM OF PRZEMYSLAW LIS-MARKIEWICZ’S NOVELS

The work outlines the artistic space-time as an author's model of the world, its main features and functioning in the works of the contemporary Polish writer Przemysław Lis‑Markiewicz. The paradigm of space-time discourse is studied on the basis of the novels "Confession of the Spirit" and "Moskal". The article indicates that the plot of novels by Przemysław Lis‑Markiewicz, which also depict Ukrainian history, unfolds in a linear perspective, each chapter is marked with dates according to the calendar time. The works synthesize calendar, event and perceptual time. The spatial picture of the works is built on open and closed models of the world, macro- and microcosm. The study of the implementation specifics for the concepts of time and space made it possible to point out the relationship between the historical / character chronotope, the role of retrospection and prospection in the novels of the Polish artist. The chronotope of novels is determined by the narrative strategy, the author's intention, and the genre structure. "Confession of the Spirit" is perceived as the author's attempt to understand the formation of personality in the complex period of social and political events of the late 19th – 20th centuries and is defined as a novel-biography. The novel "Moskal" is considered as a synthesis of documentary and psychological, which testified the author's attention to social and political, spiritual problems of a person in a border situation, a historical and political novel. The article traces peculiarities of the artistic interpretation of Ukrainian geographical and cultural spaces, realized in artistic works. The space-time in the author's novels reflects the essence of the spiritual and material world of the inhabitants of the Ukrainian-Polish border, acts as a marker of the identity of the inhabitants of the region, which appears as a certain palimpsest construction, signifying the memory of Ukrainians and Poles, their narratives. In his novels, Przemysław Lis-Markiewicz unfolds the space of Ukraine in the days of wars or political vicissitudes, emphasizing the tragic pages of history.

Artistic interpretation of humanity, originality and genetics

Ijodkorlar, so'z sohirlari zamonaviy nasrga yangi tasvir, ifoda olib kirdilar, hayotni turli rakurslardan turib tasvirlay boshladilar. Ular mavzularni to'ldirib, boyitib boradilar. Ijtimoiy hayotdagi dolzarb muammolarni ijodiy yondashuv asosida kitobxonga yetkazishga harakat qiladilar. Adiblarning badiiy sohadagi izlanishlari, mumtoz an’analar va folklordan unumli foydalanishi, dunyo adabiyotidan o'rganishlari o'z samarasini bermoqda. Dunyo adabiyotshunosligining ilmiy-nazariy talablariga javob beradigan nasr namunalari o'zbek va qirg'iz adabiyotining yaqin tarixidagi mulkiga aylandi. Bu asarlar poetikasida turli yosh, kasb, dunyoqarashga mansub xarakterlar yaratildi. Ular orasida bolalaru kattalar, ishchi-yu xizmatchilar, tentag-u darveshlar, ismsiz qahramon-u g'ayritabiiy go'daklar ham muayyan funksiyani bajarishga yo'naltirildi. Muhimi, asarda insonning mohiyatini teran anglatish, tiynatidagi fazi-lat-u illatlarni har tomonlama kashf etish tamoyili chuqurlashdi. Roman kompozitsiyasida qahramon ongosti jarayonini isyon-u kufr kontrastida aniq badiiy talqin etishga e'tibor ortdi, tashqi faoliyatdan botindagi dard-u iztirobni his ettirishga rag'bat kuchaydi.

Trends in the study of the image of a modern man in the art of Russia at the beginning of the XXI century

The subject of the study is the consideration of modern trends in the study of fine art, in particular Russian portrait and narrative painting of the beginning of the XXI century. The object is scientific works related to various fields of the humanities, namely: art history, aesthetics, anthropology, sociology, philosophy, psychology, etc. Using their material, it is possible to show not only the difference in approaches to understanding the essence and role of the image of a modern person in the art process, but also to demonstrate the specifics of the artistic interpretation of this figurative system in the context of art criticism, cultural and philosophical issues. Such a study allows us to systematize existing ideas about the peculiarities of the development of anthropological subjects in the mainstream of contemporary fine art in modern Russia, to identify the main directions. The main methodological basis of the study was a systematic approach that allowed us to consider contemporary Russian art as a single system. This helped to compare the approaches of modern researchers analyzing the place and role of the human image in it. Through the postmodern paradigm of perception and interpretation of anthropological topics, to identify the essential features of the ideas of Russian scientists. Methods of art historical analysis were also used. The starting point of the research is that at the moment in Russian science there is a body of art history and cultural studies devoted to the development of contemporary art in the country. However, there are no works summarizing the existing experience of scientists and defining the main directions of scientific thought. In light of this, the scientific novelty of the article lies in expanding the understanding of the methodological apparatus necessary for the analysis of the anthropological trend in the visual arts of our time, which is a promising path for future research in this area. The most demanded conceptual philosophical and historical-cultural foundations for the analysis and solution of practical problems in the field of contemporary art in relation to the representation of the human image are identified. Empirical research material has been collected and analyzed.

ARTISTIC PRINCIPLES OF EXPRESSING NAVOI'S SPIRITUAL WORLD IN UZBEK DRAMAS

The article examines aspects specific to the artistic interpretations of Alisher Navoi's character created in Uzbek dramaturgy. Dramas of authors such as Uygun and Izzat Sultan, Muhammad Ali, Amon Mukhtar, Iqbal Mirza, Abdulla Azam were analyzed based on the artistic principles of expressing the Navoi spiritual world.

Alechinsky zien zoals een dichter een merel ziet

The poems written by Hugo Claus (1929-2008) to accompany the work of Cobra artists are abundantly documented and analyzed. In addition to those poems, however, Claus also wrote prose about his artist friends, which until now has remained under-researched in literary studies. ‘Dertien manieren om een fragment van Alechinsky te zien’ (‘Thirteen Ways of Looking at a Fragment of Alechinsky’) appeared as a catalog text on the occasion of Pierre Alechinsky’s exhibition at the Stedelijk Van Abbemuseum in Eindhoven, which took place from March 22 to April 29, 1963. In my contribution, I demonstrate how Claus employs intertextuality and genre blending to play an ironic game with conventional art criticism. His investigative, multiperspectival view of Alechinsky’s work offers a creative and critical response to the academic or journalistic interpretation of art.

Образ Пятидесятницы в иконографической программе алтарного кивория Собора во имя первоверховных апостолов Петра и Павла в Санкт-Петербурге

The article is devoted to the unique monument of Peter the Great Baroque – the altar ciborium of the St. Petersburg Peter and Paul Cathedral. The study presents an analysis of the decoration of the ciborium (1722-1729, I.P. Zarudny). First of all, the connection of the iconographic and iconological program of the monument with the circumstances of the apostolic dedication of the cathedral of the new capital of the Russian Empire in the context of the church reform carried out by Peter I is traced. The synodal reform is proposed to be considered from the point of view of the principles of the structure of the ancient Church as a justification for the transition from patriarchal governance in favour of the conciliar Most Holy Governing Synod.In the article, the altar canopy of the Peter and Paul Cathedral is compared with the baldachin of the Assumption Cathedral of the Moscow Kremlin, with the imperial coronation baldachins of Catherine I and with the baldachin of D.L. Bernini from Saint Peter's Basilica in Rome. The external imitation of the European fashion for baldachins was perceived as an embellishing decoration, which didn't prevent the continuation of the Moscow tradition of church decoration in the St. Petersburg monument, and the preservation of its archetypal relationship with the Jerusalem temple. Thus, the semantic connection of the royal and Divine thrones, laid down in the early Byzantine period, continues until the beginning of the XVIII century. It has found its artistic interpretation, including in the composite monogram crowning the Cathedral of Peter and Paul, the variant of interpretation of which is proposed by the author. The theme of the kingdom in the decoration of I.P. Zarudny's ciborium is intertwined with the theme of apostolic succession and the foundation of the church. The apostolic dedication of the Peter and Paul Cathedral was embodied in the artistic solution of the entire altar composition, for which the image of the "Descent of the Holy Spirit on the Apostles" became central. The establishment of a new Church and a new Jerusalem, manifested in the image of "Pentecost", indicated a particularly important role for the new state symbolically denoting its continuity from both the artistic tradition of Byzantium and the tradition of the Western Christian world.

Magic in Art, Poetry, and Biography

Abstract The article analyzes four works of poetry and illustration produced by the artist, poet, and occultist Marjorie Cameron (1922–1995) in the 1950s and 1960s. Widow of rocket scientist and occultist John “Jack” Whiteside Parsons (1914–1952), an early follower of Aleister Crowley’s (1875–1947) religion Thelema, Cameron was also a friend and collaborator of Beat artist Wallace Berman (1926–1976) and avant-garde filmmaker Kenneth Anger (1927–2023). In the 1950s and 1960s, Cameron delved deeply into Crowley’s magical writings alongside those of comparative mythologist Joseph Campbell (1904–1987). The article especially highlights how Cameron creatively adapted and re-worked the ideas of both thinkers in her artistic interpretations of her Holy Guardian Angel. A core argument of the article is that art, poetry, and esotericism were intertwined pursuits for Cameron, and that extra-textual sources (e.g., letters and biographical details) contemporary with the analyzed creative works are helpful in untangling their meaning.

On the art of audio description: Naomi Kawase’s Radiance

Audio description improves access to visual culture for people who are unable to fully participate in it due to visual impairments. Because of this direct benefit to disabled people, it...

The Art of Empathy: Visual Art Interpretation and Creation to Enhance Empathy in DPT Students

The Art of Empathy: Visual Art Interpretation and Creation to Enhance Empathy in DPT Students

«Бьюти-пространство» Боттичелли, поп-арт и гностики (к вопросу о становлении классического искусства)

<p>The article continues the series of publications by the author on the art of the Renaissance and the work of Botticelli. The author's concept of “classical art” allows us to establish closer connections with subsequent stages of artistic development, as well as with the Early Renaissance. The multi-level structure of Botticelli’s art and the “collage” nature of his works are substantiated. The “universality” of the classics correlates with the gaming strategies of Neoplatonism and Gnosticism. The features that bring the intellectual culture of the Renaissance closer to modern scientific and artistic trends are revealed. New contexts and parallels (Michael Psellus, Honore de Balzac, Arthur Schopenhauer, Alois Riegl, David Hockney, Roy Lichtenstein) allow us to re-evaluate the transformation of the Neoplatonic tradition in European culture. The author rejects rigid interpretations of Gnosticism and Neoplatonism in connection with the work of Botticelli, preferring an “aesthetic” or “poetic” reading. Within the framework of this essentially psychological approach, the author draws attention to the problem of “presence” (“life-likeness”), characteristic of both medieval and modern art. Social issues of interpretation of classical art are touched upon in the article in connection with elements of elitism in the culture of the Medici circle. The concept of “poetry”, developed by Petrarch and Boccaccio and going back to ancient prototypes, is fully consistent with this type of “court” culture, which played a decisive role in the development of classical art. The "decadence" of the late Quattrocento and the work of Botticelli as its highest expression were thus the result of very complex intellectual strategies that were continued during the High Renaissance and Mannerism. Particular attention in the article is paid to the revision of the usual views on the historiography of the Renaissance, the actualization of classical art historical concepts. The article returns to the problem of the origins of the semiotic concept of art. Pragmatism and the “irrational” concept of art (appealing to the unconscious) turn out to be quite compatible, that has particular theoretical significance for the revaluation of conventional approaches to the classical heritage.</p>

Artistic transformations of the image of father in the Ukrainian cinema during the Stalinist era

The purpose of the article is to study the peculiarities of artistic interpretations of the image of father in Ukrainian cinema during the Stalinist era, with special attention to the socio-cultural and political factors of the period, which fundamentally influenced the trends in the interpretations of the screen image of father.
 The methodology. On the example of the films “Ivan” (1932), “Wonderful Garden” (1935), “Aerograd” (1935), “Guerillas in the steps of Ukraine” (1942), “Third strike” (1948) historical factors were analyzed that fundamentally determined the peculiarities of the screen character of father during the years of Soviet repressions. In the article, a definition of the concept of paternalism in the context of the theory of law and statecraft is provided. Also in the article Ukrainian films of the Stalinist era were studied, in which the paternal concept “The state is father of its citizens” was fully manifested. Socio-cultural analysis of films, in which the figure of the genetic father was relegated to the background by Soviet ideology, and the role of the main educator of children was taken over by representatives of the Russian imperial authorities, was carried out. The paternal figure is considered in the broadest symbolic context — when the paternal role for a citizens can be played by an entire social institution or the apparatus of state power.
 The results. The period of Joseph Stalin turned out to be one of the most difficult in Ukrainian history. In those years, the Ukrainian nation faced numerous political cataclysms: industrialization, the Holodomor, deportation to remote regions of the USSR, repressions and World War II. However, the cinematography presented a completely transformed picture of reality, according to which the Bolshevik government was a kind and caring father for Ukrainians, but not a cruel tyrant. Nevertheless, even in such a tragic historical period, national directors were able to reflect in propagandistic films the longing of Ukrainian society for the traditional family system, and by biological parents in particular.
 The scientific novelty. The main attention is focused on the essential characteristics of the archetypal image of father and it makes it possible to analyze many Ukrainian classic films in a new scientific context.
 The practical significance. The article can contribute to further research in the field of several humanitarian disciplines: film studies, cultural studies, art studies, sociology and History of Ukraine.

V.A. Favorsky’s Theory of the Book and the Problem of Artistic Interpretation of Literary Content

The article is devoted to the actual problems of the theory of the book, created and largely practically implemented by V.A. Favorsky and his associates in the 1930s —1950s. This theory was based on the principle of perception of the book as a synthetic art, which is confirmed by the tradition of handwritten books, relevant to the era of printing. The main contradiction faced by those who largely follow the work of V.A. Favorsky remains the correlation of the aesthetic concept of the book with its literary content. There are many dark places in V.A. Favorsky’s theory connected with this problem. Different approaches to this problem, characteristic of such a complex, synthetic work as a book, are analyzed, including issues related to the psychology of creativity, with a deep study of literary material when working on a book. The ambiguous experience of V.A. Favorsky, associated with immersion in the material of the book, with the study of the cultural context of the work, is considered. The article also highlights the important problem for V.A. Favorsky of the perception of a literary text in connection with the ideology and historical context of various epochs.The theoretical legacy of V.A. Favorsky does not lose relevance in our time, when the art of books is in need of pioneering approaches related to electronic publications of various types, including on the basis of the principle of “relay race of arts”, developed by the director and art theorist S.V. Obraztsov. Taking into account the current state of book publishing and its prospects, an updated appeal to the legacy of V.A. is proposed. Favorsky, which would solve the task of creating books at a high artistic level, taking into account the educational and informative functions of the book, without contradictions with the literary content of the work.

Non-photorealistic rendering as a feedback strategy in virtual reality for rehabilitation

Virtual reality (VR) rehabilitation has been proven to be a very promising method to increase the focus and attention of patients by immersing them in a virtual world, and through that, improve the effectiveness of the rehabilitation. One of the biggest challenges in designing VR Rehabilitation exercises is in choosing feedback strategies that guide the patient and give the appropriate success/failure indicators, without breaking their sense of immersion. A new strategy for feedback is proposed, using non-photorealistic rendering (NPR) to highlight important parts of the exercise the patient needs to focus on and fade out parts of the scene that are not relevant. This strategy is implemented into an authoring tool that allows rehabilitators specifying feedback strategies while creating exercise profiles. The NPR feedback can be configured in many ways, using different NPR schemes for different layers of the exercise environment such as the background environment, the non-interactive exercise objects, and the interactive exercise objects. The main features of the system including the support for universal render pipeline, camera stacking, and stereoscopic rendering are evaluated in a testing scenario. Performance tests regarding memory usage and supported frames per second are also considered. In addition, a group of rehabilitators evaluated the system usability. The proposed system meets all the requirements to apply NPR effect in VR scenarios and solves all the limitations with regard to technical function and image quality. In addition, the system performance has been shown to meet the targets for low-cost hardware. Regarding authoring tool usability rehabilitators agree that is easy to use and a valuable tool for rehabilitation scenarios. NPR schemes can be integrated into VR rehabilitation scenarios achieving the same image quality as non-VR visualizations with only a small impact on the frame rate. NPR schemes are a good visual feedback alternative.

Смеховое начало и комизм в советской кинокомедии 1960–1970-х

The author of the article notes the influence of the research of Russian folklorists and cultural historians on the interpretation of the 20th century art and captures the humanitarian trend towards searching for primarily archetypal situations and images in contemporary art, Soviet film comedy included. The article highlights the importance of the concepts by V. Propp and M. Bakhtin for the current perception of works of art and urges us not to limit ourselves to this, but to place new accents — to look for differences between the ancient and modern worldviews, between the impersonal solutions to dramatic situations and characters types, on the one hand, and the author’s aesthetics and individual interpretations of the world and man, on the other hand. Based on the material of the comedy films by L. Gaidai and E. Ryazanov, the fairy tale film An Ordinary Miracle by M. Zakharov, the author shows how far the artistic messages of these directors are from the archaic concepts of laughter and comedy, from the ideas of carnival freedom and harmony, which, however, does not deny the use of satire drama structures, palliata, and paired archetypical characters. This refers to the cultural layering of the images of Shurik, Nina, Saakhov, and the comical trio of the Coward, the Fool and the Pro. In addition, the article analyses the role of the water element in the comedy The Irony of Fate... and gives a detailed interpretation of the non-normative behaviours of Zhenya Lukashin and Ippolit possessing only external signs of carnivality. Conclusions are drawn about the dramatic heuristicity of laughter in the comedy films by Gaidai and Ryazanov, which had adaptive psychological functions and also contributed to the internal self-reflection of the Soviet audience.

An artistic perspective on individual space–time flows

ABSTRACT Cartographically, there are now many ways of depicting the spatiotemporal life of human individuals, from flow and animated maps to 3D space-time cubes. However, these scientifically led representations have limited expressive potential for the emotional and inner life of these individuals. Artistic visual forms have been identified as a resource to bring such qualitative communication to and alongside maps. In the ‘Journey as a Flow' project we attempt to represent the geometry and motivation of everyday human motion in relation to various points in the environment and within an environment of other individual flows. We have produced various visual artwork sketches in order to understand the wide range of environmental flows of an individual as well as one's perception of them. We used the space-time cube (i.e. time-geographic aquarium) as a starting point, dictated by the need to create a functional tool in which space and time were both visible, as well as having potential as a 3D tangible object for physical exhibition. This forms the basis for analyses of displacement, interaction and perception. All the modifications of this established geospatial visualisation are inspirations and incorporations from art disciplines. The project outputs therefore include inspirations from cine-plastic art and Escher’s perspective drawings, but the main part of it draws from the Italian renaissance concept of the image conceived as a framed window through which we look at the world. The idea of central perspective has also been used to portray spaces as a flow toward a specific destination. The overall set of representations depict a dynamic version of human lives, while the set of various metaphors deployed drive an artistic interpretation of how some people can perceive (their own / other) flows during their journey. A transformation has therefore occurred from a temporal flow would be conventionally spatial to one that assumes platial properties (i.e. an individually led geography of place).

Experimentovanie s výtvarnou interpretáciou – interpretácia portrétov do textilnej plastiky

In this article, we will focus on artistic experience and artistic interpretation in the context of the application of spatial media within activities aimed at supporting people by using action art and action approaches in connection with a turning point in life. In the text, we focus on artistic interpretation, we describe the possibilities of experimentation within the interpretation from surface medium/painting to spatial medium/soft sculpture.

Национальная самоидентификация героя-эмигранта в эмигрантской прозе Г. Иванова и Г. Миллера. Статья вторая: кризис творческой самореализации

The author compares the American prose writer Henry Miller’s novel Tropic of Cancer (1934) and the Russian poet Georgy Ivanov’s story Disintegration of the Atom (1938). The aim of the article is to compare the plot situations of the emigrant heroes’ self-identification in the aspect of the manifestation of their national and cultural identity in order to understand how the problem of national self-identification of a person of the modern era in emigration is aggravated. The second part of the article draws attention to the collision of creativity and the interpretation of art (literature) by the central characters. It is concluded that Miller and Ivanov agree on the idea of the crisis of culture and the dying of art in the situation of modernity. In the story of a hero, an aspiring writer, Miller shows the transformation of avant-garde ideas and the conformism of a contemporary artist. Miller’s central character appears as a spiritually integral person, capable of creative realization and capable of challenging a civilization stricken with cancer. Ivanov depicts a creatively sterile man-“atom”, unable to overcome the existential impasse in the crisis of modern civilization. Although in both works the heroes assert the highest value not of art, but of real life, sensuality, bodily passion, Ivanov’s hero cannot accept life and renounces it unlike Miller’s hero, who accepts himself and the world. The novel Tropic of Cancer is interesting in the aspect of imagology: it shows a number of images of Russian emigrants as perceived by an American hero. This is an American “view” of the Russian emigrant, different from the automyth of Russian emigrant writers (Georgy Ivanov). Geographically, Miller sees Russia as the most distant part of Europe. The dominant feature of Russians in Tropic of Cancer is irrationality (“crazy Russians”), but Miller, unlike Ivanov, captures both the pragmatism and conformism of Russian emigrants. The emigrant writer Boris, on the one hand, appears as a type of a European avant-garde artist; on the other hand, Russian roots are manifested in his aesthetics and attitude to the world. Boris turns out to be similar to the hero of Ivanov’s story, a creatively sterile person, immersed in the world of ideas, the break with which reflects the creative growth of the hero of Miller’s novel. A skeptical assessment of Russian idealism brings Miller and Ivanov closer together. The author declares no conflicts of interests.

A Survey on Non-photorealistic Rendering Approaches for Point Cloud Visualization.

Point clouds are widely used as a versatile representation of 3D entities and scenes for all scale domains and in a variety of application areas, serving as a fundamental data category to directly convey spatial features. However, due to point sparsity, lack of structure, irregular distribution, and acquisition-related inaccuracies, results of point cloud visualization are often subject to visual complexity and ambiguity. In this regard, non-photorealistic rendering can improve visual communication by reducing the cognitive effort required to understand an image or scene and by directing attention to important features. In the last 20 years, this has been demonstrated by various non-photorealistic rendering approaches that were proposed to target point clouds specifically. However, they do not use a common language or structure for assessment which complicates comparison and selection. Further, recent developments regarding point cloud characteristics and processing, such as massive data size or web-based rendering are rarely considered. To address these issues, we present a survey on non-photorealistic rendering approaches for point cloud visualization, providing an overview of the current state of research. We derive a structure for the assessment of approaches, proposing seven primary dimensions for the categorization regarding intended goals, data requirements, used techniques, and mode of operation. We then systematically assess corresponding approaches and utilize this classification to identify trends and research gaps, motivating future research in the development of effective non-photorealistic point cloud rendering methods.

Паблик-арт в историческом городе: визуализация локального культурного кода

The article analyses public art within the framework of the cultural approach – as a form of visualization of the city’s cultural code. The author examines the variants of public art comprehension existing in the Russian academic discourse and identifies the two most common approaches to the interpretation of art in the public space. According to the first approach, public art is interpreted as “commissioned” art, which is an instrument of the state’s ideological policy, and is therefore evaluated negatively. According to the second approach, public art is understood in a less evaluative and more meaningful way, emphasizing the variability of artistic practices existing within it, their focus on communication with society, participation of residents and reflection of locally significant meanings. The article emphasizes the commemorative functions of public art and comprehends its role in the actualization of the city’s cultural memory and representation of urban identity. The author explores what historical, cultural and mythological narratives are depicted on the murals in Veliky Novgorod, created within the framework of the All-Russian Street Art Festival “Pages of History” (2019– 2023). The article proposes to categorize Novgorod murals into the following thematic groups: 1) genius loci; 2) historical subjects; 3) myths and legends; 4) cultural heritage; 5) natural objects; 6) modern heroes. Art in Veliky Novgorod’s public spaces, especially located in typical Soviet districts, serve to individualize the urban environment and create new points of attraction for the city dwellers. Murals have become part of new excursion routes that run both through the symbolic city center and the city outskirts. The author argues that the subjects represented on the murals are authentic for Veliky Novgorod, contribute to the formation of local identity, enhance the imagery of the urban environment and emphasize the uniqueness of the Novgorod cultural landscape.

New Insights in Smooth Occluding Contours for Nonphotorealistic Rendering.

Computing occluding contours is often a crucial step in stroke-based artistic 3-D stylization for movies, video games, and visualizations. However, many existing applications use only simple curve stylization techniques, such as thin black lines or hand-animated strokes. This is because sophisticated procedural stylization requires accurate curve topology, which has long been an unsolved research problem. This article describes a recent theoretical breakthrough in the topology problem. Specifically, the new theory points out that existing contour algorithms often generate curves that cannot have any valid visibility, and new algorithms show how to correct the problem. This article surveys classes of algorithms that can compute contours accurately and identifies new research opportunities.