Magnificent Art Research Articles

東漢 書論에 관한 儒家·道家 美學的 고찰

An overview of the history of Chinese calligraphy shows that many people in Tang Dynasty such as Zang Huaiguan(張懷瓘), Yu Shinan(虞世南), expressed very precise and philosophical views on calligraphy. Yet, there have already been discussions related to calligraphy in thr Eastern Han Dynasty before such in-depth views of calligraphy in Tang Dynasty. Yang Xiong(揚雄) has already clarified the espression of the mind of calligraphy by saying that 'Shu(書)〔originally a book, but later understood as a calligraphy〕is picture of the mind, which is composed of characters written with a brush. however, people that understood and practically applied it to calligraphy are the Cui Yuan(崔瑗) and Cai Yong(蔡邕) in the Eastern Han Dynasty.
 In「Caushushi(草書勢)」, Cui Yuan gave calligraphy an independent aesthetic value that deviated from practical functionality. Moreover, it contains content that shows the aftistry of the individual's self-awarenss. In order words, it describes the artistic characteristics of the cursive script through the origin of calligraphy, the occurrence of the cursive script and the feeling of the shape and its force of the cursive script.
 Cai Yong wrote「Bilun(筆論)」, and it says what kind of mindset and brushstroke is used in calligraphy creation to make calligraphy creation with true beauty possible. It is the so-called ‘calligraphy is an art that works on creation by relaxing the tension of the mind 〔書者, 散也〕’ In other words, it revealed for the first time what kind of mind could be conveyed through what kind of creative attitude and what kind of movement of the brush could be used to write truly beautiful writing. It shows that the recognized calligraphy in Taoist aesthetic thought.
 Cui Yuan and Cai Yong not only mentioned calligraphy techniques and the method of wielding brush related to actual calligraphy creation but also clarified what conditions must be met for calligraphy to become a magnificent art. Such remarks by Cui Yuan and Cai Yong contain. the contents of understanding calligraphy through the taoist philosophy, on their views. Thus, from the perspective of calligraphy aesthetics, various andswers to the question 'what kind of art is calligraphy can be obtained through the views and perceptions of calligraphy by Cui Yuan, Zhao Yi and Cai Yong in the Eastern Han Dynasty.

Historical Metal works named Warsaw in Iran

Since long times ago, the artists of Lorestan, have been earning their livelihood through making various types of handicraft a valuable art piece deeply rooted in the province’s history called nickel silver crafts. In Farsi, varsho is actually the word ‘War-saw’. What is the reason for such labeling of these works of art in the Qajar and Pahlavi periods in Iran? Lorestan artists in Borujerd town created such magnificent art at that time. We still don’t know the reason for this naming, but one thing is clear, such metalwork is part of the history of art in both Poland and Iran.

On the Lacanian Baroque of “Coming” and the Singularities of Thought

17세기 기독교 예술(더 정확히 말하면 카톨릭 반종교개혁 예술)의 정수인 바로크 계보에 속하는 사상가로 자신을 자리매김 하는 라캉은 예수 그리스도의 성스러운 신체와 수난의 이야기가 발산하는 무한과 조우에서 체험하게 되는 근대 주체의 희열에 기반을 둔 바로크 담론을 구축한다. 재현불가능한 타자의 흔적과 그것을 표현하는 과정에서 체험하는 쾌락 원칙을 넘어서는 과잉의 희열을 ‘고양된 외설’(the exalted obscenity)이라 이름붙이는 라캉은 빛과 어둠의 극적 대조, 선(line)과 형상(figure)의 창조적 뒤틀림으로 만들어내는 환영(illusion)을 통해서 고양된 외설성의 깊이와 창조성을 최고로 구현한 실재(the Real)의 예술로 바로크를 정의한다. 고양된 외설성에 관한 위대한 예술이라는 점에서 ‘coming’의 바로크라 이름붙일 수 있는 라캉의 바로크는 근대 이성에 기반을 둔 언어를 사용하는 주체, 즉 ‘말하는 주체’(speaking being)가 예수 그리스도의 신체에 발산되는 신성함과 조우하면서 경험하게 되는 신비적 희열, 더 나아가 그 희열을 다시 자기의 언어로 표현하는 과정에서 체험하게 되는 엑스터시(ecstasy)를 실재(the Real)의 차원에서 형상화한 예술이라고 할 수 있다. 이러한 라캉의 바로크는 기독교적 희열의 정서의 핵심을 정확히 이어받으면서도 대타자의 결핍을 도입하여 남성적 희열과는 다른 양태, 즉 전부-아님의 여성적 희열을 바로크의 최종적 핵심으로 제시한다. 현상계를 초월한 피안의 온전한 실체를 상정하지 않는다는 점에서 기독교적 바로크와 커다란 차이를 보이지만, 들뢰즈와 비교할 때 라캉의 바로크는 기독교적 바로크(특히 카톨릭적 바로크)의 전통 안에서 그 전통의 사유와 감각 그리고 이미지를 충실히 따라가면서 그 내부의 균열을 통해 초월하는 방식을 택한다. 이처럼 온전한 실체로서의 신을 상정한 기독교적 바로크 내부의 결핍을 드러내면서 탈-신학화한 비-전체로서의 정신분석학적 바로크를 제시하는 라캉의 작업은 바로크 담론 연구에서 필수적이라 할 수 있는 기독교적 바로크와 들뢰즈 바로크 사이의 커다란 이론적 간극을 메우는 데 중요한 역할 을 수행할 수 있다.By locating himself in the discourse of the baroque, Lacan dramatizes and highlights the diverse modes of jouissance of the modern subject who encounters the infinity of the sacred body of the Jesus Christ in the discourse. Lacan, who designates exalted obscenity to be the enjoyment of the excess arising from the process of expressing the unrepresentable trace of the Other, defines the baroque as the art of the Real. For him, the baroque embodies the fascinating creativity of exalted obscenity as the mode of the Real with the techniques of the anamorphosis and the chiaroscuro. This paper terms Lacanian baroque to be “the baroque of coming” in the sense that it is the magnificent art that expresses exalted obscenity through the mode of the Real and jouissance. This baroque can be called as the art of the ecstasy in which the speaking being—the subject of modern reason and language—embodies the mystic jouissance that occurred from its encounter with the sacred, emanating from the sacred body of the Jesus Christ on the level of the Real and the unconscious. In the baroque, Lacan suggests the new mode of Not-All feminine jouissance as the core of the baroque of coming, cementing the lack of the Other into the core of Christian ecstasy. Likewise, Lacan differentiates his notion of baroque from the traditional Christian baroque without positing the absolute transcendent substance beyond the phenomenal world. Although he provides a substantial reading of the Christian core of the baroque, Lacan’s project in the baroque ultimately attempts to create the de-theological and psychoanalytic baroque of Not-All by incorporating the lack in the heart of the Christian baroque. In this sense, this baroque of coming can take a crucial step toward bridging the large theoretical gap between the traditional Christian baroque and the Deleuzian baroque that fundamentally deviates from the Christian logic of the baroque.

Living with Heritage: Including tangible and intangible heritage in the changing time and space

Kathmandu Valley, which now the compose of many cities and towns, is the result of centuries of evolution from small villages, hamlets and small towns. These cities evolved with the need and the lifestyle of people, a result of which gave birth to the magnificent art and architecture. The centuries old temples, squares, monuments, rest houses and water fountains are still present despite the frequent natural calamites like earthquake. The city which was once seemed to be designed for people and God now has to incorporate many things like population growth due to migration, urbanization, globalization and so on. The sudden influx of so-called “development” is putting the heritage and traditional values at risk. The integrated form of intangible heritage like rituals, festivals, mask dances and many more are the vehicle for the continuity of tangible heritage. But still in the heritage conservation practice, the focus has been on the tangible heritage. One of the major driving forces of heritage has been the indigenous people of Kathmandu Valley and the interconnectedness of their social life with the heritage. This paper is about the interrelationship with the tangible and intangible heritage in the changing dynamic of city, and how indigenous people are incorporating it concentrating only on Kathmandu city. This paper is based mostly on the field visit for the PhD of the author in 2014 and was initially presented in the conference Cultural Landscape and Heritage Values at University of Massachusetts, Amherst in 2015.Journal of the Institute of Engineering, 2017, 13(1): 178-189

A STUDY ON THE RELATIONSHIP BETWEEN RELIGIOUS CONSUMERIST LANDSCAPE RESOURCES AND RELIGIOUS EXPERIENCE

Faith in a Gods or divinities has always been the focus and sustenance of the development of civilizations, and is closely related to people’s lives. Coupled with the arts and humanities, astronomy, geography and customs, and living customs has played a part in shaping unique landscape resources and the possession of rich and deep cultural assets. With their involvement in religious activities, people have acquired sustenance and a sense of belonging from their religious beliefs and this has subsequently brought pleasure from tourism. There are over 12,000 registered temples in Taiwan, forming a special phenomenon in Taiwanese folk religion. Therefore, an important topic for discussion regarding to the development of religious tourism will be: how to shape landscape resources for religious consumerists in order to offer the consumerists profound experience, as well as creating an in-depth understanding of Taiwanese religious cultures and generating a reliance on recognition and emotions of consumerists. Themed on researches which were previously undertaken on the relationship between religious consumerist landscape resources and religious experience, this study adopts the Nankunshen Temple as the research object for empirical study. The research results of this study consist of: (1) through factor analysis, this study extracted the factor dimensions of religious consumerist landscape resources. In order, these dimensions are “the holiness and solemnity of the religion”,“the beauty of the magnificent art”, “atmosphere of the religious culture”, “the center of spiritual sustenance”” and “the reliance of living philosophy”. The factor dimensions of experience are “sensory experience”, “thought experience”, “emotional experience”, “action experience”, and “relational experience”. (2) In terms of the dimensions of the landscape resources of religious tourism, “the holiness and solemnity of the religion” was placed first, followed by “the beauty of magnificent art”; (3) In terms of the experience dimensions, the first place went to “sensory experience”, followed by “thought experience”. (4) After regression analysis, it is found that religious consumerist landscape resources were the most important factor for experience. In terms of sensory experience, the beauty of magnificent buildings occupied first place, followed by spiritual sustenance. In terms of emotional experience, the first place went to the center of spiritual sustenance, followed by the reliance of life philosophy. Regarding thought experiences, religious cultural atmosphere was in first place, followed by the center of spiritual sustenance. For the action experience, the first place was given to the center of spiritual sustenance, followed by religious cultural atmosphere. For relational experience, the reliance of life philosophy was in first place, followed by religious cultural atmosphere. The research results of this study can offer a reference for relevant organizations involved in the development of religious tourism. Keywords: Religious Tourism; Consumerist Landscape Resources; Experience; Nankunshen Temple

:Hans Holbein: Paintings, Prints, and Reception

This study brings together leading scholars from Europe and the United States to consider the art of Hans Holbein the Younger (1497/98-1543) from a variety of perspectives and disciplines. Generously illustrated and based on the most up-to-date research, the book is essential reading for anyone with an interest in Holbein the Younger and his magnificent art. In chapters relating to artistic exchange, the contributors discuss what Holbein knew of French and Italian art and how he utilized this knowledge. Conservation and technical chapters examine the materials and techniques in the painting The Ambassadors and documentary evidence on a series of festival paintings on canvas. Two contributors examine the artist's woocuts, particularly Dance of Death, in the light of contemporary political and theological issues. In addition, the historical and theoretical circumstances and contexts of Holbein's portraits are investigated, notably their associations with classical antiquity and its revival in humanist thought. The book also considers the impact of the first scholarly monograph on Holbein's reception and how German Romantic literary art criticism of the early nineteenth century shaped an image of his life and art.

Некоторые размышления о переводах «Бориса Годунова» на норвежский язык<br>(Some Notes on Norwegian Translations of “Boris Godunov”)

The first translation (1974) was made into nynorsk by Olav Rytter, who has also translated several other works by Pushkin. The author of the other translation (1992), into bokmål, is Erik Bystad, a recognized literary critic and translator of Shakespeare.The specifically national features of the text present a lot of problems. In the Rytter translation one can trace an attempt to make the text easier to understand by leaving out some of the geographical and personal names. The Bystad translation is often closer to the original text, but less diverse in its rhythmic pattern.Both translations illustrate how difficult it is to find a satisfying solu- tion to the rhymed proverbs or plays on words. Russian standardized modes of address, mention of the tsars or certain historical events, Pushkin's choice of the name for the pretender-all this presents at times unresolvable problems for the translators.The analysis of the two translations not only lets us feel how important and responsible is the role of a translator in transnational cultural commu-nication, but also illustrates some techniques of this magnificent art.

The role of art in the late Anglo-Saxon church

This study explores the role of early medieval religious art in its historical context, focusing on England from the reign of Alfred the Great to the aftermath of the Norman conquest. Tenth and eleventh century society expressed itself extensively through visual means, and the surviving material provides a rich body of evidence for the religious culture of the time. Combining visual and documentary evidence, The Role of Art in the Late Anglo-Saxon Church sheds new light on a wide range of magnificent art works and their functions, and offers fresh perspectives on the ecclesiastical history and beliefs of late Anglo Saxon England, with important implications for the study of early medieval civilization in general.

On Tolstoi, Prophet and Teacher

It is difficult to decide what is of the greatest Importance in all the vast mass of diaries, reminiscences, biographies, and other books about Tolstoi—the fantastic drama of his life, his extraordinary character, the effect of this character upon his magnificent art, or the projection of his prodigious mind on his philosophy and belief. The fact that Tolstoi himself was a living contradiction of the separateness of experiences and ideas is a sufficient reason for not attempting to isolate any one of them from all the rest. But, whether because his understanding of himself fell short of that of other human beings or because he was forced by the very power of his understanding to turn about and attend to his other task—that of understanding how to live with himself and with his fellow men—Tolstoi chose to divide his life into independent periods. The fourth and last one, in which, he said, he “hoped to die,” enlarged (or, as some would have it, narrowed) his understanding until it became prophecy, or religion, or a huge moral ax which he leveled against himself and the surrounding world.

MAGNIFICENT ART GALLERY CREATED BY CAVEMEN OF 30,000 YEARS AGO DISCOVERED IN UNOCCUPIED FRANCE

School Science and MathematicsVolume 41, Issue 3 p. 219-219 MAGNIFICENT ART GALLERY CREATED BY CAVEMEN OF 30,000 YEARS AGO DISCOVERED IN UNOCCUPIED FRANCE First published: March 1941 https://doi.org/10.1111/j.1949-8594.1941.tb04311.xAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume41, Issue3March 1941Pages 219-219 RelatedInformation

TRAVEL NOTES.III. SPAIN AND RAMÓN Y CAJAL.

Berlin, June 25, 1904. If one have the time for it, the pleasant mode of approach to Europe by the southern route has much in its favor. Hard work in America is fitly separated from hard work in Austria, Germany, France or England by a few weeks of relaxation in Spain or Italy, or both. Landing at Gibraltar, the traveler has fifteen days at his disposal before the next steamer leaves for Naples. In a fortnight it is very easily possible to visit satisfactorily Granada, Seville, Madrid and Toledo, and if the sea trip have made one particularly energetic he may also go to Cadiz and Tangiers. The Alhambra and the Generalife with the tales that cluster about them; the gay, bright, multicolored life of Seville, the superb architecture of Toledo and the magnificent art treasures of the Prado in Madrid combine to afford a very full two weeks of