Modern Art Research Articles

Failed Canons

In the early twentieth century, critics writing about European modern art vied to categorize increasingly diverse artistic positions, name emerging artists, and define future directions. One such critic was Ferdinand Avenarius, who promoted Katharine Schäffner as the first artist to probe the possibilities of non-imitative art. Yet, despite his efforts, Schäffner finds herself conspicuously absent from the broader art-historical narratives today. This paper aims to explore the reasons behind this comparative neglect by examining a power struggle between Avenarius and Julius Meier-Graefe, influential critics who harbored conflicting visions of modern art.

Canons and counter canons in the battles about global art

The Cubists’ fascination with African and Oceanic art and its revolutionary influence on Western art in the early 1900s is an important stage in the develop­ ment of modern art. Meanwhile in Africa, in what is now Nigeria, there was a reciprocal interest in Western figurative art, which eventually led to the establish­ ment of academic art education in West Africa. This second story, however, is much less known and, when it is told, the adoption of Western influences has generally been seen as passive and even damaging. Now that these ‘othered’ voices are claiming attention and bringing their views to the art historical debate, Western and non-Western art narratives need to be retold from new perspectives. This article examines two moments, one at the beginning and the other at the end of the 20th century, when the West has enhanced its artistic production by leaning on influences from elsewhere while maintaining the right to grant or deny the status of art for cultural objects to itself. The article calls into question Western practices in categorising products of visual expression and highlights the contractual nature of art historical classifications and canons.

Ancient inspirations in the figural sculpture of Georg Leonhard Weber (1672–1739)

Appreciation for ancient art in the modern era led to a particular reverence for ancient sculpture. As the process evolved, its scope and scale expanded with the discovery of new statues, the growth of contemporary collections and the emergence of new methods for reproducing classical models. The impact of copies cast in bronze or plaster could not match the popularity and reach of prints depicting ancient figures. Initially published as separate works, over time they also appeared in publishing series (e.g., publications by François Perrier, Jan de Bisschop, Joachim Sandrart, or Giovanni Pietro Bellori and Pietro Santi Bartoli). The influence of ancient artistic traditions on Baroque artists was not uniform across Europe and depended on many factors. Silesia was not among the privileged regions in this respect, and sculptors working in the area around 1700 had limited possibilities to further their knowledge of ancient art compared to territories closer to Europe’s ma­jor artistic centres. This makes the case of Georg Leonhard Weber all the more surprising. References to ancient art in the figurative sculpture of the Świdnica-based artist are multi-layered. These are usually paraphrases or compilations of ideas derived from several works. His oeuvre reveals numerous references to the most famous ancient statues, such as Belvedere Hermes, Laokoön, Farnese Hercules, Ludovisi Ares, as well as sculptures that are less recognisable but also immortalised in prints: Castor and Pollux, busts of Fauns, Dionysus, or Meleager. The artist acquired his knowledge of ancient works in a manner typical of artists beyond the Alps, mostly through graphic reproductions, and possibly supplemented by studies of copies made in plaster or bronze. Weber also drew on the tradition of modern art assimilating forms taken from ancient visual arts. While these mechanisms were not unusual, the outcomes are exceptional, exceeding the standards of Baroque sculpture in Silesia at the turn of the 17th and 18th centuries. They place the artist from Świdnica at the forefront of a small group of local sculptors of the time – in particular Thomas Weisfeldt and Johann Georg Urbansky – who consciously followed the formula of antiquity-inspired art.

Research on the Innovative Design of Yunnan Intangible Cultural Heritage tile cat Image

Driven by the development of modern design and the need for the protection of intangible cultural heritage, the innovative application of the image of tile cat has become an important topic to promote the inheritance of national culture. Based on the traditional image of tile cat, this study analyzes its cultural symbolic meaning and artistic characteristics in Yunnan, and explores its application form and value in contemporary design. The main purpose of this study is to explore the innovative path of tile cat in modern art design by exploring the symbolic connotation and artistic style of tile cat, so as to promote the modern expression of national traditional art. The research methods include literature analysis, field research and image analysis, revealing the potential application value of tile cat shape in graphic design, cultural and creative products and public space decoration, and trying to find a concrete path suitable for the innovative design of tile cat image, and propose a design framework combined with current design trends. The study shows that the unique shape and cultural symbolism of tile cat are not only suitable for symbolic processing and artistic innovation, but also have strong market potential. Therefore, it is proposed to integrate the image of tile cat into modern design through design strategies such as element extraction, symbol transformation and scene application, which not only retains the national cultural characteristics but also meets the contemporary aesthetic needs. This study provides innovative ideas for the inheritance of Yunnan tile cats in modern art design, and puts forward practical suggestions for the inheritance and revitalization of national art in the contemporary environment, providing a reference for promoting the innovative development of China's traditional national culture.

Poetics of surrealism by Boris Poplavsky

Poetry of Boris Poplavsky is a phenomenon quite interesting for Russian literature. His texts in most critical works are assessed as experimental, complex, shocking. For Poplavsky, a special role was played not only by the form, but also by the syncretic consolidation of heterogeneous poetic devices, in particular, surreal ones. The purpose of this article is to identify the signs of surrealism in the poet's lyrical heritage. In the course of the study, the receptive approach seems to be the most effective, since it will allow not only to determine the poet's choice of artistic means, but also generalize the aesthetic principles of the author's worldview. Open visualization of Boris Poplavsky's texts marks the orientation towards the laws of surrealism. Effective for the poet is an escape from reality, immersion in an unreal, conditionally visible space. Consequently, the actual task of lyrics is reduced not to a literal display of realities, but to the concretization of a possible, intuitive deciphering of phenomena, processes, even oneself. An independent view of the world, abstraction and independence, building a new paradigm of artistry, provocation, creative dialogue in the listening mode - this is what distinguishes the poetry of Boris Poplavsky among poets of the early twentieth century. The work can become a certain impulse for the creation of new works with an emphasis on the principles of surrealism of the specified author. An alternative view in the art of modernism, with all the reluctance to follow the classics, still does not exclude the dualistic beginning. Boris Poplavsky is a holistic figure, parametric, complex, in fact, this is what actualizes the discussion qualification of the analysis of his texts. The poetics of surrealism gave the poet the opportunity to reveal the probable volume of connotations of the visual level, to bring the philosophy of assessing reality to a systemic, hierarchical paradigm. This material can be used in university practice, as well as in the study of the work by Boris Poplavsky.

The birth of fashion as complex phenomenon: Eesthetic rereading of Frederick Charles Worth's practice

Frederick Charles Worth (1825–1895) is consensually regarded as a founder of haute couture. His business was accompanied by unprecedented marketing strategies. These strategies included also the person of dressmaker in order to change his social status. In accordance with this, dressmaking is no longer just a craft; it has begun to aspire to the position of art. This article wants to show that the process of establishing “the field of haute couture” (Bourdieu) cannot be described only in sociological terms but contains a substantial esthetic dimension. Our analysis of Worth's social practices reveals a series of dialectical relations that constitute objects of fashion as such. The new institutional framework of haute couture inevitably accelerates changes in the material design of garments, which at the same time supports their moral obsolescence. In the second step, we discuss Charles Baudelaire's attempt to characterize the nature of specifically modern art. Baudelaire's formulations emphasize a very similar dialectical structure of modern beauty, which is constituted by its inclination to transience and decay. In this sense, Worth's innovative practice itself produces the esthetic quality of a single apparel. So, we can read Worth's haute couture as an instance of Baudelairian modern art.

느린 학습자를 위한 맞춤형 미술교육 전략에 대한 방안 모색 : 교사 내러티브 분석을 중심으로

The purpose of this study is to explore customized art education strategies for slow learners and to suggest ways to solve their difficulties. Slow learners tend to be alienated from traditional educational methods and often experience frustration in art education due to their slow learning speed. Therefore, this study emphasized the necessity of a customized education strategy to support these students and attempted to derive an effective educational approach through teacher's narrative analysis. The study was conducted through narrative analysis for teachers with more than 10 years of art education experience, and through this, the necessity of customized art education for slow learners was confirmed in terms of 'educational inquiry method (educational strategy)' and 'environment construction method (environment creation strategy). The implications for the customized art education strategy for slow learners through the research results are as follows. First, the importance of a personalized approach is very clear. Second, the creation of an educational environment is very important. Third, technology integration is very important in modern art education. Fourth, teachers play a key role in providing customized art education to slow learners. Fifth, the importance of continuous evaluation and feedback is very large. This study re-examines the importance of art education for slow learners and emphasizes the need to create an educational environment that can maximize their potential through customized educational strategies. These findings can be used as basic data to develop various educational strategies to support slow learners in art education in the future.

Millise lauliku lapsepõli? Laulu „Kui ma olin väiksekene” allikatest ja autoritest

The childhood of which songster? On the origins and authors of a beloved song Keywords: folklore, ethnomusicology, choral music, runosong, orality and literacy One of the most iconic and seminal musical works of Estonian culture, the song Lauliku lapsepõli (“Childhood of the Songster”), often referred to by its opening words, “Kui ma olin väiksekene” (“When I Was Little”), was composed on the basis of Estonian folk songs in collaboration between Aino Tamm (1864–1945), one of the first professionally trained Estonian singers, and Miina Härma (1864–1941), the first Estonian female composer. The song has been performed in various formats – including choir, solo, and social singing – published in numerous songbooks, and even reintroduced into oral tradition. Drawing on the collections of the Estonian Folklore Archives, earlier publications, and prior research, this article identifies the origins of the folk song lyrics and melodies used in Härma and Tamm’s composition more precisely than previous studies, revealing a blend of folk melodies – specifically, shepherds’ calling tunes – from Tarvastu parish and the lyrics of a folk song from Põlva parish. The choir and solo arrangements (the latter with piano accompaniment) reflect the influence of European modern art music. The study also considers the broader role of imitation and recreation in the intersection of Estonian oral and written traditions within the song’s development. The lyrics and structure of Tamm and Härma’s Lauliku lapsepõli are based on Ado Grenzstein’s song cycle of the same name, written in the traditional regilaul (runosong) style. Grenzstein’s work was first published in his Kooli laulmise raamat (“School Singing Book”, 1878) and subsequently included in several songbooks and reprints. Grenzstein’s version featured a melody adapted from a traditional regilaul tune from Tõstamaa parish and four original melodies in regilaul style, paired with translated and adapted regilaul lyrics. The same text can be found in the Võro language in the first volume of Vana kannel (“Old Harp” or “Old Psaltery”), a collection of songs from Põlva parish, published and edited by Jakob Hurt. In this publication, the lyrics are a part of a longer regilaul titled Mille mull palʹlʹo sõnno suuh? (“Why Do I Have So Many Words in My Mouth?”), compiled by Hurt from two different manuscripts (1854–1875). For Lauliku lapsepõli, Tamm and Härma composed a melody based on shepherds’ calling tunes (karjasehelletused) featuring the refrain “alle-a, alle-la”, which Tamm remembered from her childhood in Tarvastu. Härma arranged these melodies into a solo song with piano accompaniment, likely in 1891, which was first performed in 1892 and published in 1923. She later created a multi-voice choir arrangement, printed in 1895 and first performed in 1896. The melody with the original lyrics and refrain was published in 1934, though the original manuscript has not been found. Two overlapping transcriptions of the melody (without the lyrics) and the lyrics (with Grenzstein’s melody) of Lauliku lapsepõli are preserved in a manuscript of folk melodies by Miina Härma in the Estonian Folklore Archives. This manuscript was compiled in 1895–1896 when Härma was collecting folk melodies for the Finnish Literature Society. However, the arrangement of Lauliku lapsepõli predates Härma’s folk melody manuscript, suggesting that the song was composed before the fieldwork, based on personal communication with Tamm. A textual and melodic analysis demonstrates how, within the sphere of written culture, Lauliku lapsepõli has undergone gradual transformations comparable to those usually seen in oral tradition. The article argues that imitation, recreation, and reimagining were common creative practices during the formative period of Estonian written culture, suggesting that the human urge for recreation is perhaps universal, transcending cultural systems.

Fluidity of Image (Photo)Montage in Cultural and Artistic Contexts of the Time

The paper explores the fluidity of (photo)montage in image in the cultural contexts of the times, emphasizing the uniqueness of the medium of photography and its ability to transpose the referent as opposed to reality. The text analyses the dialectic between technical mistakes and creative processes that lead to the emergence of new artistic categories and practices. It provokes a discussion on how photography challenges the image. Meanwhile, the processes of spontaneous errors are being examined, including double exposure or accidentally botched photographs for example, that contribute to new forms of artistic interpretation and experimentation. The topic of the imaginative is present throughout the article, from Husserl’s phenomenology to Dadaism and Surrealism, with an emphasis on the transformation of dream images and their interpretation. The component of authenticity in montage and photomontage is emphasized, including how these techniques create new visual identities. The text uses theoretical takes of major thinkers such as Roland Barthes to open up a broader discussion on the ontology of the image and its interpretation, providing a comprehensive view of the transformation and significance of photography in modern art.

Audio-visual aesthetic teaching methods in college students’ vocal music teaching by deep learning

In recent times, characterized by the rapid advancement of science and technology, the educational system has continuously evolved. Within this modern educational landscape, Science, Technology, Engineering, Arts, and Mathematics (STEAM) education has emerged as a prominent pedagogical paradigm, gaining substantial popularity in college-level instruction and capturing widespread societal attention. Notably, the cultivation of audio-visual aesthetic proficiency occupies a central role within this educational approach, prioritizing the enhancement of aesthetic sensibilities. By ingeniously amalgamating scientific knowledge with emotional expression, this research assumes a crucial facet in the holistic development of individuals. The research aims to explore the cultivation of students’ audio-visual aesthetic abilities in university-level vocal music education by integrating deep learning and STEAM education principles. Drawing upon an extensive review of relevant literature, this research synthesizes the principles of STEAM education with those of deep learning, while considering the current cultural and societal context and the distinct realities faced by contemporary college students. Consequently, this research posits a novel conceptual framework for curriculum design and proposes a three-stage teaching process model. To substantiate the efficacy of this innovative educational model, an empirical investigation employing a questionnaire survey is conducted to assess its teaching effectiveness, confirming the marked superiority of this pioneering pedagogical approach. The results demonstrate that the new teaching model has led to notable enhancements in students’ audio-visual aesthetic abilities, self-confidence in learning, and learning efficiency. Additionally, compared to traditional educational methods, the curriculum primarily, which focused on STEAM education with the project as its core, emphasizes the logic of the learning process and its connection with other disciplines. In conclusion, the three-stage educational model combining STEAM education and deep learning fully considers students’ learning situations and utilizes the analytical capabilities of computers for educational purposes. This learner-centric approach significantly augments teaching efficiency and flexibility. Finally, the research concludes by summarizing its contributions and limitations, offering practical recommendations for the field. This research provides new insights and references for the practice and improvement of audio-visual aesthetic education in higher education institutions.

Juozas Keliuotis in the Target of KGB in 1956–1978

The life of Juozas Keliuotis, one of the most conspicuous cultural workers of Lithuania, in Soviet times shows the specificity of the psychological pressure on intellectuals. The KGB unit in Lithuania involved many personalities in its manipulatory games. J. Keliuotis was of no exception. Persecuted and morally broken he wrote the memoirs revealing sufferings in the camp and violations of human rights. In 1962–1975, KGB spared no efforts seeking to find and obtain the memoirs of the intellectual in question. Even though the security failed to fetch the manuscripts of the intellectual, it succeeded in hindering for a long time their passing over to the West. Dealing with the independent Lithuanian authoritative persons was planned by experienced and influential KGB operational workers. In 1956–1978, J. Keliuotis was shadowed by quite a number of agents. It was people from the environment of the intellectual that were mostly hired. Most frequently he had to communicate with the agents of influence. For J. Keliuotis’ control not only agents were used, but also different ways for his efficient shadowing. KGB, with interruptions, applied various so-called operational technical measures: listened to his conversations, carried out secret searches in his apartment, made photos, and controlled J. Keliuotis’ correspondence. Due to constant and active spying by KGB, J. Keliuotis lost trust in his close people. KGB aimed at neutralizing the cultural influence of intellectuals. It was useful to discredit the authoritative persons by instigating them to be in conflict with émigré in terms of cultural relations. In 1971, J. Keliuotis spoke forcibly in the press, not only condemning the activity of emigrants, but also demonstrating economic and cultural “achievements” of Soviet Lithuania. The article of the intellectual was re-edited by operational employees in the direction useful for the Soviet system. The forced trampling on his world outlook meant the fictitious demonstration of loyalty to the Soviet regime. Moreover, such repentance in the press showed that a certain person was gripped by KGB. Public statements of intellectuals were used for Soviet propaganda, and the persons themselves who lost their authority were pushed aside. The individuality of J. Keliuotis in fighting with émigré was necessary for KGB as the tool of manipulation aimed at denying the historic truth. Nevertheless, in the eyes of the public of Soviet Lithuania J. Keliuotis remained as the enlightened person from the times of independence and the advocate of Western modern art. Keliuotis was persecuted until his death 1983 The LSSR Supreme Court rehabilitated the intellectual on December 16, 1998. Only with the change in the political situation, persecution of persons of anti-Soviet disposition and not loyal to the Soviet system was stopped.

Musical Festival as a Modern Art Project

Studying the organization of music festivals is not just an immersion into the world of music, but a comprehensive approach that provides valuable knowledge and skills applicable in different areas of life. Organizing a festival is a large-scale project that requires the ability to plan, coordinate, manage resources (financial, human, technical) and risks. Organizing a festival involves attracting an audience, creating brand awareness of the festival, managing advertising - these are tasks that require deep knowledge of marketing tools. Interaction with artists, volunteers, technical staff, sponsors, media - this is the art of communication, diplomacy, conflict management. Studying the organization of festivals allows to immerse in the real world of event management, feel the dynamics of work in conditions of tight deadlines and increased responsibility. All these factors make the study of the organization of festivals relevant and timely. The goal of the study is theoretically substantiated and develop the project of a festival as a modern art project. In connection with the goal, the following tasks were identifying: 1) to consider the features of art management in the art of music; 2) to identify the essence of the festival, analyze its main characteristics; 3) to highlight the main stages and study the technological features of the implementation of music festivals; 4) to describe the experience in organizing international music festivals; 5) to develop an original project for a festival. The object is festivals of musical art. The subject is organizational and technological aspects of the implementation of music festivals as modern art projects. The scientific work is based on the scientific work is based on cultural, activity-based and systemic approaches. In the process of selecting methodological tools for empirical research, methods of non-participant observation, modeling, analysis, synthesis, and structural-functional method were used. On the basis of systematically elaborating the meaning, professional connotation, and domestic and international development of art project, we will further elaborate the importance of the discipline of arts management in the development of the country as well as in the field of culture and arts according to the needs of the development of the times. Music festivals have been developed in China for nearly 20 years, but Chinese academics have paid little attention to music festivals, and the literature related to music festivals is still minimal, especially in the context of art project, which lacks corresponding theoretical support. This study not only expands the boundaries of art management theory, but also deepens the theory to a certain extent. The thesis consists of an introduction, an abstract, a main part consisting of two chapters, a conclusion, a bibliography, an appendix. The total volume of the thesis is 81 pages, of which 68 pages are occupied by the main text, a list of bibliographic sources (70 units) and appendix.

SYMBOLISM IN THE ARCHITECTURAL ENVIRONMENT

Statement of the problem: symbolism in the architectural environment is used to express abstract ideas and create images that carry ideological meaning. The relevance of the study of symbolism in the architectural environment is justified by the need to deepen the understanding of its role and significance in the formation of the aesthetic and ideological content of architectural objects. The purpose of the work: to investigate the history of the emergence and features of the use of symbolism in the architectural environment. Tasks of the research: 1. To consider the essence and history of the emergence of symbolism as a direction of art. 2. Compare architectural objects of different cultures and eras from the point of view of their symbolic load. 3. To study the symbolism of iconic objects of the architectural heritage of Ukraine. Research methods: analysis of literary sources, historical-comparative, iconographic and semiotic analysis. Conclusions: 1. The architectural environment of the world is not only a part of the volume-planning solution created and organized by man, designed to ensure the vital activity of society, but also a complex system of signs and symbols that reveals the worldview of different cultures and eras. 2. Analysis and comparison of architectural objects from different parts of the world makes it possible to understand their symbolic meaning. 3. Symbols in the architectural environment: allow to convey ideas, concepts and concepts without a dictionary description; give architectural objects uniqueness and memorability; create a connection between architecture, history, national culture and traditions, as well as a special emotional atmosphere of the architectural environment. 4. Famous architectural objects and landmarks of Ukraine, such as: Sophia Cathedral, Khotyn Fortress, Lychakiv Cemetery, House of Chimeras and Independence Square, are not only monuments of history and culture, but also symbols that reveal the deep meaning of Ukrainian being. 5. The revival and implementation of traditional cultural images of the Ukrainian people in modern art opens up great prospects for the preservation of Ukrainian identity for future generations and gives symbolism to the architectural environment.

Classification of Art Objects in the Context of Interior Space Design

The aim of the article is to establish the main categories for classifying art objects with the definition and study of their characteristics regarding the visual and functional impact on the design of interior space, taking into account both traditional and modern trends. Research methods include comparative analysis, field survey, description, systematization and generalization, as well as the results of many years of creative project practice. The scientific novelty lies in the proposed classification of art objects to create a coherent system in terms of its use in the design of interior space. The results of the research are based on the analysis of examples of modern art and project practice. Conclusions. In the process of research, a classification of art objects was created according to six basic categories, which allow tracking the peculiarities of the functioning of a certain art object in the interior. The first of the categories considered the distinction by types of art, according to which it was determined that in relation to traditional types of art, the art object functions, complementing the general artistic concept of the interior, establishing a figurative connection with its space; instead, correlated with modern forms of art, the art object acquires features and a way of functioning of non-traditional arts with modern means of expression, technologies and materials. The second category of division is by function: the predominance of the utilitarian function in an art object allows its introduction as a constructive element of the interior or equipment; while the predominance of the aesthetic function can state the decorative use of the art object. The third category of dividing art objects is by size: large-sized art objects are designed for perception in a sufficiently large space from a long distance; small-sized art objects are designed for perception from a close distance in smaller rooms. The fourth category is based on the form of expression: the realistic form is based on images that correspond to nature and gives the interior space a traditional character; instead, the abstract form with the use of non-realistic means of expression endows the interior space with features of modernity and uncertain content. The fifth category of division is by style: accordingly, the modern style of art objects involves involvement in various currents and directions of modern art, and the means of expression change the traditional appearance of space and its filling; instead, traditional stylistics uses classical forms and means of expression characteristic of known historical trends. The sixth category of division is based on materials: art objects with the use of traditional materials reveal the specificity and structure corresponding to nature, and in the visual perception of the interior space, they give it comprehensibility, basicity and reliability; instead, modern materials allow you to create new forms in the interior space with the help of art objects.

Making a Case for Ebony

Abstract This essay makes a case for assessing the significance of material and labor in the context of the global history of early modern art, through an analysis of a single case or cabinet dated to the second quarter of the seventeenth century: an imposing ebony chest inlaid with mother-of-pearl created by Herman Doomer (1595–1650), a contemporary and compatriot of the Dutch artist Rembrandt van Rijn (1606–1669). The essay endeavors to address the place of enslaved labor in Dutch seventeenth-century taste that favored foreign goods and materials.

Visual Art for People with Blind Disabilities: Return to Syncretism

The study is devoted to inclusion in art and design. Its aim is to identify certain forms and means that can significantly bring the experience of communicating with visual art to people with blind disabilities, as well as to find out the opportunities of creating unique inclusively oriented art. Research methods: general scientific methods of analysis and synthesis, comparative, formal and phenomenological methods. Scientific novelty. As a result of comparative analysis of existing inclusive projects, as well as those forms of modern art that have actualised the experience of tactile perception at the time, approaches are identified that can correct the perception of art objects for people with visual impairments and use these tools to create a unique artistic product. Conclusions. The research identified three approaches to creating inclusive art projects for people with blind disabilities. The first one is a kind of “translation” of architectural forms into a language that is comprehensible for tactile reading of the model. The component of this language is size, which should be optimal for both touch perception and comprehension of the art work as a whole; therefore, the scale and preserved proportions of the elements, the texture of materials and forms, details that give uniqueness to a certain art work, are important. The second approach is a creation of adapted art objects that have a regulated relief texture applied using digital technologies. With the appropriate instruction or guidance, certain objects, line patterns and even colours can be identified. The alternation of textures of different densities and smooth surfaces allows to convey a message about colours, however, only a limited palette. In both cases, information is duplicated in Braille and equipped with a QR code with audio information. Nonetheless, both approaches are exactly adaptive products, which are certainly very valuable in terms of creating an understanding of visual art. Instead, the importance of another approach is highlighted. It is called a syncretic one in this research. To a greater extent, it corresponds to the essence of artistic experience, the deficiency of which, according to our belief, is also experienced by people with blind disabilities. Such an art work or trend claims to be not a model or a “translation” of some definite art object into the language of tactile sensations, but a unique work of art and design, universal for any person and, at the same time, marking the work with the presence of people with disabilities and being available for their perception.

Compensatory practices for the renovation of public spaces in the historical environment of cities

The experience of revitalization of public spaces in the historical environment of cities in the practice of foreign and domestic design experience is analyzed. The task is to determine the place and role of modern art and modern architecture in the life of the historical city center in an environment filled with cultural heritage objects. The foreign and domestic experience of practical accent solutions used as temporary, compensatory practices for the renovation of public spaces in the historical environment of cities is considered. The potential of a new perception as a tool for renewal and an integrated approach to solving the strategy for revitalizing public spaces of historical city centers is revealed.

Furniture Design of Smart Art Classroom Based on Interactive Analysis of Intelligent Sensing and ITIAS

This paper explores the design and optimization of smart art classroom furniture, addressing the evolving needs of modern art education environments. With the integration of intelligent technologies and sensor networks, the research aims to enhance the functionality, flexibility, and user experience of classroom furniture. It highlights the limitations of traditional classroom furniture and the need for adaptive, multifunctional designs that accommodate diverse learning behaviors and physical requirements. Through a combination of ITIAS interactive analysis and mathematical modeling, the study proposes a framework for developing furniture that supports privacy protection, dynamic updates, and better engagement in art education. The findings emphasize the importance of incorporating ergonomic, aesthetic, and technological considerations to improve teaching and learning outcomes in art classrooms.

The Development and Value of Sanbao Art Village in Jingdezhen China

Background and Aim: This study explores the construction and study value of Sanbao Art Village in Jingdezhen, China, to investigate how this art village promotes regional economic and social development through the power of art and culture. As one of the more mature art villages in China, the development history of Sanbao Art Village and its impact on culture inheritance and innovation play an important role in understanding the rural revitalization and development of cultural industries. This study aims to analyze the development process of Sanbao Art Village and inquire about its cultural, economic, and social value, as well as its significance and effect under the contemporary background. Materials and Methods: This study puts to use the methods of literature review and field survey, collects all the relevant information about Sanbao Art Village, and reorganizes the development history of Sanbao Art Village. Through an on-site investigation of Sanbao Art Village, the readers can intuitively understand the art village’s operation model, cultural value, social and economic impacts, and so on. Results: This study found that since its establishment in 1995, Sanbao Art Village has developed from an unknown small village into a well-known art creation and cultural exchange center at home and abroad. Its successful transformation is attributed to Li Jianshen’s founding philosophy and the joint efforts of the artists and the community. It combines effectively traditional ceramic techniques with modern art innovation, thus establishing a platform for international exchanges of ceramic art in Jingdezhen and even China. Sanbao Art Village has great important value in culture, economy, society, and other aspects. Conclusion: Two main conclusions are drawn through the research: (1) Sanbao Art Village has a positive impact on promoting cultural inheritance and innovation, stimulating economic vitality, and improving the quality of life of the community. The development practice of the art village provides a valuable reference for other regions to promote sustainable development by using art and cultural resources. (2) Sanbao Art Village not only combines the traditional ceramic culture and modern art innovation, creating a unique cultural and artistic ecosystem, but also attracts tourists from all overall the world and enhances the international reputation of Jingdezhen and even China’s ceramic art. It is an important place for cultural inheritance and artistic innovation and has made also significant contributions to the local economic development and social well-being.

Exploration and Practice of Digital Technology and Virtual Reality Technology in the Creation of Public Art with Chinese Characters: Take Qingshan Hongfang as an Example

Abstract: In the modern context of rapid development of artificial intelligence, it provides a new direction for the development of public art in the new situation. The digital reconstruction of modern and contemporary public art has provided new experiences in terms of interaction and emotion. The popularization of interactive devices and virtual reality technologies has made the forms of public art more diverse and the audience's experience more personalized. As the carrier of Chinese civilization, Chinese characters have their special cultural significance and resonance. Translating Chinese characters through public art is a good form of expression. Currently, there is a lack of public art works with cultural identity in urban public spaces in China. This article will use a combination of quantitative and qualitative methods to analyze the public art and Chinese character design cases of the Red Steel City Red House architectural complex in Qingshan District by sorting out relevant concepts and combining case study methods. Ultimately exploring the combination of digital technology and virtual reality, incorporating Chinese characters as a creative element in contemporary art and design. Intended to provide reference and inspiration for art creators and related practitioners.