Plastic Arts Research Articles

Fibromyalgia’s main features, widespread pain, and insomnia in the paintings of Remedios Varo

The sensitivity of plastic artists to human suffering has been expressed in different ways. This article recounts the circumstances that led the Spanish-Mexican surrealist painter, Remedios Varo, to depict in an original way the two cardinal manifestations of fibromyalgia; widespread pain and insomnia.

ДРЕВНИЙ МИР (Глубь времен). Открытия и откровения

The aim of the paper, despite its concise form of presentation, is to provide a systematic review of the leading trends in world art culture at the stage of the Ancient World. The fundamental positions of the proposed consideration are formulated as follows: the creation of the world, the creation of man, and the creation of art in general. Such significant phenomena as a large number of rock carvings and initial attempts at sculptural plastic arts serve as the research material, moreover, the movement from animalistic images to man’s images turns out to be a crucial issue. In ancient architecture, the defining moment is the promotion of geometrism as a technical and aesthetic category. In literature, the most important evolutionary processes were associated with a gradual transition from glorifying the gods to recreating images of people. In the course of the establishment of human society, the fundamental action was the formation of early civilizations, which found its expression in the appropriate level of artistic thinking, in the assertion of a developed emotional sphere, in a qualitatively different character of man’s attitude to nature.

ВИТОКИ ТА ПЕРЕДУМОВИ ФОРМУВАННЯ АВАНГАРДНОГО МИСТЕЦТВА: ЕСТЕТИКО-ФІЛОСОФСЬКИЙ АНАЛІЗ

The article is devoted to analyzing the formation and appearance of modern avant-garde art. The author focuses on the study of the main prerequisites for the emergence of the avant-garde while paying attention to the coverage of transformations in the socio-economic and cultural sphere from the end of the 19th century, which impacted the changes in the artistic creativity of that time. The article analyzes the ontological and existential aspects of the formation of works of modern art. Also, it characterizes the socio-cultural background of transformations in the field of artistic practice in the 19th and early 20th centuries. The author draws attention to the change of the main components of a work of modern art in comparison with a work of classical art at the structural, value, and experiential levels. In connection with the growing attention to novelty, creativity and originality in modern times, the article considers the connection between novelty and tradition in modern art, outlines the role of tradition in general in the formation of artistic creativity of the studied period, as well as the attitude towards tradition inherent in avant-garde artists: revision of traditional concepts and categories, criticism and opposition to tradition. The tendency of the synthesis of various types of art, the convergence of various types of art, and the combination of plastic arts with music, sculpture, and audiovisual art, the use of various installations, interactive technologies, characteristic of modern creativity, is highlighted. It was revealed that as a result of the transformation of the aesthetic object in modern artistic creativity, there was a rethinking of the meaning of the concept of "aesthetic object", which caused transformations in the field of aesthetic experience, and, therefore, an important aspect of the research was the analysis of the possibility of aesthetic experience and aesthetic evaluation of works of modern art. In addition, the problem of the correspondence of the foundations of traditional aesthetic thought to the latest artistic challenges and the ability of aesthetic theory to respond to challenges in the field of modern artistic practice is highlighted.

Analysis of the Artistic and Cultural Characteristics of White Tibetan House in Xiangcheng County from the Perspective of Symbolism

As a cultural carrier, residential buildings can not only meet people 's material needs, but also convey the spirit. Symbolism is the soul of architecture. It conveys the good wishes and spiritual pursuit of human beings through architectural ontology, and has rich artistic and cultural characteristics. As a unique Tibetan architecture, the White Tibetan House, together with temples and crazy costumes, is known as the " three absolutes of the countryside and the city ' and is a symbolic symbol of the regional culture of the countryside and the city. Through the study of the white Tibetan houses in Xiangcheng County, this paper analyzes the symbolism contained in the three levels of ' shape symbol', 'object symbol' and 'color symbol' from the aspects of its overall structure, decorative details and color application, and further shows the rich plastic arts and profound national culture of the white Tibetan houses in Xiangcheng County.

The technical mediator in contemporary Iraqi formation

The current research (technical mediator in contemporary Iraqi painting) dealt with the concept of technical mediator in contemporary arts and its role in the qualitative transformation in art, the diversity of discoveries in technical media that artists use in their artistic achievement, and the extent of their impact on contemporary Iraqi painting, where the research problem was identified (what is The nature and role of technical media in showing works in contemporary Iraqi painting) and (What are the intellectual and aesthetic concepts of media and techniques as references for contemporary art in Iraq). The second topic dealt with technical media and their impact on the plastic arts, and the third topic focused on the technical medium and the mechanisms of its manifestation in contemporary Iraqi painting, and the third chapter, which included samples of the sample numbered (3), was a model representing the work of three Iraqi artists, while the fourth chapter included the results of the research. And conclusions, and sealed by the researcher sources and references.Conclusions: -1. Achieving visual creativity in artistic works by experimenting with contemporary media and techniques.2. The clear influence of contemporary Western techniques, in the use of new non-circulated media, as a result of constant friction with the latest prevailing artistic trends.3. Contemporary media and techniques are clearly influential in the Iraqi plastic achievement through the dismantling of forms, giving expression a dramatic dimension, and modifying the media from its relations to become self-sufficient, starting towards innovation and singularity in the constructivist style.4. The Iraqi artist was tempted to experiment according to contemporary propositions, after he was tired of the traditional ideas and methods, which have become stagnant in a vicious circle.5. The works of the three artists (Kuish, Abdeen, Bilal) were distinguished by the freedom to choose the appropriate media for their work, and to try to dialogue with the other through multimedia to convey the suffering of his people and the crises they are going through

Expressive Topics in Plastic Art Achievement A comparative study between Gustav Klimt and Star Kauusch

Schools and artistic trends derive their themes from artistic styles and styles as methods followed by the artist to express his themes embodied in the values of artistic and plastic elements as symbols and signs that can be described according to the type of art school and the extent to which the artist is influenced in employing them as a goal to achieve the plastic achievement in the painting, and from those vocabulary (human beings nature Life) as encoded messages that have an appearance and an interior, the appearance of which are forms, colors, formats and distributions of space and their interior meanings and semantics embody attitudes, events and circumstances that stem from the social depth and daily life and derive their components from those intellectual approaches to plastic art, including expressive arts, which simulate the insides of the artist and his sense of the direction of the surrounding subjects, and are presented in a formative style and an intellectual direction that has its aesthetic and semantic dimensions.

A Review of The Microgenre: A Quick Look at Small Culture

A Review of <i>The Microgenre: A Quick Look at Small Culture</i>

Construction of Non-inherited Digital Platform based on PEST-SWOT Model

Abstract In order to protect non-genetic inheritance, this paper proposes the construction of digital platform for non-genetic inheritance based on PEST-SWOT model. Firstly, the classification of intangible Chinese heritage is summarized and the development of Jiaodong dough plastic intangible cultural heritage is summarized and analyzed by using SWOT and PEST analysis model. Finally, the strategy of digital protection and inheritance of Jiaodong dough plastic is constructed, and the digital information of Jiaodong dough plastic is collected and classified for data collection and archiving by using digital information technologies such as three-dimensional digital scanning of the Internet. To develop the information retrieval system of Jiaodong dough molding, establish the resource database of Jiaodong dough molding with complete, multiple and intuitive information, and record the whole picture of Jiaodong dough molding art in a real and systematic way. At the same time, convenient ways of inquiry exchange and utilization are provided to realize the digital preservation and sharing of Jiaodong dough plastic resources, so as to achieve the purpose of inheritance and dissemination of Jiaodong dough plastic art.

РОЛЬ МЕБЕЛИ В КИТАЙСКОМ ИНТЕРЬЕРЕ

In Chinese living environment design culture, furniture influences the internal atmosphere of the interior and the appearance of architecture, complementing the artistic images. The history of development for various forms and types of furniture in China has a thousand-year history. Proper furniture selection and its arrangement makes spatial solutions consonant with the Chinese style. The results obtained will make it possible to objectify the study and scientific description of the methods of using artistic design tools to create plastic art forms of living space organization and can be used in setting design goals.

The Role of Plastic Arts in Confirming Cultural Identity in the Age of Social Media

The purpose of this study was to investigate the role of plastic arts in confirming cultural identity by organizing a series of artistic activities for a sample of schoolchildren in the city of Al-Ahsa, including workshops, a wall painting, and an art exhibition. The study population and sample included (66) students from schools where art education students applied for the practical training course for the academic year 2022/2023. Because of the nature of the study, the scale of plastic arts within aesthetic criteria, which created by the researchers, was used in the study to evaluate these activities. The study's findings included the following: The fields of plastic arts (exhibitions, mural painting, and workshops) had a low level of promotion of cultural identity values and less than the levels of contribution to art education skills that were standard in the five-point Likert scale. The students' interaction with the plastic arts was minimal, which indicates that they place a low value on their perceived cultural identities. Additionally, there are no differences in how students react to academic disciplines and the visual arts, which support cultural identity values. The results indicated that national values and circumvention had very little impact. Through the results of the simple regression analysis, it demonstrated that the dimension of the impact of digital applications on cultural identity as a dependent variable has a statistically significant effect. The study recommended that schools should emphasize the visual arts and hold workshops to encourage their use, as well as workshops that affirm the values of cultural identity, society, its traditions, and ethics.

STYLISTIC FEATURES OF SOUND PRODUCTION IN PIANOFORTE MUSIC OF WOLFGANG AMADEUS MOZART

The article deals with the basic stylistic features of the sound production technique in the interpretation of piano opuses of the brilliant Austrian composer Wolfgang Amadeus Mozart. Its specific features are outlined in the context of the basic stylistic features of the artist’s piano heritage and typical performance tradition. The main features of sound production technique are related to the following basic stylistic elements of Mozart’s piano works: the laconicism of expressive means, the accuracy of all records of performance instructions, the transparency of the substance and at the same time the super-rich sense, the extraordinary expressiveness of the melody line in its slightest pitches; balance of emotions and logic and inexhaustible variability of images; logic of the chosen tempo-character of the work, accuracy of articulation, adequacy of the dynamics, quality and tonal beauty; clavier polytimbral. The character of sound production technique is also revealed on the basis of an analysis of Mozart’s performance style, which was characterized by perfect technical competence, accuracy of detailed nuances, exemplary highly artistic performance in the absence of any exaggerations, transparency of “grainy” sound, cantilenity and extent of the dynamics of the piano of the XVIII century. The sound production work in the play of Mozart’s works is determined by the specific tasks caused by specific musical and artistic content of each particular work. In general, the nature of pianistic techniques is associated with at excellent, brilliant finger technique, which excludes the excessive use of large arm levers, its excessive weighting. Under common kind of articulation, the finger rises from the key just before pressing the next one. The article provides exercises for the formation of this basic key touch, which is necessary for the gentle sound of “demilegato” play, the production of grainy sounds; emphasizes the need for rational organization of movements of the sensitive fingers for a detailed performance nuance, delicate “messa di voce” of the dynamics of the volume due to the recitative-declamatory nature of vocal plastic art in Mozart’s piano works. The development of Mozartianism will motivate researchers to analyze the wealthy palette of music styles of Austrian genius. At the same time, a deep understanding and, above all, mastering the art of interpreting a musical piece should also take into account the nature of a deliberate and appropriate pianistic embodiment of the performer’s artistic intentions.

Gamification and artistic education. History of education and application to the classroom with educational needs

One of the main objectives of Ecuador's educational policies is to address spatial needs. Both educational policies and laws in Ecuador respond to this through play and art. For these reasons, this article offers a gamification response that allows the integration of different arts in the educational framework. To achieve this it contextualizes gamification and provides a historical development of special needs work in Ecuador. The gamification offers teachers an intervention model based on the anthropological notion of game-based learning. It can address the developmental challenges that are experienced in a natural way, through motivation, commitment, the competition and freedom to fail, which makes learning more flexible. This is complemented by art developed with five artistic fields: music, dance, literature, plastic arts and theater, which help the students to be the center of the process of teaching and learning, as one attempt to rebalance reality and logic, imagination, awareness and experience. This article is developed through a descriptive study, with the purpose of analyzing situations and events, knowing the relationship or degree of association that exists between two or more categories in a particular context. This has been reflected in an experience in the Ecuadorian Educational System, through a Pedagogical Support Guide (PSG), as well as 150 work booklets (WB) developed in the framework of the Covid 19 emergency, will be used for all students of initial level, up to high school, including those with an educational need. The Guide and the booklets had to undergo the validity process of expert judgment method. This was answered by technical teams from the Ministry of Education and UNICEF, as well as teachers from different courses. Finally, a training for teachers was developed.

Changes in Religious Figure Representation: A Study of the Holy Infant in Medieval and Renaissance Art

The representation of religious content has been long dominating the development of western art. A great achievement has been made through decades when Christian artists gradually developed a system of abstract representation to keep a comfortable distance from the pagan past, as well as to keep a balance between the aniconic doctrine and the desire for visual presentation. This article takes one of the most popular themes of religious painting, the Holy Infant as research focus to explain the changing representations of different eras. By comparing the plastic art representations of the holy infant, it is argued that changes have been made through symmetrical spatial layouts, characterizations, and metaphors.

The Modern Chișinău in the painting of Yurii Shibaev

Yurii Shibaev approached all genres of easel painting, but he established himself with the urban landscape. The plastic artist fell in love with Chișinău. This fact is attested by the numerous works dedicated to the city. In the custody of the Fund of the National Art Museum of Moldova are several urban landscape paintings by Yurii Shibaev: „Chișinău under construction. Râșcani Sector”, „Renewed Chișinău. Circus under construction”, „Râşcanii renewed”, „After the rain”, „The New Chișinău” etc. In his paintings we can see the representations of the old city, but also of the areas with modern elements, which are in constant evolution. The artist wanted to present the beauty of the city with lots of vegetation, populated with people, crowded with public transport: everything being in constant motion. The artist of realistic training tends to work with large decorative spots that are meant to give expressiveness to the painting. The predominant colors in his creation are white, green and gray. Thus, the artist resorts to a limited range of colors, using colored accents in the representation of people and cars. In the paintings „Old Chișinău”, „Chișinău under construction. Râşcani Sector”, „Chișinău is being built”, „The New Chișinău”, „After the rain”, etc. Yurii Shibaev confirms the image of Chișinău as a „white stone city”. Residential, ecclesiastical and cultural buildings are elevated above the rich city with abundant vegetation.

Artistic path of Dumitru Trifan in the field of satirical graphics

The objectives of this study are to mirror the fruitful activity of the plastic artist Dumitru Trifan in the field of satirical graphics by highlighting the particularities of the graphic sheets signed by him. As a result of extensive analysis, it is noted that the plastic artist Dumitru Trifan has excelled in the field of caricature for several decades. Thus, the protagonist, together with other established cartoonists, intensively publishes ironic and humorous cartoons on the pages of the most famous periodicals, such as the magazines Scînteia Leninistă and Femeia Moldovei and the satire and humor magazine Chiparuş. At the same time, at the beginning of the 1980s of the last century, as an illustrator for the weekly Literatura si Arta, Dumitru Trifan elaborates and publishes an impressive number of caricatures on the pages of this newspaper. I am constantly amazed by how these scenarios are twisted from reality and how boldly the crises' core is handled. Dumitru Trifan practiced a vast thematic spectrum through which he brought to the fore the relations between spouses and those between the working man and the bureaucrat; he also presented humorously but also sarcastically the images of the chilling and the trickster, of irresponsible people, and others. Thus, the artist is sometimes sarcastic in the distortion of the image and sometimes cordial and kind to the character or landscape. And the tonal stain, like an arbitrary game, is intense and expressive.

ART AND HISTORY OF BYZANTIUM IN THE WORK OF ARTIST-JEWELLER EDUARD NIKITIN

The article is devoted to the work of Moscow artist Eduard Nikitin in the context of Byzantine decorative and applied heritage. Eduard Nikitin was born in Chelyabinsk and was educated as a sculptor. He worked as the chief artist at a factory for the production of art products in Chelyabinsk; afterwards, he became an independent jewellery artist. In modern author’s jewellery, the artist-jeweller rethinks the history of Byzantium, creates jewellery in the Art Deco style, basing on the impressions of Byzantine art. The author has always been attracted by the combination of the East and the West, common features and differences that can be expressed in jewellery plastic art. Eduard Nikitin had lived for two years in Finland and worked for Archbishop Johannes. He created a landmark work, The Fall of Constantinople, which is a rethinking of the fall of a great empire. It is worth paying attention to the set of a brooch and earrings, Evening in Byzantium, where the golden parts represent Hagia Sophia and the central blue topaz - the Bosphorus, as a connection between Europe and Asia. The combination of artistic images of monuments presents the organic syncretism of the entire outlined Asiatic region art. This region’s art was born in the regularity of society’s life and its spiritual culture on the basis of reality. The article compares samples of Byzantine art from museum collections with the works of Eduard Nikitin; the author’s views on his own jewellery work are given. In striving for the possible accuracy in the attribution of a work of art, one should not be confined to the era of its creation. Its content and form are often rooted in the distant past. As a result of a long and complex development, a “layered” semantic and artistic structure of the work appears. The fullness of this or that plot is revealed only in the “long time”, during which it is enriched with new meanings. Owing to the author’s interview, there is a synthesis of an artist and a researcher, which is valuable for the analysis of contemporary works. The features of Byzantine art are considered in the context of influence on contemporary artists; the features of the technology for creating jewellery as well as to what extent they are borrowed in modern times and replaced by new technologies are analysed. The main purpose of the article is to show the diversity of Russian contemporary art using the example of one artist.

ПЕДАГОГІЧНІ УМОВИ ГОТОВНОСТІ СТУДЕНТІВ ПЕДАГОГІЧНИХ КОЛЕДЖІВ ДО ФОРМУВАННЯ ХОРЕОГРАФІЧНИХ УМІНЬ УЧНІВ МОЛОДШОГО ШКІЛЬНОГО ВІКУ

In the article, the author defines the pedagogical conditions for the readiness of students of pedagogical colleges for the formation of choreographic skills of elementary school students. Choreography as a synthetic art is a polyartistic system of development and upbringing of children based on the synthesis of music and plastic arts, integration of various types of arts (literature, music, theater, painting, poetry), which allows participants to participate in various types of artistic creativity. Dance classes at any qualitative level - perception, cognition, independent creative activity, which not only teach to understand and create beautiful, but also contribute to the development of imaginative thinking and fantasy, stimulate the spiritual forces and creative potential of the individual, provide positive energy, cheerful, self-affirming self-confidence, which in aggregate is the basis for the successful development of not only special artistic abilities, but also the general universal ability to creativity. The content of choreographic activity is motor actions and operations for mastering dance skills and abilities, which serve as the basis for creating new choreographic manifestations unique to the child. The essence of the choreographic activity of younger schoolchildren consists in dance-motor activity, during which not only special choreographic abilities are acquired and improved (elasticity of muscles and joints, plasticity and beauty of movements, inversion of legs, lightness of jumps, etc.), but also the ability to reproduce, interpret, create dance works of various types and genres. In the process of their implementation, students develop aesthetic tastes, artistic thinking, an aesthetic attitude to art, form an aesthetic culture, an aesthetic perception of the world, accumulate artistic and aesthetic knowledge, develop aesthetic feelings, judgments and skills, express the inner experiences of the child's personality, that is, reveal his individuality. The effectiveness of the process of preparation of students of pedagogical colleges for the formation of choreographic skills in elementary school students naturally depends on pedagogical conditions, to which we attributed the motivation of future specialists in the field of choreographic arts to artistic and pedagogical activities that ensure the consistent formation of their creative individuality; the introduction of innovative forms and methods of education that directly affect the readiness of students of pedagogical colleges to form choreographic skills in elementary school students and the activation of reflective activities of choreographer students regarding the possibilities of developing the artistic and creative abilities of elementary school students in the process of choreographic activity.

The image of the creation of plastic artists in the moldovan nonfiction film

Art, having in its center the human being – the creator and his work, has always been in the attention of filmmakers, imposing itself in the evolution of cinema through complex subjects inspired by all the genres of art. In 1970, at the studio „Moldova-Film” was launched the first nonfiction film dedicated to the plastic artists – „Alexandru Plămădeală” directed by Anatol Codru. Then, followed the release of several films in this category, signed by different directors: ”Obsession” (director V. Druc, 1983), „Gleb” (director V. Jereghi, 1983), ”Confession” (1985), ”Mihai Grecu. Beyond Color” – both directed by M. Chistrugă, „Mihai Beţianu” (director Igor Isac, 1992) and others. We will try to elucidate how cinematic art currently serves the arts, which generated it, supporting them and capitalizing on them through its cinematic language.

Picture Editing and Music: A Marriage of Invisible Arts

Picture Editing and Music: A Marriage of Invisible Arts

Kim Tschang-Yeul : La voie de l’eau

Kim Tschang-Yeul: The Way of Water From the series Event of the Night in 1972 to Neige in 2003, via Gouttes d'eau (1979-2013), the painter Kim Tschang Yeul has developed a poetics of formlessness in which negation, emptiness and absence direct the creative process. The Korean plastic artist offers through the materiality of the work a meditation on the fluence of worlds and forms. The drop of water expresses the precariousness of things, but also evokes a beyond of representation whose richness is as great as its restraint. Water is the metaphor of the void without which the full cannot unfold; it introduces the practice of non-action, which does not consist in doing nothing but in letting the supporting factors at work in the form happen. The creative process abstains from any intentional action, to let the invisible power of the tao act.