Primitive Art Research Articles

NAIVE ART: FEATURES OF CREATIVE PERCEPTION

The purpose of the article is to define the specificity of the concept of "naive", to analyse the peculiarities of the works of art of this direction, their distinctive features on the basis of the visual works of Ukrainian naivists. Methodology. The research methodology is based on the art history analysis, the complex use of historical and comparative methods, system analysis, synthesis and eneralization. Results. The concept of naïve has been defined, its specificity in relation to the related, but not identical terms, such as "primitive art" and "outsider art" has been singled out, and the components of the development of the given tendency have been studied. On the example of Ukrainian naive art representatives, the characteristic features of the artists of this direction were defined. The urgency of the application of artistic images of naive in the realities of contemporary design is underlined. The scientific novelty. The category of artistic and compositional features of this kind of art in the works of Ukrainian naïve artists have been investigated, the characteristic visual techniques of this artistic direction, which are actual for the application in the modern design projects, have been determined. Practical significance. The identified features of the concept of naive, originality of creative implementation of this trend can contribute to the further research of this topical for the design of postmodern art form, and become a part of the discipline of art studies of students-designers to enhance their competitiveness in creating a visual culture of the modern society on the basis of images close to the national mentality.

Identifying the Golden Disproportion in the Anthropometry of Cartoon Characters and Brand Mascots

Abstract The principles of animated character design have their origin in the same archetypal gesture of man to shape figures in his own image and likeness. In generating cartoon characters and brand mascots, anthropomorphization contains golden disproportions as a reminiscence of figurines from ancient or contemporary primitive art. As pediatric anthropometry operates with the same disproportions, this explains their sympathetic effect on the human psyche. Using the method of comparative anthropometry measurements performed in this study highlight the presence of gold deviations in the design of brand mascots and cartoon heroes. The oversizing and undersizing of different anatomical parts are increasing the individual features and are also creating a familiar visual identity, both conditions being necessary in obtaining an original character.

Linguïculture: Thomas A. Sebeok as a revolutionary ethnographer

Abstract Sebeok started his career as an ethnographer, focusing on the verbal art of anthropology to describe the cultures associated with then-called “primitive” languages. He followed Bloomfield’s linguistics to study Boas’ anthropology of primitive art to investigate man as a civilized member of a native indigenous community with art-like speech habits. Sebeok’s earliest articles were ethnographic descriptions of non-Western folktales from the Cheremis people, which he reformulated into Saussure’s phonetic system to involve literal but culturally free translations. Later, Sebeok developed Peirce’s ethnosemiotics by explaining Sapir-Whorf’s two-way differentiation of linguistic-and-cultural texts. The coded interplay of anthroposemiotics moved Sebeok from language-and-culture to language-with-culture, thence to build up the merged compound of linguïculture.

SPIRITUAL HAPPINESS IN MALWA MINIATURE PAINTINGS STYLE

All the arts are result of human nature & Beauty. one of the ancient primitive arts and the cultured art and on the other hand, the development of folk art takes place. Folk art often consists of religious narratives, religious traditions, religious symbols and apart from fictional mythological events, social festivals and social beliefs are based on the background. Art is incomplete without each other in terms of folk art and classical art. These two forces are complementary to each other. This most of the paintings of our Indian miniature painting style are based on poems and literature. The miniature paintings of Malwa are for spiritual enjoyment, it is a reflection of its civilization and culture, in which the people there are not able to see the spirit of life. important various elements of Malwa miniature painting style of folk art for many subjects (literature) such as Kalpasutra, Ramayana, Mahabharata, Devi Mahatmaya, Bustan of Saadi are based on. that are spiritual and historical respectively. Pictures based on poems are made on enchantment/affairs (Radha Krishna) and Nayika Bhed respectively. In The subjects of the pictures are like- Rasik Priya, Barhamasa, Ragamala, Rasaveli. In which we get the elements of art, human figures, nature Illustrations are visible through colour, line, form, tone, texture, space in architectural marking. Bhakti and yoga in Indian Art along with this, special emphasis was placed on the expression of emotion, due to which the art of Malwa remained intact. Folk art traditions contained in Malwa Miniatures are still prevalent in villages and cities and in many museums. It is safe and people have unwavering faith in these folk traditions.

“The Ancient East in the West End”: Margaret Morris and Angkorr (1917) at the London Coliseum

ABSTRACT Given that Fauvist, Futurist, Rhythmist and Vorticist painting and sculpture took dance and the dancer as an endlessly inspirational point of departure in their exploration of what Clive Bell termed “significant form,” Modernist scholarship has remained neglectful of the mutual borrowings of this synaesthetic relationship. “Above all let us dance and devise dances” wrote Bell, enthused by Henri Bergson’s espousal of rhythmic sequence and gesture in dance to illustrate his philosophy of time, durée and individual consciousness. Modern dance for Bell was on a par with primitive art, “the highest art form” because it too “dispenses with attempts to be representational” (Art 1914). In London’s avant-garde reordering of aesthetic merit, Asia no longer stood for stasis, but the static perfection of the transcendental. While Jacob Epstein’s scandalous assault on London’s architecture at one end of the Strand continued to reverberate, his iconoclastic abandonment of the Greek in favor of East Asian forms found its aesthetic counterpart in Margaret Morris’s ballet Angkorr at the Coliseum Theatre some blocks away. This paper aims to situate Morris within these Bergsonian influenced movements and to position British Modernist dance as a core element of their innovations.

MOTIF TRADISI GAYA SURAKARTA Eksistensi Dan Pengembangannya Pada Ukir Kayu

The existence of a wealth of ornament in Nusantara is a challenge in terms of recognition and learning. One important element is that learning can be accepted and understood easily so that the empowerment and development of traditional motifs, especially the Surakarta style, will experience development. Traditional motifs come from classical art or primitive art, but after receiving certain treatments, their benefits are preserved to meet needs, especially in terms of aesthetic needs. One of the motifs that are often found is those applied to wood craft products (wood carvings). The wood carving motifs in Indonesia have a rich variety of styles. The various forms of carving motifs each have their own characteristics according to the region. Like the Surakarta style carving motif, which is the focus of this study, it is known to have a strong and distinctive character that is needed by a series of actions in the framework of its preservation and development. To recognize or learn the characteristics and application of Surakarta-style wood carving, it is necessary to have a mature and structured visual identification so that it is able to present good and correct information. The identification in this study uses the interpretive description method with the enrichment of the hermeneutic approach. This method approach is expected to find a result of the focus of the discussion, namely the characteristics of the Surakarta-style carving motifs applied by the craftsmen and discovering the grooves and patterns of new Surakarta-style carving motifs.

MOTIF TRADISI GAYA SURAKARTA Eksistensi Dan Pengembangannya Pada Ukir Kayu

The existence of a wealth of ornament in Nusantara is a challenge in terms of recognition and learning. One important element is that learning can be accepted and understood easily so that the empowerment and development of traditional motifs, especially the Surakarta style, will experience development. Traditional motifs come from classical art or primitive art, but after receiving certain treatments, their benefits are preserved to meet needs, especially in terms of aesthetic needs.
 One of the motifs that are often found is those applied to wood craft products (wood carvings). The wood carving motifs in Indonesia have a rich variety of styles. The various forms of carving motifs each have their own characteristics according to the region. Like the Surakarta style carving motif, which is the focus of this study, it is known to have a strong and distinctive character that is needed by a series of actions in the framework of its preservation and development. To recognize or learn the characteristics and application of Surakarta-style wood carving, it is necessary to have a mature and structured visual identification so that it is able to present good and correct information. The identification in this study uses the interpretive description method with the enrichment of the hermeneutic approach. This method approach is expected to find a result of the focus of the discussion, namely the characteristics of the Surakarta-style carving motifs applied by the craftsmen and discovering the grooves and patterns of new Surakarta-style carving motifs.

들뢰즈와 과타리의 철학에서 앙드레 르루아구랑의 『손놀림과 말』의 역할

André Leroi-Gourhan’s Gesture and Speech, which greatly influenced Deleuze and Guattari’s Capitalism and Schizophrenia series, explains the unique human characteristics by arguing that, in contrast with the common notions, the evolution of feet, not that of brain, plays an essential role in being humanity. Erect posture and upright walking were the starting points for the formation of Homo sapiens’ brain, and at the same time as the development of the brain, the paws were transformed into hands and snout into mouth. The liberated hands allowed to make tools and to use techniques, and the liberated face permitted to use the symbolism and enabled language. The evolution of the hands and face was biologically based on the development of the brain’s memory capacity. Furthermore, the ability to organize rhythm by using symbols made art and aesthetics possible. The influence of Leroi-Gourhan on the philosophy of Deleuze and Guattari can be summarized in four ways. First, human and nature are not the two opposing terms, but rather an inseparable unity. Second, humans should not be understood from the point of view of individuals but of the technical and social levels that determine individuals, and further of the layers of biological evolution and ecosystems. Third, humans are not beyond nature and are just a particular expression of nature. Fourth, the abstract nature of primitive art is a testament to the brain’s capacity to use symbols.

Naive Way-Thoughts on Portrait Creation

As a master in fine art in twentieth century, Matisse gave up the completed painting system and techniques during the Renaissance. He drew nourishment from primitive art and Eastern painting, and began to paint in a more direct, naive and simple way. I also try to follow this approach during my painting creation. This article is divided into three parts to explain the naivety in portrait creation. The first part is the original intention of my topic selection and the significance of the research topic; the second part introduces in detail the characteristics and reasons of Matisse's portrait painting; the third part is my creative practice and my thinking in the process.

Aspects of Study of the 20th Century Naive Art in Russia: Researchers, Collections and Names

This article explores the main stages of the study of naive art in Russia, starting from the first decades of the 20th century and till the 1980s, when naive art was called an “amateur art”. This is the period of IZORAM (Saint Petersburg Art Workshops of Working Youth) activity and the long work of the National University of Extramural Studies. The first amateur art exhibitions took place in the 1970s, later leading to the establishment of specialized collections. In the 1980s, academic research into naive art began to filter through the image of a primitive, or so-called “third”, culture supposed to exist between “high” and “grassroots” art. Only since the 1990s has naive art begun to be perceived as a separate artistic movement. In Russian art criticism, naive art was defined as one of the primitive art areas of the eighteenth to twentieth centuries. During this period, separate museum collections began to take shape in Moscow including a private museum of outsider art, where some works by naive artists were presented, and the Municipal Museum of Naive Art. In Ekaterinburg, Gamayun Municipal Center for Folk Art and Crafts began to study naive art in 1994. In the 2000s, interest in the naive art of the 20th century began to grow. At this time, public and private collections of naive art were being formed in the following museums: B.U.Kashkin Museum at the Ural State University; Soviet Naive Art Museum; and Museum of Naive Art, which in 2015 became the part of the Yekaterinburg Museum of Fine Arts.
 Keywords: primitive art, amateur art, naive art, folk art, outsider art.

DISCUSSING THE ROLE OF GOVERNMENT SECTORS IN PRESENTING THE EGYPTIAN FOLKLORE

Popular culture is all the spoken expressive forms and other arts of expression that are stored in popular memory, and it is the sum of the elements that constitute the dominant culture of the society in any country or a limited geographical area, this culture results from the daily interactions between the elements of society in addition to its needs and desires that constitute the daily life of the sector Most of the society, this culture includes all the social practices that the individual practices every day in his daily life. The study of the forms of popular culture makes us strive to highlight what distinguishes folk arts from primitive arts and cultured arts on the other hand, and these three types are among the most important types known to man since his earliest times, in prehistoric times there were primitive arts, and when civilization began and history began The human being has become to man his popular art, and after many centuries of the emergence of civilization, but in our modern era itself, we find the relics of cultured art, folk art traditions, and evidence of primitive art. Grammar Folk traditions fall between two influential circles.

Siberian Identity in Traditions and Innovations of Art Culture

The article considers the transformation of visual signs reflecting the Siberian identity. The phenomenon of the Siberian identity could be seen at some aspects of visual arts: the primitive art of petroglyphs, ethnographic elements of indigenous art and the legacy of the Siberian artist V.I. Surikov. Based on the philosophical and art history analysis of art works some visual signs of the studied aspects were identified, such as primitive pictures of people, ethnic clothing and patterns and, the painting “The Capture of the Snow Town” by V. Surikov. The most innovative ways of their interpretation in the modern cultural process have been identified. The article considers major Siberian festivals (for example Siberian Maslenitsa and the Krasnoyarsk Universiade), computer graphics, work of clothing designers and design of the facilities of the Krasnoyarsk Universiade. This study has resulted in understanding that there are certain visual signs that carry the burden of the formation of the regional Siberian identity in modern cultural processes

Authentic primitive art and Indigenous global desires between reality and hyperreality

Authentic primitive art and Indigenous global desires between reality and hyperreality

Market Value of Culture: Quantifying the Risk of Antiquities Looting

The traditionally clandestine nature of the art market poses challenges to assessing looting and trafficking in developing nations. In the absence of direct information on transactions in source nations, sales at auction provide a sense of the market value and trade volume of antiquities and primitive art. Auction houses openly publish results of auctions and enable access to sales archives through web sites. On-line access to sales archives creates a substantive pool of data on hammer prices from auctions around the world. Sales archives also contain detailed descriptions of the artworks. The description that accompanies an auction lot can identify the geographic origin of the artwork. Data mining of sales archives for hammer price and origin enables analysis of market value by source nation. The analysis assesses relative market value and, thereby, contributes to an assessment of relative risks of looting across developing nations.

Searching for Orientation in the History of Culture: Aby Warburg and Leo Frobenius on the Morphological Study of the Ifa-Board

Why compare Aby Warburg, talented cultural and art historian, creator of the eponymous library, and Leo Frobenius, pioneer of primitive art studies and the father of modern Africanism? Not merely for biographical reasons. The work of Warburg and Frobenius offers two clear examples of a cultural and scientific trend between the end of the nineteenth and the beginning of the twentieth century, which aspired to the organization of universal knowledge, in order to establish a method for the study of the most unstable field of human culture.

Complexity as an Anthropocultural Phenomenon

The world is becoming more complicated, which is confirmed both in the natural and artificial spheres. Complication can be considered one of the key characteristics of the development process, and complexity – an indicator of the difference between one stage of development from another. However, if the objective complication of the material and technical culture of mankind seems obvious, the legitimacy of the statements about the complication of spiritual culture requires discussion. Scientific and technological progress reveals a number of pathological processes of complication. Man finds himself in a complex socio-cultural space, in the world of self-developing system objects, accelerating the flow of poorly understood innovations. The initial intuition of this article is the statement that a person experiences complexity throughout his socio-cultural development. The paper presents the transformation of anthropological and cultural complexity in historical perspective. It is proposed to understand the anthropological characteristics of the phenomenon of complexity, as well as the peculiarities of its unfolding in culture. Represent a summary of the issues associated with finding antropocentric nature and complexity of the humanitarian strategy for its comprehension. Culture reveals a tendency of complication, which non-linearly correlates with the complexity of human consciousness. Primitive art and the complexity of ritual practices indicate an underestimated level of cognitive complexity of primitive man. The development of philosophy and theistic religions greatly complicates the spiritual life of man. Industrial civilization is experiencing a significant round of social complexity, actualizing the practice of managing complexity. The widespread complexity of economic life, the multiplication of the number of transitional identities, cultural forms, the trend of globalization and intercultural integration indicate that post-industrial society, on the one hand, is the result of recursively increasing complexity, and, on the other hand, reveals the complexity of a qualitatively different order.

From Nature to Culture; the “other” at two New York Museums

Since the mid-19th century, the distinction between art and ethnographic object has been a decisive factor in determining the nature of an exhibition and the approach to its objects. Following the systematic classification of the mid-nineteenth century, non-Western objects were often placed in the ethnographic displays of natural history and anthropology museums. Around the same time, some “artifacts” from Asia were classified as decorative arts. In the twentieth century, they migrated to art museums and formed “Islamic art’, “Asian art”, “primitive art”, and similar collections. In the late-twentieth century, anthropology museums and ethnographic displays received many criticisms for their representations of other cultures. In the past few decades, many museums have addressed the issue in various ways. One of the most common approaches is based on recategorizing the former ethnographic objects and presenting them as artworks. Yet, the effectiveness of this approach is subject to many debates. This paper discusses some differences between ethnographic/anthropological and art historical exhibitions in two prominent museums in New York City­, the American Natural History Museum and the Metropolitan Museum of Art, in order to explore some similarities that underline these two seemingly opposite poles.

Apuntes para una reflexión antropológica sobre la estética primitiva

This text initially intends to establish a dialogue between primitive art and the artistic avant-gardes of the earlytwentieth century. Based on this idea, the contributions of the first anthropologists who reflect on art from an evolutionarypoint of view are presented, some of the germinal debates on primitive art are presented to conclude with a brief study on the anthropology of art by Franz Boas.

Rock art as art

ABSTRACTFor a long time, art historians have developed a restrictive view of the phenomenon of art and have participated in the creation of a Eurocentric vision of global human history. Effectively, art history became a reflection of the wider framework of European cultural dominance, colonial exploitation and appropriation. A key notion in this respect is, for example, the idea of ‘primitive art’. One could argue that these configurations are still dominant within art history, so that the latter is regarded as being of limited value from the perspective of comparative social science disciplines, such as archaeology, rock art studies and social anthropology. However, recently, new developments within and from outside of the field have increasingly criticised and questioned the dominant orientation of art history. These include the challenge that is presented by indigenous artists, their voices and perspectives, an engagement with recent social theoretical debates (such as the ‘ontological turn’) and ongoing discussions about the fundamental character of (anthropological) inquiry itself and the similarities to writing and, more broadly, artistic creation.This paper explores how these diverse tendencies can be beneficial within the study of rock art and archaeology.

An artist trapped by politics: Lithuania 1939–1944

Based on the painting compositions created by the artist Stasys Ušinskas and his followers, the article demonstrates that the German Reich’s normative aesthetics started impacting Lithuanian art as early as in the second half of the 1930s. The aim is to determine the ways it spread and the reasons of its popularity. This issue has not been a subject of an in-depth study in the national historiography yet. The attempts by Lithuanian artists to conform to the needs of the Nazi civil government in 1941–1944 were related to the situation of the late 1930s when the state patronage helped to implant the aesthetics and iconography of neotraditionalism. It is revealed that the search for the examples of neotraditionalism did not focus solely on France, Soviet Union and, in part, Italy (these influences have been researched quite thoroughly) but also on Germany. The changes in the art of Lithuania were also connected to the shifting markers of criticism that were determined by the need for the consolidation of society which emerged as the political situation became complicated both inside the country and at an international level. The analysis of art criticism has revealed that the modernist criteria of originality and creativity were questioned. The discussions were particularly fierce regarding the use of deformation-causing examples of primitive art. It is concluded that modernism’s critique, which both in Lithuania and in Germany was primarily directed against expressionism, incited the changes in Lithuanian art. The spread of neotraditionalism resulted in the increased similarity between individual styles, which even caused difficulties of attribution of the art works created during late 1930s and early 1940s.