Source Of Inspiration For Artists Research Articles

Employing popular heritage in the Iraqi theatrical actor’s performance of the play

In the history of Iraqi theater, popular heritage has always been a rich and abundant source of inspiration for artists. Heritage is considered an integral part of the cultural and social identity of the Iraqi people, as it carries within it values, traditions, and stories that constitute a large part of the collective consciousness. In this research, we will discuss how to employ popular heritage in the Iraqi theatrical actor’s performance of the play “The Thread and the Bird” as a model, as the actor aims to revive the heritage and present it in a way that is consistent with modern times, which helps to enhance cultural identity and connection to the roots, as popular heritage was used in the play The thread and the bird are touched in many ways, such as language, fashion, music, and dances. And motor performance. Through the above, the researcher will attempt to study this research in four chapters. The first chapter represents the methodological framework of the research problem around the following question: Was the Iraqi actor able to employ the popular heritage according to his motor and vocal tools in presenting the play The Thread and the Bird? Then the importance of the research and its goal through revealing and identifying the most important skills. The performance techniques that are compatible with the characters carrying the popular heritage in presenting the play The Thread and the Sparrow 0, then the limits of the research and definition of terminology. The second chapter, the theoretical framework, includes two sections: the first: the popular heritage (a historical view). The second section: the popular heritage and the performance of the theatrical actor, then what resulted from the theoretical framework. Of indicators, the third chapter includes procedures that include the research community, its sample, the research site, and sample analysis, then the fourth chapter includes results, conclusions, recommendations, and proposals, and the research concludes with sources Keywords: employment, popular heritage, actor’s performance.

Herman Bang og det sydøstlige Europa – med særligt henblik på Østrig

This article presents an in-depth account of the Danish writer Herman Bang’s preoccupation with southeastern Europe and, in particular, Austria. Visiting the various countries served as a source of artistic inspiration but also presented Bang with material which he, also being a prolific journalist, could utilise for writing articles for various Danish newspapers. These articles, a large selection of which are quoted in the present article, contain snapshots of picturesque sceneries and cultural sites as well as commentaries on political issues during a period when a number of countries under the Austrian-Hungarian Empire were in the process of gaining national independence. Furthermore, the present article has traced and documented the instances where Bang in his fictional work includes observations from his many journeys to the southeastern countries as well as Austria. The article concludes with the first bibliography listing Bang’s works which over the years have been translated from Danish to Bulgarian, Czech, Hungarian and Romanian as well as texts published in Austria.

AI Image Generator

In recent years, the field of artificial intelligence has witnessed remarkable advancements in image generation, with Open AI at the forefront of this innovative wave. This abstract explores the development and implications of an Image Generator using Open AI technologies, emphasizing its potential to facilitate creative expression through AI-generated art. The foundation of this Image Generator is rooted in Open AI's GPT-3, a state-of-the-art deep learning model that has demonstrated remarkable capabilities in natural language understanding and generation. Leveraging GPT-3's prowess, the Image Generator harnesses the power of generative adversarial networks (GANs) to produce visually stunning images. This amalgamation of technologies allows artists and creators to transcend traditional creative boundaries by generating art that is both novel and visually captivating. One of the key features of this Image Generator is its ability to generate art based on textual prompts. Users can provide descriptive or conceptual inputs, and the AI model interprets these prompts to create images that align with the given descriptions. This process not only sparks creativity but also offers a unique medium for artists to convey abstract ideas and emotions visually. Moreover, the Image Generator incorporates neural style transfer, enabling users to merge artistic styles and concepts seamlessly. The implications of such a tool are profound. Beyond serving as a source of inspiration for artists, it democratizes the creative process, making it accessible to individuals with varying levels of artistic expertise. Additionally, it has potential applications in fields such as advertising, graphic design, and entertainment, where generating captivating visuals is paramount. Nevertheless, ethical considerations and challenges, such as issues of copyright, authenticity, and the potential for misuse, should be addressed as the technology evolves. Open AI's commitment to responsible AI development is crucial in navigating these complexities. In conclusion, the Image Generator using Open AI is a testament to the transformative power of AI in the realm of creative expression. It empowers artists and creators to explore new dimensions of artistry while presenting opportunities and challenges that require careful consideration. As this technology continues to evolve, its impact on the art world and beyond is likely to be profound, opening up new horizons for human creativity and innovation.

THE EAST PERCEIVED THROUGH WESTERN PERSPECTIVE: FAUSTO ZONARO AND ISTANBUL

For many centuries, Istanbul, as a city of culture, has been a source of inspiration for artists from many different countries. Italian artists were especially influenced by the Eastern world and reflected this influence in their work in almost every era. When we talk about "Western Orientalists on Ottoman lands", we doubtlessly first think of Italian Orientalists such as Gentile Bellini, Fausto Zonaro, Leonardo de Mango, Amadeo Preziosi, Salvatore Valeri, Luigi Acquarone, Raimondo D'Aronco, whose paths crossed through the Ottoman Empire, and who built bridges between these foreign cultures by depicting these exotic lands in their works. During the reign of Sultan Abdulhamit the Second, Fausto Zonaro (1854 – 1929) assumed the title of “Palace Artist” after the Italian artist Luigi Acquarone. Zonaro, as well as being recognized for his realistic depictions, became well known for introducing the newly emerging Western art movements in the Ottoman art circles during its initial stages and became influential by nurturing a new generation of young Ottoman artists by providing training. The way Zonaro perceived Istanbul and the local culture through an Italian perspective, and his difference from other Orientalist artists are crucial in making him a pioneering figure in the history of Turkish painting.

Migraine as a Source of Artistic Inspiration

This narrative review explores the intricate relationship between migraines and art, tracing historical examples and contemporary interpretations of how migraines, especially those with a visual aura, have influenced artists. Highlights how migraines may have shaped artistic inspiration, delving into notable, questionably migraine-infected figures such as Hildegard of Bingen, Giorgio de Chirico, Pablo Picasso, and Salvador Dali, examining how their experiences may have influenced their works. Furthermore, it addresses the emergence of ‘migraine art’ sponsored by the pharmaceutical industry, presenting the intersection between art, neuroscience, and public engagement. The diagnostic complexity and differentiation of migraines from epilepsy are also discussed, with a special focus on the symptoms of the visual aura and how this has been portrayed through various artistic representations, thus inviting further exploration of the relationship between neurological conditions and creative expression.

Sport in Literature: Sports Passion in the Literary Output of Krzysztof Zuchora on the Example of Selected Poems

Sport has been a source of artistic inspiration since antiquity, e.g. in ancient Greece the sporting heroes of that time were passionately sung about. This is also true of literature, which often depicts the drama of sporting rivalry and describes the resulting strong emotions; not once does it evoke nostalgia for times gone by, for important sporting events that are constantly recalled. This article analyzes the presence of sport (using the example of sports disciplines and prominent figures) in poetry through the works of a contemporary Polish author, Krzysztof Zuchora (born in 1940). The research carried out required familiarization with numerous monographs and other publications (academic articles, popular science articles and chapters in monographs), both in English and Polish, in which the broadly understood relationship between sport and literature is presented; the primary source material, however, consists mainly of selected poetic works by the above-mentioned outstanding author. Importantly, the interpretation of several characteristic sports poems by Krzysztof Zuchora was combined with the analysis of historical sources. The study has undeniably shown that literary works are an important chronicle of historical events, while sport – as a powerful source of inspiration par excellence – has great potential for shaping human attitudes and building a better world in many respects.

The Butterfly Effect: Creating and Recreating the Story of Madame Butterfly, on Paper and on Stage

The consequences of the partially coerced opening of Japan to the Western world in the second half of the 19th century went far beyond economic and political goals and considerations. The previously secluded land almost instantly became a source of artistic inspiration and endless fascination. Japonisme, the term by which the latest craze become known in France, was no passing fad. For many decades, Western artists, most of whom had never set foot in Japan, derived profound inspiration from all facets of the mysterious culture which unfolded in the period. Thus, with scant information and a lack of accurate records being available, common gossip and unfounded rumor filled in the blanks of official reports and naval tales, connecting the dots between the real and the imagined. In this paper, I succinctly examine the story of Madame Butterfly, cutting across time, genre and borders in the works of John Luther Long, David Belasco, Giacomo Puccini and Claude-Michel Schönberg/Alain Boublil. I contextualize the selected narratives within their socio-political frameworks, but also consider the ramifications of the past and present-day adaptations from the 21st-century perspective, in the light of current struggles for (adequate) representation. Lastly, I examine the production of Miss Saigon (2019–22) at the Music Theatre of Łódź, Poland to compare how the staging of such a musical in a predominantly racially homogenous country affects the perception of Orientalist works. As such this section is a case study based on personal interviews conducted by the author with the producers and cast members.

Editorial

The concept of death as an entity has existed in many societies since the beginning of our history. From the 15th century onwards, with the revival of Greco-Roman culture as a source of artistic inspiration, it came to be represented by a skeletal figure carrying a scythe and dressed in a hooded black robe. This was inspired by Hades, the Greek god of the underworld, and by Thanatos, the personification of death, and is an image with strong negative connotations. The theme of death can be approached from several perspectives, including positive ones. Regardless of the angle from which it is viewed, certainly in these times of pandemic, we all think or deepen our thinking about death. But what happens to humanity afterwards? Can we become better people? A socially better humankind? Can we produce really justifiable and sustainable health science? Transformations have taken place, but some were just repetitions of history disguised as contemporary innovation. As epidemiological data show the decline of the Covid-19 pandemic, life seems to be returning to “normality” in the concept of being as it was before. For those who think like this, we must not forget that what prevailed before is what brought us to where we are now and, therefore, a translational historical rescue becomes essential for survival with quality of life for both humans and humanity. Hope is still inside Pandora's box. in memory of Professor Edna Ferreira da Cunha Eloísio Alexsandro da Silva RuellasEditor In-Chief

“Unjustly Tormented by Love”: Eros as a Source of Artistic Inspiration in an Epigram for Gian Giorgio Lascaris, Alias Pyrgoteles

“Unjustly Tormented by Love”: Eros as a Source of Artistic Inspiration in an Epigram for Gian Giorgio Lascaris, Alias Pyrgoteles

Landscape Design and Architecture of Wooden Churches in Ukraine

The article examines the features of landscape design and architecture of wooden churches in Ukraine. Analysis of literary sources shows that the sacred wooden architecture of Ukraine is a source of inspiration for artists, art historians, writers, and other people interested in church buildings made of wood. During the research process, it was found that the natural landscape exactly complements the architecture of wooden temples, creating a natural environment for worshiping God. It is important to emphasize the following features, highlighted in the study of temple structures made of wood on the territory of Ukraine. First, the builders carefully selected the site for the location of the temple, as they tried to avoid creating artificial landscaping around the church building. Secondly, this was an attempt to accurately combine a religious man-made building with the creation of God, namely with nature. Thirdly, there are common features and distinctive features of the examined wooden temples in the external architecture and internal design of buildings. The commonality of the architectural features of wooden churches is associated with the life of the people and mentality of the Ukrainians, and the differences, in turn, were formed because in different periods the historical territories of Ukraine belonged to empires that had significant religious differences. The article focuses on the fact that wooden churches are national monuments of Ukraine, which attract researchers from all over the world.

The laboratory of translation of Korean narrative into Ukrainian: The Legend of On Dal

The Legend of On Dal” belongs to one of the oldest works in the Korean literary tradition. Initially written with Chinese characters, today it is translated into contemporary Korean and still continues being the object of academic analysis and a source of artistic inspiration. This paper offers a translation of the aforementioned narrative into Ukrainian. The Subject of the Study are the transformations of the source text: its stylistics, expressive means, etc. To this end, the research reflects on the process of selecting linguistic devices and other resources necessary for the translation of the narrative. The goal of such an approach is to depict the logic underlying the decisions in translation. At the same time, it should be noted that the paper is not aimed at providing an exhaustive analysis of all the aspects that may arise from the translation of the Korean source, but rather focuses on several examples. The methods of comparative analysis were used in order to work out the forms and variants of transformations. The translator’s decision to reproduce the imagery of the original source is substantiated as a result of the analysis of the morpheme and lexical level of expression, cultures (archaisms) and toponyms, tropes and figures of speech, established expressions and phraseology, paremiology in the original text and translation. Given the steadfast development of Korean studies in Ukraine and the growing attention toward Korean language, literature, and culture, this paper will hopefully be useful for translation classes of Korean literature into Ukrainian, as a material for comparative analysis with the source in order to have a closer look at possible forms and variants of shifts and transformations. Thus, the relevance of this analysis can be explained in terms of the practical needs of Korean studies in Ukraine, whereas its novelty is apparent due to the lack of translated works, accompanied by comments.

Skinned St. Bartholomew before (1541) and after (1556, 1562) Fabrica (1543).

When I visited Rome before the coronavirus pandemic, I saw St. Bartholomew depicted in “Last Judgment” in the whole altar wall of the Sistine Chapel in Vatican City. The face on the St. Bartholomew's skin is usually recognized as being a self-portrait of Michelangelo. Michelangelo began to perform his own dissections and demonstrations (Condivi, 1976). The last city of my journey was Milan. In the Duomo of Milan (the Milan Cathedral), an anatomical statue intrigued me: St. Bartholomew statue by Marco d'Agrate. Because it was very similar to the anatomy in the Fabrica (De humani corporis fabrica libri septem) of Vesalius (1543, Plate 27, Figure 1, upper right), I read the text of the exhibition and compared it with Fabrica on my return. I searched for the images of “St. Bartholomew,” representative and anatomical statues or paintings before and after 1543 and selected Michelangelo and Marco d'Agrate to explain the influence of Fabrica. In the Renaissance, anatomical science was a major source of inspiration for artists. By the 15th century, interest had emerged in anatomy as an area of research, and the artists of the period dissected cadavers. Artists performed dissections in order to pursue divine beauty, in the belief that God created humankind in his image, whereas anatomists' goal was to gain scientific knowledge (Sellmer, 2001). St. Bartholomew was portrayed dressed holding a book and a knife up until the 13th to 14th centuries, alluding to the Gospel that he proclaimed and the martyrdom that he suffered. From the Renaissance onward, the iconography of St. Bartholomew with his skin removed from his flesh was finally sanctified after Michelangelo (1541) portrayed him in such a way in the “Last Judgment” in the Vatican's Sistine Chapel. It is notable that St. Bartholomew holds his skin in his left hand. However, he himself is not skinned at all, but covered with normal skin. Thereafter, the muscle underneath the skin is visualized as surface anatomy only. However, in the “Last Judgment,” he holds extra skin in his hand (Figure 1, upper left). Two years after the completion of the “Last Judgment,” Andreas Vesalius published his Fabrica (1543, Figure 1, upper right). Subsequently, 13 and 19 years after the publication of Fabrica, Marco d'Agrate made a bronze statue of St. Bartholomew in 1556, in front of the Certosa of Pavia (1556, Figure 1, lower left), and a marble statue in the Milano Duomo (1562, Figure 1, lower right), respectively. These works of Marco d'Agrate do not show any psychological introspection or give evidence of the deep faith expressed by the martyrdom of St. Bartholomew. However, they form part of a major 16th-century sphere of interest: the study and presentation of human anatomy (Veneranda Fabbrica del Duomo di Milano, 2018). By comparing the portrayal of St. Bartholomew in Michelangelo's fresco and d'Agrate's statues, we can see the how the publication of Fabrica contributed to art. Artists and anatomists together produced images of the body that combined medical knowledge and an artistic vision. When illustrated anatomical texts became readily available in the 17th century, the general enthusiasm of artists for studying cadavers decreased. This study was supported by a grant from National Research Foundation of Korea (NRF-2020R1I1A2054761). The author declares no potential conflict of interest.

Fractals between theory and practice and its use in enriching the field of design

Nature is a source of inspiration for artists, designers, also in design field, as it includes an infinite number of design elements characterized by continuous change in their appearance. Man, by nature tends to organization and arrangement, as this brings comfort and reassurance.

Monument of world culture "Kalevala" as a source of inspiration for artists

Monument of world culture "Kalevala" as a source of inspiration for artists

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Classical Persian poetry, when embodied in the oeuvre of the contemporary artists of Iran, was becoming for some a major source of artistic inspiration. The article analyzes the inner creative bond between classical Persian poets and present-day artists, exemplified by Hafez and the modern Iranian painter Aydin Aghdashloo, whose all canvases stem from poetry, and the best of them are considered among the most valued achievements of visual arts. Hafez’s verses were conducive to introducing surrealist style to Iranian portrait and miniature by the painter Aydin Aghdashloo, who has created thereby a new style of "crumpled miniature".

ART PIXEL PANELS: ENVIRONMENTAL EDUCATION AND ART IN TEACHER TRAINING

Solid waste improperly disposed causes several environmental problems and affects public health. Especially plastic, produced on a large scale and incorrectly discarded, can negatively affect terrestrial and aquatic ecosystems. In this sense, this study aimed to sensitize the academic community of the Federal Institute of Paraná Campus Umuarama in relation to the inadequate disposal of waste through the reuse of plastic lids in artistic productions, activities here called "art pixel panels". To this end, undergraduate students in Biological Sciences promoted awareness and collection of plastic caps in potential generators of this waste. At the institution, based on figures researched on the internet and others of their own creation, the panels were constituted with tying schemes for these covers. To carry out the tying, internal wiring extracted from network cables was used, which were already in disuse, in view of their resistance and convenience in handling. Thus, 20 panels were made using more than 30,000 plastic caps. The art pixel panels were displayed in the lobby causing the academic community to reflect on the generation and final destination of plastic, in addition to serving as a source of artistic inspiration. It is believed that, through environmental education and art, it is possible to promote the formation of more aware and responsible people regarding current environmental problems.

When arts and science meet: Digital technology in artistic research

In recent decades, advancements in digital technologies have become a rich source of inspiration for artists, who seek to leave the trodden paths and find novel ways of expression. In addition, digital technologies are increasingly implemented in the development of artistic skills, providing new means to develop the artists’ reflection on their own development. As such, they hold great potential to shape artistic research. Moreover, digital technologies offer possibilities to capture the learning process based on quantitative measurement, thereby becoming a potential interface between artistic and scientific approaches to investigating artistic growth. This contribution presents two artistic projects illustrating the potentialities of the art–science encounter. Embedded in the research paradigm of embodied music cognition, both projects explore the role of the body in music performance (interpretation and improvisation). The first project investigates the relation between gesture and interpretative intentions in a contemporary piano composition. The second project concerns the development of one’s musical language through kinemusical improvisation. A mixed methodology and the use of technology as ‘an augmented mirror’ to monitor artistic practice were applied. Both projects illustrate how the implementation of digital technologies may boost the evolution in artistic research and facilitate novel approaches to music teaching and learning.

ОСОБЛИВОСТІ ФЕНОМЕНУ «РОЗДВОЄНЯ ОCОБИCТОCТI»: МИСТЕЦЬКА ІНТ

The article identifies the features of the concept of "split personality", "multiple personality", "dualism of personality", namely, considers the variety of interpretations of this phenomenon and identifies possible causes of this psychological state. Also in this work the characteristic of the nature of this phenomenon both in general, and in various kinds of art, namely: in the literature, cinematography and fine arts has been carried out. The peculiarities of the phenomenon of "personality bifurcation" are established and the traits, character, behavior, appearance, emotional state and age of people with this disorder are determined. The reason for the popularity of using the phenomenon of "personality dichotomy" in art is revealed. The ways of implementing the idea of violating the integrity of the characters "I", which are developed in literary works, cinematography and fine arts, are compared. An analysis of the problem of split personality in combination with a source of inspiration for artists in the film industry, literature and fine arts, as well as clarified this feature, the regularity of which is that most works of art are based on real biographical stories. The study shows the chronological sequence of development of the theme of dualistic personality in art. The article establishes the connection between literary creativity and the art of cinematography in the context of depicting characters with the problem of the bifurcated spectrum. Also, a comparison of films and literary works with the idea of a dualistic personality. For a better understanding of the material, conclusions were drawn about the peculiarities of the image of the phenomenon of bifurcation of personality in different fields of art. This topic is insufficiently studied today, as the phenomenon of variable, bifurcated personality is rarely used in various arts, and also raises many controversial issues related to determining the cause of bifurcation itself. However, the image of this phenomenon is gaining popularity in many arts, which is why this article was devoted to the study of the interpretation of the phenomenon of bifurcation of personality in the film industry, literature and fine arts.

Romanticism and Neo-Romanticism: Dialogue in the Era of Postmodernіzm

Relevance of research. The peculiarities of the historical and socio-cultural situation, the specificity of multi-ethnic mentality determined the corresponding complex of common features of romanticism as one of the main directions of development of the European artistic culture of the 19th century. This is lyricism, philosophical self-deepening, the opposition of the categories of the real and the unreal, the tendency to synthesize genres, the gravitation towards intimacy, giving a priority role to the vocal principle, appeal to verbality, and the expansion of theatrical imagery.Attempts to create some neo-romantic thesaurus of past and present compositional techniques were inspired by the formation of a discussion space in which the phenomenology of the concepts “romanticism”, “neo-romanticism”, “postmodernism” is located. The search for adequate definitions of these concepts and adequate interpretation of their meaning has been going on for over a century. In the artistic space of different national traditions, their interpretation requires consideration of many objective and subjective preconditions, which determined the relevance of the topic of this study.The scientific novelty of the article is that for the first time a wide range of modifications and original author’s approaches to the interpretation of the romantic tradition in the 19th – 20th centuries are studied. The romantic tradition is interpreted as an inexhaustible source of inspiration for artists, an inconspicuous genre-style continuum, able to live a new life, to resonate with new socio-cultural and psychological issues. Purpose of the article is to explore the manifestations of the dialogue between Romanticism and Neo-romanticism in the era of Рostmodernism.Methodology. The article uses the methodology and techniques of systematic research, combining comparative, cognitive and analytical methods, updated in the process of studying the stylistic cyclical nature of romanticism of the 19th–20th centuries:comparative, used in the process of comparing the iconic artistic features of romanticism, postmodernism and neo-romanticism;cognitive, which allows to comprehend a qualitatively new aesthetic nature of romantic neo-stylistics;analytical, updated in the process of studying the stylistic cyclical nature of romanticism in the European culture of the 19–20 centuries.The general theoretical basis necessary for the study of the outlined range of problems are works on art history, culturology, history and theory of music.Conclusions. The observations made in the article allow us to conclude that at the end of the twentieth century the dominance of lyrics in many shades and gradations as the most essential and reliable way to embody the romantic beginning is indicative. In addition, the article states that neoromanticism at the end of the millennium tends to expressive perception of the world; moreover, one of the cross-cutting themes is the theme of beauty — not only external, but also the beauty of spirit, thought, idea, concept. As in the historical era of Romanticism, the process of destruction of rigid genre boundaries, their mutual enrichment continues. The proposed approach can become a scientific basis for further research of creative processes of the 20th–21st centuries.

Artists With Anatomical Knowledge After Anathomia (1316) and Before Fabrica (1543).

In the Renaissance, anatomical science was a major source of inspiration for artists. By the 15th century, interest had emerged in anatomy, and the artists of the period dissected cadavers. The aim of this paper was to analyze the works of 15th century artists who had a good knowledge of human anatomy.In PubMed and Google, "Renaissance" and "artist" and ("anatomy" or "cadaver" or "corpse") were searched. In the book Lives of the Painters, Sculptors, and Architects by Vasari, the terms "cadaver" or "dissect" or "corps" or "anatomy" were searched. Fourteen artists (Donato di Niccolò di Betto Bardi, Piero della Francesca Andrea del Castagno, Antonio del Pollaiuolo, Andrea del Verrocchio, Leonardo da Vinci, Michelangelo di Lodovico Buonarroti Simoni, Domenico di Pace Beccafumi, Baccio Bandinelli, Giovanni Antonio Lappoli, Rosso Fiorentino, Silvio Cosini of Fiesole, Jan van Calcar, and Taddeo Zucchero) who learned anatomy or performed dissections were identified, and artworks representing their knowledge of human anatomical structures were analyzed.In this review, we identified artists who had a good knowledge of anatomy and applied anatomical knowledge of features such as muscle shape and volume in their works.The artists sought to accurately portray facial expressions, positions, reflexive motions, and draped clothing. Observation of living subjects is the primary source of artists' expertise. Dissection provides fixed model without flowing blood, which cannot be used as an animated model. It is thought that these artists learned about the origins of vivid expressions from the anatomy of the muscles lying beneath the skin.