Spirit Of Art Research Articles

1] Cao, Z. (2022). The Impact of Competence of University Teachers on Work Performance: An Analysis of the Regulating Mechanism Based on Perceived Organizational Support. Journal of Xingyi Ethnic Normal University, 4, 34-43. [2] Chen, N. (2022). Research

The essence of Chinese art is the crystallization of thousands of years of cultural accumulation, permeating the wisdom and emotions of the Chinese nation, and serving as the carrier and manifestation of the national spirit. However, due to historical reasons, a profound lack of this traditional artistic spirit is evident in modern Chinese art education. The most representative example is the complete focus on Western art as the assessment content and criteria in the art college entrance examination. This article will start with the differences between Eastern and Western artistic spirits to elucidate the uniqueness of Chinese art and ink painting. Furthermore, it will explore the influence of Chinese artistic spirit on the development of Western art from a historical perspective. By tracing its origins, the article aims to demonstrate the importance of Chinese artistic spirit in contemporary Chinese art and the necessity of incorporating it into higher education art examinations.

Su Shi’s Artistic Legacy as a Man of Letters: Insights into Song Dynasty Paintings

As a man of letters, Su Shi’s poetic art spirit energized the Song paintings. As for painting, Su Shi advocated the idea of “unconscious of the boundary between oneself and the external world”, “unity of poetry and painting”, and “perfection of form and spirit” in creation and aesthetics. That is to say, he pursued not only the Naturalness but also humanistic and poetic connotations. His art spirit contributed to the formation of the concept of “literati painting”. Through exchanges with other artists, Su Shi’s poetic spirit spread both inside and outside the imperial court, shaping the overall style of the Song paintings by osmosis.

승무의 구성미(構成美)와 무용 미학적 의의

This study examines the aesthetic significance of Seungmu in terms of its artistic spirit, artistic function, artistic symbolism, and artistic philosophy. It has been identified. To this end, the aesthetic characteristics of Seungmu as the essence of traditional dance were revealed in terms of composition, such as dance moves, music, dance clothes, and weapons. The research results are as follows. First, ‘Seungmu is a living form, and its technique and artistry are so outstanding that it can be said to be the essence of Korean traditional dance. Second, Seungmu is a dance that harmonizes the beauty of Movement-in-Stillness and Excitement, and the emotional expression of tying and releasing based on human origins and resentment. Third, based on Susan Langer's symbolic theory, the aesthetic symbols, symbolic systems, and archetypal symbols of Seungmu were examined. It is believed that this study will be helpful in understanding the aesthetic significance of dance through the compositional beauty of Seungmu.

Cultural Mutual Interpretation of Chinese and Western Aesthetic Category "Vivid Charm"

"Vivid charm" is the highest principle of China's painting creation, the highest embodiment of the artistic spirit of Chinese painting, and an important criterion to judge whether the aesthetic realm of painting is lofty or not. However, the concept of "vivid charm" was originally an aesthetic proposition put forward by Sheikh in Southern Qi Dynasty. Specifically, it refers to the aesthetic realm that works of art embody the momentum of all things in the universe, people's spiritual quality and charm, and achieve natural vividness and fully show its vitality and appeal. In the west, especially in Japan, there are different translations of the word "vivid charm", and "different people have different opinions." In the exhibition of different cultural forms between China and the West, we can also see some interesting phenomena.

Romantic Painters on Art

Philipp Otto Runge and Caspar David Friedrich, well known Romantic painters, were not only notable masters of the brush but also theorticians of art. The present essay is devoted to an analysis of their theories. Its novelty consists in the fact that it analyzes for the first time the theoretical views that are expressed in the texts of both artists. Runge’s charactertistic feature is a pantheistic experience of God. According to him, it must be expressed in art. He proposes his own dialectic of being, which essentially consists of development, struggle, and mutual annihilation of opposite elements at the moment of achieving perfection. It is precisely this dialectic that, according to him, forms the foundation of art, where he sees an opposition between feeling and reason. Runge pays special attention to the notion of the “spirit of art,” which appears on the basis of the feeling of mutual connection between the human being and the universe, as well as of the artist’s foresentiment of God. In its foundation, art is symbolic and therefore close to religion. The spirit of art manifests itself in what one can call the music, poetry, or symbolism of a work of art. In art, Friedrich sees the spiritual foundation of the world. He distinguishes between skill and “spirituality” in it. According to him, one can master the skill, but one inherits spirituality from birth, and few artists possess it. As a Romantic landscape artist, he opposed illusionism in painting. He considered the creative element in art, which is born in the artist’s inner world, as pivotal. Feeling plays the principal role in art. For this reason Friedrich foregrounds the uncon-scious, although he is convinced that reason and skill must actively participate in the creative process as well. Friedrich preferred winter, foggy, and crepuscular landscapes, which expressed Romantic moods well.

Voice of Life: A Restudy of Kollxitz’s Sacrifice

Sacrifice is the first of a series of woodcuts that German artist Kathe Kollxitz produced during the war. In 1931, it was published in China by Lu Xun on the first issue of Beidou and became the spiritual origin of emerging woodcuts. Delving into the creation background of Sacrifice, this paper focuses on Kollxitz’s artistic spirit and Lu Xun’s choice. The research concluded a profound implication that is, art is a direct expression of concern for life and a search for the true meaning of life.

The Conception of True Art and Intention -- An Analysis of the Meaning of True in Records of Famous Paintings Throughout the Ages

Records of Famous Paintings Throughout the Ages is a significant theoretical work in classical Chinese aesthetics, spawning numerous enduring propositions for later generations. The concept of true art proposed by Zhang Yanyuan runs through the development of Chinese artistic spirit. Many scholars have interpreted it from the perspective of creative practice. This paper attempts to discuss the meaning of true from the standpoint of a dedicated and focused creative state, the Zhuangzis thoughts on the unity of intention and the Dao, and the relationship with the style of brushwork characterized by density and sparseness. The true in true art connects the artistic creative activity in the realm of the real world, the freedom in the abstract spiritual dimension, and the Dao that gives birth to all things as the essence of the universe. Its significance lies in revealing the ever-flowing sense of life in painting from the confines of limited creative practice. This study aims to provide a deeper understanding of the historical evolution of the meaning of true art and the essence of Chinese artistic spirit.

이응노의 작품세계와 예술혼 탐구

이응노의 작품세계와 예술혼 탐구

Implementasi Pembelajaran STEM Low Cost di Sekolah Dasar untuk Mengembangkan Keterampilan Abad 21

Students in the 21st-century era must have many skills. There needs to be learning that supports an independent curriculum and project-based learning. Meanwhile, schools still carry out their learning activities using the lecture method, which is less meaningful and has yet to explore students' abilities fully. STEM is a skill and knowledge acquired simultaneously by students. The aims of this study are that researchers want to obtain deeper information about 1) the background of STEM-based learning at SDI Aisyiyah, 2) the implementation of STEM-based learning at SDI Aisyiyah, and 3) the skills students acquire during STEM-based learning at SDI Aisyiyah. Researchers want to obtain more in-depth information about the background of learning in the school, the application of STEM learning in the school, and the skills that can be formed from STEM-based learning. This research uses a qualitative method whose data processing uses NVivo12. Nvivo 12 is the latest version of the application for processing qualitative research data. The research findings support 21st-century learning, project learning during a pandemic, implementing an independent curriculum, providing STEM training, creating fun learning and creating a low-cost STEM culture. STEM learning is held once a week. The syntax in STEM learning at SDI Aisyiyah is as follows: 1. The teacher selects and breaks down KD/TP in learning, 2. Giving triggering questions or problems, 3. Finding solutions or problem-solving by teachers and students, 4. Product design, 5. Product presentation or presentation, 6. Product correction and evaluation, and the last is product revision. Some of the skills that can be formed from STEM learning at SDI Aisyiyah are being able to work together, being able to think complexly, having an artistic spirit, being a more communicative, more creative child, being independent, etc.

KOMUNIKASI RITUAL PAWAI OGOH-OGOH SEBAGAI IMPLEMENTASI DALAM TRI HITA KARANA

The Ogoh-ogoh parade is one of a series of Nyepi activities. In the implementation of the ogoh-ogoh parade which was held in the city of Mataram, it did not only involve Hindus, but also Muslims, Buddhists, and Christians. Ogoh-Ogoh is one of the works of sculpture that depicts the embodiment of Bhuta kala, Bhuta kala in Hinduism is described as the embodiment of a giant whose figure is known for its large and frightening size.
 The purpose of this study is to describe and analyze the implementation and values ​​contained in the teachings of tri hitakarana in the tradition of the ogoh-ogoh parade in Mataram City. This study used qualitative research methods.
 The results of this study are as follows: Ritual Communication of the Ogoh-Ogoh Parade as Implementation in Tri Hitakarana, including, 1) The Parhyangan conception is implemented before carrying out the ogoh-ogoh parade, where before the event begins the community performs a melaspas ceremony. 2) Conception Pawongan is the concept of harmonization between fellow humans, the implementation of which in the parade is not only the Hindu community who are involved as paratroopers or gamelan musicians, but there are also non-Hindu relatives that we meet bringing kecimol, gendang beleq and even barong sai to participate in the celebration and celebration. the success of the ogoh-ogoh parade. 3) The concept of Palemahan is implemented when after carrying out the ogoh-ogoh parade, the community then performs a mass mecaru ceremony or at their respective homes. The values ​​contained in the Ritual Communication of the Ogoh-Ogoh Parade as Implementation in the Tri Hitakarana are, 1) Religious or Spiritual Values, believing in the existence of God which is believed by Hindus or the people of Mataram City. 2) Social Values ​​and Religious Tolerance, mutual respect among Hindus or among each other despite different religions and beliefs, without anyone looking at social status, whether position, caste or wealth in order to achieve common goals, all work hand in hand enthusiastically, sincerely, sincerely and concern for others. 3) Art value, contained in the manufacturing process, where in making ogoh-ogoh techniques are needed in making and have a high artistic spirit by having an artistic soul so that person can pour ideas according to the desired imagination, not only looks good to the eye but also able to give an impression and meaning to everyone who observes the work of art.

TRAINING IN THE PROCESSING OF WASTE PAPER INTO RECYCLED PAPER WITH SELLING VALUE

Paper is one of the most common wastes produced by humans, this paper waste is often found in household activities as well as offices and schools. Processing recycling of paper can add many advantages including being able to reduce waste in the environment, save energy, reduce the impact of global warming and can also generate income. This recycled paper can also be used to make various handicraft products that can be made by people who have creative values and an artistic spirit. The works of this recycled paper can be used as home decoration knick-knacks, stationery and office equipment, You can also make unique and creative multi-purpose containers that housewives can be interested in. Apart from that, they can be used for materials for student craft assignments as well as school students. Paper waste management certainly requires more attention, this can be overcome by efforts to reduce it by converting paper waste into recycled paper which has a selling value and is useful.

TRAINING IN THE PROCESSING OF WASTE PAPER INTO RECYCLED PAPER WITH SELLING VALUE

The community service was carried out on July 20 2020, the location of the activity was the East Nagahuta Village Head Office, Jl. IN Panjaitan Kelurahan No. 45, Nagahuta Timur, Siantar Marimbun District, Pematang Siantar City, North Sumatra, 2114. This recycled paper can also be used to make various handicrafts that can be made by people who have creative values and an artistic spirit. Products made from recycled paper can be used as home decoration knick-knacks, stationery and office supplies, and unique and creative multi-purpose containers can be made that housewives are interested in. In addition, they can be used for craft assignments for students and school students. . Paper waste management certainly requires more attention,

동양의 미의식으로 본 아름다움의 본질

This study examines the etymology of the concept of ”beauty“ to understand the nature of it, followed by the exploration on the new context and value of beauty based on literary materials that examines oriental aesthetic consciousness.
 Oriental aesthetic consciousness has shifted from the Yin-Yang and the Five Elements theory of the Spring and Autumn period through Taoism and esthetical awareness of Confucianism, each representing art spirit and artification of human life, then to the 'Yi Jing psychology' which emphasizes subjectivity, desire, and pleasure. However, in the East, aesthetic pleasure was not perceived to originate from phenomena and forms. This was because the Holism perspective, which identifies the world as a whole, pursued after the invisible power 'Tao', that is, the essence of all forms and phenomena. In Confucianism, aesthetic consciousness was developed from a social and ethical perspective, and in Taoist philosophy, it was promoted from a naturalistic perspective through psychology and artistry. For this reason, Confucianism saw beauty in the essence of sublime human beings, focusing on the fundamental values of love of “benevolence” and “goodness”. And in Taoism, it aims for a more fundamental “Great beauty(大美)” and sees beauty in the world of the Tao, which is hidden behind all creations. In both Confucianism and Taoism, ‘Mi[beauty, 美]’ denied its relativity to 'Chu[ugliness, 醜]' in the phenomenon world and emphasized the vitality of the universe, and since then, it has tried to find out the reality of beauty by throwing aesthetic propositions such as ‘Ui[意]’, ‘Sang[象]’, and ‘Gyeong[境]’.
 Everything in aesthetic consciousness is the manifestation of the mind that perceives, and the body of existence is only made up by the mind. Beauty is only one's own philosophical and aesthetic tendency created in the course of life, and it is the creative value of life given therefrom.

The return of the true spirit of art

The universe is in circular movement; human society and human life are also in circular movement too, so is human thought and spirit. Since the movement of ideological and spiritual return is centered on the essence, we call it the essence return. The existence of human society and human life is supported by ideology and spirit. Ideology and spirit are the illusions of the movement of life and matter. What supports and guides ideology and spirit is art. Therefore, we call this movement phenomenon the return of the artistic spirit. The artistic spirit is returning to the society today.

Online Course Design and Practice Research of Folk Arts and Crafts under the Background of New Liberal Arts — Taking "Clay Sculpture" as an Example

As an important part of Chinese traditional culture, folk arts and crafts should not only realize its innovative development from practice, but also colleges and universities are also an important camp to realize cultural inheritance. With the development of society, realizing the creative transformation and innovative development of Chinese excellent traditional culture has become the theme of the times, which puts forward the teaching reform goal of "living inheritance" for colleges and universities on the practical level. Based on the unique context of online teaching, this article integrates the BOPPPS teaching model into the course design, and improves the effectiveness of online learning from the in-depth development of six links. The participatory teaching dimension narrows students' sense of distance to folk art through zero-distance dialogue, and truly reproduces the artistic spirit reflected by the older generation of artists, thereby stimulating students' learning motivation and creative enthusiasm.

Research on the Spatial Art Spirit of Chinese Painting

Research on the Spatial Art Spirit of Chinese Painting

3D 프린팅을 활용한 조선시대 꽃문양의 패턴디자인 개발 연구 : 나전칠기 문양 중심으로

This study intends to develop modernized patterns into pattern designs using the new 3D printing technology of multi-product small-volume production method, which is emerging in the modern society, and re-examine traditional flower patterns with the artistic spirit of the Korean. As a result of analyzing the traditional flower patterns expressed in the NaJeonchilgi, focusing on 82 existing relics of the Joseon Dynasty, the following results were found. The flower patterns expressed in the Joseon Dynasty

儒学视域下蔡襄书学思想考察

During the Song Dynasty in which Cai Xiang lived, Confucian ideology formed a powerful force in both public and private life. His calligraphy thought was also deeply influenced by this ancient philosophy, ethics and educational concept. Taking Confucianism as the starting point, this paper attempts to examine the influence of Confucianism on Cai Xiang's calligraphy thought and calligraphy creation. In the study of Cai Xiang's calligraphy thought, if it is only discussed from the simple aspect of calligraphy, it will inevitably be incomplete. Calligraphy is a unique art gradually conceived and developed in the soil of traditional culture. As a scholar-bureaucrat deeply influenced by Confucianism, Cai Xiang's calligraphy thought must have a profound and intricate relationship with Confucian cultural thought. From the perspective of Confucianism, to examine Cai Xiang's calligraphy thought and to seek the correlation among them can make Cai Xiang's image of a literati calligrapher more three-dimensional and comprehensive.In the thesis, relying on the evaluation of Cai Xiang's calligraphy by contemporaries and later generations, it illustrates Cai Xiang's position in the history of calligraphy and the rationality of his calligraphy thought from the side. Relying on Cai Xiang's own calligraphy theory, we then examine the meaning and value contained in his calligraphy thought. The paper mainly involves several parts: First of all, in the context of the sluggish calligraphy circle in the early Song Dynasty, Cai Xiang's advocacy of "methodology" and "ancient meaning". It makes the development of calligraphy in the early Song Dynasty to undertake the main line of Jin and Tang Dynasties again and return to Daotong. Secondly, while attaching importance to the value of "methods" in calligraphy, Cai Xiang also emphasized the pursuit of "charm" and "spirit" in calligraphy works. Personality spirit and artistic spirit are always complementary and unified in traditional aesthetics. The pursuit of "Charm" and "Spirit" is also a manifestation of the pursuit of the harmonious and unified realm of human and artistic environment. Thirdly, the inheritance and innovation of calligraphy under the thought of "Zhizhonghe". In his calligraphy theory, Cai Xiang showed his traditional Confucian mentality of "Zongyong" aesthetics, and at the same time, he highly praised the ideal realm of the beauty of neutrality in Wei and Jin calligraphy. Cai Xiang's grasp of the common laws of different calligraphic styles is also the embodiment of the Confucian "neutralization" thought in his creative practice. Cai Xiang completes his own personality cultivation in the seemingly contradictory but complete and unified calligraphy thought and creative practice. It is also the "unbiased" style of his calligraphy that established his key position in the calligraphy circle of the mid-Northern Song Dynasty.
 蔡襄所生活的宋朝时期，儒家意识形态在公共和私人生活领域形成一股强大力量，其书学思想也深受这种古代哲学伦理和教化观念观的影响. 本文以儒家思想作为切入点，试图考察儒学对于蔡襄书学思想和书法创作的影响. 在对于蔡襄书学思想的研究中，若仅仅只是从单纯的书法方面去论述，难免会不够完善. 书法是在传统文化的土壤中逐渐孕育和发展出来的独特艺术，而蔡襄作为深受儒家思想影响的士大夫，其书学思想必然与儒家文化思想有着深刻而错综复杂的关系. 而从儒学的视角出发去考察蔡襄的书学思想，并寻求其中的相关性，则能使蔡襄的文人书家形象更加立体而全面的呈现出来. 论文中以时人和后人对蔡襄书法的品评为依托，说明了蔡襄在书法史的地位，以及从侧面佐证了其书学思想的合理性. 以蔡襄本人的书法理论为依托，进而考察其书学思想中所蕴含的意义和价值. 论文中主要涉及了几个部�

書畫 同體·同出·同源論 形成의 哲學的 背景

This article is to reveal the meaning of the thoughts of SeoHwaDongChe (書畵同體: Calligraphy and drawing are same as each other), SeoHwaDongChul (書畵同出: Calligraphy and drawing are beginning together) and SeoHwaDongWon (書畵同源: Calligraphy and drawing sprout from same root) focusing on the understanding of the correlation between Seo (Calligraphy) and Hwa (Painting) that appeared on the stream of the aesthetics of Seo and Hwa flowing through such eras as Tang, Song and Yuan dynasties in China. The transition process of the relation between Seo and Hwa from DongChe to DongChul that finally went to DongWon embraces such art-philosophical leveled question as ‘Where did Seo and Hwa come from’, which shows the art spirit and aesthetic goal of the literary noblemen who approached the creation of Seo and Hwa. Such thoughts also contain the idea that painting works must be expressed with YongPil (用筆: ways of brushing) and PilEui (筆意: intention of brushing) of calligraphy in order to fully realize the art world sought for by the literary noblemen. First of all, in this aspect, it is required to analyze what kind of art calligraphy is in aesthetic and philosophical viewpoints in order to correctly understand the thoughts of DongChe, DongChul, DongWon and DongBeop (書畵: Calligraphy and painting are same in rules of creating works). In the Chinese history of SeoHwa (Calligraphy and Painting), creation of every piece of work begins from drawing a stroke. The commonness between Seo and Hwa and SeoHwaHyoNeungIlCheSeol (書畫效能一體說: the theory that Seo and Hwa have same effect) argued by Shí Tāo (石濤) based on his IlHoikRon (一劃論: the theory of one stroke) emphasized that every painter must learn the calligraphic principle for actual art creation activity. Looking into the relation between calligraphy and painting with consideration of such emphasis, it is desirable to create painting pieces using PilHoik (brush and stroke) of calligraphy. That is, the thoughts of DongChe, DongChul, DongWon and DongBeop are thought to be as same as the philosophical thoughts related with use of one stroke. In the tendency of art creation, calligraphy has CheeDoSeol (取道說: the theory of taking truth) leveled art spirit with which the artist must take the principle of truth in metaphysical aspect and set such truth as the base of calligraphy. Such CheeDoSeol based calligraphic forms are related with the thought of GwanMulCheeSangRon (觀物取象論: the theory of taking forms by viewing things), which causes artists to give painting leveled meaning to the character forms and fonts simply showing why painting must take PilBeop (rules of brushing) and PilEui of calligraphy. In such aspects set forth above, therefore, this article looks into how the theories of Seo and Hwa have been established and transited in relation with the perception of calligraphy and painting in the Chinese history of Seo and Hwa in the viewpoints of IlHoikRon, SeoHwaHyoNeungIlCheSeol, CheeDoSeol, metaphysical perception of calligraphy, GwanMulCheeSangRon and painting styled character fonts and forms.

ANALISIS MAKNA PADA PUISI “SUKMA PUJANGGA” KARYA J.E TATENGKENG

This study aims to analyze the meaning of several dictions in a text that deals with it. The source of the data used in this study in the text of a poem entiled Sukma Pujangga by J.E Tatengkeng. The aspect that must be investigated is analyzing the meaning of the 6 dictions in the poetry text of Sukma Pujangga. The method used in this research is descriptive qualitative. The results showed that from several dictions that have been analyzed, it can be seen from the meaning of the poem that it describes someone who has a very high artistic spirit and is willing to make any effort to maintain his desires and stance. He doesn’t want to live for other people and just wants to be free to do whatever he wants and achieve his dreams even though he has to go through various obstacles. There are several meanings contained in the poem, including: connotative meaning, contextual meaning, abstract words, and special words.