Symbolic Art Research Articles

ARTISTIC ORIGINALITY OF MODERN KAZAKH PROSE

The radical changes taking place in modern Kazakh society have contributed to the fact that the spiritual quest of our people has brought the development of literary thought to a new level. In the post-Soviet period, having freed itself from the political restrictions of socialist realism, the Kazakh artistic word did not immediately find its way. This was the reason for the appearance of such an opinion among the literary community that «Kazakh literature was experiencing stagnation, could not follow the rapid pace of development of modernity». However, in all kinds of literature, especially in the epic, where the genre content was delayed, works gradually began to be created that reveal new themes and plots that meet the requirements of the new time. The article examines the ideological, thematic and artistic originality of modern Kazakh prose based on the work of such writers as T. Shapai, K. Tyumenbai, A. Altay. The authors of the article draw attention to the fact that in the prose works written over the past twenty years, the writers not only used the accumulated creative traditions of national literature, but also reflected the artistic trends of world literature. The artistic embodiment of the national idea in modern Kazakh prose is also comprehensively analyzed by analyzing the symbols «wolf – bori», «world tree – baiterek», «house – shanyrak», «Homeland – tugan zher», etc. At the same time, it is assumed that each writer puts various specific meanings into the meaning of these artistic symbols. One of the «closed» themes revived during the years of independence is an artistic recreation of the December events that took place in Almaty in 1986. For the first time in modern Kazakh prose, K. Tumenbai wrote his story «Kobyzdyn muny» («The Grief of Kobyz») on this topic, then Askar Altai continued the baton in his story «Kaladagy kutpandar» («City Dogs»). The author, using unique images and features of the artistic method, gives his vision of the period of the December revolt. The story of the writer A. Altai «Kaladagi kutpandar» («City Dogs») is considered by the authors of the article through the literary prism of intertextual analysis with the definition of such an element of the artistic system as reminiscence. The researchers, based on the analysis of the literary text, identify the presence of historical, social, biographical reminiscences and argue their conclusions with examples. The authors of the article establish that the historical and social reminiscences presented in the work in the form of references to specific historical facts that took place in Kazakh society at the end of the twentieth century enhance the artistry of the work and create historical and social prerequisites for the narrative, and biographical reminiscences are fundamental in the work and are associated primarily with specific events that took place in the author's life. The perception of a new form of folklore thought, characteristic of mystical prose in modern Kazakh prose, will be extremely interesting to every reader. The most pressing problem of this scientific article is the analyzed new images and artistic techniques, in order to reveal the secrets inherent both in the text of the work of art and outside of this text.

Symbolic Model of New Media Art Expression Based on Artificial Intelligence Big Data

With the rapid development of China’s economy and the continuous optimization and improvement of Internet information technology, a new thing, new media, has emerged. On this basis, a kind of artistic behavior of creating, carrying, spreading, and appreciating is also called new media art. New media art has developed for a long time in foreign countries, but its development and popularization are relatively late in China, and it is still in a stage of improvement. As far as visual communication design is concerned, the emergence and development of new media have strongly promoted the development of its work and the dissemination of various works. Developing visual communication design based on new media art has become a key issue for all visual communication designers. Nowadays, deep learning is widely used in different fields in different ways, and image art representation is a hot research field in computer vision. Therefore, this paper mainly studies and analyzes the symbolism of new media art expression forms and proposes a new media art symbolism model based on artificial intelligence big data. In order to provide a method of real-time representation of art images, the deep learning method is used to model the artistic expression of images, and spatial reorganization of content features and style features is carried out. This paper designs simulation experiments to verify the effectiveness of the model, which can provide some help for the development and improvement of new media art in China. We compared the results of our model with a number of other models to test its effectiveness. We achieved a matching accuracy of 98.4% which is higher than or equal to the results of the existing models.

Historical Cultural Layers and Sustainable Design Art Models for Architectural Engineering—Took Public Art Proposal for the Tainan Bus Station Construction Project as an Example

The concept of “historic buildings” is cultural with evolutionary characteristics, mainly constructed in the category of historical culture and people’s living settlements. “Public art” is an artistic asset with aesthetic attributes in urban living spaces. It contains two connotations, “cultural landscape” and “cultural route”, which form an artistic symbol of urban architectural space at the same time. Along with the progress of an urban renewal plan, a local culture characterized the urban landscape, making architecture a tool used to convey cultural identity spatially. Two coexisting issues can be seen through the accumulated structure and long-term changes of historic buildings, a region’s appearance, and the content of the traditional architectural styles—cultural value preservation and modern urban renewal—which ferment and generate decision-making discussion of design subtly in every corner of a city. This study examines the extant literature and the design model of public art landscape setting to construct a design model that balances the cultural value of historic buildings, and the landscape of public art has been proposed as a result of this study.

Evgeny Kibrik’s Unknown Artworks in the Context of Pavel Filonov’s Natural Philosophy

This study focuses on the development and changes in the visual language of E.A. Kibrik in the conditions of co-participation in the system of philosophical values of P.N. Filonov and his school. There is explored the process of sign interpretation in illustrations of graphic and symbolic art language of E.A. Kibrik as a component of P.N. Filonov’s natural philosophy doctrine. The notion of “analytic art” or “analytic method” can be considered primarily as an innovative development of P.N. Filonov, which is characterized by the concept of artist-researcher based on the disclosure of the “purity” of forms by analytical means.In the context of studying the creative thinking of E.A. Kibrik during the Filonov period, it seems significant to consider the conjunction of problems in illustrating literary works with the method of natural philosophical pictorialism and technical expressiveness of details. E.A Kibrik’s works allow us to identify the themes, psychological and social motivations that are characteristic of Filonov’s doctrine, as well as to raise the question of the incompleteness of the search for style and artistic language in that period of time.The ideology of the new time, identical to the innovative content of the Russian avant-garde, was also manifested in the works of E.A. Kibrik in the late 1920s — early 1930s. His role in the general process of creating a paradoxical art reality is defined primarily by the influence of P.N. Filonov, a theorist and master of analytical art. The study is especially relevant because it analyzes previously unexplored and unpublished works by E.A. Kibrik of the Filonov period (1930) from the family collection of art historian A.A. Agamirova and Academician of the Russian Academy of Arts B.F. Belsky. The article presents E.A. Kibrik’s unknown drawings that are the result of the artist’s first creative business trip. The unexplored graphic sheets reveal the multi-variant nature of the artist’s method and his experimental approach, which has largely remained unknown to a wide audience.

Iconography Analysis--Symbolism in Joan Miró i Ferrà's Surreal Works

Joan Miró (20 April1839 --25 December 1983), was a Spanish painter, sculptor, ceramicist, printmaker and representative figure of surrealism, is one of the surrealist painting masters in the 20th century who are as famous as Picasso and Dali. In 1924, Miró deeply felt the ideological influence of surrealism in Paris, and he always insisted on the creation of surrealism in his artistic creation career in his later life. In style, Joan Miróis different from Picasso in the same period and Dali in naturalism. Joan Miró said: 'I make no distinction between poetry and painting.'. In his works, it clearly reflects the combination of these two, and ensures the purity, childishness and symbolism of art. This paper starts from the reality, analyzes the poetic grace of the picture caused by the repetition of symbols in Miró's paintings, and focuses on the embodiment of childlike and symbolism in the paintings.

STYLISTIC ANALYSIS AND WAYS OF REPRODUCING EMOTIVE EXPRESSION IN TRANSLATIONS OF UKRAINIAN LYRICS: INTERPRETATION OF THE IMAGE OF UKRAINE

The article reflects the results of scientific and philological research, which made it possible to analyze the ways of translating the image of Ukraine in English translations of Ukrainian poetry. Based on the generalization of the research results of scientific sources, the concept of literary translation as a linguistic problem is revealed. A special connection between the artistic image and the linguistic category on the basis of which it is formed is noted. The main requirements for the translation of works of art are highlighted, among them: accuracy, conciseness, clarity and literacy. It has been established that the main difficulty of literary translation is the accurate understanding of lexical units and the relationship between what the author wanted to convey to the reader and what the translator translated. Two aspects of the Ukrainian poetry translation are highlighted: linguocognitive and linguocultural. It is determined that the linguistic and cultural aspect of translation analysis allows to identify the features of reflection in the English poetic translation of the value dominants of Ukrainian ethnoculture based on the comparison of the cultural concept name, symbols of culture and emotional expression, and linguocognitive allows to highlight the features of the concepts system reflection of the Ukrainian author in the figurative system of English translations of his lyrics. The concept and role of the cultural concept UKRAINE in English translations, which is expressed by lexical means of a particular language, are studied. There are four components of the cultural concept: conceptual, value, symbolic and figurative. It is revealed that the elements of imagery and symbolism are structural parts of the cultural concept. It has been found that the translator’s understanding of the author’s system of concepts is a condition for reproducing the image of his country in translation. The symbols of Ukrainian culture in poetic works are analyzed, which are multi-valued subject images that express values and worldviews. The artistic symbol is considered to be one of the types of figurative concept with a multilevel structure of reference and the main aspects of its analysis should include determining the depth of the original symbol and its culturological components. Analysis of the translation of symbols showed that the most commonly used way of reproducing Ukrainian poetic symbolism is tracing, less commonly used methods of transcription, transliteration and equivalent translation. It is determined that the symbolism reproduced in the translation cannot convey all the cultural components and semiological depth, because the associative connections with the place of its origin are interrupted. It causes a symbolic appropriation of the image of Ukraine in the target culture, and at the same time conveys its ethnic uniqueness. The main ways of conveying the image of Ukraine in translations of Ukrainian lyrics are revealed, as a result of which literary translation adapts to the norms of the language of translation and becomes accurate and clear. The following lexical transformations in translation have been singled out: transcription, transliteration, equivalent translation, tracing and contextual substitution method. A comparative analysis of the translation of symbols and images of Ukraine in translations of Ukrainian poetry. Comprehensive research has shown that the most prevalent methods of translation are contextual substitution, equivalent translation and tracing. Thus, the article fulfills all the tasks are fulfilled in the work and it is also determined that the components of symbolism and imagery are a structural part of the concept of UKRAINE in general.

Creating a symbol of hope for 2021

The idea behind our project was to encourage nursing and midwifery teams to create artistic symbols of hope amid the challenges posed by the global Covid-19 pandemic. Our experiences working with teams using arts-informed approaches have shown us that they offer a space for deeper reflection and a change from more traditional reflection models. The outcome of such projects are unique visual representations of what a subject or event means to the team, and of their emotions and experiences. These are displayed in individual wards and units for all staff, patients, relatives and other visitors to see, often becoming a focal point for conversation. In November 2020, our practice development unit invited teams from across the local health district to create a symbol of hope for 2021. This was inspired by reading an article in AI Practitioner, the international journal of appreciative inquiry, entitled ‘Hope and appreciative inquiry during a pandemic’ (Houston, 2020). The author describes hope as something that is ‘an inescapable part of being a human. Both aspiration, belief in our future and reflection, how we view our past’ (p 49). The importance of finding reasons to ‘live, share, cry, sing, laugh, love, be fearful’ (p 51) is also expressed, with the contention that embracing these as our strengths is where hope lies. One aspect of the work of the practice development unit is inspiring nurses and midwives to capture the essence of experiences that occur in everyday practice using creative approaches. Arts-informed approaches provide a way for individuals and teams to express their experiences, thoughts and feelings visually and creatively (McCormack and Titchen, 2006; Horsfall and Titchen, 2009). Creative approaches such as painting, photo elicitation, creative writing, music and dancing can be used to engage our senses, helping us to access, pay attention to and express feelings and experiences, that might initially be difficult to put into words (Horsfall and Titchen, 2009; Sullivan, 2012; Weber, 2012). This is referred to as embodied knowledge, in which the body is the source of knowing rather than the mind (Weber, 2012).

STUDY OF LIVING HADITH TOWARDS KUBRO SISWO ARTS AS ISLAMIC SYI'AR

Art is a medium of da'wah that grows and develops until now. Islam brought by the guardians to the archipelago has a basis on symbols, including symbols in art. If art is explored more deeply, it will be understood things that are closely related to religious texts. Kubro Siswo is the art of dance accompanied by music and syi'ir-syi'ir that contains advice. This art is not only limited to spectacle, but also demands that are conveyed through the syi'ir-syi'ir. Kubro Siswo is usually displayed in big events, such as the month of independence, Isra 'Mi'raj, and other events. The phenomenon of Kubro Siswo's art becomes very interesting to study. Based on the phenomenological theory, it will appear that this art has a considerable impact on the life of the Magelang community. This art not only functions as a spectacle that teaches love for ancestral traditions, but also as a means of da'wah that always invites people to cultural values that are in line with Islamic law. Every poem sung in Kubro Siswo's art has a deep meaning, which contains an invitation to goodness that is indirectly sourced from the Qur'an and Hadith.

Sculptural rhymes of Art Nouveau: on the visual poetics of symbolism

This article is first within the Russian and Western art history to examine the concept of visual poetics as a separate subject of research. Based on the analysis of iconographic and theoretical searches of the masters of symbolism, which found reflection within the boundaries of expressive means of visual art, the author comes concludes on the poetic principles of symbolist artists as the fundamental sources of the formation of the style of Art Nouveau – a new sculptural language of the XIX – early XX centuries. Detail characteristic of the philosophical-aesthetic content that underlies optical forms of the visual symbolist image, in its scientific origins leans on the capabilities of the art comparative-formal analysis, as well as iconological method adapted to the period under review. The innovative conceptual approach towards studying the art of symbolism lies in the fact that poetry as the concept is depicted beyond the literary sphere, as a specific type of artistic worldview that influenced the development of the visual language of art in the era of Art Nouveau. At the same time, visual poetics is compared to the complex system of internal images, which shape in with the works of the master throughout the entire path of his self-expression, and are directly related to profoundness of the poetic principle of the soul, lyrical and metaphorical intuition of the artist. This approach allows us broadening the representation on the aesthetic benchmarks of the symbolist artists, as well as designating the new methodological coordinates in the field of studying the art of symbolism in both national and international contexts.

The philosophy of the material in the figurative-formative structure of the works by “Blue Rose” artists

This article is dedicated to Moscow symbolist art group “Blue Rose”, named after the exhibition from 1907 and known for their special attention to the semantical and metaphysical attributes of the artistic material. Paint, canvas, primers, paper, brush stroke techniques – all of those components played a particular role in the creation of the figurative-formative system. The members of “Blue Rose” were inspired by creative genius of V.E. Borisov-Musatov and M.A. Vrubel as well as traditions of the Old Russian icon painting. The latter found its new beginning at the turn of the century, in the era of Symbolism. Icon as an example of the union between material matter and spiritual concepts significantly influenced the core ideas in the art of symbolism. The “Blue Rose” followed the path of combining traditions and innovation, further affecting the viewer’s perception of the art work by specific organization of its material structure. Sacralization and spiritualization of materialistic principles of art are closely related to the problem of the symbol, in which contradictions between materialistic and spiritual as well as worldly and divine are resolved.

Symbolism in art: icon and portrait

Symbolism in art: icon and portrait

Art Nouveau in the context of realism: Ilya Repin at the turn of two centuries

The main subject of this research is the specificity of I. E. Repin's perception of the dynamics of artistic-aesthetic tasks formed under the influence of changing modernity. In view of this, one of the compositional centers of the research is the history of relationship that developed between I. E. Repin and the artists of the “first wave of symbolism” – members of the association “The World of Art” (primarily, the editor-in-chief of the eponymous journal S. P. Diaghilev, A. N. Benois, K. A. Somov, Y. Y. Lanceray). Special attention is given to the question of perception of I. E. Repin by certain representatives of the avant-garde in 1910s. Developing in the range “attraction – negation”, full of dramatic and comic moments, the dialogue between Repin and younger generation indicates the hastiness of univocal view of realism and Art Nouveau as opposing imagery systems. For the first time, on the current level of scientific comprehension of the aesthetics of symbolism and neo-romanticism, the article analyzes the attitude of I. E. Repin towards the innovative imagery pursuits of the Art Nouveau artists. At the same time, the very concept of Art Nouveau is interpreted in two dimensions: as a certain milestone in the context of the development of the history of art of the late XIX – early XX century; and as an inner dynamic potential embedded by I. E. Repin in his works since the beginning of his creative path. Based on systematization of the artistic and documentary sources and  the method of complex reconstruction of the views of Peredvizhniki and symbolist artists upon the objectives and nature of art, the author concludes that the poetics of art of Ilya Repin, synthesizing the ideas of time, tends to reflect a complicated and distinctive artistic image formed by realistic and idealistic principles.

Estudo sobre a influência do pensamento da Academia Jixia na construção da ordem social Pré-Qin.

Abstract: Jixia Academy (稷下学派) is a general term for the Contending academic group in the Pre-Qin Period (B.C.235-B.C.221). The thought derived from Jixia Academy occupies an important part in the development of Chinese ancient ideological history. It has played an important role in regulating and enlightening the construction of the symbolic art of the social order at that time. And it is also of great value to the stability and orderly operation of today’s social order. This paper takes the thought of Jixia Academy as the core. Firstly, it analyzes the general situation of Jixia Academy and its ideological connotation. Secondly, it explores the symbolic art of the Pre-Qin social order, including the characteristics of the Pre-Qin social order and the construction path of the Pre-Qin social order. On this basis, it elaborates the influence of the thought of Jixia Academy on the construction of social order in the Pre-Qin Period, in order to make more people to deeply understand the thought of Jixia Academy and its positive role in the construction of the Pre-Qin social order symbolic art.

The Thunder from the East: Batu’s Invasion in the European Medieval Book Miniatures

The article deals with the medieval book miniatures illustrating the invasion of Batu's armies in Europe in 1236–1242. Bearing in mind the postulated high symbolism of Medieval fine art, the author is interested in the figurative code of miniatures, in which the attitude of Europeans to the Mongol conquerors should be encoded. In this regard, a study of the related manuscripts, executed in different centuries, from the mid–13th to the mid–16th centuries, in the different lands of Western, Central Europe and Rus’. Somehow, despite the fact that, at first glance, these traditions are not genetically related to each other in any way, they demonstrate the same patterns of development.

Иоганн Себастьян Бах и Вольфганг Амадей Моцарт в творчестве Бориса Поплавского

The paper is devoted to studying the images of 18th-century German composers Johann Sebastian Bach and Wolfgang Amadeus Mozart in the works of Boris Poplavsky, including diaries, articles, poems, and prose. It was found that the image of Bach was transformed, starting from the articles of the early 1930s to the final work “About substantiality of personality”. In early works, Bach is a symbol of Apollonian art, perfect and harmonious, but cold-blooded towards man. However, in the final work, the music of the German Baroque composer is a symbol of “Pan, who resurrected in Christ” and embodies harmony and integrity of the Universe. The image of Mozart shows other connotations. He is a Dionysian artist, understood in terms of sensuality, “playing on the low and sweet” nature of man. This nature principle of Mozart, which Poplavsky names “sweet melodiousness”, is considered necessary for the formation of the creator, his initiation. This is related to Boris Poplavsky’s conception of the spirit of music, according to which an artist must die and sacrifice himself to the sacred spirit of music. For this reason, Mozart in Poplavsky’s conception of music has a mortal origin. In prose (novel “Apollon Bezobrazov”) and poems, the motive of Mozart’s “Requiem” arises, connected with apocalyptical themes and harmony of the world. This paper compares Poplavsky’s views and works with the concepts of his modernist predecessors and proves that the poet created original myths about musicians based on the traditions of modernity but acquiring uniqueness due to aesthetic principles.

Aesthetic Positions of Symbolism in the Works of Iraqi Artists 1970–1990

The article is devoted to the study of the aesthetics of symbolism in the works of contemporary Iraqi artists of the 1970s–1990s. The purpose of the study is to analyze the content of symbols in the works of Iraqi symbolist artists in the context of historical and cultural events of the country. The author uses descriptive, analytical, comparative historical methods of scientific research. A brief history of Iraqi symbolism is given. The analysis of the works of Iraqi symbolist artists such as M. Ahmad, V. Sheit, R. Dabdub, D. Azzawi, Sh. H. Al Said is carried out, which allows to clarify the symbolism of Iraqi painting of the 1970s–1990s.

Constructing art history: Contemporary curatorial strategies in studying symbolism of the Baltic states

The article is devoted to the analysis of curatorial strategies used in the international exhibition «Wild Souls. Symbolism in the Baltic States», successfully implemented under the supervision of Rodolphe Rapetti in 2018–2021 in Paris, Tallinn, Vilnus and Riga. Revealing the originality of the curatorial narrative contributes to the identification of current research directions in the study of the Baltic countries visual culture of the 19th–20th centuries. The implemented project has the potential for further revision of generally accepted ideas about the genesis and development of the symbolist art in Estonia, Latvia and Lithuania. This also contributes to the formation and widespread dissemination of methodological approaches that have not been previously used in the art studies of these countries. To understand the novelty of the chosen strategies, historiographical analysis of art in the Baltic countries from the 1940s to the 1980s is carried out. The third conference of art historians of the Baltic republics in 1990 was called a turning point in the history of cultural studies. It is at this scientific event that Boris Bershtein calls for a metaposition and the usage of metalanguage in the construction of an «internal» description of national culture. According to the author of this article, an exhibition «Wild Souls» is intended to become such a metaposition, capable of summarizing the already accumulated knowledge and offering a new look at the development of visual culture. Using universal approaches to the study of symbolism, Rodolphe Rapetti, together with colleagues from Baltic museums, demonstrates the trans-regional community of artistic phenomena that took place in these countries, and also convincingly proves the involvement of the Baltic artists in the general European artistic process at the turn of the 19th and 20th centuries.

ІСТОРИКО-КУЛЬТУРОЛОГІЧНА РЕТРОСПЕКТИВА ФОРМУВАННЯ ОБРАЗОТВОРЧОГО МИСТЕЦТВА В МАРІУПОЛІ

The article attempts to analyze the formation and development of fine art in the city of Mariupol. It provides historical background regarding the activities of artists whose lives and works are connected with Mariupol. The author in particular thoroughly studied the characteristic features of the works by Arkhip Kuindzhi is an artistic symbol of Mariupol, described his creative progress and artistic heritage. In addition, the paper attempts to analyze the works by Oleksandr Mogilevskyi, Viktor Arnautov, Albert Makhotin, Serhiy Barannik, etc. The study gives the characteristics of the fine art of the city in the modern period, describes the creative heritage of the most famous artists of Mariupol in the late 20th century – early 21st century (Halyna Harkina, Volodymyr Miski-Ohlu, Pavlo Ponomarenko, Oksana Pehotska, Oleksandr Bondarenko, etc.). The author highlights specific features of the creative methods and searches of modern Mariupol artists, depicts their educational activities. The article gives considerable attention to the educational activities of art institutions in Mariupol, characterizes the work of the Art School of the City Council in Mariupol, the Art School in Mariupol named after Arkhip Kuindzhi, the ART-Center Institution, the Sova Art Center, describes the activities of the Mariupol-87 creative association, which united avant-garde artists. The research indicates that the fine art is actively developing in Mariupol; it is diverse and rich in terms of subjects and creative methods. Key words: fine art, historical retrospective, painting, watercolor, oil paints, easel painting, landscape, still life, art education, creative method, realism, modernism.

БРАТСКАЯ ГЭС КАК СИМВОЛ СОВЕТСКОЙ ЭПОХИ НА КАРТИНАХ ХУДОЖНИКОВ-ПЕЙЗАЖИСТОВ

In the middle of the last century, the construction of the Bratsk Hydroelectric Power Station on the Angara River became a symbol of the conquest of Eastern Siberia. The article is devoted to the description of the Bratsk HPS as an industrial and artistic symbol of the Soviet era, presented in the paintings of landscape artists of the Baikal region. Numerous paintings depicting the Bratsk Hydroelectric Power Station belong to landscape painting and represent an industrial symbol of the Soviet era. All the paintings related to this period are made in the style of socialist realism — the dominant artistic trend in the visual arts of the Soviet Union up to the 1960s. In the context of the research topic, the concept of the symbol in the visual arts is introduced. From the viewpoint of the historical and cultural approach, adopted in art criticism, the article examines the paintings "Bratsk HPS, 1963" by V. I. Bochantsev and "Bratsk HPS, 1958" by V. I. Ovchinnikov, which reveal the characteristics and properties of the considered methodology of studying works of fine art. The similarities in the plots and compositions of the works, allowed a comparative analysis of the two paintings to be applied. The author concludes that the Bratsk HPS, as a monument of the distant past, is a symbol of the Soviet era, of Newly Conquered Siberia and at the same time an industrial symbol, presented in the paintings of landscape artists of the Baikal region.

Criteria and examples of consideration of the artistic symbol in the art of China

Criteria and examples of consideration of the artistic symbol in the art of China