Artistic Techniques Research Articles

Unusual Composition of the Sarezzano Reliquary Busts

The interdisciplinary study of two reliquary busts from Sarezzano (Piedmont, Italy) is a perfect example of the necessity to provide for material characterisation as a recurring common practice in historical studies and a mandatory step in conservation assessment. Furthermore, the diagnostics of cultural heritage play a crucial role in art historical research, providing relevant information on artefacts’ genesis, production technology, and conservation history. The study of the materials of the reliquary busts was performed by non-invasive (portable X-ray fluorescence spectrometry) and micro-invasive (stereomicroscope, attenuated total reflection Fourier transform infrared spectroscopy and powder X-ray diffraction analysis) methods. According to the results, the busts were found to be made of a tin–lead alloy, a rather unusual material for mediaeval reliquary busts. Moreover, the outcome suggests that the busts were originally silvered, except for the hair and beard which are still gilded. The analysis reveals the use of colophony as an adhesive buffer layer on the busts’ alloy, as well as inside them, to favour the metal working process, since it is found as degraded residue. Finally, even the typology of alloy decay is defined. All this information has enabled us to determine the artistic technique and estimate the value and quality of the material employed. In addition, it has led to the correct choice of materials and methods to be adopted during the restoration, and therefore the usage of more suitable solvents and tools.

Architectural Imaginaries in Chinese Jiehua

A review of Leqi Yu, Painting Architecture: Jiehua in Yuan China, 1271–1368, Hong Kong: Hong Kong University Press, 2022, 216 pages, 54 halftones, 12 color plates. ISBN: 978-988-8754-23-6. Yu’s book on Yuan jiehua, a traditional Chinese painting genre centered on architectural subjects and tectonic structures, examines its relationship with real buildings, painters, and politics. This review highlights her discussions on architectural representations, focusing on her accounts of the degree of accuracy in pictorial depictions, utilization of modular systems by painters, and artistic techniques employed to achieve verisimilitude.

Design and Art Tools Formation of Visual Context in Modern Anthropogenic Environment

The purpose of the article is to establish the design and artistic means of forming the cultural-artistic context of modern anthropogenic space. The research methodology involved the use of synthesis and analysis methods with the involvement of interdisciplinary connections (architecture, art history, cultural studies, psychology, design), which made it possible to develop the available theoretical and practical experience on the subject of the article; the method of theoretical generalisation was used to formulate conclusions regarding the outlined problem. The scientific novelty of the article lies in the fact that it actualises the issue of the role of the visual and plastic language of design in the formation of the communicative and cultural content of the anthropogenic environment. Conclusions. With the change of socio-cultural, political and economic conditions, people's requirements for their environment also change. Design and artistic techniques make it possible to dynamically adjust the visual context of the space, to modernise it. The visual plastic design language of the modern anthropogenic environment is presented in artistically decorated stationary and moving objects, their parts, which add character and individuality to it, cause certain emotions in people who interact with such a space. The presence of murals, graffiti, street stencils, sticker art, aerosol art, posters, photo wallpapers, knitted graffiti, mosaics, LED art, media facades, sculptures, video mapping contributes to the formation of a new visual context of the environment, 3D images. Unsystematic, chaotic formation of the visual context of the space can disrupt its artistic integrity. It is worth considering the location of the object, its role in the general structure of the environment, architectural, historical or ethnic context.

СИМФОНИЗМ ПРОИЗВЕДЕНИЙ И. Л. СЕЛЬВИНСКОГО: РОМАН-ЭПОПЕЯ «АРКТИКА» И ПОЭТИЧЕСКИЙ ЦИКЛ «АЛИСА»

The article examines the interconnection of musical and verbal arts. Using the novel «Arctic» and the poem cycle «Alice» as examples, an analysis is conducted of the artistic techniques employed by I. L. Selvinsky to create verbal analogs of musical structures. It is established that the thematic depth of the works, detailed depiction of the processes of character formation and development, their spiritual quests, and the resolution of internal conflicts indicate the symphonic nature of the poet’s thinking. The reference to the symphonic works of P.I. Tchaikovsky, the disruption of the composer’s accepted symphony order, enhances the aesthetic direction of the poetic work and reveals profound meaning. The unity of thematic and imagery material, the utilization of similar principles in the development of musical and literary works allow for the poetic cycle «Alice» to be considered as a symphonic suite, with its poetic elements assessed in the parameters of musicology correlated with literary methodology.

Особенности интерпретации дастана и мифологические отступления (на материале «Сказа-ния о дочери Шана» Микаиля Башту)

This article examines the images of mythological characters and interprets the text of the dastan “The Tale of Shan’s Daughter” from the point of view of folklore studies. The author of the dastan is considered being the ancient Bulgarian poet and educator Mikail Bashtu. The author solves the super-task of his dastan - the conversion of a pagan to the Muslim faith - with the help of several artistic techniques, among which an important place is occupied by a dream, which is equally characteristic of archaic folklore and ancient Eastern literature. Forces of good and evil, love and rejection, procreation, expressed by the concept of “woman” point to the most ancient layers of traditional everyday culture of the Turks, and the transformation of these images into divine forc-es of the Islamic persuasion allows us to trace how the Turkic peoples passed from one religious hypostasis to another. The genre definition of the work is determined through the analysis of its poetics. In particular, the features of the plot structure and artistic language are considered.

Methodology of visual techniques in the cinematographic art of Kazakhstan in 1930-2020

Cinematography in the Republic of Kazakhstan has a century-old history that began in the 1930s and continues today. During this period, a large number of films were created reflecting the culture, history, social and political aspects of the country’s life. Therefore, the relevance of the study lies in the knowledge and preservation of valuable aspects of the cinematic legacy, the examination of cinematography and highlighting practical aspects of visual techniques in cinematography. The purpose of the study is to identify a clear difference between cinematic codes in the visual representation of films created in different periods of the development of Kazakh cinema. The following research methods were used in the study: analytical research, systematisation, comparison and generalisation. As a result of the study, it was possible to examine the periodization of the development of Kazakh cinema, which helped to understand its evolution and development at different stages. This study examines the picture of the world reflected in the films “Amangeldy” (1938), “Racketeer” (2007), and the film “Paralympian” (2023). Based on this, an analysis of their visual techniques was conducted, which allowed identifying their unique features and contribution to the cultural legacy. The study analyses current trends in the methodology of visual techniques, especially in the use of digital technologies, which opens up new opportunities for cinematographers. The importance of maintaining a balance between new trends, cultural values, and traditions of the Republic of Kazakhstan is emphasised. The study on the methodology of visual techniques in the cinematographic art of Kazakhstan can be used by modern cinematographers and students interested in this field.

“The Struggle of the Worlds”: the Representation of the Future War in the Soviet Science Fiction of the 1930s

In pre-revolutionary fiction, the struggle of the worlds was perceived mainly as a clash between earthlings and an extraterrestrial civilization. After the emergence of the Soviet state, the struggle between the Bolshevik and antiBolshevik worlds became one of the key themes in fiction. By the early 1930s, the formula “struggle of the worlds” existed in Russian literature both as fantastic and non-fantastic, reflecting a real social confrontation. However, the idea of a world revolution as the goal and result of the struggle of the worlds is actually eliminated from science fiction. The social struggle, which can transform into an interstate conflict, by the end of the 1930s turns into a war of the worlds, where the military clash between the USSR and a hostile state is the decisive factor. The changes taking place in the international arena led to the fact that in science fiction, too, England and France are replaced by Germany, Italy and Japan as the main opponents. In the war of the future the victory is determined not by heroism and national unity, but also by military and technical superiority. Along with the apparently fantastic weapons possessed by both the USSR and the enemies in the future, the writers described technical achievements, whose fantastic nature is not always noticeable even to a non-specialist contemporary, since some weapons that were fantastic in the late 1930s already became a reality during the Great Patriotic War. One of the distinctive features of the works of 1938–1939 about the future war is the minimal differentiation between the fantastic and non-fantastic. On the one hand, there is no war yet, on the other hand, the distance between the future and the present is practically absent, and the “effect of the future” is leveled due to image of reality that maximally corresponds to the present. This artistic technique helps to convey to the reader the confidence that victory is the logical conclusion of the present, and not a fantasy.

Intangible heritage restoration of damaged tomb murals through augmented reality technology: A case study of Zhao Yigong Tomb murals in Tang Dynasty of China

Tomb murals are a precious amalgamation of tangible and intangible heritage, encapsulating profound historical significance and aesthetic value. While tangible heritage often gains more attention than intangible heritage in cultural protection, it is still imperative to acknowledge that intangible heritage complements and substantiates the historical, cultural and artistic context. Tomb murals contain intangible heritage elements such as religious practices, customs and artistic techniques. Tomb murals from the Tang Dynasty of China showcase the cultural richness of both tangible and intangible heritage. Nevertheless, there are many challenges to the protection of Tang Dynasty tomb murals. In light of these challenges, the current study aims to protect the intangible heritage embodied in Tang Dynasty tomb murals through augmented reality technology. A Tang Dynasty tomb, the Zhao Yigong Tomb, has been selected as the research object. Seven murals from this tomb were restored using a process involving two-dimensional and three-dimensional modelling combined with augmented reality (AR) technology. Throughout the restoration process, the current study explores the impact of religious customs associated with the Zhao Yigong Tomb on mural contents and artistic techniques. The scenes depicted in these seven murals were integrated into an on-cloud AR platform to establish an effective process for protecting intangible heritage in tomb murals and stimulate further research, design and development. This study identifies the target audience as researchers, educators and college students interested in history, art and culture. To evaluate the current study, researchers and educators with relevant working backgrounds and college student participants with different backgrounds and interests were invited to test the AR application in the field, followed by one-to-one interviews for a usability assessment. The usability assessment shows that the AR application is widely accepted. In addition to adding information interactively, it helps the audience to improve their understanding of Tang Dynasty art and culture.

Separate and Reassemble: Generative AI through the lens of art and media histories

AI image generation represents a logical evolution from early digital media algorithms, starting with basic paint programs in the 1970s and advancing to sophisticated 3D graphics and media creation software by the 1990s. Early algorithms struggled to simulate materials and effects, but advances in the 1970s and 1980s led to realistic simulations of natural phenomena and artistic techniques. Generative AI continues this trend, using neural networks to combine and interpolate visual patterns from extensive datasets. This method of digital media creation underscores the modular and discrete nature of computer-generated imagery, distinguishing it from traditional optical media.

THE LOST WAX TECHNIQUE OF DOKRA ART: AN EMPIRICAL STUDY ON BIKNA VILLAGE OF DISTRICT BANKURA, WEST BENGAL

Among the famous artistic works of Bankura District of West Bengal, Dokra (also known as Dhokra) is an age old traditional non-ferrous metal art of Indian Subcontinent. The term ‘ ‘Dokra’’ generally describes a group of craftsmen, nomadic in nature who spread over the different states i.e. Andhra Pradesh, Chhattisgarh, Orissa, Madhya Pradesh, Jharkhand and West Bengal. Dokra is characterized by its simple and primitive figurines on folk themes, variety of beautifully decorated deities and animal structures. The evidences of Dokra non-ferrous metal crafts trace back to the Harappan Civilization almost 4600 years ago. The dancing girl of Harappan Civilization is an ideal example of Dokra non-ferrous metal casting. This paper is mainly focused on the traditional lost-wax technique (Cire perdue in French) of Dokra metal art of Bikna village of District Bankura still practiced at present. Delighted to say, Dokra art from West Bengal has gained the Geological Indication (GI) Tag in the year of 2018. The present study is qualitative in nature and based on empirical research work on Bikna village involving interviews, oral history and observations. Both primary and secondary data sources were used to accomplish the work.

Analisis Strategi dan Teknik Tendangan Sabit Dalam Olahraga Pencak Silat: A Systematic Literature Review

Hook kick is a crucial technique in the Indonesian martial art of Pencak Silat that requires precise strategy for its effectiveness. This research employs a systematicliteraturereview method to explore relevant studies on hook kick strategies in Pencak Silat. The method involves searching scientific articles and other pertinent sources to identify commonly used strategies and the scientific evidence supporting them. Analysis of the literature reveals that hook kick strategies can be categorized into several key elements, including proper body positioning, correct foot techniques, utilization of body momentum, and effective distance management. These findings provide deeper insights into how this technique can be effectively applied in combat situations and training. The research outcomes are expected to offer profound insights applicable to training and skill development in Pencak Silat, contributing to the enhancement of overall standards in this martial art. Keywords: Sickle Kick Technique, Sports, and Pencak Silat

Interpretation of Film The Thrill of Life: Multidimensional Emotional and Social Exploration

This article uses various film theories to conduct a thorough and comprehensive analysis of the film The Thrill of Life. Starting from the emotional dimension, this article explores the complex emotional experiences triggered by the protagonist's inner struggles, love pursuits, and familial bonds in a special social context. At the social level, the profound influence of the historical characteristics, social contradictions, and cultural context reflected in the film on the fate of the characters was analyzed. Through a detailed study of film elements such as camera language, narrative structure, and color usage, it reveals how the film presents multidimensional emotions and social reality through unique artistic techniques. The research aims to provide new perspectives and theoretical support for a deeper understanding of the artistic value and social significance of this film.

Modern Trends in Teaching Artistic Techniques and Methods: Analysis of Approaches to the Development of Artists

Modern Trends in Teaching Artistic Techniques and Methods: Analysis of Approaches to the Development of Artists

The quality of a button accordionist’s “element” thinking: performer’s text and the sound image of the modern button accordion

Statement of the problem. Modern musical language serves as a stimulus for the further improvement of the artistic indicators of the button accordion performance technique: composers incorporate new performing techniques into their works, expanding the original button accordion literature and integrating innovative techniques into its. This promotes the development of modern musical language in button accordion art. An important aspect of contemporary button accordion art is the performer’s “element” thinking, which refers to their ability to act intuitively, following an inner emotional impulse and musical inspiration. The “element” thinking of a button accordionist allows them to freely interpret the musical text, adding their own individuality and artistic expressiveness. This is particularly important in the performance process, where the instant emotional response to music is key to creating a lively and dynamic performance. Objectives, methods, and novelty of the study. The purpose of the article is to characterize the quality of a button accordionist’s “element” thinking in the process of forming the sound image of the modern button accordion. This goal requires the solution of the following tasks: • identify modern performing techniques of button accordion playing; • investigate the stable and mobile elements of the composer’s text; • determine the components of performing mastery and the qualities of the button accordionist’s “element” thinking. The following methods were used to address the proposed issues: the method of systematizing the performance techniques in contemporary button accordion art; the organological method, which helps to reveal the specifics of the accordion’s sound in the context of new artistic and expressive means; and the structuralfunctional method, which pertains to the analysis of elements of the composer’s text (texture distribution of the material, principles of timbral diversification, use of sound imitation, and specific button accordion techniques). The study is the first experience of considering bayan playing techniques as mobile elements of a composer’s test in performance interpretation. Results and conclusion. To characterize the quality of a button accordionist’s “elemental” thinking in the process of creating the sound image of the modern button accordion, two key aspects were considered: contemporary performance techniques on the button accordion and the stable and mobile components of the composer’s text. Contemporary button accordion creativity employs various performance techniques and effects that reveal the instrument’s versatility and significantly enrich the musical content of the works. Composers and performers, using such techniques as vibrato, tremolo, ricochet, cluster, non-tempered glissando, air playing, percussion effects, register playing, and extramusical noise effects, create unique and expressive sound textures that enhance the emotional and artistic expressiveness of the music. The stable components of the composer’s text include elements clearly defined by the composer, ensuring the structural integrity of the piece. In contrast, the mobile components allow the performer to contribute their creative input to the performance, including timbre shades, dynamic nuances, and phrasal variability. Thus, the quality of the button accordionist’s “elemental” thinking is formed through the ability to integrate contemporary performance techniques and the creative interpretation of the composer’s text, forming their own performance text. This characterizes the sound image of the modern button accordion, which fully meets the demands of the time. Prospects for further development. For further research in contemporary button accordion art, it is important to expand the spectrum of analysis of musical works that contain innovative playing techniques and methods. The prospects for studying the quality of the performer’s “elemental” thinking in the process of creating the sound image of the modern button accordion may include psychological aspects of creativity.

On the Unique Significance of Han Yu's "Shan Shi"

As a representative work of Han Yu, "Shan Shi" is highly praised by Su Shi. This contains a distinct writing logic of temporal and spatial order, which makes reading immersive. In addition, the most eye-catching aspect of "Shan Shi" is its artistic technique of "reviving the spirit" and "incorporating literature into poetry", which has an irreplaceable and unique significance and role in the history of Chinese poetry.

OIKONIMICON OF LESYA UKRAINKA’S DRAMATURGY

The article analyzes the semantic features of the oikonyms of Lesya Ukrainka’s drama. The main focus is on connotations acquired by oikonyms in the artistic expression of Lesya Ukrainka. Oikonyms, i.e. proper names of settlements, are historical and cultural heritage, since they reflect historical events, life, culture of the people, as well as their customs and traditions. Semantic, derivational and stylistic features of oikonyms depend on the individual characteristics of the author of the work, genre specificity, time of creation, literary direction and method. The purpose of the article is to analyze the functional load and semantic content of oikonyms that occur in Lesya Ukrainka’s dramatic works. The object of the research is the toponymic vocabulary in Lesya Ukrainka’s drama, the subject is the semantic and functional features of oikonyms as a component of the artistic and figurative system of the work. During our research, a number of methods were used, among which the descriptive method (used to analyze factual material), the quantitative counting method (to indicate the number of oikonyms in the work of art), and elements of the component analysis method, have a leading role. Oikonymicon in the artistic space of Lesya Ukrainka’s dramas is an active artistic technique that illustrates the author’s voice, the author’s concept of the characters and of the work in general, an important factor in character formation and plot development. And even the absence of oikonyms in the context of drama or its muted function becomes the manifestation and shade of the most important thing that the dramatist lays into the artistic background of the work. This helps reveal other problems that the author considers too important and for the sake of which gives life to her poetic masterpieces in pain and exhaustion, which suffered such a difficult stage fate and which are only now being read to full extent by a Ukrainian reader. We define the semantic study of the oikonymy of modern writers as the further direction of our exploration.

Anatomy of the Painting: The Study of the Serbian Orthodox Icon from the Turn of the Seventeenth to the Eighteenth Century

The paper presents the results of the multi-analytical study of the painting on a panel from the icon collection of the Gallery of Matica srpska museum in Novi Sad, Serbia. It is part of the research aiming to set the methodology for the museum’s database on artistic materials and techniques present in the collection. Computer tomography (CT) scanning was used to understand the structure of the wooden panel support. Ultraviolet (UV) and infrared (IC) imaging, as well as visible (VIS) macro photography, were used to study the paint layer, both the original part and restoration treatments, as well as the coat of varnish. Energy dispersive X-ray fluorescence (EDXRF) and Fourier-transform infrared (FTIR) spectroscopy revealed the pigments, binders, and metal leaf, defining the artistic technique. Optical microscopy (OM) and scanning electron microscopy (SEM) with energy-dispersive X-ray spectroscopy (EDS) were used to disclose the stratigraphy and composition of layers in the artwork. The multi-analytical approach confirmed that protein-based binder, gilding, silver leaf, and traditional pigments were used. The data gathered from this research are important for studying the artistic materials and techniques in icon production and defining the methodology setting for the museum collection’s databases as the reference material.

Images of Childhood and Children in Early Photobooks: Capturing Reality and Expectations

Photography in Children’s Literature, edited by Elina Druker and Bettina Kümmerling-Meibauer (John Benjamins, 2023) offers a transnational investigation of children’s photography spanning from the early 1870s to the late 1980s. It sets itself apart from many counterparts because of its wide range of analyzed topics, genres, and artistic techniques. This edited volume is recommended for all researchers and scholars interested in the transnationality of childhood politics and how photographs and children’s picturebooks play a vital role in promoting powerful transnational children’s images.

Multi‐analytical characterisation of Art Déco dinanderie: Single‐point and map analysis of Jean Dunand's metal artworks

AbstractJean Dunand (1877–1942) was a European artist internationally appreciated at his time for his innovative Art Déco housewares made of hammer‐beaten copper‐based alloys, known as dinanderie. Still uncertain was the nature of the constituting materials; therefore, for the first time, three objects, namely, a bowl, a trinket bowl and a vase, were the target of a multi‐modal work of characterisation. Mobile or benchtop X‐ray fluorescence, Fourier‐transform infrared (FTIR) and Raman spectroscopies were used to adapt the analyses to the shape and size of the artefacts. Elemental analysis verified that the vase consisted of brass Cu70Zn30, whereas the bowl and the trinket bowl were made of nickel silver Cu70Zn19Ni11. The black finishing present on all the artefacts was related to tenorite by Raman spectroscopy, ascribing the patina to an intentional artist's willing and not to spontaneous tarnishing processes. Metal soaps of copper and zinc were documented as degradation products by FTIR spectroscopy. The drawings adorning the vase and the trinket bowl were identified as silver‐based, contrary to what was hypothesised by conservators (i.e., tin‐based) due to conventional Dunand's inlaying technique. Besides single‐point analysis, Raman mapping was performed in‐situ, applying for the first time a Virsa™ Raman Analyser (Renishaw) in the field of cultural heritage. The fibre‐optic‐coupled instrument allowed to comply constantly with the artefacts' geometry thanks to the modular probe and the motorised focus‐tracking stand. The synergic combination of elemental and vibrational analyses resulted successful, providing new and unique information on artist's technique in view of possible restoration interventions.

V. SOROKIN’S NOVEL “MARINA’S THIRTIETH LOVE” IN THE COORDINATES OF SOC-ART AND SOCIAL REALISM

The purpose of the study is to analyze V. Sorokin’s conceptualist novel “Marina’s Thirtieth Love” (1984), to identify the features of its genre-structural constructions, to trace the connection of genre features of the “Soviet novel” with the tradition of Socialist realism literature and its deconstructions in the practice of conceptual art of the 1970s–80s. The paper identifies the target settings of the conceptual novelist Sorokin to overcome the principles and techniques of Soviet socialist realist art and to establish discrediting perspectives of perception of social and ideologically stable “concepts” that developed in the post-October period. It is established that the imitation base in Sorokin’s “Marina’s Thirtieth Love” was the so-called “production novel”, a thematic subspecies of prose of socialist realism.