Traditional Art Research Articles

Metamorphosis of Tradition: Dong Arts from Folk Dong Painting to Contemporary Expressions

The Dong ethnic minority in southwest China possesses a distinctive cultural heritage. Dong's painting emerges as a unique and diverse form within Dong's artistic endeavors, capturing the essence of daily life among the Dong people. Regrettably, Dong paintings often endure neglect compared to the more recognized Dong architectural art. To revive appreciation for Dong culture, this study delves into traditional Dong folk paintings, aiming to discern various painting types and explore the impact of these traditional forms on contemporary Dong paintings. The similarities and differences between traditional Dong folk painting and contemporary Dong painting are obtained through the investigation and artistic practice of the Dong nationality. It mainly focuses on literature analysis, case studies, and art practice-based research. This investigation reveals that contemporary Dong paintings continue incorporating and reinterpreting symbols, architectural motifs, and dress patterns from traditional Dong folk art. This continuity in artistic expression contributes significantly to preserving and disseminating Dong culture in evolving artistic forms.

Respon Masyarakat Kalidoni Palembang terhadap Penari Wanita Pegon dalam Kesenian Kuda Lumping

This research discusses a phenomenon in the Kuda Lumping art where there are female dancers called female pegon dancers. This phenomenon can contain various responses from the surrounding community. This research is qualitative research with a phenomenological approach. The primary data used in this research was obtained directly from the field through an interview process with the head of the Rt and the administration section of the Kalidoni sub-district office. The theory used in this research is the phenomenological theory by Edmund Husserl. The results of this research show that Kalidoni District has the art of Kuda Lumping in which there is a phenomenon of female Pegon dancers. Pegon female dancers, Kuda Lumping art, have changed the rules and appearance of Kuda Lumping art, especially in Kalidoni District, and is one of the traditional arts which in its development has received various responses from the community, both positive and negative, and some factors influence people's interest and there are impacts. or the influence of female pegon dancers.

Analysis of Regional Characteristics and Ethnic Cultural Integration of Chenggong Tile-cat

Tile-cat, one of the unique roof beasts in China, is usually secured on the roof ridge of the main house, implying the traditional concept of "Warding off evil and receiving blessings". Chenggong tile-cat is a traditional folk art in Chenggong District, Kunming City, Yunnan Province. It is based on a tiger and crafted by skilled folk artists, becoming a divine beast that guards its home and ward off evil and filth. At present, the academic community has achieved fruitful results in the study of tile-cats in other regions of Yunnan, especially in Dali and Heqing. These achievements provide reference and inspiration for the research of this paper. However, there is still a lack of research on the Chenggong tile-cat, which provides ample space for this study. Based on this, this paper will conduct on-site research on the Chenggong tile-cat, analyze and explore its regional characteristics and ethnic cultural integration, and reveal its unique regional characteristics through the analysis of its geographical location, artistic style, production technology, usage, and cultural connotation. At the same time, based on historical background, explore the integration process of tile-cat art and ethnic culture, and evaluate the cultural value of tile-cat in modern society.

Cultural Sustainable Development Strategies of Chinese Traditional Furniture: Taking Ming-Style Furniture for Example

In view of the gradual decline and near-stagnant crisis of traditional furniture art from the late Qing Dynasty, the article studied the cultural sustainable strategies of Chinese traditional furniture represented by Ming-style furniture, hoping to promote the revitalization of traditional furniture and good inheritance of traditional culture in modern society. Based on the theory of “Methodology of Affairs”, the article proposes that the sustainable strategies of traditional furniture can be understood as a correlation system under the joint action of “internal factors” (shape, function, technology, etc., of furniture) and “external factors” (social environment, economic environment, humanistic environment, etc., in which furniture develops). Starting from the two aspects, the article finally analyzed the improved translation of internal factors in five parts: shape and function, structure and connection, material and process, color and furnishing, decoration and aesthetics, and studied the adaptive changes in external factors from five dimensions: politics, economy, culture, society, and users. The article hopes to help this endangered Chinese traditional furniture art develop in a sustainable direction, and also provide a reference for scholars working in the field of the inheritance and development of traditional culture.

Eksplorasi etnomatematika dalam kesenian sikambang pada masyarakat kota Sibolga

This study aims to determine the ethnomathematics values contained in Sikambang art, which is the traditional art of the people of Sibolga City, North Sumatra. This research is qualitative research using an ethnographic approach. Research data collection techniques consist of observation, interviews and documentation. The collected data will be analyzed in three stages: data reduction, data submission, and verification. Next, the data will be examined based on four criteria: trustworthiness, transferability, dependability, and certainty. The results show that mathematical concepts are inherent in the culture of the people of Sibolga city, namely Sikambang art which has geometric elements, such as angles (acute, right, obtuse), lines (straight, curved, parallel, intersecting), and flat shapes (triangles, rectangles). , square, and circle). By incorporating ethnomathematics into the school curriculum, students' mathematics learning can become more contextual and meaningful. This study also helps maintain Sikambang art as a local cultural heritage that is increasingly marginalized by contemporary developments.

Ancient Painting Inpainting Based on Multi-Layer Feature Enhancement and Frequency Perception

Image inpainting aims to restore the damaged information in images, enhancing their readability and usability. Ancient paintings, as a vital component of traditional art, convey profound cultural and artistic value, yet often suffer from various forms of damage over time. Existing ancient painting inpainting methods are insufficient in extracting deep semantic information, resulting in the loss of high-frequency detail features of the reconstructed image and inconsistency between global and local semantic information. To address these issues, this paper proposes a Generative Adversarial Network (GAN)-based ancient painting inpainting method using multi-layer feature enhancement and frequency perception, named MFGAN. Firstly, we design a Residual Pyramid Encoder (RPE), which fully extracts the deep semantic features of ancient painting images and strengthens the processing of image details by effectively combining the deep feature extraction module and channel attention. Secondly, we propose a Frequency-Aware Mechanism (FAM) to obtain the high-frequency perceptual features by using the frequency attention module, which captures the high-frequency details and texture features of the ancient paintings by increasing the skip connections between the low-frequency and the high-frequency features, and provides more frequency perception information. Thirdly, a Dual Discriminator (DD) is designed to ensure the consistency of semantic information between global and local region images, while reducing the discontinuity and blurring differences at the boundary during image inpainting. Finally, extensive experiments on the proposed ancient painting and Huaniao datasets show that our proposed method outperforms competitive image inpainting methods and exhibits robust generalization capabilities.

The Application of 3D Printing Technology in Yuan Blue-and-White Porcelain Art

Yuan blue-and-white porcelain, as a representative of Chinese ceramic art, is highly appreciated for its unique artistic value and cultural connotations. With the advancement of technology, the application of 3D printing technology in artistic creation has become increasingly widespread. This paper explores the specific applications of 3D printing technology in Yuan blue-and-white porcelain art, including improving the production process and promoting the complexity and innovation of designs. Through 3D printing technology, artists can accurately reproduce complex design patterns, enhancing production efficiency and quality while reducing errors associated with manual crafting. Additionally, 3D printing technology provides artists with greater design freedom, breaking the limitations of traditional manual techniques and making Yuan blue-and-white porcelain art more diverse. By analyzing specific cases, this paper demonstrates the practical effects of 3D printing technology in improving creation efficiency and quality. For instance, using 3D printing technology, artists can quickly produce multiple Yuan blue-and-white models for experimentation and adjustment, saving time and costs. For complex patterns and shapes, 3D printing technology can complete them in a short time, allowing artists to focus more on creative design. Furthermore, 3D printing technology enables high-precision repetitive production, ensuring consistency in quality and appearance of each piece. In the future, as 3D printing technology continues to develop, its application in Yuan blue-and-white porcelain art will become more extensive and in-depth, bringing more innovation and development opportunities to this traditional art form.

Associations between Japanese calligraphy practice and sleep quality in community-dwelling older adults: A cross-sectional Study

BackgroundSleep disturbances, such as insomnia, are common among the elderly population and have been associated with negative health outcomes. Japanese calligraphy is a traditional art practice previously associated with various health benefits, such as stress reduction and improved cognitive function; however, its association with sleep quality has not been fully explored. MethodsThis cross-sectional study included 21,207 subjects with basic attributes, health status, depressive symptoms, artistic practices, and sleep habits. Individuals who satisfied the chronic insomnia criteria were categorized into the following subtypes: sleep onset latency (SOL) insomnia, early morning awakening (EMA) insomnia, and wake after sleep offset (WASF) insomnia. The t-test, chi-square test, and logistic regression analysis were used to determine the association between Japanese calligraphy practice and sleep quality. ResultsIn this study, 17,597 elderly Japanese individuals were included, among whom 13.7 % practiced Japanese calligraphy. Regarding sleep characteristics, 32.0 % had chronic insomnia, 13.1 % had SOL insomnia, 9.1 % had EMA insomnia, and 14.2 % had WASF insomnia. Japanese calligraphy practice was associated with lower rates of chronic insomnia (odds ratio [OR] = 0.85, 95 % confidence interval (CI) = 0.76–0.95), including SOL insomnia (OR = 0.84, 95 % CI = 0.71–0.98), and EMA insomnia (OR = 0.80, 95 % CI = 0.66–0.97) but had no significant association with WASF insomnia. ConclusionsThis study suggests that Japanese calligraphy practice is associated with lower odds of insomnia, particularly SOL and EMA insomnia. Calligraphy may be an effective nonpharmacological intervention for insomnia and poor sleep quality among elderly Japanese individuals.

Fashion and Politics, The Politics of Fashion: Józef Simmler’s Portrait of Emilia Włodkowska, Society Portrait and Haute Couture

The article proposes an analytical approach tuned to 19th-century society portraiture and tests it on Józef Simmler’s Portrait of Emilia Włodkowska (1865, National Museum in Warsaw). The pictured ball gown was likely by Worth and presented as being worn in Paris rather than in Warsaw to respect the politically-motivated Polish national mourning (1861–1866), culminating during the January Uprising (1863–1864) against Russian rule, that precluded organizing and attending balls at home. The portrait was an act of public performance—and indeed it was publicly exhibited at the artist’s posthumous exhibition in Warsaw in 1868. Its staging and costuming reflected the sitter’s particular agenda fine-tuned to multifarious current contexts: she promoted her Warsaw fashion house and herself as a respectable society lady and competent agent of French fashion in the period of political turmoil and resultant expectations concerning Polish women’s dress and conduct. The portrait showcases Simmler’s juste milieu approach and illustrates a very current shift in the fashionable female silhouette, advocated by Worth, while referencing the dress and artistic tradition of the 17th and 18th centuries and drawing inspiration from the new medium of photography.

Wild Things: Planning for children in a traditional art museum

AbstractIn 2022, Isabella Stewart Gardner Museum opened the temporary exhibition Drawing the Curtain: Maurice Sendak's Designs for Ballet and Opera. Predicting most visitors would know Sendak as the creator of children's books such as Where the Wild Things Are, the Gardner team decided to consider families with children as potential visitors. Though the Gardner regularly offers family guides and children's programming, this would be the first time the Museum would explicitly welcome children in an exhibition. The result was a unique exhibition experience that visitors of a variety of ages could enjoy together. This article describes the process the team used to develop and design the exhibition, told from the perspectives of the fine arts curator and children's museum designer who worked together to make it happen.

THE ASTONISHING BEAUTY OF CHHAU MASK: AN EMPIRICAL STUDY ON THE TRADITIONAL FOLK ART OF CHARIDA VILLAGE OF PURULIA DISTRICT, WEST BENGAL

Bengal, a land of beauty and prosperity in its cultural ancestry. The tradition is enriched by diverse folk art of various tribes and ethnic groups creating the uniqueness. Music, dance have great importance for recreational, aesthetic and cultural aspect of the state. The cultural background, social value and structure, history, religion and mythological concept are also reflected by the traditional folk art. Different types of folk art are found in West Bengal. Among them, Patachitra and Madhubani are respectively the traditional style of painting, characterized by their mythological stories and intricate designs. The other folk arts with great traditional significance are the embroidery art locally called, Kantha and metal casting technique based Dokra. The Chhau Mask making art is one of them important traditional folk art, essential for the age old Chhau dance. The present paper is empirical and qualitative in nature, mainly focused on the traditional folk art of Chhau Mask, an integral part of Chhau dance, of Charida village, its making procedure and people associated with the mask making economy.

Revitalizing Golshan and Sharifieh caravanserais: a study in adaptive reuse and urban preservation

The inefficient urban textures often turn into hotspots of social anomalies, leading to depressed, insecure, and non-participatory spaces. The issue of preserving historic urban textures and their dynamic evolution is essential for sustainable urban development. This research delves into the potential for adaptive reuse of the Golshan and Sharifiye caravanserais in the Hamadan city in Iran. These historically valuable structures previously helped in the facilitation of trade and travel; now, they need regeneration. The research, therefore, aims to harness the tourism and functional capacity of the abandoned Sharifiye caravanserai by linking it with the more popular Golshan caravanserai. This link will prevent abandonment and the deterioration of the Sharifiye caravanserai through the creation of an in-between space since it revitalizes both sites. The study emphasizes preserving cultural heritage while at the same time accommodating modern amenities to meet present needs. Therefore, the proposed adaptive reuse method would focus on preserving historical integrity while enabling the building to have a contemporary use. The method then proposes the creation of a transitional zone that transits the historic fabric to modern interventions. The revitalization and reuse of these caravanserais should be able to attract traders, generate hospitable conditions for residents, and increase local income through the tourism generated and the commerce of handicrafts and traditional arts. Effective principles of adaptive reuse are needed to maintain stability in the structure and function of these buildings. The study concludes that a balanced and thoughtful adaptive reuse approach with in-between space can bring transformation in the abandoned space into a lively cultural hub that would contribute both towards economic and cultural development in Hamadan.

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.

Membangun Budaya Kreatif Melalui Seni Batik di Yayasan Cinta Yatim & Dhuafa, Pisangan Barat, Kec.Cirendeu, Kota Tangerang Selatan

Abstract. Education plays an important role in shaping a bright and sustainable future, with creative and fun learning as the key to creating an inspiring learning environment. This article examines the event "SEBATIK - Batik Art for Creative Culture" held at the Yayasan Cinta Yatim dan Dhuafa, Cirendeu, South Tangerang on July 20, 2024. This event aims to introduce and preserve batik art, as well as to arouse interest and appreciation for traditional arts among the children of the foundation. With a creative and interactive approach, this workshop teaches basic batik techniques through training and direct practice, and provides appreciation to participants through prizes. The evaluation results show that this activity has succeeded in increasing the creativity and skills of children, as well as strengthening the relationship between the foundation and the community. This workshop also has the potential to open up new business opportunities for foster children, increasing their economic independence in the future. This article presents details of the event implementation, the results achieved, and its impact on participants and the foundation.

Pedagogical Dimensions of Traditional and Modern Art

Pedagogical and interart features of Nepali art are themes of discussions. Pedagogy is a very important aspect of Nepali paintings, so is the interart subject. Pedagogic practice of art has always remained the most important form of activity. But the traditional art has its own legacy and strength. The method of apprenticeship of art comes from both family and school. But to understand the strength of the pedagogy of paintings we should also look at the interart dimension of art studies. Nepal also provides ample examples of such concepts and practices through times. Art pedagogy has two clear sides. One is temporal and the other is spatial. The temporal meaning is that Nepali art learning or teaching happened with the call and needs of the times. The spatial meaning is that the teaching and learning of art in general has happened as part of the heritage. The paintings and, even more than that, the sculptural and architectonic forms abound with examples. Nepali artists' stories of going out for learning art and returning with training and degree and contributing to the pedagogy and other practice have their own histories.

Animal Portraiture in the Shah and Rana Era

In the art history of Nepal, the portrayal of animals was never the primary subject until the late medieval period. But animals were depicted as mount of gods and goddesses incommon practice. Independent animal portraitures are seen for the first time in the Shah period. In the National Art Museum of Bhaktapur, a collection of forty-eight distinct animal portraits has been available. There are two types of animal portraiture: mythical creatures and natural fauna. Mythical beings are śārdūla, simha, śarabha, and vyāla, whereas natural fauna are wild animals available in Nepal. Mythical creatures are mostly inspired by Persia, Central Asia as well as the Far East, whereas natural fauna is influenced by Pahari, Mughal, and Mewar artistic traditions. Animals are depicted engaging in fights, chases, and brawls, based on the animal kingdom. Among them, bull fight scenes commissioned by Rana Bahadur Shah, depicted by Nepalese artists. The background of the painting reveals a portrayal of mountains, trees, rocks, rivers, and other natural elements of Paubhāḥ painting. In the early nineteenth century, Nepalese artists used to make copies by Nepali artists using a camera lucida, drawing on paper with pencil, and filling with black ink or colors. Under Jang Bahadura Rana, Nepalese artists observed the photos, sketched them onto the canvas, and then applied colors.

Study on Decorative Art of Temple of Arrondissement in Zhangzhou Area

The purpose of this thesis is to make an in-depth study of the decorative arts in Zhangzhou. As an important part of the traditional culture in Zhangzhou, the decorative art carries rich humanistic connotation and unique artistic style. By discussing the history and development of Zhangzhou decorative arts, traditional decorative arts, the relationship between decorative arts and cultural traditions, as well as modern development and innovation, we can better understand the role of Zhangzhou decorative arts in local cultural inheritance and its role in promoting local economy and tourism.

Indoor thermal environment simulation of jade carving design process based on light sensing texture image processing

As a traditional art form, jade carving has gradually combined with modern technology in recent years, introducing new technologies in the design and production process. Indoor thermal environment has an important influence on the creation process of jade carving, especially the influence of temperature and humidity on the physical characteristics of jade carving materials and its processing. In this study, the influence of indoor thermal environment on jade carving design process was simulated by light sensing texture image processing technology, so as to optimize the design scheme and ensure the quality and artistic expression of jade carving works. The temperature, humidity and illumination data of indoor environment are obtained by light sensing technology, and the thermal environment required in jade carving design is simulated by texture image processing method. The thermal environment model was constructed to analyze the performance of jade carving materials under different conditions and evaluate the possible changes in the processing process. The simulation results show that the temperature and humidity of indoor thermal environment have significant effects on the toughness, hardness and detail performance of jade carving materials. At temperatures above 25° C and relatively low humidity, jade carving materials show better cutting results and surface finish. Texture image processing technology can effectively capture and analyze the subtle changes of materials, which provides a reliable basis for design decisions.

Indang dance: An innovation of baindang traditional art in Padang Pariaman

Indang Dance is one of the innovative dances in Padang Pariaman, originating from the traditional art of Baindang. Despite its cultural significance, little research has been conducted on this dance. This article aimed to determine (i) the form of Indang Dance in Padang Pariaman, and (ii) the audience’s responses to the performance of Indang Dance in Padang Pariaman. The study was conducted using a qualitative method, incorporating both primary and secondary data. The primary data were collected through observations and interviews, while the secondary data were gathered from literature reviews on Minangkabau performing arts. The data were analyzed using aesthetic theory, symbol theory, and reception theory. The results of the research reveal two main findings: (i) the form of Indang Dance is unique compared to other traditional dances in Padang Pariaman, characterized by its distinctive movements, costumes, and music; and (ii) the Indang Dance has received a positive response from audiences in various settings, including ritual activities and traditional ceremonies. It serves not only as a means of socialization for the Padang Pariaman regional development program but also as a form of social entertainment. The dance's ability to engage and captivate audiences highlights its cultural relevance and importance in the region. Through this study, we gain a deeper understanding of the Indang Dance's role in the cultural landscape of Padang Pariaman. The findings underscore the need for further research to explore the nuances of this traditional art form and its impact on the community. By documenting and analyzing the form and reception of Indang Dance, this article contributes to the broader discourse on Minangkabau performing arts and their significance in contemporary cultural practices.

Semantic Web Insights Into the Classification of Folk Paper-Cut Cultural Genes

This study aims to classify folk paper-cut patterns by regional culture, leveraging Semantic Web and LSTM technologies to discern how these patterns reflect distinct cultural characteristics. By developing an LSTM model capable of recognizing and categorizing these patterns, our study not only demonstrates high accuracy in classifying regional cultural genes but also reveals the depth of cultural heritage embedded in paper-cut art. The findings underscore the potential of computational methods in understanding and preserving the rich tapestry of cultural expressions through paper cuts. This work sets a foundation for future explorations into the digital preservation of cultural heritage, highlighting the critical role of technology in safeguarding and interpreting traditional arts in the context of regional culture.