Traditional Folk Art Research Articles

Folk art traditions in modern culture

The subject of this research is traditional folk decorative and applied art in the context of modern society. The authors reviews the factors that affected the formation of this art form, the role of collective creative experience, the canon for preserving archaic images, symbols and manufacturing technique. The article reveals the conditions of familiarizing youth with the folk tradition, indicating the importance of continuity of generations. Since each artwork is the synthesis of tradition and creativity, attention is drawn to the possibility of interpreting traditional experience in the products of craftsmen. By referring to the facts from the history of the Romanov’s pottery and toy craft, the author provides examples of the emergence of new plotlines in the conditions of changing sociocultural situation, and analyzes their correspondence with the tradition. The application of dialectical method demonstrates fusions of the tradition and novelties in folk art of the past and modernity. The authors’ contribution consists in identification of the causes of the current crisis state of traditional folk decorative and applied art. The article analyzes various measures, including the creation of manufacturing groups in the XX century, which were aimed at its preservation. The experience of the previous generations of professional and folk artisans allows tracing the peculiarities in the development of crafts, such as correlation between the traditional and innovative. The authors examines the necessary conditions for continuity of traditions of folk culture in modern civilization, which requires deliberate actions.

Digital Inheritance Application of Chinese Traditional Folk Art in Art Teaching in Colleges and Universities

Excellent Chinese traditional culture is the concentrated expression of national and national culture and spirit. It is an important cultural symbol to build cultural confidence and show national image. The Internet has developed to a higher stage, which creates a new communication environment for the spread and development of Chinese traditional culture. First of all, this paper develops the definition of Chinese elements, and believes that the necessary cultural screening is the key to adapt to the modern innovation and transformation of Chinese elements and to build a national image in cross-cultural communication. Secondly, this paper makes a systematic study on the digital art translation of Chinese elements, and discusses the principles and Strategies of digital art translation from five aspects: concise symbolic language expression and context inheritance in immersion experience. Thirdly, this paper discusses the network node advantages of the Internet and constructs a spontaneous growth type of communication structure. Finally, based on the higher development stage of Internet, this paper systematically discusses the theoretical research of digital art communication of Chinese elements. The results show that the method proposed in this paper can promote the digital inheritance of Chinese traditional folk art in college art teaching.

The Application of Yangliuqing Woodcut New Year Paintings Based on Image Extraction Technology in Clothing Design

As a traditional Chinese folk art, Yangliuqing Woodcut New Year (YWNY) paintings with unique artistic symbols and rich artistic values have formed varied artistic styles since century. The purpose of this study is to explore the innovative application of traditional folk art combined with other technologies in the field of fashion and art design. Through literature research and object investigation methods, this paper analyses the subject and artistic characteristics of YWNY paintings, classifies the paintings and creates an image bank. Using the image extraction technology, we extract the characteristic elements with cultural symbols and representative colours and construct the corresponding elements resource libraries. Based on the modern design aesthetic and clothing craft design means, YWNY paintings are flexibly applied to fashion design and other design fields. Fashion trends in combination with the elements in YWNY paintings create works that have regional characteristics, which achieve the creative transformation of Tianjin folk art in fashion clothing design.

The Enlightenment and Application of Traditional Paper-cut Art to Graphic Design Based on Big Data

The traditional Chinese folk paper-cutting art has a long history. It is a traditional folk art form created by working people to satisfy their spiritual and material pursuits. It originates from life and returns to life. With the pace of the times, folk paper-cutting has undergone an innovative transformation and development through the interweaving, penetration and integration of contemporary design concepts. Through the combination of network big data, it provides a large number of references for modern graphic design decoration and function combination, graphic context inheritance, color language, modeling language, etc.

P. D. Bazhenov, I. K. Balakin, V. A. Belov – the artists-innovators in Russian lacquer crafts of the XX century

The subject of this research is the analysis of works of the three prominent artists of various Russian manufacturing centers of lacquer miniatures of the XX century – P. D. Bazhenov (Palekh), I. K. Balakin (Mstyora), V. A. Belov (Kholuy). The goal of this article consists in the attempt to create a “comparative biography" of the artists of various lacquer crafts, as well as demonstrate fruitful work of the miniaturist-innovator in different fields of art that are not a part of the traditional folk art. Among the manifestations of such innovation, the author indicates that the listed miniature artists found themselves in other fields of fine art, such as easel paintings, stage performance, posters, caricatures. The application of biographical method of research allows focusing attention on experimentation and innovation as the key feature that unites all three masters of lacquer crafts: P. D. Bazhenov in Palekh (1930s), I. K. Balakin in Mstyora (1940s – 1950s), V. A. Belov in Kholuy (1960s – 1970s). The scientific novelty lies in studying the practices of implementation of peculiarities of the aforementioned types of art in the works of lacquer miniatures. The main conclusion consists in the fundamental provision on justification of the artistic pursuit by any artist of folk art, which was oppugned during the Soviet period of the history of Russian folk art.

Renewal and Reconstruction in Hannah Ryggen’s Transcultural Tapestries

The tapestries of Hannah Ryggen (1894–1970) offer perhaps one of the most striking bodies of politically charged textile art of the twentieth century. In her work, Ryggen combines a modernist visual language with folk art traditions and contemporaneous images of war and corruptions; she uses the traditional craft of weaving to create a radical response to the chaos and violence of modernity. This article analyses the ways that, in the creation of her formally disruptive tapestries, Ryggen pioneers a modern, avant-grade feminist art practice that challenges society’s capitalist, patriarchal and imperialist frameworks. It will consider tapestries created across her four-decade long career, exploring the development from the anti-fascist pieces she created in the 1930s and 1940s, including Ethiopia and October 6, 1942, to later work in which she imagines a transformation of the world based on her communist and feminist principles. The article argues that, through her use of both natural materials and an ethical approach that is as equally attentive to the nonhuman as to the human, Ryggen’s artwork weaves together the domestic and the political, the local and the global, and nature and culture. Yet despite highlighting the man-made horrors of modern society, Ryggen’s methods and materials offer the hope of renewal and reconstruction through a feminist, ecologically grounded engagement with the world and one another.

Poets of the samanids era

It is known that during the reign of the Samanids, great attention was paid to the development of science, art, literature and culture in general. As a result of the attention given to literature and culture, many generations of poets and writers have been formed and they have created unique works of spiritual wealth.During the period of the Samanids, literary literature, first in Arabic and later in the 10th century, lyrical and epic poetry in the Persian language, based on folk art traditions, developed. The works of Rudaki, Farrukhiy, Shahid Balkhi, Dakikiy, Abu Shukur Balkhi and Firdavsi were based on the traditions of the Samanids. At that time, the Arabic language was widely used, although the language of population was Sogdian, Tajik, and Turkish. Arabic was also the language of international communication, science, literature and religion in caliphate. It is not accidental that the sources contain information about 47poets who writes in Arabic language in Bukhara in IX-X centuries. It is known that the number of the most influential Persian-speaking poets in this period reached 200. This article is dedicated to study the life and work of poets of the Samanid period in Middle Asia. In this article along with the well-known poets, the works of the some poets who are far from attention of scientific and literary community, and the ideas expressed in their works. The article also states that the Samanids played an important role in the history of the early Middle Ages, Middle Asia reached cultural development during the period of the Samanids, Persian-Tadjik language emergenced from Iran and Bukhara has become a major cultural center of the East in the tenth century.

The use of the artistic traditions of uzbek folk art in the lessons of fine art

The use of the artistic traditions of uzbek folk art in the lessons of fine art

Inflation Art: How Venezuelans Turned Unspendable Money Into A Symbolic Artform

Some Venezuelans have found a way to survive their country’s economic crisis by creating art from paper money made valueless due to inflation. They use a modular form of origami similar to that used by a group of Chinese refugees from the Golden Venture cargo ship in New York during the 1990s. The similarity is not the result of a direct connection; most likely both practices are based on the same traditional Chinese folk art techniques. The unique aspect of the Venezuelan crafts is that they almost exclusively use devalued Venezuelan currency as artistic material. This document provides a closer look at the development of this money art within the context of the migrant crisis through the perspective of Art For Impact, a social organization that has worked directly with Venezuelan money artists in Cúcuta over the last two years.

Види навчальних занять з образотворчого мистецтва в позашкільній студії Золтана Баконія

Види навчальних занять з образотворчого мистецтва в позашкільній студії Золтана Баконія

Research on the Inheritance of Traditional Folk Art under the Protection of Intangible Marine Cultural Heritage

By elaborating the meaning, content and value significance of traditional folk art under the protection of intangible Marine cultural heritage, this paper analyzes the characteristics of intangible Marine cultural heritage of traditional folk art and the challenges faced by the intangible Marine cultural heritage, The inheritance of traditional folk art can be realized by building academic research platform, government leading, public participation principle, developing tourism function, building heritage resource bank and other ways, hoping to provide theoretical reference basis for the inheritance of traditional folk art under the protection of intangible Marine cultural heritage.

New Technology and New Shadow Play: New Media's Technical Promotion of Shadow Play

Shadow Play is an ancient traditional folk art, which has been included in the Representative List of the Intangible Cultural Heritage of Humanity at present. Different forms of entertainment sources have appeared one after another with the rapid development of society. Because of its lack of competitiveness, Shadow Play has disappeared from the public's eye increasingly. In the meanwhile, different digital media technologies are used in a wide range of all aspects of life and entertainment. It’s also a particular fine opportunity for Shadow Play to develop itself again. This article attempts to discuss the application of digital media art in the content and stage of Shadow Play and combine digital media art with the stage presentation of Shadow Play. There is some advice that is come up for the development of Shadow Play in the contemporary society, which also provides a better conservation for traditional art and hands it down.

OUTSTANDING MASTERS OF UKRAINIAN FOLK ART: BIOGRAPHICAL NARRATIVES

The article considers the problems of creating a semantic component of the pedagogical narrative (based on biographical studies of prominent personalities of Ukrainian national art) as an effective method of professional-pedagogical education of teachers of fine arts. Among the most representative phenomena of Ukrainian culture are the works by Hanna Sobachko-Shostak, Kateryna Bilokur, Oleksandr and Nadiia Babenko, the Piliuhin family. As a result of the research, the individual features of our selected outstanding masters of Ukrainian folk art were clarified, the influence of the social environment and the family on the formation and creative development of outstanding Ukrainian folk artists was determined.The Department of Fine Arts of Poltava V. G. Korolenko National Pedagogical University has developed biographical narratives about outstanding masters of Ukrainian traditional folk art, which are used in teaching the following subjects: "History of Ukrainian Fine Arts", "History of Decorative and Applied Arts", "Basics of Decorative Composition". The study proved the effectiveness and feasibility of introducing biographical narratives in the training of future teachers of fine arts.

Sacred art in the context of the creation and regulation of the religious buildings environment design in Galicia

Today, while constructing new churches and the restoring the old ones, historical research on the creation and regulation of the environmental design of the Galicia cult buildings is relevant. The purpose of the study is to initiate thorough research on the role of sacred art in the development of the environmental design of the religious buildings of Galicia on the material of the late XIX — early XX century. The methodology of the study is systematic, authentic, historicist, and logical. The author examined hundreds of complexes of sacral buildings in Galicia. Synthesis of sacral art and design played an important role in the creation and regulation of the environmental design of the religious buildings of this region. Nevertheless, the end of the nineteenth — the beginning of the twentieth century is a period of elevation in the national culture's development of the Ukrainians of Galicia. These are interiors of churches in Lviv, Tarnivtka, Drohobych, Vorokhta and other cities and villages of the region made with imitation of the historical epochs and national style. Inheritance of historical styles, such as Ukrainian baroque and folk art traditions, played an important role in the spiritual life of the Ukrainians of Galicia. They became one of the important factors in their national self-identification and in the revival of cultural life at the turn of the nineteenth and twentieth centuries.

Роль митців та творчих майстринь у процесах художнього виробництва підприємства «Укрхудожпром» у період індустріалізації

Стаття присвячена малодослідженій у вітчизняній науці проблемі спроб індустріалізації виробництв, що працювали в художній промисловості України в ХХ ст. Зазначаються особливості розвитку індустріалізації вишивального виробництва. Висвітлено історико-культурні умови розвитку вишивального мистецтва, домашньої промисловості, артілей, кустарну промисловість, мануфактуру, фабрики, підприємства «Укрхудожпрому». Зміни, що відбувались в економіці країни в 30-і рр. ХХ ст., призвели до зрушень, у результаті – до т. зв. індустріалізації, промислового виготовлення одягу, яке у попередні роки розпочалося в майстернях та артілях, зосереджуючи його переважно на підприємствах легкої (швацької) промисловості. Здійснились заходи щодо механізації робіт як у виготовленні одягу загалом, так і в застосуванні вишивки. Таким чином, роботи з виготовлення вишитих виробів сконцентрувалися в першу чергу на підприємствах новоствореної галузі «Укрхудожпром» («Українська художня промисловість»), розташованих у традиційних центрах народної творчості. Значний внесок у розвиток української художньої вишивки Київщини становить творча діяльність Н. Я. Гречановської, яка багато років працювала головним художником Художньо-виробничого об’єднання ім. Т. Г. Шевченка (м. Київ). Художники та творчі майстри цього підприємства не лише зберігали, але й креативно розвивали народні традиції. Для цього на підприємстві була створена художньо-експериментальна лабораторія, в якій розроблялись нові орнаментальні композиції як виразники нових сучасних тенденцій розвитку вишивального мистецтва. Дослідження ґрунтується на використанні архівних матеріалів та спостережень культурологічного, історичного та мистецтвознавчого аналізу, висвітленні проблем, які пов’язані з діяльністю традиційних народних мистецтв і обставин розвитку, історичної еволюції «Укрхудожпрому». Актуальність означеної проблеми обумовлена потребою збереження української автентичності, дослідження та висвітлення особливостей створення сучасних виробів галузі художніх промислів, таких як художня вишивка, що є найдревнішим різновидом народної творчості.

Preservation and Promotion of the Traditional Chèo in Vietnam Today

Chèo is a form of traditional folk art performance of Vietnam, originated about 10 centuries ago. Cheo derives from folk music and dance, especially parody. This form is the result of artistic creation of Vietnamese peasants in northern Vietnam to Nghe An and Ha Tinh. Since its introduction, Cheo has received the attention and love among people of all classes for centuries. Quan Am Thi Kinh, Luu Binh Duong Le, Truong Vien and Kim Nham together with famous chiếng chèo: chiếng chèo Doai, chiếng chèo Bac, chiếng chèo Dong, etc. showed intense vitality and the spread of Chèo. However, along with the history of national struggle, innovation, socio-economic development, especially international integration, many new types of culture have been introduced to Vietnam while traditional art has not caught up and met the requirements of the public. It has directly contributed to weakening the values ​​of traditional culture in general and folk art including Chèo in particular. By analyzing historical and cultural documents, the article focuses on the process of formation and development of Vietnamese Chèo in history, from which to look at the contemporary of this art form and propose measures for preservation and promotion.

The Art of Carving and Preconditions of Establishment of Spatial and Object Design in Galicia

The study emphasizes the importance of carving in spatial and object design in Galicia region of Ukraine. It has been proven that one of the factors that influenced the development of carving was the work of a number of original masters, who were inspired by the centuries’ old traditions of folk art: ornamental-compositional structures, scenes of carved decoration, techniques of carving, symbolism of images, religious ritual, etc.Analysis of the most famous iconostases made in the Ukrainian style showed that traditions of the folk religious art (ornaments of the shamrocket, etc.) and archaics (diamond-shaped, circular and other geometric ornaments) served as the basis for their carved decorations. Thus, Ukrainian modernism was the culmination of a long-term evolutionary process that formed the spatial and object design of churches in Galicia

DISCUSSING THE ROLE OF GOVERNMENT SECTORS IN PRESENTING THE EGYPTIAN FOLKLORE

Popular culture is all the spoken expressive forms and other arts of expression that are stored in popular memory, and it is the sum of the elements that constitute the dominant culture of the society in any country or a limited geographical area, this culture results from the daily interactions between the elements of society in addition to its needs and desires that constitute the daily life of the sector Most of the society, this culture includes all the social practices that the individual practices every day in his daily life. The study of the forms of popular culture makes us strive to highlight what distinguishes folk arts from primitive arts and cultured arts on the other hand, and these three types are among the most important types known to man since his earliest times, in prehistoric times there were primitive arts, and when civilization began and history began The human being has become to man his popular art, and after many centuries of the emergence of civilization, but in our modern era itself, we find the relics of cultured art, folk art traditions, and evidence of primitive art. Grammar Folk traditions fall between two influential circles.

Traditional Intricate Paper Cutting Techniques of Southern Thailand: Background, Beliefs, and Cultural Animation of Thai Buddhist Culture

Intricate paper cutting of Southern Thailand is a traditional folk art, which is passed down from one generation to another. However, there are no detailed studies or records of the historical backgrounds, beliefs, and cultural animation of Thai-Buddhist culture in Southern Thailand concerning this folk art. This study, therefore, aims to examine this art form in Songkhla and Nakhon Sri Thammarat provinces, which have their own cultural identities. The goal is to register this art form as a part of cultural heritage. The compilation of vital data includes (1) paper characteristics, (2) paper engraving methods, (3) colours, (4) instruments, (5) pattern designing, (6) purposes of the arts, (7) origins and history, and (8) knowledge of transferring methods. The findings reveal the origins of the beliefs and Buddhist faith of the community. The intricate paper cutting techniques are still maintained in the form of decorations found at auspicious events, festivals, and cultural ceremonies in every region of Thailand. The techniques of this art form are in decline but its use still prevails in community life, remaining favourites at auspicious festivities and cultural events for the sake of conserving distinct identities.

Problems of interpretation of the piano compositions byZhangZhao (on the example of the Fantasy “Pihuang”)

Problems of interpretation of the piano compositions byZhangZhao (on the example of the Fantasy “Pihuang”)