Artistic Trends Research Articles

Translating Aphrodite: The Sandal-Binder in Two Roman Contexts

The Sandal-Binder Aphrodite, a witty variation on Praxiteles’ Aphrodite of Knidos, is one of the most frequently reproduced sculptural types in Greco-Roman art. Created in a variety of materials throughout the Mediterranean, extant versions of this iconography show the goddess in the act of tying (or possibly untying) her sandal. Although a large number of these works of art date between the first and fourth century CE, most studies on the Sandal-Binder have approached it primarily as an expression of Hellenistic Greek artistic trends. The present study shifts our attention away from the cultural milieu of the Sandal-Binder’s creation to that of its reception. Two well-preserved examples—one from a house in Pompeii and the other from London—attest to the process of translating or adapting this sensual image of Aphrodite to a Roman ideological framework. In both cases, it is through the language of body adornment that this transformation is achieved: while the example from Pompeii (a marble statuette adorned with gold paint) shows the goddess wearing contemporary jewelry and clothing, the diminutive silver figurine from London is part of a fashionable hairpin that points to the dissemination of imperial hairstyles in Rome’s remotest province. By calling attention to their design and function, this essay highlights the complex polysemy of Roman Sandal-Binders and the powerful messages they communicated to a diverse audience of viewers both at the heart of the empire and in the provinces.

Nadzieja, niezgoda, solidarność. Sztuka społecznie zaangażowana na czasy kryzysów

This article is wrapped around the notion of artivism and social art revealing the variety of phenomena and philosophies that fall within the field of these practices. The author looks at current trends in social art and discusses them both in relation to the broader, current context of the field of art and from the perspective of potential future developments. She cites selected examples of activities that combine art, activism, education, and work with the community and, analyzing them, points out their main goals and the demands for change they bring with them. In doing so, she seeks to name the most relevant and vital topics and social issues – both those already being addressed and explored by engaged art, and those that appear to be an important direction for it to head in. Key-words: community art, participation, artivism, democratic turn, audiences, art with community

The role of fairy tale publications in children's reading circle

In the article, using the example of editions of Ch. Perrault examines the peculiarities of publishing fairy tales for children as an indicator of the refraction of the traditional concept of children's books in tsarist Russia and changes in publishing policy in connection with the formation of new pedagogical and literary and artistic trends. The study is based on scientific methods, such as observation, bibliographic heuristics, historiographic, comparative-historical analysis. Editions of fairy tales by Sh. Perrault, as an object of research, is considered in the historical development of Soviet book publishing, which acted under the influence of ideological factors and social conditions that determined the subject matter, types of publications, their translations and design. The features of the stages of development of children's book publishing are characterized from the point of view of pedagogical and publishing priorities, the competencies of translators and artists, indirectly influencing printing resources. The subject area of the study includes modern editions of fairy tales by Sh. Perrault in the form of separate and special issues addressed to children with different reading abilities and aesthetic perception. The history of the publication of Charles Perrault's fairy tales is analyzed as a new type of publication that correspond to general political attitudes that make them legitimate for the perception of a children's reader. The article highlights the publications characteristic of each stage, which have developed under the influence of discussions about the combination of traditional and innovative views on the functions of a children's book: from edifying and moralizing to soviet propaganda and modern cultural and educational.

Contemporary art practices: terminological features and main characteristics

The article examines the term «contemporary artistic practices», which is used in scientific research and literature on contemporary art to refer to diverse artistic processes. Quite vague in its essence, the term nevertheless attracts authors and accurately characterizes current trends in art and design. The purpose of the work is to analyze the origins of the term, views on its understanding, and characteristic features that distinguish it from the traditional understanding of artistic creativity.

X საუკუნის რაჭის კანკელების მცენარეული ორნამენტების უცხოური ანალოგიების დადგენის მცდელობა

Figurative-ornamental relief samples of artistic processing of Racha stone of the 10th century are united in three individual workshops of different chronological stages on the basis of artistic-stylistic similarity. In the decoration of these monuments, including stone iconostases, it is worth noting the diverse ornamental repertoire built on plant-geometric motifs. Of the above mentioned, several characteristic motifs of plant ornament of Racha stone iconostases of the 10th century are presented. They are discussed in the context of comparison with parallel materials of other modern Georgian monuments. On the basis of comparative analysis of the monuments of Italy, Croatia, Iraq, Afghanistan, Syria and Egypt in stone, wood material and stucco of the 8th-9th centuries, the issue of the existence of foreign analogies of decorative motifs used in Georgian examples is confirmed. Which, in a broad historical-cultural context, should indicate the links of Georgian art of the 10th century with modern Eastern and Western civilizations and, accordingly, the mutual influence of artistic trends characteristic of the era.

«Бьюти-пространство» Боттичелли, поп-арт и гностики (к вопросу о становлении классического искусства)

<p>The article continues the series of publications by the author on the art of the Renaissance and the work of Botticelli. The author's concept of “classical art” allows us to establish closer connections with subsequent stages of artistic development, as well as with the Early Renaissance. The multi-level structure of Botticelli’s art and the “collage” nature of his works are substantiated. The “universality” of the classics correlates with the gaming strategies of Neoplatonism and Gnosticism. The features that bring the intellectual culture of the Renaissance closer to modern scientific and artistic trends are revealed. New contexts and parallels (Michael Psellus, Honore de Balzac, Arthur Schopenhauer, Alois Riegl, David Hockney, Roy Lichtenstein) allow us to re-evaluate the transformation of the Neoplatonic tradition in European culture. The author rejects rigid interpretations of Gnosticism and Neoplatonism in connection with the work of Botticelli, preferring an “aesthetic” or “poetic” reading. Within the framework of this essentially psychological approach, the author draws attention to the problem of “presence” (“life-likeness”), characteristic of both medieval and modern art. Social issues of interpretation of classical art are touched upon in the article in connection with elements of elitism in the culture of the Medici circle. The concept of “poetry”, developed by Petrarch and Boccaccio and going back to ancient prototypes, is fully consistent with this type of “court” culture, which played a decisive role in the development of classical art. The "decadence" of the late Quattrocento and the work of Botticelli as its highest expression were thus the result of very complex intellectual strategies that were continued during the High Renaissance and Mannerism. Particular attention in the article is paid to the revision of the usual views on the historiography of the Renaissance, the actualization of classical art historical concepts. The article returns to the problem of the origins of the semiotic concept of art. Pragmatism and the “irrational” concept of art (appealing to the unconscious) turn out to be quite compatible, that has particular theoretical significance for the revaluation of conventional approaches to the classical heritage.</p>

Art and Design Education and Factors of Technological Revolution

This study aims to explore the current development status of art and design education in China and the practice of technological revolution, and analyze the relationship between them. Understand the general profile of the respondents by investigating their gender, age, teaching years and other basic information. At the same time, the opinions of educators and students on the implementation level of art and design education are collected, including adhering to history and tradition, international influence, technological progress and innovation, education and research, market development and application, etc. By analyzing the impact of demographic variables on the level of educational development, we explore whether there are significant differences and verify them with statistical methods. In addition, investigate the extent to which technological revolutionary practices are implemented in art and design education, including technology integration and application, teaching methods and curriculum design, teacher team and professional development, student participation and feedback, etc. By analyzing the impact of demographic variables on the practice of technological revolution, we explore whether there are significant differences and conduct statistical analysis. Finally, combined with the survey results, the relationship between the implementation level of art design education and technological revolution practice is explored, and improvement suggestions and strategies are put forward to promote the progress and development of art design education and technological revolution practice. This research is of great significance for understanding the current situation and future development trends of art and design education in China, as well as for promoting educational reform and improving education quality.

Images of Scythian-Siberian Animal Style in Siberian Neoarchaics

The article considers Siberian neoarchaic as a trend of modern art, which originated in the early twentieth century. The aim of the study is to trace the stages of formation of Siberian neoarchaic as a style from the emergence to the present day, to identify the artists who worked within the framework of this trend and the Scythian-Siberian animal style. Important research tasks are to answer the question about the reasons for the appearance of Scythian art motifs in the works of contemporary artists and to analyze the ways of artistic borrowings in different types of art. The relevance of the work lies in the fact that modern society (and art) is in the process of searching for self-identity, and the appeal to ancient traditions and cultures is one of the most accessible tools on this path.On the basis of the comparative method and visual analysis of works, the author has identified artists who are bright representatives of Siberian neoarchaics, and from the 1960s to the present time have made a significant contribution to the history of art, using images of the Scythian animal style in their works. The analysis was preceded by a stage of studying the autobiographies of the painters and interviewing some living masters, which allows us to draw a conclusion about the reasons for their turning to such a narrow theme within the broad direction of Siberian neoarchaic art, as well as to identify the factors determining the formation of the author’s style. The works of 10 artists are analyzed in chronological order, unambiguous visual parallels with specific monuments of Scythian art are made, methods of artistic borrowing and techniques are outlined. A review has been carried out, which can be considered the first step towards the practical formation of the list of masters actually creating this trend. The stylistic features of Siberian neoarchaic art are revealed, which form the prerequisites for the formation of a methodological basis for the study of works of this style, a promising direction of art history research.

Музейные программы 2023-2024 гг., посвящённые творчеству японских художниц эпох Мэйдзи, Тайсё и Сёва

The aim of the research is to identify the features of the structure and content of a series of museum programs dedicated to the activities of outstanding Japanese female visual artists, as reflected in the exhibitions of 2023-2024. The author focuses on portrait painting presented in these exhibitions. The paper discusses the results of analyzing materials from research programs primarily focused on painting during the Meiji, Taishō and Shōwa periods. Studying academic publications, interviews, and catalogs of international museum events related to the works of innovative Japanese female artists allows for considering their works in a broad historical and cultural context, defining the scientific novelty of the research. Through the example of one of the largest research programs at the Nakanoshima Museum of Art, it is shown that museum programs provide new information about key events in the artists’ lives and the circumstances of their development as creators; they view female creativity as a multi-faceted and complex aspect of art history; they encourage a deep understanding of artworks, helping visitors form a holistic picture for their independent and unbiased analysis and evaluation; they showcase new trends in art, transforming the museum into a center for shaping the aesthetic taste of viewers; and they offer promotional materials not only for experts but also for a wide audience.

Gendered Art Entrepreneurship in South Africa: Emerging Artistic Trends Creating Empowerment Opportunities in Limpopo Province

Gendered Art Entrepreneurship in South Africa: Emerging Artistic Trends Creating Empowerment Opportunities in Limpopo Province

헝가리 민족의 문화적 정체성과 분리파 양식

During the late 19th century, the Austro-Hungarian Dual Monarchy brought modern transformations to Hungary, as a result of political compromise. Hungary, which was primarily an agrarian and underdeveloped nation, rapidly evolved into an industrial and agricultural state during this era. This transformation significantly influenced Hungary’s social structure, culture, and art fields. Additionaly, during the Dual Monarchy, Hungary actively pursued cultural exchanges with major European cities. This period laid the foundation for internationalization and Europeanization, while emphasizing national characteristics and originality. The influx and expansion of diverse pan-European cultural and artistic trends in Hungary were prominent during this time. The Hungarian Secession style played a pivotal role in creating a unique style grounded in the nation’s traditional folk motifs, which was influenced by modernism and avant-garde tendencies. The Hungarian Secession style in architecture aimed to go beyond static societal, philosophical, scientific, and artistic positivism by showcasing intricate trends. Stylization and ornamentation were utilized as a response to naturalism and as a continuation of symbolism and artistic abstraction.
 This style is characterized by organic and curvilinear lines inspired by nature, which are present in both the exteriors and interior decorations of buildings. The architecture style of Hungary in the early 20th century was characterized by complex decorations and bright, diverse colors, especially in tile and glasswork. Buildings were not only functional spaces but also used to express cultural identity. In the field of art, Hungarian artists emphasized national identity by combining traditional folk art and patterns with contemporary styles in their works, often featuring plants, animals, and other natural elements. During this period, literature utilized metaphor and synesthesia as tools for stylization and ornamentation. The preferred genres were dramas, fairy tales, fantastical short stories, psychological novels, and lyric poetry. The focus was on expressing inner worlds and life's sentiments directly. The Secession style had a significant influence on the genre of short stories and played a crucial role in literary journalism of the time. This movement emphasized the cultural and national values of the economically prosperous liberal middle class, recognizing traditional Christian national values and the aesthetic tastes of the middle class. The new realism of writers such as Móricz Zsigmond and Babits Mihály would have been impossible without this style.
 The Hungarian Secession style originated from the attempts of Hungarian artists to combine national traditions and folk art with a contemporary style. The performance particularly highlighted national and folkloric elements, demonstrating a distinctive way of expressing regional characteristics and national identity in Hungary.

EVOLUTION OF THE REALISTIC ARTISTIC AND AESTHETIC METHOD

This article delves into the evolution of the realist method, examining its interrelation with various artistic trends and currents. The impact of socio-political processes on the method's development is explored, emphasizing the dynamic nature of the artistic method and its continuous modifications in the expression of the author's ideas. The concept of 'realism' as a primary method in art is expounded, with an analysis of the perspectives of philosophers, art critics, and artists on its understanding throughout different epochs of cultural development. Characterizing features of realism are delineated, and a conceptual framework is presented, positing "realism" as a means of engaging with and comprehending spiritual and practical reality. The study establishes that realism serves as a conduit for unveiling the social and historical essence of humanity. Realistic painting, in particular, plays a pivotal role in transmitting the cultural code, illustrating the reciprocal interaction between individuals and their surrounding reality. This interaction contributes to a holistic representation of a specific historical period. The research paper encompasses a comprehensive examination of artistic methods, trends, and concepts, including romanticism, impressionism, symbolism, cubism, modernism, postmodernism, and metamodernism. The article underscores the significance of studying the evolution of realism in the visual arts and posits that the phenomenon in realistic art centers on the symbiotic relationship between individuals and their environment. In conclusion, the article asserts that realism not only unveils national traits but also communicates authentic facts that subsequently contribute to the shaping of historical mentality. The research interest in this exploration stems from a profound concern for understanding the nuanced evolution of realism in the visual arts.

Yan’an Literature in Thailand: Fundament, Spreading, and Impact

ABSTRACT Extraterritorial dissemination of Yan’an literature is a significant component of Yan’an literary system. The popularity of Marxism in Thailand provided an ideological soil for Yan’an literature. China’s social and cultural movements in the early twentieth century, “art for life, art for the people” literary and artistic trend, promoted the spread of Yan’an literature in Thailand based on which the special phenomenon emerged from the convergence of “literature of human being” and “literature for the people.” The Yan’an literature not only promotes the construction of modernity in Thai literature but also improves the system of research on Chinese literature in Thailand. At present, based on the unique aesthetic properties, humanistic care, and regional plot of Yan’an literature, Thai academic circles have begun to pay attention to the study of Yan’an literature and regard it as a part of the Chinese education system and become a carrier of Chinese cultural spirit in countries along the Belt and Road initiative.

Российская профессиональная и "любительская" театральная критика в зеркале дискуссий

The article is dedicated to discussions in old and new media about the state of modern Russian theater criticism and reveals the mechanism and consequences of dividing its authors into professionals and “amateurs” who write about the same performances, but with different degrees of responsibility and on different platforms – in special publications not for a mass audience and in amateur blogs that are easily accessible to everyone. A whole layer of scientific literature on theater criticism and theater journalism existing today in the conditions of digitalization of the media space and reflecting the phenomena of digitalization of the theater itself was studied. The theater critic has always not only assessed the phenomena of art, but also described them, trying to preserve living emotional impressions, recreating the appearance of disappeared performances, recording unique moments of acting, measuring the “temperature” of the auditorium; analyzed the changing styles and artistic trends, preferences, tastes and moods of the public. It would seem that the tasks of a professional theater critic remain the same. In fact, much has changed not only in its status, goals, functions, tools, and the content it creates, but also in the situation around it. Today we are witnessing the emergence of a new generation of young theater critics, who do not always have a special theater education, have never worked in professional media, call themselves bloggers, but are just as active as professionals in judging the theater. The topic of this study seems relevant since the discrepancies between the points of view expressed by the designated parties on modern theater are becoming more and more obvious. Therefore, the aim of our research is to study Russian theater criticism through the prism of the discussions going on around and within it. The study used the method of observing the practice of modern theater criticism, analyzed joint discussions published over the past ten years in the Russian media and the Internet, individual interviews and articles by professional representatives of the theater critical workshop and “amateur” bloggers about the purpose of criticism and the meanings it defends and the tools used. As a result, differences in the work of professional theater critics and representatives of amateur theater blogging, on the one hand, and, paradoxically, a tendency towards their convergence, on the other, were revealed. The described situation differs from the relationship in the environment of professional and blogger journalism, which is not related to such a specific field as theater. The most advanced “amateur” theater critics understand that they still cannot exist without knowledge of its fundamentals and deep mastery of the profession, and specialists feel a natural urge to move to the blogosphere, which they consider as an attractive platform for reaching the audience in conditions of a shortage of traditional print media.

Первые визиты писателей ФРГ в СССР

The first trips of West German writers to the Soviet Union after 1955 are practically not highlighted in the research literature. The article relies on RGALI documents: letters of German writers and reports made by their translators for the Soviet Writers’ Union. Establishing official contacts with West German writers became the main direction of Soviet literary policy in the post-war period. Before 1955, when diplomatic relations between the FRG and the USSR began, the writers of West Germany did not come to the USSR. The Foreign Commission of the Soviet Writers’ Union had insufficient information about contemporary German literature: new authors and their works, new literary groups, and artistic trends were not known in the USSR. The first West German guests of the Soviet Writers’ Union were little-known authors and journalists, as well as writers who sympathized with the USSR. In 1959, two famous West German authors, Heinrich Böll and Stefan Andres, were invited to the Third USSR Writers’ Congress. Böll refused the invitation, and Andres came to the USSR unofficially. In Moscow, Andres succeeded in meeting with the German Ambassador to the USSR to touch upon cooperation between West German and Soviet writers. Hermann Kasack, one of the most prominent German writers, was also in Moscow in the autumn of 1959, at the invitation of his son, an employee of the German embassy, and took part in the organization of the first Moscow delegation to the FRG in 1960.

Twórczość Wanga Guangyi i jej wpływ na rozwój pop-artu w Chinach

Since the late 1970s, profound changes have been underway across all spheres of Chinese society, encompassing the arts, thereby giving rise to new artistic trends and transformative shifts within the entire artistic tradition. Chinese artists have increasingly asserted themselves on the international stage. Concurrently, as the West became intrigued by Chinese art, two prominent trends – political pop art and cynical realism – were notably burgeoning. Notably, political pop art emerged as a foremost artistic movement in China during the early 1990s. Central to this trend is a predilection for symbolism, serving as a conduit for artists to articulate their sentiments and societal perspectives. Wang Guangyi is widely acknowledged as the seminal figure behind this movement in China. This article delves into Wang Guangyi’s creative evolution and the genesis of political pop art, exploring the antecedents of this novel artistic trajectory, its conceptual underpinnings, and stylistic hallmarks.

IMMERSIVE TEXTILE ENVIRONMENTS. ESCAPE INTO THE AIR

Installation art became an important phenomenon in the 20th century. In the 21st century, installations become immersive and involve the widespread use of participatory practices and increased physical contact with the viewer. One of the new trends in contemporary art that emerged in the first decades of the 21st century was the creation of floating, large-scale immersive textile structures or soft “environmental sculpture.” The objects are multivariate “walk-in” labyrinths, knitted or woven from fiber materials. The first steps in creating lightweight mesh structures were mastered by architects in the 1960s. Based on the bold decisions of their predecessors, contemporary artists Toshiko Horiuchi Macadam, Ernesto Neto, Tomas Saraceno, the group “Nume/For Use” and others laid the foundation for immersive textile installations - cyclopean webs of different types of structures and compositional solutions. The purpose of this study is to analyze modern textile immersive “walk in” labyrinths. An attempt was made to understand the reasons for the appearance of these artistic objects, their features and fundamental principles of execution were identified. The antiquity and reliability of textile practices, the properties of the fiber and the wide range of its aesthetic qualities have made textiles indispensable in the creation of installations of this kind. The deep metaphorical nature of the material evokes multiple connotations among the participants involved in the artistic process, enriches the range of their experiences, and awakens the intensity significance of meanings. In addition, the viewer gets the opportunity to have a unique experience and gains personal and subjective experience. Immersive textile installations have become a space for artistic expression and reflect a wide range of contradictions in the modern world.

CiteSpace-based visualization and analysis of digital media arts research

Abstract As an emerging art form, the development trend and impact of digital media art have attracted much attention, and the introduction of CiteSpace tools provides a new perspective for digital media art research, making it possible to analyze the scientometrics of this field. Relevant documents in Web of Science database were selected and analyzed by CiteSpace version 5.6.R4 for research collaboration and thematic co-occurrence networks. The results show that between 2004 and 2022, the total number of digital media arts research literature is 359, of which the literature volume from 2014 to 2022 accounts for 66.85%, and the average annual number of publications is about 27, reflecting the rapid growth of research in this field. Keyword analysis shows that “digital media art”, “digital technology”, “cultural industry”, “education “ and so on have become research hotspots. Digital media art research is gradually shifting from technology and nature exploration to university discipline construction and application practice, showing the trend of cross-border cooperation of disciplines.

Мир старообрядчества в русском изобразительном искусстве XVIII – первой трети XX вв.

Basing on a review of about 300 works created in the 18th – first third of the 20th centuries, the study presents a chronological and genre-thematic panorama of the development of the Old Believer trend in Russian fine art. It includes portraits, architectural landscapes, historical, genre paintings, book illustrations and sketches of theatrical scenery. The portrait genre is represented by commissioned works depicting real personalities and portrait types reproducing collective images of a diverse Old Believer community. Architectural landscapes captured key Old Believers locations — Vygoleksinskoe community, Rogozhskoye and Preobrazhenskoye cemeteries in Moscow, Pustozersk, Kerzhenets, Karelian necropolises. Historical painters came to the attention of such events as the presentation of new books by Patriarch Nikon, the rejection of newly printed books by Solovetsky monks, a dispute about faith in the Faceted Chamber, and the persecution of Old Believers. A special place is occupied by the images of Boyaryna Morozova and Archpriest Avvakum. Genre painting reflects the way of life of the Old Believers and its connection with the religious picture of the world. Over the course of two centuries, there was a formation and development of interest in the Old Believer theme, which found expression in enriching the genre palette and increasing the number of authors. About 60 artists showed interest in the Old Believers. A special contribution was made by M. Mylnikov, F. Solntsev, V. Perov, S. Miloradovich, V. Surikov, M. Nesterov, F. Malyavin, I. Kulikov, I. Goryushkin-Sorokopudov, B. Kustodiev, V. Kuznetsov, V. Plotnikov. In graphic and pictorial works, Old Believers act as bearers of national culture, adherents of their native antiquity.

АРТ-ИНВЕСТОР НОВОГО ПОКОЛЕНИЯ: СИСТЕМА ИНВЕСТИЦИОННОЙ ОЦЕНКИ ТВОРЧЕСТВА ХУДОЖНИКОВ (SIECA)

Modern art is dynamic and sometimes unpredictable, even for professionals. This increases risks and opens up new opportunities for investment in art objects by postmodern artists. The process of making financial decisions in the art market requires a special approach and consideration of many factors. In this article, we consider the system for evaluating the work of contemporary artists, which can be useful in making decisions and justifying the choice of objects for financial investments. The article analyses the problem of the modern art market. In the course of the study, a comprehensive analysis of the main trends in modern visual art was carried out. This analysis includes a presentation of the System of Investment Evaluation of the Creativity of Artist (SIECA) programme.