Works Of Fine Art Research Articles

Probe into the Symbolic Significance of Cultural Symbols and Traditional Crafts of Huizhou Lacquerware

Through the analysis of the development course and regional characteristics of Huizhou lacquerware, this paper reveals its unique artistic characteristics and the profound cultural value behind it. This paper introduces the whole process of Huizhou lacquerware from raw material selection to finished product production in detail, and discusses the inheritance status and challenges of this process in contemporary society. It is found that Huizhou lacquerware is not only a fine work of art, but also an important medium to convey the essence of China culture.

THE ELABORATION OF SACRED AND PROFANE IN FINE ART WORK ENTITLED "WHEN HANDS AND FEET ARE TALKING”

The article "Sacred and Profane Elaboration in a Work of Art Titled When Hands and Feet Speak" by Much. Sofwan Zarkasi and Bening Tri Suwasono explores the intersection of sacred and profane elements in art, a convergence rarely seen in modern works that typically separate art and religion. This meeting of sacred and profane is grounded in Islamic prophetic values derived from Quranic knowledge. The authors argue that since the purpose of human life is to worship, and art is a part of human activity, art should also encompass the concept of worship. Thus, art becomes a blend of sacred and profane activities, presenting visual beauty and values that remind humans to protect the world from harm. The method used in creating "When Hands and Feet Speak" follows the stages of creation by L.H. Chapman: a) finding ideas, b) refining, developing, and solidifying initial ideas, and c) visualizing in the medium. This process is enhanced by adding d) the intention to work for worship at the beginning and including evaluation and gratitude at the end. The technique combines printmaking and collage to produce the final artwork. Keywords: Elaboration, Sacred, Profane, Fine Arts

RUSSIAN PAINTING OF THE 19TH - EARLY 20TH CENTURY AS A REFLECTION OF CULTURAL IDENTITY (REVIEW OF A MONOGRAPH BY KOPTSEVA N.P., KOLESNIK M.A., LESHCHINSKAYA N.M., SAMARINA D.N. “RUSSIAN CULTURAL IDENTITY IN THE FINE ARTS OF THE 19TH - EARLY 20TH CENTURIES.

The article is a review of the collective monograph authored by the Siberian Federal University scholars — Koptseva N.P., Kolesnik M.A., Leshchinskaya N.M., Samarina D.N. “Russian cultural identity in the Fine Arts of the 19th — early 20th century”. The researchers examined the features of Russian cultural identity construction in the works by V.G. Perov, I.Ya. Bilibin, M.V. Nesterov and B.M. Kustodiev. The relevance of the book lies in the fact that it is the first of its kind in the series of scientific art criticism and cultural literature “Russian Culture”. The scientific novelty of the monograph consists in the philosophical and art criticism analysis of religious philosophy as a source of cultural identity, in the substantiation of new theoretical concepts such as area-critical and area-romantic styles. The results of the presented work contribute to the study of the process of constructing Russian cultural identity from the standpoint of God-seeking in works of fine art of the late 19th — early 20th centuries. The practical value of the book lies in the systematization of the basic content of Russian cultural identity and the establishment of a connection with the key concepts of Russian religious philosophy, including the ideas of Russian Orthodoxy, Slavophilism, the concept of Sophia — the Wisdom of God in the interpretation of V.S. Solovyov, the application of the sociology of imagination in the study of mythology, symbolism, semiotics of signs, visual perception of painting. The results of the research outlined in the book can be used in teaching courses on the history and theory of Russian culture as well as in the creation of special courses and programmes based on the relationship between culture, philosophy, Religious Studies and literature.

The impact of structural analysis of works of fine art on enhancing the creativity of artists and interior designers

This article explores the impact of structural analysis of a work of art on enhancing the creativity of designers and artists. The results of the study showed that consistent adherence to all stages of the artistic and compositional aspect of the analysis of an art object can have a significant impact on increasing creative capabilities in the development of creative thinking, as well as obtaining the necessary instrumental skills for creating various types of internal spaces using objects of fine art. As part of this study, recommendations were also drawn up for the practical use of associative components to create the desired emotional atmosphere in various types of interiors. The results of the study allowed us to propose a methodological approach based on a sequential process, which includes art tasks for students and recommendations for integrating the creative process from the field of art into art education. The proposed approach can also be applied to improve creative skills through analysis in other types of fine arts and will provide an opportunity to replenish and expand the knowledge base in this area.

Community Response to the Existence of Mural Artwork in Gampong Peunayong, Banda Aceh City

Mural art is a work of fine art that is depicted on a large, flat medium, such as the wall or ceiling of a room. Murals first appeared as a means of aspiration during the Indonesian war for independence. At that time, the street walls were covered with various kinds of critical and satirical murals. This research activity was carried out in Gampong Peunayong, Banda Aceh City. This research aims to find out how traders and the local community react and respond to the existence of murals on the walls of Gampong Peunayong buildings. In terms of examining research objects and subjects, researchers use qualitative research methods, which discuss descriptively the entire data obtained during the research. As a supporting tool, researchers used Clive Bell's Form Theory to examine the shapes in the murals in Gampong Peunayong briefly. The research method used is qualitative research. This research aims to find out how the local community that lives around the murals exists and examine information about the murals depicted on the walls of Gampong Peunayoung. Based on the results of research in the form of explanations and responses from the community regarding the existence of murals in Gampong Peunayong, some people accept and are happy with the presence of murals in their environment, especially traders at the Peunayong market. However, some others did not like the visual mural that was presented. The impact of murals on the economic growth of traders at Peunayong Market is also not really felt; whether or not there are murals, traders still have customers.

Please Walk on This: Gutai and the Emergence of Walkable Art

Abstract This essay traces the emergence of ‘walkable art’, a term used to describe works of fine art made to be walked on by audiences. Focusing on the two earliest examples of such works, created respectively by Gutai artists Shōzō Shimamoto and Akira Kanayama in 1955 and 1956, it argues that the rise of walkable art evinced an attempt to mediate the reconstruction of human subjectivity in postwar Japan through a close engagement with bipedalism. By offering a new model for conceptualising a spectator’s relationship to ground-based works, the category of walkable art that emerged in mid-1950s Japan challenges canonical, Euroamerican-centric narratives of horizontality. It also attests to the expanded interest among postwar artists from the Americas, Asia and Europe in using the ground to develop new approaches for displaying and experiencing art.

Kreativitas Keterampilan Seni Rupa Peserta Didik Di Kelas Salak di TK Pembina 1 Medan

Fine arts education in kindergarten (TK) has an important role in developing students' creativity and fine arts skills. This research aims to describe the creativity of students' fine arts skills in the Salak class at Kindergarten Pembina 1 Medan. The research method used is qualitative with observation, interview and documentation techniques. The results of the research show that students in the Salak class have different levels of creativity in fine arts skills. This can be seen from the diversity of their fine art works, both in terms of shape, color and techniques used. Factors that influence the creativity of students' fine arts skills include interest, talent and stimulus provided by the teacher. Teachers need to provide appropriate stimulus that is appropriate to the students' level of development so that they can develop their creativity and fine arts skills optimally.

Designing exhibitions of Chinese art in Soviet Art Museums: from collectible to problematic method

The object of research is Chinese fine art presented in Soviet museums, museum practice and scientific discourse that has developed around the study of Chinese art in the USSR. The subject of the research is the specifics of designing exhibitions of Chinese art in Soviet art museums and the issues of its historical transformation. The analysis of a number of exhibition events held in Soviet museums and dedicated to Chinese fine art is proposed. During the consideration of the topic, such issues as the factors that influenced the methods of Soviet scientists in planning Chinese expositions, the degree of their effectiveness in relation to communication between the Soviet viewer and works of Chinese fine art are traced. This material is used to reconstruct the process of transformation of Soviet art critics' approaches to presentation and communication in the field of Chinese art. The comparative historical method is used to allow a comparative analysis of the Early Soviet and late Soviet periods in order to comprehend the issues of the evolution of scientific knowledge about Chinese art, approaches to its research, museum presentation and communication in this area. A descriptive method of analyzing exhibitions and collections of Chinese fine art in Soviet museums is used. For the first time, the nature of Soviet museum studies of Chinese fine art is generalized, the approaches of Soviet researchers to presentation and communication in the field of fine art in China are revealed, and their historical transformation is traced. The main conclusions of the study are as follows. The nature of the evolution of Soviet researchers' approaches to presentation and communication in the field of Chinese fine art in USSR museums is determined by the movement towards the development of deep scientific ideas, which in the late Soviet period provide a reliable basis for the effective implementation of certain approaches to exposition planning, the complication of exhibition events, the movement of Soviet museological theory from an ideologized view of exposition material as a means education of a citizen of a new formation, to the perception of an independent artistic idea of exposition works. Since the second half of the 1980s, new principles of artistic communication between the viewer and works of fine art have been formed in the USSR: an independent artistic idea of exposition works is brought to the fore, which provides favorable conditions for the Soviet viewer to perceive traditional Chinese aesthetics as a separate phenomenon of ancient and original Chinese culture.

The forms of positioning of Russian fine art in the cultural space of modern Shanghai

The purpose of the study is to identify the main forms of presentation and positioning of Russian fine art, in particular the St. Petersburg art school, in the cultural space of modern Shanghai. The research material is the works of fine art by artists from Russia, which were presented during this period at exhibitions and other cultural and educational events in Shanghai. Tasks: to determine the range of events in Shanghai in which the works of Russian artists participated in the 2010-2020s.; to characterize the works of Russian authors presented at exhibitions, including through the artistic analysis of the latter; to identify the authors, themes, genres and images of Russian painting, and historical periods that are in demand by residents of the Chinese city. The theoretical and methodological basis of this research is the works on the history and theory of Soviet and modern Russian art, the art market, philosophy and aesthetics, as well as factual materials related to the artistic life of modern Shanghai, especially those presented in announcements and descriptions of exhibition projects and other events in Shanghai with the participation of Russian painting. The novelty of the study is due to the fact that it highlights the current situation in the field of presentation of Russian art by Chinese institutions on the example of Shanghai, a city that is traditionally famous for its ties with the culture of its northern neighbor, especially with St. Petersburg – the cradle of the artistic traditions of Russian art. By referring to the material of art exhibitions of the 2010-2020s, which took place in different spaces of Shanghai, the author analyzes which approaches the curators of such projects prefer in the presentation of Russian painting, both modern and Soviet period. An artistic analysis of the pictorial material of the exhibitions is carried out. The main function of these events is determined by the comparison of Russian and Chinese painting, which is important for new generations of masters.

Features of copyright inheritance

The article examines the provisions of the current legislation of Ukraine concerning the inheritance of copyright, and considers specific property copyrights as an object of inheritance. The content and essence of personal non-property and property copyrights under current Ukrainian legislation are clarified. It is stated that intellectual property rights may be transferred from one person to another, and therefore they may be the subject of inheritance relations. The author emphasises that transfer of such rights by inheritance is one of the non-contractual ways of disposing of intellectual property rights. Based on the study conducted, the author finds out that, as a general rule, only proprietary copyrights are transferred to heirs by inheritance. Thus, the author has found out that the heirs may inherit the right to use a work, the exclusive right to allow or prohibit the use of a work, and the right to prevent unlawful use of a work. At the same time, it is proved that some non-property copyrights in a truncated form may also be inherited, but their scope and nature remain controversial in science. It is determined that the author’s heirs have the right to protect the author’s personal non-property rights, in particular, to counteract the distortion, misrepresentation or other alteration of the work, as well as any other encroachment on the work which may harm the author’s honour and reputation. It is also determined that in the event of the author’s death, the author’s heirs, interested parties, or a person authorised by the author may protect the inviolability of the work. In addition, the author analyses a number of specific copyrights which do not have provisions on inheritance in the legislation, and based on the opinions of scholars, draws conclusions about the possibility of their transfer by way of inheritance. Thus, the author identifies the problematic issues regarding the possibility of transferring the right to participate in the implementation of projects of works of architecture, urban planning, and landscape gardening by way of inheritance. The author also finds out that the right of access to a work of fine art, although it has a property content, cannot be inherited due to the close connection with the personality of the creator-author. The author proves that the right of imitation is inherited and is valid for the same term as property copyrights, but it cannot be alienated to other persons, either by the author or his/her heirs.

Studi Deskriptif Karya Seni Rupa Berbahn Clay Tepung

This study aims to describe the process of making art works made from clay flour and works of fine art made from clay flour in class IV A SDN 32 Bengkulu City. This type of research is qualitative, with participant observation techniques, and qualitative descriptive method. The research subjects were all students of class IV A 32 elemnetary school in Bengkulu City, totaling 20 students. The research instrument used was a human instrument (the researcher himself), by using observation guidelines and interview guidlines. Data collection techniques in the form of observation, interview, and documentation. Data analysis was carried out during the process of making the work and after the work was finished by referring to the fine arts elements and the principles of fine arts. Research results are (1)the process of making fine works of clay flour begins with preparing the tools and materials used, namely scissors, cutter, small rollers, straw, pins, toothpicks, cutton bud handles, ruler, lighters and painting brushes, followed by the implementation of making works from determining the theme, making shapes out of clay’s flour dough, laying out and arranging the forms that have been made and drying the work. (2) The results of artwork made with flour clay has used the guidelines elements of fine arts and the principles of fine arts, namely the elements of point, lines, fields, shapes, colors, textures and space. Then, the principle of unity, balance, rhythm, emphasis, proportion, and harmony.

Боротьба сумо крізь призму мистецтва: культурно-історичний аналіз

Purpose: based on the analysis of scientific sources, to identify the peculiarities of the reflection of sumo wrestling in various types of Japanese fine arts and to reveal its role in the formation and expression of the national identity of the Japanese. Material and methods. To solve the research tasks, the following methods were used: historical and cultural analysis - to study the origin and development of sumo wrestling as a cultural phenomenon; art historical analysis - to identify the specifics of sumo reflection in various art forms; iconographic analysis - to study plots, motifs, artistic images related to sumo wrestling. Results: based on the analysis of scientific and methodological information and Internet sources, it was found that sumo wrestling is a unique and distinctive Japanese sport with a long history. It is an integral part of Japanese culture and has a deep cultural and symbolic meaning. Images of sumo wrestlers are often found in various forms of Japanese art - painting, graphics, sculpture, etc. However, a comprehensive study of the reflection of the theme of sumo wrestling in art has not been conducted before. The study of the peculiarities of the depiction of sumo wrestling in art will allow us to better understand not only the sport itself, but also the peculiarities of the worldview and aesthetic preferences of the Japanese people. An in- depth study of the cultural history of sumo through the prism of art will help to present the uniqueness and value of this tradition more clearly. This may interest young people and encourage them to take up sumo wrestling, while the images of legendary sumo wrestlers in painting and sculpture will inspire young athletes to reach the same heights of skill. Conclusions. A study of scientific sources has shown that the topic of sumo wrestling in Japanese fine art is not sufficiently covered. Sumo wrestling has deep cultural roots and symbolic meaning in Japan. Its images can be traced in art from ancient times to the present day. The analysis of works of fine art allows us to trace the evolution of ideas about sumo wrestling and its place in the national culture. Starting from the Kofun period, haniwa figurines depicting wrestlers performed an apotropaic function, scaring away evil spirits. In the Edo period, with the development of ukiyo-e prints, sumo wrestling became a popular theme in the work of leading artists. The images of legendary champions and dramatic scenes of fights attracted viewers. Wrestlers embodied the national ideal of courage and strength. In modern times, artists continue the tradition of depicting sumo, paying tribute to the cultural heritage of Japan. Keywords: sumo, ukiyo-e, print, fine art, haniwa, Edo period, ryokshi, Japan, woodblock print, netsuke, martial arts.

О книге Саймона Хейхо (Simon Hayhoe) «Опыт слепых посетителей художественных музеев»

<p style="text-align: justify;">The review introduces the book “The Experience of Blind Visitors to Art Museums” by Simon Hayhoe, a famous philosopher and professor at the University of Bath (UK), and presents the experience of blind visitors to the Metropolitan Museum of Art in New York, as well as the experience of blind artists such as Esref Armagan and others. The author tries to answer the following questions: why do blind people want to visit art museums if they cannot see the works of fine art and cannot even touch them? How do people whose vision is impaired or absent understand the fine arts if this comprehension is possible primarily through visual perception? What are the consequences of vision loss for a sense of self-identity in a cultural space? Simon Hayhoe believes that blind and visually impaired people enter the world of fine art due to the existence of another, non-sensory dimension. And the portal which connects the materiality of works of art with the world of non-verbal awareness is outside of perceptual knowledge. This “bridge” between conscious and nonverbal knowledge is described as a transition that is provided by the museum environment and by the knowledge of the pieces of art and the whole cultural context. The very atmosphere of museums, galleries, and cultural heritage sites promotes contact between the spiritual world of visitors and works of art.</p>

On Some Aspects of Applying the Methods of Forensic Portrait Examination When Identifying People from Their Artistic Portraits

The article considers the experience of researching the works of fine art in situations of recourse to specialists in the field of forensic portrait examinations when deciding on the attribution of works in cases when art historians do not solve these issues. The study of the physical features of the depicted persons using the method of portrait identification allows to establish the identity of the characters on the painting. The author also demonstrates the specifics of the methodology of such studies.

Metaphorical Interpretation of Early Works of Art Using Symbolization Methods

Abstract The unique style of early works of fine art depends on the infinite derivation of the image factor symbols metaphorically behind them, so the symbolic interpretation of early works of fine art is a search for the missing beauty of contemporary art. In this paper, we start from multi-scale association rules, use Gaussian pyramid and cubic convolution methods to extract image metaphor features in fine art works, and weight the features. Based on Putschke’s emotion classification, a multimodal metaphor dataset is constructed. The symbolization method is used to represent the symbolic emotions in the art works, and then the bidirectional Bi-LSTM model is used for recognition. On this basis, using the model constructed in this paper, the symbolic and imagery features of art works are analyzed, and the symbolic techniques of art works are interpreted from three perspectives: brushstroke, color, and spatial metaphor. Structural metaphors in fine art works contain 40% neutral emotions, followed by 36.4% positive emotions. Stroke A has a higher mean score at 3 and 4 line sample points, respectively, of -1.1646 and -1.1106, and the emotions triggered by these two line samples are more significant. Interpreting early art works can help enhance the aesthetics of contemporary art for modern audiences.

On universality of perception of movement and time in the artworks

The article examines the issue of perception of movement and time in works of fine art. The perception of works of art is not only related to perceptual processes and the cognitive sphere of a person, but is a personal and worldview issue, as it is related to the system of personality stereotypes - cognitive phenotypes formed in the process of life and professional experience. The conventional view on the perception of movement and its intensity in visual arts, which was considered as universal for a long time, was that the perception of movement from left to right is more natural and fast, and movement from right to left, respectively, is complicated, slow and less intense. These provisions became the basis for an experimental study of the perception of movement and time in works of art, in which two groups of respondents participated. The experimental group (N=38) consisted of people who are not closely familiar with the art and rules of composition arrangement. The control group (N=30) consisted of students professionally studying art history and visual arts. Both groups only included people whose first language had left to right writing. As experimental material, the subjects were offered to answer how they see the intensity of movement in paintings by famous artists. Each picture was presented in an original and a flipped image, where the movement was reflected in the opposite direction. The results of the study analyzes using the Kolmogorov-Smirnov λ statistical test, which demonstrates the presence or absence of regularities in the subjects' choice of picture numbers that correspond to forward or reverse movement in the picture. With the help of this test, a gender comparison of the features of perception of movement and time in works of art was also carried out. The results of the experimental study question the universality of the perception of movement and time in fine art and require verification in further research.

The embodiment of the image of the People's Artist of the USSR Anegina Ilyina in Yakut fine arts and literature

The article is devoted to the embodiment of the image of the Yakut opera singer, People's Artist of the USSR Anegina Ilyina in the Yakuts visual arts and literature. For the first time, this article discusses issues related to the disclosure of the theme of an outstanding contemporary woman - famous figure of musical art as a carrier of creativity. The subject of the study is the image of a talented Yakut vocalist captured in the best works of fine art (L.M. Neofitoff, V.R. Vasilyeff, A.N. Ossipoff, L.D. Sleptsova) and literature (Semen Daniloff, E. Neimokhoff, I. Gogoleff, L. Popoff P. Kharitonoff). The object of the study is the work of Yakut artists and writers of the second half of the 20 - 21 centuries. For the first time, the article explores a previously unexplored aspect of their work. The descriptive, comparative, iconographic, historical-biographical methods are applied, which allow us to reveal the topic most effectively. This image presents the ideas of female beauty and natural talent inherent in the national consciousness of the people, which indicates that in the 1960-1980 in the perception of the Yakut society traditional ideas based on the mythology and folklore of Sakha were quite strong and stable. Thanks to her natural talent, studying in the class of the People's Artist of the USSR, professor of the Moscow State Tchaikovsky Conservatory N.L Dorliak A.E. Ilyina was able to take place as an outstanding master of Russian academic vocal performance and herself as a creative personality had a great influence on the creative inspiration of many writers, artists and the development of Yakut art in the Sakha Republic (Yakutia) in the second half of 20 centuries. This article is the first experience in studying of this scientific problem.

Virtual Reality Enables the Dissemination and Preservation of Early Works of Art

Abstract With the rapid development of digitalization and information technology, virtual reality (VR) technology has shown unique potential in disseminating and conserving early works of fine art, changing people’s traditional ways of appreciating and conserving fine art. The article examines the use of virtual reality technology in disseminating and preserving early works of art. The objective is to improve the accessibility and conservation efficiency of art works by using digitization methods. The study uses VR technology to digitize works that are more vivid and easy to disseminate in terms of visual communication, with a 35% increase in audience acceptance, and digital protection effectively reduces the rate of work attrition to about 20%. Through empirical analysis, it has been found that the digital platform that relies on VR technology improves art works’ dissemination effect and protection efficiency. Virtual reality technology is effective at protecting and disseminating early works of fine art, promoting the public’s appreciation and understanding of art, and providing a new method for the digital transformation of fine art works.

Digital image (digital copy of a person) in the system of objects of civil laws: experience of model legislation

The article analyses the provisions of the Model Law for the CIS member states «On Digital Rights» relating to the digital image (digital copy of a person), the rights to which are considered as personal non-property rights. In order to clarify the place of the digital image in the system of personal non-property rights, its distinctive features are characterized in comparison with the citizen’s right to an image. The content of the subjective right to a digital image is characterized. The normative basis of the study was formed by the model legislation for the CIS member states and the national legislation of the member states (in particular, the law of Belarus and Russia). Based on the results of the study, it was concluded that the right to a digital image (digital copy of a person) can be considered as one of the manifestations of the citizen’s right to an image. The model law «On Digital Rights» allows to highlight the features that distinguish a digital image (digital copy of a person) from other forms of protected images (for example, works of fine art, photo and video recordings, etc.), but does not give grounds to consider it outside the existing mechanisms for ensuring the citizen’s right to an image. The author of the article concludes that the content of the right to a digital image (digital copy of a person) does not have any serious differences from the content of the citizen’s right to an image. This is manifested in the similarity in the subject composition, the order of use of the digital image and the image of a citizen, both during his life and after his death, the regulation of the emergence of these objects, the establishment of restrictions on the right of a citizen to a digital image and his own image, as well as the consequences of violation of these rights.

Studi Deskriptif Pemanfaatan Sampah Anorganik Dalam Membuat Karya Benda Konstruksi

This study aims to describe the process of utilizing inorganic waste in making construction work and the results of using inorganic waste in making construction work in class IV B SDN 45 Bengkulu City. This type of research is qualitative research, with participant observation techniques, and qualitative descriptive methods. The subjects in this study were all students of class IV B SDN 45 Bengkulu City, totaling 26 students. The research instrument used was a human instrument (the researcher himself), using observation guidelines and interview guidelines. Data collection techniques in the form of observation, interviews, and documentation. Data analysis was carried out during the process of making the work and after the work was finished by referring to the fine arts elements and the principles of fine arts. The results of the study are (1) The process of making construction art objects begins with preparing the materials and tools used, namely colorful straws, white glue, pedestals / scissors, and scissors / cutter, followed by the implementation of making works from preparing several slabs of straws , making the size of each slatted straw, gluing plates together, and developing variations in shape. (2) The results of construction works made using the art elements guidelines as well as visual art principles, namely point, line, shape, shape, color, texture, dark light. Then, the principle of unity, balance, rhythm, emphasis, proportion, and harmony / harmony. Keywords: Fine Art Work, Utilization of Inorganic Waste, Construction Objects