Anil De Silva: Chinese landscape painting in the caves of Tun-huang. (Art of the World: a series of regional histories of the visual arts.) 240 pp. London: Methuen, 1967.63s.

1968 ◽  
Vol 31 (3) ◽  
pp. 642-643
Author(s):  
William Watson
Keyword(s):  
Visual Arts ◽  
Landscape Painting ◽  
The World ◽  
Chinese Landscape Painting ◽  
Regional Histories

Bilingual and intersemiotic representation of distance(s) in Chinese landscape painting: from yi (‘meaning’) to yi (‘freedom’)

Semiotica ◽  
2018 ◽  
Vol 2018 (225) ◽  
pp. 293-311
Author(s):  
Chengzhi Jiang ◽  
Chunshen Zhu
Keyword(s):  
Visual Arts ◽  
Systemic Functional Linguistics ◽  
Landscape Painting ◽  
Spiritual Journey ◽  
Sign Systems ◽  
English Bilingual ◽  
The Aesthetic ◽  
Spiritual Freedom ◽  
Chinese Landscape Painting ◽  
Chinese And English

AbstractThis paper studies cross-modal distance representation in traditional Chinese landscape painting in a contemporary museum context with special reference to the classic three axes of distance, i.e. level, deep, and high “distance.” It observes how an artwork’s “meaning” can be perceived through the bilingual presentation of the “distances” to bring about the realization of a “meditative distance,” or the artist’s aesthetic aspiration for a spiritual “freedom.” Informed by the theory of three meta-functions in Systemic Functional Linguistics and Arnheim’s discussion about distance cues, the study has closely examined a classical landscape painting in conjunction with its Chinese and English bilingual museum captions, with a view to tracing out their discursive meta-functions based on the visual-verbal coherence of distance representation. In so doing, the study takes museum discourse as a holistic multimodal interactive process of different sign systems at three levels of communication (i.e. extratextual, intersemiotic, and intertextual) to enable the modern viewer to better appreciate the aesthetic aspiration nursed by the meaning of the pictorially depicted distance(s) in an ancient landscape painting. The findings of the study will not only contribute to a better aesthetic contextualization of the traditional Chinese visual arts but also, in a practical vein, to the construction of a more informed museum discursive environment conducive to a spiritual journey, or a mental transcendence, that keeps the mundane world at a “meditative distance.”

The Grace of the Italian Renaissance

2020 ◽  
Author(s):  
Ita Mac Carthy
Keyword(s):  
Sixteenth Century ◽  
Visual Arts ◽  
Italian Renaissance ◽  
Social Harmony ◽  
Vittoria Colonna ◽  
The World ◽  
Changing World

‘Grace’ emerges as a keyword in the culture and society of sixteenth-century Italy. This book explores how it conveys and connects the most pressing ethical, social and aesthetic concerns of an age concerned with the reactivation of ancient ideas in a changing world. The book reassesses artists such as Francesco del Cossa, Raphael, and Michelangelo and explores anew writers like Castiglione, Ariosto, Tullia d'Aragona, and Vittoria Colonna. It shows how these artists and writers put grace at the heart of their work. The book argues that grace came to be as contested as it was prized across a range of Renaissance Italian contexts. It characterised emerging styles in literature and the visual arts, shaped ideas about how best to behave at court and sparked controversy about social harmony and human salvation. For all these reasons, grace abounded in the Italian Renaissance, yet it remained hard to define. The book explores what grace meant to theologians, artists, writers, and philosophers, showing how it influenced their thinking about themselves, each other and the world. It portrays grace not as a stable formula of expression but as a web of interventions in culture and society.

The Baroque and Philosophy

2018 ◽  
pp. 601-622
Author(s):  
Michael Moriarty
Keyword(s):  
Modern Philosophy ◽  
Early Modern ◽  
Visual Arts ◽  
Common Sense ◽  
The Self ◽  
Early Modern Philosophy ◽  
The World ◽  
Baroque Art ◽  
Art And Architecture

Although the concept “baroque” is less obviously applicable to philosophy than to the visual arts and music, early modern philosophy can be shown to have connections with baroque culture. Baroque style and rhetoric are employed or denounced in philosophical controversies, to license or discredit a certain style of philosophizing. Philosophers engage with themes current in baroque literature (the mad world, the world as a stage, the quest for the self) and occasionally transform these into philosophical problems, especially of an epistemological kind (are the senses reliable? how far is our access to reality limited by our perspective?) Finally, the philosophies of Malebranche and Berkeley, with their radical challenges to so-called common sense, and their explanation of conventional understandings of the world as based on illusion, have something of the disturbing quality of baroque art and architecture.

Unpacking the self

Forum+ ◽  
2020 ◽  
Vol 27 (3) ◽  
pp. 29-37
Author(s):  
Manju Sharma
Keyword(s):  
Visual Arts ◽  
Personal Narrative ◽  
The Self ◽  
Cross Linking ◽  
Artistic Practice ◽  
Content Type ◽  
Personal Stories ◽  
The World ◽  
Visual Artist ◽  
Sensitive Issues

Abstract In this essay, visual artist and writer Manju Sharma reflects on the use of autobiography as a methodology for storytelling in the visual arts. She focuses on the methods that she uses to explore the self and its relatedness to the world that she wishes to grasp. She also sheds light on how autobiography fits into her artistic practice as a means of finding hidden narratives and to keep the personal narrative related to the world. The essay touches upon the use of personal stories, cross-linking and note-taking to unpack everyday sensitive issues that can allow people to find their voice and to speak out.

Shitao and the Enlightening Experience of Painting

2021 ◽  
Vol 31 (3) ◽  
pp. 93-112
Author(s):  
David Chai ◽  
Keyword(s):  
Song Dynasty ◽  
Aesthetic Experience ◽  
Landscape Painting ◽  
Classical Approach ◽  
The Song Dynasty ◽  
Scientific Approach ◽  
Old Masters ◽  
Chinese Landscape Painting

Having reached its zenith in the Song dynasty, Chinese landscape painting in the dynasties that followed became highly formulaic as artists simply copied the old masters to perfect their skills. This orthodox approach was not accepted by everyone however; some painters criticized it, arguing it was better to learn the ideas behind the techniques of the old masters than to blindly copy them. Shitao was one such critic and his Manual on Painting exemplifies his desire to disassociate himself from the classical approach to painting. This paper will investigate the three major themes of Shitao’s text—the holistic brushstroke, brush and ink, and the method of no-method—in order to show how they shaped his view of landscape painting and how said paintings subsequently embodied them. Unlike the near-scientific approach taken by his contemporaries and predecessors, Shitao paints to capture the unifying simplicity of nature, an onto-aesthetic experience that is profoundly enlightening.

scholarly journals THE ROLE OF CONTEMPORARY MEDIA IN THE TEACHING OF THE ART

2019 ◽  
Vol 34 (2) ◽  
pp. 547-553
Author(s):  
Vojislav Ilić ◽  
Tamara Stojanović-Đorđević ◽  
Andrijana Šikl-Erski
Keyword(s):  
Information And Communication Technologies ◽  
Visual Arts ◽  
New Technologies ◽  
Fine Arts ◽  
Educational Process ◽  
Input Output ◽  
Internet Connection ◽  
Modern Media ◽  
The World ◽  
Contemporary Media

We are witnessing that Information and Communication Technologies (ICT) have a huge impact on the functioning of the world. This explains why the tools they provide play such an important role in the educational process, their use opens up numerous opportunities and perspectives in education. Today, aware of the inevitability of digital technologies in the functioning of the world, and of the benefits they bring, we try to use them as meaningfully as possible in education.In the visual arts, ICT technologies provide various opportunities for exploring multicultural and multi-technological content. The social tendencies of the 21st century set new criteria for the modern man - creativity, flexibility and innovation, which also requires the development of educational systems in accordance with these new, changing conditions. In the context of contemporary teaching and the education process in the field of art, new technologies certainly deserve special attention as a medium and a means that enables students to apply them to innovative forms of communication, research, learning and creative expression in the field of visual arts. Today's media bring flexibility, speed, accessibility, interchangeability of digital data and this is what makes contemporary media essential in the teaching of fine arts. The basis of modern media used in the teaching of fine arts are personal computers supported by internet connection, with specific software and various input-output devices. With the use of contemporary media in a specialized classroom for the teaching of fine arts, one can speak of an increase in the choice of teaching, an increase in the choice of means of learning and expression, and finally, an increase in individualization in teaching.In the twenty-first century classroom, the teaching of fine arts is increasingly influenced by external influences, so that the classroom is a place for students to learn, explore, do and evaluate works of art. The wealth of information offered through the use of information technology is multiplied by many over the traditional media. The basis of modern media used in the specialized classroom for the teaching of fine arts are computers supported by internet connection, with specific software and various input-output devices.

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