scholarly journals „Pamiątka, Zabawka, Talizman” czyli Żydzi fantomowi

2016 ◽  
pp. 260-264
Author(s):  
Wojciech Wilczyk
Keyword(s):  
Historical Context ◽  
Folk Art ◽  
German Occupation ◽  
The Rich

Souvenir, Talisman, Toy or phantom JewsThe exhibition Souvenir, Talisman, Toy, prepared by Erica Lehrer and shown in Cracow’s Ethnographic Museum in Summer 2013, deals with the phenomena of Jew figures production and currently extremely popular the "Jew with a coin" image. The phenomenon bears full characteristics of folk art. However, it is Holocaust that took place in Poland during the German occupation that should be its valid reference. This historical context that results in, for example, stereotypical way of portraying the exterminated neighbours (this way is often perceived as intentionally anti-Semitic), is not fully analysed or worked through at the exhibition. The rich ethnographic material shown in Cracow is calling for a comment that would include scientific descriptions of Polish-Jewish relations that are being formulated at, for example, the Polish Centre for Holocaust Research. The phenomena of the evoked images production, which became more intense in the last twenty or thirty years, has all the qualities of "phantom memory" or post-memory, which character, as well origins, should be thoroughly analysed. Pamiątka, Zabawka, Talizman, czyli Żydzi fantomowiPrzygotowana przez Ericę Lehrer wystawa Pamiątka, Zabawka, Talizman, którą można było oglądać w salach krakowskiego Muzeum Etnograficznego latem 2013 roku, traktuje o fenomenie produkcji figurek Żydów i niezmiernie popularnych dzisiaj wizerunków „Żyda z pieniążkiem”. Zjawisko to ma wszelkie cechy twórczości ludowej, jednakże istotnym odniesieniem jest dla niego Zagłada, która rozegrała się na terenie Polski w czasie okupacji niemieckiej. Ten historyczny kontekst, którego efektem jest np. stereotypowy sposób prezentowania wyglądu zgładzonych sąsiadów (odbierany często jako tendencyjnie antysemicki), nie został w pełni na przywołanej ekspozycji zanalizowany czy też przepracowany. Pokazany w Krakowie niewątpliwie bogaty etnograficzny materiał domaga się komentarza uwzględniającego naukowe opracowania dotyczące polsko-żydowskich relacji, jakie powstają np. w Centrum Badań nad Zagładą Żydów. Fenomen produkcji wspomnianych wizerunków, którego nasilenie obserwować można w ostatnich dwudziestu, trzydziestu latach, posiada wszelkie cechy „pamięci fantomowej” czy ewentualnej post-pamięci, której charakter (a także źródła) powinien być poddany gruntownej analizie.

A comparative Study of Chinese Traditional Folk Paper-cut Art Desigh and Modern Graphic Design Based on Visual Communication

2021 ◽  
Vol 7 (5) ◽  
pp. 1028-1035
Author(s):  
Jiaxia Cheng
Keyword(s):  
Graphic Design ◽  
Visual Communication ◽  
Folk Art ◽  
Visual Communication Design ◽  
Design Concepts ◽  
Chinese Nation ◽  
The Rich ◽  
The Times ◽  
The Aesthetic ◽  
National Style

Paper-cut, as a traditional folk art, has become a treasure of Chinese folk art in its long history of development. Paper-cut gives people artistic enjoyment visually with its unique creative techniques, full composition and vivid and interesting patterns. Methods: Traditional folk paper-cut art records the folk customs of the Chinese nation and embodies the temperament and national style of the Chinese nation. Its unique way of thinking and expression provide unique creative ideas and rich visual art resources for modern graphic design. Chinese folk paper-cut is an organic combination of decoration and practicality. Results: It can not only show the rich and colorful folk life, but also meet the aesthetic needs of a variety of situations. How to combine rich traditional culture and art with graphic design concepts and the spirit of the times to design works with national style, so as to better integrate folk paper-cut art with graphic design, is the pursuit of graphic designers. Conclusion: Based on visual communication design, this paper discusses the comparison and integration between traditional Chinese folk paper-cut art design and modern graphic design.

scholarly journals AKOMODASI PESANTREN PADA KESENIAN RAKYAT DI CANGKRINGAN, SLEMAN, YOGYAKARTA

2018 ◽  
Vol 15 (2) ◽  
pp. 284-296
Author(s):  
Kholid Mawardi
Keyword(s):  
Historical Context ◽  
Boarding School ◽  
Folk Art ◽  
Religious Community ◽  
The Other ◽  
The Past ◽  
Diverse Society ◽  
Art Community ◽  
The One ◽  
The Relationship

This study investigated the construction of thoughts by KH. Ahmad Masrur and al-Qodir Islamic Boarding School to accomodate folk art; to reveal the relationship among KH. Ahmad Masrur, al-Qodir Islamic Boarding School, and folk art communities in Wukirsari village; and to find out the approaches of accommodation implemented in the folk art Village. The findings of this study led to some conclusions. First, on the one hand, Mr. Masrur (an Islamic expert) wanted to send the goodness and the beauty of Islam not only to be achieved by Moslems but also by other religious community. On the other hand, the folk art community wanted to maintain their existence in the diverse society. Therefore, those two intentions are linked to each other in order to accomplish those goals. Second, the relationship among Mr. Masrur, al-Qodir Islamic Boarding School, and Wukirsari village folk art community; in terms of historical context, it was the repetition of the relationship pattern in the past time that occured during the Islamisation process in Java. It was carried out by placing the locality as the basis of Islam. Mr. Masrur, al-Qodir Islamic Boarding School put themselves as the exponents of folk art; Mr. Masrur had the role as the patron and the community folk art had the role as the clients, and the overall relationship was accomplished based on mutually beneficial relationship. Third, the forms of accommodation  roposed by Mr. Masrur towards folk art in Wukirsari village were through compromise and tolerance. The form of the compromise was visible through the willingness of both parties to feel and understand the circumstances of one to each other party. As for the form of tolerance, it was implemented by Mr. Masrur and al-Qodir Islamic Boarding School deliberately to avoid various disputes and conflicts.

Allusions to the Victim and Sacrifice in the Andrey Kurbsky’s History and Reception of the 17th — Early 18th Centuries

2021 ◽  
pp. 186-207
Author(s):  
Alexey I. Popovich ◽  
Keyword(s):  
18Th Century ◽  
Historical Context ◽  
Transitional Period ◽  
Literary Context ◽  
History Of ◽  
Interpretation Process ◽  
The Rich ◽  
Ivan The Terrible ◽  
Definition Of

The literary topoi and allusions to the victim and sacrifice in the biblical and historical context at the same time played a great role for Andrey Kurbsky as a traditionalist and innovator writer in the embodiment of the complex author’s intention of the History of the Grand Prince of Moscow (the second half of the 16th century). The article notes that the writer distinguishes, as opposites, the axiology of sacrificial feat for power doer and persecuted heroes. The article reveals the diverse reception of the author’s interpretation by readers and scribes of History. Kurbsky’s contemporaries and readers of the late 17th — early 18th century had different attitudes toward Kurbsky’s definition of the personality of Ivan the Terrible who makes unrighteous victims and the characterization of people affected by him as new martyrs. The rich handwritten tradition of History, including as part of the Kurbsky Collections, contributed to the emergence of new reader’s interpretations based on literary topoi and allusions used by Kurbsky. The intellectuals of the ‘transitional’ period A.S. Matveev, Evfimy Chudovsky, A.I. Lyzlov, V.V. Golitsyn and others were involved in this process. Textological and typological comparisons of certain monuments and Kurbsky’s History contributed to a deeper understanding of the literary context of the time when the prince’s writings spread. The study also helped to determine which Kurbsky’s ideas about the victim and sacrifice remained relevant for members of different class groups, and which were leveled out and outdated in the text interpretation process.

‘Study Effortless-Action’

2017 ◽  
Vol 6 (2) ◽  
pp. 75-106
Author(s):  
George A. Keyworth
Keyword(s):  
Song Dynasty ◽  
Zen Buddhism ◽  
Historical Context ◽  
Edo Period ◽  
Single Piece ◽  
Rigorous Study ◽  
Literary Arts ◽  
The Rich ◽  
The Temple

Today there is a distinction in Japanese Zen Buddhist monasticism between prayer temples and training centers. Zen training is typically thought to encompass either meditation training or public-case introspection, or both. Yet first-hand accounts exist from the Edo period (1603–1868) which suggest that the study of Buddhist (e.g., public case records, discourse records, sūtra literature, prayer manuals) and Chinese (poetry, philosophy, history) literature may have been equally if not more important topics for rigorous study. How much more so the case with the cultivation of the literary arts by Zen monastics? This paper first investigates the case of a network of eminent seventeenth- and eighteenth-century scholar-monks from all three modern traditions of Japanese Zen—Sōtō, Rinzai, and Ōbaku—who extolled the commentary Kakumon Kantetsu 廓門貫徹 (d. 1730) wrote to every single piece of poetry or prose in Juefan Huihong’s 覺範恵洪 (1071–1128) collected works, Chan of Words and Letters from Stone Gate Monastery (Ch. Shimen wenzichan; Jp. Sekimon mojizen). Next, it explores what the wooden engravings of Study Effortless-Action and Efficacious Vulture at Daiōji, the temple where Kantetsu was the thirteenth abbot and where he welcomed the Chinese émigré Buddhist monk Xinyue Xingchou (Shin’etsu Kōchū 心越興儔, alt. Donggao Xinyue, Tōkō Shin’etsu 東皐心越, 1639–1696), might disclose about how Zen was cultivated in practice? Finally, this paper asks how Kantetsu’s promotion of Huihong’s “scholastic” or “lettered” Chan or Zen might lead us rethink the role of Song dynasty (960–1279) literary arts within the rich historical context of Zen Buddhism in Edo Japan?

scholarly journals Computer Games in Art History. Traditional architecture and painting presented in virtual reality

E-methodology ◽  
2019 ◽  
Vol 5 (5) ◽  
pp. 84-99
Author(s):  
Michał Szymański
Keyword(s):  
Computer Games ◽  
Visual Analysis ◽  
Complex Structure ◽  
Visual Complexity ◽  
Historical Context ◽  
Visual Object ◽  
History Of Art ◽  
History Of ◽  
The Rich ◽  
Game Developers

Aim. The aim of the research is to show the applications of art reception in computer games. Moreover  it is important  to show  the game as a visual object worth to analysis for art historian, because of complex structure and relations with traditional artistic media like architecture and painting. Many disciplines, like ludology, narratology and culture study research computer games, but we can see a  large lack in the  state of research in visual aspects of games, which should be supplemented.  Methods. The subject of study are five games belonging to different game genres. The first, Assasin’s Creed II is set in a  historical context, the next Witcher III and Dark Souls embedded in the realities of fantasy and finally, two games  in an  independent games category. The basic method is iconographic identification of  the object and comparative difference and similarity between original source of inspiration and transposition of  this in computer media. Therefore basic tools gained from history of art are used, which are necessary for visual analysis of a  piece of art. Also important is notion of  a commonplace forming a frame for images from different media.  Results. Indicated examples show that classic art has a strong influence on numerous computer games. The citations and allusions from art brings an additional narration completing the story in the game. Objects of architecture or paintings  also give  symbolic meanings, influencing the interpretation of the whole game. Game developers oscillate between education in the history of art and the use of these references to create your own world.  Conclusion. The examples presented in the article are only part of the rich area of art inspirations that can be found in many games. This should become a contribution to further research, not only taking into account the indicated types of references, but also the visuality of the games themselves The visual complexity of the games would require separate, more extensive research that would bring a lot into the perception of games and researching them

scholarly journals TEMBANG SANDUR BOJONEGORO: KEKERASAN BUDAYA DAN ARKEOLOGI-GENEALOGI PENGETAHUAN/ TEMBANG SANDUR BOJONEGORO: CULTURAL VIOLENCE AND ARCHEOLOGY-GENEALOGY OF KNOWLEDGE

Aksara ◽  
2022 ◽  
Vol 33 (2) ◽  
pp. 169-186
Author(s):  
Mashuri Mashuri
Keyword(s):  
Cultural Studies ◽  
Historical Context ◽  
Folk Art ◽  
Cultural Violence ◽  
Constituent Elements ◽  
The Impact ◽  
Islamic Values

AbstrakPenelitian sandur, kesenian rakyat berupa drama tari di Desa Ledok Kulon, Kecamatan Bojonegoro, Kabupaten Bojonegoro sudah banyak, tetapi yang membicarakan tentang kekerasan budaya dan tembang sandur dalam kerangka arkeologi dan genealogi pengetahuan belum ditemukan. Hal itu karena kekerasan budaya menimpa seni tersebut karena imbas stigmatisasi sepihak pascatahun 1965—1966 yang menganggap sebagai kesenian rakyat yang berafiliasi ke PKI, dan pada masa puritanisme Islam menguat pada tahun 1990-an yang menganggap sandur tidak sesuai dengan nilai-nilai Islam, padahal isi tembang-tembang sandur kontradiksi dengan stigma tersebut. Oleh karena itu, penelitian ini menguak aspek kekerasan budaya dengan menelusuri tembang sandur dari perspektif genealogi dan arkeologi pengetahuan dalam bingkai cultural studies. Teori yang digunakan adalah triangulasi teori, yaitu folklor, arkeo-genealogi pengetahuan, dan kesejarahan. Hasil penelitian ini menunjukkan bahwa (1) tembang-tembang sandur memiliki metrum puitika Jawa yang mengarah pada nyanyian anak-anak, dengan media bahasa Jawa lokal, dan menyimpan jejak kearifan lokal, etika, dan spiritual, (2) nilai-nilai Islam-Jawa menjadi ruh tembang-tembang sandur. Di dalamnya terdapat sinkretisme nilai-nilai Jawa dan Islam, (3) stigmatisasi sepihak pada Sandur Bojonegoro, baik oleh kalangan anti-komunis maupun puritanisme Islam, hanya melihat pada konteks kesejarahan Indonesia pada Orde Lama ketika politik menjadi panglima dan hanya melihat penampang permukaan semata tanpa mendalami unsur-unsur pembentuknya, ideologi, ajaran luhur, dan tradisi yang melahirkan seni sandur.    Kata kunci:Sandur Bojonegoro, kekerasan budaya, arkeologi, genealogi pengetahuan  AbstractThere are many researches on sandur, folk art in the form of dance dramas in Ledok Kulon Village, Bojonegoro District, Bojonegoro Regency, but those that talk about cultural violence and tembang sandurin the archaeological framework and genealogy of knowledge have not been found. This is because cultural violence befell the art because of the impact of unilateral stigmatization after 1965-1966 which considered it a folk art affiliated to the PKI, and during the period of strong Islamic puritanism in the 1990s, which considered sandur not in accordance with Islamic values, even though the contents tembang sandurcontradict this stigma. Therefore, this study uncovers aspects of cultural violence by tracing tembang sandurfrom the perspective of genealogy and knowledge archeology within the framework of cultural studies. The theory used is triangulation of folklore theory, archeology-genealogy of knowledge, and history. As a result, (1) the sandursongs have a Javanese poetic metre that leads to children's singing, with local Javanese language media, and keeps traces of local wisdom, ethics, and spirituality, (2) Javanese-Islamic values become the spirit of the tembang sandur. In it there is a syncretism of Javanese and Islamic values, (3) the unilateral stigmatization of SandurBojonegoro, both by anti-communists and Islamic puritans, only looks at the historical context of Indonesia in the Orde Lamawhen politics was the commander and only sees the surface without explore its constituent elements, ideology, noble teachings, and traditions that gave birth to the art of sandur. Keywords:SandurBojonegoro, cultural violence, archeology, genealogy of knowledge

scholarly journals Vepsian Literature as an Aspiration to the Revival of the People (“Up the Stairs Leading Down”?)

2021 ◽  
Vol 18 (4) ◽  
pp. 433-441
Author(s):  
Nina G. Zaytseva
Keyword(s):  
First Generation ◽  
Native Language ◽  
Folk Art ◽  
Word Formation ◽  
Close Collaboration ◽  
The People ◽  
The Rich ◽  
Urban Conditions ◽  
Collaboration With Scientists ◽  
Formation System

The article is devoted to the development of the literature of the Vepsians of the early written people of Russia, whose language is included in the Red Book of the Languages of the Peoples of Russia (the number of people in 2010 was 5936 people). Despite the negative forecasts, the Vepsianlanguage literature is currently successfully developing. The most popular is poetry, represented by the poems of the national writer of Karelia Nikolai Abramov, known in the Finno-Ugric world and beyond. The first generation of authors developed the forms of Vepsian poetry, its rhyme and style, and young authors, first of all Olga Zhukova, Galina Baburova, proved that in urban conditions it is possible to find opportunities for poetry in their native language. The article shows the connection with oral folk art, mythology, philosophy of Vepsian life, which manifested itself in the Vepsian epic Virantanaz by Nina Zaitseva, in the verses of Alevtina Andreeva, reminiscent of a kind of conspiracies or prayers, and in the prose of Valentina Lebedeva. Creating in close collaboration with scientists who claim that the Vepsian language has perfectly preserved both its grammar and vocabulary, which is easily replenished thanks to the rich word-formation system of the Vepsian language, they strive, without discouragement, to go up the stairs leading down.

СПРАВЕДЛИВОСТЬ И РАВЕНСТВО КАК АЛЬТЕРНАТИВЫ СВОБОДЕ В ИСТОРИЧЕСКОМ КОНТЕКСТЕ РОССИЙСКОГО СОЦИУМА

2021 ◽  
Vol 15 (4) ◽  
pp. 24
Author(s):  
Н. Г. Гузынин
Keyword(s):  
Everyday Life ◽  
Historical Context ◽  
Russian Society ◽  
Way Of Life ◽  
Mental Perception ◽  
The Rich ◽  
The Masses ◽  
The Relationship ◽  
The Church

in the historical context of Russia, the correlation and interrelation of the concepts and values of freedom with justice and equality are considered. It is shown that in Russian society, historically, based on the Byzantine model of the relationship between the state and the Church, these institutions nurtured humility, patience, and asceticism to all the vicissitudes of life in the mentality and way of life of the Russian people. This is why the consciousness of the Russian ethnic group has a special craving for permanent affirmation of the values of equality and justice in everyday life at different times and periods. The discontent of the masses, which resulted in riots, uprisings, and other forms of protest, was the result of their feeling that the rich and the authorities were violating equality and justice in their way of life. The article shows the mediative role of justice in relation to equality and freedom and the constant mental perception of equality as justice in Russian historical realities. Special attention is paid to understanding the reasons for the ineradicable desire of Russian society for justice, which turns into opposites of injustice and inequality. An important statement is the idea that in Russian society it is necessary to form objective and subjective conditions that root the value of freedom, without which justice cannot be fully established. The author emphasizes the need to make a change in the culture and mentality of Russians in the understanding that justice without freedom is unfair, and justice is just only in Union with freedom. It is the transition from the confrontational model of “justice against freedom” to the model of “just justice based on freedom” that will largely determine the civilizational breakthrough to a successful future for Russia.

scholarly journals The Excavation and Practical Significance of Folk Art Education Resources of Ethnic Minorities in Guangxi

2017 ◽  
Vol 1 (1) ◽  
pp. 85
Author(s):  
Bi Zongting
Keyword(s):  
Art Education ◽  
Folk Art ◽  
Folk Song ◽  
Practical Significance ◽  
Living Fossil ◽  
Education Resources ◽  
The Arts ◽  
Arts And Culture ◽  
The Rich ◽  
Education Resource

Guangxi minority folk art education resources is a valuable treasure trove of art, realistic signifcance to mining and utilization of Guangxi minority folk art education resources. The practice proves that Guangxi minority folk art education resource is a typical folk art "Encyclopedia", is a folk song "epic" glorious and resplendent that is a piece of precious folk art "living fossil". Guangxi minority folk art education resources mining and utilization, enrich the arts and culture in Guangxi, China the students' national consciousness, and show the rich geographical and cultural characteristics.

scholarly journals Kartini’s Views On Opium Problems In Java At The End Of The 19th Century

2021 ◽  
Vol 33 (2) ◽  
pp. 113
Author(s):  
Abdul Wahid
Keyword(s):  
Historical Context ◽  
Specific Aspect ◽  
Native People ◽  
Government Reform ◽  
Negative Effects ◽  
Political Movement ◽  
Public Scrutiny ◽  
The Rich ◽  
Colonial Government ◽  
The 19Th Century

In the 1890s, the discourse on the negative effects of opium consumption among Native people turned into a political movement, which demanded that the Dutch colonial government reform its policies on opium. In the same period, Raden Ajeng Kartini, a priyayi (noble) woman from Jepara, developed her intellectual capabilities and thinking. Her letters, it was later discovered, contained critical ideas concerning the disadvantaged position of Javanese women. In addition to this, as an issue attracting greater public scrutiny, the opium problem also drew Kartini’s attention, as evinced in at least two letters to Stella Zeehadnelaar and Mrs. Abendanon-Madri. Curiously, Kartini’s views on the opium problem have been given little scholarly attention in the rich literature on her life, with most scholarly work focusing on her “feminist” thoughts and ideas. For that reason, this article offers an analysis on this very specific aspect of Kartini’s thoughts, delving further into its historical context and what it means in terms of her existing historical persona.

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