The Image of the Yellow (Huang He) River in Chinese Painting

2021 ◽  
Vol 31 (4) ◽  
pp. 546-552
Author(s):  
Yuanpeng Huang ◽  
Galina Alekseeva
Keyword(s):  
Chinese Painting ◽  
Chinese Art ◽  
Oil Painting ◽  
Russian Art ◽  
Traditional Art ◽  
The People ◽  
History Of ◽  
Cultural Code ◽  
Historical Comparative ◽  
First Time

The article is devoted to the creative works of artists who have created pictures of life of the people living along the Yellow (Huang He) River in all nine regions of China. The Huang He River, as the main artery of the country, has long been the subject of study by historians, writers and painters. However, contemporary artists who dedicated their works to the river have not been researched. This work examines the collective image of the Huang He River in the works of Chinese artists from the 1980s to the present day in order to get acquainted with its peculiarities. The methodological basis for the study of contemporary art is the historical and cultural and socio-cultural approaches. The methods of historical-comparative and sociological analysis of art, biographical and iconographic analysis, semiotics and hermeneutics methods are used. For the first time the features of oil painting in different regions along the Huang He River are presented: the geomorphological characteristics, national characters and folk customs in the river basin, and the cultural protection function of painting. The names of a number of Chinese artists have been introduced into Russian art history, and the panorama of the development of painting in the works of Chinese masters painting on the Huang He River has been shown. The works of these artists are correlated with the traditional art and religious ideas of the people living along the Huang He River: the role of created paintings in preserving the cultural code of the inhabitants through the portrayal of national costume, folk and religious holidays is traced. The results can serve as a basis for historical and comparative studies of the artworks of Chinese masters and become the basis for courses on the history of Chinese art.

scholarly journals Nikolai Sverchkov as an artist-animal painter, genre painter and portraitist (1817-1898)

2017 ◽  
Author(s):  
О.Н. Филиппова
Keyword(s):  
Genre Painting ◽  
Russian Art ◽  
The People ◽  
History Of ◽  
First Time

Николай Егорович (Георгиевич) Сверчков (1817 – 1898) – один из ранних представителей реалистической жанровой живописи. В своих картинах он запечатлел природу России, с ее величественными лесами и необъятными полями, бесконечными дорогами и проселками. Н.Е. Сверчков впервые в русском искусстве развил мотив удалой «птицы-тройки», с образом которой народ связывал свои мечты о лучшей, свободной жизни. Творчество художника многообразно. Он писал не только жанровые, но и исторические и батальные полотна, занимался скульптурой. Редкого мастерства Н.Е. Сверчков достиг в изображении животных, особенно лошадей. Его дорожные сцены, картины охоты, конные портреты сыграли видную роль в истории русской живописи. Nikolai Yegorovich (Georgievich) Sverchkov (1817-1898) was one of the early representatives of the realist genre painting. In his paintings he captured the nature of Russia, with its majestic forests and vast fields, endless roads and country roads. N.E. Sverchkov for the first time in Russian art has developed the motif of daring "bird-Troika", with the image which the people placed their dreams of a better, free life. The artist's work in many ways. He did not write both genre and historical and battle paintings, studied sculpture. Rare skill N.E. Sverchkov have achieved in the depiction of animals, especially horses. His travel scenes, hunting paintings, horse portraits played a prominent role in the history of Russian painting.

Education as Arikara Spiritual Renewal and Cultural Evolution

2014 ◽  
Vol 54 (3) ◽  
pp. 303-322 ◽  
Author(s):  
KuuNUx TeeRIt Kroupa
Keyword(s):  
Deep Understanding ◽  
Cultural Development ◽  
Human Beings ◽  
Old People ◽  
New Beginning ◽  
The People ◽  
History Of ◽  
The Creation ◽  
First Time ◽  
The Universe

In May 2009, the Arikara returned to the land of their ancestors along the Missouri River in South Dakota. For the first time in more than a half century, a Medicine Lodge was built for ceremony. The lodge has returned from its dormant state to regain its permanent place in Arikara culture. This event will be remembered as a significant moment in the history of the Arikara because it symbolizes a new beginning and hope for the people. Following this historic event, Arikara spiritual leader Jasper Young Bear offered to share his experience and deep insight into Arikara thought: You have to know that the universe is the Creator's dream, the Creator's mind, everything from the stars all the way to the deepest part of the ocean, to the most microscopic particle of the creation, to the creation itself, on a macro level, on a micro level. You have to understand all of those aspects to understand what the lodge represents. The lodge is a fractal, a symbolic representation of the universe itself. How do we as human beings try to make sense of that? That understanding, of how the power in the universe flows, was gifted to us through millennia of prayer and cultural development… It is important for us to internalize our stories, internalize the star knowledge, internalize those things and make that your way, make that your belief, because we're going to play it out inside the lodge. It only lives by us guys interacting with it and praying with it and bringing it to life… We're going to play out the wise sayings of the old people… So you see that it's an Arikara worldview. A learning process of how the universe functions is what you're actually experiencing [inside the Medicine Lodge]. What the old people were describing was the functioning of how we believed the universe behaves. And we had a deep, deep understanding of what that meant and how it was for us. So that's what you're actually seeing in the Medicine Lodge.

scholarly journals The influence of the traditions of eastern art on the painting of Michael Guyda

2020 ◽  
Author(s):  
Dong Min
Keyword(s):  
Semantic Analysis ◽  
General Structure ◽  
Deep Penetration ◽  
Chinese Painting ◽  
Artistic Style ◽  
History Of ◽  
Unique Experience ◽  
History Of Culture ◽  
High Standards ◽  
Historical Comparative

The purpose of the article. To analyze the work of Ukrainian painter Mykhailo Huida in the context of cultural integrations of China and Ukraine in the last decades of the XX - beginning of the XXI century. as an expression of trends in contemporary art. Methodology. General scientific research methods, chronological and historical-comparative, historical-biographical, figurative-stylistic, semantic, analysis are applied. Theoretical and art terminological structures are used. The scientific novelty lies in elucidating the peculiarities of Mykhailo Huida's work and the formation of the meaningful, compositional, stylistic and aesthetic beginnings of his painting in the context of cultural integrations of China and Ukraine in the last decades of the XX - early XXI centuries. Conclusions. The peculiarities of the creative path of the Ukrainian painter Mykhailo Huida, his unique experience of work in China, which became the basis for the creation of the artist's personal artistic style, are analyzed. The study of works of art by Mikhail Guida revealed the consistent formation of features and peculiarities of his painting over the decades as a result of: a) acquaintance with the art of the East in Japan; b) stay in China, including among Chinese cultural and artistic figures; c) study the history of culture and art of China; d) deep penetration into the world of China through understanding of its nature, customs, traditions due to travel, stay in different provinces of the country, teaching in Chinese universities. The figurative and artistic content of his works reveals an innovative combination of European, including Ukrainian, and Chinese stylistics, artistic means and various linguistic methods of traditional Chinese painting. It is also important for the artist to comprehend the semantic foundations of Chinese traditional and modern art, which turned out to be in agreement with Mikhail Guidi as a person. It was found that the imagery of Mikhail Guida's painting has an internal form that embodies the image in the general structure of the subject-spiritual world. It is concluded that the involvement of the traditions of Chinese and Ukrainian art in a single work involves a philosophical understanding of the artistic heritage of both countries and their transformation into modern forms. The artist's creative path, discovering the techniques of painting in the East, enriched and elevated his work to exceptionally high standards.

The Eritrea Community-Based Theatre Project

1997 ◽  
Vol 13 (52) ◽  
pp. 386-395 ◽  
Author(s):  
Jane Plastow
Keyword(s):  
Women's Rights ◽  
Growth And Development ◽  
Modern Medicine ◽  
Women’S Rights ◽  
Community Based ◽  
The People ◽  
Freedom Fighters ◽  
History Of ◽  
Rural Context ◽  
First Time

Following Jane Plastow's contextual history of Eritrean theatre in NTQ50, Paul Warwick gave an account in the following issue of its previously undocumented role during the thirty-year Eritrean struggle for independence, describing the efforts of the freedom fighters to create theatre for the first time in a rural context. The Eritrean People's Liberation Front not only deployed theatre as a propaganda weapon, but also recognized its value as an agent for educating the people in matters ranging from women's rights to the benefits of modern medicine and farming methods: and with victory came measures further to stimulate the growth and development of theatre as part of Eritrean culture. Jane Plastow, in this third and concluding article, takes up the story with the invitation issued by the new government to her and her colleagues to initiate the ‘Eritrea Community-Based Theatre Project’, in an attempt both to widen the perspectives of Eritrean actors and to draw upon all relevant traditions, African and European, in developing a popular but distinctive theatre for the people. In addition to her role as director of the project, Jane Plastow is a lecturer at Leeds University, having worked in theatre for some years in a number of other African nations.

scholarly journals Metaphysics of the History of Music in the Scientific Area: Challenges of the Time

2021 ◽  
pp. 35-52
Author(s):  
Valeriya Zharkova
Keyword(s):  
Scientific Discipline ◽  
Present Stage ◽  
New Horizons ◽  
Methodological Foundation ◽  
Automatic Mode ◽  
Essential Questions ◽  
History Of ◽  
Historical Comparative ◽  
First Time ◽  
Main Factor

The relevance of the article is determined by the desire to consider the understanding of the scientific discipline “The History of Music” in its metaphysical dimension. “Metaphysics of the History of Music” appears as a modern discipline that opens new layers of meaning. It deals with problems that combine the musical art with philosophy, anthropology, culturology, aesthetics, but its foundation is determined by the musicological view on the musical artifacts. Scientific novelty. For the first time, the principles of Aristotle's teaching appear as the methodological foundation of the new discipline “Metaphysics of the History of Music”. This allows us to consider the history of music as a special way of understanding existence. The intersections of synchronous and diachronic parameters of understanding musical texts open new horizons of awareness of his “I” to the man of the 21st century. The purpose of the article is to substantiate the essential characteristics of the metaphysics of the history of music as a new scientific discipline and to determine the peculiarities of the implementation of synchronous and diachronic dimensions of musical texts in a given problem field. The research methodology includes the use of metaphysical, historical, comparative methods. Main results and conclusions. The history of music gives man endless opportunities to ask himself about the essential principles of existence, so at the present stage he is looking for ways in a new direction, which could be called “Metaphysics of the History of Music”. “Metaphysics of the History of Music” establishes the connection of phenomena each time in a new way, which reveals incomprehensible (to the superficial view of) the laws of the musicaltemporal spiral. Then each fact doesn’t remain a part of the information “herbarium” but is clarified by a living perception of “here and now”. Due to this context, it is necessary to emphasize that the main factor in making such connection is the live reproduction of all possible combinations. The history of music must unfold in such way as to enable modern man not only to feel the true “taste” of musical events, but also to illuminate them by itself, that is, to create an act that M. Mamardashvili calls the “fullness of interaction”. Such direction of everyone's spiritual efforts corresponds to the acute challenges of the time. It defines a new position of a human being at the intersection of what is fixed in the narrative about what has “already happened” and what is unfolding through the meanings of the “here and now”. So, it’s established when nothing exists in the automatic mode of perception. In a model of linear coupling that is fundamentally not amenable to horizontal configuration, it is important to have a vertical dimension, which creates Homo Metafisicus as a person who asks essential questions.

scholarly journals Sasandu Gong and Sasando Violin: Changing the Pentatonic Scales to Diatonic

2021 ◽  
Vol 22 (1) ◽  
pp. 24-35
Author(s):  
Jefri Soli Kabnani
Keyword(s):  
Cultural Values ◽  
Mass Culture ◽  
Musical Instrument ◽  
Social Functions ◽  
Traditional Art ◽  
The People ◽  
Exploratory Approach ◽  
History Of ◽  
Local Traditions ◽  
Western Hegemony

This study aims to determine the main causes of changes in the scales that occur. Changes in the scale of the Sasando musical instrument are influenced by mass culture, popular culture and the development of the market industry which has led to the tendency of the people of NTT, especially the city of Kupang to lead to Western lifestyles as if starting to leave local traditions. Values, meanings and social functions of Sasandu Gong are diminished and will even disappear in future generations. The influence of colonialism is assumed to be the cause of the people of Kupang prefer something modern than local wisdom. Some articles, journals, books and even websites often talk about the implementation of local cultural values as a cultural heritage and traditional art which is the identity of the Indonesian people. The author uses the concept of Leela Gandhi and Edward Said in general to discuss efforts to undermine Western hegemony, in which the domination of Western powers over the Eastern world considers the East as weak and full of imagination. The qualitative method is used as an exploratory approach that relies on in-depth data analysis in the form of text obtained from the speakers. The research results are discussed in three (3) stages. First, from the Postcolonial perspective that the change occurred starting from the history of the entry of Christianity into East Nusa Tenggara (NTT) by the Dutch people. Second, musicologically, Sasando Violin experienced the development of scales with several variations made by Mr. Drs. Djony L. K. Theedens. Third, the physicality of the sound of the Sasas Gong changes in shifting functions, values, and meanings that existed before. 

scholarly journals GASTRONOMIC TOURISM AS A WAY TO ATTRACT ATTENTION TO A TOURIST DESTINATION

2021 ◽  
pp. 73-83
Author(s):  
B. I. Aktymbaeva ◽  
T. V. Trifonova
Keyword(s):  
Original Work ◽  
Theoretical Research ◽  
Tourist Destination ◽  
Tourist Destinations ◽  
History Of ◽  
Historical Comparative ◽  
Destination Brand ◽  
The Impact ◽  
First Time

This article examines the main aspects of gastronomic tourism as a modern type of tourism. This work also tells about the history of gastronomic travel. Analyzed the main problems and prospects for the development of gastronomic tourism, as a way to attract the attention of tourists to tourist destinations in Kazakhstan. The role of this type of tourism in the formation of a tourist destination brand is revealed. The analysis of the development of gastronomic tourism in various countries is carried out and its contribution to the development of tourist destinations in these countries is evaluated.Purpose: to study the influence of gastronomic tourism on the development of a tourist destination, based on the experience of different countriesMethodology: theoretical research of information on a given topic, historical, comparative, analysis of literature on a selected topic, questioning.Originality / value of the research: this research was compiled by the author for the first time and is completely original workFindings: this research has proven the impact of gastronomic tourism on the development of a tourist destination and attracting attention to it. Recommendations have been developed for the creation and implementation of gastronomic tours to countries with potential for the development of this type of tourism.

scholarly journals National and cultural activities of the Tatar diaspora in the North Western China in the first half of the XX century: theater and string orchestra

2020 ◽  
pp. 60-64
Author(s):  
G.N. Khisamieva
Keyword(s):  
Local Population ◽  
Northwest China ◽  
Western China ◽  
String Orchestra ◽  
The North ◽  
Cultural Life ◽  
The People ◽  
History Of ◽  
First Time

The relevance of the study lies in the fact that the national and cultural life of the Tatar diaspora in the Northwest China has not been the subject of the research. The research interest is also caused by the fact that the history of the formation and development of the Tatar diaspora, every day, spiritual, educational and cultural life has not been studied at all and is of particular interest to researchers. The scientific novelty of the work lies in the fact that the article examines the process of formation of Tatar theaters and string orchestras in the cities of Kuldzha and Chuguchak for the first time, where the bulk of Tatar emigrants lived. Particular attention was paid to the role of Tatar theaters in the life of indigenous and visiting peoples of the XUAR of the PRC. The purpose of the work is to study and systematize the national and cultural life of the Tatars of Xinjiang. As a result of the study, it can be concluded that the creation of theaters and string orchestras has contributed to the rallying of the Tatars, as well as the preservation of the native language, literature, traditions, culture and identity of the people, which is also a very important factor in preserving identity among the local population of Xinjiang.

scholarly journals The history of development of Chinese oil painting in the period from 1900 to 1949

2021 ◽  
pp. 94-103
Author(s):  
тиншу цао
Keyword(s):  
Chinese Culture ◽  
Chinese Painting ◽  
Historical Period ◽  
Chinese Government ◽  
Development Trends ◽  
Cultural Changes ◽  
Oil Painting ◽  
History Of Development ◽  
History Of ◽  
Western Experience

After the defeat in the Opium War of 1840, the Chinese Qing Government realized the advanced nature of Western technologies and culture and proceeded with comprehensive examination of the Western experience. The study of the Western painting by the Chinese artists became an important part of this process. The period from 1900 to 1949 was a pivotal stage in the history of development of the Chinese painting associated with the advent of the Chinese oil painting. This article analyzes the development trends in Chinese painting by means of comparison the corresponding historical documents that resemble the five cultural phenomena emerged in this period; as well as generalizes the stages of studying the Western painting in China during this historical period. The author also analyzes the contribution and impact of the Chinese students upon the development of Chinese oil painting, changes in the painting styles, as well as integration of the Chinese artistic experience in the Western oil painting. The peculiarities of the major associations of Chinese artists of this period are reviewed. The development trends of Chinese oil painting include five aspects. The study of Western painting in China was not an approval of the Western oil painting tradition, but rather a way to improve the outdated Chinese tradition as well as build up its international status. This is precisely why the Chinese government set an implicit goal to popularize the Western art of painting in China. The political reforms that took place in China of that time were an important factor, which contributed to cultural changes. The development of painting became one of the key factors in the development of Chinese culture and art.

"Pinyin Tzimu Project" — a Landmark Event in the History of Chinese Civilization Initiated and Supported by the CPC

2021 ◽  
pp. 160
Author(s):  
Alexey Aleksakhin
Keyword(s):  
Chinese Language ◽  
Chinese Society ◽  
Internet Communication ◽  
Chen Yi ◽  
The People ◽  
History Of ◽  
The Creation ◽  
Writing Chinese ◽  
First Time ◽  
Chinese Mandarin

The Creation of the Alphabet and words spelling of Chinese Mandarin (Pinyin tsimu project) is a landmark event in the history of Chinese civilization. It breathes new life into ancient Chinese characters. Great "dumb" − the Chinese character − for the first time since 1958 has become known to the whole world by sounds of Beijing speech. Today the two types of writing − Chinese Mandarin traditional ideographic and innovative phonographic writing, in their unity, provide the linguocultural unity of the Chinese society and the progress of science and technology of China. Millions of people in China and beyond are studying the Chinese language based on the sound letter standard of the words of Chinese Putonghua. Letter orthogramms of Chinese words provide tele- and Internet communication of hundreds of millions of Chinese. In the 20 century the first Latinized alphabet for the Chinese language was created with the leading participation of one of the founders and leaders of the CPC, Qu Qiubo, (included in the official list of "100 Greatest Figures of New China") under the influence of the experience of creating alphabets for the peoples of the USSR in 1921-26. Chinese alphabet, based on Latin letters and letter-spelling forms of Putonghua words are a huge scientific achievement of Chinese linguists. Outstanding contribution to the creation of the alphabet and letter words of Chinese Mandarin was made by a brilliant Chinese linguist Zhou Youguang (1906-2011), called the «father of pinyin zimu» or Chinese alphabet in China. The top leaders of the Communist Party of China, Mao Tsedong, Zhou Enlai, Chen Yi led the creation of the "pinyin" alphabet. The political will and wisdom of the CPC's senior leadership, combined with the creative genius of Chinese linguists, ensured the creation of a letter writing for the people of China, which was "an epochal event in the history of the development of Chinese civilization".

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