scholarly journals Assemblage technique in creating modern wooden sculptures

Author(s):  
Aleksandr Dmitrievich Cheglakov

This article demonstrates the manifestation of assemblage technique in modern wooden sculpture. The author describes the essence of this method. Special attention is given to another novelty of avant-garde culture – organic art, according to the philosophy of which, the world is depicted as organic whole, the uniform system with its own laws. The pedagogical system of M. Matyushin allows demonstrating the natural bound of man and nature in the artworks. Based on the developed creative method, the author indicates that contemporary art may combine such avant-garde trends as organic art and assemblage. Another important methodology that is similar to assemblage technique, and simultaneously verges upon the practices of kinetic art, is the creation of sculptures with spinning elements. The synthesis of techniques and materials allows expanding the boundaries of art by introducing into inartistic materials. The fundamental idea of this approach is to enrich the context of existence of the artwork and its history. It is stated that wooden sculpture allows the artists to experiment. The ideas and plotlines of wooden sculptures embody the artistic diversity of decorative and applied arts.

1958 ◽  
Vol 51 (3) ◽  
pp. 169-185 ◽  
Author(s):  
C. A. Patrides

Of the changes that have taken place in theology since the Renaissance, none is more striking than the re-interpretation of the Mosaic account of the creation and fall of man, which has passed from the realm of history to that of ‘myth.’ Equally impressive, however, are the changes that have taken place in eschatology. This disagreement with our ancestors is not revolutionary on every point, since at least one fundamental idea, affirmed by George Hakewill in the earlier seventeenth century, still holds true. “That the world shall haue an end,” wrote Hakewill, “is as cleere to Christianity, as that there is a Sun in the firmament: And therefore, whereas there can hardly be named any other article of our faith, which some Heretiques haue not presumed to impugne or call into question; yet to my remembrance I never met with any who questioned this; & though at this day many & eager be the differences among Christians in other points of Religion, yet in this they all agree & ever did, that the world shall haue an end.” If on this, however, all Christians are agreed, the exact time of the Day of the Lord has been the subject of speculation ever since the advent of Christianity, not to mention Jewish apocalyptic thought.


2000 ◽  
Vol 45 ◽  
pp. 85-95
Author(s):  
George Walden

Not long before the change of Government in Britain in 1997, the then Heritage Secretary, Virginia Bottomley, made a speech in which she praised British contemporary art, describing it as the most exciting and innovatory in the world. Unexciting as it seemed, her observation was profoundly innovatory, indeed in its small way historic. To my knowledge no British Cabinet Minister, still less a Conservative, has ever given an official seal of approval to what is conventionally regarded as avant-garde art. The Labour Government has echoed its predecessor's praise at a higher volume, as if determined to out-do it. The sanctification by the state of works of contemporary art has now become part of the discourse of officialdom.


2019 ◽  
Vol 7 (11) ◽  
pp. 204-206
Author(s):  
Indu Joshi ◽  
Kamal Kishore Kashyap

Contemporary art which believes in the creation of an unimaginable world by creating new forms of continuous form which has shaped its sensation by mixing multiple modes of expression and has also reduced the distance of art from other experimental disciplines. As a result, the creation of an artwork today has created a new way to express the psychological effects of human beings through pictures by creating musical melodies, perfume fragrances and many other environments.The influence or inspiration of something has always been behind any experiment or work in human life, in the same way, many contemporary artists, influenced by the Indian miniature, painting tradition, developed their own art style by creating new forms. At the same time, the work of inspiring the invaluable heritage of Indian painting in a changing environment. Contemporary artists have succeeded in creating amazing picture forms by blending contemporary and interactive shapes, by entering the world of miniature paintings made in small color, color, method, contemporary artists by entering the world of canvas and oil colors.A long list of artists who have attracted the whole world by creating such art forms is working in Rajasthan, which includes Chhotu Lal, Shail Chappell, Couple Kishore Upadhyay, Rameshwar Baruta, Lalit Shrama, Prabha Shah, Lalchand Marothia, Charan Sharma, Kiran Murdia etc. includes many names. समकालीन कला जो नित नवीन रूपों का सृजन कर एक अकल्पनीय संसार के सृजन में विश्वास रखती है जिसने अभिव्यक्ति के अनेक साधनों के मिश्रण से अपपनी अनुभूति को एक आकार प्रदान करने के साथ अन्य प्रयोगधर्मी विषयों से कला की दूरी को कम करने का भी कार्य किया है जिसका परिणाम है कि एक कलाकृति का निर्माण आज संगीत की धुन, इत्र की सुगंध एवं अन्य कई प्रकार के वातावरण का सृजन कर मनुष्य के मनोवैज्ञानिक प्रभावों को चित्रों के माध्यम से अभिव्यक्त करने का नवीन मार्ग प्रशस्थ हुआ।मनुष्य के जीवन में कोई भी प्रयोग या कार्य के पीछे हमेशा से ही किसी चीज का प्रभाव या प्रेरणा कार्य करती आयी है उसी प्रकार से अनेक समकालीन कलाकारों ने भारतीय लघु, चित्र परम्पपरा से प्रभावितत होकर अपनी कला शैली का विकास कर नवीन रूपों के सृजन के साथ-साथ भारतीय चित्रकला की अमूल्य धरोहर को बदलतते परिवेश में गति प्रदान करने का कार्य किया है। छोटे-छोटे पारस्परिक रूप-रंग, विधि में बने लघु चित्रों के संसार को समकालीन कलाकारों ने कैनवास एवं तैल रंगों की दुनियां में प्रवेश कराकर समकालीन एवं पारस्परिक आकारों के समिश्रण से अद्भुत चित्र रुपों की रचना करने में सफल रहा है। इस प्रकार के कला रूपों का सृजन कर सम्पूर्ण विश्व को आकर्षित करने वाले कलाकारों की एक लम्बी सूची राजस्थान में कार्यरत हैं जिसमें छोटू लाल, शैल चैपल, युगल किशोर उपाध्याय, रामेश्वर बरूटा, ललित श्र्मा, प्रभा शाह, लालचंद मरोठिया, चरन शर्मा, किरण मुर्डिया आदि अनेक नाम शामिल हैं।


Author(s):  
Hanna Chuchvaha

Apollo (Apollon, 1909–1917) was the third and last major Russian modernist art periodical before the revolution of 1917. Edited by the art critic and art historian Sergei Makovsky (1877–1962), and from 1911 by both Makovsky and Baron Nikolai Vrangel’ (1880–1915), the journal ran for 91 issues. Aiming to craft an ideal art periodical, Apollo continued the aesthetic program of its forerunners, the World of Art and The Golden Fleece. According to its title and editorial manifesto, the creation of art works was seen as an act of worshipping Apollo, while the principle of Apollonianism alluded to Friedrich Nietzsche’s dichotomy of the Apollonian and the Dionysian. Apollo was a consistent propagator of contemporary art trends and defined a new stage in the development of Russian modernism. The periodical was international in scope; it devoted articles to Russian and European artists and art shows and featured sections dedicated to visual arts, literature, dance, theater, and music.


Al-Albab ◽  
2013 ◽  
Vol 2 (1) ◽  
Author(s):  
Abdurrahman Misno Bambang Prawiro

Indonesia is a land of many tribes, with each tribe having different customs. However they have a bond in the form of the state motto, Bhineka Tunggal Ika. This motto is based on a philosophy embraced by every tribe in the form of the teachings passed down from the ancestors such as pantun (Malay poetic form), rhyme, guguritan (Sundanese literary works), history and myths. Myths here are stories about things that happened in the past in the form of the history of the origins of man and nature, or the origin of a nation. Myths as a local wisdom are believed to be the truth by every member of the tribe applied in everyday life. This includes the myth that tells about human cultural diversity (plurality), and the community will implement its content. What about the Baduy community in Banten, do they have myths and apply the myths that deal with pluralism in their life? The Baduy are one of the ethnic groups in Indonesia who have myths about the creation of the universe, human origins, and even myths about the events that will occur. The myth about the origin of humans in the Baduy community begins with the creation of Adam as the first human, and then he had children that gave birth to the whole nation in the world. Because every human in the world is the great-grandsons of Adam, the Baduy believe that all humanity is dulur (brother) despite differences in customs and religion. The reality of social life of the Baduy community, either Baduy Dalam (inner baduy) or Baduy Luar (outer baduy) is that they greatly respect all mankind despite the different cultures and religions. Prohibition to enter the Baduy traditional village for foreigners is because of historical factors, namely the agreement made by their ancestors with the Dutch. This research concluded that the Baduy society is a society that understands the plurality of cultures; it is based on a myth that they believe and apply in their life about tolerance of other religions. Key Word: Pluralism, Baduy, Lebak Banten, myth and reality


Author(s):  
Roberto D. Hernández

This article addresses the meaning and significance of the “world revolution of 1968,” as well as the historiography of 1968. I critically interrogate how the production of a narrative about 1968 and the creation of ethnic studies, despite its world-historic significance, has tended to perpetuate a limiting, essentialized and static notion of “the student” as the primary actor and an inherent agent of change. Although students did play an enormous role in the events leading up to, through, and after 1968 in various parts of the world—and I in no way wish to diminish this fact—this article nonetheless argues that the now hegemonic narrative of a student-led revolt has also had a number of negative consequences, two of which will be the focus here. One problem is that the generation-driven models that situate 1968 as a revolt of the young students versus a presumably older generation, embodied by both their parents and the dominant institutions of the time, are in effect a sociosymbolic reproduction of modernity/coloniality’s logic or driving impulse and obsession with newness. Hence an a priori valuation is assigned to the new, embodied in this case by the student, at the expense of the presumably outmoded old. Secondly, this apparent essentializing of “the student” has entrapped ethnic studies scholars, and many of the period’s activists (some of whom had been students themselves), into said logic, thereby risking the foreclosure of a politics beyond (re)enchantment or even obsession with newness yet again.


2020 ◽  
Vol 1 (3) ◽  
pp. 206-210
Author(s):  
Ra`no Ergashova ◽  
◽  
Nilufar Yuldosheva

The creation, regulation, lexical and grammatical research and interpretation of the system of terms in the field of aviation in the world linguistics terminology system are one of the specific directions of terminology. Research on specific features is an important factor in ensuring the development of the industry. This article discusses morphological structure of aviation terms. The purpose of the article is to analyze the role of aviation terms in the morphology of the Uzbek language and its definition.


2020 ◽  
Vol 3 (1) ◽  
pp. 156-160
Author(s):  
Khurshida Salimovna Safarova ◽  
Shakhnoza Islomovna Vosiyeva

Every great fiction book is a book that portrays the uniqueness of the universe and man, the difficulty of breaking that bond, or the weakening of its bond and the increase in human. The creation of such a book is beyond the reach of all creators, and not all works can illuminate the cultural, spiritual and moral status of any nation in the world by unraveling the underlying foundations of humanity. With the birth of Hoja Ahmad Yassawi's “Devoni Hikmat”, the Turkic nations were recognized as a nation with its own book of teaching, literally, the encyclopedia of enlightenment, truth and spirituality.


GEOgraphia ◽  
2010 ◽  
Vol 10 (19) ◽  
pp. 103
Author(s):  
Alexandre Domingues Ribas ◽  
Antonio Carlos Vitte

Resumo: Há um relativo depauperamento no tocante ao nosso conhecimento a respeito da relação entre a filosofia kantiana e a constituição da geografia moderna e, conseqüentemente, científica. Esta relação, quando abordada, o é - vezes sem conta - de modo oblíquo ou tangencial, isto é, ela resta quase que exclusivamente confinada ao ato de noticiar que Kant ofereceu, por aproximadamente quatro décadas, cursos de Geografia Física em Königsberg, ou que ele foi o primeiro filósofo a inserir esta disciplina na Universidade, antes mesmo da criação da cátedra de Geografia em Berlim, em 1820, por Karl Ritter. Não ultrapassar a pueril divulgação deste ato em si mesma só nos faz jogar uma cortina sobre a ausência de um discernimento maior acerca do tributo de Kant àfundamentação epistêmica da geografia moderna e científica. Abrir umafrincha nesta cortina denota, necessariamente, elucidar o papel e o lugardo “Curso de Geografia Física” no corpus da filosofia transcendental kantiana. Assim sendo, partimos da conjectura de que a “Geografia Física” continuamente se mostrou, a Kant, como um conhecimento portador de um desmedido sentido filosófico, já que ela lhe denotava a própria possibilidade de empiricização de sua filosofia. Logo, a Geografia Física seria, para Kant, o embasamento empírico de suas reflexões filosóficas, pois ela lhe comunicava a empiricidade da invenção do mundo; ela lhe outorgava a construção metafísica da “superfície da Terra”. Destarte, da mesma maneira que a Geografia, em sua superfície geral, conferiu uma espécie de atributo científico à validação do empírico da Modernidade (desde os idos do século XVI), a Geografia Física apresentou-se como o sustentáculo empírico da reflexão filosófica kantiana acerca da “metafísica da natureza” e da “metafísica do mundo”.THE COURSE OF PHYSICAL GEOGRAPHY OF IMMANUEL KANT(1724-1804): CONTRIBUTION FOR THE GEOGRAPHICALSCIENCE HISTORY AND EPISTEMOLOGYAbstract: There is a relative weakness about our knowledge concerningKant philosophy and the constitution of modern geography and,consequently, scientific geography. That relation, whenever studied,happens – several times – in an oblique or tangential way, what means thatit lies almost exclusively confined in the act of notifying that Kant offered,for approximately four decades, “Physical Geography” courses inKonigsberg, or that he was the first philosopher teaching the subject at anyCollege, even before the creation of Geography chair in Berlin, in 1820, byKarl Ritter. Not overcoming the early spread of that act itself only made usthrow a curtain over the absence of a major understanding about Kant’stribute to epistemic justification of modern and scientific geography. Toopen a breach in this curtain indicates, necessarily, to lighten the role andplace of Physical Geography Course inside Kantian transcendentalphilosophy. So, we began from the conjecture that Physical Geography hasalways shown, by Kant, as a knowledge carrier of an unmeasuredphilosophic sense, once it showed the possibility of empiricization of hisphilosophy. Therefore, a Physical Geography would be, for Kant, theempirics basis of his philosophic thoughts, because it communicates theempiria of the world invention; it has made him to build metaphysically the“Earth’s surface”. In the same way, Geography, in its general surface, hasgiven a particular tribute to the empiric validation of Modernity (since the16th century), Physical Geography introduced itself as an empiric basis toKantian philosophical reflection about “nature’s metaphysics” and the“world metaphysics” as well.Keywords: History and Epistemology of Geography, Physical Geography,Cosmology, Kantian Transcendental Philosophy, Nature.


Author(s):  
Sabyasachi Bhattacharya

The archives are generally sites where historians conduct research into our past. Seldom are they objects of research. Sabyasachi Bhattacharya traces the path that led to the creation of a central archive in India, from the setting up of the Imperial Record Department, the precursor of the National Archives of India, and the Indian Historical Records Commission, to the framing of archival policies and the change in those policies over the years. In the last two decades of colonial rule in India, there were anticipations of freedom in many areas of the public sphere. These were felt in the domain of archiving as well, chiefly in the form of reversal of earlier policies. From this perspective, Bhattacharya explores the relation between knowledge and power and discusses how the World Wars and the decline of Britain, among other factors, effected a transition from a Eurocentric and disparaging approach to India towards a more liberal and less ethnocentric one.


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