scholarly journals An Analysis On The Sincization of Apsaras Art In Dunhuang Mogao Grottoes

2019 ◽  
Vol 8 (1) ◽  
pp. 1-5
Author(s):  
Zijian Zhao ◽  
Keyword(s):  
Social Consciousness ◽  
Buddhist Art ◽  
Performance Style ◽  
Artistic Style ◽  
Mogao Grottoes ◽  
Mature Period ◽  
Aesthetic Standard ◽  
Three Stages ◽  
The Aesthetic ◽  
Religious Thoughts

Buddhist art is an important way to illustrate Buddhist thoughts. Among Buddhist art, Apsaras Art is an extremely significant part of it. Simultaneously, it is the essence of Dunhuang Mogao Grottoes art as well as. As it known to all, Apsaras Art, as an artistic expression of religious thoughts, its artistic style is bound to be influenced by different social consciousness in different times with little doubts. At the same time, this influence will inevitably let creators make performance style of Apsaras increasingly close to the mundane life, which is more and more in line with the aesthetic standard of them as a consequence. To go a step further, it is essential to learn the origin of Apsaras. This paper will analyze the artistic characteristics of Apsaras in Mogao Grottoes from three stages of budding period, exploring period and mature period according to the context of the chronicle to generalize about the sinicization of Apsaras Art.

scholarly journals The role of a stylistic device in creating the image of the author

2020 ◽  
pp. 81-91
Author(s):  
N.V. Khalikova
Keyword(s):  
Main Subject ◽  
Artistic Style ◽  
The World ◽  
The Aesthetic ◽  
Subject Of Cognition ◽  
Artistic Image ◽  
Human Landscape ◽  
Stylistic Device ◽  
Book Culture

The purpose of the article is to compare the definitions of a stylistic device with modern philological ideas about the text and the image of the author as the main subject of cognition of reality in a feature. The methods of structural poetics make it possible to separate the stylistic means and methods as functionally different units of the artistic speech and the language of the writer. There is a steady connection between the worldview of the writer, their “image of the author” and their style. Autological and metalogical stylistic means are equally important for creating both an artistic and a non-artistic image (journalistic, scientific, everyday). Artistic means and techniques perform fundamentally different functions. Artistic means of image expressiveness contribute to the aesthetization of speech. Stylistic techniques organize the processes of meaning generation, preservation and transmission of meanings. The text records and reproduces artistic thinking, typical for this very writer, a set of ideas about a human, landscape, interior, ways of action and other classes of images. The artistic style is the same as the style of thinking, a level speech style of reflecting the perception of reality. The style can be adopted, it can be imitated and, thus, one can understand how the author thinks, what their manner of the aesthetic transformation of reality, forms of perception, is. The stylistic forms of the same author are reproduced from work to work, regardless of the plot and ideological content. To explain how the technique works is to identify the ways of the artistic thinking about the world (images). The stylistic device is closely connected with the intellectual book culture of society.

‘Salute to Radio’: The self-reflexive artistry of Betty Comden and Adolph Green in Fun with the Revuers

2020 ◽  
Vol 14 (2) ◽  
pp. 149-161 ◽  
Author(s):  
Sahoko Tsuji
Keyword(s):  
The Self ◽  
Linguistic Expression ◽  
Verbal Expression ◽  
Sound Recordings ◽  
Artistic Style ◽  
New Perspective ◽  
The Aesthetic

Betty Comden and Adolph Green are well-known librettists and lyricists of stage musicals and musical films; their artistic style and verbal expression are considered to bear urban witness to a period understanding of the 1940s and 1950s. Nonetheless, previous studies have scarcely investigated the aesthetic features of their dramaturgy, especially with regard to linguistic expression. This article focuses on the radio comedy Fun with the Revuers, for which they wrote scripts and lyrics. Through a close look at the scripts and sound recordings, it analyses the ‘interruptive sound and voice’ functions that construct the show, and examines how these satirize the conventions of the format, as well as the essential features of the medium. This article will offer a new perspective on the generational dynamics of Comden and Green’s artistry.

scholarly journals The Poetic of Colors in Qassim Haddad’s Texts (Oh Coal, My Master: Van Gogh’s Notes): شعريّة اللون في نص قاسم حدّاد (أيّها الفحم يا سيدي: دفاتر فنسنت فان غوخ)

2020 ◽  
Vol 4 (5) ◽  
Author(s):  
Amirah Ali Abdullah Al-Zahrani
Keyword(s):  
Analytical Approach ◽  
Literary Texts ◽  
Poetic Language ◽  
Critical Approach ◽  
Artistic Style ◽  
The Aesthetic ◽  
Figurative Expressions ◽  
Poetic Style

This study presents a critical approach to the poetic aspects of Qassim Haddad’s texts (Oh coal, my master) in his rewritings of Van Gogh's life. The importance of the study lies in the new experience of the text as Qassim has provided a distinguished artistic style where he presented the biography of the Dutch artist based on the heterobiography logic. He explored the artist’s paintings which reflected his attitudes towards life and art and invested in the content of his massages. The attractiveness of this topic is the reason for conducting the study as the poet Qassim Hadadd was able to explore deeply Van Gogh's ideas and consequently presented to us a biography of an exceedingly beautiful poetic style that presented his reading of the paintings and messages. Furthermore, texts are written in an elegant poetic language and are rich in color interpretations. The study adopts the Artistic Analytical approach that analyzed the figurative expressions of colors that have poetic connotations different from their denotative meanings which led to appreciate the aesthetic aspects of such literary texts.

Monumentalizing the Ruins of Korean Antiquity: Early Travel Photography and Itinerary of Seoul’s Heritage Destinations

2014 ◽  
Vol 21 (3) ◽  
pp. 331-347
Author(s):  
Hyung Il Pai
Keyword(s):  
Korean Peninsula ◽  
First Generation ◽  
Heritage Management ◽  
Museum Collections ◽  
Buddhist Art ◽  
Tourist Gaze ◽  
Management Policies ◽  
The Aesthetic ◽  
Travel Photography ◽  
Art And Architecture

Abstract:This study introduces the oldest photographs of Seoul’s ruins, which have been recycled for more than a century in a wide variety of print sources, such as travelogues, postcards, museum catalogs, and guidebooks. Regardless of the medium, the aesthetic, disciplinary, and cultural biases practiced by the first generation of globe-trotters, diplomats, and commercial photographers to arrive in the Korean peninsula resulted in the mass distribution of the most “picturesque” monuments, such as Buddhist art and architecture, palaces, and fortress gates targeting the “tourist gaze.” By analyzing a select number of stock images of architectural landscapes, which have served as the “scenic” backdrop for framing “native types,” currently part of museum collections and photographic archives, the article will illustrate how such exoticized and romanticized visions of the conquered “Hermit Kingdom” trapped in time and space have continued to impact the trajectory of heritage management policies and the hierarchical ranking system of national treasures and famous places in postwar South Korea.

scholarly journals A Cultural Man in the Market Jin’s Art

2021 ◽  
Vol 9 (4) ◽  
Author(s):  
Jia Wu
Keyword(s):  
Modern Art ◽  
Modern China ◽  
History Textbook ◽  
Artistic Style ◽  
Chinese Contemporary Art ◽  
The Third ◽  
Present Writing ◽  
Three Stages ◽  
The Times ◽  
The Right

Li Jin, a contemporary Chinese ink and wash artist, participated in the Eighth Five-Year Movement of Thought in China. Li Jin’s art can be divided into three stages. The first stage is during the Eighth Five-Year Movement, Chinese artists turned to Western modern art and post-modern art. The process of learning, and Li Jin’s artistic style presents expressionism, such as Tibetan group paintings. And the second stage is that after 1989, Chinese art has undergone a new turning point. The lofty and philosophical avant-garde art of the 1980s has declined, because intellectuals throughout China clearly understand that the right to speak is always in the hands of the power, and power is Justice and discourse, the brush for writing history is not for the general public, so after 1989, there was a gap in culture and a decline in spirit. He spoke with a hippie smile and a cynical attitude, so cynical realism, political pop art, female art, with the emergence of gaudy art, the artist’s perspective has changed from a macro perspective to a daily trivial matter, generalized and secularized. At this stage, Li Jin’s art expresses the things of family life, presenting private space. The third stage is after 2000. Due to the changes of the times, market capitalism has allowed Chinese contemporary art to gain some official status. In this modern China where consumerism and pragmatism are popular, Li Jin directly intervenes in his self-image to express his feelings and memories of this social fragment. Even though there are many personal sensibility elements, the artist is using his own eyes and beating heart to feel that it is a kind of reality, not the real nihility in the socalled history textbook. These are the three stages of Li Jin’s art. The main topic of this thesis is Li Jin’s daily expressions based on the theme of gourmet beauties from the 1990s to the present, writing market culture from the first perspective of ordinary people. The thesis is divided into three parts: the first part is to discuss Li Jin’s expression of beautiful food. The second part discusses Li Jin’s perfect integration of traditional ink painting and contemporary society. The third part is to discuss the turning and criticism of Li Jin’s art in the global context.

Popular and Culture, World War Broadway, II

2021 ◽  
pp. 1-22
Author(s):  
Robert L. McLaughlin ◽  
Sally E. Parry
Keyword(s):  
Popular Culture ◽  
Great Depression ◽  
Social Consciousness ◽  
World War ◽  
American Life ◽  
Distribution Of Wealth ◽  
The Great Depression ◽  
Federal Theater Project ◽  
The Aesthetic ◽  
Class Divisions

This chapter looks at the operations of popular culture during the war, the rise of socially conscious theater in the 1930s, which established the aesthetic and ideological contexts in which theater about the war was produced, the economics and audiences for Broadway theater, and the cultural place of theater in American life in the 1930s and 1940s. The theater of the 1930s was unusually politically conscious, primarily due to the Great Depression, which engendered heightened awareness of class divisions and the distribution of wealth. This social consciousness led to the rise of theater groups like the Theater Guild, the Group Theater, and the Federal Theater Project, which often expressed anti-Nazi or antifascist views.

scholarly journals Entrepreneurship and poetry: analyzing an aesthetic dimension

2015 ◽  
Vol 22 (3) ◽  
pp. 450-472 ◽  
Author(s):  
Robert Smith
Keyword(s):  
Empirical Research ◽  
Design Methodology ◽  
Social Consciousness ◽  
Variant Form ◽  
Content Type ◽  
Entrepreneurial Behaviour ◽  
Per Se ◽  
Heuristic Device ◽  
The Aesthetic ◽  
Narrative Medium

Purpose – The purpose of this paper is to investigate the aesthetic dimension of entrepreneur poems. The notion of the entrepreneur as storyteller, and the entrepreneur story as cultural genres have become so firmly entrenched in the collective social consciousness that little consideration is given to the existence of other narrative genres, such as business poetry as expressions, or manifestations of enterprising behaviour and indeed identities. Poetry, like art, possesses aesthetic dimensions which make it difficult to theorize and analyze. Indeed, as a genre, poetry seldom features as a heuristic device for better understanding entrepreneurial behaviour or learning. This is surprising because poetry in particular is a wonderfully creative and expressive narrative medium and accordingly, many entrepreneurs engage in writing poetry as a form of creative expression. Design/methodology/approach – In this study the author considers the entrepreneur as poet and from a reading of the literatures of entrepreneurship and aesthetics develops an aesthetic framework for analysing entrepreneur poetry which is used to analyze six poems written by entrepreneurs or about entrepreneurs. Findings – That poetry has value in terms of entrepreneurial learning because of its atheoretical nature it permits listeners to experience the emotion and passion of lived entrepreneurial experiences and to relive these vicariously. In particular entrepreneur poems are a variant form of entrepreneur story devoid of the usual cliché. Research limitations/implications – There are obvious limitations to the study in that the analysis of six poems can merely scratch the surface and that aesthetic analysis is by its very nature subjective and open to interpretation. The study opens up possibilities for further research into entrepreneur poems, the aesthetics of other non-standard entrepreneur narratives and consideration of the aesthetic elements of entrepreneurship per se. Poetics and aesthetics are areas of narrative understanding ripe for further empirical research. Originality/value – The paper is original in terms of creating an aesthetic framework used to analyze entrepreneur poems. Indeed, little consideration had previously been given to the topic.

“Merely hints and symbols”? Kierkegaard and the Progressive Oracles of Brideshead Revisited

2017 ◽  
Vol 66 (2) ◽  
pp. 244-262
Author(s):  
D. Marcel DeCoste
Keyword(s):  
First Person ◽  
Minor Characters ◽  
Christian Conversion ◽  
Three Stages ◽  
The Aesthetic

Douglas Lane Patey argues Evelyn Waugh’s Brideshead Revisited is a conversion story that renders Ryder’s journey to belief as one of successive devotions: to art, to romance, to Christ. While this first-person tale focuses on narrator Ryder, his spiritual progress is marked by minor characters who intervene to predict the fruit of his artistic labors and worldly loves. Brideshead features a trio of oracles who offer apt diagnoses of Ryder’s shortcomings. The cumulative force of their accuracy helps move Ryder to Christian conversion. Moreover, these seers trace, in the first of Waugh’s novels to deal with his Catholicism, a path that conforms to Kierkegaard’s three stages of life. Each of these prophets—of art, of love, of faith, respectively—helps disclose the poverty of Ryder’s understanding of the aesthetic, ethical and religious; thus their prophesies guide him to that trust in God that Kierkegaard, like Waugh, sees as our proper end.

scholarly journals Estetika Karya Lukis Afianto Arifin

2021 ◽  
Vol 1 (1) ◽  
pp. 25
Author(s):  
Selvina Rahmi ◽  
Suryanti Suryanti ◽  
Miswar Miswar
Keyword(s):  
Contemporary Art ◽  
Point Of View ◽  
Literature Study ◽  
Artistic Style ◽  
Work Attitude ◽  
West Sumatra ◽  
The Aesthetic ◽  
Artistic Career ◽  
The City ◽  
Aesthetic Concepts

This study discusses Afianto Arifin's tendency to persist with a strong naturalism style during the incessant contemporary art. This study also discusses the journey of art, the factors behind his work attitude, and the aesthetic concepts contained in his paintings. To answer these problems, qualitative research methods are used which include observation, interviews, and literature study. The research was conducted in the City of Bukittinggi and Padang Pariaman district, West Sumatra province. Based on the research results, the beginning of Afianto Arifin's artistic career began in Jakarta. Apart from painting, Arifin also got a project to make sculptures and reliefs. After that, Arifin was diligent in making paintings. Arifin tends to raise objects of natural scenery and women's beauty. The idea of creating Arifin's paintings was influenced by artistic factors and cultural factors in his native area, namely Bukittinggi. The aesthetic concepts contained in Arifin's paintings are discussed from the point of view of art styles, art structures, as well as the interaction of media and meaning. Arifin is a person who tends to not want to be exposed and does not like to see exhibitions, this makes Arifin stick to his ideals and influences his artistic style until now.

scholarly journals Discussion on the Morphological Characteristics of Dance Performance of "Female Roles" in Gannan Tea-picking Opera

2021 ◽  
Vol 2 (3) ◽  
Author(s):  
Xiang Wu
Keyword(s):  
Morphological Characteristics ◽  
Female Character ◽  
Dance Performance ◽  
Performance Style ◽  
Unique Character ◽  
Character Type ◽  
Female Roles ◽  
Beijing Opera ◽  
The Aesthetic

Gannan tea-picking opera is a folk opera popular in the south of Jiangxi, among which "Liangdan Yichou" is the most representative way of performance. "Female roles" can be divided into "Xiao Dan" and "Cai Dan". The relationship of "Liangdan Yichou" in Gannan tea-picking opera can be roughly summarized as "the clown who plays the role of a female is responsible for matching, Zhengchou resembles the female character type in Beijing opera and “Fanchou”makes troubles. Cai Dan gives a beat of person with bad behavior. As the female character type in Beijing opera like three-inch “golden lotuses” (woman's bound feet in feudal age) encounters the exaggerated caricature like clown who plays the role of a female, the distinctive female dance performance style of Gannan tea-picking opera was formed. This paper aims to sort out and summarize the formation of the "female roles" dance performance in Gannan tea-picking opera and its unique character characteristics to have a clearer understanding of the aesthetic norms and artistic value of the dance performance of "female roles" in Gannan tea-picking opera to improve the cultural content of Gannan tea-picking opera and promote the inheritance and development of Gannan tea-picking opera as a whole.

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