scholarly journals TRIBAL AND FOLK ART CULTURE OF CHHATTISGARH ORIENTED TOWARDS PROFESSIONALISM

2019 ◽  
Vol 7 (11) ◽  
pp. 291-296
Author(s):  
Neelima Gupta
Keyword(s):  
Folk Art ◽  
Archaeological Sites ◽  
Human Love ◽  
Art And Culture ◽  
The Creation

English: From the beginning of the creation, the art passing through different stages of civilization is continuously moving forward till the present. Chhattisgarh is a tribal dominated state. Tribal life means such a juice which is sensuous from above but sensible from within, rapturous, dejected like a deer, bright and sinless. The residents of this place have been leading a struggling life since time immemorial. Many cultures were born, flourished and flourished in this region. The heritage of the art and culture of this region is preserved in the archaeological sites here. The word 'Maharanya' is used here in the Ramayana. The remains of 'primitive art' derived from Singhanpur, Kabra, Bani, Basnajhar, Ogna, Karmagarh, Benipat and Nawagarh hills establish the art of human love of Chhattisgarh. Hindi: सृष्टि के प्रारम्भ से सभ्यता के विभिन्न सोपानों से गुजरती हुई कला वर्तमान तक निरन्तर आगे बढ़ती जा रही है। छत्तीसगढ़ एक आदिवासी बहुल राज्य है। आदिवासी जीवन अर्थात ऐसा रस जो ऊपर से निर्विकार किन्तु भीतर से संवेदी, उतावली, निर्झर के समान छलछलाता, उज्जवल एवं निष्पाप। यहाँ के निवासी आदिकाल से ही संघर्षमय जीवन व्यतीत कर रहे हैं। इस क्षेत्र में अनेक संस्कृतियाँ जन्मीं, पुष्पित-पल्लवित हुयीं। यहाँ के पुरातात्विक स्थलों में इस क्षेत्र की कला एवं संस्कृति की धरोहर सुरक्षित हैं। रामायण में यहाँ के लिये 'महारण्य' शब्द का प्रयोग किया गया है। सिंघनपुर, कबरा, बानी, बसनाझर, ओगना, कर्मागढ़, बेनीपाट तथा नवागढ़ पहाड़ी से प्राप्त 'आदिम कला' के अवशेष छत्तीसगढ़ के मानव का कला प्रेम स्थापित करते हैं।

PERFORMANCE IN FOLK CULTURE

2020 ◽  
Vol 1 (1) ◽  
pp. 143-149
Author(s):  
E. V. Fomchenko ◽  
Keyword(s):  
Folk Art ◽  
Creative Activity ◽  
Folk Culture ◽  
Creative Potential ◽  
Artistic Creativity ◽  
Cultural Traditions ◽  
The Creation

The article deals with such a modern phenomenon of culture and art — as performance. The purpose of this study is to determine the performative features as characteristics of modern artistic creativity and their influence on the development of folk culture. The tendency for turning to ritual, ceremonial types of folk art, whereby the communication is put forward, is considered on the example of the creative activity of the folklore ensemble "Rosstan". The article notes such performative characteristics as the creation of an event and atmosphere, space and communication organization, the interaction of the audience, that provide conditions for perception and response. The author relies on the works of such scientists as: E. Fischer-Lichte, V. Turner, A. Ya. Flier, L. N. Zakharova, L. V. Demina and others. In the process of studying following methods were used: generalization, comparison and also dialectical, historical and logical once. Modern features in folk culture, expressed in the interaction of traditional and innovative folkloristics are revealed on the example of the creative activity of "Rosstan". The revival of folk culture, the realization of its creative potential is possible through the development of cultural traditions and the creation of innovations related to ancient ritual forms of interaction, which should be adapted to the present and be understood by modern generation.

Village Festivals and Rites in Croatian Naive Art

2021 ◽  
pp. 134-142
Author(s):  
Софья Антоновна Лагранская
Keyword(s):  
Folk Art ◽  
Rural Life ◽  
Strong Impact ◽  
The South ◽  
Fertile Soil ◽  
South Slavs ◽  
The Creation ◽  
Village Life

Хорватское наивное искусство, зародившееся в небольшом селе Хлебине, неотделимо от обрядности, без которой невозможно представить течение деревенской жизни. Яркие и декоративные работы крестьянских художников крепко спаяны не только с народным искусством, но и с самим сельским бытом, с его ритмично повторяющимися циклами. В картинах хорватских живописцев особое внимание уделяется изображению различных семейных и календарных праздников. Прослеживаются в творчестве хлебинской школы и элементы архаических обрядов, сохранившиеся в культуре южных славян. Традиционные для хорватской деревни ритуалы не могли не оказать влияния на художников, они послужили плодородной почвой для создания яркой подстекольной живописи. Связь наивного и народного искусства по мере углубления в проблематику становится всё более и более явственной. Мышление хорватских наивных художников архетипично в том смысле, что под определенными образами и темами их творчества есть глубокая мифологическая основа: угадывается целый комплекс смыслов, присутствует ощущение первозданности природы и хрупкого слоя крестьянской цивилизации. Обращение к образам и символам земледельческих обрядов и праздников - это не просто дань традиции хлебинской школы, это внутренняя потребность выражения себя в этой вечной для художников, живущих на берегах Дравы, теме бытия крестьянского мира. Croatian naive art developed in the small village of Hlebine is inseparable from the rituals of village life. The bright, ornamental works of peasant artists are firmly tied not only to folk art, but also to rural life and its repetitive cycles. In the paintings of these Croatian artists specific attention is paid to the depiction of family and calendar holidays. Traditional Croatian village life has had a strong impact on the artists has served as fertile soil for the creation of bright colored painting. Elements of archaic rituals that are still preserved in the culture of the South Slavs may be seen in their works. The connection between naive and folk art becomes clearer as we delve deeper into it. The thinking of Croatian naive artists is archetypal in the sense that a deep mythological basis underlies certain images and themes of their work. A complex of meanings may be intuited; there is a sense of primeval nature and the fragile layer of peasant civilization. The appeal to images and symbols of agricultural rites and holidays is not just a tribute to the tradition of the Hlebine school; for artists living on the banks of the Drava it derives from an inner need to express themselves in these eternal themes of the peasant world.

scholarly journals The fate of the Russian archaeologist at the era-breaking time

2021 ◽  
pp. 185-193
Author(s):  
Mironenko Maria P. ◽  
Keyword(s):  
Civil War ◽  
The State ◽  
Active Participant ◽  
The North ◽  
Art And Culture ◽  
Russian North ◽  
History Of ◽  
The Creation ◽  
Breaking Time ◽  
Written Sources

The article is devoted to the fate of an archaeologist, historian, employee of the Rumyantsev Museum, local historian, head of the section for the protection of museums and monuments of art and antiquities in Arkhangelsk, member and active participant of the Arkhangelsk Church Archaeological Committee and the Arkhangelsk Society for the Study of Russian North K.N. Lyubarsky (1886–1920). The Department of Written Sources of the State Historical Museum stores his archive, which sheds light on the history of his struggle to protect churches and other monuments of art and culture dying in the North of Russia during the revolution and civil war, for the creation of the Arkhangelsk Regional Museum.

scholarly journals Hittite Geographers: Geographical Perceptions and Practices in Hittite Anatolia

2018 ◽  
Vol 4 (1-2) ◽  
pp. 39-60
Author(s):  
N. İlgi Gerçek
Keyword(s):  
Historical Geography ◽  
Central Place ◽  
Geographical Information ◽  
Archaeological Sites ◽  
Classical Period ◽  
Geographical Knowledge ◽  
Geographical Data ◽  
Essential Component ◽  
The Creation ◽  
Written Sources

AbstractHittite archives are remarkably rich in geographical data. A diverse array of documents has yielded, aside from thousands of geographical names (of towns, territories, mountains, and rivers), detailed descriptions of the Hittite state’s frontiers and depictions of landscape and topography. Historical geography has, as a result, occupied a central place in Hittitological research since the beginnings of the field. The primary aim of scholarship in this area has been to locate (precisely) or localize (approximately) regions, towns, and other geographical features, matching Hittite geographical names with archaeological sites, unexcavated mounds, and—whenever possible—with geographical names from the classical period. At the same time, comparatively little work has been done on geographical thinking in Hittite Anatolia: how and for what purpose(s) was geographical information collected, organized, and presented? How did those who produce the texts imagine their world and their homeland, “the Land of Hatti?” How did they characterize other lands and peoples they came into contact with? Concentrating on these questions, the present paper aims to extract from Hittite written sources their writers’ geographical conceptions and practices. It is argued that the acquisition and management of geographical information was an essential component of the Hittite Empire’s administrative infrastructure and that geographical knowledge was central to the creation of a Hittite homeland.

scholarly journals Text application as a marker of intertext links in modern Ukrainian poetry

2021 ◽  
Vol IX(257) (75) ◽  
pp. 12-16
Author(s):  
A. Berestova
Keyword(s):  
World Literature ◽  
Meaning Making ◽  
Folk Art ◽  
Language Play ◽  
Poetic Text ◽  
The Creation

In the article proposed, the researcher tries to characterize the main manifestations of text applications on the basis of Ukrainian poetry of the late XX - early XXI centuries. The author of the research concludes that the text application is actively used in modern Ukrainian poetry as a marker of intertextual interaction and an actualizer of precedent texts of religious content, various genres of Ukrainian folk art, as well as Ukrainian and world literature. The text applications found in the processed poetic works play an important role in the creation of poetic text and perform the function of setting, informative-signaling, meaning-making, plotforming functions, as well as the means of creating figurative and stylistic figures and the means of language play.

scholarly journals Fine arts and folk culture included in Indian painting

2020 ◽  
Vol 5 (12) ◽  
pp. 141-146
Author(s):  
Kanchan Kumari
Keyword(s):  
Daily Life ◽  
Fine Arts ◽  
Folk Art ◽  
Folk Culture ◽  
Human Culture ◽  
Art And Culture ◽  
Manufactured Goods ◽  
Indian Painting ◽  
Folk Tradition

India is an ancient cultural country. Art is a product of human culture. Its rise is reflective of the beauty of man. The unique fusion of folk art is seen in the art and culture here. Many scholars have periodically stated the importance of folk art. Folk art is a mirror of folk tradition culture in our country. Which can be seen in various rituals. Folk art can be seen in various forms in different provinces like India. Which is known by various names.Although these useful items of daily life were not made with the goal of fine arts, yet the end of the art of collective life is visible to us and it is not wrong to call them artistic objects. Along with the development of civilization, man did not leave a useful notion in his manufactured goods, but by his fluidity his fluidity made him beautiful product for fine arts in some quantity.   भारत एक प्राचीन सांस्कृतिक देश है। कला मानव संस्कृति की उपज है। इसका उदय मानव की सौन्दर्य भावना का परिचायक है। यहाँ की कला एवं संस्कृति में लोककला का अनूठा समन्वय दिखाई देता है। अनेक विद्वानों ने समय-समय पर लोककला के महत्त्व को बताया है। लोककलाऐं हमारे देश में लोक परम्पराओं संस्कृति का दर्पण है। जो विभिन्न रीति रिवाज उत्सव में देखे जा सकते है। भारत जैसें देश में विभिन्न प्रान्तों में विविध रूपों में लोककला देखी जा सकती है। जो विभिन्न नामों से जानी जाती है।दैनिक जीवन की इन उपयोगी वस्तुओं का निर्माण यद्यपि ललित कला के लक्ष्य से नहीं हुआ, तथापि सामूहिक जीवन की कलाप्रियता का अंष हमें इसमें दृष्टिगोचर होता है और इन्हें कलात्मक वस्तुएँ कहे तो गलत नहीं होगा। सभ्यता के विकास के साथ-साथ मानव ने अपनी निर्मित वस्तुओं में उपयोगी धारणा को नहीं छोड़ा परन्तु उसकी कलाप्रियता ने अपनी प्रवाहशीलता द्वारा कुछ मात्रा में उन्हें ललित कला के लिये सुन्दर उपादान बना दिया।

scholarly journals Evenks from Transbaikalia: collection of the National Museum of the Republic of Buryatia

2019 ◽  
Author(s):  
Любовь Филипповна Левитина
Keyword(s):  
Indigenous Population ◽  
Folk Art ◽  
National Museum ◽  
Socialist Republic ◽  
Soviet Socialist Republic ◽  
The Creation ◽  
The Republic ◽  
Storage Units

В данной статье автор дает обзор коллекции предметов этнографии эвенков, являющихся аборигенным населением Забайкалья. В научный оборот введен ряд предметов культуры и народного искусства эвенков. Коллекция начала складываться с 1930-х гг. Первое поступление датируется 1933 годом, юбилейным с момента создания Бурят-Монгольской АССР. В последующие годы собрание пополнялось за счет экспедиционных сборов и насчитывает на сегодняшний день 181 единицу хранения основного и научно-вспомогательного фондов. Тематически коллекция охватывает все стороны жизни эвенков северной, восточной и северобайкальской части современной Республики Бурятия, это одежда, убранство жилища, посуда и утварь, орудия труда (промыслы). In this article, the author gives an overview of the ethnography collection of Evenks, who are the indigenous population of Transbaikalia. А number of objects of culture and folk art of Evenks from the collection of the National Museum of the Republic of Buryatia were introduced into scientific circulation here. The collection began to form since the 1930s. The first reception dates back to 1933, the anniversary of the creation of the Buryat-Mongol Autonomous Soviet Socialist Republic. In subsequent years, the collection was replenished through expeditionary fees and today has 181 storage units of fixed and scientific and auxiliary funds. Thematically, the collection covers all aspects of the Evenks life in the northern, eastern and north Baikal parts of the modern Republic of Buryatia, these are clothes, furniture, utensils, tools (crafts).

scholarly journals FEARS AND SCARY NARRATIVES OF CHILDREN IN THE ERA OF THE INTERNET

2021 ◽  
pp. 129-147
Author(s):  
T. A. Mirvoda ◽  
M. V. Stroganov ◽  
◽  
Keyword(s):  
Oral Tradition ◽  
Folk Art ◽  
The Internet ◽  
Visual Objects ◽  
Dissertation Research ◽  
The Creation ◽  
Phd Thesis ◽  
Ritual Practices

(Discussion based on the materials of the defense of T. A. Mirvoda’s PhD thesis “Poetics of a modern children’s “scary” narrative in oral tradition and the Internet”)Within the framework of the conversation, the article discusses psychological background of the emergence and existence of scary stories in the modern online space which are being accompanied with audio-visual objects and ritual practices, which on a par with the oral folk art of similar themes form the network mythology of horrors (the creepypasta). The principles of genre stratification of children’s «scary» narrative folklore and the creation of a corresponding index of characters and plots, as well as the differentiation of scary stories and evocations, proposed in the dissertation research by T. A. Mirvoda, are highlighted.

scholarly journals Conservation of Folk Arts

2021 ◽  
Vol 9 (VI) ◽  
pp. 4934-4937
Author(s):  
Dr. Mrs. Tanuja Nafde
Keyword(s):  
Cultural Heritage ◽  
Folk Art ◽  
Intangible Cultural Heritage ◽  
Art And Culture ◽  
The Government

It is intangible wealth of knowledge that we possess but being neglected and subdued in the phase of development which is leaned on the western pattern of lifestyle and culture. The overall effect is that the wealth of knowledge is diminishing and is live only at the efforts of the government to revive it. The effluent people of the country feel proud in orienting themselves as alien to the wealth of intangible cultural heritage, affecting further in lowering the attention and focus on the folk art and culture.

scholarly journals INNOVATION IN MUSIC FUSION MUSIC

2015 ◽  
Vol 3 (1SE) ◽  
pp. 1-3
Author(s):  
Shilpa Masurkar
Keyword(s):  
Wind Music ◽  
Art And Culture ◽  
The Creation ◽  
Indian Music

The country of India is considered a symbol of art and culture. Indian music has been in the highest position since time immemorial as an invaluable heritage of our India. Music must have come into existence at the same time as the creation of the creation, it is believed that, but if we look at the music, the music resides in the nature, the currents of rivers, the sound of tomorrow, the sound of wind. Music can also be seen, heard, understood and felt in the sound of the wind hitting the leaves and the sound of the drops of rain falling on the leaves, birds chirping etc. Music is the only means of religion, meaning, work and salvation. भारत देश कला व संस्कृति का प्रतीक माना जाता है। भारतीय संगीत हमारे भारत की अमूल्य धरोहर के रूप में अति प्राचीन काल से ही सर्वोच्च स्थान पर विद्यमान है। सृष्टि की उत्पत्ति के साथ ही संगीत भी अस्तित्व में आया होगा, ऐसा माना गया है, परंतु देखा जाये तो प्रकृति के रोम-रोम में ही संगीत बसता है, नदियों की बहती धारा, कल-कल की ध्वनि, हवा की सन्-सन् ध्वनि, पत्तों से टकराती हवा की ध्वनि व पत्तों पर गिरती बारिश के बूंदों के टप्-टप् की ध्वनि, पक्षियों की चहचहाट आदि में संगीत को देखा, सुना, समझा व महसूस भी किया जा सकता है। संगीत ही धर्म, अर्थ, काम और मोक्ष का एकमात्र साधन है।

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