scholarly journals ART AND SOCIETY RELATIONSHIP

Author(s):  
Ashutosh Kumar Sonia

English : The painting is produced for the purpose of society. Arts have always been responsible for social facts and they express the wishes of society. The sense of painting (art) is hidden in the arts. It is free from rules even after being bound in social bond. Art is a part of the culture of the society, which the society keeps on progressing as tradition and art always lives. The artist creates a relationship only with the appearance, activities and feelings of society in the external world. In his creation, social emotions are directly related to human instincts. The expression of these feelings is expressed in artistic creation, as a result the form of art is also universal. The talent of the artist, his self-power and his artistic elements, in the form of art, harmonize with the nature and emotions of the society, giving it a wider look. Most of the subjects of art are the problems of the society then, in this purpose, the personality takes a secondary form in creation and the reflection of the needs of the society is reflected in its creation. In such a situation, the artist wants to achieve self-peace through expressive purpose. In this situation one chooses his own path to achieve the objective, but can never remain separate from society. But in front of technical principles, the goal of the viewer's joy and self-power remains. On the basis of the principle, the form of art created in the first position is pure and original and in the second position, the form of art is practical and originality away from it for the goal. As a result, many techniques have to be adopted and presented as crafts. Hindi : चित्रकला समाज के उद्‌देश्य पूर्ति के लिए निर्मित की जाती है। कलाएँ सामाजिक तथ्यों के प्रति सदैव उत्तरदायी रही हैं तथा इनमें समाज की इच्छाओं की अभिव्यक्ति होती है। कलाओं में चित्रकला (कला) का भाव छिपा रहता है। यह सामाजिक बन्धन में बंधे होने के पश्चात्‌ भी नियमों से स्वतन्त्र होती है। समाज की संस्कृति का एक अंग कला है, जिसको समाज परम्परा के रूप में क्रमशः आगे बढ़ाता रहता है और कला सदैव जीवित रहती है। कलाकार वाह्‌य जगत के रूप-स्वरूप, गतिविधियों एवं समाज की भावनाओं से सम्बन्ध बनाकर ही सृजन किया करता है वह अपने सृजन में सामाजिक भावनाओं का मानव-वृत्तियों से सीधा सम्बन्ध रखता है। कलात्मक सृजन में इन्ही भावनाओं की अभिव्यक्ति होती है, परिणाम स्वरूप कला का रूप भी विश्वव्यापी होता है। कलाकार की प्रतिभा, उसकी आत्मशक्ति एवं उसके कलात्मक तत्व, कला के रूप में समाज के स्वरूप और भावनाओं के साथ सामंजस्य जोड़कर, उसको व्यापक रूप प्रदान करते हैं। कला के अधिकांश विषय तत्कालीन समाज की समस्यायें ही होती है, इस उद्‌देश्य से किये गये सृजन में व्यक्तित्व गौण रूप ले लेता है ओर समाज की आवश्यकताओं का प्रतिबिम्ब उसके सृजन मे स्पष्ट झलकता रहता है। कलाकार ऐसी स्थिति में उद्‌देश्य अभिव्यक्ति के माध्यम से आत्मशान्ति प्राप्त करना चाहता है। इस स्थिति में उद्‌देश्य के प्राप्ति के लिए स्वयं अपना मार्ग चुनता है, लेकिन समाज से कभी अलग नहीं रह सकता है। किन्तु तकनीकी सिद्धान्तों के समक्ष दर्शक के आनन्द और आत्मशक्ति का लक्ष्य रहता है। सिद्धान्त के आधार पर पहली स्थिति में सृजित कला का रूप शुद्ध और मौलिक होता है तथा दूसरी स्थिति में लक्ष्यपूर्ति के लिए कला का रूप व्यावहारिक एवं मौलिकता उससे दूर हो जाती है। फलस्वरूप अनेकानेक तकनीकों को ग्रहण करना तथा उन्हें शिल्प के रूप में प्रस्तुत करना होता है।

2021 ◽  
pp. 174997552199963
Author(s):  
Marek Skovajsa

This article analyses the development of the sociology of culture in Czechia. Its focus is on the sociology of the arts and cultural sociology, which, it is argued, are connected through the notion of the relative autonomy of cultural structures. While the Czech sociology of culture may have been rendered less dynamic by the lack of a critical mass of sociologists specialising in this area and by the country’s frequent political upheavals and its isolation from the international circulation of ideas, it has experienced moments of considerable vitality. Three periods in the development of the field are identified here, each of them marked by a movement toward a stronger and more sociologically adequate conceptualisation of cultural autonomy: (1) from the diffuse culturalism of the field’s founding figures to the functionalist theory of the interwar sociologist Inocenc Arnošt Bláha, whose view of the relationship between art and society was influenced by the work of the Prague School of Structuralism; (2) from the cultural reductionism of Marxist-Leninist theory after 1948 to the eclectic sociology of culture and the arts of the late socialist period; (3) from the demise of this transitional form of a sociology of culture in the 1990s to the increasingly internationalised but also heterogeneous landscape of the 2010s, which is constituted by a semi-institutionalised centre of cultural sociology at Brno and small groups or individuals in Prague and other academic locales. The thread of continuity in an otherwise discontinuous historical development is found in the recurrent motif of the relative autonomy of culture which the Czech sociology of culture absorbed through its exposure to art and literary theory.


2014 ◽  
Vol 43 (1) ◽  
pp. 135-151
Author(s):  
Amnon Jacob Suissa

Apart from the Inuits, who, until the arrival of the ‘white man’, were unable to cultivate plants because of the climate, it can be said that all cultures and human societies used psychotropic substances, and their usage can be considered universal. Although the use of certain psychotropic substances is associated with deviancy, multiple reasons can shed light on the drug phenomenon as a multifactorial reality. Among these reasons we can mention: medical use for health reasons, pleasure and sensorial experience; knowledge and exploration of the self; psychotherapy with LSD 25; war; support for religious practices; creation and artistic inspiration, etc. Through a literature review, this article explores the sociological and anthropological perspective in the field of psychotropic substances and their ties with the process of creativity and artistic inspiration (music, poetry, the arts, etc.). With a constructivist approach, a psychosocial perspective will be enabled to take a hold on certain social and cultural challenges in the context of psychotropic substance use and artistic creation.


2021 ◽  
Vol 3 (1) ◽  
pp. 158-165
Author(s):  
Valarmathi V
Keyword(s):  
The Arts ◽  

Art is essentially the one which fantasizes by its aesthetics and provides pleasure through a newer perspective. Nature is the basis for any artistic creation and a creative artist composes literature based on his perseverance love for nature and intellectual vigor. The artist intensely feels that everyone should enjoy what he has enjoyed and this is the uniqueness of art. Myth is the originator of all the arts which came later and myth is employed as the interior focal matter around which the story of an epic nature revolves. We come to know that the ancient Tamilians knew the art of integrating and operating the myths to entertain and enlighten the society.


Author(s):  
Philip Alperson

Perhaps no other concept seems as fundamental to common thinking about the arts as the concept of artistic creativity. This is not because creativity seems to most people to be unique to art. Quite the contrary: we speak freely of creative activity in the sciences, in academic disciplines, in cooking, in sports, and, indeed, in virtually every area of human productive endeavour. Nor is this surprising. Creating and making are closely associated etymologically (from the Latin creare) and in the popular mind, and it does no violence to common sense to say that what can be made or done can be made or done creatively. Nevertheless, creativity, if not a necessary condition of artistic practice, seems at least a hallmark or a characteristic feature of art generally. And so we think of artists as creating their works, we think of works of art (including physical things, performances, events, and conceptual objects and structures) as artistic creations, and we praise artists, their works, and even entire artistic epochs for their creativity. Many people take artistic creation to be the quintessential human creative activity.


Author(s):  
Olena Malytska

The synthesis of the arts is not the latest concept, but at the beginning of the XXI century it acquired a unique, compared to other eras, role in the artistic culture of modern society. Modern artistic practices are characterized by new synthetic properties, and therefore approaches to the mastery of modern teachers of modern art forms should take into account the relevant features of perception of works of art and synesthetic features of the process of artistic creation. Updating the technologies of art education and its methodological basis in the context of artistic synthesis is a factor in effectively solving the problems of artistic training of future teachers.


1990 ◽  
Vol 21 (2) ◽  
pp. 230
Author(s):  
Ivo Supicic ◽  
Arnold W. Foster ◽  
Judith R. Blau
Keyword(s):  
The Arts ◽  

1991 ◽  
Vol 20 (1) ◽  
pp. 101
Author(s):  
Karen A. Hamblen ◽  
Arnold W. Foster ◽  
Judith R. Blau
Keyword(s):  
The Arts ◽  

2021 ◽  
Vol 2021 ◽  
pp. 1-12
Author(s):  
Yulong Liu ◽  
Shan Wu ◽  
Qi Xu ◽  
Hubin Liu

The advent of the digital age has given new forms and new connotations to artistic creation, and more and more digital media technologies have entered the stage of artistic creation and exhibitions. At present, holographic projection technology has become a hot application technology in the field of digital media art. The purpose of this paper is to explore the technical principles of holographic projection technology and its application in the field of digital media art, so as to provide suggestions for the application and promotion of holographic projection technology and the development and innovation of digital media art. First of all, this article understands the technical principles of holographic projection and its application status in various fields, especially in the field of digital media art, through relevant literature research. Then, this article introduces the digital holographic technology, virtual imaging technology, and computer simulation technology used in the realization of holographic projection technology. Then, based on the advantages of holographic projection technology in three-dimensional image recording and reproduction, this paper proposes to introduce holographic projection technology to digital art museums, digital art exhibitions, and other digital media art applications and to study the effect of holographic projection technology on art through simulation experiments, the effect of recording and reproducing the image of the work. Finally, the three-dimensional reconstruction image of the digital holographic projection experiment on the artwork is compared with the simulated image of the Contour GT profiler to verify the feasibility of applying the holographic projection technology to art exhibitions and the effect of three-dimensional image recording and reproduction. Research shows that the holographic projection technology can achieve 93.34% of the simulation effect of recording and reproducing 3D images of artworks. It is also found that 59.86% of the audience who pay attention to the art experience strongly support the application of holographic projection technology in digital media art fields such as digital art gallery. This fully proves the feasibility of applying holographic projection technology to digital art exhibitions and provides a full range of artistic experience for audiences who cannot be present.


2020 ◽  
Vol 34 ◽  
pp. 171-186
Author(s):  
Andrei Florian

"Sacred and sacredness in contemporary objectual visual arts Study in the area of ceramics, glass and installation, from personal works This article is an honest analysis of the personal artistic creation, over more than two decades, as seen by the author and at the same time by the arts teacher; an examination devoid of intermediaries, but also of predominantly presumptive external opinions. The series of arguments on the complexity and on the major advantage of studying the Ceramics, of the involved study of the university curriculum specific to this art, beneficially completed by arguments for the training and operation with the formalization technologies characteristic to glass, stained glass and tiffany techniques; all make a determining argumentation. Studying and operating in glass-ceramics requires a good command of the techniques and materials specific to all the other fields of visual arts. Our major argument is to demonstrate the unrestricted mobility that the ceramist creator has in operating very efficiently his complex creation, by using all these means. The variety of approaches: conceptual, plastic, expressive, dimensional and material, treated in our work, is argued beyond doubt by the series and cycles of works presented in the illustrations. The consistently sustained exposition of the personal convictions, justified and assumed, on the creator's relationship with the divinity, fully illustrates the personal approach of relating to our own objectual-artistic creation; thus, we unanimously find that all our representation models already exist in the surrounding world and we are only granted the great privilege and the relatively rare capacity to observe them and to try to understand them, in order to be able to use them later in our creation. The exposition continues by highlighting the constant presence of the formal or symbolic elements of sacredness, in each category, series or cycle of objects or by a brief analysis focused on the object. The fact that some elements of the sacred are present in the personal work is not at all due to a premeditation. Their appearance during the elaboration of each work, from our point of view, is due to the inspiration and revelations, of unexplainable origin, that came to influence our path towards completion. Among the elements presented there are well-known themes such as: The Reliquary, The Altar, The Portal, The Wreath, The Cup, The Cross, The Trinity, Man, The All-Seeing Eye, The Seed, The Fountain, The Window, The Book, The forbidden Fruit etc. Each of these works or cycles has a more or less obvious meaning with a sacred or religious content and resonance - beyond that expressed in its title - through the formal, chromatic, textural or the evocative symbolic elements. The final conclusion is that it is difficult to find in an already created world a subject that does not already bear the hand of its creator; and among the great graces with which we have been endowed by the same Only Creator, we have not been given: Creation - as a total invention, Judgment and Punishment. These three qualities remain the strict prerogative of the Divinity. Keywords: grace, divine, primordial, sacred, artistic creation, inspiration, symbol, message "


Sign in / Sign up

Export Citation Format

Share Document