scholarly journals Artistic features of portrait works of people’s artist Huseyngulu Aliev

2021 ◽  
pp. 62-70
Author(s):  
F. Mammadova

Achieving a realistic view of the image on canvas or paper is a key requirement of the portrait genre. Since the establishment of the professional school of painting, the portrait has attracted the attention of Azerbaijani artists and has been widely used in their work. Thus, in our miniatures of the Middle Ages, as well as among the paintings created in the XIX–XXI centuries, you can find beautiful, eye-catching portraits with high artistic value. Thus, the portrait has always occupied one of the main places in Azerbaijani painting. Of course, the main object of the portrait genre is a person, so its spiritual world and position in society is the main theme of fine art. For many years, portraits in Azerbaijani painting have been mainly dedicated not only to creative intellectuals, but also to workers, collective farmers and labor pioneers. In portraits, on the one side, there is a generalization of images, and on the other side, there is a more democratic approach to the selection of models. The characters in the portraits are close people, friends, relatives of the artists, or strangers who are attracted only by their appearance. Elements of painting in the human image of Azerbaijani artists attract attention: color, texture experiment, spatial elements, format, etc. It is known that in order to create a realistic portrait, artists must master the perception of emotions in a person’s environment, as well as master the art of realist painting. Throughout the development of the portrait genre, artists are engaged in research, trying to convey the true image of a person in an objective way. In the portrait genre, the image of the century was clearly visible. In the portraits of Azerbaijani artists, generalized, energetic, strong images are often replaced by psychologically complex characters. There is a growing interest in the spiritual world of images, the tendency to reach the depths of thought and intellect, to create a portrait with a rich spiritual content. Portraits created by Azerbaijani artists in modern times differ in their main features, such as deep spirituality and strict intellect.

2019 ◽  
Vol 12 (6) ◽  
pp. 3-18
Author(s):  
Agustinus Wisnu Dewantara

The progress of human civilization today is inseparable from the role of science. The dynamics of the pattern of our daily lives from time to time it runs in line with the dynamics of the development of science. The development of science and human civilization running together since from classical times, the middle ages, modern times, and so on. Novelty found in a period becomes an essential ingredient for other discoveries in the next period. One thing that is difficult to argue is that almost all sides of human life today has been entered by the various effects of the development of science and technology, ranging from economic, political, social and cultural, communication, education, health, and so on. All this progress is the fruit of the development of science that never recede from human studies. This paper on the one hand want to observe the philosophical basis for the world of Catholic education, and on the other hand, this article seeks to contribute a little reflection, especially for teachers of religious education in STKIP Widya Yuwana and Catholic families today. There wilderness philosophy that is so tempting to dive, but the limitations of time and space makes this paper should choose to focus. Perspective selected is Aristotelian philosophy.


Author(s):  
A.O. Kadurina ◽  

Background.Rosa, as the "Queen of Flowers" has always occupied a special place in the garden. The emergence of rose gardens is rooted in antiquity. Rose is a kind of “tuning fork” of eras. We can see how the symbolism of the flower was transformed, depending on the philosophy and cultural values of society. And this contributed to the various functions and aesthetic delivery of roses in gardens and parks of different eras. Despite the large number of works on roses, today there are no studies that can combine philosophy, cultural aspects of the era, the history of gardens and parks with symbols of the plant world (in particular roses) with the identification of a number of features and patterns.Objectives.The purpose of the article is to study the symbolism of rosesin landscape gardening art of different eras.Methods.The historical method helps to trace the stages of the transformation of the symbolism of roses in different historical periods. The inductive method allows you to move from the analysis of the symbolism of roses in each era to generalization, the identification of patterns, the connection of the cultural life of society with the participation of roses in it. Graph-analytical method reveals the features of creating various types of gardens with roses, taking into account trends in styles and time.Results.In the gardens of Ancient Greece, the theme of refined aesthetics, reflections on life and death dominated. It is no accident that in ancient times it was an attribute of the goddesses of love. In antiquity, she was a favorite flower of the goddess of beauty and love of Aphrodite (Venus). In connection with the legend of the goddess, there was a custom to draw or hang a white rose in the meeting rooms, as a reminder of the non-disclosure of the said information. It was also believed that roses weaken the effect of wine and therefore garlands of roses decorated feasts, festivities in honor of the god of winemaking Dionysus (Bacchus). The rose was called the gift of the gods. Wreaths of roses were decorated: statues of the gods during religious ceremonies, the bride during weddings. The custom of decorating the floor with rose petals, twisting columns of curly roses in the halls came to the ancient palace life from Ancient Egypt, from Queen Cleopatra, highlighted this flower more than others. In ancient Rome, rose gardens turned into huge plantations. Flowers from them were intended to decorate palace halls during feasts. In Rome, a religious theme was overshadowed by luxurious imperial greatness. It is interesting that in Rome, which constantly spreads its borders, a rose from a "female" flower turned into a "male" one. The soldiers, setting out on a campaign, put on pink wreaths instead of helmets, symbolizing morality and courage, and returning with victory, knocked out the image of a rose on shields. From roses weaved wreaths and garlands, received rose oil, incense and medicine. The banquet emperors needed so many roses, which were also delivered by ships from Egypt. Ironically, it is generally accepted that Nero's passion for roses contributed to the decline of Rome. After the fall of the Roman Empire, rose plantations were abandoned because Christianity first associated this flower with the licentiousness of Roman customs. In the Early Middle Ages, the main theme is the Christian religion and roses are located mainly in the monastery gardens, symbolizing divine love and mercy. Despite the huge number of civil wars, when the crops and gardens of neighbors were violently destroyed, the only place of peace and harmony remained the monastery gardens. They grew medicinal plants and flowers for religious ceremonies. During this period, the rose becomes an attribute of the Virgin Mary, Jesus Christ and various saints, symbolizing the church as a whole. More deeply, the symbolism of the rose was revealed in Catholic life, when the rosary and a special prayer behind them were called the "rose garden". Now the rose has become the personification of mercy, forgiveness, martyrdom and divine love. In the late Middle Ages, in the era of chivalry, roses became part of the "cult of the beautiful lady." Rose becomes a symbol of love of a nobleman to the wife of his heart. Courtesy was of a socially symbolic nature, described in the novel of the Rose. The lady, like a rose, symbolized mystery, magnificent beauty and temptation. Thus, in the Late Middle Ages, the secular principle manifests itself on a par with the religious vision of the world. And in the Renaissance, the religious and secular component are in balance. The theme of secular pleasures and entertainments was transferred further to the Renaissance gardens. In secular gardens at palaces, villas and castles, it symbolized love, beauty, grace and perfection. In this case, various secret societies appear that choose a rose as an emblem, as a symbol of eternity and mystery. And if the cross in the emblem of the Rosicrucians symbolized Christianity, then the rose symbolized a mystical secret hidden from prying eyes. In modern times, secular life comes to the fore, and with it new ways of communication, for example, in the language of flowers, in particular roses. In the XVII–XVIII centuries. gardening art is becoming secular; sesame, the language of flowers, comes from Europe to the East. White rose symbolized a sigh, pink –an oath of love, tea –a courtship, and bright red –admiration for beauty and passionate love [2]. In aristocratic circles, the creation of lush rose gardens is in fashion. Roses are actively planted in urban and suburban gardens. In modern times, rose gardens carry the idea of aesthetic relaxation and enjoyment. Many new varieties were obtained in the 19th century, during the period of numerous botanical breeding experiments. At this time, gardening ceased to be the property of the elite of society and became publicly available. In the XX–XXI centuries. rosaries, as before, are popular. Many of them are located on the territory of ancient villas, palaces and other structures, continuing the tradition.


1977 ◽  
Vol 9 (1) ◽  
pp. 40-60 ◽  
Author(s):  
Robert Tittler

For all the pride which it engendered among contemporaries, who saw in the Tudor fisheries a nursery for English seamen and even a hallmark for the national identity, the fishing industry in the sixteenth century has received scant attention from English historians. This neglect has been doubly unfortunate. On the one hand, it leaves us in general ignorance of the industry itself: its organization, personnel, productivity, and economic importance in both national and regional terms. On the other, it has denied us the opportunity to observe a tradition-bound industry of considerable antiquity as it faced the political, economic, and technological changes of the post-medieval era.The format of an essay cannot reasonably encompass a detailed study of a major industry, but the selection of a particular case for study can at least present a helpful paradigm for the whole, and fill part of the void in the existing literature. The fishing industry of Great Yarmouth seems an appropriate choice. The fact that herring collected off the mouth of the River Yare each September for as far back as man can remember has made the association of Yarmouth and fishing as old as it is logical. Fishermen plied those grounds from at least the sixth century, making the town one of the earliest recorded fishing centres of Northern Europe, and well before the Conquest townsmen had dedicated their parish church to St. Nicholas, patron of fishermen. Throughout the Middle Ages Yarmouth stood alone as the chief supplier of herring, a dietary staple to the English market, and ranked near the top of the European fishing industry.


Archaeologia ◽  
1844 ◽  
Vol 30 ◽  
pp. 438-457 ◽  
Author(s):  
Thomas Wright

Among the ornaments of the splendid votive altar exhibited to the Society of Antiquaries last year by M. le colonel Theubet were three antique engraved gems, one of which, I believe, represented a head of Socrates, another a scarabæus, and the third a figure offering sacrifice at an altar. We have many proofs of the care with which ancient gems and cameos were sought and preserved in the middle ages, and it is probable that some of the most beautiful specimens known in modern times have been derived from the monastic treasuries. The superstition of a barbarous age regarded these relics as things endowed with magic qualities, which possessed healing and protective virtues that rendered them precious to the possessor. It appears that they were sometimes even regarded as natural productions, not formed by the hand of man. As early as the twelfth century (at least) we meet with regular inventories of such gems, with an enumeration of their virtues according to the figures they bore; and I now beg to lay before the society an inventory of this kind in Latin, which is the one of most common occurrence in manuscripts. It appears to me that it possesses considerable interest, and that it may be appropriately introduced by a few anecdotes from old writers illustrative of the excavations and researches amid the ruins of antiquity made by monks and others in the middle ages.


2018 ◽  
Author(s):  
Agustinus Dewantara

The progress of human civilization today is inseparable from the role of science. The dynamics of the pattern of our daily lives from time to time it runs in line with the dynamics of the development of science. The development of science and human civilization running together since from classical times, the middle ages, modern times, and so on. Novelty found in a period becomes an essential ingredient for other discoveries in the next period. One thing that is difficult to argue is that almost all sides of human life today has been entered by the various effects of the development of science and technology, ranging from economic, political, social and cultural, communication, education, health, and so on. All this progress is the fruit of the development of science that never recede from human studies.This paper on the one hand want to observe the philosophical basis for the world of Catholic education, and on the other hand, this article seeks to contribute a little reflection, especially for teachers of religious education in STKIP Widya Yuwana and Catholic families today. There wilderness philosophy that is so tempting to dive, but the limitations of time and space makes this paper should choose to focus. Perspective selected is Aristotelian philosophy.


2011 ◽  
Vol 9 (2) ◽  
pp. 9-21
Author(s):  
Anita Ganowicz-Bączyk

Anthropocentrism seems to be a fundamental notion concerning the man-nature relation. ?e anthropocentric attitude is largely meant to be the main cause of the ecological crisis. One can distinguish at least several stages of the process, which led to this crisis, namely: stage of Magic and Myth, Ancient Times, Middle Ages, and Modern Times. The aim of this article is to show the process of development of an anthropocentric thought in Modern European culture when the culmination of this process is observed. Among the causes of the modern worldview, one can mention e.g. the modern conception of science, technology development, as well as social, political, and cultural changes. Contemporary view on nature and man was influenced not only by mechanistic and materialistic theories tending to subordinate nature to man (G. Bruno, F. Bacon, R. Descartes) but also by philosophical views which on the one hand excluded man from nature (I. Kant) and on the other made attempts to restore man to nature (J. J. Rousseau, F. W. J. Schelling). 


2019 ◽  
Vol 7 (2) ◽  
pp. 89
Author(s):  
Gabriel Terol Rojo

In this study the first contact between Western and Asia culture, specifically with China, is reviewed. It begins with a reference to the Roman Empire mentioning the most relevant reference works for a more in-depth study. Next, it focuses on the diaspora of Nestorian Christianity towards the East and specifically its location in Chinese territory, considering also the main reference works and following a historical and lineal story.<br />Then, the trips of Benjamín de Tudela, although<br />they did not go beyond Mesopotamia and the<br />Persian Gulf, served to verify the existence of<br />Jewish communities in the Far East. In that frame<br />of reference, the context of the Silk Road would<br />explain its dedication on the one hand and, on<br />the other, it delimits them curiously outside the<br />Chinese territory, delving into the hermetism of<br />the Asian country. In the Middle Ages and the<br />European Renaissance, and anticipating the trips<br />of Spaniards and Portuguese, the figure of Marco<br />Polo is undoubtedly the most outstanding in the<br />task of spreading the knowledge about China in<br />the West. And in that sense also Ibn Battuta, then,<br />is relevant. Finally, and from the stories written<br />by these three travelers, multiple expeditions to<br />Mongolia and China are evinced. A selection of<br />these concludes the present work.


2020 ◽  
Vol 18 (1) ◽  
pp. 215-229
Author(s):  
Urška Perenič ◽  

In the paper, the problem of exile is first understood in the way of national exile and persecution. The analysis will focus on the historical novel Človek proti človeku [Man against Man], 1930, by France Bevk, which thematizes the Middle Ages, but which should be read as a metaphor through which the author during the Italian occupation of Primorsko polemically and subtle confronted foreign rulers. In the novel the problem of national persecution is represented as the opposition between the representatives of ecclesiastical and secular/aristocratic authority on the one hand and the serfdom on the other, and is most thoroughly addressed through the relationship between patriarch and brave (bandit) nobles. With their bold opposition to the patriarch, secret conspiracy and efforts to remedy injustice and restore peace and order in their home country, the nobles also serve as a model for unification of the nation. Exile is also understood in terms of the individual's exile and the search for one's identity. More specifically, it is self-exile, which is at the same time self-awareness, as embodied in the central figure of Jerko, who is torn between the sword, the monk's habit and the poetry/art/spirituality. Jerko could be the alter ego of the writer France Bevk, who wrote the novel under conditions of house imprisonment and concluded it meaningfully with the symbolism of the falcon as the messenger of the spiritual world (and thus art).


1975 ◽  
Vol 26 ◽  
pp. 395-407
Author(s):  
S. Henriksen

The first question to be answered, in seeking coordinate systems for geodynamics, is: what is geodynamics? The answer is, of course, that geodynamics is that part of geophysics which is concerned with movements of the Earth, as opposed to geostatics which is the physics of the stationary Earth. But as far as we know, there is no stationary Earth – epur sic monere. So geodynamics is actually coextensive with geophysics, and coordinate systems suitable for the one should be suitable for the other. At the present time, there are not many coordinate systems, if any, that can be identified with a static Earth. Certainly the only coordinate of aeronomic (atmospheric) interest is the height, and this is usually either as geodynamic height or as pressure. In oceanology, the most important coordinate is depth, and this, like heights in the atmosphere, is expressed as metric depth from mean sea level, as geodynamic depth, or as pressure. Only for the earth do we find “static” systems in use, ana even here there is real question as to whether the systems are dynamic or static. So it would seem that our answer to the question, of what kind, of coordinate systems are we seeking, must be that we are looking for the same systems as are used in geophysics, and these systems are dynamic in nature already – that is, their definition involvestime.


2019 ◽  
Vol 37 (1) ◽  
pp. 89-110
Author(s):  
Rachel Fensham

The Viennese modern choreographer Gertrud Bodenwieser's black coat leads to an analysis of her choreography in four main phases – the early European career; the rise of Nazism; war's brutality; and postwar attempts at reconciliation. Utilising archival and embodied research, the article focuses on a selection of Bodenwieser costumes that survived her journey from Vienna, or were remade in Australia, and their role in the dramaturgy of works such as Swinging Bells (1926), The Masks of Lucifer (1936, 1944), Cain and Abel (1940) and The One and the Many (1946). In addition to dance history, costume studies provides a distinctive way to engage with the question of what remains of performance, and what survives of the historical conditions and experience of modern dance-drama. Throughout, Hannah Arendt's book The Human Condition (1958) provides a critical guide to the acts of reconstruction undertaken by Bodenwieser as an émigré choreographer in the practice of her craft, and its ‘materializing reification’ of creative thought. As a study in affective memory, information regarding Bodenwieser's personal life becomes interwoven with the author's response to the material evidence of costumes, oral histories and documents located in various Australian archives. By resurrecting the ‘dead letters’ of this choreography, the article therefore considers how dance costumes offer the trace of an artistic resistance to totalitarianism.


Sign in / Sign up

Export Citation Format

Share Document