scholarly journals Crimean Tatar Ornament in Modern Art and Design

2021 ◽  
Vol 4 (1) ◽  
pp. 93-103
Author(s):  
Liliana Vezhbovska
Keyword(s):  
Visual System ◽  
Modern Art ◽  
Semiotic Analysis ◽  
National Cultures ◽  
Modern Culture ◽  
Art And Design ◽  
Modern Times ◽  
Communicative Ability ◽  
Cultural Dialogue ◽  
Crimean Tatar

The purpose of the research is to identify the functioning features of Ornek, a traditional Crimean Tatar ornament in modern culture, art and design. The research methodology is based on the application of art history, comparative and semiotic analysis. The novelty of the research is to identify the functioning of the Crimean Tatar ornament in modern times, to determine special symbolic and graphic structures in the visual system Ornek, which allow not only to develop in modern Crimean culture but also show the high communicative ability to establish a cross-cultural dialogue. Conclusions. The study of Crimean Tatar ornament in modern art and design testifies to its high ability to adapt to new conditions, which allows us to talk about the flexibility of its visual system. In modern art and design projects, it appears as a phenomenon that can abstract from archaic forms and organically combine not only with the latest materials and techniques but also to create unity with the phenomena of other national cultures.

scholarly journals The Use of Decorative Art Elements in the Works of Ukrainian Designers

2019 ◽  
pp. 177-184
Author(s):  
Valentyna Bystriakova ◽  
Alla Osadcha ◽  
Olesia Pilhuk
Keyword(s):  
Technological Development ◽  
Modern Art ◽  
Modern World ◽  
Museum Of Modern Art ◽  
National Museum ◽  
Modern Culture ◽  
Art And Design ◽  
Decorative Art ◽  
Domestic Design

The article assesses the role of elements of decorative art in domestic design. It allocates sources and interrelation of decorative art and design, considers separate definitions of a concept of design. It is established that basic characteristic which helps to separate design from decorative creativity is manual artwork inherent in decorative art. The article argues that generally the design and decorative art are interdependent, while being rather autonomous, providing particular examples from creative practice of the Ukrainian artists and designers. It also considers functioning of creative platforms of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine. It is unconditional that the role of design steadily increases in the modern world, and a similar trend will only gain strength. Designers of our country managed not only to accumulate the Ukrainian traditional, original art in modern art objects, but also to solve a problem of innovations in decorative art, to keep it as a valuable reference point of modern culture according to the level of social and technological development of society. The role of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine which act de facto as art spaces for creative exhibitions of designers and other artists of our country is considerable.

scholarly journals THE WORKS OF SPIRIDON MIKHAILOV (YANDUSH) IN THE ASPECT OF SOME HISTORICAL ETHNOLOGY PROBLEMS

2021 ◽  
pp. 135-148
Author(s):  
Vitaliy G. Rodionov
Keyword(s):  
Geographical Location ◽  
Middle Level ◽  
Mixed Group ◽  
Adaptive Scheme ◽  
Valuable Source ◽  
Modern Times ◽  
Cultural Dialogue ◽  
The Right ◽  
Level Group ◽  
Lower Group

S.M. Mikhailov (Yandush) distinguished two ethnographic groups and two dialects of the Chuvash ethnos. The scientist attributed the population of Kozmodemyansky and the northern part of Yadrinsky uyezds to the upper (Virjal) Chuvash, and that of Tsivisky and Cheboksary uyezds of Kazan province – to the lower (Anatri) ones. Starting with the works of G.I. Komissarov, a third (middle-level) group began to be allocated from the lower group. According to the scientist, the Chuvash, being a separate community of Turkic-speaking peoples, used to live in Zakamye, where they had migrated from Siberia. He developed the Turkic-Bulgarian theory of the Chuvash language origin and the main ethnographic groups (middle lower and lower) of the Chuvash ethnos. He considered the upper dialect to be a mixed group, in whose culture, in addition to Turkic-Bulgar elements he found many elements of the Finno-Ugrians (the mountain Mari and the Mordvins-Erzya), and partly Kazan Tatars. Prior to annexation of the Chuvash Region to the Moscow state, two ethnographic groups of the mountain Chuvash functioned on the right bank of the Volga – the upper and the middle lower. After settling the southern steppe regions, in the process of cultural dialogue with the Mishar Tatars, a third ethnographic group was formed, known to the middle lower Chuvash as the khirti “steppe”. In Modern times, the geographical location of the ethnographic groups of the Chuvash ethnos contributed to penetration of the ideas of the European-Russian Enlightenment in the Chuvash Region (from the western territories to the eastern and southern ones). In the 1950s of the XX century the ideas of the Chuvash enlightenment were first formulated by S.M. Mikhailov, and later they began to spread in the academic circles of the entire Volga region. His works remain a valuable source for identifying the adaptive scheme of the ethnos, which the Chuvash built by localizing the “evil” principle outside of themselves, their society, ethnos.

Approaching the Invisible

2022 ◽  
pp. 137-148
Author(s):  
John Christopher Woodcock
Keyword(s):  
20Th Century ◽  
World Wide ◽  
New Materialism ◽  
Western Philosophy ◽  
Late 20Th Century ◽  
Modern Culture ◽  
Spiritual Emergency ◽  
Modern Times ◽  
The World ◽  
The Invisible

In modern times, Western philosophy eschews any metaphysical or occult references to invisible reality as being culturally obsolete. Modern culture now privileges language that reflects our unshakeable allegiance to materialism in which the things of the world no longer have any depth of meaning. This chapter compares two modern cultural approaches to invisible reality emerging in the late 20th century in response to the growing world-wide crisis of meaninglessness. The first approach gathers many different methodologies under the umbrella term The New Materialism. The second approach focusses on initiatory experiences once known as Spiritual Emergency. Both approaches are moving us towards a new understanding of matter, based on the reality of the invisible. Throughout the chapter, the author will italicise words such as “invisible,” “life,” “alive,” “alien,” “ether,” “spatial,” “virtual,” “fluid,” and “absence” in order to refer to a new kind of fluid, living, invisible matter that we are bringing to language in modern times.

Grosvenor School of Art, London (1925–1940)

2018 ◽  
Author(s):  
Juliette Peers
Keyword(s):  
New Zealand ◽  
British Empire ◽  
Interwar Period ◽  
Modern Art ◽  
Art And Design ◽  
The Social ◽  
Social Elites ◽  
Art School

The Grosvenor School of Art, also known as the Grosvenor School of Modern Art, was founded in 1925 by Scottish artist and printmaker Iain McNab. In 1940, it merged with the more traditional Heatherley’s Art School, which is still operating in London. The Grosvenor was famous across Britain and the British Empire in the interwar period for promoting modernist art and design. Its contribution to introducing and acclimatizing continental modernism to an extended anglophile audience was substantial. Pupils came from Canada, Australia, and New Zealand, as well as other countries, and through them the experience of modernism was brought back to their homelands. Across the British Empire, the Grosvenor School made modernism acceptable and praiseworthy, representing the authority of what Australian artist Arthur Streeton called "the Centre of Empire," combined with the glamorous social cachet that London symbolized for the social elites in the colonies.

Page as alternative space redux: artists’ magazines in the 21 st century

2013 ◽  
Vol 38 (3) ◽  
pp. 10-17
Author(s):  
David Senior
Keyword(s):  
Digital Media ◽  
Contemporary Art ◽  
Art History ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Art And Design ◽  
The Past ◽  
Production And Distribution ◽  
New Challenges ◽  
Selection Of

In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.

scholarly journals Cross-cultural dialogue (Review of V.V. Nicolova’s book)

2020 ◽  
pp. 121-124
Author(s):  
Nikolay Yu. Grigoryev ◽  
Keyword(s):  
Mutual Influence ◽  
Book Publishing ◽  
Modern Human ◽  
Cross Cultural ◽  
Special Role ◽  
Human Sciences ◽  
National Cultures ◽  
Russian Culture ◽  
Cultural Dialogue

The review goes into the monograph of the Bulgarian researcher V.V. Nikolova, dedicated to one of the most essential problems of modern human sciences — the problem of interaction and mutual influence of different national cultures. The monograph explores the processes of influence of Russian culture, primarily Russian dramaturgy, on Bulgarian culture. First of all, in this research, a new concept of establishing and development of the national Bulgarian book publishing was created. The author revealed the special role of Russian dramaturgy publications in this process. The special attention is paid to the translation issues.

scholarly journals Modern Crimean Tatar national costume: succession and novelties (based on the example of Crimean dress designers)

2020 ◽  
pp. 1-13
Author(s):  
Marina Borisovna Grigoreva ◽  
Nuriya Munirovna Akchurina-Muftieva
Keyword(s):  
Youth Culture ◽  
Scientific Basis ◽  
Present Stage ◽  
Modern Culture ◽  
Avant Garde ◽  
The Subject ◽  
Characteristic Features ◽  
Unique Style ◽  
Crimean Tatar

This article analyzes the modern Crimean Tatar costume from the perspective of succession of the traditional elements. The author systematizes general approaches towards design of the traditional and modern costume, indicating the characteristic features. At the present stage, the elements of the traditional Crimean Tatar costume are growing in popularity. Interpretation and modern stylization of the traditional elements of national costume leads to the formation of the unique style. The leading phenomenon in the approach towards design of the modern national costume is the scientific basis, which helps to preserve the traditional elements. The object of this research is the modern Crimean Tatar costume, while the subject is decorative and graphic approaches towards design. The primary task consists in determination of the principles of creation of Crimean Tatar image and its implementation into Crimean modern culture. The novelty of this research is defined by insufficient examination of the modern Crimean Tatar costume on the scientific level, although actively implemented into modern youth culture. The creative direction in the works of modern Crimean Tatar designers is divided into three approaches: verbatim reproduction of ethnic costume (mostly used wedding gear and theater costumes), authorial interpretation, and avant-garde approach, using metaphors as the basics of style. It is noted that in the approach with allusive metaphors it enough to complement modern costume with headwear similar to the traditional to add national flavor to the image. The author underlines the importance of development of modern Crimean fashion in all three directions, as each approach has a particular function.

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