Carpet compositions by carpet artist Mammadhuseyn Huseynov

ANCIENT LAND ◽  
2021 ◽  
Vol 03 (04) ◽  
pp. 15-18
Author(s):  
Nubar Yahyabala qızı Bağıyeva ◽  
Keyword(s):  
Fine Art ◽  
Emotional Content ◽  
Works Of Art ◽  
Long Time ◽  
Artistic Heritage

The artist has created valuable works of art that attract the attention of the most beautiful traditions of the pre-existing artistic heritage with a choice of different themes and styles. He created expressive images that characterize the environment in which any subject is reflected, and tried to make room for elements of national motives. This is an indication of his rich artistic imagination and delicate taste. The carpets created by the carpet artist are distinguished by the fact that the ornaments are very complex and very versatile. The ornament of these carpets will remain the object of research for a long time, because its artistic-schematic aesthetic, spiritual and emotional content is an inexhaustible treasure. The carpet patterns created by the carpet artist attract the audience's attention at first sight. The carpets he authored are always met with interest, love and appreciation. Keywords: Mammadhuseyn Huseynov, fine art, carpet art, composition, ornament

An Uneasy Accord: LA Museums Open Their Walls to Comics as True Works of Art

2020 ◽  
pp. 264-270
Author(s):  
Scott Timberg
Keyword(s):  
Los Angeles ◽  
Contemporary Art ◽  
Fine Art ◽  
Art Spiegelman ◽  
Los Angeles Times ◽  
Works Of Art ◽  
The Future ◽  
Comic Art ◽  
Museum Of Contemporary Art ◽  
Art School

This chapter contains an in-depth exploration of the issues surrounding comics and museums written by cultural journalist Scott Timberg for the Los Angeles Times in 2005 during the opening of the Masters of American Comics exhibition at the Hammer Museum and the Museum of Contemporary Art, Los Angeles. This chapter includes interviews with Ann Philbin, Art Spiegelman, John Carlin, and Brian Walker about the organization of the show. This chapter discusses the valuation of comic art versus fine art, the disillusionment some cartoonists feel about art school and contemporary fine art, and opinions on the future of comic art shows from curators at other museums.

scholarly journals Contribution to art history: Ornament and its regulations

Sinteze ◽  
2020 ◽  
pp. 79-85
Author(s):  
Tamara Žderić
Keyword(s):  
Visual Culture ◽  
Art History ◽  
Personal Experience ◽  
Fine Art ◽  
Art Practice ◽  
Human Race ◽  
The World ◽  
Long Time ◽  
The Subject ◽  
Complex Forms

The ornament is a part of every visual culture in the world. Its history goes back to early ages of human race. It is one of the most important fine art categories. The ornament was less important fine art category for a long time. The subject of this paper are various types of ornament altogether with personal experience in creating ornaments. The main aim was to reveal basis of ornament, its features and also to put in focus the importance of our attention in art process. Ornament has four categories determined by its appereance. Its complex forms, mathematical approach and lots of details are features I found similar in my art practice (paintings or drawings with various themes). The conclusions derived from comparison of this two various types of ornaments are contribution to examinations of its history through the eye of the artist.

scholarly journals Unity of the process of creating a fine art painting: ideal and material

2021 ◽  
pp. 1-41
Author(s):  
Denis Nikolaevich Demenev
Keyword(s):  
Fine Art ◽  
History Of Development ◽  
Works Of Art ◽  
Aesthetic Form ◽  
History Of ◽  
The Subject ◽  
Technological Means ◽  
The Aesthetic ◽  
Artistic Image ◽  
The Ideal

The subject of this research is the interaction of the ideal and the material, which ensures unity of the process of creating a fine art painting. The object of this research is the dynamics of this process, which gradually materializes the ideal through poetic transformation of the objective reality. In the course of creating a fine art painting, the author underlines the importance of ontological-phenomenological and socio-gnoseological aspects of human existence, which in many ways determine the technical and technological means of solution of the artistic and creative tasks. Special attention is given to contemplation of the objective world, purposive action of the artistic will, establishment of the artistic image as interrelated stages of objectification of the ideal. The novelty of this article consists in interpretation of the phenomenon of the ideal, reflected in painting via integrated will. The latter is the synthesis of artistic will and subjective will of the painter. The author describes a “shuttle principle” in objectification of the ideal in the works of art within the framework of the history of development of painting, as well as within a single process: 1) from the aesthetic form to the embodiment of universality of the content; 2) from the universal content to aesthetic embodiment. The following conclusions were made: 1) the objectively ideal in a painting is an aesthetically perceived (visually, mentally, and spiritually) boundary of beauty and beautiful depicted via perfect, absolute unity of the artistic form and content, artistically and graphically, adequate to its concept in its material outcome, in reality. It is of rare occurrence in the works of art, something to be sought for; 2) an artistic form should be correlated in the artwork with universality of its content, which results in the fusion of the ideal and the real, and forms their indifference; 3) the universal meanings, ideologically underlying the content of a fine art painting, deepen and broaden the possibilities of artistic matter for objectification of the ideal in aesthetic form.

scholarly journals Urgensi Seni Rupa Kaligrafi Dalam Pendidikan Islam

PALAPA ◽  
2021 ◽  
Vol 9 (1) ◽  
pp. 126-136
Author(s):  
Nurul Hidayah Puji Lestari ◽  
Yazida Ichsan ◽  
Rachmat Sukriyanto ◽  
Saas Asela
Keyword(s):  
Literature Review ◽  
Religious Education ◽  
Learning Process ◽  
Islamic Law ◽  
Fine Art ◽  
Islamic Education ◽  
Works Of Art ◽  
Or Practice

Islamic Religious Education aims to form the Islamic personality of students in accordance with Islamic law who believes and upholds monotheism.Many methods in learning can be used to help educators achieve the goals of education, but rarely use works of art or practice using these works of art in terms of learning Islamic religious education, one of which is the art of calligraphy Calligraphy art is included in the fine art of writing beautifully where the writing is adjusted to predetermined rules. In addition, of course, it has also been explained what the laws of this art are in Islamic law. But what if this art is used for The learning process for the realization of the goals of education will be discussed in this article. This study uses the literature review method, with the aim of describing the urgency of the art of calligraphy in learning Islamic education. This aligraphy can help the learning process of Islamic Religious Education to form Islamic characters in accordance with Islamic law.

scholarly journals THE IMAGE OF THE CONSTITUTION IN THE FORM OF A BOOK IN WORKS OF FINE ART

2020 ◽  
pp. 8-29
Author(s):  
Galina Andreeva ◽  
Keyword(s):  
Cultural Context ◽  
Fine Art ◽  
Constitutional Order ◽  
Works Of Art

The image of the constitution in the form of a book is common in works of art, easily recognizable, has deep historical traditions, rich religious and cultural context. In terms of the purposes of the Constitution, three main groups are identified: works that glorify the Constitution, relatively neutral works and works aimed at depicting the shortcomings of the constitutional order, the content of the Constitution or the insufficient implementation of its provisions (cartoons). In terms of reflecting legal ideas, cartoons are most informative.

scholarly journals Purchasers of artworks on the art market and their motivations

2021 ◽  
Author(s):  
Dmytro Akimov
Keyword(s):  
Methodological Approach ◽  
Fine Arts ◽  
Art Market ◽  
Fine Art ◽  
Marketing Technology ◽  
Individual Product ◽  
Works Of Art ◽  
Art Research ◽  
Art Marketing ◽  
Private Collections

The purpose of the article. Research and analysis of marketing technology algorithms and study of motivations of purchasers of products of fine arts. The methodology is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the motivations of purchasers of works of fine art and further research of marketing processes in the promotion of works of fine art in the art market. The scientific novelty consists in the expansion of ideas about the motivations of purchasers of works of fine art. The article explores the marketing processes in the art market. Algorithms of marketing technologies in the analysis of motivations of purchasers of works of fine arts are analyzed. That is, the article proves that in art marketing it is relevant and necessary to regularly study the algorithms of the behavior of purchasers of works of art, as well as in general - situations in which the collector decides on the purchase of works of art. Research in the field of art market marketing gives grounds to state that artistic creativity is a field of large and small business, which should deeply study and analyze the motivations of purchasers, involving specialists in psychology, sociology, economics. It should be noted that in the marketing of fine arts the technologies of studying and analyzing the motivations of the purchasers of works of art are purposefully and productively used. Conclusions. The article analyzes the models of acquisition of works of fine art. It is also proved that the behavior of the purchaser of works of art is determined by three mandatory components: Individual - Product - Situation, on which the model of consumption and consumer behavior is based. Thus, we have studied the individuals involved in the acquisition of works of art that are products on the market, presented in kind in museums or private collections. The success of art marketing depends not only on the personality of the artist who created the product presented on the market, not only on the solvency of the final purchaser of this product but also on the personality, creative and business qualities of dealers, distributors, and other intermediaries in the art market. At a certain stage, they also become purchasers of this product on the way from the artist to the final buyer - a museum or a private collector, etc. We also explored market algorithms for acquiring works of art in a collection.

scholarly journals Kreativitas Rd. Tjetje Somantri dalam Tari Puja

Panggung ◽  
2020 ◽  
Vol 30 (1) ◽  
Author(s):  
Ai Mulyani ◽  
Riyana Rosilawati
Keyword(s):  
Descriptive Analysis ◽  
Analysis Approach ◽  
Works Of Art ◽  
Long Time ◽  
Depth Interviews

ABSTRACTThe Puja dance is the product of Raden Tjetje Somantri’s creativity, in which there is a touch of SundanesePriyayi culture and Javanese dance. The dance is included in the classic Sundanese dance. This paperintends to examine how creativity Rd. Tjetje Somantri in the Puja dance. The method used is qualitativewith a descriptive analysis approach, namely through observation, in-depth interviews, and parentalobservation. From the analysis it is known that there is a touch of Javanese culture that has been going onfor a long time, and the influence of Javanese culture which is identified with the behavior of ‘alus’ moreinfluences Sundanese style dance Rd. Tjetje Somantri. This alus culture originates from the concept ofprijaji which is symbolized by a gentle behavior called ‘alus’. Some Sundanese dances influenced by ‘alus’culture include the Puja style Rd.Tjetje Somantri style. The result of creativity there is also a pattern ofrelationships that occur from the touch, namely 1) Cooperation that is marked by contact between ethnicJavanese and Sundanese, and competition in terms of creating dance works of art. The results obtainedshow the Puja Gaya Rd.Tjetje dance from the intact choreography aspects of Javanese dance, Sundanesedance techniques and styles.Keywords: Creativity, Puja dance, Rd.Tjetje SomantriABSTRAKTari Puja merupakan hasil kreativitas Rd. Tjetje Somantri, yang di dalamnya terdapat sentuhanbudaya Priyayi Sunda dan Tari Jawa. Tarian tersebut termasuk dalam Tari Sunda Klasik.Tulisan ini bermaksud untuk mengkaji bagaimana kreativitas Rd. Tjetje Somantri dalam tariPuja. Metode yang digunakan kualitatif dengan pendekatan deskriptif analisis yaitu melaluipengamatan, wawancara mendalam, dan observasi parsitipan. Dari hasil analisa diketahuiadanya sentuhan budaya Jawa sudah berlangsung lama, dan pengaruh budaya Jawa yangdiidentikkan dengan perilaku alus lebih banyak mempengaruhi tarian sunda gaya Rd. TjetjeSomantri. Budaya alus ini berasal dari konsep priyayi yang disimbolkan dengan perilaku yanglemah lembut yang disebut alus. Beberapa tarian Sunda yang dipengaruhi budaya alus diantaranya Tari Puja gaya Rd.Tjetje Somantri. Hasil dari kreativitas terdapat juga pola hubunganyang terjadi dari sentuhan tersebut, yakni 1) Kerjasama yang ditandai adanya kontak antaraetnis Jawa dan etnis Sunda, dan kompetisi yaitu dalam hal menciptakan karya-karya seni tari.Hasil penelitian yang diperoleh menunjukkan Tari Puja Gaya Rd.Tjetje dari aspek koreografiutuh Tari Jawa, teknik dan gaya Tari Sunda.Kata Kunci: Kreativitas, Tari Puja, Rd.Tjetje Somantri

scholarly journals PENGENALAN KONSEP PANGIDER BHUANA KE DALAM PELATIHAN KARAWITAN BALI

2019 ◽  
Vol 6 (1) ◽  
pp. 64
Author(s):  
I Nyoman Mariyana ◽  
Gek Diah Desi Sentana
Keyword(s):  
Work Of Art ◽  
The Road ◽  
Works Of Art ◽  
Balinese Gamelan ◽  
Long Time ◽  
Cultivation Process ◽  
Three Stages ◽  
The Universe

<em>The realization of a work of art takes place through a process that takes place starting from the impulse felt by an artist to make his work until the work becomes a reality. The process can run easily and quickly, but it can also take a very long time, instead it can stop in the middle of the road, until the work that is forced never materializes. The process of cultivating works of art, includes three important stages that must be passed. The three stages used in the cultivation process to realize this artwork are: exploration (exploration), experimental (Improvisation) and formation (Forming) stages. In the Lontar Prakempa, a Balinese gamelan mythology which is thought to be quite old, contains ins and outs of Balinese gamelan which essentially contains tatwa (philosophy or logic), morality (ethics), longo (aesthetics) and gegebug (technique) which are in harmony with Balinese gamelan . In the lontar also explained about the concept of Pangider Bhuana as a symbol of the ruler of the universe. In the Lontar Prakempa, a Balinese gamelan mythology which is thought to be quite old, contains ins and outs of Balinese gamelan which essentially contains tatwa (philosophy or logic), morality (ethics), longo (aesthetics) and gegebug (technique) which are in harmony with Balinese gamelan . In the lontar also explained about the concept of Pangider Bhuana as a symbol of the ruler of the universe</em>

scholarly journals Symbolic consumers of fine art in the art market and their motivations

2021 ◽  
Author(s):  
Dmytro Akimov
Keyword(s):  
Consumer Behavior ◽  
Small Businesses ◽  
Analysis Of Algorithms ◽  
Methodological Approach ◽  
Fine Arts ◽  
Marketing Research ◽  
Art Market ◽  
Fine Art ◽  
Symbolic Consumption ◽  
Works Of Art

The purpose of the article. Research and analysis of algorithms of marketing technologies in the art market by studying the motivations of symbolic consumers of fine arts, namely, individuals who consume products of fine arts through symbolic appropriation. The research methodology is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the motivations of symbolic consumers of works of art with the subsequent use of research results in the marketing processes of promoting works of art in the art market. The scientific novelty lies in the expansion of ideas about the motivations of symbolic consumers of the fine arts market and in the study of further marketing processes in it. The article analyzes the algorithms of marketing technologies in the analysis of motivations of symbolic consumers of the fine arts market. The article establishes that in the marketing of fine arts it is relevant and necessary to study the behavior of symbolic consumers of works of art as Individuals through the analysis of types of symbolic Consumers, as well as through the analysis of situations of symbolic consumption of works of art as a symbolically appropriated Product at the art market while viewing works of art in exhibition halls. Based on research in the field of art market marketing, we can say that artistic creativity is an area of activity of non-profit public and private museums, gallery and exhibition institutions, as well as large and small businesses, which should professionally analyze consumer motivations, which in turn makes it possible to highly segment consumers of works of fine art in accordance with their motivations. Conclusions. The article defines and analyzes the model of consumption of fine arts by symbolic appropriation, and, accordingly, describes the group (segment) of consumers. We are talking about symbolic consumption, which is associated with the possibility of obtaining aesthetic pleasure through the symbolic appropriation of the work without material possession. It is also proved that consumer behavior in art marketing is determined by three mandatory components: Individual - Product - Situation. It is on these components that the types of motivation are formed, on which the model of consumption and consumer behavior is built. Thus, we have studied individuals who consume works of art, which in turn are products presented in exhibition halls, and we have studied the situations of consumption of works of art that are consumed by symbolic appropriation in exhibitions. Key words: art market, marketing research, motivation of consumers of works of art, symbolic consumption of works of art, behavior of consumers of art market.

scholarly journals EKSPLORASI LIMBAH PLASTIK DALAM KARYA SENI RUPA

2021 ◽  
Vol 13 (2) ◽  
pp. 88-103
Author(s):  
Syamsiar - Syamsiar
Keyword(s):  
Facial Expression ◽  
Facial Expressions ◽  
Fine Art ◽  
Plastic Waste ◽  
Human Environment ◽  
Natural Processes ◽  
Living Things ◽  
The World ◽  
Long Time ◽  
Materials Used

Art creation: Exploration of Plastic Waste in Fine Art is an experiment in utilizing plastic waste around the author into an aesthetic 2-dimensional work of art as an effort to reduce waste on earth, and at the same time enriching the treasures of art in Indonesia, especially and the world in general. Plastic waste can unknowingly threaten the survival of the human environment. Plastic cannot be destroyed through natural processes and lasts a very long time in nature. It takes 500-1000 years for plastic to degrade, but it will still leave microplastic particles that are harmful to living things. Creating works of art is one of the efforts of the author as an artist to take care of reducing plastic waste. The concept of the work in this creation is a spooky facial expression that conveys a message to the audience that plastic waste is dangerous for the future of living things. To achieve the goal of creation, it is done by using the method of material experimentation and exploration of the form of the work of creation. The materials used are various kinds of plastic waste which are cleaned, sorted by color and then pressed using an electric iron on the prepared medium. Through this method, several works of spooky facial expressions were obtained. Abstrak               Penciptaan karya seni: Eksplorasi Limbah Plastik dalam Karya Seni Rupa adalah sebuah eksperimen dalam memanfaatkan limbah plastik yang ada di sekitar penulis menjadi sebuah karya seni 2 dimensi yang estetis sebagai upaya dalam mengurangi limbah sampah di bumi, dan sekaligus dapat memperkaya khasanah kesenirupaan di tanah air khususnya dan dunia umumnya. Limbah plastik tanpa disadari dapat mengancam kelangsungan lingkungan kehidupan manusia. Plastik tidak dapat hancur lewat proses alami dan bertahan sangat lama di alam. Dibutuhkan 500-1000 tahun bagi plastik agar tergradasi, tapi tetap saja akan menyisakan partikel mikroplastik yang berbahaya bagi makhluk hidup. Menciptakan karya seni adalah salah satu upaya penulis sebagai perupa untuk ikut peduli mengurangi limbah plastik. Konsep karya dalam penciptaan ini adalah ekspresi wajah seram yang membawa pesan kepada audiens bahwa limbah plastik berbahaya bagi masa depan makhluk hidup. Untuk mencapai tujuan penciptaan dilakukan dengan menggunakan metode ekspremen bahan dan eksplorasi bentuk ciptaan karya. Bahan yang digunakan adalah berbagai macam limbah plastik yang dibersihkan, dipilah warnanya kemudian dipress menggunakan setrika listrik pada medium yang telah disiapkan. Melalui metode ini kemudian didapatkan beberapa karya ekspresi wajah seram.  

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