ISSUES OF ETHNOCULTURAL TRADITIONS DEVELOPMENT IN MODERN ARTISTIC PRACTICE

2020 ◽  
Vol 1 (4) ◽  
pp. 50-54
Author(s):  
K. K. Murataev ◽  
◽  
S. M. Krykbayeva ◽  
Keyword(s):  
Folk Art ◽  
Structural Features ◽  
Artistic Practice ◽  
Creative Development ◽  
Traditional Art ◽  
Spatial Features ◽  
Applied Art ◽  
Main Components ◽  
Structurally Stable ◽  
Figurative Interpretation

The article deals with insufficiently studied theoretical aspects of revealing and analyzing new elements and motives of artistic and compositional means of expression in folk art, as well as topical issues concerning determining principles and possible options for their creative development in modern decorative and applied art, design, and artistic practice in general. The most important structural features of shaping in traditional art in the ontologically interrelated system "nature — man — object" are analyzed. The main structurally stable elements and components in Kazakh folk ornament are distinguished and characterized, these are the circle, S-shaped element, cruciform and triangular components. The evolution of their ideological and figurative interpretation and symbolism is traced, and their role in the genesis of folk art traditions formed over thousands of years is revealed. The selected basic elements of folk ornament, as the main components of means of artistic expression, are proposed to be defined and developed in line with modern interpretations of artistic and aesthetic categories — dynamics, statics, harmony and their decorative variations in accordance with the volumetric and spatial features of form.

TRADITIONAL CRAFTS OF DAGESTAN AND RESEARCH INSTITUTE OF ART INDUSTRY

2021 ◽  
pp. 68-76
Author(s):  
Amirbek Dzhalilovich Magomedov
Keyword(s):  
Traditional Art ◽  
State Institutions ◽  
Applied Art ◽  
International Exhibitions ◽  
History Of ◽  
Soviet Time ◽  
Historical Culture ◽  
Professional Artists ◽  
Art Industry ◽  
Research Institute

The article considers the history of relations of traditional art crafts of Dagestan with the Research Institute of Art Industry (RIAI). Due to its budgetary and personnel capabilities, the Institute tried to support the art crafts of Dagestan until the late 1980s. Since 1979, the Mahachkalinsky branch of RIAI has been working here. Artists, scientific employees of the Institute helped masters in search of prospective assortment for crafts, taught them skills to study the history of crafts, revival of traditions. The most significant role in such cooperation was played by scientific employees of the Institute: E. M. Shilling, E. M. Kilchevskaya, T. M. Razin, D. A. Chirkov, etc. Important for the crafts of the region was the assistance of the artists of the Institute in the execution of samples for introduction into serial production, the production of exhibits for All-Russian and international exhibitions, orders of state institutions and museums related to celebrations in the country of various anniversary. This practice was common for art artels, state mills of the Soviet time. Working with the artists of RIAI masters of Dagestan learned to draw up (drawings with pencil, Indian ink), compositions of patterns, to drafts of products, and also to collect field material on historical culture of crafts, to work as professional artists of applied art.

scholarly journals SPACE AS A CONTEXT IN DANIEL BUREN’S ART

2021 ◽  
Vol 11 (1) ◽  
pp. 301-322
Author(s):  
Tuğba RENKÇİ TAŞTAN
Keyword(s):  
World War Ii ◽  
Conceptual Art ◽  
World Order ◽  
Art World ◽  
Artistic Practice ◽  
Innovation Development ◽  
Traditional Art ◽  
The Social ◽  
Art Scene ◽  
The 1960S

20th century; it is a period in which two world wars took place and a new world order in human history occurred in many areas of innovation, development and transformation. After the war, the meaning, content and boundaries of art and the artist have been discussed, expanded and gained a new dimension and acceleration with the deep changes in the social, economic, political and cultural fields with the crisis brought on by the war. This complex period also manifested itself in the traditional art scene in France. The French artist Daniel Buren (b. 1938) has witnessed this process; by adopting the innovations in art with his productions, he has demonstrated his space-oriented conceptual works dating back to the present day in a period in which daily life accelerates with the mechanization of art practice and conceptual art movements are in succession. In this article, in order to comprehend the point of the artist and his productions from the beginning until today; the cultural environment in France after the World War II, the developments in the art world, the changes in the social field and the artistic dimensions of these changes are mentioned. The development and practices of the French artist Daniel Buren's artistic practice, policy, artistic attitude and style for the place, architecture, workshop and museum in the period from the second half of the 1960s to the present day are examined with examples with certain sources. In this context, the views and concepts that the artist advocates with his original productions are included. Finally, in the research, the evaluations were made in line with the sources and information obtained about the art adventure and development of the artist, and the innovations, contributions and different perspectives he offered about the art are discussed.

scholarly journals Interpretation of Motives of Ukrainian Folk Art in Works of Contemporary Artist Tеtiana Rusetska

ART Space ◽  
2018 ◽  
pp. 68-72
Author(s):  
Svitlana Streltsova
Keyword(s):  
Folk Art ◽  
Applied Art ◽  
Contemporary Artist

The article examines the specificity of the artistic language of the contemporary artist Tеtiana Rusetska. It analyses the appeals to the motives of the Ukrainian traditional folk and decorative and applied art.

scholarly journals Dynamic Response of Rub Caused by a Shedding Annular Component Happening in a Steam Turbine

2015 ◽  
Vol 2015 ◽  
pp. 1-6 ◽  
Author(s):  
J. M. Chen ◽  
D. X. Jiang ◽  
N. F. Wang ◽  
S. P. An
Keyword(s):  
Dynamic Response ◽  
Steam Turbine ◽  
Structural Features ◽  
Frequency Domain Analysis ◽  
Steam Turbines ◽  
Contact Constraint ◽  
Fault Features ◽  
Rotor Bearing ◽  
Main Components ◽  
The Impact

Rub caused by a shedding annular component is a severe fault happening in a steam turbine, which could result in a long-term wearing effect on the shaft. The shafting abrasion defects shortened the service life and damaged the unit. To identify the fault in time, the dynamic response of rub caused by a shedding annular component was studied as follows: (I) a rotor-bearing model was established based on the structural features of certain steam turbines; node-to-node contact constraint and penalty method were utilized to analyze the impact and friction; (II) dynamic response of the rotor-bearing system and the shedding component was simulated with the development of rub after the component was dropping; (III) fault features were extracted from the vibration near the bearing position by time-domain and frequency-domain analysis. The results indicate that the shedding annular component would not only rotate pivoting its axis but also revolve around the shaft after a period of time. Under the excitation of the contact force, the peak-peak vibration fluctuates greatly. The frequency spectrum contains two main components, that is, the working rotating frequency and revolving frequency. The same phenomenon was observed from the historical data in the field.

scholarly journals Defensins – natural peptide antibiotics of higher eucariotes

2014 ◽  
Vol 60 (4) ◽  
pp. 438-447 ◽  
Author(s):  
D.V. Grishin ◽  
N.N. Sokolov
Keyword(s):  
Antimicrobial Peptides ◽  
Biomedical Application ◽  
Structural Features ◽  
General Information ◽  
Current Situation ◽  
Peptide Antibiotics ◽  
Infectious Agents ◽  
First Line ◽  
Natural Peptide ◽  
Main Components

The goal of this review is to characterize defensins representing an evolutionary the most ancient family of antimicrobial peptides. It gives general information on functional and structural features of defensins as the main components of the first-line defense of higher eukaryote organisms against infectious agents. The review considers not only current situation in the defensin research but also perspectives of creation of recombinant antimicrobial peptides of biomedical application.

scholarly journals Development of intellectual and creative abilities as a pedagogical phenomenon

2021 ◽  
Vol 18 (4) ◽  
pp. 115-128
Author(s):  
Yuliana Y. Yumashina
Keyword(s):  
Primary School ◽  
School Children ◽  
Divergent Thinking ◽  
Research Problem ◽  
Speech Disorders ◽  
Primary School Children ◽  
Creative Development ◽  
Study Objective ◽  
Main Components ◽  
Objective Indicators

The paper is devoted to the study of divergent thinking as one of the structures of intellectual and creative development of primary school children with speech disorders. The methodological foundations of the research problem are analyzed. The tools for the study of divergent thinking for primary school children are selected. The main components of divergent thinking of young schoolchildren in the context of their general intellectual and creative development are highlighted. The concepts of intellectual and creative development, divergent thinking, typology of primary school children with speech disorders are specified. In the course of the study, objective indicators of the development of divergent thinking were obtained, as well as the features of this type of thinking in younger schoolchildren with speech disorders. The author shows the features of divergent thinking of younger students. The results obtained can help teachers in the development and selection of adequate methods and techniques in correctional and developmental work with younger students with speech disorders.

scholarly journals Pembelajaran Sejarah Melalui Pelatihan Kesenian Jathilan untuk Meningkatkan Pemahaman Terhadap Nilai-Nilai Lokal

2017 ◽  
Vol 13 (1) ◽  
Author(s):  
Diana Trisnawati
Keyword(s):  
Folk Art ◽  
Delivery Methods ◽  
Mutual Cooperation ◽  
Traditional Art ◽  
Learning History ◽  
Teaching History ◽  
Culture Teaching ◽  
History Of ◽  
New Ideas ◽  
Material History

AbstractOne of the results of this study aims to clarify that the teaching of history has a lot of media or flexible in its delivery methods, such as through training Jathilan Art. Jathilan Art is one of the folk art using braid horse property, as well as players reog or lumping horse or horses braid. Art Jathilan Revelation turonggo in Kulon Progo Regency is one of folk art will be full of local values. Learning history through Art Jathilan training to improve local values are expected to provide new ideas in history. This is because history can not be separated from the cultures in a society. Meanwhile, art is one of the results of the culture. Teaching history at this point also raised many of the local values because Indonesia is a country rich in culture. To increase the love of the Indonesian state (nationalism) not only through pembelajarah history, especially the material history of the struggle of the Indonesian nation. How to boost nationalism can be done by increasing the understanding of local values. Local values can be instilled through training Art Jathilan include the values of mutual cooperation, kinship, the values of religious form of gratitude to God Almighty, the values of love for the surrounding environment, the values of self-reliance as using crops activities in the community, and so on. Keywords: Learning history, the traditional art “Jathilan”, local values

scholarly journals The problems of determining the canon in the plastic folklore of the Sakha (Yakuts)

2018 ◽  
Vol 55 ◽  
pp. 04010
Author(s):  
Sargylana Nikiforova ◽  
Galina Popova ◽  
Ekaterina Dyachkovskaya
Keyword(s):  
Traditional Culture ◽  
Folk Art ◽  
Ethnic Community ◽  
Spiritual Experience ◽  
The People ◽  
Applied Art ◽  
The World ◽  
Basic Characteristics

In the conditions of erosion of specificity and weakening of ethnic cultures identity, massive imitation of authenticity undertaken by the cultural bearers themselves with the aim of commercializing becomes an additional threat to its preservation. The authors believe that these threats can be minimized if “structuring elements” of this culture are determined. In particular, the popularization of canonical national forms of culture can contribute to this. The undividedness of oral folk art and decorative applied art is the basic characteristics of folklore. In addition to it, the structural and content components of the artistic canon in the folk art of Sakha (Yakuts) are named in the paper. In traditional culture, the thing made according to the canon, determines the behavior of its owner and makes him correspond to the expected visions of the ethnic community; moreover, it models the scenario of his fate. The problems of interaction between the evolution of style and the author’s deviations from the canon are partially touched upon in the article. With regard to the plastic folklore, these are the best, typical, and familiar features that are not presented as a sum of skills and techniques of craft, but as a creative interpretation of the national master. In the outstanding works of folk art, these ornamental forms are deliberately chosen, taking into account the chromatic code of culture, the composition of which refers to the national picture of the world. The pictorial canon in the plastic folklore captures and transmits the rules for visualizing the spiritual experience of the people from generation to generation. In fact, it forms the framework of culture, and it is the canon that provides for “not a common expression of faces” of each culture.

scholarly journals National-Regional Component in the Training of Artists of Decorative-Applied Art

2018 ◽  
Vol 7 (4.38) ◽  
pp. 519
Author(s):  
Maxim Vladimirovich Sokolov ◽  
Marina Stanislavovna Sokolova ◽  
Larisa Vladimirovna Shokorova
Keyword(s):  
Educational Process ◽  
Arts And Crafts ◽  
Special Role ◽  
Regional Culture ◽  
Self Awareness ◽  
Creative Development ◽  
Applied Art ◽  
Regional Component ◽  
Individual Self ◽  
Traditional Arts

The article considers the regionalization of education as an important condition for preservation and development of ethnocultural artistic traditions. Regional culture is understood to mean a world of material and spiritual elements that make up being of particular region inhabitants with their constituent parts such as history, religion, folklore, and traditional applied art. The authors emphasize special role of culture and art universities in the process of humanizing art education. The article draws attention to the problem of identity in the modern global world and the importance of introducing the values of the past through the knowledge of the region’s cultural heritage to the modern person. In this context, the authors emphasize the importance of traditional folk art as an area of self-determination and human identity.The article proposes a set of special tasks for inoculation of a regional component in the educational process. The main methodological task is the formation of national historical self-awareness, group and individual self-identification, patriotism through the acquisition of cultural samples by their mastering in the process of creative activity and the further development of traditional arts and crafts in the new conditions of cultural existence.The article concludes the renewal of the content of teaching arts and crafts on the basis of its enrichment by studying various national cultures taking into account regional peculiarities becomes the most important thing at the present stage. The training of future artists of decorative and applied art should be based on the principles of cultural appropriateness, historicism, creative development and socialization, which presuppose students’ development in the process of nonmaterial culture learning  

Vigo, Abraham (1893–1957)

2018 ◽  
Author(s):  
Patricia Andrea Dosio
Keyword(s):  
Communist Party ◽  
Buenos Aires ◽  
Art Market ◽  
Health Problems ◽  
Artistic Practice ◽  
Traditional Art ◽  
Avant Garde ◽  
Clear Image ◽  
Written Word ◽  
Popular Audience

Abraham Regino Vigo was one of the most talent artists of the first avant-garde in Buenos Aires. He was born in Montevideo, Uruguay, but at the age of 12 started working with his father, a painter and decorator, in Buenos Aires. He studied painting in the Sociedad Estímulo de Bellas Artes like his father. During his career, Vigo exhibited individually and with a socially compromised group of artists, receiving several awards and prizes. Due to health problems, in 1939 he settled in Mendoza and a year later, became an Argentine citizen and, as member of the Communist Party, announced his candidacy in provincial deputy race. When Vigo returned to Buenos Aires, he worked mostly as engraver. His articulation between artistic practice and political militancy represented a modernist feature in local art. More than any other medium, Vigo employed graphic techniques, such as woodcuts, etching, and drawing. Most of his works were illustrations in magazines, newspapers, and low price book editions. Engraving enables the circulation of the images not only in the context of written word but also among popular audience. Vigo’s aimed at a clear image, reproducible, easy to read by workers and separated from the traditional art market.

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