scholarly journals «Designer handkerchief is the universe in a square»

2020 ◽  
Author(s):  
А.В. Толстикова ◽  
А.А. Шевцова
Keyword(s):  
Cultural Heritage ◽  
Art Education ◽  
Design Education ◽  
Avant Garde ◽  
Cultural Design ◽  
The Universe

С художником и дизайнером, создателем неповторимых авторских шелковых платков Анной Толстиковой мы говорим о художественном образовании, абстракционизме и авангарде, актуализации историко-культурного наследия России через социокультурное проектирование, просвещение и моду. With the artist and designer, creator of unique author’s silk scarves Anna Tolstikova, we talk about art education, abstractionism and the avant-garde, updating the historical and cultural heritage of Russia through socio-cultural design, education and fashion.

scholarly journals About inhumane architecture and architectural education

2021 ◽  
Vol 18 (2) ◽  
pp. 10-25
Author(s):  
T. A. Slavina ◽  
Keyword(s):  
Social Responsibility ◽  
Cultural Heritage ◽  
Psychological Health ◽  
Human Life ◽  
Past Experience ◽  
Architectural Education ◽  
Architectural Heritage ◽  
Avant Garde ◽  
Material Component ◽  
The Universe

Architecture as a profession inherently implies the highest degree of social responsibility, for not only the material component of human life is dependent on the architect`s work, but also, in no less degree, the psychological health of people. Architecture as art satisfies people`s natural existential urge, communicating in its own language the harmony and constancy of the universe, which is reflected in the world's architectural heritage. For centuries, architectural education was based on the inheritance of past experience. In the XX century, the concepts of the Avant-garde became the basis of education, and that was a painful and dangerous deviation, which has led to the crisis of architecture. According to the author, a throwback to the old methods of design based of the cultural heritage principles is needed.

scholarly journals Ethos in Early Chinese Rhetoric: The Case of “Heaven”

Humanities ◽  
2020 ◽  
Vol 10 (1) ◽  
pp. 7
Author(s):  
Yong-Kang Wei
Keyword(s):  
Cultural Heritage ◽  
Chinese Society ◽  
Cultural Tradition ◽  
The West ◽  
Chinese Tradition ◽  
Rhetorical Tradition ◽  
Chinese Rhetoric ◽  
Human Desire ◽  
Collective Ethos ◽  
The Universe

Though applicable in many Western historical-cultural settings, the Aristotelian model of ethos is not universal. As early Chinese rhetoric shows in the example of cheng-yan or “ethos of sincereness,” inspiring trust does not necessarily involve a process of character-based self-projection. In the Aristotelian model, the rhetor stands as a signifier of ethos, with an ideology of individualism privileged, whereas Chinese rhetoric assumes a collectivist model in which ethos belongs, not to an individual or a text, but rather to culture and cultural tradition. This essay will be concentrating on the concept of Heaven, central to the cultural and institutional systems of early Chinese society, in an attempt to explore collective ethos as a function of cultural heritage. Heaven, it shall be argued, plays a key role in the creation of Chinese ethos. This essay will also contrast the logocentrism of Western rhetorical tradition with the ethnocentrism of Chinese tradition. The significance of Heaven in its role as a defining attribute of Chinese ethos is reflective of a unique cultural heritage shaped by a collective human desire in seeking a consciousness of unity with the universe. Just as there are historical, cultural, and philosophical reasons behind logocentrism in the West, so the ethnocentric turn of Chinese rhetoric should be appreciated in light of a cultural tradition that carries its own historical complexities and philosophical intricacies.

scholarly journals Art Education and Creations of Artistic Forms. Students’ Views on the Course and Its Combination with Cultural Heritage

2014 ◽  
Vol 6 (2) ◽  
Author(s):  
Maria Kampouropoulou ◽  
Persa Fokiali ◽  
Ioanna Efstathiou ◽  
Efstathios Stefos
Keyword(s):  
Cultural Heritage ◽  
Art Education

The avant-garde’s visual arts in the context of Santayana’s idea of vital liberty

Human Affairs ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Krzysztof Skowroński
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
The Other ◽  
Political Life ◽  
The Political ◽  
Human Beings ◽  
Political Dimension ◽  
Avant Garde ◽  
Other Hand ◽  
The Universe

AbstractIn the present paper, the author looks at the political dimension of some trends in the visual arts within twentieth-century avant-garde groups (cubism, expressionism, fauvism, Dada, abstractionism, surrealism) through George Santayana’s idea of vital liberty. Santayana accused the avant-gardists of social and political escapism, and of becoming unintentionally involved in secondary issues. In his view, the emphasis they placed on the medium (or diverse media) and on treating it as an aim in itself, not, as it should be, as a transmitter through which a stimulating relationship with the environment can be had, was accompanied by a focus on fragments of life and on parts of existence, and, on the other hand, by a de facto rejection of ontology and cosmology as being crucial to understanding life and the place of human beings in the universe. The avant-gardists became involved in political life by responding excessively to the events of the time, instead of to the everlasting problems that are the human lot.

scholarly journals EVALUATION OF THE FASHION DRAWING (ILLUSTRATION) LESSON TEACHING PROGRAM UNDER THE LIGHT OF LECTURERS’ AND STUDENTS’ OPINIONS

2021 ◽  
Vol 9 (60) ◽  
Keyword(s):  
Art Education ◽  
Design Education ◽  
Formal Education ◽  
Fashion Design ◽  
Two Dimensional ◽  
Examination System ◽  
Art And Design ◽  
Face To Face ◽  
Dimensional Plane ◽  
Figure Drawing

While clothing is produced and consumed rapidly, it strives to create appropriate forms and to create appropriate identities by giving correct messages; therefore, it is one of the most important fields requiring art and design education. The fashion design student, who forms the infrastructure with basic art education and figure drawing, not only transfers the imagination to the two-dimensional plane with the fashion drawing lesson but also transfers it to the two-dimensional plane; at the same time, he takes art and design education, which is aesthetic education, and feeds his visual vision and mind. In this research, the Fashion Drawing Lesson has been examined in detail in terms of determining the place, position, importance, processing and content of the Fashion Drawing Lesson in the official fashion design curriculum and a comprehensive literature search has been conducted; then the matter has been tried to be examined thanks to a link has been established between education, fashion, art and design disciplines. The course syllabus in Turkey and some of fashion design course programs in the world were examined; the experts providing fashion formal education and the students who received fashion formal education were interviewed face-to-face to obtain information first-hand. First of all, the study started by determining the fashion design undergraduate programs in the OSYM (Assessment Selection and Placement Center) placement guide and examining the course hours, course times and course contents of the fashion formal courses in these programs. The researcher visited the designated universities for the purpose of on-site observation and interview, and conducted semi-structured interview questions and face-to-face interviews with experts and students and recorded them. The transcribed interviews were analyzed using content analysis method and the findings were interpreted within the framework of the research questions. The findings were interpreted and discussed, and after the results were written, suggestions about the study were included. As a result, it has been determined that the admission of students to the fashion design program should be made with the combination of central examination system and talent exam suitable for fashion design education. It was seen that the time granted for the program was not sufficient in mean of implementation of the fashion drawing lessons properly in the fashion design education programs. Keywords: Fashion drawing, fashion illustration, design education, fashion design education, art education

scholarly journals Alexandra Ekster’s Contribution to Ukrainian and World Art Culture

2021 ◽  
pp. 219-228
Author(s):  
Lesia TURCHAK
Keyword(s):  
Art Education ◽  
Research Methodology ◽  
Art History ◽  
Historical Data ◽  
Methodological Approach ◽  
Fine Arts ◽  
Creative Activity ◽  
Teaching Activity ◽  
Avant Garde ◽  
The Subject

The work of Ukrainian artists who have contributed to Ukrainian and international art, is not sufficiently disclosed. Their creative search impresses with versatility, interesting decision, continues to impress and inspire contemporaries. Purpose of the article — to find out the contribution of the Ukrainian avant-garde artist, set designer, teacher Oleksandra Ekster, to the Ukrainian and international fine arts. Oleksandra Ekster’s work has been the subject of research for decades. Scientists are interested in the painter’s art search, her contribution to Ukrainian avant-garde, scenography reforms, and teaching activity. Some sources may state that Ekster is a representative of Russian avant-garde. However, the artist grew up in Kyiv, obtained art education and promoted with her work not only Ukrainian but world avant-garde as well. The research of modern scientists (H. Kovalenko, D. Horbachova, T. Filevska, N. Stoliarchuk, M. Yur and others) makes it possible to review the artist’s life and artistic journey as well as her contribution to art history. The research methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist’s creative activity.

scholarly journals CULTURE, EDUCATION AND DEVELOPMENT IN THE GLOBAL CONTEXT

2021 ◽  
Vol 101 (2(Ч.1)) ◽  
pp. 57-68
Author(s):  
Ернст Вагнер
Keyword(s):  
Cultural Heritage ◽  
Art Education ◽  
Middle Section ◽  
Cultural Education ◽  
Global Context ◽  
History Of ◽  
Education And Development ◽  
The 19Th Century ◽  
Culture Education

The first part of this paper asks how European art education traditionally positions itself despite an ever-changing world, mainly in respect to the question how to teach cultural heritage. Focussing the history of art we can see that teaching the canon connected with development narratives is still dominant. But some trends can be observed that open the chance to further develop those traditions, e.g. focussing intercultural entanglements, transcultural understandings of ‘objects’ and including the issue of power. These trends try to provide answers to today's challenges. The inquiry finally leads to an analytical grid as a model to understand contemporary complexities in a better way. In the middle section, this is discussed in more detail using a concrete example, the political demands for the return of cultural heritage, the Benin bronzes that were stolen by British colonialists in Nigeria in the 19th century and are now mainly in European museums. It gets clear that the application of the model – developed in the first part – to this example reveals its limits, as unsolvable problems occur. The case study of the Benin bronzes triggers a set of new questions that are becoming increasingly important for art education – at least in Germany – but which have hardly been asked so far. Examples are: Who speaks? In which language? With whom? Who owns? Is negation a model for intercultural dialogue? Etcetera. In the last part, this set of questions is posed to a concrete international project with partners in Cameroon, Ghana, Kenya and South Africa that the author is co-ordinating at the Art of Fine Academy in Munich. The set of questions is used to critically explore this project in a way that could also be transferred to any other project in the field of art and cultural education in formal and non-formal settings.

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