The Study on the Application of Material Media in the Modern Decorative Art

2012 ◽  
Vol 535-537 ◽  
pp. 1673-1677
Author(s):  
Jian Wen Li
Keyword(s):  
Aesthetic Experience ◽  
Artistic Expression ◽  
Avant Garde ◽  
Decorative Art ◽  
Artistic Value ◽  
Historical Viewpoint ◽  
New Perspective

This paper interprets the function and effect of material media in decorative art. It explores the extension and development of material media in decorative art, from the historical viewpoint. It advances that modern decorative art must be investigated from the new perspective, that is, the view of integrated material is used to explore and study modern decorative art. This is based on the fact that art tends to be generally integrated. Under such circumstances, its artistic expression and avant-garde ideas tend to have a direct correlation with material media, analyzing from its artistic value and aesthetic experience. More importantly, its artistic essence is supposed to be interpreted from its abstractness and self-expression of space.

A Medieval Open Work

POETICA ◽  
2021 ◽  
Vol 52 (3-4) ◽  
pp. 228-265
Author(s):  
Rafael Simian
Keyword(s):  
The Other ◽  
Specific Function ◽  
Umberto Eco ◽  
New Approach ◽  
Avant Garde ◽  
Other Hand ◽  
Open Work ◽  
New Perspective ◽  
A Minor

Abstract Guigo II is commonly known and praised among specialists of Western mysticism for his Scala claustralium, a work that presents a spiritual program for cloistered monks. His Meditations, on the other hand, have usually been relegated to the margin of attention. The First Meditation, in particular, is generally regarded as a minor piece. The paper argues, however, that a new approach can make better sense of the First Meditation, while also enabling us to recognize its specific function and value. Seen from this new perspective, Guigo’s purpose with the text is to train and exercise his readers’ minds according to the spiritual program laid out in the Scala. The paper shows that the First Meditation realizes that goal, surprisingly, by having the same essential features that Umberto Eco found in the ‘open works’ of the Western avant-garde.

scholarly journals Katherine Mansfield and Periodical Culture

2019 ◽  
Author(s):  
Chris Mourant
Keyword(s):  
Social Contexts ◽  
Woman Writer ◽  
The Political ◽  
Katherine Mansfield ◽  
Avant Garde ◽  
Literary Journal ◽  
Depth Study ◽  
New Perspective ◽  
Story Writer ◽  
The Many

Katherine Mansfield’s contemporaries knew her primarily as a contributor to magazines and periodicals. In 1922, for instance, Wyndham Lewis described her as ‘the famous New Zealand Mag.-story writer’. This book provides the first in-depth study of Mansfield’s engagement in periodical culture, examining her contributions to the political weekly The New Age, the avant-garde little magazine Rhythm and the literary journal The Athenaeum. Reading these writings against the editorial strategies and professional cultures of each periodical, Chris Mourant situates Mansfield’s work within networks of production and uncovers the many ways in which she engaged with the writings of others and responded to the political, aesthetic and social contexts of early twentieth-century periodical culture. By examining Mansfield’s ambivalent position as a colonial woman writer working both within and against the London literary establishment, in particular, this book provides a new perspective on Mansfield as a ‘colonial-metropolitan modernist’ and proto-postcolonial writer.

scholarly journals Art as a Critique of Language: On the Continuity of the Tradition of the Avant-Garde Aesthetic in the Modern and the Postmodern

2007 ◽  
Vol 43 (2) ◽  
pp. 287-303
Author(s):  
Susanne Kogler
Keyword(s):  
20Th Century ◽  
Conceptual Knowledge ◽  
Aesthetic Experience ◽  
New Music ◽  
Avant Garde ◽  
Starting Point ◽  
Traditional Language ◽  
Art Philosophy ◽  
Language Of Music ◽  
The One

That art functions as a corrective to rational-scientific insights is one of the formative thoughts of art philosophy. The fact that artistic expression represents a corrective to linguistically-rationally affected insight also ranks among the constants of art philosophy in the 20th century. “Expression is the opponent of articulating something” can be read, for instance, in Adorno’s Aesthetic Theory with regards to the character of language in art and Jean François Lyotard wrote on aesthetic experience: “What happens to us is by no means something which we would have controlled, programmed or conceptually apprehended beforehand”. The uneducible, conceptually unattainable is also at the centre of current art production of the 21st century. On the basis of Lyotard’s and Adorno’s positions, the article shows that one should acknowledge a constancy of the topos of art as non-conceptual knowledge on the one hand as the continuing function of a tradition defined from the philosophical aesthetics of modernity to post-modernity and orientated on the artistic avant-garde. On the other hand and beyond this a continuous line of tradition of New Music becomes clear, leading to the expressionistic avant-garde of the 20th century which represented the starting point for Adorno’s music philosophy, through Lyotard’s focus on John Cage, up to the avant-garde of New Music in the era of post modernity. Specific features of contemporary art, such as rebellion against linguistic standards, an understanding of expressivity that opposes the traditional language of music and operates on the verge of silence, as well as the utopian vision of a modified reality which aims at transcendency enable a conception of art as non-conceptual knowledge, corresponding with the positions of art philosophy in modernity and post-modernity in important points. The relevance of focusing on this line of tradition for musicology lies in the fact that it sheds new light on the musical avant-garde and its further function and, last but not least, that it opens new perspectives in understanding contemporary artistic productions.

scholarly journals Dadaism (Re)activated. Artzins and Dada

2017 ◽  
Vol 44 (6) ◽  
Author(s):  
Magdalena Lachman
Keyword(s):  
Artistic Expression ◽  
Avant Garde ◽  
Literary Journals ◽  
Definition Of

The article analyses in what way artzins (independent art and literary journals published in Poland in the 1980s and 1990s) drew inspiration from the Dada tradition, and how they made its philosophy live again. Artzins are seen here both as a medium of literature and art and as specific forms of artistic expression (press art). The article attempts to show why artzins and their authors were interested in reviving the avant-garde and Dada ideas. It also investigates how Dadaism functions today in the form of contemporary works and styles which are influenced by this avant-garde movement. What is more, the article tries to answer the question about the nature and definition of Dadaism shaped and reflected by today's artistic projects.

scholarly journals Terrorens poetik: Revolutionen skrives med småt

2009 ◽  
Vol 37 (107) ◽  
pp. 52-73
Author(s):  
Susanne Stoltz ◽  
Anders Tønnesen
Keyword(s):  
Literary History ◽  
Aesthetic Experience ◽  
Left Wing ◽  
Situationist International ◽  
Avant Garde ◽  
Red Army ◽  
The Spectator ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Aesthetic

The Poetics of Terror: The Manifestoes of the RAF:This paper points to a ‘forgotten’ literary history of the Red Army Fraction (RAF) in order to contest a common misconception. The RAF is often perceived solely as a political phenomenon and its justification of terrorism as a political discourse. Thereby many scholars bluntly fail to pinpoint the attractiveness of the left-wing terrorism of the 1960s and 1970s. The paper argues that the writings of the first generation of the RAF also convey a ‘poetics’ of terrorism. It points to a somewhat overlooked strategy of justification in the writings, which can be formulated as follows: Both the act of terrorism and the utterance of its defence are justified as aesthetic experiences. Furthermore, this was constructed under heavy influence from groups of avant-garde artists in the tradition of the Situationist International (SI). The paper analyses the strategy of justification found in the first few RAF-statements. Beneath the political jargon of left-wing radicalism and the »credo of immediate action«, the paper locates another strategy of justification that carries the sign of avant-garde thought. According to the manifestoes of the RAF, the aesthetic experience of a terrorist act could liberate the spectator. The study concludes that the writings of RAF unveil a ‘poetics’ of terrorism. The act of terrorism is a radical transgression of reality. Hence, the terrorist act destroys the ‘mechanical’ system of cognitive oppression because it shows the possibility of another world. That is why the RAF views terror as a model of spiritual liberation. In addition to this the statements communicate a parallel concept to the ‘poetics’ of the terror act. The RAF constructed a concept of revolutionary language, ‘the armed propaganda’, which claimed to break down the barriers of ‘domination’ in the consciousness of the recipient. In doing so the statements perform what they preach; they are themselves acts of terror. The RAF’s concept of terrorism comprises both word and deed. The writings are acts and the acts are utterances. Accordingly, RAF’s ‘poetics’ of terrorism can be described as the transgression of reality in the word or deed of terror that leads to spiritual liberation.

scholarly journals Influence of images of the Great Patriotic War on the scenography of Krasnoyarsk in 1950–1980s

2020 ◽  
pp. 163-170
Author(s):  
M.V. Voronova
Keyword(s):  
Eastern Siberia ◽  
Decorative Art ◽  
Philosophical Interpretation ◽  
Great Patriotic War ◽  
The Future ◽  
The 1950S ◽  
New Perspective

This article contains a brief overview of the main performances of Krasnoyarsk theaters in the 1950s – 1970s, that depicts the theme of the Great Patriotic War. Its importance in the region's scenography and its main stylistic and aesthetic features were analyzed. The author continues to research materials about the history and aesthetic programs of Krasnoyarsk theaters in a new perspective. Previously, the whole picture of the development of theatrical and decorative art and scenography of Eastern Siberia was considered, without delving into the specifics of the embodiment of military themes in the perception of different generations of theater masters. This study examines the development of visual solutions for performances — the transition from a realistic to a philosophical interpretation. As a result, was found out the degree of influence on the quality of artistic design of performances and the nature of scenography in Krasnoyarsk in during the specified period, as well as the perspective for the development of the theme in the future. Статья содержит краткий обзор основных спектаклей красноярских театров 1950–1980-х годов, в которых так или иначе затрагивается тема Великой Отечественной войны. Анализируется ее важность в сценографии региона и основные стилистические и эстетические особенности. Автор продолжает исследование материалов об истории и эстетических программах красноярских театров в новом ракурсе: если ранее рассматривалась вся картина развития театрально-декорационного искусства и сценографии Восточной Сибири, без углубления в специфику воплощения военной тематики в восприятии разных поколений мастеров театра, то в данном исследовании изучается развитие изобразительного решения спектаклей — переход от реалистической к философской трактовке. В итоге выявляется степень влияния тематики на качество художественного оформления спектаклей и общий характер сценографии в Красноярске в обозначенный период, а также перспективы развития темы в дальнейшем.

scholarly journals “How often can you ask your reader to leave?” Text and Reader in Lars Skinnebach: Din misbruger (You/r addict)

Nordlit ◽  
2007 ◽  
Vol 11 (1) ◽  
pp. 145
Author(s):  
Marianne Ølholm
Keyword(s):  
Characteristic Feature ◽  
Artistic Expression ◽  
Literary Genre ◽  
Avant Garde ◽  
Poetic Voice ◽  
The Status ◽  
Role Of The Reader ◽  
Radical Approach

A characteristic feature of Avant-garde art is the radical approach to established artistic forms. One way of describing tradition and norms of artistic expression is through genre: Literary genre represents a set of conventions which are transcended by the experimental text. The poetic genre can be defined through the expectations of the reader, and this approach seems particularly relevant in the case of Lars Skinnebach's Din misbruger (You/r addict) (2006) as this work actively addresses the role of the reader, his or her expectations of the text, and the status of the work as an object of interpretation. This paper investigates the conditions of the construction of poetic voice in the Din misbruger (You/r addict) and how it challenges the role of the reader as well as the status of the text as a literary product. 

scholarly journals Features of the avant-garde directions of European modernism during 1900–1910 in the Ukrainian avant-garde

2019 ◽  
pp. 208-214
Author(s):  
A. Puzyrkova
Keyword(s):  
Turning Point ◽  
Fine Arts ◽  
Russian Empire ◽  
Artistic Expression ◽  
Avant Garde ◽  
History Of ◽  
The Russian Empire ◽  
Specific Manifestation ◽  
Distinct Features ◽  
First Time

During 1900–1910, there was a process of intensive cooperation and mutual enrichment between artists in Western European artistic centers and representatives of the Ukrainian and Russian avant-garde. At the same time, the avant-garde, both in Europe and in the territory of the Russian Empire, forms its own face and features that are reflected in the specificity of the artistic expression of specific groups and trends. The art of the 1900–1910 became a turning point in the history of avant-garde in Europe and in the Ukrainian lands, finally affirming the irreversibility of the phenomenon of avant-gardism. The avant-garde movements evolved rapidly during the period from 1900 to 1930, however, despite certain differences in manifestations, the revolutionary gains of cubism, expressionism and futurism became the foundation of the entire Ukrainian avant-garde. The publication, using examples of cubism, futurism and expressionism, which, deriving from European centers, laid the foundation for the artistic expression of the Ukrainian, as well as Russian avant-garde – cubofuturism, suprematism, constructivism, scrutinizes the features of the avant-garde on Ukrainian territories in the European context. For the first time, it is focused on the differences between the manifestations of Cubism, Futurism, and expressionism in the Ukrainian and European avant-garde. There is a lack of formed groups and program documents of cubism, futurism, and expressionism in the Ukrainian fine art of the 1900-1910, with absolute domination of these areas of artistic expression and formulation. It focuses on the specific manifestations of the Ukrainian and Russian avant-garde that emerged on their base, as well as on the specific manifestation of the Ukrainian avant-garde, the neoprimitivism, which includes the school of Mykhailo Boichuk. The publication emphasizes the importance of suprematism in the Ukrainian avant-garde as a classical avant-garde movement, which had such distinct features as breaking with tradition and well-formed ideological principles outlined in the program documents, which was generally not typical for the Ukrainian avant-garde in the fine arts. As it is known, even the ideological foundations of cubofuturism were not clearly formed by its representatives, Oleksandr Bohomazov and Oleksandra Ekster. It is possible to speak of a formed and declared platform only with respect to the Ukrainian literary avant-garde, where it were the futurists who most clearly positioned themselves.

scholarly journals SYMBOLISM IN TRADITIONAL MALAY BOAT CRAFTING IN THE EAST COAST

2018 ◽  
Vol 16 ◽  
Author(s):  
Mohd Rohaizat Abdul Wahab ◽  
Zuliskandar Ramli ◽  
Nurul Norain Akhemal Ismail ◽  
Nuratikah Abu Bakar ◽  
Wan Nor Shamimi Wan Azhar
Keyword(s):  
Visual Arts ◽  
Performing Arts ◽  
East Coast ◽  
Decorative Art ◽  
Artistic Value ◽  
Marine Products ◽  
Over Time

The culture in the East Coast are rich in visual arts and performing arts inherited over time immemorial. The art is also found to have similarities in three different states, despite their geographical gap. The similarities are shared in dialects, languages, presentations, builds, and past legacy artefacts. The Malay craftsmanship is also dominated by the Malay community in the East Coast and it is also produced in the form of art and fashion. Artefacts such as boats, houses, and furniture are still visible until now and they have high artistic value. This research is aimed at displaying symbols produced by the Malay community on the craft of the boat. This art can be seen in the carvings and paintings produced on traditional Malay boats in the East Coast. This art does not only serve as an ornament and for its aesthetics, but also has its own symbolism. The decorative art produced shows that the three main aspects necessary in Malay art are function, aesthetics, and ethics. The belief in the existence of supernatural powers - which preserve and safeguard their safety at sea and their ability to get income from marine products - underpins the craft of this decoration art.

scholarly journals Development of the idea of art synthesis in European culture of the XIX–XX centuries

2021 ◽  
pp. 1-19
Author(s):  
Anna Nikiforova
Keyword(s):  
Visual Arts ◽  
Cultural Context ◽  
Modern Art ◽  
Visual Language ◽  
Artistic Expression ◽  
Art Nouveau ◽  
Avant Garde ◽  
European Culture ◽  
Perception Of Time ◽  
And Performance

This article is dedicated to examination of art synthesis as a phenomenon that extended to various spheres of culture and art of the XIX–XX centuries. This period marks the emergence of a different visual language and new forms of perception of artistic expression. Analysis is conducted on the  forms of implementation of the idea Gesamtkunstwerk, and their development throughout the XX century: mythologization as a peculiar method of thinking, strive to go beyond the purely artistic imagery, subjectification of the perception of time and space, creation of the organized aesthetic environment, aesthetic dimension of humanism, synthetism of mentality and universalism of the artist. Special attention is given to the historical-cultural context, from the views of the Jena Romantics and musical theory of R. Wagner to the works of the masters of Art Nouveau, avant-garde and innovators of the theatrical scenery. The author also reviews the advent of the new forms of artistic expression. The analysis of the key trends allows determining the broad sense of the idea of art synthesis for the culture: philosophy, poetry, architecture, visual arts, design, and performance. The novelty of this study consists in description of the idea of art synthesis as one of the key meaning-forming factors in the European culture of the XIX–XX centuries. The article examines the problem of performativity of modern art as the logical continuation of the evolution of forms of artistic expression. Modern theatrical and performative practices (“live” exhibitory spaces, “museum of senses”, “theater of plentitude”, exploratory theater, promenade theater, and other) can be viewed as the reconceived version of the idea of art synthesis that originated in the culture of German Romanticism.

Sign in / Sign up

Export Citation Format

Share Document