Duchanee, Thawan (1939–2014)

2018 ◽  
Author(s):  
Vichaya Mukdamanee
Keyword(s):  
National Culture ◽  
General Public ◽  
Chinese Painting ◽  
Eastern Philosophy ◽  
Black And White ◽  
Art Scene ◽  
Light And Shadow ◽  
Thai Literature

Thawan Duchanee, awarded National Artist in 2001 by the Office of the National Culture Commission of Thailand, is one of the best-known artists in Thailand, both for people in the art scene and the general public. He first gained recognition in 1967 with the exhibition of his early series of paintings, in which he represented spiritualized power by drawing on a variety of forms of idealized Thai beliefs and images from his own imagination. His work is beautiful and complex but is easily understood by international audiences. Tawan’s most famous artworks often consist of human and animal forms, which are inspired by Buddhism, Eastern philosophy, and Thai literature. With his excellent knowledge of anatomy, Tawan has designed various beautiful figures that are full of imagination and emotion. Some are depicted with strong muscles engaged in a variety of aggressive actions, while some are created to represent feelings of calm and peacefulness. Violent expression is often mixed with graceful and complicated patterns created in the volumes of light and shadow. Most of Tawan’s enormous artworks use black and white tones with perhaps only a few colors. The movements of characters cover the entire canvas. Some his artworks are quickly and skillfully painted, mimicking the brushwork of Chinese painting, while some are elegantly created by the small lines of ballpoint pens.

scholarly journals Cywilizacja Majów w nowych formach muzealnych. O przywłaszczaniu prekolumbijskiego dziedzictwa na rzecz meksykańskiej kultury narodowej

2019 ◽  
Author(s):  
Maja Magdalena Biernacka
Keyword(s):  
National Culture ◽  
General Public ◽  
Special Focus ◽  
Symbolic Manipulation ◽  
Maya Civilization ◽  
History Of

The Maya civilization in new forms of museum exposition. Appropriation of pre-Columbian heritage for the benefit of Mexican national cultureThe article is dedicated to the reconstruction and reinterpretation of pre-Columbian heritage by Mexican museums, with a special focus on the Maya civilization which is a permanent feature of the Mexican imagery and an object of artistic fascination. Characteristic of the history of the Yucatan, it is subject to symbolic manipulation and subordinated to the national culture. This is accompanied by the processes of its banalization, folklorization and commercialization which are facilitated by new audiovisual forms. References to the heritage are selective and the images are transformed and adjusted in order to develop apprehensible artistic products for the general public. Cywilizacja Majów w nowych formach muzealnych. O przywłaszczaniu prekolumbijskiego dziedzictwa na rzecz meksykańskiej kultury narodowejArtykuł poświęcony jest współczesnym działaniom w Meksyku w zakresie rekonstrukcji oraz reinterpretacji znaczenia spuścizny prekolumbijskiej dla kultury narodowej tego kraju, na przykładzie muzealnictwa. Chodzi zwłaszcza o dziedzictwo Majów, które jest trwałym elementem meksykańskiego imaginarium i obiektem artystycznej fascynacji. Charakterystyczne dla historii Jukatanu i jego ludności tubylczej, podlega ono zabiegom przywłaszczania na rzecz kultury narodowej, tj. podporządkowywania jako integralnej jej części. Towarzyszą temu procesy banalizacji, folkloryzacji oraz komercjalizacji spuścizny Majów, czego przykładem są nowe formy ekspozycyjne. Odniesienia do dziedzictwa mają charakter selektywny, obrazy traktowane są wybiórczo, adaptowane i poddawane obróbce audiowizualnej w celu wypracowania łatwych w odbiorze produktów artystycznych dla masowego odbiorcy, łączących w sposób swobodny przeszłość ze współczesnością.

scholarly journals Traditions of the Tibe­tan New Year’s Festival in Contemporary Chinese Painting: Pan Shixun and Ye Xingsheng

2020 ◽  
Vol 17 (2) ◽  
pp. 214-223
Author(s):  
Meng Die Li
Keyword(s):  
National Culture ◽  
Chinese Painting ◽  
Intangible Cultural Heritage ◽  
Religious Art ◽  
Oil Painting ◽  
Modern Times ◽  
The Past ◽  
History Of ◽  
Contemporary Chinese ◽  
Cultural Features

The article is devoted to the tradition of the Tibetan New Year celebration reflected in contemporary Chinese oil painting. The article’s purpose is to study the cultural features of the Tibetan New Year, on the example of works of the two Chinese artists: Pan Shixun and Ye Xingsheng, and to analyze the degree of art’s influence on the preservation of intangible cultural heritage. Chinese painting contributes to the unity of traditions of the past and present, as well as the integration of classical and contemporary elements in the technique of modern times. In their works, the masters, using elements of classical Chinese, Western and Tibetan painting, conveyed unique features of the national culture and history of Tibet. The work systematizes the complex of customs and religious rites, traditional costumes and treats of the Tibetan New Year festival. The artists’ works are considered as a mechanism for transmitting traditional Tibetan folk and religious art.

scholarly journals Intercultural Communication and Mutual Learning Focusing on Light and Shadow ——Taking the movie Coco as an example

2020 ◽  
Vol 4 (7) ◽  
Author(s):  
Hairong Sun ◽  
Xuezhu Zhang
Keyword(s):  
New Media ◽  
Intercultural Communication ◽  
National Culture ◽  
Cultural Communication ◽  
Mutual Learning ◽  
New Methods ◽  
Five Elements ◽  
Global World ◽  
Common Destiny ◽  
Light And Shadow

This article analyzes the main elements of intercultural communication of films based on the five elements of communication, taking the movie Coco as an example. It states that in the modern global world, all countries should continuously promote cultural communication and mutual learning, consolidate the humanism of the community of common destiny, and promote the progress of the society. Meanwhile, we need to make full use of new media to continuously explore new methods and new forms of intercultural communication; we need to strengthen cultural confidence and take diffusing our national culture as our duty; we need to strengthen researches on intercultural communication, resolve cultural differences, and better achieve our localized national culture.

Photography Is the Only Art Form That We All Do: Interview with Martin Parr

2018 ◽  
pp. 24-29
Author(s):  
Jasna Jernejšek ◽  
Martin Parr
Keyword(s):  
Working Class ◽  
General Public ◽  
Documentary Photography ◽  
Black And White ◽  
Art Form ◽  
Colour Photography

Martin Parr (1952) is considered to be one of the most iconic and influential photographers of his generation. Parr, whom obtained a photography degree at Manchester Polytechnic (1970–1973), joined the classics of British documentary photography with a series of black and white photographs of the disappearing folk customs of Northern England. In the 80s he managed to make his breakthrough to the global photography scene (and market). At that time, impressed by American colour photography, he took on photographing on colour film himself. He made The Last Resort (1983–1985), a series of British working class while spending holidays in a coastal resort in New Brighton, which remains one of his most recognizable work to this day. After its first presentation in the Serpentine Gallery in London in 1986, the project triggered turbulence and division of opinions of both professionals and general public. Polarization of opinions became a constant in Parr’s photography career. The polemics he caused by first becoming a member (1994) and then the president of Magnum Photos (2013–2017) are well known. The critics castigated Parr for being cruel and voyeuristic, and that he claimed to only be photographing what he sees, while he benefited from making a mockery of others. His unconventional use of the medium, smooth traversing through different contexts of photography and flirting with obvious commercial interests was deemed controversial and questionable by many (until today). Keywords: Martin Parr, photobook, photographic backdrop, portrait, studio photography

scholarly journals It's not possible to convert to faith by force

2005 ◽  
pp. 165
Author(s):  
V. Grynevych
Keyword(s):  
General Public ◽  
The State ◽  
Ministry Of Education ◽  
Black And White ◽  
Basic Law ◽  
Younger Generation ◽  
The Church

It is necessary to evaluate the next “thoughtless” instruction of the President to the Ministry of Education: to work for 1-2 months and introduce the lesson “Ethics of Faith” in schools from September 1. It requires an immediate reaction of the deputies of the Verkhovna Rada, structures related to the education and upbringing of children, and the general public: in a veiled form, the Basic Law is grossly violated - the Constitution of the country, in particular, the second section of Art. 32, where it is written in black and white: "... The church is separated from the state, and the school is separated from the church ...". If the guarantor of the Constitution has forgotten about this, he needs to be reminded, and he must cancel his order. Otherwise, people, parents, and, most importantly, children, our younger generation, will be agitated.

The New South

2020 ◽  
Author(s):  
W. Fitzhugh Brundage
Keyword(s):  
National Culture ◽  
Social Order ◽  
White Supremacy ◽  
New South ◽  
Public Life ◽  
Voluntary Organizations ◽  
State Governments ◽  
Social Transformations ◽  
Black And White ◽  
Urban And Rural Residents

Rapid and far-reaching environmental, economic, and social transformations marked the New South (1880–1910). Substantial industrialization and urbanization followed the expansion of rail networks across the region, and produced unprecedented changes in daily life for both urban and rural residents. White southern elites embraced these innovations and worked to ensure that state governments evolved in order to advance them. One of their most significant endeavors was the institutionalization of white supremacy in virtually every facet of public life. Black and white voluntary organizations complemented, and sometimes contested, the emerging economic and social order in the New South. Similarly, while many contemporary representations of the region in national culture trivialized the scale and costs of the changes underway, some artists offered revelatory portraits of a region consumed by upheaval.

scholarly journals Public Service Broadcasting as an Object for Cultural Policy in Norway and Sweden

2011 ◽  
Vol 32 (2) ◽  
pp. 35-47 ◽  
Author(s):  
Håkon Larsen
Keyword(s):  
Public Sphere ◽  
National Culture ◽  
Public Service ◽  
General Public ◽  
Cultural Policy ◽  
Political Support ◽  
Public Service Broadcasting ◽  
Policy Goals ◽  
The Future

Abstract The future of public service broadcasting (PSB), and its role for democracy and culture in an age of globalization and digitalization, is a disputed issue among communication scholars, journalists, the general public and politicians. The PSB institutions are dependent on political support for their survival, and they have to live up to cultural policy obligations. The focus of this analysis is on the rhetoric employed in the white papers on PSB and overall cultural policy, produced between 2005 and 2007 in Norway and Sweden. The analysis shows that both countries emphasize the need to secure an inclusive public sphere, a vivid democracy and a national culture. The rhetoric differs in the sense that the Norwegian focus is on PSB as a tool for achieving cultural policy goals, while the Swedish focus is more on why the idea of PSB is important in itself.

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