scholarly journals “Chinese table screen” from the collection of the National Art Museum of the Republic of Sakha (Yakutia): on the question of determining the plot

2021 ◽  
pp. 198-207
Author(s):  
А.Л. Габышева
Keyword(s):  
Interior Design ◽  
Art Museum ◽  
Decorative Arts ◽  
Lao Tzu ◽  
Chinese Philosopher ◽  
Applied Art ◽  
The Republic ◽  
Materials Used ◽  
Candle Flame ◽  
The 19Th Century

Статья посвящена изучению музейного памятника декоративно-прикладного искусства XIX века «Китайский настольный экран», раскрытию его сюжета, уточнению времени создания. Экран, как и большие ширмы, использовался в интерьере зданий, исполняя утилитарную и эстетическую функции, применялся для защиты пламени свечи от движения воздуха. Особенность традиционного китайского экрана — это его мобильность, декоративность и привлекательность используемых в декоре материалов. Как элемент традиционной культуры он отражал идею корреляции вещей в мире, нес в себе понятия красоты и совершенства в художественно-эстетическом оформлении интерьера. Всякая вещь — это уникальный кодовый знак этнокультуры, указывающий на своеобразие национального характера, представления об окружающем мире. Несмотря на то что со сменой эпох менялся стиль, декор, вводились новые материалы, отшлифованная веками традиционная вещь оставалась удобной и эстетичной, отличалась безукоризненной отделкой и высокой практичностью. На основе анализа художественного произведения и изучения специальной литературы автор интерпретирует сюжет, изображенный на настольном экране. В ходе исследования предмета на изображении были выявлены такие мифологические персонажи, как популярная даосская «восьмерка бессмертных», представителей которой часто изображали на произведениях изобразительного и декоративно-прикладного искусства, легендарный Лао-цзы, древнекитайский философ VI–V веков до н. э., один из основателей философского учения Дао. На панно с даосскими святыми узнаются: древнее божество Си-ван-му — хозяйка персиков долголетия, покровительница домашнего очага Хэ Сянь-гу, Шоу-син — божество долголетия, красавица и чадоподательница Би-ся юань-цзюнь и божественный земледелец Шэнь-нун. Все они прибыли на пир к царице Запада Си-ван-му. This article is devoted to the study of the museum monument of decorative and applied art of the 19th century “Chinese table screen”, understanding its plot, clarifying the time of creation. The screen, like large screens, was used in the interior of buildings, performing utilitarian and aesthetic functions. Moreover, it was used to protect the candle flame from air movement. The peculiarity of the traditional Chinese screen is its mobility, decorativeness and attractiveness of the materials used in the decor. As an element of traditional culture, it reflected the idea of the correlation of things in the world, carried the concepts of beauty and perfection in the artistic and aesthetic interior design. Every object is a distinctive code sign of ethnoculture, which indicates the uniqueness of the national character and perceptions of the surrounding world. Despite the fact that with the change of epochs, the style, decor changed and new materials were introduced, the traditional objects polished for centuries remained comfortable and aesthetic, distinguished by impeccable finish and high practicality. Based on the analysis of the artwork and the study of special literature, the author interprets the plot depicted on the table screen. During the study of the object and its image, author identified such mythological characters as the popular Taoist «eight immortals», whose representatives were often depicted in paintings, prints and decorative arts, the legendary Lao Tzu, an ancient Chinese philosopher of the 6-5th centuries BC, one of the founders of the Dao teaching, sitting on a bull. On the panels with Taoist saints, the ancient deity Xi wangmu — the mistress of longevity peaches, the patroness of the hearth He Xiangu, Shouxing — the deity of longevity, the beauty and child-giver Bixia Yuanjun, and the divine farmer Shennong are also recognized. They all came to the feast of the Queen of the West Xi Wangmu.

scholarly journals The Manufacture of Leather as an Applied Art in the Modernisme: the Factory-Workshop of Miguel Fargas y Vilaseca

Res Mobilis ◽  
2021 ◽  
Vol 10 (13-2) ◽  
pp. 204-222
Author(s):  
José Ignacio Carrillo Martínez
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Decorative Arts ◽  
Interior Decoration ◽  
Interesting Part ◽  
Applied Art ◽  
History Of ◽  
The 19Th Century

This study intends to examine leather craft, an applied art that has not well studied in the context of Catalan Modernisme as well as raise awareness about its use for production and design of Modernista furniture and interior decoration. This handicraft, that had been in decline in the Catalan sphere since the 18th century, reappeared in Barcelona in the last quarter of the 19th century, due to the Modernista movement and the renaissance of medieval crafts. Thus, new workshops were created and their processes were modernized according to industrial progress. We will highlight the Miguel Fargas and Vilaseca Factory, which will manage to industrialize this handricraft, becoming one of the few internationally known manufacturers. We will try to illustrate the history of this office by analyzing this case study, since it reveals an interesting part of the panorama of decorative arts in Modernista Barcelona.

scholarly journals The role of Ukrainian folk ornament in the Art Nouveau graphic: theoretical and applied aspects

2019 ◽  
pp. 11-18
Author(s):  
Ivan Melnyk
Keyword(s):  
Interior Design ◽  
System Analysis ◽  
Early Stage ◽  
Folk Art ◽  
Decorative Arts ◽  
Special Role ◽  
Art Nouveau ◽  
Linear Pattern ◽  
Applied Art ◽  
New Buildings

Background. The article deals with the basic conceptual foundations of the "Ukrainian style" in the art of the late 19th – early 20th centuries, primarily in the field of searching for actual ways of adaptation and creative rethinking of Ukrainian folk ornament motifs. A special role in this process was played by the use of graphics, whose artistic language has evolved rapidly under the influence of contemporary European styles. However, in the graphic works of Ukrainian artists, the appeal to folk ornamentation was one of several ways of self-identification with the national artistic tradition, so the practice of integrating those ornamental motifs into the book and magazine illustration was a significant component of the creative work of many artists during that period. Objectives. This paper aims at defining the role and importance of Ukrainian folk ornament in the modern (art nouveau) graphic, based on consideration of theoretical and applied aspects of the use of ornamental motifs, their creative comprehension by graphic artists of different regions of Ukraine. Methods. In this article we rely on art historian methods and general scientific methods, such as analysis and synthesis, analogy and system analysis to outline the features of several variants of the "Ukrainian style", representing different regional differences. Comparative analysis, methods of systematization and typology were used to reveal the peculiarities of the transformation of ornamental motifs under the influence of the individual manner of each artist and to present the theoretical background of the folk ornament usage, including concepts of the development of "Ukrainian style" in the visual and decorative arts. Results. This article outlines several concepts of the use of Ukrainian folk ornament motives, elaborated by Ukrainian artists in the beginning of 20th century, period, which chronologically corresponds with the time of the paneuropean expansion of the art nouveau style. We can name an independent research of S. Vasylkivskyy, that allowed him to understand the artistic language of the Ukrainian ornament of different historical periods, and allowed the development of complex projects of interior design for new buildings. His projects demonstrate a harmonious synthesis of the traditions of folk art of the Dnieper Ukraine and Slobozhanshchyna (including specimens of paintings, carpets, ceramic tiles). Instead, V. Krychevs’kyy more often appealed to the ornamentation of Ukrainian weaving, while the main sources of decorative motifs for him were the ancient manuscripts, engravings and applied art of the Hetmanate. O. Slastion also addressed the study of the semantics of ornaments and their function in the system of folk art and culture in general. At first, he applied his own ideas in the projects of decoration of new buildings, constructed at the end of the XIX century in Poltava region, and later focused on the problem of updating the language of Ukrainian graphic art. The genre differentiation of graphic arts actually accelerated the separation of the Ukrainian voice from the general eclectic Russian-imperial culture. The area through which this process could gain more momentum was an art postcard, which at that time became one of the catalysts for the formation of new communication standards in cities and towns. Popular authors in this specialization were A. Zhdakha, O. Slastion, S. Vasylkivskyy, who gave impetus to the main line of development of Ukrainian graphic design of "small forms" at an early stage of its formation. It is interesting to compare different author's approaches to the practice of incorporation and stylizing ornamental motifs – for example, M. Sosenko uses a much more extensive range of primary sources, among which not only is available local material (Ukrainian Carpathians' applied art, handwriting book of the 16th–17th centuries), but also folk art crafts of the Dnieper Ukraine and Slobozhanshchyna and at the same time he modernizes them under the influence of the secessionist style. During the early stages of the art nouveau development in Halychyna (1897–1907), which researchers call ornamental, book and magazine graphics, architecture, and fine arts became the areas where new trends emerged very fast. This process was facilitated by the similarity of artistic language in the works of graphics, monumental and decorative arts, in particular the use of sections of local color, subordinated to a clear linear pattern, which is perceived as a kind of outline for the main elements of the image. The ornamental motifs in the art of secession were interpreted as peculiar symbols – in the Ukrainian version of this style the ornamentation of folk art, especially the local Hutsul tradition, becomes especially important. Conclusions. An important part of the strategy of national art revival of the late 19th – early 20th centuries was the introduction of ethnographic motifs to contemporary works of art. Architecture and graphics have undeniable advantages over other art genres in the sense of rapidly spreading the language of the new Ukrainian style to the widest audience possible. A special place was given to the printed postcards, the authors of which – both famous and anonymous artists, addressed primarily ethnographic topics. It is also important that, regardless of the specifics of regional variants of art nouveau, the practice of introducing ornamental motifs, plots and the images of Ukrainian folk art, re-imagined in more modern way, was a significant factor in asserting national identity, and was aimed at developing a universal artistic language.

Concepts of ethnodesign in the future designers’ training at the artistic higher education institutions

2021 ◽  
Vol 1 (3) ◽  
pp. 110-114
Author(s):  
Alla Dyachenko ◽  
Keyword(s):  
Interior Design ◽  
Figurative Language ◽  
Folk Art ◽  
Decorative Arts ◽  
Folk Culture ◽  
National Brand ◽  
Clothing Design ◽  
General Line ◽  
Applied Art ◽  
The Masses

The article highlights the essence of the concept «ethnodesign». Features of using ethnodesign tools in creative socio-cultural projects of artistic institutions by future and leading designers are considered. The following etnotematics are rethinking: national motives of folk culture, fine and decorative arts, architecture, interest in traditional decoration and colors. The author analyzes the concepts of ethnodesign and the specifics of its use in different time periods. Cosmopolitanism of design solutions and internationality of figurative language make design products understandable for the masses, regardless of religious, national, ideological, etc. Therefore, there is a need for national identity in society, the need to promote the product on the international market as a national brand, there is a rethinking of the reference to cultural heritage. In modern artistic institutions, ethnodesign encourages future designers to engage in creative, research, analytical, and cognitive activities.Modern ethnodesign should successfully combine elements of traditional decorative and applied art solutions, as well as a combination of aesthetically related colorful and graphic properties. Understanding the complexity of national traditions and bold experiments of design students shows the polystylistic variety of author's interpretations in the General line of postmodern ethnic romanticism. The ethnodesign inspires by folk art and ethnic motives. It is applied the stylistic and decorative techniques for folk art and crafts development in interior design, graphic works, landscape design, industrial design, and clothing design. Despite the freedom in global design, the national design space remains an insufficiently formed model of national design, so further development is a priority for Ukrainian design theorists and practitioners

Museum Preserves in the Sphere of “Cultural Tourism”: Through the Example of the Cultural Preserves of Tatarstan

2019 ◽  
Vol 9 (4) ◽  
pp. 193-198
Author(s):  
Lyudmila S. Timofeeva ◽  
Albina R. Akhmetova ◽  
Liliya R. Galimzyanova ◽  
Roman R. Nizaev ◽  
Svetlana E. Nikitina
Keyword(s):  
19Th Century ◽  
Art Museum ◽  
Medium Size ◽  
Business Elite ◽  
Wide Range ◽  
The Subject ◽  
Tourist Center ◽  
Regional Authorities ◽  
The 19Th Century ◽  
The City

Abstract The article studies the existence experience of historical cities as centers of tourism development as in the case of Elabuga. The city of Elabuga is among the historical cities of Russia. The major role in the development of the city as a tourist center is played by the Elabuga State Historical-Architectural and Art Museum-Reserve. The object of the research in the article is Elabuga as a medium-size historical city. The subject of the research is the activity of the museum-reserve which contributes to the preservation and development of the historical look of Elabuga and increases its attractiveness to tourists. The tourism attractiveness of Elabuga is obtained primarily through the presence of the perfectly preserved historical center of the city with the blocks of integral buildings of the 19th century. The Elabuga State Historical-Architectural and Art Museum-Reserve, which emerged in 1989, is currently an object of historical and cultural heritage of federal importance. Museum-reserves with their significant territories and rich historical, cultural and natural heritage have unique resources for the implementation of large partnership projects. Such projects are not only aimed at attracting a wide range of tourists, but also stimulate interest in the reserve from the business elite, municipal and regional authorities. The most famous example is the Spasskaya Fair which revived in 2008 in Elabuga. It was held in the city since the second half of the 19th century, and was widely known throughout Russia. The process of the revival and successful development of the fair can be viewed as the creation of a special tourist event contributing to the formation of new and currently important tourism products.

SEJARAH KAMPUNG PONDOL DAN KOMUNITAS EKSIL MUSLIM DI KOTA MANADO

2020 ◽  
Vol 5 (2) ◽  
Author(s):  
Roger Allan Christian Kembuan
Keyword(s):  
Historical Method ◽  
National Archives ◽  
Colonial Archives ◽  
The Republic ◽  
Xix Century ◽  
Colonial Government ◽  
The 19Th Century ◽  
The Impact ◽  
New Location ◽  
Dutch Colonial

Abstract: This research discusses the process of forming and developing of Pondol village in Manado as a location for exile along with the Dutch colonial government policy that placed exiles who came from several sultanates in Java in the Manado Residency during the 19th century. The discussion includes, first, the background of the exile of the Javanese aristocrats in Manado. Second, the process of establishing Pondol as a location for exile and its development during the XIX century, and third, the adaptations made by the exiles to adjust to their exile and the impact of their arrival on the Manado-Minahasa community. The historical method is used in this research, using colonial archives from the XIX century which are stored in the National Archives of the Republic of Indonesia, and local sources, especially manuscripts stored by their descendants in Manado and Java. The findings in this study are; Kampung Pondol was formed due to the isolation of Kanjeng Ratu Sekar Kedaton and Pangeran Suryeng Ingalaga and some of his followers originated from political intrigue that occurred in the Sultanate of Yogyakarta. Second, the reason why Kampung Pondol was chosen as the new location for exile by the Dutch colonial government for Javanese royal officials was different from the exile of other figures in Tondano and Tomohon. Third, the form of adaptation carried out by the exiles in Kampung Pondol Manado was marriage with women from Manado and relationships with Dutch people who lived around them.Keywords : Exile, Javanese Noble, Pondol Village, Adaptation. Abstrak: Penelitian ini membahas tentang proses terbentuk dan perkembangan kampung Pondol di Manado sebagai lokasi pengasingan seiring dengan kebijakan pemerintah kolonial Belanda yang menempatkan para eksil yang berasal dari beberapa kesultanan di Jawa di Karesidenan Manado pada sepanjang abad 19.  Pembahasannya meliputi; Pertama, Latar belakang pengasingan para bangsawan Jawa di Manado. Kedua, proses terbentuknya Pondol sebagai lokasi pengasingan dan perkembangannya selama abad XIX, dan Ketiga, adaptasi yang dilakukan para eksil untuk menyesuaikan diri di pengasingan serta dampak kedatangan mereka pada masyarakat Manado-Minahasa. Metode sejarah dipergunakan dalam penelitian ini, dengan mempergunakan sumber Arsip Kolonial kurun waktu abad ke XIX yang tersimpan di Arsip Nasional Republik Indonesia,  dan sumber lokal terutama manuskrip yang tersimpan oleh keturunannya di Manado dan Jawa. Temuan dalam penelitian ini adalah; Kampung Pondol terbentuk karena Pengasingan Kanjeng Ratu Sekar Kedaton dan Pangeran Suryeng ingalaga dan beberapa pengikutnya berawal dari intrik politik yang terjadi di Kesultanan Yogyakarta. Kedua, alasan Kampung Pondol dipilih sebagai lokasi baru pengasingan Pemerintah Kolonial Belanda bagi pembesar kerajaan Jawa yang berbeda lokasi dengan pengasingan tokoh-tokoh lainnya di Tondano dan Tomohon. Ketiga, bentuk adaptasi yang dilakukan oleh para eksil di Kampung Pondol Manado dilakukan pernikahan dengan wanita dari Manado dan relasi dengan orang-orang Belanda yang tinggal disekeliling mereka.Kata Kunci : Eksil, Bangsawan Jawa, Kampung Pondol, Adaptasi.

scholarly journals Scenery painting in the 19th century in the context of tempera painting on canvas: methodology and materials

2020 ◽  
pp. 1-24
Author(s):  
Sonia Santos Gómez
Keyword(s):  
Knowledge Base ◽  
20Th Century ◽  
19Th Century ◽  
Multiple Functions ◽  
History Of ◽  
Materials Used ◽  
The 19Th Century ◽  
Painting On Canvas ◽  
Modern Industry

Tempera painting on canvas has played multiple functions throughout the history of painting. They were used to cover altars in Lent, to make canopies and ceilings for beds, to act as organ doors, etc. In the 19th century and in the earlier 20th century, they were used as adornment on walls of palaces and theatres, as well as sceneries in the latter ones. Generally, this kind of tempera painting shows large proportions, which demanded a specific methodology of execution. Treatises of the epoch display how the painter, provided with paintbrushes of long handles, as brooms, walked on the canvases while the execution lasted. At that time, pigments derived from the activity of modern industry were already in use, in combination with other materials traditionally used in the previous centuries. This article presents the working methodology and materials used in tempera painting on canvas, mainly during the 19th century, providing a knowledge base for this subject.

scholarly journals Senatorial Revision of I. N. Tolstoy of Yakutsk Region in 1844

2020 ◽  
pp. 271-290
Author(s):  
A. I. Arkhipova ◽  
P. P. Petrov
Keyword(s):  
Management System ◽  
Office Work ◽  
Regional Administration ◽  
City Hall ◽  
Russian State ◽  
National Archives ◽  
The Republic ◽  
Audit Activity ◽  
The 19Th Century ◽  
First Time

For the first time in historiography, an attempt is made to illuminate the activities of Senator I.N. Tolstoy in conducting an audit of the regional management system of the Yakutsk region. Particular attention is paid to the audit of office work of the Yakutsk regional administration and the Yakutsk city hall. The novelty of the study is in the fact that, based on an analysis of archival sources first introduced into scientific circulation, the specifics of the functioning of the regional administration in the second quarter of the 19th century is revealed, and the results of the audit are considered as prerequisites for expanding the rights of administrative independence of the Yakutsk region from the Irkutsk province. The relevance of the study is due to the fact that this was the only senatorial revision for all years in the territory of the vast and geographically remote Yakutsk region, which has not undergone extensive scientific study. In the course of the presentation of the substantive part, a review of the main directions of the audit activity in relation to the regional and district levels of government, as well as its inspection supervision of the activities of the lower administrative authorities, including the city hall, was performed. Based on the author’s development, it was proved that the senatorial audit, reflecting the attention of the imperial authorities to the periphery, was aimed primarily at increasing the efficiency of the Siberian suburbs management system on the example of the Yakutsk region through personnel shifts and elimination of identified office work disturbances. The study was based on documents first discovered in the archives of the Russian State Historical Archive and the National Archives of the Republic of Sakha (Yakutia).

scholarly journals Creation and Development of State Food Security System in Yakutia in 19th Century

2020 ◽  
pp. 308-321
Author(s):  
N. I. Burnasheva
Keyword(s):  
19Th Century ◽  
Storage System ◽  
Regional Government ◽  
Regional Administration ◽  
National Archives ◽  
The Republic ◽  
Food Reserves ◽  
Spread Of Agriculture ◽  
Favorable Conditions ◽  
The 19Th Century

Based on the documents of the National Archives of the Republic of Sakha (Yakutia), published reviews and reports of the regional administration, the creation of state and public grain and food reserves in the 19th century Yakutsk region that were necessary for the population to protect them from starvation and mortality in cattle during adverse years is considered. The main attention is paid to the influence of the bread storage system on the distribution of agriculture, the development of traditional crafts and occupations of foreigners, the development of loan and entrepreneurship. It is noted that, with the efforts and purposeful work of the regional government in Yakutia in the 19th century, along with state-owned shops, a network of rural public bakery stores was created that could adequately provide the population of the region with food, hay and other reserves. It is shown that the organization of a food safety system in the Yakutsk region was based on the principles of a careful attitude of the state to the needs of its subjects, which significantly increased the importance of government events, strengthened the authority and trust of the population in the activities of government. It is concluded that the process of organizing the bread storage system and food funds created favorable conditions for the spread of agriculture in the region, supported traditional crafts and occupations of the population, and opened up opportunities for the development of entrepreneurship.

scholarly journals Spectroscopic study of an icon painted on wooden panel

2015 ◽  
Vol 69 (4) ◽  
pp. 387-393
Author(s):  
Sofija Stojanovic ◽  
Maja Gajic-Kvascev ◽  
Ljiljana Damjanovic
Keyword(s):  
Analytical Techniques ◽  
Paint Layer ◽  
Blue Pigment ◽  
Blue Colour ◽  
X Ray ◽  
Micro Raman Spectroscopy ◽  
Green Earth ◽  
Materials Used ◽  
The 19Th Century ◽  
Wooden Panel

Russian icon painted on wooden panel analyzed in this work is interesting for art historians because there is no precise information in which workshops it was made or who the author was. Similar icons are often found in churches and monasteries in our region. In order to obtain information about materials used for creation of investigated icon two micro-analytical techniques were used: Energy-Dispersive X-Ray Fluorescence spectroscopy (EDXRF) and micro-Raman spectroscopy. Obtained results confirmed presence of following materials: lead-white, vermilion, minium, ultramarine, brown and green earth pigments and silver in combination with yellow organic varnish, which served to an iconographer for gilding. Ground layer was made of calcite. Blue pigment ultramarine was probably used for blue colour as well as for obtaining particulars hues in several parts of the paint layer. This can be important information for further research concerning particular workshop in which the icon was made. Identified materials are typical for Russian iconography of the 19th century.

scholarly journals THE PROBLEM OF STUDYING OF THE APPLIED ART OF ARTSAKH OF THE 19TH CENTURY ON THE PAGES OF THE EASTERN ARMENIAN ERIODICAL PRESS

2021 ◽  
Vol 4 (10(74)) ◽  
pp. 4-7
Author(s):  
M. Harutyunyan
Keyword(s):  
19Th Century ◽  
Middle Ages ◽  
Scientific Research ◽  
Scientific Article ◽  
Color Structure ◽  
Applied Art ◽  
Technical Mastery ◽  
Xix Century ◽  
The 19Th Century

Thus, our scientific research led to the conclusion that the applied art which originated in the previous centuries continued to develop along with other branches of the culture of Artsakh in the second half of the XIX century and the beginning of the XX century.  In this scientific article, we have presented mainly the following branches of the applied arts of Artsakh: carpet weaving, handicrafts, embroidery, silversmithing, pottery. We have mainly presented interesting information about the branches of the applied art which were covered in the periodicals of the second half of the XIX century and the beginning of the XX century. Noting about the carpet weaving of Artsakh, we emphasized that the carpets of that region of Artsakh stood out with their color structure, richness of ornaments, technical mastery. We highlighted the role of handicrafts in the life of Armenian women, emphasizing that this form of the applied art was developed in Artsakh in the Middle Ages. In this article, we also presented a number of pottery samples found during excavations by foreign archaeologists. 

Sign in / Sign up

Export Citation Format

Share Document