scholarly journals ARTISTIC FEATURES IN THE PAINTER AMAN MUKAZHANOV’S WORKS

Keruen ◽  
2020 ◽  
Vol 67 (2) ◽  
Author(s):  
A.T. Yespenova ◽  
Keyword(s):  
Art History ◽  
Comparative Methods ◽  
Stylistic Analysis ◽  
Artistic Process ◽  
Modern Artists ◽  
Applied Arts

The article studies the handicraft made of leather in the works of Aman Mukazhanov. Images in the work are analyzed, the painter‘s creativity is studied. At the same time,the level of development of modern leather arts is determined based on creativity of D. Shokparov, who contributed to the development of decorative and applied arts the trends in the development of leather working art are examined ш the article at the works of other modern artists through the art of Mukazhanov. The author also considers new trends of leather working art and master painters in this field. By carrying out comparative and stylistic analysis, he opens artistic peculiarity of the work. The historical and comparative methods make an effort to define the connection ofaims of art history theory and artistic process. From the article, we can learn the history and level of development and cunent state of the leather working art, which is one field of Applied and Decorative Ants.

Conclusion

2019 ◽  
pp. 211-220
Author(s):  
Alex Dika Seggerman
Keyword(s):  
United Arab Emirates ◽  
Art History ◽  
Arab Spring ◽  
September 11 ◽  
Terrorist Attacks ◽  
Main Argument ◽  
September 11 Terrorist Attacks ◽  
The Arab Spring ◽  
Modern Artists ◽  
Contemporary Context

This brief conclusion summarizes the contents of the book’s five chapters and restates the main argument: that Egyptian modern artists showcased a constellation modernism in their artistic approach and that they acknowledged their Islamic context, but refused to be defined by it. In an epilogue, Seggerman addresses the contemporary context of the book’s writing, including the September 11 terrorist attacks, the Arab Spring, and the growth of arts institutions in Qatar and the United Arab Emirates. She ends with a call for an ethical art history with greater empathy.

Jewish Art, Modern and Contemporary

Art History ◽  
2014 ◽  
Author(s):  
Maya Balakirsky Katz
Keyword(s):  
Art History ◽  
Visual Analysis ◽  
Fine Arts ◽  
Visual Media ◽  
Jewish Studies ◽  
Academic Disciplines ◽  
Jewish Art ◽  
Wide Range ◽  
Modern Artists ◽  
Academic Study

This article takes a minimalist approach to the designation of “Jewish” in the category of “Jewish art,” focusing primarily on works that directly engage the modern Jewish experience and the role that Jews have played in the development of new visual media in the 19th and 20th centuries. At the same time, this article takes a maximalist approach to what is meant by the term “art” by including a wide range of visual mediums. The academic study of Jews in the arts can be traced to Germany in the mid-19th century, when both art history and Jewish studies were relatively new academic disciplines. While art history devalued Jewish art as derivative in the context of the development of modern national identities, Jewish studies devalued non-textual sources for academic study. It was the interdisciplinary field of Jewish art that would serve to negotiate biases from both academic branches, proving influential in the development of iconographic interpretation by promoting critical attention to the narrative function of a wide variety of mediums. This article traces the extent to which Jewish studies scholars have compensated for earlier disciplinary tensions by questioning the premise of nationalist models for art history and how they have broadened the criteria for visual analysis in the study of Jewish art. Although some of the most recognized modern artists are Jewish, the focus here is more narrowly dedicated to those artists and visual media that have secured a place within Jewish studies. In recent decades, scholars of Jewish art have forged an accessible path by adopting more of a “visual culture” approach that considers production and consumption of Jewish content in the plastic arts in non-hierarchical terms. Because Jewish studies touch on a wide range of disciplines, the study of Jewish art has come to include the material aspects of vernacular life (decorative art and handicraft) and popular media (stage design, photography, film) as well as the traditional fine arts (architecture, sculpture, and painting) within schools of style (Impressionism, Futurism, Abstract Expressionism). Scholars of Jewish art have largely avoided the high/low debate typical of other branches of art history by emphasizing the experiential aspect of Jewish objects of all types. This article is a survey of modern and contemporary Jewish art from approximately 1850 to 1990, when Jews participated in the artistic mainstream, and points to the considerable scholarly attention Jewish studies have placed on art as a comprehensive experience rather than a purely aesthetic one. The article opens with second-order categories, then moves to scholarship devoted to issues that are central to the field, such as nationalism and Jewish/non-Jewish relations, and closes with scholarship devoted to diverse media.

scholarly journals The peculiarities of modern religious painting in the Crimean temple architecture of (on the example of Alexander Nevsky Cathedral in Simferopol and Saint Vladimir Cathedral in Chersonesos)

2021 ◽  
pp. 14-26
Author(s):  
Natal'ya Anatol'evna Zolotukhina
Keyword(s):  
Art History ◽  
Spiritual Values ◽  
Decorative Art ◽  
Aesthetic Form ◽  
The Crimea ◽  
Material Texture ◽  
The Subject ◽  
Religious Painting ◽  
Academic Painting ◽  
Modern Artists

The traditions followed by people throughout history underlie the development of the culture of monumental art, forming the continuity of generations, memory and traditions of temple architecture of the Crimea. The topic of religious monumental painting draws interest of the researchers. The object of this article is the Crimean religious monumental and decorative art; while the subject is the peculiarities of modern religious painting in Alexander Nevsky Cathedral in Simferopol and Saint Vladimir Cathedral in Chersonesos. The goal is determine the modern artistic-aesthetic form of temple painting carried out by the experts of monumental and decorative art, as well as the command of the unique languages of creative reinterpretation of wholeness. Temple religious painting is explored on the works of the modern artists of monumental religious painting, using the analysis of the academic style of painting, use of classical canons in images of the figures, artistic-stylistic, thematic, unique systems in the ornamental painting. The author determines the characteristics of the image such as material texture and plastic modeling of artistic form, which allows combining the modern wall paintings of the Crimean Orthodox churches of into a holistic system of material and spiritual values. The crucial theoretical-methodological vector of research is interweavement of the methods of culturology and art history, which reveals the techniques and peculiarities of academic painting in temple architecture.

scholarly journals Features of the Ukrainian performing school of opera in the context of the evolution of European traditions

2021 ◽  
Author(s):  
Igor Borko
Keyword(s):  
Performance Analysis ◽  
Research Methods ◽  
Comparative Methods ◽  
Stylistic Analysis ◽  
Research Approach ◽  
Music Culture ◽  
Musical Culture ◽  
Holistic View ◽  
National Music ◽  
Methodological Principles

The purpose of the study is to consider, analyze the features and main aspects related to the development of the Ukrainian performing school of opera in the context of the evolution of European traditions. Methodology. Leading research methods are historical-genetic, comparative, methods of genre and stylistic analysis, and the method of performance analysis. Scientific novelty. The article examines the main aspects, characteristics, and methodological principles of Ukrainian and European musicology, which opened new opportunities for a more complete, unbiased study of the path that had to overcome the national music culture, opera. Conclusions. As conclusions of the research results, we can say that a detailed study and study of the history, present, and trends of national music culture contributes to the development of modern performance. Absolutization of the research approach can lead to significant losses in the scientific interpretation and interpretation of artistic trends and even certain distortions in the creation of a holistic view of musical processes. Keywords: performing school, opera art, musical art, musical culture, Ukrainian music.  

scholarly journals Artistic and aesthetic principles of German expressive dance in the context of the development of modern dance in the XXI century

2021 ◽  
Author(s):  
Olha Babich
Keyword(s):  
Comparative Analysis ◽  
Art History ◽  
Modern Dance ◽  
Stylistic Analysis ◽  
Physical Movement ◽  
Movement Experience ◽  
Distinctive Features ◽  
System Method ◽  
The World ◽  
Artistic Values

The purpose of the article is to identify the artistic and aesthetic features and leading trends in the development of German expressive dance of the first half of the twentieth century. and determine their impact on the development of modern dance in the first decades of the XXI century. Methodology. The system method is applied, thanks to which the peculiarities of German expressive dance are considered; the method of comparative analysis, which helped to identify common and distinctive features in the central concepts of dance K. Joss, M. Wingman, and P. Bausch; method of art history and artistic and stylistic analysis, through which identified and substantiated trends in the development of German modern dance and modern dance). Scientific novelty. The artistic and aesthetic principles of German expressive dance are studied on the basis of the analysis of choreography, aesthetics, and discourse of movement K. Joss, M. Wingman, and P. Bausch; the basic theatrical concepts of the range of emotions of the leading representatives of the German expressive dance motivating physical movement are revealed; determined that P. Bausch, M. Wingman and K. Yosse work with emotional space, which is directly related to physical movement and configures their own unique aesthetics of movement experience - dancers aestheticize the human body, covered and subject to strong emotions. Conclusions. The characteristic interest of German expressionist dance to inconspicuous, accidental, or natural manifestations of corporeality, the focus on violating previously established boundaries of art, the search for innovative ways to approach the chaos of reality, causing the formation of certain models of corporeality, and others. can be clearly seen in the modern dance of the early XXI century – phenomena, representing a unique way of artistic and bodily modeling of the world, become one of the important dancers and generators of current cultural and artistic values ​​and meanings. Key words: German expressive dance, modern dance, artistic and aesthetic principles, K. Joss, M. Wigman, P. Bausch.

scholarly journals ТЕХНОЛОГІЧНІ ПРОЦЕСИ У ВИГОТОВЛЕННІ ХУДОЖНІХ ВИРОБІВ З МЕТАЛУ: ІСТОРИЧНИЙ КОНТЕКСТ ТА ШЛЯХИ ВІДРОДЖЕННЯ

2021 ◽  
pp. 96-104
Author(s):  
A. В. Варивончик ◽  
І. С. Бондар ◽  
Б. М. Мазур ◽  
І. В. Швець
Keyword(s):  
Art History ◽  
Historical Context ◽  
Practical Significance ◽  
Stylistic Analysis ◽  
Internal Factors ◽  
Existing Problems ◽  
Applied Art ◽  
Methods And Techniques ◽  
Metal Products ◽  
Metal Processing

The aim of the work is to clarify the peculiarities of the development of Ukrainian art metal products in a historical context and to determine the ways of reviving artistic metalworking in the XXI century. Methodology. The research is based on culturological, historical and art history methods of analysis; applied historical-analytical, cultural-historical and the method of figurative-stylistic analysis of the means of artistic and decorative expressiveness of products. Results. The article examines the main stages in the development of technological processes in the execution of artistic metal products. The main techniques of artistic metal processing are analyzed: "lost wax", filigree, engraving, casting, forging, diffusion, electroplating, etc. The influence of external and internal factors in the development of artistic metal processing in Ukraine is studied. Identified the existing problems in the manufacture of art items from metal. Scientific novelty. The facts of the development of technologies for artistic metal processing in Ukraine are revealed and the ways of reviving the production of metal products as a type of decorative and applied art are determined. Practical significance. In the art of artistic metal processing, we highlight the issues of the revival and preservation of the industry in modern Ukraine through the study of technologies, traditions, the search for new forms, methods and techniques of working with materials.

Formation and Development of the Kyiv School of Art Textiles: Traditions and Innovations

2021 ◽  
pp. 158-165
Author(s):  
Olena Maydanets-Barhylevych
Keyword(s):  
Cultural Identity ◽  
Art History ◽  
Decorative Arts ◽  
Teaching Staff ◽  
Artistic Process ◽  
Decorative Art ◽  
Current State ◽  
Creative Contribution ◽  
Ethnic Memory ◽  
History Approach

The purpose of the article is to outline – based on analyzing the development of the Kyiv School of Decorative Arts in context of the historical and artistic process of the XXth to XXIst centuries – the main principles of specialization Art Textiles on the ground of the Mykhaylo Boychuk Kyiv State Academy of Decorative and Applied Arts and Design. The methodology consists of applying an art history approach to historical and artistic analyses of works of artistic textiles, as well as the systematic consideration of peculiarities of the Kyiv School of Decorative Arts. The scientific novelty lies in the substantiation of a phenomenon of the Kyiv School of Art Textiles, creative-pedagogical and scientific-methodological means in teaching students, themes of diploma theses as an important component in preserving ethnic memory, and national-cultural identity. Conclusions. The results of the study highlight the features of the artistic language of the Kyiv School of Textiles, the specifics of scientific and pedagogical methods used in the Academy, as well as the creative guidelines of the teaching staff. Defined are prospective trends of development and strengthening of the Department of Art Textiles and Costume Modelling, principles of comprehending the conventional art and its transformation into the newest stylistic forms to meet today’s requirements. The scientific research gives an idea of ​​the current state of decorative art and artistic textiles, and the creative contribution of the scientific and pedagogical staff of the ATCM Department in the context of the integration of Ukrainian art into the European cultural space.

scholarly journals Vitaly Ilyich Kandyba is the first art critic of Primorye: materials for biography

2021 ◽  
pp. 118-125
Author(s):  
А.А. Даценко
Keyword(s):  
Art History ◽  
Far East ◽  
Amur Region ◽  
Soviet Period ◽  
Khabarovsk Krai ◽  
Artistic Process ◽  
The Far East ◽  
History Of ◽  
Eastern Institute ◽  
Far Eastern

Виталий Ильич Кандыба (1943–2016) — первый и на протяжении десятилетий единственный искусствовед в Приморском крае, преподаватель истории искусств в Дальневосточном институте искусств, арт-критик, разносторонне и глубоко погруженный в художественный процесс современного ему регионального искусства. Он не только представлял художников Дальнего Востока на всероссийском и всесоюзном уровне в советскую эпоху, но и в какой-то мере указывал направление развития дальневосточного искусства. Виталий Кандыба — автор книг об истории возникновения и путях развития изобразительного искусства Приморья, Хабаровского края, Амурской области с 1860-х до 1930-х годов, об образовании и деятельности Приморской организации Союза художников России, до сих пор являющихся обязательным источником для искусствоведов, посвятивших себя изучению творчества художников региона. Тем не менее его жизнь и творчество до настоящего времени недостаточно изучены. В статье делается попытка представить очерк творческой биографии В.И. Кандыбы, дать оценку роли и значения его деятельности. Vitaly I. Kandyba (1943–2016) is the first and for decades the only art critic in Primorye, a teacher of art history at the Far Eastern Institute of Arts, versatile and deeply immersed in the artistic process of contemporary regional art. He not only represented artists of the Far East at the All-Russian and All-Union level during the Soviet period, but also to some extent indicated the direction of development of Far Eastern art. Vitaly Kandyba is the author of books about the history of the emergence and development of fine art of Primorye, Khabarovsk Krai, Amur Region from the 1860s to the 1930s, about the formation and activities of the Primorye Organization of the Union of Artists of Russia, which are still a mandatory source for art historians who have devoted themselves to studying the creativity of artists of the region. Nevertheless, his life and work have not been sufficiently studied to date. The article attempts to present an outline of the creative biography of V.I. Kandyba, to assess the role and significance of his activities.

scholarly journals Directing as an artistic phenomenon of radical changes in the performing arts of the late 19th - early 20th centuries

2021 ◽  
Author(s):  
Nataliia Donchenko
Keyword(s):  
Art History ◽  
Performing Arts ◽  
General Concept ◽  
Professional Activity ◽  
Creative Activity ◽  
Artistic Process ◽  
Radical Reform ◽  
Stage System ◽  
Spatio Temporal ◽  
The Empirical Analysis

The purpose of the article. Consideration of reformist ideas in the artistic and creative activity of innovator directors of the late XIX - early XX centuries as a radical artistic phenomenon that changed the whole theatrical process of performing arts. The methodology consists in the application of empirical, art history, analytical, axiomatic methods of research of the concept of directing as a professional activity that arose at the turn of two centuries and laid fundamental changes in the whole artistic process of the director and performer of theatrical form. The novelty lies in the empirical analysis of the paradigm of directing, its phenomenal ideas of the search for a radical reform of acting and the whole performing arts in general. Conclusions. The profession of a director is of particular interest on the way to its formation as well as any artistic phenomenon, which due to its scale at birth contains the maximum number of opportunities. The evolution of theatrical, spatio-temporal visual forms gave impetus to the emergence of grandiose changes in the entire stage system, as well as the realization of this fact by most theater figures. And today in the performing arts it is desirable to dominate the interest in the means of enhancing acting expressiveness, improving psychophysical technique. Modern filmmakers must seek and propose ways to expand acting, the power of its impact on the audience, namely, one or another means of merging experience and conscious reflection in the creative process, various principles of association in their relationship with the general concept of theatrical synthesis.

Reordering and Redistributing the Visual: The Expanded ‘Field’ of Pattern-Making in Parallel of Life and Art and Hammer Prints

2013 ◽  
Vol 12 (2) ◽  
pp. 222-244 ◽  
Author(s):  
Victoria Walsh
Keyword(s):  
Art History ◽  
Communication Theory ◽  
Independent Group ◽  
Gestalt Principles ◽  
Gregory Bateson ◽  
Cross Media ◽  
Experimental Cross ◽  
Media Work ◽  
Set Up ◽  
Applied Arts

In August 1954, the artist–photographer Nigel Henderson and the sculptor Eduardo Paolozzi set-up Hammer Prints Ltd to sell and promote their designs for wallpapers, curtains and ceramics. Marginalised by art history as a category of applied arts, Hammer Prints was, however, inextricably tied into the ideas and experimental cross-media work of both artists at this time. This article resituates the ethos and designs of Hammer Prints within the wider aesthetic concerns and strategies of the Independent Group which the two artists were engaged with and, in particular, to the reordering of the visual first proposed by the artists in collaboration with the architects Alison and Peter Smithson in the seminal exhibition Parallel of Life and Art (Institute of Contemporary Arts, 1953), the year before Hammer Prints was established. As the article argues, a more complex account of Hammer Prints exists once it is reconnected to both artists’ interest in gestalt principles of perception, contemporary theorisations of ‘pattern’, and ontological questions of art posed by Malraux’s idea of the ‘imaginary museum’ and Duchamp’s idea of the ‘portable museum’. It concludes by locating the designs of Hammer Prints within the new field of communication theory developed by Gregory Bateson.

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