Emblems of Cultural Identity in Early Andean Art

2018 ◽  
pp. 131-155
Author(s):  
Yumi Park Huntington
Keyword(s):  
Cultural Identity ◽  
Social Group ◽  
Formal Analysis ◽  
Traditional Art ◽  
Complex Interactions ◽  
Ritual Space ◽  
Private Context ◽  
Cultural Networks ◽  
Historical Methods ◽  
Trade Partners

This chapter employs the traditional art historical methods of formal analysis and iconography to understand head motifs engraved on Cupisnique ceramics that were made between 1200 and 200 BCE. Rather than characterizing a small social group operating in isolation, these motifs and objects serve as indicators of cultural identity, affiliation, and transmission, expressing complex interactions between neighboring cultures. In other words, the head motifs on Cupisnique ceramics display the cultural networks inside of which the Cupisnique people saw themselves. Through conscious combination of various techniques and symbols appropriated from other cultures, Cupisnique artists created innovative objects unique to their own society. In particular, the Cupisnique people combined the post-firing engraving techniques of the Chorrera and Machalilla cultures of Ecuador with head motifs appropriated from the architectural friezes of Huaca de los Reyes, a public ritual space, to create small, personal items. These objects with imagery and techniques appropriated into a new, private context become a key distinction of the Cupisnique culture against its neighbors, antecedents, and trade partners.

“Spring Palace Paintings” in Chinese Traditional Painting

2021 ◽  
Vol 13 (1-2) ◽  
pp. 414-424
Author(s):  
Anna Zavyalova ◽  
◽  
Keyword(s):  
Chinese Art ◽  
The Real ◽  
Traditional Art ◽  
First Impression ◽  
Analysis And Synthesis ◽  
Formation And Evolution ◽  
Artistic Images ◽  
Historical Methods ◽  
The Erotic

The article considers the erotic genre of traditional Chinese art, chun gong hua (‘spring palace paintings’), which was developed in painting. The study uses comparative - historical, cultural and historical methods, as well as methods of systematization, analysis and synthesis. The author traces the formation and evolution of the genre, reveals its specific features. The paper analyzes the system of artistic images of the works of chun gong hua, reveals that they are based on the ideas of Taoism, which are visualized through painting, which made it possible to reveal a second, meaningful plan of paintings filled with metaphors and allegories. Particular attention is paid to the characterization of expressive means, specific techniques and visual techniques of the genre. The study shows that due to the richness of images, artistic and expressive means and techniques, juxtaposition of the conditional and the real, double transformation of nature, the first impression of seemingly pornographic images of naked bodies and erotic scenes is subdued. The high artistry of the ‘spring palace paintings’ allows us to attribute them to the unique works of Chinese traditional art.

Qasab: Kutch Craftswomen’s Producer Co. Ltd.

2018 ◽  
Vol 22 (02) ◽  
pp. 255-277
Author(s):  
Shweta Mittal ◽  
Vishal Gupta ◽  
Manoj Motiani
Keyword(s):  
Sustainable Development ◽  
Cultural Identity ◽  
Social Entrepreneurship ◽  
Social Innovation ◽  
Social Entrepreneur ◽  
Ethnic Communities ◽  
Traditional Art ◽  
The Social ◽  
Social Venture ◽  
The Impact

The ‘Qasab’ case is designed to teach students about the characteristics of social entrepreneurship and the impact it has on the society. It also describes how sustainable development and social innovation are interlinked. ‘Qasab’ was an organization whose main focus was to preserve the traditional art of the Kutch region. The case describes the genesis and the journey of ‘Qasab,’ how it preserved the traditional art forms, and the personality traits of Pankaj Shah (the social entrepreneur who started ‘Qasab’). The case talks about the problems faced by the artisans in the region, which led to the formation of this social venture. Also, it touches upon the HR challenges faced by a social entrepreneur. At the time this case was written, ‘Qasab’ had become a collective enterprise comprising 1,200 rural master craftswomen from 11 ethnic communities spread across 62 villages in the arid interiors of Kutch and has been formally structured and registered as a ‘Producer Company’ owned by traditional craftswomen. ‘Qasab’ included different communities such as — ‘Mutwa’, ‘Sodha Rajput’, ‘Jat-Daneta’, ‘Meghwal’, ‘Sindhi Memon’, ‘DhebariyaRabari’, ‘KacchiRabari’, ‘Ahir’, ‘Halepotra’, ‘Sumra,’‘Hingorja’ and ‘Pathan’ — that had distinct embroidery styles and emphasized maintaining these styles (since the embroideries were an integral part of their cultural identity) — to preserve their unique identities. ‘Qasab’ was known for its outstanding quality of authentic Kutch embroidery, appliqué and patchwork products, its hallmark being traditional motifs reflecting the cultural identity of each community in contemporary designs through items of premium quality. ‘Qasab’ had made artisans stakeholders in the organization and was able to preserve the distinct art of each community. The case is based on the theme of social entrepreneurship and analyzes the process of the emergence of such enterprises, their importance and the factors that lead to their success and sustainability. Students can assess how these organizations are different from other types of organizations. The case should help students to find the parameters that show that social innovation and sustainable development are interlinked. The case can be used to study the business model of social innovation.

scholarly journals The Development of Jathilan Performance as an Adaptive Strategy Used by Javanese Farmers

2016 ◽  
Vol 16 (1) ◽  
pp. 38 ◽  
Author(s):  
Agus Maladi Irianto
Keyword(s):  
Literature Review ◽  
Cultural Identity ◽  
Field Study ◽  
Qualitative Method ◽  
Adaptive Strategy ◽  
Specific Role ◽  
Traditional Art ◽  
Fundamental Nature ◽  
Central Java ◽  
Performing Art

<p>This paper is aimed at describing adaptive strategy used by supported community to preserve and develop <em>Jathilan</em>, Javanese traditional ritual art performance. In describing the aim, the most fundamental nature and meaning attached in the artistic performance had been studied. Qualitative method was employed through literature review and field study. This study located in Magelang Regency, Central Java. The <em>Jathilan</em> in this paper is seen as cultural identity for its supported community, that has a specific role socially and ritually. The supported community, in addition, believes that this traditional art is not only acted as an entertainment, but also a facilitator for their hopes and prays. Despite some changes have influenced the differences of style and variation in the performing art, however, the changes themselves are the manifestation of adaptive strategy had from the supported community to preserve and conserve <em>Jathilan</em> performing art.</p>

Narrative Theory and Asian American Literature

2019 ◽  
Author(s):  
Yoon Sun Lee
Keyword(s):  
American Literature ◽  
Asian American ◽  
Social Group ◽  
Social Practice ◽  
Narrative Theory ◽  
Formal Analysis ◽  
Asian American Literature ◽  
Cognitive Narratology

The goal of narratology is to construct models or statements that apply universally to narratives as such, or to recognized types of narrative, defined primarily through formal characteristics. In contrast, Asian American literature is defined by reference to a social group with a concrete historical existence. Though the two enterprises may seem to have little in common, their rapprochement can be productive. Categories from both classical narrative theory as well as more recent cognitive narratology can help identify and compare important features of Asian American narratives. Conversely, Asian American literature shows how narratology can build on the knowledge that narrative is a social practice, and that its formal analysis requires the consideration of power, kinship, diaspora, and racial embodiment, as well as gender. For example, the relation between the narrator and narratee plays a major role in canonical works of Asian American literature; narratological analysis benefits from examining how this relation is shaped by generational and spatial dislocation, as well as claims to referential truth.

KEPRIYAYIAN DALAM KARYA SASTRA: Berkaca pada Para Priyayi, Karya Umar Kayam*

2018 ◽  
Vol 1 (1) ◽  
pp. 36
Author(s):  
Lee Yeon
Keyword(s):  
Cultural Identity ◽  
Social Group ◽  
Great Influence ◽  
Leading Role ◽  
The Status ◽  
Long Time ◽  
Modernization Process

Priyayi are the members of a social group, which had great influence in Javanese society and dominated it for a long time. Their importance derives from the leading role they played in the modernization process and the fact that they formed the intellectual class of society, which had progressed without loosing their Javenese cultural identity and origins. Although the status of priyayi lost its power and shine after independence of Indonesia(1945), the influece of priyayi-especially their moral and ethics view-can be felt in Indonesian society up to the present day. In connection to that, this research is an attempt to understand the priyayi through the literature.

The Twilight of Presence: Pictorialized Illumination in Leonardo da Vinci’s Last Supper

Leonardo ◽  
2019 ◽  
Vol 52 (1) ◽  
pp. 44-53 ◽  
Author(s):  
Justin Underhill
Keyword(s):  
Digital Humanities ◽  
Complex Interaction ◽  
Traditional Art ◽  
Last Supper ◽  
Lighting Conditions ◽  
Historical Methods ◽  
The Relationship ◽  
Santa Maria

This essay explores the relationship between pictures and the lighting conditions in which they were originally viewed. The theoretical interrelationship between brightness, illumination and depiction is explored in a case study of Leonardo da Vinci’s Last Supper mural at the refectory of Santa Maria delle Grazie in Milan. Advanced rendering software allows for the reconstruction of the refectory as it stood when Leonardo painted The Last Supper and demonstrates the complex interaction between light and space in the mural. This analysis illustrates how digital humanities might bridge traditional art-historical methods and forensic visualization.

scholarly journals Local rural holidays as a manifestation of cultural memory of Russian and Finno-Ugric populations in Nizhny Novgorod region

2021 ◽  
Vol 13 (1) ◽  
pp. 38-48
Author(s):  
Olga V. Galtseva
Keyword(s):  
Rural Communities ◽  
Cultural Identity ◽  
Collective Memory ◽  
Cultural Memory ◽  
Theoretical Basis ◽  
Transmission Of Information ◽  
Historical Methods ◽  
Update Process ◽  
Nizhny Novgorod Region ◽  
Primary Form

Introduction. In the context of cultural memory the article analyzes the rooting mechanism and subsequent functioning of local religious holidays in the cultural space of Russian rural communities of the XIX–XX centuries. Materials and Methods. The article contains studied and generalized materials found in research that give an idea of the problem under consideration. It also employs the author’s field materials collected during ethnographic trips to the Nizhny Novgorod region. The theoretical basis of the presented research is the problem-chronological and comparative-historical methods. Such methods of field Ethnography as direct observation and interviewing were used during the collection of field materials. Results and Discussion. In modern humanities, the representative properties of the holidays are interpreted in the context of cultural memory, where the holiday acts as its element or primary form. In this approach, the holiday can be considered as “General text”, which, according to Yuri Lotman can be stored and updated in the shared memory of the community, and as the mechanism of this update process, which acts from generation to generation and allows members of this community to exercise their cultural identity. The author considers local religious holidays of the Russian and Finno-Ugric population (Mordovians and Mari people) in Nizhny Novgorod region as one of the traditional forms of preservation, actualization and intergenerational transmission of information, important for the formation of cultural identity. Conclusion. Local religious holidays were the mechanism used for the collective memory of individual rural communities to be comprehended, preserved and transferred through the unified traditional forms of all-Russian spiritual culture. In the cultural memory of the Finno-Ugric peoples, the local religious holidays of the Russian neighbors became the key to the perception of Christian religion and played an important role in the processes of acculturation.

Characterization of copper-based pigment preparation and alteration products

MRS Advances ◽  
2017 ◽  
Vol 2 (63) ◽  
pp. 3973-3981 ◽  
Author(s):  
Marcie B. Wiggins ◽  
Jocelyn Alcántara-García ◽  
Karl S. Booksh
Keyword(s):  
Photoelectron Spectroscopy ◽  
Degradation Products ◽  
Copper Acetate ◽  
Accelerated Aging ◽  
Organic Substrates ◽  
X Ray Diffraction ◽  
X Ray ◽  
Complex Interactions ◽  
Historical Methods

ABSTRACTCopper-based pigments are common in works of art that show signs of decay on green and blue areas and are frequently associated with the degradation of organic substrates and/or media (drying oils, cellulose, etc.). The exact causes of degradation remain unknown. This prompted us to study possible starting and degradation products of one especially reactive copper pigment, verdigris (copper acetate), as well as pigments of the same family (salt and soap greens). Preparation of pigments using historical methods was followed by spectroscopic and crystallographic characterization using Fourier-transform infrared (FTIR) spectroscopy, X-ray diffraction (XRD), and X-ray photoelectron spectroscopy (XPS). Synthesis of verdigris and verdigris-like pigments resulted in a mixture of starting polymorphs of verdigris, including neutral and basic verdigris. With accelerated aging, pigments degraded to a polymorph of basic verdigris when not affected by organic media, whereas pigments on cellulosic substrates showed oxidized copper species. With this study, we are beginning to understand verdigris starting materials and highlight the complex interactions between pigments and substrates that influence pigment degradation pathways.

scholarly journals Linguistic Identity with Special Reference to Western Hindi Dialects

2021 ◽  
Vol 7 (1) ◽  
pp. 10-24
Author(s):  
Pallav Vishnu
Keyword(s):  
Cultural Identity ◽  
Social Group ◽  
Speech Community ◽  
Personal Choice ◽  
Linguistic Identity ◽  
Language And Culture ◽  
Racial And Ethnic Identity ◽  
The Social ◽  
The Rich ◽  
Culture And Language

Linguistic identity is the common bond that people share when they can understand each other in their native tongues, even if they share no other common heritage. Linguistic identity gets trickier when you’re talking about two people who may share linguistic bonds but come from mutually hostile ethnic groups. With racial and ethnic identity, linguistic identity does not exist in isolation; it is frequently yet one more facet of how a person identifies. There’s what we might call “reverse linguistic identity.” As Boas demonstrated over a century ago, everyone has at least three independent identities: race (in the traditional, not the anthropological sense), culture, and language. Language (or linguistic) identity   take to mean the speech community with which someone is identified. This is probably always a historical phenomenon, either of birth or of personal choice. Most subjects to personal choice are culture and language, for instance, a given person identifies with, or belongs to a particular culture, and speaks a particular language. These identities may be due to birth or socialization, or they may be the result of a deliberate choice NOT to identify with the language and culture of birth. Linguistic identities are double-edged swords because, while functioning in a positive and productive way to give people a sense of belonging, they do so by defining an “us” in opposition to a “them” that becomes all too easy to demonize. All identity markers of a social group together constitute the “culture” or cultural identity of the social group. Therefore, the loss of one marker does not automatically entails the loss of cultural identity. Given the rich multilingual tradition of India where languages act as facilitators rather than as barriers in communication, one hopes that as linguistic identity. This paper is a case study of the author’s inferences regarding the Western Hindi dialects analysis.

scholarly journals Strategi Penguatan Kreativitas Seniman Ketoprak DIY dari Tahun 1999 hingga Tahun 2009

2019 ◽  
Vol 2 (2) ◽  
Author(s):  
Yudiaryani Yudiaryani ◽  
Wahid Nurcahyono ◽  
Sylvia Angreni Purba
Keyword(s):  
Local Government ◽  
Cultural Identity ◽  
Cultural Products ◽  
Role Of Government ◽  
Traditional Art ◽  
The Past ◽  
Arts And Culture ◽  
The Times ◽  
The Many

Cultural identity in ketoprak performance should depart from all cultural products themselves. Strengthening the form of ketoprak performance in the middle of the era becomes important for artists in building their creativity. The strategy was designed so that people assume that ketoprak was theirs and able to be their representation. Based on the data collected, the number of groups, performances, and ketoprak artists in DIY were as follows. The number of groups in four districts and one municipality were 497 groups. The number of ketoprak showed from 1999-2009 was 145 times. The highest number of ketoprak groups was in Kulonprogo Regency, followed by Gunungkidul Regency, Bantul Regency, Sleman Regency, and finally the Municipality. The year 2005 was a milestone in the development of ketoprak to the present. The successful renewal of ketoprak shows can be seen by the number of shows which are 113 times over five years (from 2005 to 2009), which means that there were twenty ketoprak shows every year, and every month there were two ketoprak shows. The condition was triggered by several factors as follows. First, local government awareness to determined the icon of DIY tourism as part of globalization. Second, the awareness of artists to package performances that match the demands of the times. Third, awareness of the artistic layout strategy using symbolic and supported by Tobong ketoprak tricks. Fourthly, the influence of ketoprak humor and ketoprak R&D which still uses the style of play and jokes, causes the ketoprak show to be no longer a mere political tool, but a tool and place of friendship for the citizens. Fifth, the story was no longer based on myths, chronicles and legends, but penetrated the wayang story but with a more contextual interpretation of the story with the present. By seeing the many activities of ketoprak performances in DIY it can be said if ketoprak has become an icon of culture and tourism in DIY. Ketoprak performances tread its survival was no longer a traditional art, but has become a form of modernist art. Over the past ten years, the ketoprak show has experienced quite improved conditions. The vigilance of artists and audiences must be constantly reminded. The trick was to continuing to enhance the role of government as a protector of arts and culture. The ketoprak festival must continuing to be held continuously. Improving the skills of ketoprak artists must continuing to be sharpened. Of course the friendship between Ketoprak artists must continuing to be encouraged. Government’s appreciation for ketoprak artists must be increased.Keywords: identity; ketoprak; strengthening; globalization

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