scholarly journals The Place of Traditional Art Forms as a Positive Element in The Inculcation of Culture in The Nigerian Youth

2021 ◽  
Keyword(s):  
Positive Element ◽  
Traditional Art ◽  
Art Forms

Entartete Kunst

2018 ◽  
Author(s):  
Amy Kelly Hamlin
Keyword(s):  
Third Reich ◽  
Abstract Art ◽  
Paul Klee ◽  
Traditional Art ◽  
Avant Garde ◽  
The Third ◽  
Art Forms ◽  
Degenerate Art ◽  
The Third Reich

Entartete Kunst (Degenerate Art) is a term that was used by Nazi authorities to identify, censure, and confiscate art they considered inconsistent with their ideology. It was the cornerstone of an ambitious propaganda campaign that culminated in the exhibition Entartete Kunst, which took place in Munich in 1937. The majority of this so-called degenerate art was Avant-Garde in both form and subject. Abstract Art by German artists, including Max Beckmann, Max Eernst, Ernst Ludwig Kirchner, Paul Klee, and Franz Marc, was particularly vulnerable to Nazi attack; non-German artists such as Vasily Kandinsky and Piet Mondrian were also singled out. As a polarizing concept, Entartete Kunst stems from an essentially anti-modernist, xenophobic and anti-Semitic position. It was designed to legitimize the art of the Third Reich, which was rooted in traditional art forms and characterized by an idealized naturalism that promoted heroic virtues and racial purity.

scholarly journals SANSKAR BHARTI RANGOLI : MEDIUM TO CONSERVE TRADITIONAL ART OF RANGOLI FROM EXTRINSIC TO INTRINSIC

2021 ◽  
Vol 9 (10) ◽  
pp. 266-276
Author(s):  
Shweta Sharma
Keyword(s):  
Screen Printing ◽  
Indian Culture ◽  
Cultural Symbols ◽  
Stencil Printing ◽  
Traditional Art ◽  
Art Form ◽  
Art Forms ◽  
Unique Experience ◽  
Home Furnishing ◽  
Textile Fabric

भारतीय संस्कृति एवं कला का अटूट संबंध है जहां संस्कृति की बात आती है वहीं भारतीय कला का रूपांकन नेत्रों में आ जाता है। भारतीय कलाओं में से एक है रंगोली कला। यह भारतीय पारंपरिक फ्लोर आर्ट है जिसे मुख्य द्वार के सामने तथा आँगन में किसी विषेष अवसर अथवा उत्सव व त्यौहारों पर बनाई जाती है, रंगोली न केवल आंगन की सजावट थी अपितु यह ईष्वर के आषीर्वाद प्राप्त करने के लिए, सौभाग्य के लिए एवं अतिथियों के सत्कार के लिए बनाई जाती है। रंगोली के कई प्रकार हैं, उसमें से एक है संस्कार भारती रंगोली जो महाराष्ट्र में अत्यधिक लोकप्रिय है। इसमें कई हिन्दू मान्यता एवं संस्कृति से संबंधित चिन्हों का प्रयोग किया जाता है। संस्कार भारती रंगोली में उपयुक्त होने वाली डिज़ाइनों का होम फर्निषिंग टेक्सटाइल उत्पाद पर विभिन्न वस्त्र अलंकरण जैसे- फैब्रिक प्रिटिंग (ब्लॉक, स्क्रीन प्रिटिंग, स्टेन्षील प्रिटिंग), फैब्रिक प्रिटिंग, एम्ब्रायडरी का उपयोग करना जिससे फैषन उपभोक्ता के लिए अद्वितीय डिज़ाइन बनाने अथवा पारंपरिक कला में उपयुक्त रंग, डिज़ाइन अथवा शैली का उपयोग कर रंगोली कला की डिज़ाइनों को संरक्षित करना है। संस्कार भारती रंगोली में उपयुक्त होने वाली आकृति को वर्ग, डिज़ाइन, समूह डिज़ाइन, के लिए अनुकूलित किया गया था।लेख के लिए कुल दस डिज़ाइन चयनित कर विकसित किए गए थे और फैब्रिक पेंटिंग के द्वारा होमफर्निषिंग टेक्सटाइल पर बनाने के लिए सर्वश्रेष्ठ 05 डिज़ाइन का चयन किया गया। उपभोक्ता के द्वारा भारतीय रंगोली कला संस्कार भारती रंगाली कला का उपयोग कर बनाए गए उत्पाद बहुत सराहे गए। संस्कार भारती रंगोली कला वस्त्रोत्पाद पर प्रयोग करके लेख तैयार किया गया है। Indian culture and Art Share an unwavering Connection between them. Indian art providespicturesque Slide view of Indian culture, Rangoli Art is one of the most prominent art amongIndian Art forms. This is a floor art, which were basically designed and embossed at mainentrance and courtyards. On various auspicious occasions and festivals Rangoli was designed togrant divine blessings of God as well as signifies the prosperity and heartwarming welcome ofguests. There are many varites of Rangoli in IndiaSanskar Bharti Rangoli is one of the most popular rangoli art of Maharashtra. This art formcomprises of many Hindu aesthetics, artifacts and cultural symbols. These symbols bring adistinct feature to Sanskar Bharti Rangoli. This paper aims at conservation of Rangoli art formby shifting its inclination to fabric embossing. These art form can be consummate by fabricprinting (Block, screen printing, stencil printing), fabric printing and embroidery can be used byfashion enjoy to uplift the unique experience of traditional colors, designs and styles to conservethese rangoli art formsSanskar Bharti Rangoli is designed to facilitate compatibility of shape, area design and groupdesign which brings appropriateness to art form. Ten art designs developed for this paper, on thecounter part, five best fabrics painting finalized to paint on Home furnishing Textile. FashionUsers appreciated the products designed with traditional Indian Rangoli art , Sanskar BhartiRangoli. This paper elaborates the efforts and significance of Sanskar Textile fabric,

A proposed model of transmission of Cantonese opera in Hong Kong higher education: From oral tradition to conservatoire

2018 ◽  
Vol 19 (2) ◽  
pp. 144-166
Author(s):  
Bo-Wah Leung
Keyword(s):  
Hong Kong ◽  
Performing Arts ◽  
Oral Tradition ◽  
Large Scale ◽  
Modern World ◽  
Cultural Tradition ◽  
Chinese Opera ◽  
Traditional Art ◽  
Art Forms ◽  
Cantonese Opera

Transmission of traditional art forms in the modern world has been a major issue in the field of arts education. Different issues have been raised on how to preserve the traditional art forms for further development. Cantonese opera is a representative Chinese opera popular in south China including Hong Kong. However, the genre has been experienced fluctuation since 1950s with the difficulties of transmission through oral tradition to conservatory tradition. While the Hong Kong Government promotes the genre to reserve the cultural tradition, great masters have been fading out and younger generation encounters difficulties in inheriting the genre. This article reports parts of a large-scale study on the nature and characteristics of oral tradition, learning in community settings, conservatory tradition, and proposes a model of transmission of Cantonese opera in Hong Kong. The model may shed light on preserving, inheriting, and further developing traditional performing arts in the modern world.

scholarly journals Aryanization of Local art traditions: Research Study based on “Thillai Kali Thirunadanam”, A Written Text of Kooththu

2021 ◽  
Vol 6 (1) ◽  
pp. 27-36
Author(s):  
T Gowrieeswaran
Keyword(s):  
21St Century ◽  
Performing Arts ◽  
Research Study ◽  
Local People ◽  
Written Text ◽  
Traditional Art ◽  
Written Texts ◽  
Art Forms ◽  
Performing Art

The traditional art forms of tamils have the feature to sustain in the 21st century too. But the influence of Aryanization in the performing art traditions is considerable and questionable. The local art traditions are used to socialize and root the ideologies of Aryanization among the local people. In particular, there are a considerable number of written texts composed in this regard. In recent decades, the emergence of decolonization programs and the reformulation of performing art traditions questions the existing influence of ideologies of aryanization/ colonization and recreate the written and performing texts and insist on the importance of reformulation of traditional performing arts. In this background the research study analyzes the manuscript of ‘ThillaiKalai Thirunadanam” composed by Mr. M. Elumalai (2002).

scholarly journals MOTIFS OF MANDANA ART IN FASHION PRODUCT

2020 ◽  
Vol 8 (8) ◽  
pp. 233-238
Author(s):  
Sangeeta Soni
Keyword(s):  
Cultural Heritage ◽  
High Light ◽  
Traditional Art ◽  
Art Forms ◽  
Culture Heritage ◽  
Art And Culture ◽  
Culture Work

India have a rich Art and Culture heritage, Our cultural and Traditional art speaks about how sensible our Ancestors are, they have Beliefs and reasons behind every art and culture work they do or create. We have varieties of Art forms like painting, sculpture, pottery, and textile arts such as woven silk are one of our Rich Cultural Heritage which makes our India Incredible. One of The Traditional Art is Mandana Art which i used in the redesigning of Mandana Motifs through painting on women’s apparels and high light them by Traditional Embroidery -Kantha Work.

scholarly journals EKSPLORASI PEMANFAATAN SENI TRADISIONAL PADA DESA-DESA WISATA DI KABUPATEN SLEMAN

Imaji ◽  
2015 ◽  
Vol 10 (1) ◽  
Author(s):  
Enis Niken Herawati
Keyword(s):  
Traditional Music ◽  
Community Empowerment ◽  
Rural Tourism ◽  
Traditional Art ◽  
Cultural Arts ◽  
Art Forms ◽  
Cultural Recognition ◽  
Tourist Village ◽  
To Come ◽  
Traditional Arts

The main purpose of this study is to assess the cultural arts in some villages in Sleman district. In particular, this study aims to: 1) describe the types of traditional arts in tourist villages in Sleman district, 2) describe the presentation of traditional art performed in every tourism village in Sleman district, 3) describe the efforts to preserve the kinds of traditional art which are likely developed in the tourist villages in Sleman district. The results reveal that in some developing tourist villages there are many traditional art forms such as dance, traditional music (gamelan), puppet art, traditional games for children, with their own kind of variety. Art traditions in rural tourism are presented in a simple way and yet touched with good aesthetic arts that are still hereditary. The presentation of a certain kind of art attractions is based on the demand of visitors, but some are conducted based on the initiative coming from the tourist village manager. The traditional art in the main tourist village is used to attract visitors to come. It is also used as a venue for traditional art reception, entertainment, cultural recognition, the regeneration of art activists, and community empowerment.

scholarly journals Performance Art as an Instrument of Spiritual Contemplation: The Case of the Malay Wayang Kulit (Shadow Play)

ICR Journal ◽  
2015 ◽  
Vol 6 (3) ◽  
pp. 371-387
Author(s):  
Tengku Ahmad Hazri
Keyword(s):  
Performance Art ◽  
Religious Tradition ◽  
Intercultural Dialogue ◽  
Traditional Art ◽  
Art Forms ◽  
Shadow Play ◽  
Wayang Kulit

This article offers an interpretation of the wayang kulit (Malay shadow play) as a type of traditional art, in which the art forms are conceived within the broader cosmology derived from religious tradition. To this end, it focuses on three aspects of the play, namely, the rituals, mythology and symbolism in the setting to uncover their meanings and how these relate to the tradition in which it was conceived. As the play predates Islam and was immersed in animistic and Hindu-Buddhist milieu, it underwent reinterpretation to accommodate the coming of Islam and in fact was utilised to convey Islamic message by building on the people’s pre-Islamic beliefs, thereby offering an instance of intercultural dialogue through art.  

scholarly journals Tracing the Traditional Contents and Forms in Contemporary Nepali Paintings

2020 ◽  
pp. 169-180
Author(s):  
Yam Prasad Sharma
Keyword(s):  
Two Dimensional ◽  
Traditional Art ◽  
Western Art ◽  
Art Forms ◽  
Cultural Dialogue ◽  
Traditional Arts ◽  
Contemporary Context

Contemporary Nepali paintings integrate contents and forms of early Nepali arts using impressionist, expressionist and surrealist techniques from western arts. The artworks have intertextuality since they share western art trends and Nepali artistic traditions. These works decontextualize the shared contents and forms and recontextualize them in the contemporary Nepali context through appropriation. The artworks use the same thing for different purposes at different times and places. Contemporary Nepali paintings like Laya Mainali's Saswat, Yogendra Dangol's Vajra Mandala, Buddhi Thapa's Cosmic Wave, Shankar Nath Rimal's Dance of Shiva-Shakti and Puran Khadka's The Form to the Formless have integrated the icons, images and symbols of the Hindu and the Buddhist mythologies, the contents of traditional Nepali paintings and sculptures. The figures of gods and goddesses, their attributes and associated symbols have been presented in traditional Nepali arts in reference to the related myths. Structure of paubha and mandala, decorative patterns, two-dimensional colors and distinct contours are the formal qualities of these traditional artworks. These forms and contents of traditional arts have been reintegrated in contemporary Nepali paintings exploiting western techniques like fragmented lines, rough texture, distorted colors and figures, and dreamlike images and symbols. These playful western art forms facilitated Nepali artists to express their personal feelings, emotions, experiences and imagination in response to contemporary context of Nepal. These artworks present the cultural dialogue, interaction, and coexistence of traditional art forms and contents, and western techniques.

Women Painters of Mithila

2018 ◽  
pp. 370-381
Author(s):  
Sudha Jha Pathak
Keyword(s):  
Traditional Knowledge ◽  
Women Artists ◽  
Social Structures ◽  
Economic Deprivation ◽  
Traditional Art ◽  
Art Form ◽  
The World ◽  
Art Forms ◽  
Set Up ◽  
Cultural Origins

The region of Mithila has become synonymous with the beautiful and vibrant Madhubani paintings which are very much coveted by the connoisseurs of art the world over. The women from Mithila have been making these paintings and it is admirable that they have been able to carve out a space and name for themselves amidst the patriarchal set-up of society. Indeed, there is no other parallel anywhere else in the world of a folk-painting being mastered exclusively by women. The progressive commercialization of this art has resulted in the corrosion of this pristine variety of art - in form as well as content. Except a miniscule number of artists, economically the plight of the vast majority of these women painters has remained quite miserable who are forced to sell their artistic pieces for a pittance while a huge profit is earned by the middlemen. The commodification and commercialization of this traditional art form has caused much alarm to the anthropologists, art historians and connoisseurs of art who are sensitive to the cultural origins and solemnity of these art forms, and also made them empathetic to the economic deprivation of the women artists who produce them. These women artists are undermined by the patriarchal social structures of the community and family and also by the market that expropriates traditional knowledge and cultural expressions.

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