scholarly journals Folk art traditions in modern culture

2021 ◽  
pp. 23-36
Author(s):  
Liuchiia Igorevna Sorokina ◽  
Natal'ya Andreevna Pryamkova
Keyword(s):  
Modern Society ◽  
Folk Art ◽  
Folk Culture ◽  
Current Crisis ◽  
Modern Culture ◽  
Art Form ◽  
Applied Art ◽  
History Of ◽  
Creative Experience ◽  
Folk Tradition

The subject of this research is traditional folk decorative and applied art in the context of modern society. The authors reviews the factors that affected the formation of this art form, the role of collective creative experience, the canon for preserving archaic images, symbols and manufacturing technique. The article reveals the conditions of familiarizing youth with the folk tradition, indicating the importance of continuity of generations. Since each artwork is the synthesis of tradition and creativity, attention is drawn to the possibility of interpreting traditional experience in the products of craftsmen. By referring to the facts from the history of the Romanov’s pottery and toy craft, the author provides examples of the emergence of new plotlines in the conditions of changing sociocultural situation, and analyzes their correspondence with the tradition. The application of dialectical method demonstrates fusions of the tradition and novelties in folk art of the past and modernity. The authors’ contribution consists in identification of the causes of the current crisis state of traditional folk decorative and applied art. The article analyzes various measures, including the creation of manufacturing groups in the XX century, which were aimed at its preservation. The experience of the previous generations of professional and folk artisans allows tracing the peculiarities in the development of crafts, such as correlation between the traditional and innovative. The authors examines the necessary conditions for continuity of traditions of folk culture in modern civilization, which requires deliberate actions.

Uygur Architectural Decorative Patterns Classification and the Development and Application of Information Technology

2013 ◽  
Vol 409-410 ◽  
pp. 372-376
Author(s):  
Guang Li
Keyword(s):  
Information Technology ◽  
Modern Society ◽  
Modern Information Technology ◽  
Chinese Traditional Culture ◽  
Art Form ◽  
Architectural Patterns ◽  
Positive Meaning ◽  
History Of ◽  
Modern Information ◽  
The One

Uygur architectural decorative patterns is an important part of Chinese traditional culture , which is reflect the history of the nation's art form. It also take advantage of modern information technology on the inheritance, development of traditional ethnic culture and promote regional economic development. It has a positive meaning for building a harmonious society. Uygur traditional architectural pattern types characterization and application status, bringing about the development and applications of traditional Uygur architectural patterns and modern information technology. Through development of information technology, on the one hand, Uygur architectural patterns to obtain a certain sense, do not change with the time permanent presence in the form, on the other hand, the Uighur architecture and decorative patterns with a modern design, combining modern media more closely foundation to finding a continuation in the modern society and the way of the development of national culture.

scholarly journals Fine arts and folk culture included in Indian painting

2020 ◽  
Vol 5 (12) ◽  
pp. 141-146
Author(s):  
Kanchan Kumari
Keyword(s):  
Daily Life ◽  
Fine Arts ◽  
Folk Art ◽  
Folk Culture ◽  
Human Culture ◽  
Art And Culture ◽  
Manufactured Goods ◽  
Indian Painting ◽  
Folk Tradition

India is an ancient cultural country. Art is a product of human culture. Its rise is reflective of the beauty of man. The unique fusion of folk art is seen in the art and culture here. Many scholars have periodically stated the importance of folk art. Folk art is a mirror of folk tradition culture in our country. Which can be seen in various rituals. Folk art can be seen in various forms in different provinces like India. Which is known by various names.Although these useful items of daily life were not made with the goal of fine arts, yet the end of the art of collective life is visible to us and it is not wrong to call them artistic objects. Along with the development of civilization, man did not leave a useful notion in his manufactured goods, but by his fluidity his fluidity made him beautiful product for fine arts in some quantity.   भारत एक प्राचीन सांस्कृतिक देश है। कला मानव संस्कृति की उपज है। इसका उदय मानव की सौन्दर्य भावना का परिचायक है। यहाँ की कला एवं संस्कृति में लोककला का अनूठा समन्वय दिखाई देता है। अनेक विद्वानों ने समय-समय पर लोककला के महत्त्व को बताया है। लोककलाऐं हमारे देश में लोक परम्पराओं संस्कृति का दर्पण है। जो विभिन्न रीति रिवाज उत्सव में देखे जा सकते है। भारत जैसें देश में विभिन्न प्रान्तों में विविध रूपों में लोककला देखी जा सकती है। जो विभिन्न नामों से जानी जाती है।दैनिक जीवन की इन उपयोगी वस्तुओं का निर्माण यद्यपि ललित कला के लक्ष्य से नहीं हुआ, तथापि सामूहिक जीवन की कलाप्रियता का अंष हमें इसमें दृष्टिगोचर होता है और इन्हें कलात्मक वस्तुएँ कहे तो गलत नहीं होगा। सभ्यता के विकास के साथ-साथ मानव ने अपनी निर्मित वस्तुओं में उपयोगी धारणा को नहीं छोड़ा परन्तु उसकी कलाप्रियता ने अपनी प्रवाहशीलता द्वारा कुछ मात्रा में उन्हें ललित कला के लिये सुन्दर उपादान बना दिया।

scholarly journals Tapestry art in Mordovia today

2019 ◽  
Vol 11 (1) ◽  
pp. 86-92
Author(s):  
Sergey V. Gavin ◽  
Zoya A. Tanshina
Keyword(s):  
Soviet Union ◽  
Former Soviet Union ◽  
Folk Art ◽  
State University ◽  
Modern Culture ◽  
Space Design ◽  
The People ◽  
History Of ◽  
Art Schools

The article discussed the role of contemporary tapestry art in modern culture, the history of the formation and growth of national decorative-applied and monumental art schools in the Republics of former Soviet Union, the importance of both group and personal tapestry exhibitions organized by regional creative organizations of the Union of Artists and the Russian Union of Artists as well as the state Museum-Reserve “Tsaritsyno”. It emphasizes the importance of using richest traditions of folk art, stories and legends of the people living in multiethnic Russia. The works of teachers and graduates of the Department “Folk Art Culture and Contemporary Art” of the Institute of National Culture of Ogarev Mordovia State University have been demonstrated as an example of those who apply modern tapestry in architectural space design. The paper also defines prospects for the development of tapestry art in the works of young artists.

scholarly journals Strategy for construction of corporeality: the typology and reasons for choosing

KANT ◽  
2020 ◽  
Vol 35 (2) ◽  
pp. 107-112
Author(s):  
Sophia Batsanova
Keyword(s):  
Modern Society ◽  
Social Practices ◽  
The Body ◽  
Social Knowledge ◽  
Self Awareness ◽  
External Evaluation ◽  
Self Identity ◽  
Modern Culture ◽  
Work Related ◽  
History Of

Modern culture is permeated with an interest in human physicality. In the history of philosophy and culture, the problem of the body and body identity has arisen repeatedly, but today social knowledge makes the human body a reflection of many social practices. In modern society, the body is constantly being changed and evaluated. According to the author, the transformation of physicality is based on a number of strategies that receive social encouragement or disapproval. The choice of one of the strategy groups is based on the phenomenon of locus of control and Self-identity. Choosing a strategy requires a person to do serious internal work related to self-awareness and their body, leading to the formation of a body for the person or a body focused on the needs of society and external evaluation.

Edward Trojanowski: The Search for Style in Early 20th-century Furniture Design in Poland

Ikonotheka ◽  
2019 ◽  
Vol 28 ◽  
pp. 67-95
Author(s):  
Agata Wójcik
Keyword(s):  
20Th Century ◽  
Folk Art ◽  
Early 20Th Century ◽  
Furniture Design ◽  
Interior Decoration ◽  
Art Deco ◽  
Avant Garde ◽  
Applied Art ◽  
Decorative Motifs ◽  
History Of

Three sources of inspiration are discernible in early 20th-century Polish furniture design and especially in the output of artist-designers associated with the Polish Applied Art Association (TPSS), namely, folk art, the historical styles, and the modernistic/geometrical current. Edward Trojanowski’s oeuvre in that area combines all these three tendencies and embodies the evolution of a Polish approach to designing furniture; hence it may serve to illustrate the history of Polish furniture design in the early 20th century. Although initially Trojanowski turned to folk art, he did not passively copy its decorative motifs. His study of folk craft persuaded him to simplify the forms of pieces of furniture and to experiment with the use of colour in furniture design and interior decoration. Later, his search for a national style encouraged him to seek inspiration in Biedermeier furniture design, which added elegance to his designs, as evident in the proportions of the pieces of furniture and in the use of decorative veneers or sophisticated geometric ornaments. In this manner Trojanowski, while following his own artistic path, developed forms of furniture that effortlessly bear comparison with the avant-garde designs of the Modernist geometric current, as proposed by the Wiener Werkstätte and the Werkbund, which heralded the arrival of Art Déco.

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

scholarly journals Preservation and Promotion of the Traditional Chèo in Vietnam Today

2020 ◽  
Vol 36 (2) ◽  
Author(s):  
Le Tuan Cuong
Keyword(s):  
Economic Development ◽  
Folk Music ◽  
Traditional Culture ◽  
Folk Art ◽  
Artistic Creation ◽  
Traditional Art ◽  
The Public ◽  
Art Form ◽  
Socio Economic Development ◽  
History Of

Chèo is a form of traditional folk art performance of Vietnam, originated about 10 centuries ago. Cheo derives from folk music and dance, especially parody. This form is the result of artistic creation of Vietnamese peasants in northern Vietnam to Nghe An and Ha Tinh. Since its introduction, Cheo has received the attention and love among people of all classes for centuries. Quan Am Thi Kinh, Luu Binh Duong Le, Truong Vien and Kim Nham together with famous chiếng chèo: chiếng chèo Doai, chiếng chèo Bac, chiếng chèo Dong, etc. showed intense vitality and the spread of Chèo. However, along with the history of national struggle, innovation, socio-economic development, especially international integration, many new types of culture have been introduced to Vietnam while traditional art has not caught up and met the requirements of the public. It has directly contributed to weakening the values ​​of traditional culture in general and folk art including Chèo in particular. By analyzing historical and cultural documents, the article focuses on the process of formation and development of Vietnamese Chèo in history, from which to look at the contemporary of this art form and propose measures for preservation and promotion.

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