scholarly journals New trends in exhibiting ceiling lights such as “chandelier” in the context of holistic exhibition projects

2021 ◽  
pp. 1-9
Author(s):  
Margarita Andreevna Mitnik
Keyword(s):  
Interior Space ◽  
Art Objects ◽  
Applied Art ◽  
The Subject

This article explores and systematizes the exhibition of chandeliers as the unique art objects within the museum space, as well as reveals the peculiarities in comparison with the interior space. The subject of this research is the display of such multi-component item of decorative and applied art as chandelier in the modern exhibition projects. Based on a range of exhibitions held in the XX and XXI centuries dedicated exclusively to chandeliers and ceiling lights, the author conducts their classification, and reveals the peculiarities of displaying chandeliers in such projects. The representative examples of exhibition projects are considered. This article is to analyze and systematize the experience of exhibiting chandeliers, which is especially relevant because the topic of studying chandeliers as part of the interior is of particular interest among not only scientists, but the artists and curators as well. The conclusion is made that in the most successful projects, the chandeliers are displayed at eye level of the visitors, which allows studying more details about the item. Chandeliers are displayed either as the unique objects, or together with other antique and luxury items, harmonizing on the formal stylistic or historical level, and indicating the modes of stylistic perception of the interior as a reflection of culture of a certain era.

scholarly journals The art of exhibiting chandeliers as art objects in the open air

2021 ◽  
pp. 151-159
Author(s):  
Margarita Andreevna Mitnik
Keyword(s):  
Environmental Effects ◽  
Open Space ◽  
Wide Audience ◽  
Particular Solutions ◽  
Art Objects ◽  
Applied Art ◽  
Depth Analysis ◽  
Stylistic Elements ◽  
The Subject ◽  
The City

This article examines the exhibition of chandeliers in the open air. The subject of this research is the projects that display the actual texture and functionality of the historical models of chandeliers, as well as their modern interpretations within the independent art projects that use structural and stylistic elements of chandeliers as part of the topic or material for the viewers’ reflection. For more in-depth analysis of the chandelier as the object of exposition in the open air, the author explored the websites and exhibition catalogues, methodological textbooks, articles and books that demonstrate methods of presenting the objects of decorative and applied art. Similar projects were found. Based on the extensive sampling, the author conducted typological analysis of such projects was carried out, considering the environmental effects and concepts, namely ecological, which underlie the particular solutions. The conclusion is made that open space of the city and garden allow displaying classical chandeliers and various interpretations of ceiling lighting to wide audience, emphasize the texture of the material, and demonstrate the aesthetics of lighting devices not as a historically reserved or subordinate to some household concept, but as aesthetics that expands the customary concepts associated with space.

Discipline and Varnish: Rhetoric and Subjectivity at the Museum of Modern Art

Prospects ◽  
2001 ◽  
Vol 26 ◽  
pp. 639-665
Author(s):  
Thomas Patin
Keyword(s):  
Subjective Experience ◽  
Cultural Practices ◽  
The Body ◽  
Museum Of Modern Art ◽  
Political Movement ◽  
Art Objects ◽  
The Subject ◽  
Artificial Nature ◽  
The Aesthetic ◽  
Cultural Theorist

Literary and Cultural Theorist Terry Eagleton argues that “the aesthetic” was from its very inception a development toward a representation of human subjectivity. For Eagleton, the discourse of aesthetics assigned the body to “a subtly oppressive law … a specious form of universalism … [that] blocks and mystifies the real political movement towards … community.” The aesthetic became a “coercion to hegemony,” by informing and regulating sensuous life while at the same time allowing for what seemed like a prospering autonomy. For Eagleton, aesthetics is not ultimately concerned with art objects but with the project of “reconstructing the human subject from the inside.” Autonomy, as it has been described by many theories of the aesthetic, becomes for many a desirable model of independent subjectivity and individual subjective experience. Even though aesthetics works on the subject “from the inside,” as Eagleton writes, it does so through material means. Architecture, art theory, and curatorial practices provide other instances of what Eagleton describes as “apparatuses” of power in the cultural field. One of the things I want to suggest is that cultural practices represent possibilities for subjectivity. Critical, architectural, and museological representations seem to concern artistic production, but also function as subtle suggestions about what it means to be human. These practices work to affect the formation of subjects by attempting to limit and pre-scribe the possibilities for subjectivity. Joel Fineman has similarly argued that subjectivity is constructed from “subjectivity effects” that are in turn produced in a web of discourses. One of Fineman's primary concerns is for how rhetoric can be used to establish compelling and realistic representations of subjectivity, while providing evidence of the artificial nature of the subject at the same time.

scholarly journals Translating personality into landscape

2007 ◽  
Vol 8 (2) ◽  
pp. 61-71
Author(s):  
Frank Kraushaar
Keyword(s):  
Outer Space ◽  
Chinese Poetry ◽  
Human Being ◽  
Empty Interior ◽  
Spatial Order ◽  
Interior Space ◽  
Chinese Aesthetics ◽  
Physical Presence ◽  
Classical Chinese ◽  
The Subject

University of LatviaThis essay stems from a hypothesis which belongs to a work in progress: an attempt to understand and to make translatable into contemporary conceptions the figure of the anonymous 隱者 (yin zhe) and its formation into a kind of humanistic cipher or an empty interior space sketched like a human being in classical Chinese poetry and Tang and Song painting. The idea is that the correspondence of personality and landscape in Chinese aesthetics replaces its Western counterpart―the relativity of subjectivity and outer space. The first part of the essay delineates differences in the approach to landscape or 山水 (shan-shui) and emphasizes that the appreciation of both essentially changes as soon as the cultural information does, which makes similarities of certain approaches―as in romantic landscapes and Chinese shan-shui―deluding rather than coherent. The last part focuses on a detail in the construction of the shan-shui in relation to concepts of personality which I call distance and framing. This combination of an absolute spatial order obtained by distance and its microcosmical, individual correspondence in a personally shaped frame seems the characteristic Chinese way to translate concepts of personality into an aesthetic reality―almost bare of any relation to the physical presence of the subject.

scholarly journals АКАДЕМІЧНІ ДИСЦИПЛІНИ У ПІДГОТОВЦІ ФАХІВЦІВ ДЕКОРАТИВНО-ПРИКЛАДНОГО МИСТЕЦТВА: РИСУНОК

2021 ◽  
pp. 75-84
Author(s):  
В. Д. Білий
Keyword(s):  
Practical Knowledge ◽  
Practical Significance ◽  
Practical Skills ◽  
Decorative Art ◽  
Applied Art ◽  
Art Works ◽  
The Subject ◽  
Education Of Students ◽  
Aesthetic Ideas ◽  
Previous Idea

Purpose: to analyze the value of theoretical and practical knowledge and skills obtained in the study of Academic Drawing by students of the Decorative and Appling Art`s Department of the Kosiv Institute of Applying and Decorative Art LNAA. Methodology. Analytical and comprehensive approaches to the subject of research, structural analysis, observation and modeling methods, as well as comparative analysis were used, which made it possible to identify the features of drawing techniques` using in the realization of decorative and applied art projects. Results. The importance of the Drawing in the process of creating and making of decorative and applied art`s projects has been determined. It was revealed that for the realization, analysis of the form, its design (architectonics) and material is of particular importance, while the graphic means characteristic of a drawing is most often used to apply an ornament to the surface of the item. It is also important to sketching, aimed at theoretical comprehension of existing forms; search for new forms and designs in accordance with the previous idea. Special attention to the importance of the drawing in the education of students' aesthetic ideas and the creation of artistic and expressive works of art is paid. Scientific novelty of the paper lies in identifying the theoretical and practical skills and abilities that students of decorative and applied art`s specialties receive in the study of Academic Drawing and how they use them in the creating projects and art works based on the Kosiv Institute of Applying and Decorative Art LNAA. Practical significance. The obtained results into account in the process of teaching special disciplines can be taken, developing guidelines for them, in further scientific research.

scholarly journals Glass art objects – between fine and applied art

2017 ◽  
Keyword(s):  
19Th Century ◽  
Art Objects ◽  
Applied Art ◽  
Glass Art ◽  
The 19Th Century ◽  
Technology And Design

The article describes the interrelationships that emerged between art, crafts, technology and design, in the period from the second half of the 19th century to the present day. Attention is paid to the classification of a work and the delineation of the category ‘Object’.

scholarly journals Moscow period of creativity of the ceramist P. K. Vaulin (1890-1903)

2021 ◽  
pp. 47-57
Author(s):  
Elena Mikhailovna Safronova
Keyword(s):  
Artistic Expression ◽  
Heritage Site ◽  
Applied Art ◽  
History Of ◽  
The Subject ◽  
True Center ◽  
Professional Artists ◽  
Xix Century ◽  
Artistic Analysis ◽  
Descriptive Method

The subject of this research is the stylistic peculiarities and means of artistic expression of the architectural majolica by Peter Kuzmich Vaulin. The object of this research is the architectural-artistic ceramics of P. K. Vaulin on the facades of Moscow buildings at the turn of the XIX – XX centuries as cultural heritage site. Detailed analysis is conducted on the Moscow period of P. K. Vaulin. The author determines the circle of artists who worked with the ceramist, analyzes the phenomenon of the Abramtsevo art club and its impact upon the professional becoming of P. K. Vaulin. Special attention is given to the workshop in Abramtsevo as a true center of art and a source for the development of the national romantic trend in decorative and applied art, as well as to the architectural landmarks of Moscow with majolica decor designed by P. K. Vaulin. The theoretical and methodological framework is comprised of the scientific works on the theory and history of art, aesthetics, psychology of art and philosophy. The compositional-artistic analysis, comparative-descriptive method, and imagery-stylistic analysis allowed studying the means of artistic expression of architectural ceramics, the compositional interaction of materials and space, as well as style and formative peculiarities of ceramics. The conclusion is made that direct practical participation of professional artists in the Russian decorative and applied art in the late XIX century considerably impacted the development of applied art, and drew attention of the world community, emphasizing its value within the system of visual art. The analysis of architectural compositions indicates that P. K. Vaulin was a co-author of the ceramic works created by the artists of the Abramtsevo (Mamontov’s) art club. The scientific novelty consists in comprehensive examination of the works of Moscow Period of P. K. Vaulin in the area of facade ceramics, as well as the imagery-stylistic and artistic analysis of the compositions of the master.

scholarly journals Jewish branch of cultural text of the Crimean ethnic ornament

2021 ◽  
pp. 1-12
Author(s):  
Elena Romanovna Kotliar
Keyword(s):  
Comparative Analysis ◽  
Cultural Landscape ◽  
Ashkenazi Jews ◽  
Special Contribution ◽  
Traditional Art ◽  
Applied Art ◽  
Cultural Processes ◽  
The Subject ◽  
Visual Symbols ◽  
The Continuum

The subject of this research is the continuum of ethnic symbols of the ornament of the Crimean Jews. The object is the traditional decorative and applied art of the peoples of Crimea following Judaism: Ashkenazi Jews, Karaite and Krymchaks. The symbolism of ethnic art is viewed based on the analysis of traditional decor. The article employs the methods of comparative analysis, analysis of previous research, method of synthesis in conclusions pertinent to connotations of symbols. The author explores the morphology and semantics of visual symbols in decorative and applied art of the aforementioned people, as well as connotations of symbols. Special attention is given to aspects that characterize polyethnic cultural landscape of Crimea in the context of phylogenesis. The main conclusions are as follows:   1. Crimea is a polyethnic region with various cultural processes – from reception to inculturation and integration of ethnoses, which ultimately formed the Crimean cultural landscape. Its peculiarities are represented by ethnic ornament, such as decorated household items and ritual attributes   2. Symbolism of the elements of traditional art of Ashkenazi Crimean Jews, Karaite and Krymchaks has common connotations due to the Torah that underlies the religious confession of all three ethnoses, as well as similar morphology. The art of Karaite and Krymchaks are more identical to each other than to Jewish. The author’s special contribution lies in systematization of the morphology of visual symbols in the art of the three ethnoses. The scientific novelty consists in carrying out a comparative analysis of the art of three Crimean ethnoses, revealing foundations of the genesis and continuum of its elements, their similarities and differences.

scholarly journals FORMATION PROCESS AND INDICATORS OF ACHIEVING PROFESSIONAL COMPETENCES OF FUTURE TEACHERS IN THE FIELD OF DESIGN

2020 ◽  
pp. 57-68
Author(s):  
Нина Владимировна Скачкова
Keyword(s):  
Vocational Education ◽  
Research Work ◽  
Professional Standards ◽  
Professional Competencies ◽  
Professional Activity ◽  
Federal State ◽  
Art And Design ◽  
Art Objects ◽  
Applied Art ◽  
State Educational

Обосновывается необходимость использования возможностей вузовской подготовки для формирования профессиональных компетенций будущих педагогов профессионального обучения с целью создания качественного кадрового потенциала для осуществления модернизации технологических процессов, продвижения и внедрения новых перспективных технологий и обеспечения кастомизации услуг в процессе перехода на модель цифровой экономики будущего России. Выявлена роль образовательных организаций в процессе реализации требований федеральных государственных образовательных стандартов 3++ к качеству подготовки квалифицированных кадров в соответствии с требованиями работодателей. Рассмотрено содержание представленных в основной образовательной программе бакалавриата по направлению подготовки 44.03.04 «Профессиональное обучение (по отраслям)», направленность (профиль) «Декоративно-прикладное искусство и дизайн» обязательных профессиональных компетенций, сформированных на основе профессиональных стандартов, анализа требований, предъявляемых к выпускникам на рынке труда, консультаций с ведущими работодателями. Установлены индикаторы достижения обязательных профессиональных компетенций выпускников, рассмотрены возможности их достижения на примерах педагогического взаимодействия с целью организации учебно-исследовательской работы студентов, обучающихся на факультете технологии и предпринимательства по указанному направлению подготовки. Обоснована целесообразность подготовки педагогов профессионального обучения для формирующихся сервисных кластеров в экономике Томской области с учетом прогностических потребностей в условиях постиндустриальных трансформаций. The article substantiates the need to use the capabilities of university training to form the professional competencies of future vocational education teachers in order to create highquality human resources for the modernization of technological processes, the promotion and implementation of new promising technologies and the provision of services customization in the process of transition to the digital economy model of the future of Russia. The role of educational organizations in the process of implementing the requirements of federal state educational 3 ++ standards to the quality of training of qualified personnel in accordance with the requirements of employers indicated in professional standards is revealed. The content of the undergraduate programs presented in the main educational program is considered in the direction of preparation 44.03.04 Vocational training (by industry), focus (profile): Decorative and applied art and design of mandatory professional competencies formed on the basis of professional standards, analysis of requirements for graduates in the labor market, consultations with leading employers. Indicators of achievement of compulsory professional competencies of graduates are established, the possibilities of their achievement are examined by the examples of the organization of educational research work of students studying at the Faculty of Technology and Entrepreneurship of TSPU in the areas of professional activity: design (costume, interior, art objects), manufacture of clothing, decorative and applied art (art crafts of Siberia, the modern directions of arts and crafts in the manufacture of household items and souvenirs), beauty industry (hairdressing, makeup techniques, nail design, etc.), image making, stylistics. The feasibility of training vocational education teachers for emerging service clusters in the economy of the Tomsk Region is substantiated, taking into account the prognostic needs in the context of post-industrial transformations.

scholarly journals Repræsentation eller belæring?

1970 ◽  
pp. 153
Author(s):  
Jørgen Hein
Keyword(s):  
Fundamental Concept ◽  
Human Knowledge ◽  
Surrounding World ◽  
Applied Art ◽  
The Subject

Status versus Learning? Schatzkammer or Kunstkammer? In the 1660s Danish absolutism built up a treasure collection at Rosenborg Castle and a Kunstkammer opposite Copenhagen Castle. both of which contained applied art. It is the aim of this paper to trace this overlapping and to show that around 1690 principles were established for a division of objects that resulted in the two institutions becoming mutually supplementary. In other words the subject is royal heritage and royal collecting 1520–1920. A comparison calls for definitions. A ’treasure collection’ refers to an accumulation of valuable objects that is arranged with pomp and splendour. Three characteristics should be highlighted: the Prince or his official has the key to the collection, the objects are partially entailed as inalienable property, and viewing requires the permission of the sovereign. A ’Kunstkammer’ in this context means a collection of objects that are classified and displayed according to distinct principles which reflect human knowledge and theories about the surrounding world. Consequently the treasury represents and can provide, in time of emergency, a capital reserve, whereas the fundamental concept of the Kunstkammer is the structuring and imparting of knowledge as expressed in the publication of catalogues. 

scholarly journals Introduction of the reindeer image into the culture of Old Sami people

2021 ◽  
pp. 12-21
Author(s):  
Ilia Aleksandrovich Travin
Keyword(s):  
Native Speakers ◽  
Research Result ◽  
Geographical Location ◽  
Cultural Development ◽  
Cultural Continuity ◽  
Upper Volga ◽  
Applied Art ◽  
Scientific Task ◽  
The Subject ◽  
Geometric Elements

The subject of this research is the process of introducing the reindeer image into the life and culture of Old Sami people. From the perspective of cultural continuity, the author sets a scientific task to find culturological evidence of the existence of Old Sami people (native speakers of the southern genetic component of the Sami language). The method of conducing this research is the records of décor element, their direct comparison applicable the culture and geographical location of the settlement of Old Sami people. The territory between the Upper Sukhona and the Upper Volga Rivers is selected as geographical location for introduction of the reindeer image into the culture of Old Sami people. The analysis of acquired data gives outlook on the culturological situation in the middle of the 1st millennium BC. The reindeer image is introduced into decorative and applied art, as well as into the culture (lifestyle, household). For getting a broader perspective, the author carries the analysis of toponyms and climatic processes of this period. The novelty of this work consists in application of the synthesis of sciences to the question of comprehension of the cultural processes taking place within the environment of Old Sami people during their dwelling between the Upper Sukhona and the Upper Volga Rivers. The research result consists in acquisition of data that specify the time and place of introduction of the reindeer image into the culture of Old Sami people. The visual match of decorative geometric elements in the Sami decorative patterns and regional decorative ornaments gives grounds on the historically common main cultural heritage in the decorative and applied art of the indicated region. The conclusion lies in finding the culturological evidence of dwelling of the ancient Sami people in the territory between the Upper Sukhona and the Upper Volga Rivers, and the process of cultural development taking place during this period.

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