scholarly journals Sculptural rhymes of Art Nouveau: on the visual poetics of symbolism

2022 ◽  
pp. 1-12
Author(s):  
Olga Sergeevna Davydova
Keyword(s):  
Complex System ◽  
Art History ◽  
Visual Art ◽  
Formal Analysis ◽  
Visual Language ◽  
Art Nouveau ◽  
Conceptual Approach ◽  
Visual Poetics ◽  
Western Art ◽  
The Aesthetic

This article is first within the Russian and Western art history to examine the concept of visual poetics as a separate subject of research. Based on the analysis of iconographic and theoretical searches of the masters of symbolism, which found reflection within the boundaries of expressive means of visual art, the author comes concludes on the poetic principles of symbolist artists as the fundamental sources of the formation of the style of Art Nouveau – a new sculptural language of the XIX – early XX centuries. Detail characteristic of the philosophical-aesthetic content that underlies optical forms of the visual symbolist image, in its scientific origins leans on the capabilities of the art comparative-formal analysis, as well as iconological method adapted to the period under review. The innovative conceptual approach towards studying the art of symbolism lies in the fact that poetry as the concept is depicted beyond the literary sphere, as a specific type of artistic worldview that influenced the development of the visual language of art in the era of Art Nouveau. At the same time, visual poetics is compared to the complex system of internal images, which shape in with the works of the master throughout the entire path of his self-expression, and are directly related to profoundness of the poetic principle of the soul, lyrical and metaphorical intuition of the artist. This approach allows us broadening the representation on the aesthetic benchmarks of the symbolist artists, as well as designating the new methodological coordinates in the field of studying the art of symbolism in both national and international contexts.

scholarly journals Symbolism in the Russian visual art in the era of Art Nouveau: analytical overview in the light of latest research

2021 ◽  
pp. 10-24
Author(s):  
Olga Sergeevna Davydova
Keyword(s):  
Art History ◽  
Visual Art ◽  
Individual Characteristics ◽  
Art Nouveau ◽  
Scientific Publications ◽  
Russian Art ◽  
Art And Culture ◽  
History Of ◽  
Humanistic Knowledge

The subject of this article is the works of the Russian artists of the late XIX – early XX centuries in the context of problematic of symbolism and Art Nouveau, as well as the scientific foundation that has developed as yet in studying this topic. Research methodology is based on the conceptual synthesis of classical art history approaches towards the analysis of artistic material with the theoretical interdisciplinary methods of humanities, such as iconology and hermeneutics, as well as the contextual-associative method developed by the author. The goal of this article consists in determination of the peculiarities of symbolism in Russia due to the transformation of the attitude towards the spiritual problematic of art of the turn of the XIX – XX centuries, which is relevant for the modern art history. The author is firs in the Russian art history to conduct a comprehensive analytical overview of the development stages of symbolism in the Russian visual art based on the years-long work with the archival materials, scientific publications (that cover over a century), and works of the Art Nouveau authors stored in the museum funds, many of which after 1917  appeared to be on the periphery of attention of art historians due to ideological reasons. The revealed individual characteristics of symbolism as a holistic artistic phenomenon, created on the level of modern humanistic knowledge, determine the novelty of this work and can valuable in further study of symbolism and Art Nouveau. Broadening of representations on the Russian art of the late XIX – early XX centuries, allow returning the heritage of the symbolist artists into the context of art, which is of undeniable importance from the perspective of restoration of natural logic of the development of the history of art in Russia, making this publication valuable in various fields of study of art and culture.

Ikonografi Zulfikar dalam Sejarah Hubungan Turki dan Nusantara

SUHUF ◽  
2015 ◽  
Vol 4 (1) ◽  
pp. 111-141
Author(s):  
Mohamad Zahamri
Keyword(s):  
Comparative Analysis ◽  
Visual Art ◽  
Formal Analysis ◽  
The Aesthetic ◽  
The Relationship

This study explores  the use of  the Zulfikar motif in visual art, especially  in the numerous examples of state flags and the flags of war in Turkey and the Malay World. A formal analysis is used to present a discussion of the aesthetic aspects of the artifacts. The comparative analysis examines the relationship between the use of the Zulfikar motif in Turkey and the Malay World. The study also reviews the complexities of historical relations between Turkey and the archipelago, and their connection to the use of the Zulfikar motif. Finally, this study will attempt to uncover some  of the  important concepts underlying the use of Zulfikar iconography in relevant historical contexts.

Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation

2018 ◽  
Vol 12 (1) ◽  
pp. 29-44
Author(s):  
Srajana Kaikini
Keyword(s):  
Art History ◽  
Visual Art ◽  
Normative Theory ◽  
Close Reading ◽  
Literary Interpretation ◽  
Sanskrit Poetics ◽  
Comparative Framework ◽  
Time Image

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.

Art, History, and Postwar Fiction

2018 ◽  
Author(s):  
Kevin Brazil
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
New Left ◽  
Doris Lessing ◽  
William Gaddis ◽  
Continuity And Change ◽  
Historical Developments ◽  
The Cold War ◽  
The Relationship

Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War up to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

Interpretation of Li Gonglin Ecological View of Landscape Painting Based on Chinese Soil Smoke Culture

2021 ◽  
Vol 7 (5) ◽  
pp. 3344-3351
Author(s):  
Xinquan Ma ◽  
Xiaofang Yao ◽  
Kwon Hwan
Keyword(s):  
Art History ◽  
Song Dynasty ◽  
Global Perspective ◽  
Chinese Art ◽  
Landscape Painting ◽  
Environmental Aesthetics ◽  
Northern Song Dynasty ◽  
Modern Cities ◽  
Northern Song ◽  
The Aesthetic

Objectives: Cigarettes are not goods that have existed in China since ancient times, but consumer goods that were introduced into China by western countries and accepted and developed by Chinese people in modern times. The application of Chinese soil smoke culture in Li gonglin’s landscape painting is studied in this paper. Methods: From the perspective of art history, landscape painters in the Northern Song Dynasty, as a prosperous period of Chinese art history landscape painting, thought deeply about painting from the artistic form of nature, and integrated their own view of environment into their creation, forming many landscape aesthetic paradigms. Results: This paper focuses on the interactive dialogue between the literati and the environment with the involvement of how space planning and governance are allocated. It is aimed at the global perspective in the Anthropocene and a local position in the Northern Song Dynasty. Localization is not only the exploration of the ecological approaches of China and the West in space, but also the integration of the past and the present, observing its ecological image from the perception and practice of traditional environmental aesthetics to the harmonious coexistence of modern cities and nature. Conclusion: Local tobacco is not a traditional local consumer product. Under the public’s praise, it has gradually formed a unique thing in China - cigarette culture. People in the society are not only the observers of the environment, but also the participants of the environment. Through the aesthetic configuration of the classification of environmental belonging space and the transformation of the image and vision into such realistic or ideal landscapes as “Longmian Villa”, it goes towards ecological holism. Therefore, from the perspective of environmental aesthetics research, Li Gonglin’s paintings have research value.

Moving Pictures and Renaissance Art History

2021 ◽  
Author(s):  
Patricia Emison
Keyword(s):  
Twentieth Century ◽  
Mass Media ◽  
Art History ◽  
Visual Art ◽  
Renaissance Art ◽  
Word And Image ◽  
Visual Composition ◽  
Moving Pictures ◽  
And Gender

Film, like the printed imagery inaugurated during the Renaissance, spread ideas---not least the idea of the power of visual art---across not only geographical and political divides but also strata of class and gender. Moving Pictures and Renaissance Art History examines the early flourishing of film, 1920s-mid-60s, as partly reprising the introduction of mass media in the Renaissance, allowing for innovation that reflected an art free of the control of a patron though required to attract a broad public. Rivalry between word and image, narrative and visual composition shifted in both cases toward acknowledging the compelling nature of the visual. The twentieth century also saw the development of the discipline of art history; transfusions between cinematic practice and art historical postulates and preoccupations are part of the story told here.

scholarly journals The grotesque as it appears in Western art history and in Ian Marley’s creative creatures

Literator ◽  
2009 ◽  
Vol 30 (1) ◽  
pp. 31-54
Author(s):  
R. Swanepoel
Keyword(s):  
Art History ◽  
Western History ◽  
Western Art ◽  
History Of Art ◽  
History Of ◽  
The Grotesque

This article presents a theoretical exploration and reading of the notion of the grotesque in Western history of art to serve as background to the reading of the original creatures in the “Tracking creative creatures” project.1 These creatures were drawn by Marley, based on imaginary creatures narrated by his five year-old son, Joshua. The focus in this article is on the occurrence of the grotesque in paintings and drawings. Three techniques associated with the grotesque are identified: the presence of imagined fusion figures or composite creatures, the violation and exaggeration of standing categories or concepts, and the juxtaposition of the ridiculous and the horrible. The use of these techniques is illustrated in selected artworks and Marley’s creatures are then read from the angle of these strategies.

scholarly journals Cultural based preconceptions in aesthetic experience of architecture

Spatium ◽  
2011 ◽  
pp. 20-25 ◽  
Author(s):  
Vladimir Stevanovic
Keyword(s):  
Comparative Analysis ◽  
Cultural Context ◽  
Aesthetic Experience ◽  
Visual Language ◽  
Cultural Backgrounds ◽  
Cultural Contexts ◽  
Historical Perspectives ◽  
Perceived Reality ◽  
The Aesthetic ◽  
Eastern Traditions

On a broader scale, the aim of this paper is to examine theoretically the effects a cultural context has on the aesthetic experience of images existing in perceived reality. Minimalism in architecture, as direct subject of research, is a field of particularities in which we observe functioning of this correlation. Through the experiment with the similarity phenomenon, the paper follows specific manifestations of general formal principles and variability of meaning of minimalism in architecture in limited areas of cultural backgrounds of Serbia and Japan. The goal of the comparative analysis of the examples presented is to indicate the conditions that may lead to a possibly different aesthetic experience in two different cultural contexts. Attribution of different meanings to similar formal visual language of architecture raises questions concerning the system of values, which produces these meanings in their cultural and historical perspectives. The establishment of values can also be affected by preconceptions resulting from association of perceived similarities. Are the preconceptions in aesthetic reception of architecture conditionally affected by pragmatic needs, symbolic archetypes, cultural metaphors based on tradition or ideologically constructed dogmas? Confronting philosophical postulates of the Western and Eastern traditions with the transculturality theory of Wolfgang Welsch, the answers may become more available.

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