“Chinese table screen” from the collection of the National Art Museum of the Republic of Sakha (Yakutia): on the question of determining the plot

Статья посвящена изучению музейного памятника декоративно-прикладного искусства XIX века «Китайский настольный экран», раскрытию его сюжета, уточнению времени создания. Экран, как и большие ширмы, использовался в интерьере зданий, исполняя утилитарную и эстетическую функции, применялся для защиты пламени свечи от движения воздуха. Особенность традиционного китайского экрана — это его мобильность, декоративность и привлекательность используемых в декоре материалов. Как элемент традиционной культуры он отражал идею корреляции вещей в мире, нес в себе понятия красоты и совершенства в художественно-эстетическом оформлении интерьера. Всякая вещь — это уникальный кодовый знак этнокультуры, указывающий на своеобразие национального характера, представления об окружающем мире. Несмотря на то что со сменой эпох менялся стиль, декор, вводились новые материалы, отшлифованная веками традиционная вещь оставалась удобной и эстетичной, отличалась безукоризненной отделкой и высокой практичностью. На основе анализа художественного произведения и изучения специальной литературы автор интерпретирует сюжет, изображенный на настольном экране. В ходе исследования предмета на изображении были выявлены такие мифологические персонажи, как популярная даосская «восьмерка бессмертных», представителей которой часто изображали на произведениях изобразительного и декоративно-прикладного искусства, легендарный Лао-цзы, древнекитайский философ VI–V веков до н. э., один из основателей философского учения Дао. На панно с даосскими святыми узнаются: древнее божество Си-ван-му — хозяйка персиков долголетия, покровительница домашнего очага Хэ Сянь-гу, Шоу-син — божество долголетия, красавица и чадоподательница Би-ся юань-цзюнь и божественный земледелец Шэнь-нун. Все они прибыли на пир к царице Запада Си-ван-му. This article is devoted to the study of the museum monument of decorative and applied art of the 19th century “Chinese table screen”, understanding its plot, clarifying the time of creation. The screen, like large screens, was used in the interior of buildings, performing utilitarian and aesthetic functions. Moreover, it was used to protect the candle flame from air movement. The peculiarity of the traditional Chinese screen is its mobility, decorativeness and attractiveness of the materials used in the decor. As an element of traditional culture, it reflected the idea of the correlation of things in the world, carried the concepts of beauty and perfection in the artistic and aesthetic interior design. Every object is a distinctive code sign of ethnoculture, which indicates the uniqueness of the national character and perceptions of the surrounding world. Despite the fact that with the change of epochs, the style, decor changed and new materials were introduced, the traditional objects polished for centuries remained comfortable and aesthetic, distinguished by impeccable finish and high practicality. Based on the analysis of the artwork and the study of special literature, the author interprets the plot depicted on the table screen. During the study of the object and its image, author identified such mythological characters as the popular Taoist «eight immortals», whose representatives were often depicted in paintings, prints and decorative arts, the legendary Lao Tzu, an ancient Chinese philosopher of the 6-5th centuries BC, one of the founders of the Dao teaching, sitting on a bull. On the panels with Taoist saints, the ancient deity Xi wangmu — the mistress of longevity peaches, the patroness of the hearth He Xiangu, Shouxing — the deity of longevity, the beauty and child-giver Bixia Yuanjun, and the divine farmer Shennong are also recognized. They all came to the feast of the Queen of the West Xi Wangmu.

Analytical Study of Decorative Techniques Used in S̲h̲īs̲h̲ Maḥal, Lahore Fort, Pakistan

S̲h̲īs̲h̲ Mah͎al, the magnificent and monumental creation of Mughals, still stands like a jewel after hundreds of years. This building characteristically excels in its decoration and is best known for its intricate detailing. The evolution and transformation of decorative arts reached its zenith during the reign of S̲h̲āh Jahan (1628 - 1658), which is known as the era of delicacy and pure light in white. The aim of this paper is to study the decorative arts that excelled during this golden era. In this regard, S̲h̲īs̲h̲ Maḥal, situated at the Lahore Fort, is taken as a case study. Comprehensive documentation of these decorative arts including their design, material and technology developed the baseline inventory for their interpretation and appreciation. The study further explored the transformations and transitions during their refinement in addition to their description in the historical textual data. Keywords: decorative techniques, Pietra-dura, S̲h̲āh Jahan, Mumtaz

Absolwenci zakopiańskiej Szkoły Przemysłu Drzewnego w pracowni profesora Tadeusza Breyera

Abstrakt: Celem artykułu jest analiza obecności i znaczenia absolwentów zakopiańskiej Szkoły Przemysłu Drzewnego w pracowni prof. Tadeusza Breyera w warszawskiej Akademii Sztuk Pięknych. Na wybór tej uczelni znaczący wpływ miało przeniesienie ich nauczyciela Karola Stryjeńskiego do stolicy. Ponieważ nie mieli matury, musieli przejść proces „uzwyczajnienia”, najczęściej uzyskując świadectwo ukończenia Miejskiej Szkoły Sztuk Zdobniczych i Malarstwa. W pracowni absolwenci wyróżniali się szczególnie udanymi rzeźbami o tematyce sportowej oraz w zakresie technik metalowych. Brali też znaczący udział w realizacjach swoich profesorów. Niektórzy zostali profesorami na Akademii Sztuk Pięknych w Warszawie, inni powrócili jako pedagodzy do Zakopanego. To zjawisko przepływu uczniów i profesorów trwa po dzień dzisiejszy. Summary: The aim of this paper is to analyze the presence and importance of graduates of the Zakopane School of Wood Industry in the Prof. Tadeusz Breyer’s studio at the Academy of Fine Arts in Warsaw. For many graduates, the choice of the Academy was significantly influenced by the relocation of their teacher, Karol Stryjeński to the capital. As they did not have a high school diploma, they had to undergo the “habituation” process, most often obtaining a certificate of graduation from the Municipal School of Decorative Arts and Painting. In the studio, they distinguished themselves with particularly successful sculptures in sports and metal techniques. They also took a significant part in the realizations of their professors. Some became professors at the Academy of Fine Arts in Warsaw, others returned to Zakopane as teachers. This phenomenon of the movement of students and professors continues to this day.

Spanish Style Walking Sticks in the Collection of the National Museum in Krakow

The collection of the National Museum in Krakow includes over ninety walking sticks from different parts of Europe, Asia and Africa, dated from the 18th century to the second half of the 20th century. Most are kept in the Department of Decorative Arts, Material Culture and Militaria, in the collection of which artefacts manufactured in Spain constitute a relatively small percent. Therefore, from this group it is worth presenting two walking sticks, previously unpublished, connected with the culture and art of the Iberian peninsula. The staffs described in this article represent two categories. The first of them is an elegant clothing accessory carried by a man who took care of his appearance. A note in the documentation of the donation indicates the cane had once belonged to Lucjan Siemieński (1807–1877), a Polish poet. Although its handle was made in Eibar or Toledo, as a whole the cane might have been made and used outside Spanish borders. Regardless of the how and where the cane was bought by Siemieński, it seems it can be dated to the third quarter of the 19th century. The second of the staffs, linked more with the local folklore, provides information about the place where it was made. The inscription visible on the bottom ferrule suggests the staff was made in 1881 in Saint-Jean de-Luz, a town on the Atlantic coast in the Nouvelle-Aquitaine region, France, several kilometres from the border with Spain, a part of the Basque province of Labourd (Lapurdi). Both the construction and decoration signify that is a makila (makhila), a cane characteristic of the Basque men’s costume.

Art Studies in the Context of Power Relations in Lithuania, 1940–1953: The Case of the Activities and Closure of Kaunas Applied and Decorative Art Institute

Summary The main purpose of this report is to discuss the influence of political power on art studies in Lithuania and the creative work of artists from 1940 to 1953. It will be based on the destruction of the Kaunas Institute of Applied and Decorative Arts, which is little known to art historians. After the Second World War, this institute actually followed the traditions of Kaunas Art School (1922–1940): that was the reason for its closure in 1951. The closure was officially called the reorganisation and continuation of art studies in Vilnius. The post-war ideological content and power of the government acted in the study process. However, in essence, educators were guided by their modernist attitudes and did not accept Soviet directives. The report will try to show how political power has corrected art studies and changed the work of mature artists. This article raises a question about the cost of adaptation and resistance in life and creation. The idea is that the destruction of an art institution is possible, but it is impossible to completely destroy the art school tradition. These and other similar issues will be addressed in the article, based on archival documents and examples of works by several different generations of artists – Vytautas Kairiūkštis (1891–1961), Liudas Truikys (1904–1987), Zenonas Varnauskas (1923–2010).

THE ROLE OF THE REPRESENTATIVE OF THE DYNASTY IBRAGIMOVS IN THE DEVELOPMENT OF THE TASHKENT WOOD CARVING SCHOOL

This article analyzes the specific methods and directions of wood carving in Tashkent. In addition, the activities of the schools of Tashkent, Ferghana, Bukhara, Samarkand and Khiva were studied in the schools of wood carving and decorative arts of Uzbekistan. These schools share many technical, methodological, and compositional similarities as well as differences.On its basis, the technical, methodological and compositional aspects of the Tashkent school and the activities of representatives of the Ibragimov dynasty were comprehensively studied

Ethnocultural basis of the formation process of the Crimean Tatar art culture and decorative and applied art (part one)

Based on the research results of Russian, Soviet and foreign archaeologists, anthropologists, geneticists and art historians, an attempt has been made to trace the process of formation of the artistic culture and decorative and applied art of descendants, who by the 10th –11th centuries took part in shaping of the Crimean mountain people, the Tats of the Crimea, the ancestors of the ethnographic groups of the modern Crimean Tatar people – the southern coastal and mountain Crimean Tatars, as well as of the Greco-Tatars – the Urums of the Azov region. And also to try to characterize the culture and decorative arts of the aboriginal and immigrant ethnic groups of the Crimean peninsula, who later took part in the process of ancient cultural genesis of the population of the mountainous and southern coastal Crimea. It also shows the initial stage of the process of cultural genesis of the steppe and foothill Crimean Tatars, which was going on parallel to the process of cultural genesis and formation of the artistic culture of the Tats of the mountainous and southern coastal Crimean Tatars.

The Influence of Suandei Fall on Art of Carving Artists in Woinap Village, Yapen Island District

The art of carving, known as carving, or decoration with various flora, fauna, figurative and even geometric motifs which is an ornate image with some parts being concave and some parts convex both horizontally and vertically and elliptically arranged in a very beautiful image. (Study of Cultural Anthropology)(1) The carvings, which are known in the works of Decorative Arts, still survive and are in demand and are found in various areas such as the Biak Numfor Islands, Yapen Islands, Waropen Wondama Bay and various other areas that are included in the Kuripasai cultural family, Mananarmakeri, and Sairei. A special highlight in this writing is the carving motifs that are still practiced by carving craftsmen in Woinap Village, Wonawa District, Yapen Islands Regency, where until now there are very few carvers. This carving motif was inspired by the legend of "Suandei" by Drs. Frits Maurid Kirihio, alumni of the University of Leyden, the Netherlands, in the 1950s, who was recorded in the book “Dongen Tanah Kita,(2) Descriptive analysis method is a method used to analyze data by describing or describing the data that has been collected as it is without intending to make conclusions that apply to generalization or generalization, Sugiyono (2014:21)(3) Excellence Carving motifs based on beliefs that have been practiced so far in the village of Woinap, Yapen Islands Regency. or skulls, all of which are manifested and the decorations that are usually displayed on family tools such as boats, wooden pans (sempe) art tools (tifa) net buoys, all take symbolic or philosophical meanings from their original form.(4) The indigenous people of Woinap are a community categorized as living in the outermost area of ​​the Yap . Islands Regency en and still isolated from the rapid development of the era. However, it cannot be separated from local wisdom techniques that are often adopted from neighboring areas which are more innovative in people's lifestyles because culture is dynamic and always moves with the times, so the people of Woinap also move with the habit of living with the times by way of -a new way that is still considered cultural even though indigenous cultural values ​​have been eroded.(5) The cultural heritage of the Papuan people in the saireri strait region, especially the unique carving art of the Woinap community, has an economic potential that can bring ecotourism and increase the PAD of the Islands district government Yapen.(6)