Integration of arts synthesis into subject-spatial design of the Moscow metro

The article analyzes the synthesis of monumental and decorative art in the design of metro stations, considers the issue of creating an underground space as a symbol of future happy life through the use of art elements, and raises the question of the future architectural design of the station interiors.

Betawi arts and culture center with the application of modern tropical architecture

Jakarta is a city with a wide variety of ethnicities, languages and customs. Likewise with the Betawi culture that grew in the city of Jakarta. Jakarta culture must be distinguished from Betawi culture, Betawi people create Betawi culture, while Betawi culture is an element and supporter of Jakarta culture, conveyed by various other cultural elements found in Jakarta. Some other cultures are the cultures of various ethnic groups residing in Jakarta or national and foreign cultures or international cultures. Traditional Betawi art elements that have been known since ancient times and still live among Betawi people to this day, especially in the outskirts of Jakarta include dance, theater, music, literature and puppetry. Seeing Betawi culture in DKI Jakarta that is increasingly fading, Betawi leaders and elders under an organization called the Betawi Consultative Body (Bamus), urged the DKI Jakarta city government to create a container for the preservation and development of Betawi culture on an ongoing basis. With the application of Modern Tropical Architecture which is expected to make the tourist attractions become more modern but does not eliminate the characteristics of the Betawi culture itself.

Ukrainian Theatrical Drawings and Sketches of the Avant-Garde Era

The study of time, space and movement as constituent art elements was a focus of attention of avant-garde artists. The theatre where events unfold both in space and time became a place of consolidation of Ukrainian artists, with the synergistic association of representatives in various art branches and movements. A scenographic sketch, that is, a two-dimensional realisation of idea of a future four-dimensional work, is a unique phenomenon to study the evolution of the avant-garde’s concept of the space-time continuum. Through the example of works of both distinguished and less known Ukrainian theatre artists we have studied features of the realisation of time and space categories according to the key stylistic directions of the Ukrainian avant-garde: cubism, futurism, cubo-futurism, constructivism, suprematism. A theoretical basis for the study has been provided by works of Western thinkers of the late nineteenth and early twentieth centuries: Edmund Husserl, Henri Bergson, Oswald Spengler, Ludwig Wittgenstein, Maurice Merleau-Ponty, and Meyer Schapiro, along with the Ukrainian art theorists Kasimir Malevich, Aleksandr Bogomasov, and Les Kurbas, as well as works of modern researchers such as Linda Henderson and Igor Duchan. We have drawn a parallel between the development of art concepts in the Ukrainian avant-garde and scientific achievements, and the sense of time and space categories in the philosophical thought of that epoch.

Implementasi Hubungan Ilmu, Budaya, dan Ekonomi pada Lembaga Pendidikan Islam Indonesia

ABSTRACTThis research is intended to find the relationship between science, culture, and economics as well as their implementation in Islamic education institutions (IEI). The method used is descriptive qualitative with literature review. The results showed that the relationship between science, culture and economy based on Koentjaraningrat’s cultural elements theory is general and specific, the elements of the knowledge system are the same as science and the livelihood system is the same as the economy. The seven elements of culture have been implemented in the IEI: (1) The language elements used are Indonesian, regional languages, Arabic, English, and other foreign languages. (2) The elements of the knowledge system in the IEI are leaning towards traditionalist or modernist currents. (3) The social organization elements in the IEI can be under the government or foundations with each institution having a member level. (4) Elements of technology owned by IEI consist of laboratories of various types and facilities of different quality at each location. (5) The element of livelihood at IEI is in the form of compulsory contributions, donations, baitul mals, cooperatives, or rental of business stalls. (6) The religious element in each IEI is of course based on Islamic teachings by providing opportunities for non-Muslims to study at several Islamic universities. (7) Art elements implemented by the IEI include calligraphy, tambourine, reading the Qur'an, speech, and nasheed.KEYWORDSScience, Culture, Economy, Implementation, Islamic Education Institution.

The Beliefs and Aesthetics of Isaan Heritage Trees

This article is a part of a Doctoral Thesis titled “Isaan Heritage Tree: From the Belief and the Aesthetic to the Creation of Visual Arts,” with the objectives of studying the belief and the aesthetic that exist in the Isaan Heritage Tree using the qualitative method. The study’s target groups can be divided into three following groups: the experts, the practitioners, and the related people. The area of study is in the Isaan region. The region is divided into upper Isaan, mid-Isaan, and lower Isaan. The research tools consist of surveys, non-participatory observation, and structured and non-structured interviews. The data collected from documents and field data was analyzed using Aesthetic Theory and Symbolic Interactionism Theory and presented using descriptive analysis. The study results show that Isaan has a long history and development both in geography, the administration, society, the culture, and the migration of people who came to settle in the area from Luang Phrabang, Vientiane, and Champasak. This had caused the people and nation’s coming together and led to social management, which consists of regulations, religion, and belief. The beliefs of the Isaan people are connected to forest spirits, household spirits, or tree spirits. Five following characteristics of the Heritage Trees were also found: 1) The traditional beliefs related to the Heritage Trees of Isaan. 2) The new belief. 3) The beliefs that are connected to the locations. 4) The beliefs in the tree spirits whose identity and gender cannot be identified. 5) Auspicious and inauspicious beliefs. There are three aspects for the aesthetics: Aesthetic elements are the feeling of amazement due to the gigantic size filled with astonishment, mystery, and the fear of power. The interesting aspects of Art elements are the unity and relationship to the seasons, such as the Fall season, Rainy Season, and the blooming of flowers that contribute to the changes in the aesthetics changes. The visual art elements consist of six following components; bodies and shapes, lines, colors, textures, light and shadows, and area. It was found that the gigantic size and height cause amazements to the viewers. The physical lines of the Isaan Heritage trees were the lines along the trunks, the lines on the branches, and the lines that go along the leaves and flowers. There are different colors of the trunk, the leaves, and the flowers. The texture was rough, harsh, and the cracks follow the same directions as the trunk. There are botanical differences in the light and shadows of the heritage trees. As for the area, there are differences between the area of the heritage trees and the surrounding areas, as well as the differences within the Isaan Heritage Trees area. Received: 25 January 2021 / Accepted: 31 March 2021 / Published: 10 May 2021

The Concretization of the Literary Work of Art: Elements for a Comparison between Roman Ingarden and Wolfgang Iser

The notion of concretization introduced by Roman Ingarden in his seminal work The Literary Work of Art makes the reader the one responsible for the creation of the literary work of art as an aesthetic object. Prior to the act of reading, “the work itself,” in Ingarden’s analysis, is a structure of various strata: the stratum of verbal sounds, the stratum of meaning units, the stratum of schematized aspects, and the stratum of represented objectivities. The reader concretizes the work, turning the schematic formation into an accomplished aesthetic object. Concretization is accomplished by adding determinations to the schemata of the text on all strata. By way of their psychic operations readers fill in places of indeterminacy and establish the world of the literary work of art. Wolfgang Iser takes up Ingarden’s concept of places of indeterminacy to develop his own position. Iser recasts the concept of indeterminacy in the form of gaps or “blanks” which allow for more functions and forms than those stated in Ingarden’s analysis. For Ingarden, the process of reading moves in one direction: from the real world to the imaginary (intentional) world. For Iser the process of reading is two-directional: the reader fills in the blanks of the imaginary world using the memory traces collected in his or her mind that derive from the life-world. An attempt to clarify the main points of Ingarden’s phenomenology of reading, may, therefore, elucidate Iser’s contribution. In addition, the notion of concretization has seen many criticisms (R. Wellek, G. Poulet, S. Fish, D. Barnouw among others), and the topic deserves renewed attention.

Interior Design with Consumers’ Perception about Art, Brand Image, and Sustainability

In this study, the main research purpose was to determine whether artistic components of interior design in a store lead consumers to have different perceptions of the store. There were three main research questions. The first was whether consumers perceived the artistic components in a store visually. Second, based on the first research question, this study explored whether the artistic displays at the show window, around the furniture, and around the stairs were associated with consumers’ perceptions of the store as environmental-friendly. The third research question explored how the consumers’ perceptions of artistic and environment-friendly components were associated with the conventional marketing performance of the store. The 2 Stages Probit Least Squares (2SPLS) method was utilized to answer the first and second research questions and the 2 Stage Least Squares (2SLS) method was utilized for the third research question. Findings indicated that consumers had significant emotional responses from seeing artistic components in a store. In addition, these perceived art elements were associated with marketing performances, including pro-environmental perception, store differentiation, brand image, and consumer satisfaction. The practical implications were included in the discussion.

The Study and Analysis of The Prevailing Elements and Patterns in The Background of The Works of Mirzababa, A Qajar Painter

The Qajar period is the beginning of many important and long-lasting developments in Iran's contemporary era. Among these developments, we should mention the changes in Iranian arts and the aspects that these arts had with them. Planning and backgrounding were among the aspects that entered Iranian painting with the entrance of Western art elements. Mirzababa was one of the most important painters of the first Qajar period, and the way he used these elements became an unwritten and frequently used pattern among artists. The purpose of the present article is to analyze the background of his works and to understand his backgrounding. The research is a theoretical and a descriptive-analytical research. The statistical population of the research consists of the works of Mirzababa and because the number of works that have reached us is limited, the sample size is all of his works. The research data show that Mirzababa had been backgrounding according to the type of art or used medium. Backgrounds have a general pattern or contractual elements that have an interior, exterior, or a combination of both spaces rather than the used medium.

MALAY AND ISLAMIC TRADITIONS ELEMENTS THROUGH THE PAINTINGS OF MASTURA ABDUL RAHMAN, RUZAIKA OMAR BASAREEE AND HARON MOKHTAR

This study will highlight the elements of Islamic values and Malay traditions in the artworks of 20th and 21st-century Malaysian artists, namely Mastura Abdul Rahman, Haron Mokhtar, and Ruzaika Omar Basaree by discussing the elements of Malay values and Islamic traditions in respect of their artworks. The analyses focused on the artworks from 1980 to 2014, specifically Haron Mokhtar’s “Zahir Mosque”, Ruzaika Omar Basaree’s “Siri Dungun” and Mastura Abdul Rahman’s “House of Harmony” and “ Interior No. 29”. These artists’ works were delivered according to the manifestation of the National Cultural Policy 1971, which highlighted the Islamic and local identity as the main idea and theme of the artworks of local artists. This study has used qualitative methods, which are documentation and observations of each work in the artists’ catalogue as a process of collecting primary data. Meanwhile, secondary data were gathered through referencing academic works like books, journals, and magazines on Islamic values and Malay traditions in visual arts paintings. The analyses found that these works used Islamic art elements, like the “Thuluth” khat in “Zahir Mosque”, as well as the combination of colour and flora motifs on “Siri Dungun”. At the same time, they feature cultural elements, such as “congkak” and “Labu sayong” and traditional Malay ornamental design, which represent the Malay culture and philosophies.