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Journal articles on the topic 'Art, Far Eastern'
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1
Clunas, C. "Oriental Antiquities/Far Eastern Art." positions: east asia cultures critique 2, no. 2 (September 1, 1994): 318–55. http://dx.doi.org/10.1215/10679847-2-2-318.
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Wills, Paul. "FAR EASTERN PICTORIAL ART: FORM AND FUNCTION." Paper Conservator 9, no. 1 (January 1985): 5–12. http://dx.doi.org/10.1080/03094227.1985.9638464.
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Winter, John. "PAINTS AND SUPPORTS IN FAR EASTERN PICTORIAL ART." Paper Conservator 9, no. 1 (January 1985): 24–31. http://dx.doi.org/10.1080/03094227.1985.9638466.
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Cannon-Brookes, P. "New displays of far eastern art in London." Museum Management and Curatorship 12, no. 1 (March 1993): 101–7. http://dx.doi.org/10.1016/0260-4779(93)90011-d.
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Kats, L. M. "Приморская государственная картинная галерея как центр художественного пространства Дальнего Востока." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 68–83. http://dx.doi.org/10.46748/arteuras.2020.04.006.
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The article is devoted to the last decade of exposition and exhibition activity of the Primorye State Art Gallery. The focus is on art projects that have become the result of increasingly strong inter-Museum contacts: “guest”, exchange and joint exhibitions. They are born as a result of searches for interested partners and sponsors, agreements with the heads of various institutions at forums and seminars. The patronage of Central museums is of great importance: the State Hermitage Museum, the state Tretyakov Gallery, the State Russian Museum, and others. The Primorye State Art Gallery organizes international exhibitions in order to promote Far Eastern fine art in the countries of the Asia-Pacific region, to open new names for these territories in the artistic sphere of the region and the district. The experience of the the Primorye State Art Gallery can be useful for museum workers in the Far Eastern and Siberian regions, and the information obtained can become an incentive for establishing new inter-museum contacts. The Primorye State Art Gallery is a relatively young museum formed in 1966 on the basis of the art collection of the Primorsky Regional Museum of Local Lore (now the Museum of the History of the Far East named after V. K. Arsenyev). Over five and a half decades, the gallery's funds have grown immeasurably, and it has become a methodological center for art museums in the Far East: the State Hermitage Museum has held six master classes on restoration and conservation of works of art in the gallery, and specialists from the State Russian Museum have been conducting scientific and practical seminars for the Far Eastern Federal district in recent years here. Статья посвящена последнему десятилетию экспозиционно-выставочной деятельности Приморской государственной картинной галереи. В центре внимания — арт-проекты, ставшие результатом все более крепнущих межмузейных контактов: «гостевые», обменные и совместные выставки. Рождаются они как итог поисков заинтересованных партнеров и спонсоров, договоренностей с руководителями различных институций на форумах и семинарах. Большое значение имеет шефское внимание центральных музеев: Государственного Эрмитажа, Государственной Третьяковской галереи, Государственного Русского музея и других. Международные выставки Приморская картинная галерея организует с целью продвижения дальневосточного изобразительного искусства в страны Азиатско-Тихоокеанского региона, открытия для этих территорий новых имен в художественной сфере края и округа. Опыт Приморской государственной картинной галереи может быть полезным для музейных работников Дальневосточного и Сибирского регионов, а полученная информация — стать побудительным импульсом для установления новых межмузейных контактов. Приморская государственная картинная галерея — сравнительно молодой музей, образовавшийся в 1966 году на основе художественной коллекции Приморского краевого краеведческого музея им. В.К. Арсеньева (ныне Музей истории Дальнего Востока им. В.К. Арсеньева). За пять с половиной десятилетий неизмеримо выросли фонды галереи, она превратилась в методический центр для художественных музеев Дальнего Востока: Государственный Эрмитаж провел в стенах картинной галереи Владивостока шесть мастер-классов по реставрации и консервации произведений искусства, специалисты Государственного Русского музея в последние годы выезжают с научно-практическими семинарами для зоны Дальневосточного федерального округа.
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Wagner, Malene. "Eastern Wind, Northern Sky." Journal of Japonisme 1, no. 1 (January 4, 2016): 41–65. http://dx.doi.org/10.1163/24054992-00011p04.
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Among countries like Germany, France and England, Denmark took part in the ‘japanomania’ that swept the West in the second half of the nineteenth and early twentieth centuries. Key figures in promoting Japanese art were art historian Karl Madsen and artist and museum director Pietro Krohn. Both played a significant role in trying to establish Denmark in the field of Japanese art on a par with serious international art collectors and connoisseurs. Their connections to Justus Brinckmann in Hamburg and Siegfried Bing in Paris enabled them to put on exhibitions that would introduce to a Danish audience a, so far, relatively unknown and ‘exotic’ art and culture. Often perceived in the West as expressing an innate understanding of nature, Japanese art became a source of inspiration for Danish artists and designers, such as Arnold Krog, who would create a synthesis between the Nordic and Japanese in his porcelain works.
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Brandišauskas, Donatas. "Sensory Perception of Rock Art in East Siberia and the Far East." Sibirica 19, no. 2 (June 1, 2020): 50–76. http://dx.doi.org/10.3167/sib.2020.190204.
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This article shows how the sensory perception of rock art guided both archeologists’ interpretations as well as indigenous worldviews in Eastern Siberia and the Russian Far East. The research is based on the author’s ethnographic fieldwork research among indigenous communities of the Olekma, Chara, Aldan, and Amur, and Vitim river basins in the Sakha Republic, the Amur and Zabaikalskii regions, and the Republic of Buriatiia. The article discusses Evenki herders’ and hunters’ interactions with the rock art sites and demonstrates how these sites have served as a source of ritual and cosmological inspiration. Rock art research has also been inseparable from intuitive and embodied experiences for researchers in the field who interact with rock art.
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Dabrowski, Patrice M. "Hutsul Art or “Hutsul Art”?" Canadian-American Slavic Studies 50, no. 3 (2016): 313–31. http://dx.doi.org/10.1163/22102396-05003003.
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This article is concerned with the fate of the Hutsul kilim and, by extension, Polish-Ukrainian relations in the interwar period. This was a period when the Hutsul highlanders of the Eastern Carpathians (today citizens of modern Ukraine), the traditional weavers of these geometrically-patterned woolen rugs, found themselves within the newly established Second Polish Republic. Most commercial weaving was in Jewish hands at this time, and this production was far inferior to that done by Hutsuls themselves, primarily for their own domestic use. The decline of the Hutsul kilim was arrested by a Ukrainian émigré from Soviet Russia, whose “Hutsul Art” collective reinvigorated the form. This development brought the Hutsul kilim to the attention of those who would wish to appropriate it, or at a minimum consider it part and parcel of interwar Poland’s artistic production. The article demonstrates that, while Ukrainians were keen on integrating the Hutsul kilim into the Ukrainian kilim tradition, Poles preferred to keep the Hutsul kilim distinct, thus allowing it to be seen as part of the heritage of the multiethnic interwar Polish state.
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Eres’ko, Irina E. "Choreographic Art in the Far Eastern Federal District: History, Problems and Prospects of Development." Journal of Siberian Federal University. Humanities & Social Sciences 9, no. 6 (June 2016): 1368–75. http://dx.doi.org/10.17516/1997-1370-2016-9-6-1369-1375.
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Ten Doeschate-Chu, Petra. "Revelation and Validation." Journal of Japonisme 1, no. 2 (August 22, 2016): 186–203. http://dx.doi.org/10.1163/24054992-00012p02.
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This article is about Matisse’s interest in Japanese and Chinese art, two artistic traditions that had a significant impact on his artistic thinking at the beginning and the end of his career, respectively. It analyzes the importance of Far-Eastern art and theory for Matisse’s modernism against the backdrop of the transformation (and ultimate decline) of Japonisme in the early twentieth century and the attendant revival of interest in Chinese art.
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Pitukhin, Evgeny A. "EVALUATION METHODS OF TRAINING SYSTEM EFFECTIVENESS FOR PROFESSIONAL EDUCATION IN THE REGIONS OF THE FAR EASTERN FEDERAL DISTRICT." Lifelong education: the XXI century 24, no. 4 (December 2018): 117–30. http://dx.doi.org/10.15393/j5.art.2018.4325.
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Kudinova, Maria A. "An Overview of Rock Art Sites in Gansu Province, China." Oriental Studies 20, no. 4 (2021): 23–36. http://dx.doi.org/10.25205/1818-7919-2021-20-4-23-36.
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The paper presents a brief overview of rock art sites known to date on the territory of Gansu Province in north-western China. Petroglyphs have been discovered in all parts of the province, most of them concentrate in the north-western and central parts of the region. Over the past decades, a significant number of rock art sites has been found in the eastern and south-eastern parts of Gansu, but many materials from this territory have not yet been published or were published in hard-to-get local periodicals, quite often without any illustrations. The purpose of this article is to fill the lacuna in the rock art studies of this part of China through the generalization of all available data on Gansu petroglyphs and listing the rock art sites known to date. Petroglyphs of Gansu can be generally attributed to the northern province of Chinese rock art. The techniques used to produce images include percussion (pecking), abrasion (scratching or rubbing) and engraving, no painted images have been discovered so far. At the same time, pronounced differences between rock art sites in different parts of the province can be observed: the sites in the north-western and central parts of the region have obvious similarities with the rock art traditions of Xinjiang, Qinghai, Tibet and (to a lesser degree) Inner Mongolia, while the petroglyphs of eastern and south-eastern parts of Gansu are close to the rock art of Ningxia, Inner Mongolia and partly to the petroglyphs of Jucishan in Henan Province.
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Radu, Magda. "“What We Think about the Object Is Far More Important Than Its Making”: Some Notes on Horia Bernea's Early Works." ARTMargins 2, no. 3 (October 2013): 63–86. http://dx.doi.org/10.1162/artm_a_00061.
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The text analyzes the early activity of the Romanian artist Horia Bernea (1938–2000), putting it in conjunction with various aspects of conceptual art. It emphasizes points of contact between Bernea's practice and the existing narratives of conceptual art (including the Eastern European ones) and it provides contextual information about the artistic and socio-political environment in Romania during the period of liberalization which debuted at the end of the 1960s and lasted for a few years. The text mainly focuses on a close reading of some Bernea's works which were made in this timeframe, namely the Production Charts series and his investigation of the “post-cognitive iconography” formed by a family of “Entities” with invented names and morphologies.
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GOTCHEVA, Angelina-Ogniana. "THE RUSSIAN COMPOSER EDISON DENISOV – FAR OR CLOSE TO THE WESTERN CULTURE." Ezikov Svyat (Orbis Linguarum) 18, no. 1 (March 27, 2020): 94–108. http://dx.doi.org/10.37708/ezs.swu.v18i1.11.
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19 marks the 90th anniversary of the birth of the Russian avant-garde composer Edison Denisov. He belongs to the second generation of Soviet avant-garde composers, whose work is famous for its innovative thinking and techniques: serialism, aleatory, sonorism and the use of electronics. The most progressive composers among them are Edison Denisov, Sofia Gubaidulina and Alfred Schnittke, who form a group later called “The Moscow Triad”. This article explores the ways in which Eastern and Western culture meet, specifically within works pertaining to the religious perspectives of the three authors – Gubaidulina’s meditative concept, the mystic beliefs of Schnittke, the sublimity of art in Denisov’s works and their different spiritual insight into art. The article also gives specific evaluation of the connection between the members of the Moscow Triad and the way they perceived each other’s personalities and work through a series of their own quotations. Their difficulties in communication with foreign Western composers and the wish to bring their work to the knowledge of the younger generation of Russian composers is observed, as well as the friendship between Denisov and another legendary French avant-garde composer Pierre Boulez. It briefly explores the effect of the contemporary political situation that led to the prohibition of the distribution and performance of the music of the three composers. The article addresses the way the art of Denisov was perceived in the past and today, the reception of his music in the West and in his homeland, his legacy and the future of his music in the context of the global culture.
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Kradin, Nikolai. "The creative heritage of architect A. S. Cheskidov (1937–2000)." проект байкал 18, no. 68 (August 8, 2021): 104–11. http://dx.doi.org/10.51461/projectbaikal.68.1812.
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The article deals with the creative heritage of the Far Eastern architect and public figure A.S. Cheskidov, the author of numerous projects and buildings in Khabarovsk and Komsomolsk-on-Amur. The article analyzes various types of buildings constructed upon his projects, his pedagogical activities related to the training of architects, his multifaceted public work, including his participation in the Commission for the awarding of State Prizes in the field of literature and art.
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Dr. Goswami Shivdani Giri. "Tracing Eastern Influences in The Fakeer of Jungheera." Creative Launcher 6, no. 2 (June 30, 2021): 76–85. http://dx.doi.org/10.53032/tcl.2021.6.2.12.
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The paper aims at analysing various influences that Henry Derozio underwent in the composition of his Fakeer of Jungheera. The reviewers and commentators, while admitting some poetic merits in the poem, find it largely imitative of Byron and hence greatly wanting. However, a close first-hand study of the poem along with the poet’s notes alluded to it throws light on a number of facts related to its subject matter and style. It is revealed that far from being modelled on Byron's ballads like The Corsair or The Siege of Corinth or The Prisoner of Chillon, it is unmistakably Indian in conception and amazingly rich in local colours and imagery. Even the apparent similarity is superficial, and instead of being a fanciful tale, the Fakeer of Jungheera is the poetic recreation of a real-life episode heard by and believed in by the poet. The paper also examines the art of poetic diction and devices that the poet employs in the poem.
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Fedorovskaya, N. A., and A. V. Chernova. "INDICATORS OF EFFECTIVENESS OF MASTER PROGRAMS IN DECORATIVE AND APPLIED ART AND CRAFTS IN THE FAR EASTERN FEDERAL UNIVERSITY." Современные проблемы науки и образования (Modern Problems of Science and Education), no. 4 2020 (2020): 53. http://dx.doi.org/10.17513/spno.30025.
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Kharitonov, Dmitry, Georgiy Tarasov, Denis Leontyev, Roman Parakhin, and Valeriya Gribova. "State of the art and development prospects of the Shared Resource Center ”Far Eastern Computing Resource” IACP FEB RAS." Program Systems: Theory and Applications 7, no. 4 (2016): 197–208. http://dx.doi.org/10.25209/2079-3316-2016-7-4-197-208.
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Scott, Rosemary E. "Sherman E. Lee: A history of Far Eastern art. Fourth edition. 548 pp. London: Thames and Hudson, 1988. £38." Bulletin of the School of Oriental and African Studies 52, no. 3 (October 1989): 596. http://dx.doi.org/10.1017/s0041977x00035096.
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Carr, Annemarie Weyl. "Iconography and Identity: Syrian Elements in the Art of Crusader Cyprus." Church History and Religious Culture 89, no. 1 (2009): 127–51. http://dx.doi.org/10.1163/187124109x408032.
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AbstractThe murals of triumphal arch in the Church of the Panagia Phorbiotissa, Cyprus, painted in the late thirteenth century when Cyprus was a Crusader state, adopt an iconography paralleled not in Byzantium but in the Miaphysite churches of the Syrian and Egyptian mainland, and best analyzed in relation to Miaphysite liturgical exegesis. As such, they suggest three revisions to current ways of thinking about the roles of Cyprus and the mainland in shaping the art of the Crusader era: 1) rather than for a 'maniera cypria' or a 'maniera tripolitana', we must look for an intricate, two-way reciprocity; 2) it is a reciprocity not simply between Cyprus and the mainland Crusader states, but between Cyprus and the far larger terrain of Syrian and Egyptian eastern Christendom; and 3) it engages not only style but also iconography and content.
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Pajin, Dusan. "Cultures of the east (1984-1992)." Filozofija i drustvo 24, no. 2 (2013): 33–43. http://dx.doi.org/10.2298/fid1302033p.
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The quarterly journal, Cultures of the East (1984-92), was founded with the intention of presenting Near and Far East cultures to academics, as well as a wider audience, and illuminate some of its rich cultural heritage. The subtitle defined the journal as a ?journal for Eastern philosophy, literature and art?. However it also contained other issues, such as religion. Some issues had a comparative approach, compiling studies (on philosophy, religion, etc.) of Eastern as well as Western origin on a given topic. Recently two digital internet presentations of the journal issues have been posted to the following site: http://yu-budizam.com/knjige/#kulture. In this text we will present relevant texts dedicated to philosophy and topics related to philosophy, like meditation, mysticism, ethics, or psychology.
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OSIPOVA, Erika V. "Far Eastern Theater Art as a Field for Intercultural Communications: Challenges of Audience Perception in the «Us vs. Them» Context." Известия Восточного института, no. 1 (2018): 97–113. http://dx.doi.org/10.24866/2542-1611/2018-1/97-113.
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Vaskiv, Mykola. "The Far East, the ukrainians and the pathos of grandiose transformations in the film essay “Aerograd” by Oleksandr Dovzhenko." LITERARY PROCESS: methodology, names, trends, no. 15 (2020): 12–18. http://dx.doi.org/10.28925/2412-2475.2020.15.2.
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The article analyses the film essay “Aerograd” (“Aerocity”) by Oleksandr Dovzhenko as a work that recreates the features of the Far East, its development, the existence of Ukrainians who compactly lived there on the territory of the so-called Green Wedge. The story line of the film is based on the traditional for that time detective-adventure collision of fighting the internal “enemies of the people”, who help the Japanese to overthrow the Soviet power in the Far East. The work mentions Far Eastern Ukrainians, their way of life and culture, however, Oleksandr Dovzhenko emphasizes on the predominance of ideological, international intentions over national ones. “Aerograd” is overflowing with the pathos of grandiose economic transformations in the Far East, the full development of this region, the boundless faith in its happy future. Film story line is marked by the dynamics of changes, the movement of characters and action, movement of characters in the great distance at that time. “Aerograd” fits into the broad context of Ukrainian wandering essays and works of art of the interwar twentieth century (1919–1939) about the Far East and Far Eastern Ukrainians (“125 Days under the Tropics” by L. Chernov, “Yellow Brothers (Through Khina)” by L. Nedolia, “Morning over Ussuri” by M. Pichugin, “On Prairies and Jungles of Birobidzhan” by I. Bahmut, “On Birobidzhan” by E. Raitsyn, “The Train Goes East” by L. Pleskachevsky). Each of these works is given a brief description, as well as works about the terrains of compact residence of Ukrainians outside their native land.
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Bonneau, A., F. Brock, T. Higham, D. G. Pearce, and A. M. Pollard. "An Improved Pretreatment Protocol for Radiocarbon Dating Black Pigments in San Rock Art." Radiocarbon 53, no. 3 (2011): 419–28. http://dx.doi.org/10.1017/s003382220003455x.
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The dating of South African rock art using radiocarbon is a considerable challenge and only 1 direct date has so far been obtained, on black pigments from Sonia's Cave Upper, Boontjieskloof. The main problem with direct dating these paintings is the presence of calcium oxalates behind, on, and within the pigment layers. Calcium oxalates are formed through lichen and bacterial action on the rock face. These reactions can sometimes take place over long periods and can incorporate carbon of a younger age into the pigments. This study aims to date black pigments from a rockshelter, RSA TYN2 (Eastern Cape, South Africa), by removing the calcium oxalate contamination. Two different protocols were tried: density separation and acidification. The latter successfully removed calcium oxalates and was therefore applied to 3 black pigment samples from the rockshelter. After acid pretreatment, accelerator mass spectrometry (AMS) dating was undertaken on the remaining residues. Three results were obtained (2072 ± 28 BP, 2100 ± 40 BP, and 2083 ± 32 BP), which constitute the oldest results so far obtained for direct dates on South African rock art. The most likely calibrated date range for the painting at this site is between 2120 and 1890 cal BP. The ages are in close agreement with each other and this consistency suggests that our preparation protocol has successfully removed the majority of the carbon contaminants.
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Timofeeva, Yu V. "Main segments of a reading circle of Siberian and Far Eastern residents in the late XX - early XXI centuries." Bibliosphere, no. 2 (June 30, 2018): 54–61. http://dx.doi.org/10.20913/1815-3186-2018-2-54-61.
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The reading study allows determining the level of development and scales of intellectual-spiritual demands and practical needs of the population. The main segments of a reading circle, common for Siberian and Far Eastern residents in the late XX - early XXI centuries, are art, educational, industrial, scientific, local history, practically useful literature and periodicals. They perform the following functions: information, educational, leisure, relaxation, educational, communicative ones, persons’ socialization, broadcast of social experience and main systems of the values developed in the society at this stage of its development. Popular genres of fiction were entertaining: detective stories, love and historical novels, adventures, fantasy. Entertaining and information publications were the most demanded in the periodicals. It was marked demands for social-political and economic literature, books on housekeeping, popular psychology, traditional medicine, truck farming, children care. The content and ratio of the main segments of reading was defined first of all by reader’ age and occupation. Motives and frequency of regional inhabitants appealing to this or that literature are the basis for separation of reading segments.
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Шапченко, Юлия. "Дальневосточные зарисовки Александра Яковлева." Acta Polono-Ruthenica 2, no. XXIV (June 30, 2019): 43–53. http://dx.doi.org/10.31648/apr.4460.
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Alexandre Yakovlev was a famous Russian painter, graphic and theatre artist, a graduate from the Imperial Academy of Arts and a member of the “World of Art”. In 1917 by the order of the Academy (material collection to decorate interiors of the Kazanian railway station) Yakovlev went to Beijing, then he traveled a lot throughout China, Mongolia and Japan. He explored Chinese and Japanese theaters, as a result he made many ethnographic sketches, portraits and photographs. He arranged the exhibition of his drawings in Shanghai (in 1919). Finding out about the revolution in Russia he emigrated to France. Since 1919 he lived in Paris. He showed multiple works of Far Eastern cycle at personal exhibitions in Paris (Barbazanges Gallery, 1920 and 1921; together with V. Shuhaev), London (Grafton Gallery, 1920) and Chicago (Art Institute, 1922). In 1922 the pub-lisher Lucien Vogel published an album Drawings and paintings of the Far East, which included 50 reproductions of Yakovlev’s Far-East cycle (the book was designed by Shuhaev). At the same time the artist produced an album on the Chinese theater with accompanying text by a Chinese author Zhu Kim-Kim. In 1931–1932 Yakovlev took part in the “Yellow Cruise” arranged by the “Citroen” company. From this expedition he brought some new series of drawings. At the end of the cruise he presented his artworks in Paris and at foreign exhibitions. This background of the artist’s life is subject to be studied better in Russia.
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KHAN, MAHASIN ALI, and Subir Bera. "Pinus daflaensis (Pinaceae), a replacement name for P. arunachalensis Khan & Bera." Phytotaxa 334, no. 2 (January 16, 2018): 200. http://dx.doi.org/10.11646/phytotaxa.334.2.9.
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The fossil species Pinus arunachalensis Khan & Bera (04 July, 2017: 4) was described on the basis of winged seed remains from the middle to late Miocene Siwalik sediments of the Dafla Formation exposed around West Kameng district in Arunachal Pradesh, eastern Himalaya. So far, the report provided the first ever fossil record of Pinus winged seeds from the Indian Cenozoic. However, the name P. arunachalensis Khan & Bera is an illegitimate later homonym of P. arunachalensis Srivastava (06 May, 2017: 86) (Art. 53.1 of the ICN, McNeill et al., 2012) (see also IFPNI, Doweld 2016). The latter name was used by a new extant species of Pinus Linnaeus (1753: 1000) from Arunachal Pradesh.
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Borodziej, Włodzimierz, and Maciej Górny. "„Wojna ducha” na Wschodzie. Propaganda i nauka w służbie ruchów narodowych." Przegląd Humanistyczny 62, no. 4 (463) (May 24, 2019): 111–33. http://dx.doi.org/10.5604/01.3001.0013.2781.
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The article discusses the issue of the political involvement of people of science and culture in Central and Eastern Europe during World War I and in the immediate aftermath. In comparison with the phenomenon of the “war of the spirits” known in the historiography, so far observed mainly in France, Germany and Great Britain, the regional variation of this phenomenon was characterized by a greater informational value and a stronger relationship between journalistic writing and professional science. In particular, the representatives of such disciplines as physical (racial) anthropology and geography in the service of their national movements and governments engaged the whole arsenal of scientific means of persuasion: they used the language of a particular science, created coherent and logical, formally correct theories, argued, while maintaining the appropriate forms, with ideological opponents. These features of the discourse, among other things, contributed to the viability of their scientific theories from World War I, which – unlike analogous creations of Western European luminaries of art and science – still retain the right to exist in a professional academic and journalistic communities in Central and Eastern Europe.
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Kapinus, Alexander. "On the Issue of the Painting Technique of the Marine Artist V.I. Shilyaev." Bulletin of Baikal State University 30, no. 2 (June 11, 2020): 185–94. http://dx.doi.org/10.17150/2500-2759.2020.30(2).185-194.
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Seascape is a special genre of painting. To show the vivid life of the sea is not an easy task for an artist. The creative heritage of marine painters not only delights, but also encourages modern artists to look for their own style, to develop their own painting technique to achieve it. The author analyzes the genesis of the special manner of the Far Eastern marine painter V.I. Shilyaev in the representation of a live transformation of the sea wave, attempts to characterize his original painting technique to perform a frozen in time moment of life of the dynamic volume on the plane of the canvas. Maintaining the creative tradition of the great marinists of the past, V.I. Shilyaev filled his works with patriotic content of self-identification of the Russian Far East, developed the art of depicting legendary ships on an aesthetically irresistible sea wave. The author claims that the mixed improvisational technique of visualizing the constantly changing volume and color of the sea wave is V.I. Shilyaev's innovative contribution to the achievements of the Russian seascape painting school.
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Stephen, Azariah, Krishnamurthy Anupama, Soupramanien Aravajy, and Chrispus Livingstone. "Leaf classes, foliar phenology and life forms of selected woody species from the tropical forests of central and southern Eastern Ghats, India." Check List 8, no. 6 (December 1, 2012): 1248. http://dx.doi.org/10.15560/8.6.1248.
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A checklist of selected woody species of Angiosperms is provided with the aim of classifying their life forms, foliar phenology and leaf classes from the tropical forests of central and southern Eastern Ghats, India. Though there are checklists available for the plants of the Eastern Ghats, a comprehensive listing of quantitative foliar measurements as done in other parts of the world, leading to valuable inputs for Plant Functional Type (PFT) classification, has not thus far been done for this key biogeographic zone of India. The list, gathered from 388 individual plants through the study area, encompasses 156 species and 3 infraspecific taxa which belong to 116 genera and 50 families. Of the total 159 taxa, 83 are evergreen and 76 are deciduous. 135 taxa are trees, 13 are shrubs 10 are climbing shrubs and one hemiparasite. Among the leaf classes of species, mesophyll dominated with 87 species, followed by notophyll (39), microphyll (24) and macrophyll (9). Hence, quantitative leaf trait measurements for selected woody species and the methodology for such studies in the tropics is the unique contribution of the present paper to the existing state-of-the-art.
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Elezovic, D. M. "The role of Dmitry Kantemir’s writings for the Western educational historiography (a case study of the manuscript “The History of Turkey” of the 18th century)." Rusin, no. 63 (2021): 34–42. http://dx.doi.org/10.17223/18572685/63/3.
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The article uses a case study of the manuscript The History of Turkey written by an anonymous author in French in the 18th century and kept in the Bern City Library archives, to discuss West European writers’ evaluation of Dmitry Kantemir’s works. Dmitry Kantemir was not only a prominent political leader and diplomat, but also one of the most educated people in Eastern Europe of his time. When living in Constantinople, he attended a theological school, then studied history, philosophy, literature, art, theology, and ancient languages (he knew eight languages). Highly regarded in Russia, his writings attracted attention in the West and were used as sources by European historians. As an outstanding scientist and diplomat in Eastern Europe, Dmitry Kantemir earned the recognition of his Western European contemporaries as well as historians of later periods, who highly appreciated his works. This article analyses one historical plot, which has not been in the focus of scholarly studies so far: Kantemir’s History of the Growth and Decay of the Ottoman Empire is mentioned as one of the main sources in the manuscript The History of Turkey and repeatedly quoted there.
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Pinto, Hugo, Will Archer, David Witelson, Rae Regensberg, Stephanie Edwards Baker, Rethabile Mokhachane, Joseph Ralimpe, et al. "The Matatiele Archaeology and Rock Art (MARA) Program Excavations: The Archaeology of Mafusing 1 Rock Shelter, Eastern Cape, South Africa." Journal of African Archaeology 16, no. 2 (November 27, 2018): 145–67. http://dx.doi.org/10.1163/21915784-20180009.
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AbstractThe rock shelter Mafusing 1 was excavated in 2011 as part of the Matatiele Archaeology and Rock Art orMARAresearch programme initiated in the same year. This programme endeavours to redress the much-neglected history of this region of South Africa, which until 1994 formed part of the wider ‘Transkei’ apartheid homeland. Derricourt’s 1977Prehistoric Man in the Ciskei and Transkeiconstituted the last archaeological survey in this area. However, the coverage for the Matatiele region was limited, and relied largely on van Riet Lowe’s site list of the 1930s. Thus far, theMARAprogramme has documented more than 200 rock art sites in systematic survey and has excavated two shelters – Mafusing 1 (MAF1) and Gladstone 1 (forthcoming). Here we present analyses of the excavated material from theMAF1 site, which illustrates the archaeological component of the wider historical and heritage-related programme focus. Our main findings atMAF1 to date include a continuous, well stratified cultural sequence dating from the middle Holocene up to 2400 cal.BP. Ages obtained from these deposits are suggestive of hunter-gatherer occupation pulses atMAF1, with possible abandonment of the site over the course of two millennia in the middle Holocene. After a major roof collapse altered the morphology of the shelter, there was a significant change in the character of occupation atMAF1, reflected in both the artefact assemblage composition and the construction of a rectilinear structure within the shelter sometime after 2400 cal.BP. The presence of a lithic artefact assemblage from this latter phase of occupation atMAF1 confirms the continued use of the site by hunter-gatherers, while the presence of pottery and in particular the construction of a putative rectilinear dwelling and associated animal enclosure points to occupation of the shelter by agropastoralists. Rock art evidence shows distinct phases, the latter of which may point to religious practices involving rain-serpents and rainmaking possibly performed, in part, for an African farmer audience. This brings into focus a central aim of theMARAprogramme: to research the archaeology of contact between hunter-gatherer and agropastoralist groups.
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Eichwede, Wolfgang. "Trophy Art as Ambassadors: Reflections Beyond Diplomatic Deadlock in the German-Russian Dialogue." International Journal of Cultural Property 17, no. 2 (May 2010): 387–412. http://dx.doi.org/10.1017/s0940739110000159.
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AbstractThis article provides brief coverage of the Russian-German dialogue since 1991 and the search for solutions about looted art of German ownership seized at the end of the Second World War and still held in Russia. So far, while Russia and Germany regard themselves as partners and friends in political and economic realms, they have been unable to find agreement about the looted art. Germany seems no longer to retain Russian cultural goods plundered during the war, whereas Russia still possesses a significant amount of German cultural assets. On the basis of existing treaties and international law, Germany demands its restitution. Russia, on the other hand, has nationalized the confiscated goods in 1998 as compensation for its own war losses. Nevertheless, not a few citizens of both countries have been returning artworks and books privately, in some cases supported by the governments. A convincing solution for the general problem can only be found if the treasures, which in the past have been understood as trophies, could be transformed into cultural ambassadors, while dialogue and the search for new ways continue within the framework of a policy of reconciliation. This approach also includes further research and analysis of the Russian cultural losses resulting from the war, a project undertaken in the 1990s at the Forschungsstelle Osteuropa (Research Center for Eastern Europe) of the University of Bremen, as briefly described in an appendix to the article.
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Mikhalev, Alexey. "Transformation of the System of Political Symbols in the Russian Far East in the 21st Century." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija 26, no. 3 (June 30, 2021): 227–36. http://dx.doi.org/10.15688/jvolsu4.2021.3.20.
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Introduction. The presented paper is a study of political symbols in the Russian Far East. We are going to discuss not only memorials, but also state symbols, works of art, texts – all the things that shape a world view. The aim of the study is to find political symbols that are universal for the entire Far East region, and to assess their political mobilization capacity. Methods and materials. The article is based upon field study materials conducted in regional centers of the Far Eastern Federal District of the Russian Federation in the spring of 2019. In theoretical terms, the work is based on symbolic politics studies of O.Yu. Malinova, S.P. Potseluev, M. Edelman. Analysis. In the course of the study, we identified several groups of political symbols with mobilization capacity. The first corpus of political symbols is related to the Soviet symbols of victory over Japan. Struggle for the use of these symbols is between the regional branches of the Communist Party and regional authorities. To put things into perspective it is important to assess the impact of Japanophobia on the further development of regional partnership with Japan. The second corpus is the symbols of Russian expansion to the Far East (worship crosses, monuments to pioneers). These symbols are a focal point of struggle between representatives of indigenous peoples, on the one hand, and Cossacks and military-patriotic organizations, on the other hand. Results. In the course of the study of the Russian Far East, we found out that, despite the complicated transformations of the past thirty years, the region is still represented as a unified symbolic space. At the same time, a number of symbolic conflicts and the devaluation of meanings have been observed.
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Grigoreva, Marina Borisovna. "Leading transformation techniques of the traditional Japanese decorative art in design of modern restaurants." Культура и искусство, no. 7 (July 2020): 47–58. http://dx.doi.org/10.7256/2454-0625.2020.7.33019.
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This article is aimed at studying and systematization of key techniques in designing ethnic interior, namely in Japanese restaurants located in Russia. The research defines the difference in perception of space in Japanese and European culture, as well as determines usage of traditional and innovative solution methods of an artistic image. In practice, the conducted research may become an evaluation category in analysis of creative techniques of modern authors who implement Far Eastern theme in designing restaurant environment. The subject of this research is the artistic and decorative approaches in the context of interpretation of authentic Japanese environment. Within the framework of established approaches, the author determines the additional design solution methods. The object of this research is the restaurants of Japanese cuisine that are located in Russia and designed by European authors. The novelty consists in systematization of the key compositional techniques in design of modern restaurants with ethnic concept in Russia. It is established that the leading approach in design is the interpretation of components borrowed from authentic architectural objects and decorative art, as well as formation of associative impressions for reflecting the ethnic theme. The approach based on interpretation of the known by European recipient architectural and decorative techniques of object-spatial environment is dominant, which allows viewing the elements of interior and traditional decorative art as a leading component of authentic culture that undergoes stylization in formation of an artistic image of modern restaurants.
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Zakharov, Vladimir N. "The Idea of Ethnopoetics in Contemporary Research." Проблемы исторической поэтики 18, no. 3 (July 2020): 7–19. http://dx.doi.org/10.15393/j9.art.2020.8382.
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<p>In recent decades, ethnopoetics has become one of the new philological disciplines. Its idea first appeared in the treatise of Nicolas Boileau “The Art of Poetry” (1674), in which the classicist theorist formulated the requirement of local and historical color in art. His rule was followed by many poets, playwrights and novelists of Modern history. In Anglo-American criticism, the term ethnopoetics was introduced in 1968. Jerome Rotenberg, who, along with Dennis Tedlock and Dell Himes, founded the principles and methods of studying American Indian poetry. In the 2000s. this concept has entered encyclopedic dictionaries in English and other European languages, but this word is still not in Russian terminological dictionaries. So far, the concept of poetics, which restricts the semantics of words forming a term, has received recognition. Already in the process of formation of ethnopoetics, its subject was expanded at the expense of middle Eastern and Jewish folklore, and later the oral creativity of other peoples. The word formation model (ἔθνος/ ethnos + ποιητική/poetics) cancels limited interpretations of the term. In modern usage, the term ethnopoetics is used in a wide range of meanings that have not yet been marked by lexicographers, but convey the full semantics of the words forming the term. The idea of ethnopoetics gave rise to not one, but several of its concepts. The author of the article develops his earlier understanding of ethnopoetics as a discipline that should study the national identity of the oral and written text, describe in the categories of poetics the specific things that make national literature national. It is characterized by concepts and conceptospheres, they form the mentality, reveal the cultural code of national literatures. The analysis of ethnopoetics opens up great opportunities in the comparative analysis of thesauri of different authors and their works.</p>
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Levdanskaya, N. A. "Eternal Flame of Victory — resonance of generations." Iskusstvo Evrazii [The Art of Eurasia], no. 3(18) (September 30, 2020): 144–53. http://dx.doi.org/10.46748/arteuras.2020.03.012.
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An important event in the artistic life of the Far East in 2020 was the exhibition “Great Victory” in the Primorye State Art Gallery. The article provides an analytical review of this two-part exhibition. The first part is the work of the Honored Artist of the RSFSR, Corresponding Member of the Russian Academy of Arts Kirill Shebeko, who will celebrate his 100th birthday this year. First of all, the Far Eastern paintings of the master, not Primorye, were specially selected from the collection for this exhibition. The second hall shows works of contemporary Primorye artists from Vladivostok, Ussuriysk, Nakhodka, Khabarovsk, Blagoveshchensk, Ulan-Ude, and Yakutsk prepared specifically for the 75th anniversary of the Victory in the Great Patriotic War. Важным событием в художественной жизни Дальнего Востока в 2020 году стала выставка «Великая Победа» в Приморской государственной картинной галерее. В статье представлен аналитический обзор этой экспозиции, состоящей из двух частей. Первая часть — работы заслуженного художника РСФСР, члена-корреспондента Российской академии художеств Кирилла Ивановича Шебеко, которому в этом году исполняется 100 лет со дня рождения. Для выставки из коллекции специально отобраны прежде всего не приморские, а дальневосточные картины мастера. Во втором зале показаны подготовленные специально к 75-летию Победы произведения современных приморских художников из Владивостока, Уссурийска, Находки, Хабаровска, Благовещенска, Улан-Удэ, Якутска.
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Fink, A. H., T. Brücher, V. Ermert, A. Krüger, and J. G. Pinto. "The European storm Kyrill in January 2007: synoptic evolution, meteorological impacts and some considerations with respect to climate change." Natural Hazards and Earth System Sciences 9, no. 2 (March 19, 2009): 405–23. http://dx.doi.org/10.5194/nhess-9-405-2009.
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Abstract. The synoptic evolution and some meteorological impacts of the European winter storm Kyrill that swept across Western, Central, and Eastern Europe between 17 and 19 January 2007 are investigated. The intensity and large storm damage associated with Kyrill is explained based on synoptic and mesoscale environmental storm features, as well as on comparisons to previous storms. Kyrill appeared on weather maps over the US state of Arkansas about four days before it hit Europe. It underwent an explosive intensification over the Western North Atlantic Ocean while crossing a very intense zonal polar jet stream. A superposition of several favourable meteorological conditions west of the British Isles caused a further deepening of the storm when it started to affect Western Europe. Evidence is provided that a favourable alignment of three polar jet streaks and a dry air intrusion over the occlusion and cold fronts were causal factors in maintaining Kyrill's low pressure very far into Eastern Europe. Kyrill, like many other strong European winter storms, was embedded in a pre-existing, anomalously wide, north-south mean sea-level pressure (MSLP) gradient field. In addition to the range of gusts that might be expected from the synoptic-scale pressure field, mesoscale features associated with convective overturning at the cold front are suggested as the likely causes for the extremely damaging peak gusts observed at many lowland stations during the passage of Kyrill's cold front. Compared to other storms, Kyrill was by far not the most intense system in terms of core pressure and circulation anomaly. However, the system moved into a pre-existing strong MSLP gradient located over Central Europe which extended into Eastern Europe. This fact is considered determinant for the anomalously large area affected by Kyrill. Additionally, considerations of windiness in climate change simulations using two state-of-the-art regional climate models driven by ECHAM5 indicate that not only Central, but also Eastern Central Europe may be affected by higher surface wind speeds at the end of the 21st century. These changes are partially associated with the increased pressure gradient over Europe which is identified in the ECHAM5 simulations. Thus, with respect to the area affected, as well as to the synoptic and mesoscale storm features, it is proposed that Kyrill may serve as an interesting study case to assess future storm impacts.
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Tetenkin, A. V., O. V. Zhmur, E. I. Demonterova, E. V. Kaneva, and N. V. Salnaya. "Ivory Figurines and the Symbolic Context of a Paleolithic Dwelling at Kovrizhka IV on the Lower Vitim River, Eastern Siberia." Archaeology, Ethnology & Anthropology of Eurasia 46, no. 4 (December 23, 2018): 3–12. http://dx.doi.org/10.17746/1563-0102.2018.46.4.003-012.
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One of the most important recent discoveries made on the Vitim River (Baikal-Patom plateau, Eastern Siberia) is that of a Paleolithic dwelling at Kovrizhka IV, layer 6. It reveals markers of symbolic activity, such as two anthropomorphic ivory figurines. They were associated with a likewise non-utilitarian context: reiterating boulder and slab pavements, ocher on lithics, on a figurine, and around, evidence of manipulations with the central hearth in the dwelling. One of the figurines shows a triangle pointing downward and possibly rendering the pubes, as in female figurines. Stylistically it resembles Neolithic and Bronze Age anthropomorphic figurines from the Baikal area. Its head, painted with ocher, was directed eastwards. The second ivory figurine has a contour barely reminiscent of the human body. There is no engraving on it. Near its head, a cluster of ocher pieces was found. The radiocarbon date of the dwelling is ca 15.7 ka BP. The two figurines and a fragment of a graphite pendant are the first objects of portable art to be found in the area north of Lake Baikal. The first figurine is thus far the only unambiguously anthropomorphic Upper Paleolithic representation from northeastern Siberia.
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KRAYUSHKINA, Tatiana V. "Traditional Concepts of Strangers in the Culture of the Eastern Slavs of the Far East of Russia (on the Material of Folk Songs Genres of Oral Folk Art)." Известия Восточного института, no. 1 (2018): 49–63. http://dx.doi.org/10.24866/2542-1611/2018-1/49-63.
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Nenakhova, Yuliya N. "Siberian Scientific School of Prehistoric Art Founded by Academician A. P. Okladnikov." Archaeology and Ethnography 18, no. 7 (2019): 19–41. http://dx.doi.org/10.25205/1818-7919-2019-18-7-19-41.
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Purpose. One of the most important research areas studied by A. P. Okladnikov was prehistoric art, in particular its origin and correlation with the concept of “aesthetic beginning”, as well as issues of ancient art development and a number of other related aspects. Siberian scientific school of prehistoric art founded by academician A. P. Okladnikov has already made a significant contribution to the study of prehistoric art on a worldwide scale. Results. A. P. Okladnilov’s scientific interest in prehistoric art issues formed at the beginning of the 1960s, when he moved to Akademgorodok in Novosibirsk. The scientific school was formed on the basis of the Institute of History, Philology and Philosophy of SB RAS. A group of scientists from the institute organized a team which started to develop projects in several aspects: a) studied specific issues of the research program based on the leader’s ideas; b) provided training for specialists; c) organized and coordinated efforts of different research groups studying prehistoric art issues. Conclusion. Academician A. P. Okladnikov is an outstanding Soviet archaeologist, historian and anthropologist, an initiator and the first Director of the Institute of History, Philology and Philosophy of the AS in the USSR (currently the Institute of Archaeology and Ethnography of SB RAS), which was founded in 1966. Ancient history aspects under investigation at those times included the study of initial human settlements and the spread of Paleolithic traditions on the Asian continent, old cultural ties between Asia and America, ethnogenesis and early history of indigenous Siberian and Far Eastern peoples and their inclusion into the Russian state, the formation of Russian culture in Siberia and many others. A. P. Okladnikov organized a series of archaeological expeditions, and the geography of his Siberian expeditions covered a vast region from the Ural Mountains in the west to the Pacific Ocean in the east, from the Arctic Ocean in the north to Central Asia in the south. Dozens of talented researchers followed A. P. Okladnikov and made important archaeological discoveries. Their research areas cover a wide range of topical issues. Today it is the students of this researcher who largely determine the vector of archaeological development.
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VOLKOVA, E. S. "LIFE AFTER REFORMS: THE SURVIVAL PRACTICES IN THE RUSSIAN FAR EAST AT THE TURN OF XX-XXI CENTURIES IN THE MIRROR OF FICTION." Historical and social-educational ideas 10, no. 3/1 (July 16, 2018): 46–57. http://dx.doi.org/10.17748/2075-9908-2018-10-3/1-46-57.
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Following the current trends in the development of historical science, the author considers fiction as an important source for the study of the post-Soviet period, allowing recreating the socio- historical types of behavior, way of thinking and public mood, to track the transformation of the structures of everyday life. The article is based on the fiction published from the early 1990s to the present day and reflected the Far Eastern realities of the 1990s-2000s. The main attention is paid to the ways of adaptation to the new socio-economic conditions, such as inflation and the fall in real money incomes, massive cuts and wage delays, privatization, the collapse of industrial enterprises, the destruction of social infrastructure, the income differentiation, and an increasing gap between more and less developed territories. Art works show how in crisis the Far East inhabitants are looking for opportunities for part- time work, change professions, working for hire, opening their own business or falling into the category of self-employed, use deviant and destructive forms of employment. Many people in the conditions of continuous growth of prices, delays in wages or lack of a permanent, well-paid place of work are accustomed to live without money, making purchases rarely, but using subsistence farming in dacha or vegetable garden, the interchange of goods and services, engaged in gathering, hunting, fishing (the aboriginal population returns to traditional marine mammal hunting). In addition, the Far East inhabitants react to the modified conditions by changing their demographic behavior. Horizontal public relations are being strengthened, mutual assistance are widely used in the circle of relatives and friends.
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Lentfer, Carol J., Matthew W. Felgate, Robynne A. Mills, and Jim Specht. "Human history and palaeoenvironmental change at Site 17, Freshwater Beach, Lizard Island, northeast Queensland, Australia." Queensland Archaeological Research 16 (February 12, 2013): 141. http://dx.doi.org/10.25120/qar.16.2013.227.
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Late Holocene patterns of change in occupation and use of islands along the eastern coast of Queensland have long been debated in terms of various drivers, though much of this discussion relates to regions south of Cairns, with comparatively little study of the far northern Great Barrier Reef islands. The numerous middens, stone arrangements and art sites on Lizard Island suggest long-term use by Indigenous people, but recent discoveries of pottery give tantalising glimpses of a prehistoric past that may have included a prehistoric economy involving pottery. Here we review previous archaeological surveys and studies on Lizard Island and report on new archaeological and palaeoenvironmental studies from the Site 17 midden at Freshwater Beach, with an oldest date of 3815–3571 cal BP. We identify two major changes in the archaeological and palaeoenvironmental records, one associated with more recent European influences and the other at c.2000 cal BP. Pottery from the intertidal zone is as yet undated. When dates become available the relationship between the Site 17 results reported here and the use of pottery on the island may be clarified.
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Michailidis, Melanie. "Samanid Silver and Trade along the Fur Route." Medieval Encounters 18, no. 4-5 (2012): 315–38. http://dx.doi.org/10.1163/15700674-12342119.
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Abstract While much scholarly attention has been devoted to cultural exchange in recent years, most of the focus has been on the Mediterranean Sea and the land and sea routes connecting China to the Islamic world and beyond to Europe. In the tenth century, another major trading route also flourished between Central Asia and northeastern Europe. Furs and slaves were sent from Scandinavia, Russia and Eastern Europe in exchange for silver which was mined in the realm of the Samanids in Central Asia. Not only were Samanid coins used as currency by the Vikings, but Samanid luxury metalwork objects have also been found in Europe. Using the evidence of such finds, this paper posits the Fur Route as a major avenue of cultural interchange in the Middle Ages and the Samanids as important actors on the medieval global stage. An examination of their far-flung trading connections along the Fur Route not only reveals transmission between these regions, but also reiterates the importance of the Samanids in the history of Islamic art and in that of the broader medieval world.
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Dubrovskaya, D. V. "BRITISH DEISTS AND “SHARAVADGISM”: FROM INTELLECTUAL LANDSCAPE TO THE LANDSCAPE PARK." Journal of the Institute of Oriental Studies RAS, no. 3 (13) (2020): 164–70. http://dx.doi.org/10.31696/2618-7302-2020-3-164-170.
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The article dwells further on the topic of Chinese philosophy and Confucian thought’s reception in the West in the era of the Enlightenment, repeatedly studied by the author, and problematizes the points of contact between the British followers of deism and Confucian thought. The article considers the ideas and some works of English deists, drawing inspiration from the ideas of the French Enlightenment, which actively appropriated the Chinese political experience in its presentation by Jesuit missionaries and travelers to China. The author makes an attempt to connect the natural-philosophical ideas of deists, who saw Confucian literati as their philosophical brothers in relation to religion and questions of creation, with the subsequent development of interest in Far Eastern influences on English culture and art, considering the case of the watercolor artist Alexander Cozens and the decisive turn of English park construction from the regular classicist norm of French parks to romantic English landscaped palace and park ensembles. The author comes to the conclusion that English parks and watercolors in some way turned into a visual expression of the ideas of deists, who called for observing and learning from nature and real life, while the landscape gardening ensembles themselves proved to be a reflection of the intellectual landscape.
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Seymour, Michael. "Neighbors through Imperial Eyes: Depicting Babylonia in the Assyrian Campaign Reliefs." Journal of Ancient Near Eastern History 4, no. 1-2 (June 26, 2018): 129–62. http://dx.doi.org/10.1515/janeh-2017-0022.
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AbstractThe Neo-Assyrian campaign reliefs are rich sources for understanding Assyrian ideas of empire, geography, and Assyria’s relationship to the wider world. They are also exceptions: the format of the later Assyrian campaign reliefs is in several respects so unusual in ancient Near Eastern art as to demand explanation. Not the least of the campaign reliefs’ unusual qualities is the extensive and often detailed depiction of foreign landscapes and people. This paper examines one instance of this phenomenon: the particular case of depictions of Babylonia and the far south in Assyrian campaign reliefs. Studies of the textual sources have done much to draw out the complex cultural and political relationship between Assyria and Babylonia in the eighth, seventh, and sixth centuries B.C., revealing tensions between an identification with the cities of the south and their venerable temples on the one hand, and the undeniable political and strategic problems posed by Babylonian rebellions against Assyrian rule on the other. It is argued that the campaign reliefs attempt to resolve this tension by presenting conquest and pacification as accomplished facts, and Babylonia’s abundance as an Assyrian imperial possession. It is also suggested that one function of the reliefs was to process historical victories into a larger, ahistorical image of Assyrian imperial success.
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WRIGHT, OWEN. "How French is frenkçin?" Journal of the Royal Asiatic Society 21, no. 3 (July 2011): 261–81. http://dx.doi.org/10.1017/s1356186311000320.
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It is by no means unknown, in Middle-Eastern art-music traditions, to find claims that a given rhythmic cycle was invented on a particular occasion by a particular musician, the most obvious and reliable instance being provided by ‘Abd al-Qādir al-Marāġī (d. 1435), who tells us that he was commissioned to create a new cycle to commemorate a victory. With frenkçin, then, a cycle where the very name clearly suggests some form of western derivation or inflection, it was perhaps only to be expected that we should encounter a similar narrative that pinpointed its origin, associating its creation with the impulse provided by a particular cultural encounter with the West. It has to be said, though, that no such account appears as a standard feature of the contemporary theoretical discourse surrounding Turkish art music: works that deal with the rhythmic cycles tend to be expository catalogues unconcerned with origins and derivations, and it is only in one major modern reference work that we come across the notion of western inspiration, together with a tentative suggestion as to the period during which frenkçin emerged. The detailed narrative of origin certainly first appears in a text by an eminent Turkish scholar, but it is one written in French—the comprehensive survey article by Rauf Yekta Bey published in 1922—and possibly in consequence it has so far been relayed primarily in western languages. The discussion by Kösemihal, the one significant Turkish scholar to have accepted this account, appears to have had little impact, and it remains to be seen whether the relatively recent translation of Rauf Yekta Bey's article into Turkish will stimulate renewed interest in this version in Turkey itself.
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Belova, Darya Nikolaevna. "Female Images in Chinese and Japanese painting." Культура и искусство, no. 5 (May 2021): 114–38. http://dx.doi.org/10.7256/2454-0625.2021.5.35526.
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This article analyzes female images in Chinese and Japanese painting (Bijin-ga). The subject of this research is the depiction of Chinese beautiful women on the scrolls of the X – XVII centuries and Japanese woodblock printing of the XVII – XIX centuries. Attention is given to the works of modern artists. It is noted that the aesthetic ideals are oriented towards the perception of beauty in the context of national culture of China and Japan, which undergo changes in each era, nurtured by Buddhism, Shintoism, Taoism and Confucianism, which contributed to the development of female image and symbolic sound. The fact that the worldview orientation towards women and their status in the Far Eastern society faded away defines the relevance of the selected topic. The novelty of lies in the comparative analysis of philosophical-aesthetic traditions of Chinese and Japanese painting, reflected in female images in the historical development, with the emphasis on its modern development. The conclusion is made that the assessment of female image in Chinese and Japanese art requires taking into account the national mentality, spiritual traditions, and interinfluence of cultures. The perception of the changing image of women in society plays a special role. It is determined that the depiction of women in clothes and face paint that conceals their body shape and facial emotions, deprive a woman of her individuality and lower her social status. Such trend remains in the contemporary art of these countries. Up until now, female images resemble the symbolism of depiction, closeness to nature, interweaving of external and internal content substantiated by the aesthetic, ethical and philosophical saturation of painting, indicating the uniqueness of each culture and its national heritage.
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Sánchez Márquez, Carles. "Singing to Emmanuel: The Wall Paintings of Sant Miquel in Terrassa and the 6th Century Artistic Reception of Byzantium in the Western Mediterranean." Arts 8, no. 4 (September 29, 2019): 128. http://dx.doi.org/10.3390/arts8040128.
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Since the late 19th century the wall paintings of Sant Miquel in Terrassa have drawn attention due to their singularity. From the early studies of Josep Puig i Cadafalch (1867–1956) to the present, both the iconographic program and the chronology of the paintings have fueled controversy among scholars. In particular, chronological estimates range from the time of Early Christian Art to the Carolingian period. However, a recent technical study of the paintings seems to confirm an early date around the 6th century. This new data allows us to reassess the question in other terms and explore a new possible context for the paintings. First, it is very likely that the choice of iconographic topics was related to the debates on the Arian heresy that took place in Visigothic Spain during the 5th and 6th centuries. Secondly, the paintings of Sant Miquel should be reconsidered as a possible reception of a larger 6th-century pictorial tradition linked to the Eastern Mediterranean, which is used in a very particular way. However, thus far we ignore which were the means for this artistic transmission as well as the reasons which led the “doers” of Terrassa to select such a peculiar and unique repertoire of topics, motifs, and inscriptions. My paper addresses all these questions in order to propose a new Mediterranean framework for the making of this singular set of paintings.
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Milbrath, Susan, and Carlos Peraza Lope. "REVISITING MAYAPAN: Mexico's last Maya capital." Ancient Mesoamerica 14, no. 1 (January 2003): 1–46. http://dx.doi.org/10.1017/s0956536103132178.
Full textAbstract:
Archaeological excavations begun at Mayapan in 1996 require re-evaluation of this site, sometimes disparaged as representing “decadent” Postclassic Maya culture. New discoveries show that the site was an international center that incorporated specific symbols in its art from areas as far away as Central Mexico and Oaxaca. Indeed, there is evidence of trade with both areas. Another important Postclassic trade route connected Mayapan to Yucatan's eastern coast and Peten, Guatemala. These connections are reflected in similar ceramics and architecture in the three areas. Revival of Terminal Classic traditions at Mayapan inspired certain architectural constructions and a stela cult marking Katun endings. The Katun-cycle chronologies of the Colonial period provide intriguing evidence that political events at Mayapan may be linked with the site's architectural history. The “founding” of Mayapan may have occurred earlier than the conventionally accepted date ofa.d.1263 (end of Katun 13 Ahau). TheChilam Balam of Chumayelchronicles use of a 24-year Katun instead of a Katun of 20 Tuns, suggesting that the earliest founding event at Mayapan (Katun 8 Ahau) may date back to the eleventh centurya.d.and overlap with the demise of Chichen Itza. Some of Mayapan's earliest architecture is contemporary with Chichen Itza's latest constructions. Several hundred years after Mayapan was founded, there was a renaissance of the Cocom heritage evident in specific architectural forms modeled on those from Chichen Itza.