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Journal articles on the topic 'Doors in art'
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1
Balzer, Isabel, and Therese Lichtenstein. "Behind Closed Doors: The Art of Hans Bellmer." German Studies Review 26, no. 1 (February 2003): 177. http://dx.doi.org/10.2307/1432942.
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Weimin, Zhang, and Zhou Yu. "A study on color digitization in the images of “Men Shen” found in the New Year paintings of Liangping district." OOO "Zhurnal "Voprosy Istorii" 2023, no. 9-2 (September 1, 2023): 160–67. http://dx.doi.org/10.31166/voprosyistorii202309statyi41.
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New Year paintings, or nianhua, created in Liangping with the use of the technique of woodblock printing, represent folk art that weaves together distinct local features, aesthetic perception and technical mastery of the artists. One of the key nianhua themes is the imagery of “Men Shen”, or door gods, that banish the evil and guard doors and gates. The article discusses the imagery of door gods in Liangping nianhua printed from woodblocks.
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Treadon, Carolyn Brown, Marcia Rosal, and Viki D. Thompson Wylder. "Opening the doors of art museums for therapeutic processes." Arts in Psychotherapy 33, no. 4 (January 2006): 288–301. http://dx.doi.org/10.1016/j.aip.2006.03.003.
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Siegert, Bernhard. "Türen. Zur Materialität des Symbolischen." Zeitschrift für Medien- und Kulturforschung 1, no. 1 (2010): 151–70. http://dx.doi.org/10.28937/1000106306.
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Doors are mediums of architecture as an elementary cultural technique, as they process the key differences of architecture from within and without. The door is a machine, through which the symbolic was materialized in architecture. This contribution describes, by means of examples from cultural, literary and art history, the monologic, epistemic and social aspects and paradoxes of the door as an analog and binary medium. With the obsolescence of the door knob, engendered by the invention of the automated revolving door, the analog door has bid farewell to society and is now mutating to a bio-political instrument which no longer addresses mankind as 'persona', but as a major perturberence.
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Wang, Lukun, and Azhari Md Hashim. "Research on Value Evaluation of Traditional Door and Window Decoration Heritage in Jiangnan Area of China." Malaysian Journal of Social Sciences and Humanities (MJSSH) 8, no. 1 (January 31, 2023): e002083. http://dx.doi.org/10.47405/mjssh.v8i1.2083.
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As a heritage, traditional door and window decoration in Jiangnan area of China has the value of cultural relics. A group of people created them according to the political, economic, cultural, and artistic background at that time, which can reflect the social features, technical level, humanities, and arts at that time. Therefore, traditional door and window decoration in Jiangnan area is a shred of crucial historical evidence to study the society, economy, culture, and craft at that time. Through the evaluation of traditional door and window decoration heritage, the researcher can understand the traditional decorative art of doors and windows in Jiangnan area. The assessment based on the index system forms a quantitative result, and the quantitative data can more intuitively reflect the heritage value. The researcher can give feedback on the evaluation results to the relevant personnel, find the deficiencies and missing parts in the protection and inheritance, and provide suggestions for the follow-up protection and inheritance plan. The protection and inheritance plan can be more effective than traditional doors and windows in Jiangnan area.
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Negrău, Elisabeta. "“The Gates of Eternal Life”: Metamorphosis and Performativity in Middle to Late Byzantine Sculpted Church Doors (with a Case Study of a Wallachian Wooden Door)." Religions 15, no. 6 (June 15, 2024): 732. http://dx.doi.org/10.3390/rel15060732.
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In recent years, there has been a growing interest in analyzing the manufacturing techniques of Byzantine church doors in laboratory settings. However, the connection between the iconography and significance of the décor of church doors and their liturgical performativity, as well as their parallels with iconostases in Byzantium, remained a relatively underexplored area of study. This article seeks to delve deeper into these intersections. By focusing on the relationship between the iconography of church doors in Middle to Late Byzantium and their connection to the sacred space and liturgical practices, I aim to shed light on how these artworks played a crucial role in the sacred experience of the Byzantines. This exploration will not highlight only the aesthetic evolution of church door artwork but also emphasize the communal and embodied nature of the religious experience during the Byzantine era. Their intricate designs were not merely decorative elements but served as portals to the divine, enriching the salvation journey of worshippers as they crossed the threshold into the liturgical spaces. By conducting an examination of the development of door iconography and their symbolism throughout the empire’s history, the transformation of narrative depictions from the Middle Byzantine era to the Palaiologan period, culminating in a convergence of symbolic meanings within the sacred space of the church, is delineated. This transformation is further exemplified by a sculpted church door from the Principality of Wallachia. By bridging the gap between art history and religious studies, this article aims to rekindle interest in the profound symbolism and significance of Byzantine church doors and their relation to sacred liturgical space, offering a broader perspective on an important aspect of Byzantine heritage.
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Đorđević, Uroš. "ATRIBUCIJA SLIKARSTVA NA DVERIMA PATRIJARHA ANTONIJA SOKOLOVIĆA IZ DEČANA." Leskovački zbornik LXII (2022): 47–60. http://dx.doi.org/10.46793/lz-lxii.047dj.
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On the iconostasis of the church of the Decani monastery, there are the Holy doors that were carved by Patriarch Antonije Sokolović. On the front side of the Holy doors, the iconographer Longin painted the Annunciation. The figures of the Saint King Stefan of Decani and Saint Nicholas are painted on the back of the Holy doors, whose authorship is the subject of this paper. Mirjana Ćorović Ljubinković and most of the experts at the time attributed this painting to Antonije. In 2005, the theory mentioned above has been called into question, and these scenes, without further analysis and evidence, were attributed to Longin. The question of the authorship of the back of the Holy door required complex research that has not been accomplished so far. By analyzing the artistic language of this painting, it can be concluded that it is not Longin’s work and that it has a different author’s writing, and a different style. Under the influence of Cretan art, this painting approaches the Peć school, to which Longin belongs to. By analogy with the characteristics of the carving of the Holy doors, and the other pair of Antonije’s Holy doors in Peć, and by comparing the ducts of the letters, it can be assumed that the author is Antonije. Thus, the former theory of Mirjana Ćorović Ljubinković and her like-minded scholars about Antonije’s authorship proved to be well-founded and withstood the test.
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Bovaird-Abbo, Kristin L. "Safe Behind Doors? Sleep Deprivation in Sir Gawain and the Green Knight." Arthuriana 32, no. 3 (September 2022): 3–20. http://dx.doi.org/10.1353/art.2022.0028.
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Onufriv, Yaryna. "FEATURES OF THE STYLISTICS OF WOODEN ENTRANCE DOORS IN RESIDENTIAL BUILDINGS OF THE XIX-EARLY XX CENTURY IN LVIV." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 4, no. 2 (December 22, 2022): 122–31. http://dx.doi.org/10.23939/sa2022.02.122.
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The problem of research and preservation of architectural heritage is more relevant than ever in Ukraine today. This problem is exacerbated under the influence of modern unstable socio-political processes and possible risks associated with the threat of military aggression from the Russian Federation. Therefore, the historical site of the city of Lviv, the oldest part of which is included in the UNESCO world heritage, needs increased attention and security measures from the authorities, the public and the scientific community. Door and window fillings need special protection, as the materials they are made of, namely wood, metal and glass, are short-lived, which emphasizes the relevance of this research. The Secession period in the art and architecture of Lviv was studied by many scientists, architects and art critics, among whom Yuriy Biryulyov is considered the main researcher in this topic. The purpose of the study is to determine the stylistic features of the solution of the entrance wooden doors in residential buildings built in the period between the end of the 19th and the beginning of the 20th centuries. in Lviv. The study of the stylistic features of the gates was carried out using the methods of compositional analysis (Idak, 2011), which included, in particular, the analysis of the compositional scheme of the doors (grid of axes: first, second and third order), analysis of the placement and shape of light openings (slit openings), analysis of placement, the configuration and nature of the decorative elements that decorate the door, as well as the analysis of the ratio of the proportions of the main elements of the door to the human scale. After that, the study conducted a comparative analysis of the selected doors, on the basis of which common and distinctive characteristics were determined. Based on this, as well as based on the works of researchers of Lviv architecture, the characteristic features of the Secession style were formulated, which were used by craftsmen on Lviv gates made of wood in the Kin period. 19-beginning 20th century.
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Clark, Roger. "Doors and Mirrors in Art Education: Constructing the Postmodernist Classroom." Art Education 51, no. 6 (November 1998): 6. http://dx.doi.org/10.2307/3193746.
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Shaffer, Sharon. "Opening the Doors: Engaging Young Children in the Art Museum." Art Education 64, no. 6 (November 2011): 40–46. http://dx.doi.org/10.1080/00043125.2011.11519151.
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Lagerwey-Commeret, Marcia. "Opening Doors to Possibilities: The Worcester Art Museum's Scholarship Program." Journal of Museum Education 17, no. 2 (March 1992): 10–12. http://dx.doi.org/10.1080/10598650.1992.11510201.
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John, Spiliotis. "Colorectal Peritoneal Metastases State of Art." Journal of Gastroenterology & Hepatology Reports 4, no. 4 (December 31, 2023): 1–3. http://dx.doi.org/10.47363/jghr/2023(4)158.
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The presence of peritoneal metastasis (PM) in patients with colorectal cancer (CRC) is associated with an extremely poor prognosis. Recent developments in the field of treatment including new drugs, translational research for new molecules offer a future plan to achieved improved of Survival. On the other hand, numerous clinical trials regarding the role of cytoreductive surgery and hyperthermic intraperitoneal chemotherapy have now opened new doors in peritoneal metastasis treatment. This review presents all the controversial data and options regarding this approach.
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Zigomo, Pamela, and Richard Hull. "Unlocking Doors: Decolonizing the Design of an Art Exhibition in Zimbabwe." Event Management 22, no. 6 (December 13, 2018): 997–1008. http://dx.doi.org/10.3727/152599518x15346132863256.
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Woods, Alan. "Paintings with Banging Doors: Art and Allusion in Kitaj and Hockney." Cambridge Quarterly XXIV, no. 4 (1995): 315–39. http://dx.doi.org/10.1093/camqtly/xxiv.4.315.
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Jaquet, Daniel. "The art of fighting under glass." Acta Periodica Duellatorum 6, no. 1 (July 25, 2018): 47–62. http://dx.doi.org/10.36950/apd-2018-002.
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A growing body of research on fight books and historical European martial arts has appeared in academic circles over the last fifteen years. It has also broken through the doors of patrimonial institutions. From curiosities in exhibitions about knighthood, to dedicated temporary exhibitions about historical European martial arts, the fight books have received more and more attention from museum professionals. This article attempts to present an exhaustive list of fight books displayed in museum exhibitions over the last fifty years. It then proposes a critical view about how and why they were displayed from the perspective of the curators, based on a review of the exhibition catalogues.
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Budu, Ana Maria, Raluca Cristache, Andrei Victor Sandhu, Viorica Vasilache, Mohd Mustafa Al Bakri Abdullah, and Ion Sandu. "Study of Coloured Lakes Used for the Covering of Silver Leaf in Ecclesial Art of the First Half of 19th Century." Applied Mechanics and Materials 754-755 (April 2015): 714–18. http://dx.doi.org/10.4028/www.scientific.net/amm.754-755.714.
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The wooden sculptures in orthodox churches are usually gilded with golden leaves, applied by means of different techniques (with bole or mixtion). Silver leaf was also used for economic or aesthetic purposes, usually covered with coloured lakes: red, green (for flowers, leaves and fruits) or yellow (for gold imitation). This study presents analysis realized on samples of coloured lakes taken from different cult objects. We used red and green lakes taken from the royal doors of the St. Nicholas church from Aroneanu, Iasi (1814) and from the royal doors and deacon doors from St. Archangels Church, Ceplenita, Iasi (beginning of the 19th century). The yellow samples were taken from two icons painted in russian style: St. Nicholas and Holy Virgin of Kazan (beginning of 19th century). The SEM-EDX and FT-IR spectra revealed the different origins of the lake (organic and inorganic) and suggested the technique for their preparation.
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Nabors, Emily, Mindy Renfro, Jon Pynoos, Sarah L. Szanton, Jon Sanford, and Susan Stark. "INNOVATIONS IN HOME MODIFICATION RESEARCH: THE STATE OF THE ART." Innovation in Aging 3, Supplement_1 (November 2019): S635. http://dx.doi.org/10.1093/geroni/igz038.2365.
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Abstract The overwhelming preference of older adults is to stay in their homes for as long as possible (AARP). However, most housing lacks supportive features and presents barriers that jeopardize residents’ ability to successfully age in place. Only 1% of houses have five key features to ensure accessibility: no-step entry, single-floor living, lever door handles, accessible electrical controls, and extra-wide doors and hallways (Harvard Joint Center for Housing Studies), making the vast majority unsuitable for persons who use wheelchairs and problematic for the growing number of people with activity limitations. Persons least likely to have such features in their homes need them the most: old-old, low income, frail, and residents in older housing stock. Although home modification can support people as their needs change and preclude the need to move, often to institutional settings, the majority of older adults lack these supports. Recent studies have demonstrated the role of home modification in health, safety, and cost effectiveness. This symposium will convene a panel of researchers to share evidence-base in home modification, recent cost-saving innovations including the CAPABLE Program, and policy change to improve service delivery.
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Yeseibo, John Ebimobowei. "Towards a feminist theatre in Nigeria: Julie Okoh’s Closed Doors examined." Journal of Gender and Power 10, no. 2 (December 1, 2018): 9–24. http://dx.doi.org/10.14746/jgp.2018.10.001.
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Okoh is a prolific playwright whose feminist inclination is not anyway in doubt. In her plays, especially Closed Doors, she addresses issues bordering on the woman question. Such issues include generally sexual injustices against women such as pedophilia, rape, female genital mutilation, forced abortion and unrequited love. Closed Doors focuses on the psychological crises of subaltern women whose lives have been vexed by a complex array of disturbing and thwarting personal relationships, particularly their relationships with their ‘treacherous’ lovers. The play is an expose on the vulnerability of women as a result of unbridled patriarchal arrogance. The main aim of this study is to situate Closed Doors as a feminist theatre. To achieve this, the salient characteristics of feminist theatre shall be teased out to serve as a tapestry against which this study shall posit whether Closed Doors is or is to become feminist theatre. The literary and sociological methodical approaches are adopted here; sociological because the point is established here that there is a dynamic and complex relationship between a work of art and the social realities under which it is produced.
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Khodak, Iryna. "Decorative Carving of Iconostases of the Eastern Podillia in the Baroque Period: Three Complexes from Kyiv Museum Collections." Folk art and ethnology, no. 2 (May 30, 2022): 59–72. http://dx.doi.org/10.15407/nte2022.02.059.
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The article is aimed at the description of three complexes of iconostases carving (the royal doors and columns) from the territory of Vinnytsia region in the collections of two leading Kyiv museums – National Art Museum of Ukraine and the National Museum of Ukrainian Folk Decorative Art, in particular, the analysis of the composition, iconographic repertoire and technical features. All the considered works have been acquired by Danylo Shcherbakivskyі during the expedition to Podillia governorate in 1908. The treatment of documentary evidences on the history of the temples and stylistic analysis of monuments give grounds to assert convincingly that the two complexes originate from the Church of the Assumption of the Virgin in 1737 in the village of Pisky-Bershadsky in Olhopil county (now they are in the structure of Bershad, Haisyn district) and Saints Cosmas and Damian of 1753 in the village of Leliaky in Vinnytsia county (now of Zhmerynka district) and with sufficient probability can be dated to the time of their building (consecration). Instead, the origin of the royal doors and four columns purchased from the priest of the village of Vyshnia (Sheremetka) of Vinnytsia county (now it is a part of Vinnytsia) Yevhen Levandovskyi needs further research, as the carving has clear features of the second half of the 17th – early 18th centuries, while the old church in Vyshnia has been built in 1784. All three complexes represent an openwork decorative carving of iconostases, with the dominating motifs of a flowing vine with bunches of various shapes, covered with leaves of excellent configuration, and acanthus leaves. They are evidences of the variability of floral forms in one iconostasis or even one of its components (the royal doors or columns) and the contamination of vines and / or bunches with acanthus leaves typical for Ukrainian art of the Baroque period.
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Shcheviova, Uliana. "Portals and doors of residential buildings in Eastern Galicia in the late nineteenth century – first third of the twentieth century: typology, decorative features, manufacturers." Technical Transactions 2022, no. 1 (December 2022): 1–17. http://dx.doi.org/10.37705/techtrans/e2022006.
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In accordance with the findings obtained from field studies, the portals and doors in the structure of the entrance spaces of residential buildings in Eastern Galicia (the part of former Galicia and Lodomeria) in the late nineteenth century to the first third of the twentieth century were analysed. The doors were classified according to principles of location, decorative solution and placement of artistic decoration. Leading manufacturers whose products decorated the entrance spaces of residential buildings in Eastern Galicia in the late nineteenth century to the first third of the twentieth century were identified. The relationship between the artistic design of the entry doors and other kinds of art in the decor of the entrance spaces of residential buildings in Eastern Galicia in the late nineteenth century to the first third of the twentieth century was established. Modern restored samples in residential buildings of the specified period in the indicated area were found.
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Wallace, Leslie V. "Animal Imagery in Eastern Han Tomb Reliefs from Shanbei 陝北." Arts 12, no. 1 (January 30, 2023): 26. http://dx.doi.org/10.3390/arts12010026.
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Wild and fantastical animals climb, fly, scamper, and prance across pictorial stone carvings decorating Eastern Han tomb doors in northern Shaanxi. Alongside dragons and other mythical animals, bears felicitously dance, tigers grin opening their mouths to roar, and other wild animals frolic in swirling cloudscapes. While the same animals can be found in Eastern Han tomb reliefs and mortuary art in other regions, their frequency, emphasis on plasticity and movement, and combination with the yunqi 雲氣 motif are unique to the region. Originating in a hybrid style of art that was created during the Mid-Western Han Dynasty (206 BCE–9 CE), their significance was dependent not so much on any individual creature but on their display as an assemblage of shared forms, behaviors, and habitats. This paper explores how Eastern Han patrons and artists in Shanbei reinvigorated such imagery. It argues that on tomb doors through the region, these same wild and fantastical animals have become a key element of compositions meant to pacify the potentially dangerous realms that awaited the deceased in their postmortem ascension to Heaven (tian 天).
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Binkowski, Kraig. "Viewpoint: Art library publishing during a crisis: a librarian's own research." Art Libraries Journal 46, no. 1 (January 2021): 30–32. http://dx.doi.org/10.1017/alj.2020.34.
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Like most librarians, when I have a research question, I go to the databases to search the literature for comparable questions and possible solutions. The onslaught of COVID-19 and its impact on libraries (let alone every other aspect of life) has thrown librarians for a loop and disrupted all our standard modes of enquiry. In a matter of days in the spring of 2020, librarians went from business as usual to locking the doors behind us and trying to figure out how to run a Zoom research support session from the dining room table.
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Chen, Dong, Guiqiu Xiang, Jiju Peethambaran, Liqiang Zhang, Jing Li, and Fan Hu. "AFGL-Net: Attentive Fusion of Global and Local Deep Features for Building Façades Parsing." Remote Sensing 13, no. 24 (December 11, 2021): 5039. http://dx.doi.org/10.3390/rs13245039.
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In this paper, we propose a deep learning framework, namely AFGL-Net to achieve building façade parsing, i.e., obtaining the semantics of small components of building façade, such as windows and doors. To this end, we present an autoencoder embedding position and direction encoding for local feature encoding. The autoencoder enhances the local feature aggregation and augments the representation of skeleton features of windows and doors. We also integrate the Transformer into AFGL-Net to infer the geometric shapes and structural arrangements of façade components and capture the global contextual features. These global features can help recognize inapparent windows/doors from the façade points corrupted with noise, outliers, occlusions, and irregularities. The attention-based feature fusion mechanism is finally employed to obtain more informative features by simultaneously considering local geometric details and the global contexts. The proposed AFGL-Net is comprehensively evaluated on Dublin and RueMonge2014 benchmarks, achieving 67.02% and 59.80% mIoU, respectively. We also demonstrate the superiority of the proposed AFGL-Net by comparing with the state-of-the-art methods and various ablation studies.
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Pollier, Pascale. "Artem Medicalis – My ouroboros journey in art and science." Journal of EAHIL 15, no. 4 (December 10, 2019): 7–12. http://dx.doi.org/10.32384/jeahil15351.
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Artistic scientific research is, I believe, one of the ways out of the cul-de-sac that modern art brought us into during the latter part of the twentieth century. By returning to serious scientific and anatomical study, doors opened to a new discipline altogether. My personal journey as a medical artist took me from scientific wonder and intense interest in alchemy, through artistic anatomical research, on to functional medical illustration and back to conceptual art and sculpture. Having completed a course in forensic facial reconstruction I developed the idea of making a reconstruction of Andreas Vesalius’s face. Thus, began a quest to find the lost grave of the great anatomist. We have not found it yet but have already changed history.
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Pingki, Moni Jafar, Md Tanjibul Hasan Sajib, and Md Eanamul Haque Nizam. "Adoption of Heritage-Based Inspiration (Kantojir Mondir) for Design Development Using 2D Design Software." International Journal of Scientific & Engineering Research 10, no. 9 (September 25, 2019): 1729–34. http://dx.doi.org/10.14299/ijser.2019.09.09.
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The art of Kantanagar Temple in Bangladesh ancient history is the most powerful combination of architecture & sculptures which were created from 1704 to 1752 A.D. [1]. The doors, windows, pillars, ceilings, and walls were adorned with the terracotta design. Kantanagar Temple is a unique example of the temple architecture in the sub-continent because of the finer details of reprieves.
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Court, Paul. "New Technology, New Technicians and an Ancient Art." Canadian Theatre Review 131 (June 2007): 40–44. http://dx.doi.org/10.3138/ctr.131.006.
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The use of technology is as old as our species. Our hunter-gatherer ancestors would not have survived without tools, and every society in human history has had a technological base that was essential to its survival and integral to its culture. Technology is such an essential part of human society that most of it has become invisible to us. I have been in several meetings in which the use of “technology” was on the agenda, but the word “technology” actually referred to nothing more than the use of computers. The real technological triumph of the meeting itself, conducted inside a heated building in winter and far from a tropical zone, was unacknowledged. The fact that we had not convened out of doors – naked and freezing within walking distance of our burrows – was taken for granted.
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Kirichenko, Alexander. "Virgil's Augustan Temples: Image and Intertext in theAeneid." Journal of Roman Studies 103 (May 20, 2013): 65–87. http://dx.doi.org/10.1017/s0075435813000075.
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AbstractThis article discusses the most memorable works of art described in Virgil'sAeneid(the paintings at the temple in Carthage, the doors of the temple in Cumae, the shield of Aeneas, and the baldric of Pallas) as visual models for the poem's organization of its own intertextual memory. The multi-dimensionality of memory enacted in the viewing of these pictorial programmes emerges as a metaphorical visualization of the semantic density created by the overlapping intertexts within the narrative itself and, what is more, urges the reader to perceive works of Augustan monumental art as embodiments of a similarly complex universe of memory.
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Чернецов, А. В. "THE DOORS OF THE SUZDAL CATHEDRAL. ICONOGRAPHIC PARALLELS." Краткие сообщения Института археологии (КСИА), no. 271 (October 3, 2023): 341–63. http://dx.doi.org/10.25681/iaras.0130-2620.271.341-363.
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Золоченые двери собора Рождества Богородицы в Суздале – эталонный памятник древнерусского художественного ремесла. Объектом сопоставлений для западных дверей собора являются Новгородские двери 1336 г., созданные для собора Св. Софии. Стилистика последних свидетельствует об упадке традиций художественного ремесла и снижении требований элиты общества к его продукции. Подобная трансформация явилась следствием монгольского нашествия и ордынского ига. Основные композиции на дверях XVI в. отличаются от сюжетов Суздальских дверей; в некоторых случаях их тематика совпадает. Трактовка эпизодов на дверях XIII и XVI вв. демонстрирует кардинальные различия. Мастера XVI в. уделяют большее внимание частностям, вводят дополнения, не обусловленные текстом Библии, заимствованные из вторичных христианских толкований в богословских трудах, молитвенном обиходе и гимнографии. Сравнительный анализ позволяет решать вопросы о роли Суздальских дверей в дальнейшем развитии древнерусского художественного ремесла; их воздействии на позднейшие памятники, эволюции стиля и иконографии. The guilt doors of the Cathedral of the Nativity of the Theotokos in Suzdal is a landmark of Medieval Rus artistic craftwork. The western doors of the cathedral are compared with the Novgorod doors of 1336 created for the St. Sophia Cathedral in Velikiy Novgorod. The stylistics of the latter demonstrate decline in the traditions of artistic craftwork and lower requirements of the societal elite to its production. Such transformation was the result of the Mongol invasion and the Horde yoke. Main narrative scenes on the cathedral doors of the 16th century are different from the scenes on the Suzdal doors; in some cases, their narratives coincide. The interpretation of the religious scenes on the doors of the 13th and the 16th centuries demonstrates cardinal differences. The artisans of the 16th century pay more attention to details, introduce additions that are not based on the text of the Bible and were borrowed from secondary Christian interpretations in theological books, prayer practice and hymnography. The comparative analysis offers an opportunity to address the issues relating to the role of the Suzdal doors in subsequent development of Medieval Rus craftwork, the impact on later works of art, evolution of the style and iconography.
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Semin, Mikhail, Evgenii Grishin, Lev Levin, and Artem Zaitsev. "Automated ventilation control in mines. Challenges, state of the art, areas for improvement." Journal of Mining Institute 246 (January 23, 2021): 623–32. http://dx.doi.org/10.31897/pmi.2020.6.4.
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The article is divided into three main parts. The first part provides an overview of the existing literature on theoretical methods for calculating the optimal air distribution in mines according to the criteria of energy efficiency and providing all sections of mines with the required amount of air. It is shown that by the current moment there are many different formulations of the problem of searching the optimal air distribution, many different approaches and methods for optimizing air distribution have been developed. The case of a single (main) fan is most fully investigated, while for many fans a number of issues still remain unresolved.
The second part is devoted to the review of existing methods and examples of the automated mine ventilation control systems implementation in Russia and abroad. Two of the most well-known concepts for the development of such systems are automated ventilation control systems (AVCS) in Russia and the CIS countries and Ventilation on demand (VOD) abroad. The main strategies of ventilation management in the framework of the AVCS and VOD concepts are described and also the key differences between them are shown. One of the key differences between AVCS and VOD today is the automatic determination of the operation parameters of fan units and ventilation doors using the optimal control algorithm, which is an integral part of the AVCS.
The third part of the article describes the optimal control algorithm developed by the team of the Mining Institute of the Ural Branch of the Russian Academy of Sciences with the participation of the authors of the article. In this algorithm, the search for optimal air distribution is carried out by the system in a fully automated mode in real time using algorithms programmed into the microcontrollers of fans and ventilation doors. Minimization of energy consumption is achieved due to the most efficient selection of the fan speed and the rate of ventilation doors opening and also due to the air distribution shift control and the partial air recirculation systems introduction.
It is noted that currently the available literature poorly covers the issue related to emergency operation modes ventilation systems of mines and also with the adaptation of automated control systems to different mining methods. According to the authors, further development of automated ventilation control systems should be carried out, in particular, in these two areas.
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Dowell, Erika. "BEHIND CLOSED DOORS: THE ART OF HANS BELLMER. (The Discovery Series: 9). Therese Lichtenstein." Art Documentation: Journal of the Art Libraries Society of North America 21, no. 1 (April 2002): 50–51. http://dx.doi.org/10.1086/adx.21.1.27949188.
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Yusuf, Muhammad. "PINTU-PINTU MENUJU TUHAN Telaah Pemikiran Hamka." Jurnal THEOLOGIA 25, no. 2 (March 7, 2016): 103–26. http://dx.doi.org/10.21580/teo.2014.25.2.384.
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Abstract: Tauḥīd is a teaching that is most influence to galvanize the soul so strong and steadfast. Soul freedom, independence, personal, and loss of fear to face all hardships of life, the courage to face all the difficulties, so that did not differ between the living dead, the origin to seek Allah's pleasure, is the former doctrine of monotheism which rarely peerless in this life struggle manusia. This article will elaborate Hamka’s thought in aspects of divinity, which is how people can come to God with a wide variety of street or door. Hamka stated that to reach God can be reached with a variety of doors: art, philosophy, the question of the nature of life, mysticism, and the way nature. These doors have their own way in the process of finding God. By providing these doors, through which every person will surely have their own experiences with the Lord. Abstrak: Tauḥīd adalah ajaran yang sangat besar pengaruhnya bagi menggembleng jiwa sehingga kuat dan teguh. Kebebasan jiwa, kemerdekaan, pribadi, dan hilangnya rasa takut menghadapi segala kesukaran hidup, keberanian menghadapi segala kesulitan, sehingga tidak berbeda di antara hidup dengan mati, asal untuk mencari rida Allah, adalah bekas ajaran tauḥīd yang jarang taranya dalam perjuangan hidup manusia. Artikel ini berusaha mengelaborasi pemikir¬an Hamka dalam aspek ketuhanan, yakni bagaimana manusia dapat sampai kepada Tuhan dengan berbagai macam jalan atau pintu. Hamka menyatakan bahwa untuk mencapai Tuhan dapat ditempuh dengan berbagai pintu: seni, filsafat, pertanyaan hakikat hidup, tasawuf, dan jalan fitrah. Pintu-pintu ini mempunyai caranya masing-masing dalam proses menemukan Tuhan. Dengan menyediakan pintu-pintu ini, setiap orang yang melaluinya pastilah akan mempunyai pengalaman masing-masing bersama dengan Tuhan tersebut. Keywords: Cinta, seni, fitrah, falsafah, Tuhan, tauhid.
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Åsebø, Sigrun. "Travelling Huts and Invading Spaceships: Marianne Heske, Tiril Schrøder, and Norwegian Romantic Landscapes." Romantik: Journal for the Study of Romanticisms 3, no. 1 (March 4, 2016): 51. http://dx.doi.org/10.7146/rom.v3i1.23253.
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The article discusses the art of the contemporary artists Marianne Heske and Tiril Schrøder, their quotations of romantic landscape, and the way this has been defined in art history. Most readings of Heske and Schrøder place them firmly in a contemporary context. By exploring the reference often made between the two artists and the concept of ‘landscape’ in art history, the article highlights how many readings, despite insisting on deconstruction in Heske and Schrøder’s art, still situate their art firmly in a narrative where landscape figures as a genre, where meaning is inherent, and where the artist serves as the visionary mind that sets the whole play off. Through a close reading of Prosjekt Gjerdeløa [Project Gjerdeløa] in relation to ideas of nationality and site as fixed, and to romantic constructions of the painter/scientist as a masculine structure, the article concludes that Heske and Schrøder’s art can be characterized as deconstructive and hybrid spaces. By inscribing meaning and value to hybrid space, their art represents a ‘view from elsewhere’ (de Lauretis), a view that can open doors to new conceptualisations of identity and the body.
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Piccinini, Ranieli. "Casa Daros Library: a nascent Latin American contemporary art library in Brazil." Art Libraries Journal 39, no. 4 (2014): 21–26. http://dx.doi.org/10.1017/s0307472200018514.
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In 2006, Daros Latinamerica – one of the most comprehensive collections dedicated to Latin American contemporary art in the world – acquired a building, designed by the architect Francisco Joaquim Bethencourt da Silva (1831-1912) and listed as official historical heritage of the city of Rio de Janeiro. After seven years of refurbishment, Casa Daros and its library opened its doors on 23 March 2013. The library has maintained and improved its collection about contemporary Latin American art – considered unique in the region – ever since, with a view to motivating and increasing the amount of research on the subject in Brazil. At the same time, the library team plays an important role in the preparation of the programming planned in the cultural centre – considered a platform for art, education, and communication – and also during the events at Casa Daros, providing support for the researchers’ needs.
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Knight, George. "The Yale Center for British Art: a Building Conservation." Louis I. Kahn – The Permanence, no. 58 (2018): 50–59. http://dx.doi.org/10.52200/58.a.8ah55zai.
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The Yale Center for British Art was designed by acclaimed American architect Louis I. Kahn to house a collection of British art on the campus of Yale University. The Center, Kahn’s third and final museum building, was designed between 1970 and 1974 and opened its doors to the public in 1977. By 2002 it was evident that the building was fast approaching a crossroads: finishes had reached the end of their lives, program space was in desperate demand, patron amenities and life safety measures no longer met contemporary standards and, worst of all, infrastructural systems strained to sustain the environments demanded to protect the collections. The integrity of Kahn’s architecture was in jeopardy. What follows is the story of what came next: how the building was painstakingly researched and analyzed, and how a series of projects ensued to re-equip the Center to present and protect its collection for decades to come.
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Bauduin, Tessel M., and Julia W. Krikke. "Images of Medieval Art in the French Surrealist Periodicals Documents (1929–31) and Minotaure (1933–39)." Journal of European Periodical Studies 4, no. 1 (June 30, 2019): 144–61. http://dx.doi.org/10.21825/jeps.v4i1.8843.
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The avant-garde movement Surrealism claimed historical figures as supposed ancesters, as is well known, but also interacted with the past, and especially art of the past, in other ways. This article explores the reception of the European Middle Ages in French Surrealism, in particular medieval art, by means of a case study: illustrations of medieval and early-modern Western art in the surrealist periodicals Documents (1929-1931) and Minotaure (1933-1939). The cerebral and contrary Documents challenged the canon of art by actively looking at the margins of European art, reproducing medieval art from a wide variety of periods and geographic locations, and in very differing media, including jewelry and vessels, murals, bronze church doors, and manuscript illuminations. The glossy art review Minotaure, which came with coloured inserts, was more conventional in its selection, reproducing primarily late-medieval and renaissance art works, mainly (panel) paintings. However, the intention is just as contrary, as late-medieval and renaissance art in Minotaure is framed in terms of surrealist aesthetics in a manner undermining the conventional canon. In Documents medieval art primarily serves to makes points about style and iconography, which is often posited as primitive or exotic. In Minotaure, medieval art serves to make points about Surrealism, about the oneiric qualities of form or iconography. Both periodicals offered an interesting array of medieval and renaissance art and introduced this art into the surrealist discours.
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Elseicy, Ahmed, Shayan Nikoohemat, Michael Peter, and Sander Oude Elberink. "Space Subdivision of Indoor Mobile Laser Scanning Data Based on the Scanner Trajectory." Remote Sensing 10, no. 11 (November 15, 2018): 1815. http://dx.doi.org/10.3390/rs10111815.
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State-of-the-art indoor mobile laser scanners are now lightweight and portable enough to be carried by humans. They allow the user to map challenging environments such as multi-story buildings and staircases while continuously walking through the building. The trajectory of the laser scanner is usually discarded in the analysis, although it gives insight about indoor spaces and the topological relations between them. In this research, the trajectory is used in conjunction with the point cloud to subdivide the indoor space into stories, staircases, doorways, and rooms. Analyzing the scanner trajectory as a standalone dataset is used to identify the staircases and to separate the stories. Also, the doors that are traversed by the operator during the scanning are identified by processing only the interesting spots of the point cloud with the help of the trajectory. Semantic information like different space labels is assigned to the trajectory based on the detected doors. Finally, the point cloud is semantically enriched by transferring the labels from the annotated trajectory to the full point cloud. Four real-world datasets with a total of seven stories are used to evaluate the proposed methods. The evaluation items are the total number of correctly detected rooms, doors, and staircases.
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Theophilus, Oluwatosin, Maxim A. Dulebenets, Junayed Pasha, Olumide F. Abioye, and Masoud Kavoosi. "Truck Scheduling at Cross-Docking Terminals: A Follow-Up State-Of-The-Art Review." Sustainability 11, no. 19 (September 25, 2019): 5245. http://dx.doi.org/10.3390/su11195245.
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Recent trends in the management of supply chains have witnessed an increasing implementation of the cross-docking strategy. The cross-docking strategy, being the one that can potentially improve supply chain operations, has received a lot of attention from researchers in recent years, especially over the last decade. Cross-docking involves the reception of inbound products, deconsolidation, sorting, consolidation, and shipping of the consolidated products to the end customers. The number of research efforts, aiming to study and improve the cross-docking operations, increases every year. While some studies discuss cross-docking as an integral part of a supply chain, other studies focus on the ways of making cross-docking terminals more efficient and propose different operations research techniques for various decision problems at cross-docking terminals. In order to identify the recent cross-docking trends, this study performs a state-of-the-art review with a particular focus on the truck scheduling problem at cross-docking terminals. A comprehensive evaluation of the reviewed studies is conducted, focusing on the major attributes of the cross-docking operations. These attributes include terminal shape considered, doors considered, door service mode considered, preemption, internal transportation mode used, temporary storage capacity, resource capacity, objectives considered, and solution methods adopted. Based on findings from the review of studies, some common issues are outlined and future research directions are proposed.
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Grifoni, Patrizia, Alessia D'Andrea, Fernando Ferri, Tiziana Guzzo, Maurizio Angeli Felicioni, Caterina Praticò, and Andrea Vignoli. "Sharing Economy: Business Models and Regulatory Landscape in the Mediterranean Areas." International Business Research 11, no. 5 (April 23, 2018): 62. http://dx.doi.org/10.5539/ibr.v11n5p62.
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The paper describes the state of the art of the sharing economy in an ecosystemic perspective including a discussion about the strengths and weakness of business models (apartment/house renting, couch-surfing, car sharing and ride sharing, co-working, reselling and trading) and regulatory and legal issues in some European countries such as: Italy, Spain Croatia and Slovenia. The work was carried out within “open DOORS”, a project was co-financed by the European Regional Development Fund.
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Krasheninnikova, Yulia. "A HOUSE AND NOTIONS OF IT IN RUSSIAN FOLK WEDDING SPEECHES." Проблемы исторической поэтики 19, no. 3 (September 2021): 7–34. http://dx.doi.org/10.15393/j9.art.2021.9344.
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In this work, a list of the house nominations, stylistic and poetic means and techniques used to describe the groom’s and bride’s houses are considered based on published and archival materials of the 19th — early 21st centuries. The description of the newlyweds’ houses is formed by depicting three macrolocuses: the adjacent territory, or courtyard; the zone connecting the courtyard with the interior of the dwelling (porch, door, threshold) and the interior of the house, the image of which is formed by sequentially naming the loci that are most significant from the ritual viewpoint (place of honor, wide bench, furnace, etc.). The houses of both the groom and the bride are described using the very same poetic means of the ‘house’ semantic group. The concept of the bride’s house as a “strange” space for the groom’s party is manifested in speeches related to climbing the porch, opening doors, crossing the threshold and entrance. As the groomsman progresses and claims the house territory, the sense of the house as “strange” intensifies, reaches a critical point at the moment of crossing the threshold and declines after the entrance to the house. The dynamics of the groomsman’s image is revealed in speeches emphasizing the crossing of the threshold. The entrance of the best man to the house is interpreted as a case of crossing the boundary: penetration of the “strange” space is accompanied by a deterioration in vision, the onset of limpness and muteness, being marked, losing clothes or shoes, and giving away material values (money). As he claims the “strange” space and transcodes it into “own space,” the temporary physical indisposition of the groomsman passes. The courtyard, staircase, steps, porch, and threshold are regularly depicted in the descriptions of houses and adjacent territory. The most frequent epithets arewide andnew. Numerous diminutives are another feature of the texts that describe the house.
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Confino-Rehder, Shirley. "Art Experiences for Everyone: Opening the Doors to the Blind and People with Low Vision." International Journal of the Inclusive Museum 3, no. 2 (2010): 27–38. http://dx.doi.org/10.18848/1835-2014/cgp/v03i02/44320.
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Ruyter, Mia. "Tearing Down Walls, Opening Doors: Teaching an Art History College Course in Jail During Covid." International Journal of Art & Design Education 40, no. 4 (November 2021): 807–17. http://dx.doi.org/10.1111/jade.12393.
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Mateus, Paula. "A Função Social da Arte em Lectures on Art de John Ruskin." Philosophica: International Journal for the History of Philosophy 8, no. 16 (2000): 81–102. http://dx.doi.org/10.5840/philosophica200081616.
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In Lectures on Art John Ruskin presented us a wide educational programme and a social reform plan. Ruskin believes that artistic education can save industrial societies from degradation and misery, and help bringing England back to the way of glory - the same glory that once marked its history. This artistic education is meant to improve character and taste, enrich the perception of nature and perfect the comprehension of reality. If the plan succeeds, England is hoped to go back in time, recovering the values that its ancestors so hard fought to preserve - honour, pride and honesty - and open firm doors for the future. Behind this plan for social transformation are some philosophical conceptions about art itself, its function and value, as well as some assumptions about the efficiency of art education. Also in these lectures we get to know Ruskin’s ideas about morality, religion and human evolution. Lectures on Art is the work of an informed and accurate mind, and shows an extraordinary ability to recognise the problems of modem societies and suggest solutions.
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Kausar, Ayesha. "Polymeric nanocomposites reinforced with nanowires: Opening doors to future applications." Journal of Plastic Film & Sheeting 35, no. 1 (August 15, 2018): 65–98. http://dx.doi.org/10.1177/8756087918794009.
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This article presents a state-of-the-art overview on indispensable aspects of polymer/nanowire nanocomposites. Nanowires created from polymers, silver, zinc, copper, nickel, and aluminum have been used as reinforcing agents in conducting polymers and non-conducting thermoplastic/thermoset matrices such as polypyrrole, polyaniline, polythiophene, polyurethane, acrylic polymers, polystyrene, epoxy and rubbers. This review presents the combined influence of polymer matrix and nanowires on the nanocomposite characteristics. This review shows how the nanowire, the nanofiller content, the matrix type and processing conditions affect the final nanocomposite properties. The ensuing multifunctional polymer/nanowire nanocomposites have high strength, conductivity, thermal stability, and other useful photovoltaic, piezo, and sensing properties. The remarkable nanocomposite characteristics have been ascribed to the ordered nanowire structure and the development of a strong interface between the matrix/nanofiller. This review also refers to cutting edge application areas of polymer/nanowire nanocomposites such as solar cells, light emitting diodes, supercapacitors, sensors, batteries, electromagnetic shielding materials, biomaterials, and other highly technical fields. Modifying nanowires and incorporating them in a suitable polymer matrix can be adopted as a powerful future tool to create useful technical applications.
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Cheng, Vennes. "The Misrepresentation of Hong Kongness." Museum Worlds 8, no. 1 (July 1, 2020): 149–67. http://dx.doi.org/10.3167/armw.2020.080111.
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Established in 1962, the Hong Kong Museum of Art was the first public museum in the city. It closed in August 2015 for a four-year renovation and spatial expansion of the facility, and reopened its doors in November 2019. The renovation happened precisely in the interstices of two important historical ruptures in recent Hong Kong history: the Umbrella Movement of 2014 and the ongoing Anti-China Extradition Movement that started in 2019. These movements are redefining the identity of the city and its people in contrast to the conventional Hong Kong cliché of transformation from fishing village to modern financial hub. Without addressing recent changes in cultural identity, the revamped museum rhetorically deploys obsolete curatorial narratives through exhibitions of Hong Kong art. This report critiques the representation of Hong Kongness in the revamped museum and argues that the latter is a soulless entity that overlooks the fact that both politics and art are now reconstructing local identities.
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Hald, Niklas. "On the art of reflection in the arts!" Scenario: A Journal of Performative Teaching, Learning, Research XII, no. 2 (July 1, 2018): 76–78. http://dx.doi.org/10.33178/scenario.12.2.12.
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I was invited to the symposium in order to hold the workshop A crash course in RPK (Reflections on Practical Knowledge). Since I work both as a lecturer and as an actor, and of one the key ingredients in RPK is reflecting on our personal experiences, I thought the best way of introducing my workshop, during the introductory Sunshine speeches, would be through telling a story about my life as an actor. This story starts with myself as a young actor performing for small children. It all begins in an early November morning with chaotic weather, snowstorm and myself as the “lone hero” trying to solve everything that comes in my way, being late and constantly exposed to new problems. After running around like a mad man on a problem-solving mission while building the set, I can finally open the doors and let the young audience in. However, a couple of minutes into the performance I hear a young girl say loudly: “When does the theatre begin?” I’ve used this story in a lot of situations to explain some of the circumstances I can face as an actor in a small company on tour. To me it is a typical ...
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Liebmann, Marian. "Picturing truth and reconciliation." Temida 7, no. 4 (2004): 73–76. http://dx.doi.org/10.2298/tem0404073l.
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This is an account of the workshop run at the conference Truth and reconciliation in the former Yugoslavia: Where are we now and where to go? Even in such a short workshop, it seemed that it was possible to share difficult areas of the past, and move on to looking at hopes for the future. The use of art materials seemed to facilitate the expression of aspects difficult to put into words. There seems to be potential for extending this method. Yet it is not without its dangers, if used with a vulnerable group of people, or in an insecure situation, or in an insensitive way. It could open doors which are difficult to shut again. The ability of art to bring up memories and emotions is both its strength and its risk.
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Jaquet, Daniel. "The art of fighting under glass: Review of museum exhibitions displaying fight books, 1968-2017." Acta Periodica Duellatorum 6, no. 1 (June 1, 2018): 47–62. http://dx.doi.org/10.2478/apd-2018-0002.
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Abstract A growing body of research on fight books and historical European martial arts has appeared in academic circles over the last fifteen years. It has also broken through the doors of patrimonial institutions. From curiosities in exhibitions about knighthood, to dedicated temporary exhibitions about historical European martial arts, the fight books have received more and more attention from museum professionals. This article attempts to present an exhaustive list of fight books displayed in museum exhibitions over the last fifty years. It then proposes a critical view about how and why they were displayed from the perspective of the curators, based on a review of the exhibition catalogues.
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Ayad, Lara. "Homegrown Heroes: Peasant Masculinity and Nation-Building in Modern Egyptian Art." ARTMargins 11, no. 3 (October 1, 2022): 24–68. http://dx.doi.org/10.1162/artm_a_00324.
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Abstract On January 18, 1938 the Fuad I Agricultural Museum in Cairo opened its palatial doors to the local public and featured four untitled portraits (1934–1937) of peasant men sporting distinctive costumes and handicrafts. The artist behind these prominent paintings was an Egyptian named Aly Kamel al-Deeb (1909–1997), whose early career combined commissions at official museums and participation in anti-establishment artist groups in Egypt. What could explain al-Deeb's transition from creating art in opposition to national museums, to painting for such institutions? This essay analyzes al-Deeb's four paintings, which I call Homegrown Heroes, and argues that they began shifting the urban Egyptian public's perceptions of the male peasant subject and his role in achieving national sovereignty. Many scholars put nationalist and avant-garde narratives of Egyptian identity in opposition. This essay reveals the patriarchal frameworks underlying representations of folk art and authenticity among nationalists and the avant-garde alike in their meditations on the peasant figure. Contextualizing Homegrown Heroes in the surrounding art and science displays, popular culture, and sociopolitical shifts of the interwar period shows that male peasant figures in Egyptian art transformed from passive symbols of cultural backwardness to heroic citizens who use folk-art practices to liberate Egypt from Western imperialism.
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DeBlock, Hugo. "Object Biographies and Museums: 100 X Congo in Antwerp, Exhibition at the Museum aan de Stroom, Antwerp, Belgium, 3 October 2020 - 12 September 2021." Museum and Society 19, no. 3 (November 1, 2021): 395–409. http://dx.doi.org/10.29311/mas.v19i3.3783.
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The Museum aan de Stroom (MAS) in Antwerp, Belgium, opened the doors of its long-anticipated exhibition, 100 X Congo, on 3 October 2020, highlighting the presence of a Congolese art collection that has been owned by the city for a hundred years (1920-2020). Tackling the often uneasy history of how these things ended up in museums in the colonial ‘motherland’, this exhibition signals a step forwards in museology in Belgium, away from mere aestheticism of Congolese and, by extension, African arts, towards, in contrast, a focus on provenance, context and cultural importance.