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1
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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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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Wright, Duncan, Glenn van der Kolk, and Dauareb community. "Ritual pathways and public memory: Archaeology of Waiet zogo in Eastern Torres Strait, far north Australia." Journal of Social Archaeology 19, no. 1 (May 10, 2018): 116–38. http://dx.doi.org/10.1177/1469605318771186.
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The materiality of performative ritual is a growing focus for archaeologists. In Europe, collective ritual performance is expected to be highly structured with ritual often resulting in a loud archaeological signature. In Australia and Papua New Guinea, ritual (and collective ritual movement) is also highly structured; however, materiality and permanence are frequently secondary to intangible and/or impermanent considerations. In this paper, we apply the framework of public memory to places and objects associated with the Waiet cult in Eastern Torres Strait. We explore the extent to which ritual performance spanning multiple islands can survive through archaeology, as well as whether ethno-archaeology and history provide insight into the structured and highly political process by which rituals were remembered, celebrated and forgotten.
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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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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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Lepekhov, Sergey. "THE CONCEPTION OF ILLUSIONARY EXISTENCE IN THE «RATNA-GUNA-SAMCAYA-GĀTHĀ»." Culture of Central Asia: written sources 13 (December 16, 2020): 3–31. http://dx.doi.org/10.30792/2304-1838-2020-13-3-31.
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The main subject of this paper are the possible ways of forming the concept of illusion (māyopamavada) in the philosophy of Madhyamaka. A special place in this process is occupied by the early prajñāpāramitā sutras. One of the objects of research is the prajñāpāramitā Sutra “Ratna-guna-samcaya-gāthā” (“Prajñāpāramitā in Verses about the Accumulation of Precious Qualities”). Due to the Prajñāpāramitā texts, the Buddhist idea of the illusionary existence became an essential part of the far Eastern culture and art. On the example of “Ratna-guna-samcaya-gāthā”, we can see the dynamics of the concept of “illusory world” how it was formed in the Prajñāpāramitā texts. As an example of further development of the concept and its application to the philosophical ideas of Madhyamaka, are used individual texts of Nāgārjuna (“Ratnāvalī”, “Yuktiṣāṣṭika”, “Lokātīta-stava”). Some variants of the issues of reference and designation (namely, the need to correlate the reference, denotate and designate with the object, and in turn, with the localization of the intensional, i.e., the meaning of the concept and the extensional one) are compared as in modern logic and the solutions, proposed by madhyamikas. The new approach to the study of Madhyamaka as a “philosophy of language” suggests very promising opportunities for study of both logical and philosophical heritage of Nāgārjuna and its connection with the entire previous prajñāpāramitā tradition. The Appendix contains a translation of the seven final chapters (XXVI–XXXII) of “Ratna-guna-samcaya-gāthā” from Sanskrit and Tibetan into Russian.
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Helmke, Christophe. "UNDER THE LORDLY MONARCHS OF THE NORTH: THE EPIGRAPHY OF NORTHERN BELIZE." Ancient Mesoamerica 31, no. 2 (2020): 261–86. http://dx.doi.org/10.1017/s0956536119000348.
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AbstractThe hieroglyphic texts of northern Belize are remarkable for their longevity, spanning from the Late Preclassic to the Late Postclassic (ca. 100 b.c –a.d. 1544). Together, these texts constitute an invaluable body of information that has thus far been generally overlooked and has not been integrated into larger syntheses of the region. This paper provides a diachronic review of the glyphic texts of northern Belize and contrasts them to the wider historical processes of the eastern Maya lowlands. A definition of the northern Belizean region precedes an outline of the corpora of monuments, as well as the textual sources on portable objects. This provides an historical review of northern Belize from the incipience of royalty to the eve of the Spanish Conquest.
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Guo, Yanlong. "Iconographic Volatility in the Fuxi-Nüwa Triads of the Han Dynasty." Archives of Asian Art 71, no. 1 (April 1, 2021): 63–91. http://dx.doi.org/10.1215/00666637-8866680.
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Abstract Over the span of some two hundred years, from the late Western Han to the late Eastern Han, triad images featuring a prominent central being flanked by two smaller, snake-bodied figures, occurred on murals and carved stones in Henan, Shandong, and adjacent areas. The iconographic schema of the flanking figures, Nüwa and Fuxi, appears mature and stable, with their identities consistently determined by their half-human, half-serpent, and gendered bodies as well as by the divine objects they hold—sun and moon, compass and T square, numinous mushrooms. The iconography of the third being, however, appears far less consistent and somewhat elusive, yielding many different identifications by scholars. The seemingly anomalous pictorial program speaks to the issue of iconographic volatility in Han art. Looking across the corpus of triad images, this essay identifies the volatile third being as the Grand One, and proposes that its figural metamorphoses were predicated on the amorphousness of the supreme deity of Daoist cosmogony. Distilling the three most important formal aspects of the Grand One—a therianthropic being, a forceful facilitator, and a regal icon—this essay argues that the triad images embodied a coherent program depicting the cosmogonic origin of the world that began with the Grand One conjugating yin and yang, associated with Nüwa and Fuxi respectively. The emergence of this triad imagery coincided with evolving Daoist thought during the Han dynasty.
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Geyer, Gerd, Miguel Caldeira Pais, and Thomas Wotte. "Unexpectedly curved spines in a Cambrian trilobite: considerations on the spinosity in Kingaspidoides spinirecurvatus sp. nov. from the Anti-Atlas, Morocco, and related Cambrian ellipsocephaloids." PalZ 94, no. 4 (February 25, 2020): 645–60. http://dx.doi.org/10.1007/s12542-020-00514-x.
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Abstract The new ellipsocephaloid trilobite species Kingaspidoides spinirecurvatus has a spectacular morphology because of a unique set of two long and anteriorly recurved spines on the occipital ring and the axial ring of thoracic segment 8. Together with the long genal spines this whimsical dorsally directed spine arrangement is thought to act as a non-standard protective device against predators. This is illustrated by the body posture during different stages of enrolment, contrasting with the more sophisticated spinosities seen in later trilobites, which are discussed in brief. Kingaspidoides spinirecurvatus from the lower–middle Cambrian boundary interval of the eastern Anti-Atlas in Morocco has been known for about two decades, with specimens handled as precious objects on the fossil market. Similar, but far less spectacular, spine arrangements on the thoracic axial rings are known from other ellipsocephaloid trilobites from the Anti-Atlas of Morocco and the Franconian Forest region of Germany. This suggests that an experimental phase of spine development took place within the Kingaspidoides clade during the early–middle Cambrian boundary interval.
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Betts, Matthew w., Mari Hardenberg, and Ian Stirling. "How Animals Create Human History: Relational Ecology and the Dorset–Polar Bear Connection." American Antiquity 80, no. 1 (January 2015): 89–112. http://dx.doi.org/10.7183/0002-7316.79.4.89.
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AbstractCarvings that represent polar bears (Ursus maritimus) are commonly found in Dorset Paleo-Eskimo archaeological sites across the eastern Arctic. Relational ecology, combined with Amerindian perspectivism, provides an integrated framework within which to comprehensively assess the connections between Dorset and polar bears. By considering the representational aspects of the objects, we reveal an ethology of polar bears encoded within the carvings’ various forms. Reconstructing the experiences and perceptions of Dorset as they routinely interacted with these creatures, and placing these interactions in socioeconomic, environmental, and historical context, permits us to decode a symbolic ecology inherent in the effigies. To the Dorset, these carvings were simultaneously tools and mnemonics (symbols). As tools, they were used to directly access the predatory and spiritual abilities of bears or, more prosaically, to teach and remind of the variety of proper hunting techniques available for capturing seals. As symbols, however, they were far more powerful, signaling how Dorset people conceptualized themselves and their place in the universe. Symbolic of an ice-edge way of life, the effigies expose the role that this special relationship with polar bears played in the creation of Dorset histories and identities.
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Leslie, Fiona. "Inside Outside: Changing Attitudes Towards Architectural Models in the Museums at South Kensington." Architectural History 47 (2004): 159–200. http://dx.doi.org/10.1017/s0066622x0000174x.
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The union of these collections and the addition of the models of St. Paul’s and various classical buildings, betoken what an Architectural Museum may become, if the individuals and the State will act together. Every foreigner who has seen this commencement sees in it the germ of the finest Architectural Museum in Europe, if the public support the attempt.From the first years of its establishment in June 1857, to the end of the nineteenth century, the South Kensington Museum had amongst its collections over a hundred architectural models. First they were acquired through a policy of encouraged loans and gifts, followed by pro-actively commissioning model makers; other models, however, were at South Kensington through default, having remained on site where they had been made by ‘sappers’. The models, which included examples of Western, Asian and Far Eastern buildings and monuments, were first shown in displays under the headings of Ornamental, Architectural, Economics, and Educational. To give an indication of their initial importance to the museum, the early guidebooks feature architectural models amongst the ‘principle objects in the gallery’. Twenty years later most models had been transferred from what were essentially style galleries to the more utilitarian displays concerned with architectural and engineering practices, and within them they were merely included as part of the broader contextual themes. By the turn of the century, with the exception of the 1901 handbook to the models of Italian Renaissance painted interiors, they were rarely referred to at all in museum publications. By 1912 (soon after the Science and Art collections had been divided on either side of the Exhibition Road) most of the models were no longer on display and were thought by senior keepers to be of little use to museum collections. Many had been de-accessioned by the 1970s, when their position in the doldrums was reversed and models were once again included in the museum displays and exhibitions. This article explores the changes in attitude towards architectural models during the first 120 years of the V&A, focusing on the models of Western buildings.
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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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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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Lisienko, Svetlana, and Nina Ivanko. "ANALYSIS OF DEVELOPING RAW MATERIALS IN NORTH KURIL ZONE OF FAR EASTERN FISHERIES IN 2010–2019." Vestnik of Astrakhan State Technical University. Series: Fishing industry 2021, no. 2 (June 30, 2021): 7–19. http://dx.doi.org/10.24143/2073-5529-2021-2-7-19.
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The article presents the analysis of the development of commercial objects in the North-Kuril zone of the Far Eastern fisheries basin for a ten-year period. The resource potential of this zone was found to consist of 11 objects for which the total allowable catches were established (TAC objects) and of 4 objects, the extraction of which is carried out within the recommended volumes (non-TAC objects). The main objects of production in the North-Kuril zone were pollock, Commander squid and terpug, the production volumes of each species, in the total catch of all objects, amounted to 48, 26 and 13%, respectively. The production volumes of the rest commercial objects amounted to a total of about 13%. An analysis of the dynamics of changes in the TACs was carried out for each test fishing object. A decrease of catch volumes in 2019, compared to 2010, was observed in three objects: terpugs, halibut and macrurus. For these objects during the period under review there was found a decrease in TAC volumes. Analysis of the development of the objects under study during the period 2010-2019 showed that crabs, scallops and pollock in the studied time interval had consistently high catch volumes and a high degree of development. The average rate of development of these objects was about 90% or more. The remaining 8 fishing objects were under-developed annually. The average degree of development of Far Eastern flounder, Commander squid, terpug, cod, sea bass was about 55-75%. The lowest average rate of development (less than 50%) was observed in halibut, pinchback and macrurus. It has been inferred that it is necessary to conduct further studies of fishing activities to develop the resource potential for subsequent modeling and optimization of fishing processes
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Selejan, Ileana L. "Incident Transgressions: A Review of Transmissions: Art in Eastern Europe and Latin America, 1960–1980, MOMA." ARTMargins 5, no. 2 (June 2016): 87–104. http://dx.doi.org/10.1162/artm_r_00149.
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By placing on view a large selection of objects recently acquired by the New York Museum of Modern Art, the exhibition Incident Transgressions: Report on “Transmissions: Art in Eastern Europe and Latin America 1960–1980” (September 5, 2015 to January 3, 2016) sought to situate artistic practices from Latin America and Eastern Europe within a discursive model of cross-cultural and aesthetic transmission. However, the exhibition marginalized an account of the specific relations between these objects in favor of a more encompassing global curatorial narrative. While seeking to outline the parameters of the exhibition, and its implications in regard to contemporary trends in art history and museology, the text aims to highlight some of the instances of transmission and contact, both real and imagined, between the objects displayed.
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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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Soltes, Ori Z. "Modern Jewish Art." Brill Research Perspectives in Religion and the Arts 2, no. 2 (December 26, 2018): 1–107. http://dx.doi.org/10.1163/24688878-12340004.
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AbstractIn Modern Jewish Art: Definitions, Problems, and Opportunities, Ori Z. Soltes considers both the emerging and evolving discussion on and the expanding array of practitioners of ‘Jewish art’ in the past two hundred years. He notes the developing problem of how to define ‘Judaism’ in the 19th century—as a religion, a culture, a race, a nation, a people—and thus the complications for placing ‘Jewish art’ under the extended umbrella of ‘religion and the arts.’ The fluidity with which one must engage the subject is reflected in the broadening conceptual and visual vocabulary, the extended range of subject foci and media, and the increasingly rich analytical approaches to the subject that have surfaced particularly in the past fifty years. Well-known and little-known artists are included in a far-ranging discussion of painting, sculpture, photography, video, installation art, ceremonial objects, and works that blur the boundaries between categories.
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Maksimainen, Johanna P., Tuomas Eerola, and Suvi H. Saarikallio. "Ambivalent Emotional Experiences of Everyday Visual and Musical Objects." SAGE Open 9, no. 3 (July 2019): 215824401987631. http://dx.doi.org/10.1177/2158244019876319.
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Art brings rich, pleasurable experiences to our daily lives. However, many theories of art and aesthetics focus on specific strong experiences—in the contexts of museums, galleries, and concert halls and the aesthetic perception of canonized arts—disregarding the impact of daily experiences. Furthermore, pleasure is often treated as a simplistic concept of merely positive affective character, yet recent psychological research has revealed the experience of pleasure is far more complicated. This study explored the nature of pleasure evoked by everyday aesthetic objects. A mixture of statistical and qualitative methods was applied in the analysis of the data collected through a semi-structured online survey ( N = 464). The result asserts the experience of emotional ambivalence occurred and was composed of a variety of nuanced emotions and related association, rather than just a combination of contradicting emotions. Such paradoxical pleasure is defined as a self-conscious hedonic exposure to negative emotions in art reception. The study also depicted four types of attitudinal ambivalence: loss, diversity, socio-ideology, and distance, reflecting contextual elements intertwined into experience, and the connection between ambivalence and intense emotional experience.
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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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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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Stanowski, Mariusz. "Conceptual Art and Abstraction: Deconstructed Painting." Leonardo 53, no. 5 (October 2020): 485–91. http://dx.doi.org/10.1162/leon_a_01859.
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This article proposes a new conception of art and presents a form of painting that exemplifies that concept. Considering the developments in twentieth- and 21st-century art, the author notes that art created after the conceptual period has failed so far to take account of the profound transformation that occurred within it in the twentieth century. This change consisted in the identification of art with reality, achieved by incorporating into art all significant spheres/objects of reality. One result has been the dominance of referential art following the conceptualist period. Referential artworks are split into object and reference. This impedes untrammeled creativity, which would otherwise promote the integration of diverse formal elements. This article proposes painting that exemplifies such artistic creation.
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Boycheva, Yuliana. "Studying Russian Icons on the Balkans." ISTORIYA 12, no. 5 (103) (2021): 0. http://dx.doi.org/10.18254/s207987840015642-5.
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The Russian religious artefacts - icons, liturgical utensils, veils, vestments and books and objects of private piety, held in museums and church or monastery collections in the Balkans and Eastern Mediterranean constitute a body of valuable art objects, and important material evidences related to the historical development of the relations between Russia and large region of South-Eastern Europe. This piety objects comes continually to the region for a long period through official, unofficial and private donations, or by pilgrimage and trade. Applying the cultural transfer approach in combination with the recent theoretically challenging openings of art history into visual studies and social anthropology RICONTRANS studies them not simply as religious or artistic artefacts, but as mediums of cultural transfer and political and ideological influence, which interacted with and were appropriated by receiving societies. Their transfer and reception is a significant and poorly studied component of the larger cultural process of transformation of the artistic language and visual culture in the region and its transition from medieval to modern idioms. In this dynamic transfer, piety, propaganda and visual culture appear intertwined in historically unexplored and theoretically provoking ways.
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Svoyski, Iurii, Gennadii Khlopachev, Ekaterina Romanenko, and Mariia Polkovnikova. "3D modeling in the studies of the portable art geometrical images of the Upper Paleolithic and Mesolithic of Eastern Europe." Camera Praehistorica 5, no. 2 (December 24, 2020): 8–24. http://dx.doi.org/10.31250/2658-3828-2020-2-8-24.
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One of the plots of the portable art forms of Eastern Europe is abstract, geometric, symbolic images that cannot be deciphered directly. Most of the currently known such geometric images from the archaeological sites of the Upper Paleolithic and Mesolithic of Eastern Europe were applied to finished bone products — tools, weapons, household and non-utilitarian items, as well as bones of various animals without traces of processing using various cutting techniques. The bone is well preserved in the cultural layers of the sites of the late Pleistocene — early Holocene of the Russian Plain, which makes objects from this material an important source for the study of geometric images. However, despite the richness of the source base, the problem of classification and systematization of geometric images in the art of small forms remains poorly developed. The purpose of the article is to consider the issues of practical application of three-dimensional 3D modeling in the study of art objects of small forms of the Upper Paleolithic and Mesolithic. The authors describe the practice of photographing such objects and the peculiarities of the lighting schemes and camera positioning, developed taking into account the specifics of the geometry and material of the documented objects. The minimal technical requirements for the resolution of the models have been determined, which provide the possibility of using visualization algorithms to study fine engravings on bone and stone. The practical application of mathematical visualization algorithms both directly on polygonal models and on height maps built on their basis is described. A method for visualizing and systematizing research results and providing remote access to them using modern web technologies is proposed.
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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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Hoffmann, Susanne M., and Nikolaus Vogt. "Counterparts of Far Eastern Guest Stars: Novae, supernovae, or something else?" Monthly Notices of the Royal Astronomical Society 496, no. 4 (July 20, 2020): 4488–506. http://dx.doi.org/10.1093/mnras/staa1685.
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ABSTRACT Historical observations of transients are crucial for studies of their long-term evolution. This paper forms part of a series of papers in which we develop methods for the analysis of ancient data of transient events and their usability in modern science. Prior research on this subject by other authors has focused on looking for historical supernovae and our earlier work focused on cataclysmic binaries as classical novae. In this study we consider planetary nebulae, symbiotic stars, supernova remnants, and pulsars in the search fields of our test sample. We present the possibilities for these object types to flare up visually, give a global overview on their distribution, and discuss the objects in our search fields individually. To summarize our results, we provide a table of the most likely identifications of the historical sightings in our test sample and outline our method in order to apply it to further historical records in future works. Highlights of our results include a re-interpretation of two separate sightings as one supernova observation from May 667 to June 668 CE, the remnant of which could possibly be SNR G160.9+02.6. We also suggest the recurrent nova U Sco as a candidate for the appearance observed between Scorpius and Ophiuchus in 891, which could point towards a long-term variability of eruption amplitudes. In addition, we find that the ‘shiny bright’ sighting in 1431 can be linked to the symbiotic binary KT Eri, which erupted as a naked eye classical nova in 2009.
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Nimbolkar, Vivek, and Alka Khade. "TRENDS IN CONTEMPORARY PAINTINGS." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 154–60. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3728.
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Before there was an art of abstract painting, it was already widely believed that the value of a picture was a matter of colors and shapes alone. Music and architecture were constantly held up to painters as examples of a pure art which did not have to imitate objects but derived its effects from elements peculiar to itself. But such ideas could not be readily accepted, since no one had yet seen a painting made up of colors and shapes, representing nothing. If pictures of the objects around us were often judged according to qualities of form alone, it was obvious that in doing so one was distorting or reducing the pictures; you could not arrive at these paintings simply by manipulating forms. And in so far as the objects to which these forms belonged were often particular individuals and places, real or mythical figures, bearing the evident marks of a time, the pretension that art was above history through the creative energy or personality of the artist was not entirely clear. In abstract art, however, the pretended autonomy and absoluteness of the aesthetic emerged in a concrete form. Here, finally, was an art of painting in which only aesthetic elements seem to be present.
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Desyatkin, Alexey S., Valentina M. Usova, and Elena M. Kotelnikova. "Standard models for exploration and development complex copper-porphyry deposits in the Far East of the Russian Federation." RUDN Journal of Engineering Researches 20, no. 1 (December 15, 2019): 96–104. http://dx.doi.org/10.22363/2312-8143-2019-20-1-96-104.
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The article deals with the prospects of development of copper-porphyry deposits discovered within the largest ore occurrences and prospecting areas of the Russian Far East. Revaluation of large reserves of copper with associated elements account (gold, silver, molybdenum) on geological data based increases the economic justification for the development of already discovered deposits, as well as the continuation of exploration work on the identified ore occurrences. Geological exploration in a certain sequence necessitates the preparation of complex prospecting, appraisal and multifactor models for the development of large copperporphyry deposits in the Far Eastern region of the Russian Federation. Complex models of geological objects for prospecting and searches of complex copper-porphyry deposits are formed in relation to each geological and industrial type. In the article, authors offer exploration typical models to develop of complex copper-porphyry deposits at different stages of geological survey. The models show the features of the deep structure of the geological objects of the simulated class and the main features of their ore-metasomatic and geochemical zoning, as well as trends in the composition and physical properties of ore-controlling geological bodies with depth. Authors present the theoretical basis of prospecting and appraisal features, reflecting the patterns of manifestation of the studied ore-bearing areas in the Far East, Russia, leads the analysis the complex of geological and geophysical studies of the deep structure of copper-porphyry deposits, formulates methodical approaches for develop modelling of copper-porphyry type fields to increase an efficiency of a geological and economic assessment of these geological objects. These approaches make it possible to comprehensively assess the parameters of exploration and development of deposits, taking into account the export-oriented orientation and investment attractiveness of the Far Eastern region of Russia.
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Pynko, L. E. "Directions of development of insurance of the hazardous industries." POWER AND ADMINISTRATION IN THE EAST OF RUSSIA 93, no. 4 (2020): 119–26. http://dx.doi.org/10.22394/1818-4049-2020-93-4-119-126.
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Currently, the share of insurance (in all its forms) in the Far-Eastern federal district from the all-Russian one is less than one percent. The share of insurance in the production sector for the Far East is very small, despite the fact that the region's industry is represented by a number of enterprises whose activities are potentially dangerous to the environment, and the mechanism of insurance of hazardous industries is poorly studied, both in the Far-Eastern federal district and in the Khabarovsk territory. At the same time, modern programs for the development of the Far East and the Khabarovsk territory suggest the development of industry in the region, which is also associated with hazardous industries. One of the tools for monitoring and improving the safety of dangerous objects is timely insurance. The article considers the main challenges for the insurance of hazardous industries in the region, the issues of insurance development related to improving safety at hazardous facilities, and the indirect impact on improving the quality of life in the region.
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KUITENBROUWER, FRANK. "The Darker Side of Museum Art: Acquisition and Restitution of Cultural Objects with a Dubious Provenance." European Review 13, no. 4 (October 2005): 597–615. http://dx.doi.org/10.1017/s1062798705000839.
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Museums face what has been called an ethical crisis of illegitimate acquisitions and reluctant restitution. Some claims go far back (like the Elgin Marbles), others are of more recent origin, like those concerning so-called Holocaust Art. Claims often are not purely legal in nature but also have a moral aspect. The government of The Netherlands has chosen, for a policy-oriented approach to deal with claims from the Second World War, a third way of conflict resolution.
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Stockhammer, Philipp. "Past Food for Thought: The Potential of Archaeology." Gastronomica 16, no. 3 (2016): 91–101. http://dx.doi.org/10.1525/gfc.2016.16.3.91.
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Until recently, archaeologists have routinely connected a particular object with a certain function and meaning—especially with regard to eating and drinking practices—and have underestimated the transformative power of intercultural encounters. In my article, I explore the dynamic relationship between food “stuffs” and the objects and practices connected with their consumption. Adopting a transcultural perspective, I want to focus on the changeability of the relation between food “stuffs,” objects, and practices and individual objects’ biographies of usage. I will illustrate my methodological approach with case studies from the late second millennium BCE Eastern Mediterranean where objects for food consumption were widely distributed—and have thus far been interpreted as evidence for the spread of certain practices of consumption over the whole region. By analyzing regional processes of appropriation of these objects I will shed light on the astonishing transformations of their functions and meanings.
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Classen, Albrecht. "Allegra Iafrate, The Long Life of Magical Objects: A Study in the Solomonic Tradition. The Magic in History Series. University Park, PA: The Pennsylvania State University Press, 2019, xi, 235 pp., 19 b/w images, 2 tables." Mediaevistik 32, no. 1 (January 1, 2020): 252–54. http://dx.doi.org/10.3726/med.2019.01.13.
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Throughout times, magic and magicians have exerted a tremendous influence, and this even in our (post)modern world (see now the contributions to Magic and Magicians in the Middle Ages and the Early Modern Time, ed. Albrecht Classen, 2017; here not mentioned). Allegra Iafrate here presents a fourth monograph dedicated to magical objects, primarily those associated with the biblical King Solomon, especially the ring, the bottle which holds a demon, knots, and the flying carpet. She is especially interested in the reception history of those symbolic objects, both in antiquity and in the Middle Ages, both in western and in eastern culture, that is, above all, in the Arabic world, and also pursues the afterlife of those objects in the early modern age. Iafrate pursues not only the actual history of King Solomon and those religious objects associated with him, but the metaphorical objects as they made their presence felt throughout time, and this especially in literary texts and in art-historical objects.
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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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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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Jumabekova, G. S., and G. A. Bazarbaeva. "ON THE STUDIES OF THE ZOOMORPHIC IMAGES REPERTOIRE IN THE ART OF INKARDARIA SAKAS." Archaeology and Early History of Ukraine 33, no. 4 (December 25, 2019): 348–56. http://dx.doi.org/10.37445/adiu.2019.04.26.
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The article is devoted to zoomorphic images analysis received from the Saka sites of the Eastern Aral Sea region — Uygarak (VII—VI cc. BC) and South Tagisken (VII—V cc. BC). The images were studied by the Khorezm archaeological and ethnographic expedition under the guidance of S. P. Tolstov. This material has been due to the fact that now there is an update of the source base of the studies of art objects belonging to the Saka time in the archaeology of the early Iron Age of Kazakhstan.
At present the materials on Uygarak and South Tagisken are still among the sites with a large series of excavated mounds, both in the region and in Kazakhstan. Almost completely excavated burial grounds of the early Iron Age containing a large number of objects in Kazakhstan archaeology are single.
The analysis of the material on Uygarak and Tagisken depicts that objects with zoomorphic decor were found in every burial. In percentage this makes 21 % in Uygarak and 18 % in Tagisken. According to the archaeologists O. A. Vishnevskaya, M. A. Itina, L. T. Yablonsky, who studied the monuments, the mounds were robbed by contemporaries. Consequently, conducting an objective analysis is difficult, but a trial to trace the dynamics of the emergence of objects created in zoomorphic style seems extremely interesting. There is a high probability that a small number of objects with preserved works of ancient art marks complexes belonging to the steppe aristocracy.
Among zoomorphic images, the most common were birds and cat predators. There are objects in the shape of saigas and horses. Images of bears, wolves, deer, argali, wild boars, camels are quite rare. It is worth noting that bird images have never been found in Tagisken materials, and not a single horse and saiga image has been recorded in Uygarak. At the same time, the majority of zoomorphically decorated items are parts of horse equipment.
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Carbon, Claus-Christian. "Empirical Approaches to Studying Art Experience." Journal of Perceptual Imaging 2, no. 1 (January 1, 2019): 10501–1. http://dx.doi.org/10.2352/j.percept.imaging.2019.2.1.010501.
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Abstract Art experience means the rich experience of artistic objects that are mostly embedded in situational, social, and cultural contexts: for instance when encountering art in art galleries or museums. Art experience lets us reflect on the content, the style, and the artist behind the artwork—moreover, it lets us reflect about the percept, perception, the world, ultimately: about us. Current works in the field of empirical aesthetics unfortunately often ignore context factors that are so important for such deep and far-reaching experiences. Here I intend to refer to the different paths of measuring art experience via Path #1 by testing within the ecological valid context of art galleries via field studies, via Path #2 by simulating certain contextual and perceptual factors in a lab-oriented study design and via Path #3 by testing art-related material in labs without paying attention to such factors. The way we research art experience drastically changes the quality and nature of the output, especially if we ignore certain essential factors which are typically involved when encountering art galleries in real life via Path #3—mainly because participants do not show the typical motivation, interest and effort which they would typically face in art galleries. Furthermore, because the depiction quality of artworks, the context and the social situation in which they are inspected is fundamentally different in the lab, the respective impression is also very different. As most research ignores such factors, we might often be misled by the results of such studies; especially when the extraordinary and unique cultural status that makes artworks so different to ordinary objects is ignored. The paper aims to guide researchers in finding the right study paradigm and best measures to answer their regarding research questions most adequately.
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Rivera, Francisco. "From common object to memory-object: the indiscernibility of Rapa Nui's historical archaeological heritage." NEXUS: The Canadian Student Journal of Anthropology 23, no. 2 (October 2, 2015): 22–32. http://dx.doi.org/10.15173/nexus.v23i2.982.
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In this article I propose the indiscernible objects experiment of Arthur Danto as analogy to discuss on the nature of the industrial archaeological remains. The interdisciplinary research conducted at the Fundo Vaitea, in Rapa Nui (Eastern Island), is presented as an excellent example for the kind of analysis that I propose here. Conceptually considering archaeological remains of this site as material culture theoretically similar to works of art, I discussed issues concerning the distinction, interpretation and transformation of common objects in archaeological vestiges, proposing to understand these as memory-objects. From this aesthetic dimension I propose another standpoint of the problem associated with the study and heritage policies of the recent past materiality, taking as well into account social practices and the particularities of archaeological time involved in this process.
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Penney. "Siyosapa: At the Edge of Art." Arts 8, no. 4 (November 5, 2019): 148. http://dx.doi.org/10.3390/arts8040148.
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The art history of Native North America built its corpus through considerations of “art-by-appropriation,” referring to selections of historically produced objects reconsidered as art, due to their artful properties, in addition to “art-by-intention,” referring to the work by known artists intended for the art market. The work of Siyosapa, a Hunkpapa/Yanktonai holy man active at Fort Peck, Montana during the 1880s and 1890s, troubles these distinctions with his painted drums and muslin paintings featuring the Sun Dance sold to figures of colonial authority: Military officers, agency officials, and others. This essay reassembles the corpus of his work through the analysis of documentary and collections records. In their unattributed state, some of his creations proved very influential during early attempts by art museums to define American Indian art within a modernist, twentieth century sense of world art history. However, after reestablishing Siyosapa’s agency in the creation and deployment of his drums and paintings, a far more complicated story emerges. While seemly offering “tourist art” or “market art,” his works also resemble diplomatic presentations, and represent material representations of his spiritual powers.
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Lbova, L. V., V. V. Kazakov, and K. B. Zhumadilov. "Information System “Prehistory Art of Siberia and the Far East”: A New Scientific and Educational Resource in Novosibirsk State University." Archaeology and Ethnography 18, no. 5 (2019): 9–20. http://dx.doi.org/10.25205/1818-7919-2019-18-5-9-20.
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Purpose. Development of electronic educational resources in the humanitarian environment of higher school is an urgent problem of modern education. The aim of our work is to systematize didactic forms and approaches to the development of e-learning resources as exemplified by the interactive educational and methodological complex “Prehistoric Art of Siberia and the Far East”. Results. We describe models of electronic tutorials in terms of a modern direction, development of interactive teaching complexes. An original proprietary information system “Prehistoric Art of Siberia and the Far East” (mobileart.artemiris.org) contains information on the monuments of the Paleolithic age of Siberia, which is presented in a systematic way. Objects of the Siberian Paleolithic collections are attributed, provided with a scientific description, photographs, macro, three-dimensional models and a list of references. Conclusion. Modern education at the university supposes a wide usage of information technology. Interactive educational and methodological complexes today can fully satisfy this need. 3D technology proposed for presenting archaeological materials not only provides effective illustrations of the context, but also implements a new, more sophisticated methodology for studying historical and cultural heritage. Enhanced capabilities of working with a virtual model of archaeological objects allow researchers and students to get more information remotely, which reduces the anthropogenic load on the object under study. The complex developed implies non-contact processing of museum exhibits with varying degrees of damage, using computer simulation techniques for the pre-excavation state of reconstruction, provides an opportunity to restore badly damaged or even gone objects and to preserve the model shape with a possibility of subsequent replication. All of the above forces us to open a new course in the educational programs for archaeology students. It is assumed that this educational segment will find its place in the new Federal State Educational Standard and will contribute to the formation of the competencies of a modern specialist.
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Lang, Jacob, Despina Stamatopoulou, and Gerald C. Cupchik. "A qualitative inquiry into the experience of sacred art among Eastern and Western Christians in Canada." Archive for the Psychology of Religion 42, no. 3 (June 27, 2020): 317–34. http://dx.doi.org/10.1177/0084672420933357.
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This article begins with a review of studies in perception and depth psychology concerning the experience of exposure to sacred artworks in Roman Catholic and Eastern Orthodox contexts. This follows with the results of a qualitative inquiry involving 45 Roman Catholic, Eastern and Coptic Orthodox, and Protestant Christians in Canada. First, participants composed narratives detailing memories of spiritual experiences involving iconography. Then, in the context of a darkened room evocative of a sacred space, they viewed artworks depicting Biblical themes and interpreted their meanings. Stimuli included “Western” paintings from the Roman tradition—a selection from the Gothic, Northern Renaissance, and Renaissance canon—and matched “Eastern” icons in the Byzantine style. Spiritual experience narratives were analyzed in terms of word frequencies, and interpretations of sacred artworks were analyzed thematically. Catholics tended to utilize emotional language when recalling their spiritual experiences, while religious activity was most often the concern of Protestants, and Orthodox Christians wrote most about spiritual figures and their signifiers. A taxonomy of response styles was developed to account for participants’ interpretations of Western and Eastern artworks, with content ranging from detached descriptions to projective engagement with the art-objects. Our approach allows for representation of diverse Christians’ interpretations of sacred art, taking into consideration personal, collective, and cultural-religious sources of meaning. Our paradigm also offers to enrich our understanding of the numinous or emotional dimension of mystical contact.
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Krąpiec, Marek, and Joanna Barniak. "Dendrochronological Dating of Icons from the Museum of the Folk Building in Sanok." Geochronometria 26, no. -1 (January 1, 2007): 53–59. http://dx.doi.org/10.2478/v10003-007-0003-4.
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Dendrochronological Dating of Icons from the Museum of the Folk Building in SanokDendrochronological analysis was carried out for 13 historic icons from the collection of the Museum of the Folk Building in Sanok, painted on fir and spruce boards. Eleven sequences of the annual growth rings produced from the analysed fir boards were absolutely dated against the fir dendrochronological standard for S Poland, constructed by E. Szychowska-Krąpiec. Most of the analysed objects date back to the seventeenth and eighteenth centuries, only one board was dated to the midnineteenth century. The dendrochronological analyses carried out prove broad possibilities of dating objects of the iconographic art painted on panels from fir wood, originating from south-eastern Poland and adjacent areas.
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Majetschak, Stefan. "Aesthetic Judgments and Their Cultural Grounding." Yearbook for Eastern and Western Philosophy 2018, no. 3 (May 27, 2019): 269–81. http://dx.doi.org/10.1515/yewph-2018-0019.
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Abstract At present, the theoretical approaches of Baumgarten and Kant continue to constitute the framework for discussing the nature of aesthetic judgments about art, including the question of what such judgments are really articulating. In distinction to those two eighteenth-century theorists, today we would largely avoid an assumption that aesthetic judgments necessarily attribute beauty to the objects being judged; we would as a rule take a far more complex approach to the topic. But whatever we say about art, even today many theorists wish to ground aesthetic judgments in particularities of the aesthetic object, like Baumgarten, or in specific moments of the aesthetic experience, like Kant.
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Spivey, Nigel. "Art and Archaeology." Greece and Rome 64, no. 1 (March 14, 2017): 90–93. http://dx.doi.org/10.1017/s0017383516000280.
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The nineteenth-century French painter Gustave Courbet famously declared that he did not paint angels because he had never seen one. If artists of classical antiquity were ever troubled by such scruples regarding depictions of the supernatural, it is not (so far as I know) documented. This is not to say that the question of how an artist could represent, say, an Olympian deity, went completely unheeded: Dio Chrysostom's Olympic Discourse of ad 97 is one serious attempt to address that topic, with significant implications for the status of an artist (in this case, Pheidias) famed for ‘imagining’ the divine. Yet evidently the task of visualizing spiritual phenomena devolved no less to humble ‘craftsmen’ – as Hélène Collard shows in her monograph, Montrer l'invisible. This gathers a catalogue of 164 Athenian vases, mostly of the fifth-century bc, as case studies of the various formulations devised to show religious experience – many of them images upon objects, such as white-ground lekythoi, that may once have been used in particular rites and observances. Graphic traditions of mythology, and an established series of personification (e.g. Nike, Eros, Hypnos), assisted the process. However, many of the scenes collected by Collard do not apparently attempt to ‘show the invisible’. They seem, rather, to evoke the realities of regular practice – processions, libations, sacrifice, adornment of a stele. Such scenes only become ‘paranormal’ when invested with some extra knowing detail: for example, a large owl alighting upon an altar (presumably indicating the favour of Athena). And sometimes we simply have to look a little closer to apprehend the signs of divine agency. So a herm-head appears to lean forwards – as if to sip at the kantharos held up in propitiation – while the phallus of another herm seems distinctly to elongate in the presence of two ecstatic women.
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Tarasova, Maria, and Sabina Maremkulova. "РЕПРЕЗЕНТАЦИЯ ПОНЯТИЯ «СОЦИУМ» В РУССКОЙ ЖИВОПИСИ БЫТОВОГО ЖАНРА XIX ВЕКА." Social Anthropology of Siberia 2, no. 1 (March 31, 2021): 15–28. http://dx.doi.org/10.31804/2687-0606-2021-2-1-15-28.
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The aim of the study is to reveal the ways of representing the concept of “society” in the works of the genre art in the Russian painting of the 1860-1870s. The research is carried out using the method of philosophical and art history analysis of works of fine art. The main object of the study is the painting “Rural procession on Easter” by Vasiliy G. Perov. The study describes the specific features of the genre art in the Russian painting of the 19th century. The research shows how works of the genre art realize their didactive and educating functions. A theoretical analysis of the concepts of “everyday life”, “being”, “society” made it possible to conclude how genre painting of the 19th century models both an ideal person who is in co-existence with the absolute spirit, and a person who is far from the ideal. In the research the authors reveal two worldview models that developed in Russian painting in the 1860-1870s: a model of a perfect human being and a model of a person who is mired in everyday life. The study proves that the latter human model is represented in index signs of characters that worship only material values. The study investigates the versatility of the pictorial model of the Russian society, represented not only as a community absorbed in the routine of the everyday life, but also as a group of people whose life is elevated upwards to the true existence. The research has resulted in the typology of characters of paintings of the genre art, where the type of the character depends on the model of the society represented by the work of art. In its conclusion the study discloses two models of representing the society in Russian painting of the genre art in the 19th century. According to the first model, the everyday principle acts as an absorber of being. The second model represents a society in which everyday life manifests true existence, in harmony with nature and filled with the divine essence.
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Szekely, Pedro, Craig A. Knoblock, Fengyu Yang, Eleanor E. Fink, Shubham Gupta, Rachel Allen, and Georgina Goodlander. "Publishing the Data of the Smithsonian American Art Museum to the Linked Data Cloud." International Journal of Humanities and Arts Computing 8, supplement (March 2014): 152–66. http://dx.doi.org/10.3366/ijhac.2014.0104.
Full textAbstract:
Museums around the world have built databases with metadata about millions of objects, their history, the people who created them, and the entities they represent. This data is stored in proprietary databases and is not readily available for use. Recently, museums embraced the Semantic Web as a means to make this data available to the world, but the experience so far shows that publishing museum data to the linked data cloud is difficult: the databases are large and complex, the information is richly structured and varies from museum to museum, and it is difficult to link the data to other datasets. This paper describes the process of publishing the data of the Smithsonian American Art Museum (SAAM). We describe the database-to-RDF mapping process, discuss our experience linking the SAAM dataset to hub datasets such as DBpedia and the Getty Vocabularies, and present our experience in allowing SAAM personnel to review the information to verify that it meets the high standards of the Smithsonian. Using our tools, we helped SAAM publish high-quality linked data of their complete holdings: 41,000 objects and 8,000 artists.
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Banharnsakun, Anan, and Supannee Tanathong. "Object Detection Based on Template Matching through Use of Best-So-Far ABC." Computational Intelligence and Neuroscience 2014 (2014): 1–8. http://dx.doi.org/10.1155/2014/919406.
Full textAbstract:
Best-so-far ABC is a modified version of the artificial bee colony (ABC) algorithm used for optimization tasks. This algorithm is one of the swarm intelligence (SI) algorithms proposed in recent literature, in which the results demonstrated that the best-so-far ABC can produce higher quality solutions with faster convergence than either the ordinary ABC or the current state-of-the-art ABC-based algorithm. In this work, we aim to apply the best-so-far ABC-based approach for object detection based on template matching by using the difference between the RGB level histograms corresponding to the target object and the template object as the objective function. Results confirm that the proposed method was successful in both detecting objects and optimizing the time used to reach the solution.
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Zolotov, A. O. "Modern specialized fishery of sea fish in the western Bering Sea." Izvestiya TINRO 201, no. 1 (April 4, 2021): 76–101. http://dx.doi.org/10.26428/1606-9919-2021-201-76-101.
Full textAbstract:
The shelf and continental slope of the western Bering Sea, being among the most productive areas of the Far-Eastern Seas of Russia, became exploited by commercial fishery half a century ago, after introduction of 200-mile exclusive economic zones in 1977 and relocation of the Russian fishing fleet from the eastern Bering Sea to its western part. In 2010-2019, about 20 % of the total catch of sea fish in the Far-Eastern basin (excluding pacific salmons) were caught in the West Bering Sea fishery zone. Among the fishery districts of the Russian Far East, this area is currently the 1st one by annual catch of pacific cod, grenadiers, sculpins and sablefish, 2nd — by catch of walleye pollock, halibuts and skates, 3rd — by catch of rockfishes, and 4th — by catch of pacific herring and flounders. Features of specialized fishery in the West Bering Sea fishery zone in 2010-2019 are clarified. Now 48 types of the specialized fishery can be distinguished here, while 96.3 % of the average annual landing is provided by the following 8 most important types: walleye pollock midwater trawl fishery (77.8 % of mean annual catch); pacific herring midwater trawl fishery (6.1 %); pacific cod bottom longline fishery (4.7 %); walleye pollock Danish seine fishery (2.7 %); grenadiers bottom longline fishery (2.4 %), pacific cod Danish seine fishery (0.9 %); squids bottom trawl fishery (0.9 %); and pacific cod bottom trawl fishery (0.8 %). All these types of fishery are highly specialized and portion of the target objects in the catches ranges from 76 to 96 % (according to official statistics), while the by-catch accounted as 4-24 %. The is no specialized fishery on such objects as rockfishes, arrowtooth and kamchatka flounders, and sablefish in the West Bering Sea fishery zone, but they are landed as by-catch. The fishery statistics with the data sorting to specialized fishery and by-catch can be used quite effectively for the stocks assessment and determining acceptable level of their exploitation, with recommendations for fishery regulation, including evaluation the possible level of non-specialized by-catch.