Relevant bibliographies by topics / Folk sculptor

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Academic literature on the topic 'Folk sculptor'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Folk sculptor"

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Kolbuszewski, Jacek. "Tadeusz Staich and Podhale regionalism." Oblicza Komunikacji 12 (June 24, 2021): 401–15. http://dx.doi.org/10.19195/2083-5345.12.28.

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Tadeusz Staich (1919–1987) was a Tatra guide, author of sightseeing essays and a poet, author of poems about the Tatra Mountains. During the war he took part in secret teaching and in the resistance movement. In 1956, together with Hanna Pieńkowska, he published a monumental book Drogami skalnej ziemi (Rock Roads). It was a monograph of Podhale’s sightseeing, documenting the state of his spiritual and material culture around 1955. His last work — published posthumously — was a monograph of the historic church in Dębno. The main character is a folk sculptor Józef Janos.
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Purik, Elsa E., Marina G. Shakirova, Mars L. Akhmadullin, and Vilur R. Shakirov. "The Melody of Form and Space: Music as a Source of Inspiration." ICONI, no. 2 (2020): 97–107. http://dx.doi.org/10.33779/2658-4824.2020.2.097-107.

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The article is devoted to the artistic legacy of Bashkir sculptor Ruslan Nigmatullin, one of the leading masters of contemporary visual arts in the republic. The relatedness of artistic expressive means of music with those in the plastic arts, their expressive elements become more apparent in the comparison of music and abstract art in the process of generation of the artistic image. The authors examine the artist’s oeuvres in the context of the particularity of sculpture as a peculiar art which requires from the viewer the knowledge of the laws of artistic form-generation and an understanding of their language, based on such elements as mass and space. The article presents an analysis of the artist’s works made of stone, metal or wood, while the artist himself sees their source as being connected with music. During the course of his entire artistic path Ruslan Nigmatullin has created sculptures in different directions: realism, decorative plastic and abstract art. The master’s art works, according to the authors of the article, are all unified by an inner figurative idea: when looking at the sculptor’s works it is possible to observe their inherent qualities: contemplation, abstraction and pure sound — natural, ethnic and sometimes purely songrelated, enhancing their relatedness to music. The artist considers one of the sources of his inspiration to be the historical Asian melodies, which share common roots with the ethnic music of the Bashkirs, Kazakhs and Tuvans. The authors provide an analogy between the folk songs of these peoples and their instrumental tunes, the latter being marked with a concise, measured rhythmic structure, and the artist’s works, his ability to create new forms, frequently just as abstract as the melodies with which it is associated.
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IGNATOVA, Ralitza. "VISUAL MEDITATION IN THE CONTEXT OF EAST-EAST OR THE UNACHIEVABLE EXHIBITION OF TAI-JUNG UM IN THE GALLERY "ARARIO"." Ezikov Svyat (Orbis Linguarum) 18, no. 1 (March 27, 2020): 104–13. http://dx.doi.org/10.37708/ezs.swu.v18i1.12.

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e article concerns the question of the reincarnation and the development of ideas in visual arts - from form to form and from one world to another. The affirmation of the abstract idea in the contemporary American art and presumably the prototypes related to this process - the works of K. Brancusi and K. Malevich. Certain ideas characterize the creativity of these authors - Konstantin Brancusi and the folk presentation of ideas and forms, Kazimir Malevich with thematerial "Form, Color and Sensation" in "Contemporary Architecture", issue 5 of 1928. Meditation practice must be considered as reflection, concentrating attention on an object that is external to the body to help achieve the visual image and the meaning of the idea. The exhibition (in the “Arario”gallery) by the South Korean author (sculptor) Um Tai-Jung isat the core of the study, in some of his works are found prototypes or quotes from works by K. Brancusi and K. Malevich.The movements of ideas in the context of East - West, West - East and East - East, as well as the works of Um Tai-Jung "Mandala" and "Stranger Holding Two Wings" are analyzed. It might be concluded that these works as new objects themselves have been created as giving rise to meditation. Based on Malevich’sstatement that the achievement of the world is inaccessible to the artist, it can be said that just as reality cannot be achieved, the artist’s creativity is also unattainable to the viewer, except as meditation.
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Sharipova, D. S., S. Zh Kobzhanova, and A. B. Kenzhakulova. "INTERTEXTUALITY IN CONTEMPORARY ART OF KAZAKHSTAN IN THE ASPECT OF CULTURAL MEMORY." Bulletin of Kazakh National Women's Teacher Training University, no. 2 (July 16, 2021): 179–90. http://dx.doi.org/10.52512/2306-5079-2021-86-2-179-190.

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For the masters of modern art of Kazakhstan, along with the importance of samples of classical culture and discoveries of modernist art, Kazakh folk art is becoming a single field of tradition today. Intertextuality, constant dialogue with different layers of world and national painting and sculpture determine the search for new expressiveness in art. This article describes the role of intertextuality in the development of new forms of artistic statements, namely, as in the works of modern Kazakh sculptors (S.Bekbotayev, D.Sarbasov, Z.Kozhamkulov), jewelers (A.Mukazhanov), tapestry masters (A.Bapanov), the importance of the values of native culture as a space of cultural memory is preserved. Experiments with the material are perceived as a ritual, a creative act, a search for their own author's style, modern means of expression of the artist. It is shown that the danger of losing one's own national identity associated with the process of globalization explains the interest of the masters in the author's myth-making, designed to awaken the spiritual foundations of the nation in the minds of contemporaries. Through mechanical details, sculptors create new myths in order to streamline the ethical and psychological state of a modern person, while in the works of masters of decorative and applied art, bricolage is practiced as a combination of different materials and textures, meanings and images closest to the construction of a myth.
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Bulycheva, Elena I. "Sergey Timofeyevich Konenkov’s Mythopoetics." Observatory of Culture 18, no. 1 (May 24, 2021): 55–65. http://dx.doi.org/10.25281/2072-3156-2021-18-1-55-65.

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The article deals with the features of mythopoetic models in S.T. Konenkov’s sculpture. Despite the fact that monographs, albums, dozens of articles are devoted to the maestro’s works and they are quite well studied, the nature of the mythologism of S.T. Konenkov’s artistic thinking has not been fully revealed. In the ideological context of Soviet art studies, which were based on the methodology of the “social history of art”, only the fact of the sculptor’s deep interest in archaic folk traditions was noted, while this topic can be considered as a natural manifestation of the myth-making process characteristic of the art of the 20th century as a whole. Using the example of S.T. Konenkov’s works, the article attempts to retrace the formation specifics of the “non-classical artistic language” of mythopoetics in the Russian land, which consisted in the fact that, unlike Western European artists who would immerse in the exotic world of archaic art of non-European origin (primarily Africa), Russian masters were fascinated by their home antiquity. When considering the mythological structures that served as the basis for the mythopoetic models of S.T. Konenkov’s sculptural projects, three basic groups can be conditionally distinguished: a direct appeal to ancient mythology, pagan Slavic reminiscences, and a mythological interpretation of a freshly created new world. It is thanks to myth-making that the characters of S.T. Konenkov’s sculptural compositions, despite all the heterogeneity of specific subjects, belong to the integrity of a single cosmos created by the mythopoetic consciousness of the maestro. At the same time, the common mythological foundations of the Russian sculpture development in that period determine the commonality of the mythopoetic models, characteristic not only of S.T. Konenkov’s works. In many ways, they are also quite clearly manifested in the works of S.D. Erzia, A.S. Golubkina, and others.
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Hilton, Alison. "From Abramtsevo to Zakopane: Folk Art and National Ideals in Russia and Eastern Europe." Russian History 46, no. 4 (December 23, 2019): 241–61. http://dx.doi.org/10.1163/18763316-04604002.

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Abstract Folk art revivals were incubators for modernist movements in painting, sculpture, architecture, applied arts, and performing arts. The upsurge of national sentiment in late Imperial Russia and official economic support of handicraft industries (known as kustar’) promoted the marketing of wood crafts and textiles made at Abramtsevo, Talashkino, and other centers in western Russia and Ukraine. Parallel developments drew upon both folk traditions and patriotic ideals in the central and eastern European countries that had suffered territorial encroachments by Russia, Prussia, and the Austro-Hungarian Empire. Artists’ groups and art colonies showed special respect for regional landscapes, peasant communities, and local artistic traditions. Their activities reflected nationalist ideologies, as well as practical, economic, and philanthropic concerns. The variety of circumstances and motivations sheds light on the phenomena of art colonies, new valuations of applied art forms, and the enduring importance of education in traditional crafts.
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Gorzelik, Jerzy. "Alegorie Polski w gmachach publicznych i kościołach województwa śląskiego na wybranych przykładach (1922-1939)." Artifex Novus, no. 2 (January 15, 2020): 58–71. http://dx.doi.org/10.21697/an.7828.

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Utworzenie autonomicznego województwa śląskiego w ramach polskiego państwa narodowego oraz diecezji katowickiej wiązało się z reorganizacją systemu władzy, w którym poczesne miejsce zajęły grupy polsko-śląskich duchownych oraz urzędników i świeckiej inteligencji. Ich wzajemna rywalizacja oraz wspólne dążenie do nacjonalizacji Górnoślązaków w duchu polskim inspirowały dwa odmienne, choć spokrewnione dyskursy, w których wykorzystywano środki obrazowe. Wśród nich znaczącą rolę odgrywały alegoryczne wizualizacje Polski, zakorzenione w tradycjach sztuki polskiej przełomu XIX/XX wieku. W wystrojach gmachów Sejmu Śląskiego i Śląskiego Urzędu Wojewódzkiego oraz starostwa powiatowego w Katowicach zastosowano motyw Polonia Triumphans. W pierwszym z przypadków rzeźbiarz Jan Raszka nadał personifikacji wczesnośredniowieczną stylizację, nawiązującą do piastowskiego „złotego wieku”, a u jej tronu umieścił asystę w osobach hutnika i górnika, stylizowanych na kresowych rycerzy. Inna z płaskorzeźb przedstawia Polonię jako Nike i Wolność prowadzącą do boju powstańca śląskiego, zobrazowanego jako hutnik z młotem, oraz żołnierza walczącego z Czechami o Śląsk Cieszyński. Wątek zbrojnej walki o granice pojawia się także w malowidłach Felicjana Szczęsnego Kowarskiego w budynku starostwa, gdzie ukazaną w postaci greckiej heroiny Polonię z mieczem i tarczą flankują postaci śląskich herosów – całość programu ma jawnie rewizjonistyczną wymowę. Wyraźnie większe bogactwo wątków prezentuje zespół trzech obrazów Józefa Unierzyskiego, zamówionych do kościoła mariackiego w Katowicach. Ich centralną postacią jest Maria Królowa Korony Polskiej, przybierająca cechy Polonii Triumphans. Fundamentem łączności Górnego Śląska z Polską jest tu wspólna katolicka wiara. Górnośląski lud pod przywództwem bliskich mu kapłanów włącza się u stóp Madonny w nurt polskiej historii, określony dziejową misją przedmurza chrześcijaństwa, wnosząc jako wiano żywą religijność i pracowitość. Na zlecenie proboszcza ks. Emila Szramka malarz zaprezentował zrastanie się z polskością jako naturalny i obustronnie korzystny proces. The creation of the autonomous Silesian voivodeship within the borders of the Polish nation state and of the Roman Catholic Diocese of Katowice meant a profound change in the distribution of power, the groups of Polish-Silesian clergy and Polish bureaucrats, as well as secular intelligentsia gaining increasingly in importance. Their rivalry and common effort to polonize Upper Silesians inspired two different, although interrelated discourses, visual means being involved in both of them. Among the motives, implemented in the propaganda, allegorical depictions of Poland - rooted in the traditions of the Polish art of the turn of the twentieth century – played a significant role. In the decorations of the edifices of Silesian Sejm and Silesian Voivodeship Office and of the county authorities they were shaped as the personification of Polonia Triumphans. In the former case the sculptor Jan Raszka represented the allegory as an early medieval figure, reminding of a „golden age” of the Piast dynasty, seated on the throne and accompanied by a coal miner and a foundry-worker, stylized as borderland knights. In another bas-relief Polonia was depicted as Victory and Liberty leading into battle a Polish-Silesian insurgent, rendered as a foundry-worker with a hammer in his hands, and a soldier, fighting against Czechs for Teschen Silesia. The strand of military fighting over disputed territories occurs also in the paintings by Felicjan Szczęsny Kowarski in the Katowice County Hall, where Polonia, depicted as a Greek heroine with a sword and a shield, is accompanied by Silesian heroes and the meaning of the decoration is manifestly revisionist, advocating moving Polish border westwards. A conspicuosly wider range of contents is reflected in a series of three paintings by Józef Unierzyski, ordered for St. Mary’s Church in Katowice. Their central figure is Mary the „Queen of the Polish Crown”, assuming the features of Polonia Triumphans. The connection between Upper Silesia and Poland is founded here on the common catholic faith. At the feet of Madonna Upper Silesian folk, led by clergy, that remains faithfull to its popular roots, and bringing its vivid religiosity and dilligence, joins the stream of the Polish history, determined by the historical mission of antemurale christianitatis,. Commissioned by the parson Emil Szramek, the painter represented the growing together of Upper Silesia and Poland as a natural and mutually profitable process.
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Kim, Suzie. "A Study on the Ceramic Sculpture using Flowers and Birds Painting in Folk Painting of Chosun Period." KOREA SCIENCE & ART FORUM 13 (August 31, 2013): 99. http://dx.doi.org/10.17548/ksaf.2013.08.13.99.

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Marshall, Jennifer. "Common Goods: American Folk Crafts as Sculpture at the Museum of Modern Art, New York City, 1932—33." Prospects 27 (October 2002): 447–65. http://dx.doi.org/10.1017/s0361233300001289.

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During New York City's newly opened Museum of Modern Art's (MoMA's) fourth exhibition season of 1932–33, while director and intellectual leader Alfred H. Barr, Jr. was on sabbatical leave in Europe, interim director Holger Cahill mounted a show of 18th- and 19th-century American arts and crafts. Offered for sale in New England as antiques at the time of the show, the items on display in Cahill's American Folk Art: The Art of the Common Man in America 1750–1900 obscured the divisions between the avant-garde and the traditional, between high art and the everyday object. In an exhibit of items not easily categorized as modern nor properly considered art, MoMA admitted such local antiques and curiosities as weather vanes and amateur paintings into spaces otherwise reserved for the likes of Cézanne and Picasso.
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Chen, Li Ling, Yi Zhang, and Jun Xuan Chen. "The Modern Tableware Design Based on Fengxiang Clay Sculpture Art Research." Advanced Materials Research 849 (November 2013): 332–36. http://dx.doi.org/10.4028/www.scientific.net/amr.849.332.

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The development of modern industrial design has a great influence on the product design, not only on the function and structure of products, but also on the combination between these elements and culture. As one famous folk craft of Shaanxi Guanzhong Xifu, Fengxiang sculpture consists of lot totems, pattern, shape, color and craft elements which could be used in design. Tableware design combined with traditional culture can reflect the functions; at the same time improve the artistic quality of products and rich the interest. Products are endowed with the traditional culture elements, in this way, the product is not only a product, but the new soil of the traditional culture.
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Dissertations / Theses on the topic "Folk sculptor"

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Lekavičius, Alfonsas. "Mozaika "Improvizacija liaudies skuptūrų motyvais"." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060117_142819-65791.

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Mosaic "Interpretation on the motives of folk sculpture". It is a monument work of art intended for a particular architectural interior.Master's final project is a subtle and conceptual attitude towards old traditions and their application to contemporary environment by interpreting them. Such seeking of contemporary solutions based on ethnical symbols ensures continuity of traditions and corresponds to professional, contemporary and artistic attitude towards the development of creation.
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Kay, Dianne Fife. "Contemporary Hawaiian carving, sculpture, and bowl-turning : an analysis of post-contact and cultural influences." Thesis, 1990. http://hdl.handle.net/10125/9294.

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"Hawaiian glossary": leaves 604-615.
Thesis (Ph. D.)--University of Hawaii at Manoa, 1990.
Includes bibliographical references (leaves 616-639)
Microfiche.
xxiv, 639 leaves, bound ill. 29 cm
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Books on the topic "Folk sculptor"

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Sherman, Sharon R. Chainsaw sculptor: The art of J. Chester "Skip" Armstrong. Jackson: University Press of Mississippi, 1995.

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Museum, American Folk Art, ed. Eugene Von Bruenchenhein: Freelance artist, poet and sculptor, inovator [sic], arrow maker and plant man, bone artifacts constructor, photographer and architect, philosopher. New York, NY: American Folk Art Museum, 2011.

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American folk sculpture. New York: Bonanza Books, 1985.

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White, Meyer Kay, Nairn Charles B, and Museum of American Folk Art., eds. American folk art canes: Personal sculpture. Bloomfield Hills, Mich: Sandringham Press in association with Museum of American Folk Art, New York [and] University of Washington Press, Seattle, 1992.

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Min jian diao ke: Folk sculpture. Beijing: Zhongguo wen lian chu ban she, 2009.

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Ricco, Roger. American primitive: Discoveries in folk sculpture. New York: Knopf, 1988.

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Balas, Edith. Brancusi and Rumanian folk traditions. Boulder: East European Monographs, 1987.

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Macdonald, Frank, 1945- writer of added commentary and Riordon, Bernard, writer of supplementary textual content, eds. William D. Roach: Folk artist. Sydney, Nova Scotia: Cape Breton University Press, 2014.

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Geismar, Thomas H. Spiritually moving: A collection of American folk art sculpture. New York: H.N. Abrams, 1998.

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Jackowski, Aleksander. O rzeźbach i rzeźbiarzach =: Folk sculpture in Poland = Volksbildhauerei in Polen. [Warszawa]: Wydawn. Krupski i S-ka, 1996.

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Book chapters on the topic "Folk sculptor"

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Asmarov, Igor. "Soviet Culture in the Years of the Great Patriotic War and the Post-War Period." In Political, Economic, and Social Factors Affecting the Development of Russian Statehood, 92–100. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-5225-9985-2.ch006.

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Soviet culture during the Great Patriotic War and the postwar period is conventionally divided into two periods: Soviet culture during the war years 1941-1945; and Soviet culture in the postwar period 1946-1950s. Of course, these stages of the evolution of Soviet culture differ from each other in many respects, as well as in the most important, that is, in their substantive relation. What suffered during the war during the first stage was either restored or rebuilt after the end of the war. Soviet culture during the Great Patriotic War suffered greatly in material and organizational terms. However, at the same time, the culture of the USSR in the years of the war acquired a great deal spiritually and morally. Previously unprecedented patriotism raised the whole country, the entire multinational Soviet people, to fight against the common worst enemy of all progressive humanity - fascism. Soviet culture reflected this rise in patriotism in music, painting, theater and cinema, on stage, in sculpture and architecture, etc. This time was the heyday of the multinational character of the Soviet people, the time of the epochal upsurge of folk culture, folk art, and the consciousness of the masses of the Soviet people.
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Conference papers on the topic "Folk sculptor"

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Du, Hemin, and Suihuai Yu. "Study on the sculpture method modeling of folk handicraft." In 2008 9th International Conference on Computer-Aided Industrial Design & Conceptual Design (CAID/CD). IEEE, 2008. http://dx.doi.org/10.1109/caidcd.2008.4730662.

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Yanqing, Hou. "Study on the Aesthetic Value and Folk Culture of Lanling Xiaoguo Clay Sculpture." In 2015 3d International Conference on Advanced Information and Communication Technology for Education (ICAICTE-2015). Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icaicte-15.2015.40.

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Han, Zhenkun, and Zhengzheng Tang. "The Expression Method Exploration of Folk Culture in Urban Public Art --Take Paper-Cut Sculpture in Harbin Daowai's Northeast Folk Culture Series as Example." In International Conference on Electronics, Mechanics, Culture and Medicine. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/emcm-15.2016.92.

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Hou, Yanqing. "The Civilization Slept in the Land --The Outlook on Heritage and Innovation of Folk Art from the Xiao Guo Clay Sculpture." In 2014 International Conference on Global Economy, Finance and Humanities Research (GEFHR 2014). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/gefhr-14.2014.36.

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