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Journal articles on the topic 'Peacocks in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 March 2023

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1

Hidayat, Venny Agustin. "BENTUK VISUAL KOSTUM TARI MERAK JAWA BARAT KARYA IRAWATI DURBAN ARDJO." Joged 15, no. 1 (December 2, 2020): 84–95. http://dx.doi.org/10.24821/joged.v15i1.4664.

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Tari Merak Jawa Barat, merupakan jenis tarian tontonan (pertunjukan). Tari Merak pertama kali diciptakan oleh Rd. Tjetje Somantri pada tahun 1955. Kemudian pada tahun 1965, tari Merak dikemas kembali oleh Irawati Durban Ardjo, yang bertujuan untuk dipertunjukkan pada misi kesenian Soekarno. Tari Merak yang sering kita jumpai saat ini merupakan Tari Merak karya Irawati Durban Ardjo.Tarian ini mempresentasikan keindahan yang dimiliki oleh burung merak pada saat burung merak jantan melebarkan ekornya. Kebanyakan masyarakat Indonesia salah berasumsi jika tarian ini bercerita tentang kehidupan buru

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2

Vikrant, Dr Vikrant Shah. "“SANJHYA” THE GODDESS TRADITIONAL ART FORM OF INDIAN ART." International Journal of Research -GRANTHAALAYAH 9, no. 9 (September 30, 2021): 51–54. http://dx.doi.org/10.29121/granthaalayah.v9.i9.2021.4227.

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If there is any priority for mankind with bread, cloth and house then it will be said to be an expression of his art, his feelings. This is the reason why pre-historic man has also painted on the walls of caves, which today help historians to understand that ancient civilization are the center of interest of tourists. "Sanjhya" is a very ancient and the goddess traditional art form of Indian. Perhaps it is a spiritual image to connect the divine to the earth. Apart from Madhya Pradesh, "Sanjhya" is spread in the terrain of Punjab, Rajasthan, Uttar Pradesh, and Haryana etc. Most of the women an

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3

Pandey, Anjali. "WOOD CRAFT OF BIHAR AND UTTAR PRADESH –A SURVEY." International Journal of Research -GRANTHAALAYAH 4, no. 2 (February 29, 2016): 239–42. http://dx.doi.org/10.29121/granthaalayah.v4.i2.2016.2834.

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The tradition of wood carving is old. Wood craft is quite popular in Bihar and Uttar Pradesh. Craftsmen of these states are using their skill for making the designs in traditional and innovative way. A unique engraving creativity of ‘Nakkashi work’ appears with floral and figures etched out by the craftsmen. Lacquer work is obviously one of the major handicrafts of these regions. Various motifs of birds, peacock, fish, carved on the wood, appeals the viewers. The items made out of bamboo and wood are crafted in the shapes of birds, human figures and animals. Figures of Gods and Goddesses, anim

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4

Pietrini, Sandra. "The Parody of Musical Instruments in Medieval Iconography." Revista de Poética Medieval 31 (December 14, 2018): 87–107. http://dx.doi.org/10.37536/rpm.2017.31.0.58895.

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The vast field of musical iconography during the Middle Ages must necessarily deal with the rich and surprising imagery of western manuscripts, showing a fanciful proliferation of playing creatures and bizarre deformations, sometimes inspired by exotic suggestions. In marginal miniatures of 14th century we can discover an interesting and puzzling topic: the parody of entertainers, with hybrid men playing a vielle with tongs, mermaids or apes playing jawbones and so on. The spreading of this topic in medieval iconography is linked to a satirical purpose aimed at professional entertainers, harsh

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5

Lozano, João, Cristina Almeida, Manuela Oliveira, Adolfo Paz-Silva, and Luís Madeira de Carvalho. "Biocontrol of Avian Gastrointestinal Parasites Using Predatory Fungi: Current Status, Challenges, and Opportunities." Parasitologia 2, no. 1 (March 1, 2022): 37–44. http://dx.doi.org/10.3390/parasitologia2010004.

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This review describes the current research status regarding the implementation of predatory fungi in the biological control approach of bird gastrointestinal (GI) parasitosis. The main GI parasites of Galliformes (e.g., broilers, layers, peacocks, pheasants) and Ratites (e.g., ostriches, emus, rheas) are addressed, as well as their impact on farms, zoos, and private collections. The main characteristics regarding biocontrol with predatory fungi are briefly described, such as their mode of action and efficacy against GI parasites of different animal hosts. The state of the art regarding the use

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Sookkaew, Jirawat, Nakarin Chaikaew, Donticha Chiewsuwan, and Somchai Seviset. "A creation in abstract 3D art insprired from Pavo muticus imperator." Indonesian Journal of Electrical Engineering and Computer Science 27, no. 3 (September 1, 2022): 1419. http://dx.doi.org/10.11591/ijeecs.v27.i3.pp1419-1427.

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Creation of art as abstract art by choosing athree-dimensional (3D)art formto be used for creativity, has brought the characteristics of the peacock inspired by its forms, color characteristics, including its habitats to be usedas a mixture and elements in creating this art. Therefore, when combined with the key elements of a 3D object with depth dimension of the object in the Z axis, adopting the colors of the space and the atmosphere of thepeacock's habitat to the surface of the 3D pieces, which provide creative approaches and techniques that enable abstract 3D art to be realized by the shap

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7

Printz, Jessica Kimball. "Marketable Bodies, Possessive Peacocks, and Text as Excess: Edwards-Yearwood's In the Shadow of the Peacock." Callaloo 15, no. 4 (1992): 1066. http://dx.doi.org/10.2307/2931921.

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8

Zahra, Fatima, and Dr Sarena Abdullah. "Aesthetic, Patriotic and Religious Peacock Motifs: Framing the Meanings of Pakistani Truck Art through Foss’ and Aristotle’s Rhetorical Approach." Journal of Social Sciences Research, no. 54 (April 6, 2019): 892–901. http://dx.doi.org/10.32861/jssr.54.892.901.

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Peacock motifs have a long historical background and mythological significance in the Indian subcontinent. It is one of the most dominant motifs used in Pakistani truck art. This paper examines and compares several selected peacock motifs painted on trucks from different regions in Pakistan. It analyses the different shapes and styles of peacock motifs based on their aesthetic forms and themes particularly of religious and patriotic elements. By employing visual rhetoric theory of artefact proposed by Sonja K. Foss and Aristotle’s rhetorical triangular spectrum, this paper explores the charact

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Zahra, Fatima, and Dr Sarena Abdullah. "Aesthetic, Patriotic and Religious Peacock Motifs: Framing the Meanings of Pakistani Truck Art through Foss’ and Aristotle’s Rhetorical Approach." Journal of Social Sciences Research, Special Issue 5 (December 15, 2018): 610–19. http://dx.doi.org/10.32861/jssr.spi5.610.619.

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Peacock motifs have a long historical background and mythological significance in the Indian subcontinent. It is one of the most dominant motifs used in Pakistani truck art. This paper examines and compares several selected peacock motifs painted on trucks from different regions in Pakistan. It analyses the different shapes and styles of peacock motifs based on their aesthetic forms and themes particularly of religious and patriotic elements. By employing visual rhetoric theory of artefact proposed by Sonja K. Foss and Aristotle’s rhetorical triangular spectrum, this paper explores the charact

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10

Nakagawa, Asako. "Changes to the Peacock Motif in Art Textiles." International Journal of Human Culture Studies 2022, no. 32 (January 1, 2022): 385–98. http://dx.doi.org/10.9748/hcs.2022.385.

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11

Nadel, Hannah, and Helena Cronin. "The Ant and the Peacock." Florida Entomologist 77, no. 4 (December 1994): 522. http://dx.doi.org/10.2307/3495711.

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12

Ryan, Michael J. "The ant and the peacock." Cell 71, no. 3 (October 1992): 367–68. http://dx.doi.org/10.1016/0092-8674(92)90506-8.

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13

Harvey, Paul, and Helena Cronin. "The Ant and the Peacock." Journal of Animal Ecology 61, no. 3 (October 1992): 797. http://dx.doi.org/10.2307/5634.

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14

Wcislo, William T. "The Ant and the Peacock." Annals of the Entomological Society of America 88, no. 1 (January 1, 1995): 104. http://dx.doi.org/10.1093/aesa/88.1.104.

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15

Harris, Wilson. "Book Art - Palace of the Peacock - Callaloo 18:1." Callaloo 18, no. 1 (1995): 157. http://dx.doi.org/10.1353/cal.1995.0030.

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16

Pandya, Vishvajit. "Hot Scorpions, Sweet Peacocks." Journal of Material Culture 3, no. 1 (March 1998): 51–75. http://dx.doi.org/10.1177/135918359800300103.

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17

Hardiman, Louise. "“An Extraordinary Feeling for Ornament”: Elena Polenova and the Neo-Russian Style in Embroideries and Painted Textile Panels." Experiment 22, no. 1 (November 15, 2016): 53–71. http://dx.doi.org/10.1163/2211730x-12341278.

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This article examines several important designs by Elena Dmitrievna Polenova (1850-1898) for art embroideries and textile panels. These are the least studied of Polenova’s works, but offer new insights into the artist’s role as a leader of the neo-national movement in late nineteenth-century and early twentieth-century Russian art. Linking extant designs with photographs of exhibition displays and unpublished archival sources, including contemporary accounts by the British art journalist Netta Peacock (1864-1938), this project seeks to initiate the important process of identifying and analysin

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18

Wegener, Claudia. "BRIDE AND PEACOCK." Performance Research 11, no. 1 (January 2006): 60–63. http://dx.doi.org/10.1080/13528160600807679.

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19

Jo, Ah-Hyun, Jung-Won Kim, and Jeong-Hyun Lee. "Development of Hair Art Products with Patterns of Animal and Plant using Waste Hair and Epoxy Resin." Korean Society of Beauty and Art 21, no. 3 (September 20, 2020): 7–16. http://dx.doi.org/10.18693/jksba.2020.21.3.7.

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In the modern society, a variety of designs have been developed in the process of reevaluation for traditional and modern cultures. In particular, Korean traditional patterns inspire to the artists and they are used as multiple materials of creative styles. Therefore in this study, designs of hair art items were developed using hair wastes and epoxy with the motives of peacock and dragon in animals and apricot blossom and pine tree in plants, upon studying the shapes and symbols of patterns by concepts and symbolic meanings of traditional patterns, theoretical and conceptual reviews of epoxy r

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20

Kettley, Sarah. "Peacocks and wallflowers: (in)visibility with digital jewellery." Visual Communication 7, no. 3 (August 2008): 303–15. http://dx.doi.org/10.1177/1470357208092321.

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21

Anđelković, Jelena, Dragana Rogić, and Emilija Nikolić. "Peacock as a Sign in the Late Antique and Early Christian Art." Arheologija i prirodne nauke 6 (2010): 231–48. http://dx.doi.org/10.18485/arhe_apn.2010.6.13.

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22

Humphrey, Nicholas. "Left-footedness in Peacocks: An Emperor's Tale." Laterality: Asymmetries of Body, Brain and Cognition 3, no. 4 (October 1998): 289. http://dx.doi.org/10.1080/713754316.

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23

Somerstein, Rachel. "Review: The Lost Rolls 1988–2012, by Ron Haviv, edited by Robert Peacock." Afterimage 43, no. 6 (May 1, 2016): 31–32. http://dx.doi.org/10.1525/aft.2016.43.6.31.

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24

Barnett, Steven, and David Docherty. "The Peacock Debate in the UK." Screen 27, no. 3-4 (May 1, 1986): 24–29. http://dx.doi.org/10.1093/screen/27.3-4.24.

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25

Williams, Wynne. "Reading Greek Like a Man of the World: Reading Greek Like a Man of the World: Macaulay and the Classical Languages." Greece and Rome 40, no. 2 (October 1993): 201–16. http://dx.doi.org/10.1017/s0017383500022798.

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In his journal for December 31st, 1851, Thomas Babington Macaulay recorded an encounter with Thomas Love Peacock: ‘I met Peacock; a clever fellow and a good scholar. I am glad to have an opportunity of being better acquainted with him. We had out Aristophanes, Aeschylus, Sophocles and several other old fellows, and tried each other's quality pretty well. We are both strong enough in these matters for gentlemen. But he is editing the Supplices: Aeschylus is not to be edited by a man whose Greek is only a secondary pursuit’ (Life II, 556). This encounter is an illustration of the fact that in ni

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26

Mayer, David R., and Kurosawa Fumiko. "Pfauendarstellungen in Kunst und Kunstgewerbe Japans. Pfauensymbolik und ihre Darstellungsformen in der ostasiatischen Kunst. [Representations of the Peacock in Japanese Art and Crafts. Symbolism of the Peacock and Its Expression in Eastasian Art]." Asian Folklore Studies 48, no. 1 (1989): 163. http://dx.doi.org/10.2307/1178544.

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27

Spindler-Brown, Angela. "The Peacock Committee and UK Broadcasting Policy." Historical Journal of Film, Radio and Television 30, no. 2 (June 2010): 255–57. http://dx.doi.org/10.1080/01439681003779358.

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28

Sutianah, Cucu, and Bandi Sobandi. "Project-Based Learning Through Digital Printing Techniques To Improve Students' Local Cultural Innovation Creativity." Journal of Education Technology 6, no. 3 (August 31, 2022): 450–58. http://dx.doi.org/10.23887/jet.v6i3.46164.

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Aligning the needs of students, vocational schools and the world of work, many of whom have failed due to low mastery of soft skills. The purpose of this study, to describe the Project-Based Learning (PjBL) model in the manufacture of batik products with the motif of the peacock ngibing batik on the local cultural heritage of Tasikmalaya, and Secondary Vocational Education (SMK). In this study, the author will design a motif inspired by the ngibing peacock motif combined with Tasikmalaya batik for adult women with digital printing techniques so that the younger generation is more familiar with

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29

Hardiman, Louise. "Invisible Women." Experiment 25, no. 1 (September 30, 2019): 295–309. http://dx.doi.org/10.1163/2211730x-12341344.

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Abstract Maria Vasilievna Iakunchikova designed three works of applied art and craft in a Neo-Russian style for the Russian section of the Paris “Exposition Universelle” of 1900—a wooden dresser, a toy village in carved wood, and a large embroidered panel. Yet, so far as the official record is concerned, Iakunchikova’s participation in the exhibition is occluded. Her name does not appear in the catalogue, for it was the producers, rather than the designers, who were credited for her works. Indeed, her presence might have been entirely unknown, were it not for several reports of the Russian dis

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30

Neal, J. Wesley, and Karina M. Olivieri-Velázquez. "Notes on Propagation of Butterfly Peacock BassCichla ocellaris(Bloch & Schneider, 1801) in a Tropical Fish Hatchery." Aquaculture Research 46, no. 7 (October 31, 2013): 1785–87. http://dx.doi.org/10.1111/are.12315.

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31

Wozniak, Steven. "Peacocks, Chameleons, Centaurs: Gay Suburbia and the Grammar of Social Identity." Archives of Sexual Behavior 34, no. 1 (February 2005): 126–28. http://dx.doi.org/10.1007/s10508-005-1009-5.

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32

Owen-Crocker, Gale R. "Squawk talk: commentary by birds in the Bayeux Tapestry?" Anglo-Saxon England 34 (December 2005): 237–54. http://dx.doi.org/10.1017/s0263675105000116.

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A brief history of the tradition of birds as motifs on textiles is followed by a catalogue of the birds in the Bayeux Tapestry and a discussion of their function. The possible significance of identifiable birds (cocks, doves, peacocks, storks), the birds of Aesop's fables and the creatures in the border ‘bird scaring scene’ is analysed. The individuality, in colouring and position, of all the border birds is demonstrated and the apparent interest which many of them take in the action of the main register is highlighted to suggest that the border birds present a commentary on, and audience-part

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33

Jue-Steuck, Jennifer. "John J. Graham: Behind the Peacock's Plumage." Design Issues 19, no. 4 (October 2003): 91–96. http://dx.doi.org/10.1162/desi.2003.19.4.91.

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34

Badcock, Christopher. "The ant & the peacock: Altruism & sexual selection from Darwin to today." Personality and Individual Differences 14, no. 6 (June 1993): 867–68. http://dx.doi.org/10.1016/0191-8869(93)90108-f.

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35

Wilson, M. "The ant and the peacock: altruism and sexual selection from darwin to today." Trends in Ecology & Evolution 7, no. 8 (August 1992): 279–80. http://dx.doi.org/10.1016/0169-5347(92)90179-f.

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36

McDowall, Duncan. "A Game of Thrones, 1936-Style: How Three Canadians Shaped the Abdication of Edward VIII." University of Toronto Quarterly 90, no. 1 (June 2021): 1–20. http://dx.doi.org/10.3138/utq.90.1.01.

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King Edward VIII’s 1936 abdication has remained fixed in modern memory as a traumatic constitutional crisis wrapped in what many consider the most fateful love story of the century. The King’s determination to marry Wallis Simpson, “the woman he loved,” still feeds the mills of popular and academic history. The narrative, however, habitually focuses on the Anglocentric world of the Court of St. James, the Anglican hierarchy, and Stanley Baldwin’s Conservative government. This focus overlooks the key role of non-British participants in the crisis. This article views the abdication through a sig

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37

Peacock, James L., and Héléne Bouvier. "Ludruk Revisited: An Epistolary Interview with James L. Peacock." Theatre Research International 19, no. 1 (1994): 9–16. http://dx.doi.org/10.1017/s0307883300018770.

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Hélène Bouvier (HB): How did you first become interested in theatre?James L. Peacock (JLP): Most interesting to me, though perhaps less interesting to anyone else, is the question, ‘Why should I, the son of an engineer (one feature shared with Victor Turner whose mother, however, was an actress), study theatre?’ I had no background in it, and I had hardly even seen a play before I went to Java. I think I know a source. It is during World War II, my father is preparing to invade Normandy, while my mother, my sister and I have moved in with her widowed mother in rural Alabama. My mother's sister

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38

Scheick, William J. "Reflexive Matriarchal Art as Re-Vision of Nuclear Fear: Stephanie S. Tolan's Pride of the Peacock." Lion and the Unicorn 18, no. 2 (1994): 171–77. http://dx.doi.org/10.1353/uni.0.0254.

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39

Yeni, Delfita. "Kreasi Bentuk Bulu Merak sebagai Motif dalam Fashion (Peacock Feather Shape Creations as a Motive in Fashion)." INVENSI 4, no. 2 (August 15, 2019): 144–54. http://dx.doi.org/10.24821/invensi.v4i2.3224.

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AbstrakPenelitian ini bertujuan untuk mengembangkan kreatifitas dalamberkarya seni yang terinspirasi dari bentuk bulu burung merak,bentuk dari bulu merak dibuat dengan teknik sulaman, batik danpayet. Metode yang digunakan dalam proses pembuatan karyamelalui tiga tahapan penciptaan seni kriya. Pertama adalah tahapeksplorasi yang meliputi aktifitas penjelajahan menggali sumber idedengan langkah identifikasi dan perumusan masalah; penelusuran,penggalian, pengumpulan data, referensi, dan analisis data yangmenjadi dasar perancangandan tahap perwujudan karya. Kedua,tahap perancangan berdasarkan hasi

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40

Morgan, Jennie. "Assembling the New: Studying Change Through the ‘Mundane’ in the Museum as Organization." Museum and Society 16, no. 2 (July 30, 2018): 157–70. http://dx.doi.org/10.29311/mas.v16i2.2799.

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Change is highly valued within the museum sector and related literatures. Despite this emphasis, it is claimed that the field struggles to adequately understand and explain change processes, and that new critical and methodological tools are needed to move discussion forward (Peacock 2013). This paper offers one possible route by developing an anthropologically informed, ethnographic approach to studying the museum as organization. Illustrated through selected empirical materials from the case of the refurbishment of the Kelvingrove Art Gallery and Museum in Glasgow, the paper focuses on a per

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Toliver, Victoria. "Vodun Iconography in Wilson Harris's Palace of the Peacock." Callaloo 18, no. 1 (1995): 173–90. http://dx.doi.org/10.1353/cal.1995.0018.

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42

Dutton, Steve. "Apocotropes Dutton and Peacock The Dog and Duck Dutton and Swindells." Journal of Visual Art Practice 6, no. 3 (December 7, 2007): 251–56. http://dx.doi.org/10.1386/jvap.6.3.251_1.

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Anderson, Robert. ": The Anthropological Lens: Harsh Light, Soft Focus . James L. Peacock." American Anthropologist 89, no. 4 (December 1987): 949. http://dx.doi.org/10.1525/aa.1987.89.4.02a00190.

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Fluri, Jennifer. "Armored peacocks and proxy bodies: gender geopolitics in aid/development spaces of Afghanistan." Gender, Place & Culture 18, no. 4 (July 29, 2011): 519–36. http://dx.doi.org/10.1080/0966369x.2011.583343.

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45

Bitrus, I., I. Shittu, C. A. Meseko, and T. M. Joannis. "Occurrence and molecular detection of avian coronavirus in selected live bird markets, northwestern, Nigeria." Sokoto Journal of Veterinary Sciences 18, no. 4 (February 18, 2021): 226–29. http://dx.doi.org/10.4314/sokjvs.v18i4.7.

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Infectious bronchitis (IB) is one of the most common highly infectious viral respiratory diseases of poultry having wide geographical distribution. Yet, little is known about the infection in the northwestern states of Nigeria. In this study, a total of 263 pooled cloacal and tracheal swab samples were collected from apparently healthy avian species (duck, dove, geese, guinea fowl, local chicken, ostrich, parrot, pigeon, peacock, and turkey). The samples were from nine live bird markets in three states (Kaduna, Kano and Jigawa) of northwestern, Nigeria collected from September through November

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46

Sobkovych, Olha. "Folk poetics in creative work of Petro Kholodnyi Senior." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 66–78. http://dx.doi.org/10.37131/2524-0943-2019-42-10.

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Summary. The defined issue is the new angle to study Petro Kholodnyi Sr. heritage, that allows to research the thematic interest features and style synthesis specific to artist`s original language, where we can trace the modernist style, symbolism, byzantine style and impressionism echoes. It was observed an important group of artwork by Kholodnyi Sr. in the article. Together with the sacral heritage, they have played a significant role in the reviving of the Ukrainian national art in the first part of XX century - the compositions on the folk themes. The comprehensive review of the folk poeti

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47

Mandoki, Katya. "The status of aesthetics today." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 57–66. http://dx.doi.org/10.5937/saj1501057m.

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In this paper I argue for the possibility of expanding the field of aesthetics not only beyond art and beauty but also beyond everyday aesthetics (or prosaics) centered in human sensibility. This implies considering sensibility or aesthesis in all live beings to understand the vastness of bio-aesthetics. Part of this query is zoo-aesthetics. We have such growing evidence, enriched day by day, that animals are capable of creating, recreating, imitating, enjoying, exhibiting and expressing sensibility or aesthetic taste in various forms that it is harder to deny the more we record and witness th

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48

Häring, Hugo. "Conversation with Chen Kuan Lee about roof profiles (1947)." Architectural Research Quarterly 12, no. 1 (March 2008): 26–28. http://dx.doi.org/10.1017/s1359135508000900.

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We spoke about the usability and further development of the Chinese roof profile in Chinese buildings today. How did this roof, this remarkable Chinese roof, which gives Chinese architecture a special signature against which other features pale into insignificance, come about? It is a saddle roof with an exaggerated rounding of the ridge and wide out-swinging eaves, and the surface is raised to the highest shine through the intensity of gleaming glazed tiles which display all the colours of nature: light and dark red, lemon yellow and golden yellow, sky blue and peacock blue, rare green and br

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49

Chatterjee, Sudipto. "SOUTH ASIAN AMERICAN THEATRE: (UN/RE-)PAINTING THE TOWN BROWN." Theatre Survey 49, no. 1 (May 2008): 109–17. http://dx.doi.org/10.1017/s0040557408000069.

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In his second year at the University of California, Berkeley, Arthur William Ryder (1877–1938), the Ohio-born Harvard scholar of Sanskrit language and literature, collaborated with the campus English Club and Garnet Holme, an English actor, to stage Ryder's translation of the Sanskrit classic Mrichchhakatikam, by Shudraka, as The Little Clay Cart. The 1907 production was described as “presented in true Hindu style. Under the direction of Garnet Holme, who … studied with Swamis of San Francisco … [and] the assistance of many Indian students of the university.” However, in the twenty-five-plus c

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Shaw, Gregory. "Wilson Harris's Metamorphoses: Animal and Vegetable Masks in Palace of the Peacock." Callaloo 18, no. 1 (1995): 158–70. http://dx.doi.org/10.1353/cal.1995.0017.

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