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Journal articles on the topic 'Tibetan Small art works'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

Magnatta, Sarah. "Marking Impermanence." HIMALAYA 43, no. 2 (2024): 64–80. https://doi.org/10.2218/himalaya.2024.8956.

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This essay explores works by contemporary artist Sonam Dolma Brauen through two lenses: as the result of ongoing and changing functions of an object, and as part of a broader dialogue about indexical imagery in contemporary art. Sonam Dolma’s family escaped from Tibet to India when she was young, carrying few possessions on their difficult journey through the Himalayas. One of these items, a small metal tsa tsa mold used in Tibetan Buddhist rituals, would later become an instrument of creation in Sonam Dolma’s art practice. Comprised of multiple plaster casts made from the original object, the

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Zorin, Aleksandr. "Tibetan and Mongolian Studies of the Academician Theophilus Siegfried Bayer." ISTORIYA 13, no. 4 (114) (2022): 0. http://dx.doi.org/10.18254/s207987840021195-3.

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This article deals with one of the main directions of research of T. S. Bayer (1694—1738), the first orientalist at the Russian Academy of Sciences. His interest in Tibetan and Mongolian writings was formed several years before his arrival in St. Petersburg, but it was instigated mainly by the sources connected with Russia. In the 1720s, two preliminary works by Bayer on this topic were published, one of them containing a translation of a text related to the ritual practice of Tibeto-Mongolian Buddhism, the first one in the history of European science. After moving to Russia, Bayer got the opp

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3

Zhen, Ni. "Analyze the Development of Tibetan Contemporary Art." BCP Education & Psychology 8 (February 27, 2023): 84–88. http://dx.doi.org/10.54691/bcpep.v8i.4276.

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The development of Tibetan contemporary art, which is divorced from the traditional Buddhist significance, faces many problems, including the common problems of contemporary art and the problems that only occur in Tibetan contemporary art. Because of their unique cultural background, Tibetan people do not accept open contemporary art and depart from traditional forms, and they have their own aesthetic standards for art. Tibetan contemporary artists are in line with the world and create advanced contemporary art works. However, when creating works, even excellent artists will use the wrong imag

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Long, Yingsu, and Lim Chsing Chsing. "Borderland Mystery and Tibetan Writing: On Ma Yuan's Non-linear Spatial Narrative Strategy in Tibetan Novels." Salud, Ciencia y Tecnología - Serie de Conferencias 3 (January 1, 2024): 947. http://dx.doi.org/10.56294/sctconf2024947.

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In the 1980s, Ma Yuan, as a literary explorer, carried out the pioneering art of literature and art with full enthusiasm for the life in Tibet, and devoted himself to creating a series of literary works with Tibet as the background. Currently, Ma Yuan's Tibetan novels depict in depth the invaders and guardians of Tibetan national culture as well as the spread and development of Tibetan national culture, depicting the profound mystery and broad inclusiveness of Tibetan culture. His works are not only unique in form, fully reflecting the innovative qualities of pioneer novels, but also innovativ

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Li, Meng Die. "Traditions of the Tibetan New Year’s Festival in Contemporary Chinese Painting: Pan Shixun and Ye Xingsheng." Observatory of Culture 17, no. 2 (2020): 214–23. http://dx.doi.org/10.25281/2072-3156-2020-17-2-214-223.

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The article is devoted to the tradition of the Tibetan New Year celebration reflected in contemporary Chinese oil painting. The article’s purpose is to study the cultural features of the Tibetan New Year, on the example of works of the two Chinese artists: Pan Shixun and Ye Xingsheng, and to analyze the degree of art’s influence on the preservation of intangible cultural heritage. Chinese painting contributes to the unity of traditions of the past and present, as well as the integration of classical and contemporary elements in the technique of modern times. In their works, the masters, using

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6

Lu, Zairan. "Modern Chinese Oil Painting on “Tibetan Themes”." Vestnik of Saint Petersburg University. Arts 14, no. 2 (2024): 264–81. http://dx.doi.org/10.21638/spbu15.2024.203.

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Chinese fine art has undergone a long and painstaking history of the formation of classical writing techniques. However, the globalization processes, which also affected the spheres of artistic activity, influenced the themes of works, techniques and techniques of oil painting in China. Meanwhile, the existential and religious flavor of Tibetan painting, untouched by world trends, has preserved many unique traditional principles of existentialism and worldview concepts that have absorbed the virginity of the spiritual and semantic identity of the people. This phenomenon has attracted a lot of

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Brox, Trine. "The Aura of Buddhist Material Objects in the Age of Mass-Production." Journal of Global Buddhism 20 (January 1, 2019): 105–25. https://doi.org/10.5281/zenodo.3238213.

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The article discusses material religion in a commercial setting and sets off this discussion with Walter Benjamin's The Work of Art in the Age of Mechanical Reproduction (1936). Benjamin argues that mechanical reproduction emancipated works of art from religious rituals and evaporated the aura of art. This has resonance among some Tibetan Buddhists in the context of mass-produced Buddhist material objects. Are such objects fit to be given as gifts, implemented in rituals, and worshipped on altars? Based upon ethnographic work at a Tibetan Buddhist market in urban China, the article argues that

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Чандра, Л. "Vaguri the bird-catcher." Iskusstvo Evrazii [The Art of Eurasia], no. 4(31) (December 29, 2023): 302–4. http://dx.doi.org/10.46748/arteuras.2023.04.020.

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Статья посвящена символике и иконографии сиддхи Вагури в буддийском искусстве. Приводятся примеры из трудов санскритского автора XI века Абхаядатты, А. Грюнведеля, Каталога тибетских фондов Национальной библиотеки (Париж) П. Кордье, Полного каталога тибетских буддийских канонов (Сендай), Тибетского дома-музея (Нью-Дели). Перевод статьи Локеша Чандры из «Словаря буддийской иконографии» выполнен С.М. Белокуровой. The article is devoted to the symbolism and iconography of Siddha Vaguri in Buddhist art. The author gives examples from the works of Abhayadatta, A. Grünwedel, the Catalogue of Tibetan

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KUBIK, Adam. "Mysterious helmet from Verden and its “link” with Tibetan helmets." Historia i Świat 6 (September 14, 2017): 133–39. http://dx.doi.org/10.34739/his.2017.06.10.

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The article discusses a helmet that was published in 1914 in Zeitschrift für Historische Waffenkunde. It was possibly found by a German farmer during field works near the town of Verden in Lower Saxony. The helmet which was previously associated with the Saxons and dated between Migration Period and the reign of Charlemagne shows clearly relations with far Asian constructions. Additionally I discuss here another helmet in The Metropolitan Museum of Art, which seems to be a 20th century reworking that imitated the Verden helmet

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Chen, Yijing, Luqing Wang, Xingquan Liu, and Hongjun Wang. "Artificial Intelligence-Empowered Art Education: A Cycle-Consistency Network-Based Model for Creating the Fusion Works of Tibetan Painting Styles." Sustainability 15, no. 8 (2023): 6692. http://dx.doi.org/10.3390/su15086692.

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The integration of Tibetan Thangka and other ethnic painting styles is an important topic of Chinese ethnic art. Its purpose is to explore, supplement, and continue Chinese traditional culture. Restricted by Buddhism and the economy, the traditional Thangka presents the problem of a single style, and drawing a Thangka is time-consuming and labor-intensive. In response to these problems, we propose a Tibetan painting style fusion (TPSF) model based on neural networks that can automatically and quickly integrate the painting styles of the two ethnicities. First, we set up Thangka and Chinese pai

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Sun, Jia. "Blaze and Sublime — A Preliminary Study on the Aesthetic Characteristics of Red Tangka." Art and Society 3, no. 3 (2024): 26–31. http://dx.doi.org/10.56397/as.2024.06.03.

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The red Thangka not only reflects the Tibetan people’s reverence and yearning for the vitality of life, the brilliance of the sun and the purification of the deity, but also contains the artistic pursuit of fierce and lofty emotions. Through the systematic analysis of 150 works of 20 red Thangka artists, this paper reveals the multiple symbolic meanings of red in red Thangka and the regularity and difference of emotional expression. The results show that the selection and collocation of red is not only the inheritance of traditional Tibetan aesthetics, but also the innovation of modern aesthet

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Yan, Zhilong, and Aixin Zhang. "“Ritual and Magic” in Buddhist Visual Culture from the Bird Totem." Religions 13, no. 8 (2022): 719. http://dx.doi.org/10.3390/rel13080719.

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Despite numerous research findings related to medieval Chinese Buddhism, the witchcraft role of bird totems in Buddhist history has not received sufficient attention. In order to fill this gap, this paper analyzes how Buddhist monks in medieval China developed a close relationship with bird-totem worship. This relationship has been documented in Buddhist scriptures, rituals, oral traditions, biographies, and mural art. Although bird-totem worship was practiced in many regions of medieval China, this paper specifically examines the visual culture of bird totems in Tibetan and Chinese Buddhism.

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13

Lopez, Donald S. "“Lamaism” and the Disappearance of Tibet." Comparative Studies in Society and History 38, no. 1 (1996): 3–25. http://dx.doi.org/10.1017/s0010417500020107.

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At an exhibition in 1992 at the National Gallery in Washington, D.C., “Circa 1492: Art in the Age of Exploration,” one room among the four devoted to Ming China was called “Lamaist Art.” In the coffee-table book produced for the exhibition, with reproductions and descriptions of over 1,100 of the works displayed, however, not one painting, sculpture, or artifact was described as being of Tibetan origin. In commenting upon one of the Ming paintings, the well-known Asian art historian, Sherman E. Lee, wrote, “The individual [Tang and Song] motifs, however, were woven into a thicket of obsessive

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Romanenkova, Yulia. "Art Language of Small Plastic Art by Arkady Pugachevsky." Bulletin of KNUKiM. Series in Arts, no. 36 (June 10, 2017): 107–17. https://doi.org/10.31866/2410-1176.36.2017.157684.

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The purpose of the article. The article is dedicated to the later period of creativity of Ukrainian artist Arkady Pugachevsky. Pugachevsky-older is known in the area of lovers of graphic arts primarily as an expert of technician of printmaking. Specializing in high printing, he gives preference to the engraving on the plastic. Methodology of investigation. The research methodology consists in complex using of biographical, historical, comparative methods of analysis, used for comprehensive coverage of case material. Scientific novelty of article is in the introduction into scientific use of wo

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Liang, Jingying. "Research on the Content Characteristics of Narrative MV." Highlights in Art and Design 3, no. 1 (2023): 37–39. http://dx.doi.org/10.54097/hiaad.v3i1.9166.

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MV (Music Video) is an art form that combines music and pictures, while narrative MV is a form of expressing the inner emotions and stories of music in the way of telling stories through pictures. The MV "Stars" tells the story of a supporting teacher and a Tibetan boy. This article analyzes the MV "Stars", expounds the related concepts of MV, analyzes and studies its content, characteristics and narrative methods. Narrative MVs not only need excellent music works and superb shooting techniques, but also need a vivid story, as well as the portrayal of emotions and details. The research on MV n

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Menyaev, B. V. "Collection of Manuscripts in Oirat in Ulan-Khol khurul of Kalmykia." Orientalistica 5, no. 5 (2022): 1113–32. http://dx.doi.org/10.31696/2618-7043-2022-5-5-1113-1132.

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This article presents a brief overview of the collection of manuscripts in the Oirat language stored in the fund of the Ulan-Khol Temple of the Republic of Kalmykia. The collection under consideration is relatively small (50 manuscripts), but it contains very interesting materials. The manuscripts of the Ulan-Khol Temple were a part of a significant collection of Buddhist writings in Tibetan, Old Mongolian and Oirat in the library of the Shars-Bagut (Northern) Temple, which was located from 1889 to 1939 in the area of Bora, Shars-Bagut aimak located in Erketenevsky ulus. The manuscripts were t

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17

Wang, Yunning. "A Study on the Development Path of Dunhuangology and Its Literature Value." International Journal of Arts and Humanities Studies 3, no. 1 (2023): 77–80. http://dx.doi.org/10.32996/ijahs.2023.3.1.11.

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Dunhuang, known as the Land of Sand in ancient times, is located in the western part of the Ningxia Hui Autonomous Region, bordering Qinghai and Xinjiang. Dunhuang (Mogao Grottoes) culture and art are honored as the cultural museum of the Eastern world. Among existing ancient works and documents, there are massive manuscripts in Tibetan, Uyghur, Sogdian (Yutian), Khotanese, Post Turkic (Hou Tuque), Sanskrit, Kharosthi, Sogdian (Suli), Tocharisch, Syriac, ancient Greek, and other minority languages, which are of great significance to Dunhuangology and resource development. This paper will analy

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18

Adi, Sigit Purnomo. "PELATIHAN PEMBUATAN MINIPRINT DENGAN MENGGUNAKAN MEDIA TRIPLEK DI KOMUNITAS MAKMOER ART PROJECT SUKOHARJO." Abdi Seni 12, no. 1 (2021): 45–50. http://dx.doi.org/10.33153/abdiseni.v12i1.3748.

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Abstract Miniprint is one of the print size formats in graphic arts that is not yet very popular in Indonesia. Miniprint format prints in small sizes both matrix and paper. Printing in small sizes is fun. Small format requires patience and technical skill in visualizing the artist's ideas and ideas. Considering that miniprints have many features apart from a small format, they can also be carried everywhere and can also be used as an aesthetic element or room decorator and have good selling power, encouraging the author to hold a workshop or training on making miniprints in the Makmoer Art Pro

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19

Gentle, Paul, and Marco Giliberti. "Were valuable art works an economic form of money during the German Third Reich Period and its aftermath?" Public and Municipal Finance 6, no. 4 (2017): 33–38. http://dx.doi.org/10.21511/pmf.06(4).2017.04.

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This examines the special use of art works as a store of value in Germany during the Third Reich era. Some Jews were able to buy their freedom, as the fascists closed in. Then as the Third Reich fell, some escaping fascists used art works to secure freedom outside of Germany. One of the characteristics of money is a store of value. When confidence in a currency is present, the more conventional form of money takes precedence. A respected, economic form of currency and coin has all three elements of money: medium of exchange, store of value and unit of account. This last trait is especially abs

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20

Shalem, Avinoam. "“What a Small World”: Interpreting Works of Art in the Age of Global Art History." Getty Research Journal 13 (January 1, 2021): 121–42. http://dx.doi.org/10.1086/713432.

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Muhammad Arief and Yasrul Sami. "Rang Gelandang Tuo sebagai Ide Penciptaan Karya Lukis Kontemporer." Misterius : Publikasi Ilmu Seni dan Desain Komunikasi Visual. 2, no. 1 (2025): 111–17. https://doi.org/10.62383/misterius.v2i1.547.

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This final work aims to visualize the various negative impacts that arise from small communities, from how they earn a living to ending up as midfielders and the impact of small communities' behavior in contemporary works of painting. The hope of this work is to increase public knowledge and awareness and enrich ideas in realizing contemporary painting art. The method the author uses is the art concert method which consists of: (1) Preparation, in the form of observation, gathering information and ideas. (2) Elaboration, to determine the main idea through analysis, abstraction, generalization

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Bowen, Barbara C. "A Neglected Renaissance Art of Joking." Rhetorica 21, no. 3 (2003): 137–48. http://dx.doi.org/10.1525/rh.2003.21.3.137.

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This article proposes that we add to the small number of Renaissance works on the art of creating or using facetiae an almost unknown De arte iocandi by an almost unknown Mattheus Delius, who died young. The work is a poem in four books, in Ovidian elegiac couplets, obviously inspired by the De arte bibendi of Vincentius Obsopoeus; both works have been assumed to be paradoxical encomia but arein fact seriousalbeit playful compendia of rules. Delius is interested not in the rhetorical use of jokes as weapons, but in something very close to Erasmus's festivitas. The preface by Melanchthon almost

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Demenova, Victoria V. "Sino-Tibetan Style of Buddhist Sculpture: Articulation of the Attribution Problem." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 272–86. http://dx.doi.org/10.15826/izv2.2022.24.2.039.

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This article is devoted to the concept of “style” and the possibility of its application in the attribution of works of Buddhist metal sculpture. This aspect, which, as a rule, is peripheral for classical Oriental studies, Buddhology, and history, where it is interpreted quite freely, is one of the key ones for art history and museum attribution activities. The author notes the terminological and factual diversity of the designation of the “Sino-Tibetan style” in the circle of researchers of the art of Buddhism. The author poses the question of what exactly the concept of “Sino-Tibetan style”

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24

Thomas, Leslie. "ART WORKS Projects: Claiming Public Space for Human Rights." Revista Electrónica de Derecho Internacional Contemporáneo 3, no. 3 (2020): 167–70. http://dx.doi.org/10.24215/2618303xe013.

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ART WORKS Projects (AWP) was born out of desperation. A photo of a small boy who had been murdered in a genocidal attack against civilians in Darfur by a Sudanese government intent upon their eradication led to the formation first of the DARFUR/DARFUR exhibition of large-scale exterior projections and eventually to AWP. The founders, by and large architects, filmmakers, editors, photographers, lawyers, and designers, weren’t naive enough to believe that art can always end genocide (or any other grave human rights abuse), but they knew it impacted them and so they theorized that the same could

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Zhabon, Yumzhana Zh, Tsymzhit P. Vanchikova, and Oleg S. Rinchinov. "Tibetan Fond of the Center of Oriental Manuscripts and Xylography of the Institute for Mongolian, Buddhist and Tibetan Studies of the Siberian Branch of the Russian Academy of Sciences: Characteristics, Classification of the Medical Collection." Herald of an archivist, no. 3 (2018): 926–35. http://dx.doi.org/10.28995/2073-0101-2018-3-926-935.

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This article offers a description and subject classification of the medical texts collection from the Tibetan fond of the Center for Oriental Manuscripts and Xylographs of the Institute of Mongolian, Buddhist and Tibetan studies of the Siberian Branch of the Russian Academy of Sciences (COMX IMBTS SB RAS). One of its main tasks has been to identify and attribute medical texts in the Tibetan collection, which is comprised of over 40,000 texts acquired from private libraries of the Buddhist clergy of Buryatia. Intensive source work has resulted in creation of a separate collection of medical tex

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Yang, Zeyin. "Application and Development of Digital Enhancement of Traditional Sculpture Art." Scientific Programming 2022 (February 3, 2022): 1–8. http://dx.doi.org/10.1155/2022/9095577.

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Sculpture art, as an important carrier of spiritual civilization, also portrays a prosperous scene as an industry with urban and cultural development. Three-dimensional technology offers a new platform for sculpture creation, allowing for the digitization of sculpture works via electronic information technology, and the display of sculpture works in front of people via displays, facilitating the exchange and dissemination of information and promoting the growth and progress of the entire sculpture creation industry. We plan to use digital enhancement technology to conduct small-scale creation

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Akimov, Dmytro. "Marketing researches and promotion works of art in the fine art’s marketing." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 139–44. http://dx.doi.org/10.32461/2226-0285.1.2021.238609.

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The purpose of the article. Research and analysis of marketing technology algorithms by means of market segmentation in fine arts marketing. The methodology of the study is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the processes of segmentation of the fine arts market with the subsequent use of research results in the marketing processes of promoting works of art from artist to consumer. The scientific novelty consists in expanding the notions about the research of marketing processes in the art market. The article establishes t

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Pan, Liang. "Trends in the development of institutions and forms of artistic communication in modern St. Petersburg." Философия и культура, no. 4 (April 2024): 127–40. http://dx.doi.org/10.7256/2454-0757.2024.4.70254.

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The subject of the study is the works of contemporary St. Petersburg artists of different generations and creative trends, as well as the forms and features of their communication with each other and with the general as well as professional public. The trends of artistic communication in the city are determined by the activities of such institutions as art and non-art museums, art galleries and exhibition centers, which are a classic form of presentation of contemporary art; alternative venues such as creative spaces and art clusters. The field of attention also includes the attraction of St.

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Lopez, Manuel. "Contemplative Practice, Doxographies, and the Construction of Tibetan Buddhism: Nupchen Sangyé Yeshé and The Lamp for the Eye in Meditation." Religions 9, no. 11 (2018): 360. http://dx.doi.org/10.3390/rel9110360.

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In this article, I would like to reframe our understanding of the role played by doxographies or classification of views (Skt. siddhānta, Ch. panjiao 判教, Tib. grub mtha’) in the Buddhist tradition as it pertained to Tibetan attempts at defining and organizing the diversity of Buddhist contemplative practices that made their way into Tibet since the introduction of Buddhism to the Tibetan plateau in the seventh century, all the way up to the collapse of the Tibetan Empire in the ninth century. In order to do that, this article focuses on one such doxography, the Lamp for the Eye in Meditation (

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Gromov, Mikhail N. "Methodology of the Study of Ancient Russian Art and Culture." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 65 (2022): 269–78. http://dx.doi.org/10.37816/2073-9567-2022-65-269-278.

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Old Russian art and Old Russian philosophy have many similar typological features. Therefore, the consideration of ancient Russian art, from a philosophical point of view, has a certain methodological significance. Old Russian texts can be divided into three groups according to the degree of saturation of their philosophical and aesthetic content. The first group consists of the most serious books, including: “The source of knowledge” by John of Damascus, “Dioptra” by Philip the Hermit, “The logic of Aviasaph” and a number of others. The second group, the most numerous, includes the works of M

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Agratina, Elena E. "Jean-Honoré Fragonard: The New in the Notions of “Sketchiness” and “Completeness”." Observatory of Culture 18, no. 2 (2021): 174–85. http://dx.doi.org/10.25281/2072-3156-2021-18-2-174-185.

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The second half of the 18th century was a time of active changes in the perception of art, rethinking many concepts and phenomena. One of them was the pictorial sketch, which transformed from a preparatory stadium work into an independent, complete piece of art. Many art theorists and critics, as well as painters themselves had contributed to this rethinking. Many young artists, bored of historical painting and indifferent to all the academic principles, were searching for new media of expressiveness, using the sketch-like pictorial manner to give their works a new dynamism and an impression o

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Segal, Orna. "Beyond Bezalel: Expressions of Jewish Identity in the Art of Female Israeli National Religious Graduates." Ars Judaica 20 (November 2024): 139–59. https://doi.org/10.3828/arsjudaica.2024.20.8.

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Artists from the National-Orthodox sector have become more prominent in the Israeli art scene in recent years. I here present research on the expression of Jewish identity in the works of three active artists who studied in religious educational institutions, as reflected in interviews with them, and in works that contain elements related to their identity and the world from which they emerged. The study investigates the extent of expression of Jewish-religious identity in their art, how it is expressed, and whether the goals of the promotion of art within the religious education system are re

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Freeman, Lindsey. "Small Elegies for America." Imaginations: Journal of Cross-Cultural Image Studies 15, no. 2 (2025): 65–94. https://doi.org/10.17742/image29683.

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Miniatures open us up to childhood memories, daydreaming, and nostalgia, but they can also alert us to the dangers and disappointments of our times. Many contemporary artists are utilizing small-scale artworks to represent difficult truths of contemporary American life, such as alienation, disenchantment, precarious housing, and economic insecurity writ large. In this essay, focusing on the artists Michael Paul Smith, Thomas Dolye, and James Casebere, the imaginations that encircle homes, neighborhoods, and small towns are complicated through utopian and dystopian art works that draw attention

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Harbie, Putri R. A. E. "Curation and Presentation to Enrich Value on Intermedia Art in a Contamporary Art Exhibition." IMOVICCON Conference Proceeding 1, no. 1 (2019): 108–15. http://dx.doi.org/10.37312/imoviccon.v1i1.12.

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The moving image has evolved into a very common medium used in both narrative and non-narrative way, exhibited in a film festival or art exhibition. Narrative film nowadays distributed digitally and can be exhibited in both the big screen and small screen (such as mobile phone, laptop screen, mini projector) without possibly losing any storytelling value. While non-narrative film/video mostly exhibited in a special treatment to enrich the main message. The small screen was commonly used to present this medium in an art exhibition. Art manager has a responsibility to curate and presents the int

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Kravcenko, Vladimir. "Some issues on the development of digital art in the Republic of Moldova." Arta 30, no. 1 (2021): 124–29. http://dx.doi.org/10.52603/arta.2021.30-1.18.

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The paper examines the creative segment of digital art, which has been carried out by professional graphic artists in the independent Republic of Moldova, including finished artworks produced in big and small print runs, and also unique graphic works. Sketches and technical drawings of any kind are excluded from the study. Important data is provided about different images (chiesel works, book illustrations, caricatures, postage stamps, ex-librises), which were rendered digitally both in full and in part. Also, concise information is offered on the professionals practicing the respective type o

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Trinkert, Julia. "Art centres in the Lower Rhine and the Maasland revisited: research potential of a methodological reorientation of medieval art history." Journal of Art Historiography 2020, no. 22 (2020): 22—JT1. https://doi.org/10.5281/zenodo.5075090.

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The medieval wooden sculptures in the Lower Rhine and the Maasland region have been the focus of much art historical interest. Various inventory and exhibition projects in the twentieth century comprehensively recorded and arranged the numerous works available in the region and assigned them to different known or unknown artists or art landscape groups of works, according to the status of the respective research claim. The basis for a revision of the Lower Rhine and Maasland medieval wooden sculptures lies in the application of large-scale research efforts toward medieval wooden sculpture and

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Qu, Yifeng. "Interpretations of Rice Paper Watercolor Painting in Art Teaching." Review of Educational Theory 3, no. 1 (2020): 62. http://dx.doi.org/10.30564/ret.v3i1.1635.

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The ricepaperplant pith is also known as Tetrapanax papyrine, Akebia, or tall gastrodia fruit, a kind of shrub or small tree of the Araliaceous. It is native to south China and Taiwan Prov., the raw material of rice paper. Extract its central tissue from the stem to make pith slices which could be made as the watercolor painting paper. It arose in Guangzhou in the 19th century, and the themes are mainly focused on reflecting the social life scenes as well as various characters in late Qing Dynasty, such as officials, soldiers, juggling, weaving, playing instrument, etc. The works are lively, v

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Ірина, Грицюк. "Символізм у творчості Стефанії Шабатури". ВІСНИК Львівської національної академії мистецтв, № 34 (10 лютого 2018): 202–14. https://doi.org/10.5281/zenodo.1170642.

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The article is dedicated to complex research of artistic heritage of Stephaniya Shabatura. The works of different genres and periods of execution have been analyzed. There has been suggested a division of her masterprieces into five cycles: the first – graphics, the second – tapestries, тhe third – watercolors, the fourth – embroidered bookmarks and the fifth – small woolen blankets. Every cycle consists of series of works which are united the common theme. In the artist's early works, which were had done in weaving technique, we can find a traditional in folk

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Romanenkova, Yuliia, and Nataliya Ursu. "The image of a musician in the works of Ukrainian artists of the Pugachevsky dynasty." Arta 33, no. 2 (2024): 82–90. https://doi.org/10.52603/arta.2024.33-2.07.

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The article is focused on the representation of musical motifs and the image of a musician in the works of Ukrainian artists, representatives of the Kyiv school, Arkady (father) and Gennady (son) Pugachevsky. The artistic activity of these masters is positioned as a method of popularizing Ukrainian art in the foreign artistic space. The main storylines of free graphics, printed graphics, and small sculptures of the artists are analyzed. The problem of preserving the classical traditions of letterpress printing techniques is being updated. The image of a musician is emphasized as one of the mai

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Liu, Zhuang Zhuang, Zhi Feng Liu, and Guo Ping An. "Geometric Mobiles Innovative Design Method Based on the Computer Simulation Environment." Applied Mechanics and Materials 248 (December 2012): 190–96. http://dx.doi.org/10.4028/www.scientific.net/amm.248.190.

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Geometric mobiles is a new kinetic art which become a new technique combined with basic science and modern art. Geometric mobiles design and calculation by mechanics and mathematics in order to have a slowly and elegant movements. An innovative and efficient design method is first established based on virtual technology and polymorphs small cell centroid point analytical rule. The method reveals the intrinsic relationship between Geometric mobiles and mathematics & mechanics modeling, provides the mathematics foundation for art works innovative and next research.

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Jackson, Philip W. "Dewey's 1906 Definition of Art." Teachers College Record: The Voice of Scholarship in Education 104, no. 2 (2002): 167–77. http://dx.doi.org/10.1177/016146810210400201.

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This paper contains an appreciative exegesis of a single sentence extracted from a speech that John Dewey delivered to an audience of teachers in 1906. The sentence was selected for analysis because of the extraordinarily concise manner in which it tacitly connects to a wide variety of Deweyan doctrines, particularly those having to do with Dewey's vision of human flourishing. The overall goal of the analysis is simply to bring the sentence to the attention of a wider audience. By displaying the hidden richness of this small string of words, delivered almost nonchalantly, one suspects, and on

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Ontano, Giacomo. "Dialogue between art and architecture, Paul Klee and Carlo Scarpa." Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien, ISSN 2297-6809 11 (April 1, 2022): 60–68. https://doi.org/10.5281/zenodo.6406531.

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This work stems from an interest in exploring the works of the architect <strong>Carlo Scarpa</strong> and how contemporary art may have influenced his architecture. It mainly focuses on Scarpa’s installations for the Venice Biennale, after World War II, when contemporary art found new spaces of dissemination. Carlo Scarpa collaborated for more than 20 years with the Venice Biennale, but it was only in 1948, at the first postwar Biennale, that he made his first experience in the field of painting exhibition. He was nominated to design the exhibitions of a few Italian contemporary artists

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Чап, А. А. "SACRED SIGNIFICANCE OF MATERIALS IN SMALL PLASTIC ART OF TUVA." SCIENTIFIC REVIEW OF SAYANO-ALTAI, no. 2(42) (July 8, 2024): 19–23. http://dx.doi.org/10.52782/kril.2024.2.42.003.

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В статье делается попытка проанализировать сакральную значимость дерева и камня агальматолита (чонар- даша) - основных материалов, используемых при создании произведений тувинской малой пластики. Упоминания о деревьях и связанные с ними поверья встречаются во многих легендах, сказаниях; существуют красивые легенды о происхождении поделочного камня агальматолита. Сакральное мировоззрение тувинцев сегодня - это отражение взаимоотношений человека как с окружающей действительностью, так и его отношение к сверхъестественному, тому, что принято относить к «миру духов». The article attempts to analyz

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Park, Jung A. "A Study on the Status of Digital Work Recognition Based on NFT: Focusing on text mining analysis." Korea Institute of Design Research Society 7, no. 2 (2022): 9–19. http://dx.doi.org/10.46248/kidrs.2022.2.9.

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Recently, NFT, an irreplaceable token called convergence art that combines digital technology and art, is attracting attention in the field of design and art. The purpose of this study is to analyze NFT technology-based digital works that are rapidly growing along with rapid demand for IT technology through issues of the times, the development of cryptocurrency blockchain technology, and the trend change in the art market through text mining. As a method of research, text mining is conducted by setting the last year as a collection period from March 2021 to February 2022, when NFT grew the mos

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Nguyen Thi Thanh, Nga. "A SURVEY ON THE RESEARCH OF TRADITIONAL CULTURAL SYMBOLS APPEARED IN THE Y.KAWABATA NOVELS IN VIETNAM." Journal of Science Social Science 65, no. 11 (2020): 54–63. http://dx.doi.org/10.18173/2354-1067.2020-0071.

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Kawabata is one of Japan’s leading writers. Kawabata’s works are a place to preserve and preserve old traditional values becoming a miraculous bridge to bring Japan across the ocean to the whole world, and to bring the world to the land of beautiful cherry blossoms. Therefore, his works have been the object of many large and small research projects domestically and internationally. Within the scope of the article, we have conducted surveys of works and articles on traditional cultural symbols in Kawabata’s novels under the following angles: Biography, Poetry, Psychoanalysis and Culture, thereb

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Tsiuliupa, Natalia, Victoria Bytsyak, and Larisa Smyk. "PECULIARITIES OF WORKING ON WORKS OF SMALL FORM IN THE PIANO CLASS." Мистецька освіта та розвиток творчої особистості, no. 2 (2023): 74–77. http://dx.doi.org/10.32782/art/2023-2-13.

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Zimmermann, Julia. "Ambivalenzen der Darstellung und Zirkelschlüsse der Interpretation. Die Tanzdarstellung Hiltbolts von Schwangau im ‚Codex Manesse‘ und der Reigen höfischer Tugenden im ‚Roman de la Rose‘." Das Mittelalter 23, no. 2 (2018): 427–46. http://dx.doi.org/10.1515/mial-2018-0022.

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AbstractNumerous studies covering courtly dancing and its portrayal in medieval European religious art and literature seem to have, to a large extent, exhausted this subject. Nevertheless, works on courtly dances remain, for the most part, more speculative in nature than apparent at first glance. This is amazing when we consider the importance of courtly dance in literature and art dating from the Middle Ages, as there are only few Middle High German poems in which collective dance is not mentioned. Contrasting with this great number and wide range of references to dance is its small footprint

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Walden, George. "Contemporary Art, Democracy, and the State." Royal Institute of Philosophy Supplement 45 (March 2000): 85–95. http://dx.doi.org/10.1017/s1358246100003325.

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Not long before the change of Government in Britain in 1997, the then Heritage Secretary, Virginia Bottomley, made a speech in which she praised British contemporary art, describing it as the most exciting and innovatory in the world. Unexciting as it seemed, her observation was profoundly innovatory, indeed in its small way historic. To my knowledge no British Cabinet Minister, still less a Conservative, has ever given an official seal of approval to what is conventionally regarded as avant-garde art. The Labour Government has echoed its predecessor's praise at a higher volume, as if determin

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Sung, Gum-Ju, and Yong-Mi Jin. "A Study on Hair Art with the Motif of Winter Flowers." Journal of the Korean Society of Cosmetology 27, no. 6 (2021): 1307–12. http://dx.doi.org/10.52660/jksc.2021.27.6.1307.

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The purpose of this study is to increase the artistic value of hair art. And it is about providing basic data and expanding contributions to follow-up research. Hair art works reinterpret the inner beauty of winter flowers that bloom in full bloom in the cold winter. The research method collected prior studies and references based on winter flowers. Also, we selected four types of winter flowers and analyzed their shapes and colors. I created 4 pieces of hair art. As a result, the colorful color of work 1 increased the aesthetic effect due to its high chroma. Works 2 expresses the elegance of

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Krasnova, I. V. "FORMATION OF THEIR OWN STYLE IN THE WORK OF ARTISTS OF CHUGUEV." Topical Issues of Culture, Art, Education 4, no. 38 (2023): 7–24. http://dx.doi.org/10.32340/2949-2912-2023-4-7-24.

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The article is devoted to the study of the life and work of representatives of the art school of painting in Chuguev. Due to the huge losses of their heritage, it still remains a blank spot in the history of national culture. The uniqueness of the masters of the brush of a small military settlement, which was Chuguev in the 19th century, consists in the fact that they came from a soldier and peasant environment. Mastering various technical techniques of painting, they worked in different genres. This allowed the Chuguev artists to create works of a secular and spiritual nature, including icons

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