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Articoli di riviste sul tema "Religious art"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 29 luglio 2024

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1

Gorringe, Tim. "Rembrandt's Religious Art." Theology 98, no. 781 (January 1995): 15–19. http://dx.doi.org/10.1177/0040571x9509800104.

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2

Wang, Xiaoyong. "Between the Religious Act and Art Commodity." Re:Locations - Journal of the Asia-Pacific World 2, no. 1 (May 15, 2019): 1–22. http://dx.doi.org/10.33137/relocations.v2i1.31674.

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Rebgong, located in Huangnan Tibetan Autonomous Prefecture in Qinghai, China, has become one of the most productive areas of Tibetan Thangka painting since the 1980s. Why has Rebgong, a place outside the Tibet Autonomous Region (TAR), become the stronghold of Thangka commercialization? How have Thangka Buddhist painters reacted to the commercialization of their work? I chose to focus on the changes in the past decades in the transmission and commercialization models of Rebgong Thangka. Based on my analysis of both Chinese and English textual sources as well as three weeks of fieldwork conducte

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3

Schieppati, Sara Valentina, Cinzia Di Dio, and Gabriella Gilli. "Religious and sacred art: Recent psychological perspectives." RICERCHE DI PSICOLOGIA, no. 1 (May 2022): 1–12. http://dx.doi.org/10.3280/rip2022oa13589.

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The psychology of art has had an enormous development since the middle of the last century; however, no much work has been done in association with religious and sacred art. This paper aims to provide a brief history of the use of images in the three great monotheistic religions, i.e., Judaism, Christianity, and Islam.All three religions have been influenced by the commandment (Exodus, 20:4), which prohibits idolatry. Nevertheless, when it comes to the use of images with religious content, the commandment is interpreted differently by the three. If in Judaism and Islam the use of images is not

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4

Trott, Elizabeth. "Is Religious and Political Art Really Art?" Études maritainiennes / Maritain Studies 29 (2013): 3–14. http://dx.doi.org/10.5840/maritain2013291.

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5

Yao, Kaishuo. "Monumentality in Religious Art." Art and Design 4, no. 4 (2021): 33. http://dx.doi.org/10.31058/j.ad.2021.44006.

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6

Guip, David, Lynda Lowe, Vas Prabhu, and Judith Sloane Blocker. "Instructional Resources: Religious Art." Art Education 40, no. 5 (September 1987): 27. http://dx.doi.org/10.2307/3193013.

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7

Thiessen, Gesa. "Religious Art is Expressionistic." Irish Theological Quarterly 59, no. 4 (December 1993): 302–11. http://dx.doi.org/10.1177/002114009305900404.

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8

Coburn, T. B. "The Act and the Art of Being Religious." OAH Magazine of History 6, no. 3 (January 1, 1992): 19–22. http://dx.doi.org/10.1093/maghis/6.3.19.

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9

Farrer, Claire R., and Nancy J. Parezo. "Navajo Sandpainting: From Religious Act to Commercial Art." Journal of American Folklore 98, no. 388 (April 1985): 218. http://dx.doi.org/10.2307/540448.

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10

Yang, Shu. "Development of Art and Religion Through Compromise: Medieval Christian Art and Chinese Religious Art." Communications in Humanities Research 29, no. 1 (April 19, 2024): 28–34. http://dx.doi.org/10.54254/2753-7064/29/20230521.

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The significance of this paper lies in the analysis of medieval religious art in China and Europe, which sheds light on how the intersection of religion and art reflects cultural and societal values. To understand the delicate balance between artistic expression and religious influence, this study delves into the development and evolution of religious art during the medieval period. The comprehensive comparative analysis is conducted using an interdisciplinary and cross-cultural approach that integrates perspectives from art history, history, religious studies, and aesthetics. The findings rev

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11

F.T., Zhumazhanova, and Koptyleuova D.T. "art continuity in religious works." Journal of Oriental Studies 79, no. 4 (2016): 182–87. http://dx.doi.org/10.26577/jos-2016-4-908.

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12

Smith, Katherine. "African Religions and Art in the Americas." Nova Religio 16, no. 1 (August 1, 2012): 5–12. http://dx.doi.org/10.1525/nr.2012.16.1.5.

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This print symposium of Nova Religio is devoted to African religions and arts in the Americas, focusing specifically on devotional arts inspired by the Yoruba people of West Africa. The authors presented here privilege an emic approach to the study of art and religion, basing their work on extensive interviews with artists, religious practitioners, and consumers. These articles contribute an understanding of devotional arts that shows Africa, or the idea of Africa, remains a powerful political and aesthetic force in the religious imagination of the Americas.

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13

Ziolkowski, Eric. "Wach, Religion, and "the Emancipation of Art"." Numen 46, no. 4 (1999): 345–69. http://dx.doi.org/10.1163/1568527991201428.

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AbstractDespite the abundance of lore about Joachim Wach's lifelong passion for literature, music, and other arts, the pertinence of his aesthetic reflections to his formation as historian of religions is often ignored or under-appreciated. Yet his involvement with the Kreis surrounding the poet Stefan George was perhaps one of the chief early factors that led Wach to liken the study of the history of religions to contemplation of literature and the arts. It is even possible that ideas of the literary historian Friedrich Gundolf about the relationship between the artist and the artist's work h

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14

Šerpytytė, Rita. "SEKULIARIZACIJA, MENAS IR RELIGIJA, ARBA – KAS YRA ŠV. SEBASTIJONAS?" Religija ir kultūra 7, no. 1-2 (January 1, 2010): 91–108. http://dx.doi.org/10.15388/relig.2010.1.2762.

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Straipsnis skirtas sekuliarizacijos kaip šiuolaikinio pasaulio iššūkio prasmės aptarimui. Svarstomos skirtingos sekuliarizacijos prasmės sampratos, išryškinant jų ontologinę perspektyvą. Grindžiamas požiūris, kad tik sekuliarizacijos ontologinės prasmės akcentavimas įgalina paaiškinti sekuliarizaciją kaip šiuolaikinio pasaulio iššūkį. Pasiremiant šia perspektyva, analizuojamas ir interpretuojamas religijos ir meno santykis šiuolaikiniame pasaulyje. Straipsnyje taip pat susitelkiama į vieną iš šiuolaikinio meno tendencijų – konceptualizavimo tendenciją. Ne tik interpretuojant atskirus meno kūri

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15

Introvigne, Massimo. "New Religious Movements and the Visual Arts." Nova Religio 19, no. 4 (May 1, 2016): 3–13. http://dx.doi.org/10.1525/nr.2016.19.4.3.

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Contrary to popular conceptions, modern artists are often religious. Some of them are part of mainstream religions including Catholicism, Protestantism, Judaism, and Islam. Others try to establish new religions and forms of spirituality based on art itself. A significant number of artists, while alienated from traditional religions, were either part of, or deeply influenced by, new religious movements and esoteric groups. Scholars have particularly focused on the influence of the Theosophical Society on the visual arts, but other movements have also been significant.

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16

Leung, Beatrice. "China's Religious Freedom Policy: The Art of Managing Religious Activity." China Quarterly 184 (December 2005): 894–913. http://dx.doi.org/10.1017/s030574100500055x.

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This article examines how the policy of “religious freedom” has been used to enable the CCP to retain institutional and ideological control over the religious sector of Chinese society. In particular, it looks at how the clash between religious and communist ideologies has evolved, first in the Maoist period and then in the context of reform and openness with the attendant growth of materialism and social change since 1978. A softening in the control of religion to encourage national reconstruction and foreign investment led to a proliferation of religious activity that alarmed Party leaders a

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17

Joubert, Annekie. "Religious imaginations in embroidered craft art." South African Journal of African Languages 33, no. 1 (March 2013): 11–18. http://dx.doi.org/10.2989/02572117.2013.793934.

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18

Roberts, Ann, Diane Apostolos-Cappadona, Brigitte Buettner, Jeffrey F. Hamburger, and Jeryldene M. Wood. "Encyclopedia of Women in Religious Art." Art Bulletin 80, no. 1 (March 1998): 172. http://dx.doi.org/10.2307/3051258.

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19

Harris, Maria. "ART AND RELIGIOUS EDUCATION: A CONVERSATION." Religious Education 83, no. 3 (June 1988): 453–73. http://dx.doi.org/10.1080/0034408880830311.

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20

Kim, Min-A. "Religious art of Arishima Takeo`s." Korean Journal of Japanese Language and Literature 65 (June 30, 2015): 297. http://dx.doi.org/10.18704/kjjll.2015.06.65.297.

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21

Zalesch, Saul. "The Religious Art of Benziger Brothers." American Art 13, no. 2 (July 1999): 59–79. http://dx.doi.org/10.1086/424341.

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22

Golovushkin, Dmitrii Aleksandrovich, and Irina Ravkatovna Gumarova. "Expanding or limiting the boundaries of the “allowable”: to the problem of outlining the concept of “religious art”." Человек и культура, no. 5 (May 2020): 76–88. http://dx.doi.org/10.25136/2409-8744.2020.5.31638.

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Religious art is one of the most complex and controversial phenomena in the history of art. The attempts to conceptualize this phenomenon are relatively recent, and are carried out mostly in the context of the existence of confessional, ecclesiastical/nonecclesiastical, cult/atheistic art. Therefore, religious art within the Russian humanities traditionally receives ambivalent interpretation. In a narrow sense, religious art implies a combination of artworks with dogmatic, doctrinal, and liturgical meaning. In a broad sense, religious art represents a set artworks that reveal religious themes

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23

Мельничук, М. С. "РЕЛІГІЄЗНАВЧО-ФІЛОСОФСЬКА ТРАНСКРИПЦІЯ СИМВОЛУ ТА КАНОНУ В КОНТЕКСТІ РЕЛІГІЙНОГО МИСТЕЦТВА". Humanities journal, № 3 (22 грудня 2018): 72–77. http://dx.doi.org/10.32620/gch.2018.3.07.

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The article makes an attempt to reveal the peculiarities of influence of such components of religious art as symbol and canon, in the context of the impact on man as a whole. The researcher is interested in the process of their functioning in religious art, both from the side of religious-philosophical analysis and from the point of view of art studies.The symbol, as an integral part of religion, serving both a liturgical and ritualistic function, is the embodiment of the existential meaning of the divine world, immutable and eternal. The symbols clearly demonstrate the presence in the earthly

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24

Tøllefsen, Inga. "Art of Living." International Journal for the Study of New Religions 2, no. 2 (January 31, 2011): 255–79. http://dx.doi.org/10.1558/ijsnr.v2i2.255.

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This article investigates the Art of Living movement both globally and locally, focusing especially on the movement in Norway, and in its founding country India. Art of Living is localized as a New Religious Movement (NRM) within the larger framework of Hinduism and contemporary new religiosity. I trace the movement’s key practices and the courses and initiatives they offer, as well as presenting a short biography of the movement’s founder Sri Sri Ravi Shankar. A selection of the most important legitimization strategies utilized by the Art of Living are discussed, along with an analysis of Rav

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25

Florkovskaya, Anna K. "Religious and Ecclesiastical Art of Russia in the 20th—21st Centuries: Posing the Problem of Interaction." Observatory of Culture 20, no. 6 (December 21, 2023): 582–91. http://dx.doi.org/10.25281/2072-3156-2023-20-6-582-591.

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The article is devoted to the cross-cutting consideration of the problem of dialogical interaction between two close phenomena of art related to religious themes: church, liturgical art, which participates in worship, and secular art on religious themes. The stages of their interaction in Russian art of the 20th—21st centuries are considered. The prehistory of this phenomenon dates back to the middle of the 19th century, when the division into religious and church art already existed in fact, but was realised only in the early 20th century in connection with the work of Mikhail Nesterov. Then,

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26

LAMPHERE, LOUISE. "Navajo Sandpainting: From Religious Act to Commercial Art. NANCY J. PAREZO." American Ethnologist 12, no. 4 (November 1985): 811–12. http://dx.doi.org/10.1525/ae.1985.12.4.02a00350.

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27

Apostolos-Cappadona, Diane. "Vatican museums: collection of modern religious art." Material Religion 2, no. 2 (July 2006): 251–53. http://dx.doi.org/10.2752/174322006778053672.

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Tabachnick, Stephen Ely. "The Religious Meaning of Art Spiegelman's Maus." Shofar: An Interdisciplinary Journal of Jewish Studies 22, no. 4 (2004): 1–13. http://dx.doi.org/10.1353/sho.2004.0115.

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Gómez-Ferrer, Guillermo, and Catalina Martín Lloris. "Aesthetics of recognition in contemporary religious art." Church, Communication and Culture 8, no. 2 (July 3, 2023): 227–47. http://dx.doi.org/10.1080/23753234.2023.2248191.

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Godina, Urška. "Tone Kralj’s religious art in the Littoral." Kronika 71, no. 3 (November 26, 2023): 657–78. http://dx.doi.org/10.56420/kronika.71.3.13.

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In the period between the interwar years and several decades after the Second World War, Tone Kralj’s religious artworks greatly transformed the interiors of churches in the Littoral, as it was delineated during the Second World War, including four churches in the Ilirska Bistrica area, specifically, in Prem, Ilirska Bistrica, and Podgraje. While continuously imbuing his works for the said churches with notes of Slovenian vernacular culture, in a few scenes the painter also expressed his direct criticism of the occupier’s violence against the Slovenian people. Kralj’s postwar paintings that ad

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31

Shakhnovich, Marianna M. "Presentation of the cult of Christian saints in anti-religious museum exhibitions during the era of the “Great Turn”." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 37, no. 4 (2021): 706–17. http://dx.doi.org/10.21638/spbu17.2021.410.

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The article describes the goals, principles and different forms of the presentation of the cult of saints in the exhibitions of anti-religious and local history museums in the context of the ideological and cultural tasks of museum construction in the early 1930s. The issue of the presentation of icons and objects of church worship for anti-religious purposes was extremely acute: on the one hand, it was impossible to create an exposition about religion without exhibiting artifacts related to it, on the other, these artifacts were supposed to expose religion. After the campaign to uncover the “

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Walls, A. F. "The Western Discovery of Non-Western Christian Art." Studies in Church History 28 (1992): 571–81. http://dx.doi.org/10.1017/s0424208400012699.

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Christianity is in principle perhaps the most syncretistic of the great religions. Unlike Hinduism, it does not have a unifocal religious culture belonging to a particular soil; nor, like Islam, does it have common sacred language and a recognizable cultural framework across the globe. Historically, Christian expansion has been serial, moving from one heartland to another, fading in one culture as it is implanted in another. Christian expansion involves the serial, generational, and vernacular penetration of different cultures.

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Loos, Helmut. "The Art-Religious ideas of Mahler and Schönberg." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 11–16. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235115.

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There is no doubt in research about the exemplary role Richard Wagner played for Gustav Mahler and Arnold Schönberg. His personality was simply too dominant in musical life and in the broader intellectual history of the time to not have a considerable influence on the two composers in their formative years. The suffering idea was the art-religious rank of music, as it had been widespread since Arthur Schopenhauer, especially in artistic circles. In contrast to Wagner’s decided atheism, which invoked Ludwig Feuerbach, Mahler and Schönberg can be diagnosed with a tendency towards modern irration

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Willsky-Ciollo, Lydia. "New Religious Movements in the Long Nineteenth Century." Nova Religio 23, no. 2 (November 1, 2019): 5–17. http://dx.doi.org/10.1525/nr.2019.23.2.5.

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This introduction provides a brief overview of the period known as the “long nineteenth century,” which played host to and helped to shape numerous new religious movements. Highlighting the impact and occasional convergence of various political, social, and religious movements and events in both the United States and globally, this essay seeks to show that the examination of new religious movements in the nineteenth century offers a means of applying scholarship in new religious movements to religions that may be defined as “old,” while simultaneously opening new ways of understanding new reli

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Bondarchuk, Yaroslava. "Antinomic Comprehension of God in Unity of Transcendent and Immanent Principles in the Leading Religious-Philosophical Systems and Art of the Second Half of the І Millennium ВС — the Beginning of a New Era". Culturology Ideas, № 18 (2'2020) (2020): 132–46. http://dx.doi.org/10.37627/2311-9489-18-2020-2.132-146.

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The article aims to trace the antinomic comprehension of God in unity of spiritual transcendent and material immanent principles in the major religious systems of the second half of the 1st millennium BC — the beginning of a new era and the reflection of this process in the art of that time based on analyzing religious texts, theological and philosophical treatises of the main monotheistic and polytheistic religious worldview ideas and ways of their embodiment. The study showed that the universal idea of religious systems (Taoism, Confucianism, Hinduism, Buddhism, Christianity) of the indicate

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Gunada, I. Wayan Agus, I. Wayan Lasmawan, and I. Gusti Putu Suharta. "Aspek Agama, Sosial dan Budaya dalam Kurikulum Pendidikan dan Pembelajaran Seni Budaya Keagamaan Hindu yang Berkearifan Lokal." Cetta: Jurnal Ilmu Pendidikan 6, no. 2 (June 1, 2023): 321–37. http://dx.doi.org/10.37329/cetta.v6i2.2462.

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The purpose of writing the results of this study is to explain the importance of religious and socio-cultural factors in the development of the Hindu religious art and culture education curriculum. Learning art and culture, especially in the Hindu education curriculum, is not only to teach aspects of art but, most importantly, to internalize Hindu values in Hindu art. Thus, religious adaptation strengthens the value of spirituality, and socio-cultural aspects are for material improvement in strengthening art and culture with local wisdom. This study uses a qualitative approach of the type of l

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Gamba, Ezio. ""The source of all religious art"? Messianism and art in Cohen's thought." PARADIGMI, no. 1 (March 2017): 143–55. http://dx.doi.org/10.3280/para2017-001010.

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Thakur, Meenakshi. "RELIGIOUS SYMBOLISM IN THE WORKS OF GRAPHIC ARTIST-NARENDRA SRIVASTAVA." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (May 7, 2022): 187–93. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.81.

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Religious symbolism implies the use of unique symbols by a particular religion, that describe anything pertaining to its culture and psyche, including archetypes, events, natural phenomena or even the art that evolved in that land over a period of time. All religions of the world, irrespective of how ancient or modern they are, use symbols to help create a resonant ethos, which in turn, reflects the moral values, teachings and culture of that society. The concept of religious symbolism is very ancient and may well have had its roots from the start of mankind itself. This can be seen in the ser

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Buta, Mircea Gelu. "Genetic diseases in religious painting." Medicine and Pharmacy Reports 94, no. 3 (July 30, 2021): 382–89. http://dx.doi.org/10.15386/mpr-1996.

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The attention paid to Trisomy 21, a genetic condition described by Langdon Down in 1866, is due to concerns about establishing the age of this pathology during evolution. Due to the synergy between medicine and art history, it is possible to reconstruct the diseases that have characterized the most a certain historical period as well as the perception of the population towards them. Using iconodiagnosis, namely studying works of art through medical imaging, it was found that in Europe, during the Renaissance, Trisomy 21 was represented by Italian and Flemish painters in religiously inspired pa

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Lin, Hui-Li, Fang-Suey Lin, Shih-Wei Liu, and Yen-Cheng Liu. "How Religious Destinations Innovate Tourism Models in Religious Personalization: An Evidence from Contemporary Art-Temple Collaboration." Sustainability 14, no. 5 (March 2, 2022): 2889. http://dx.doi.org/10.3390/su14052889.

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In response to the development of religious personalization, the old marketing strategies of most religious destinations have been unable to effectively promote their popularity in modern times. This article deeply explored how to use contemporary art to design religious destinations comprehensively and proposed an effective solution to enhance the popularity of religious destinations in religious tourism. We established an actor network in religious tourism with qualitative and quantitative analyses and took the Buddhism Yuan-Dao Guanyin Temple in Taiwan as a case analysis. We found temples t

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Marandra, Lihar, and Iskandar Muda. "NILAI RELIGIUS TARI HANGGU PADA MASYARAKAT NIAS DI DESA TORELOTO NIAS UTARA." Gesture : Jurnal Seni Tari 8, no. 1 (January 8, 2019): 40. http://dx.doi.org/10.24114/senitari.v8i1.13192.

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ABSTRACT This study aims to describe the content of religious values found in Hanggu dance in the community of Toreloto village, Lahewa sub-district, North Nias. The theories used in this study include Text theory by Nurwani and Gadamer Hermeneutics theory. This study uses a descriptive qualitative approach. Descriptive aims to describe or describe. Qualitative methods consist of three methods of data collection: 1) observation, 2) interviews, 3) utilization of written documents, and interviews. This research produced knowledge about the existence of Islamic cultural backgrounds that developed

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Srivastava, Aparna. "Religious nature of Duggar graffiti." International Journal of Research -GRANTHAALAYAH 5, no. 12 (June 29, 2020): 135–40. http://dx.doi.org/10.29121/granthaalayah.v5.i12.2017.482.

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The primary goal of art is the feeling of beauty. The creative expression of aesthetics in the arts has been possible due to the creation of religious spiritual artifacts since the beginning of human civilization. Both religion and art make human life orderly and consistent and presents the great truth of human life. Art and religion have acted as inspiration to each other.The Duggar culture of Jammu has special significance in the context of religious manifestation of art, where art has developed a variety of forms for the manifestation of religious expression, of which mural painting is prom

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ЛЕВИЦЬКА, Мар’яна. "Сучасне сакральне мистецтво: переосмислення традиції. Огляд міжнародної наукової конференції "Współczesna sztuka sakralna. Historia i recepcja tradycji" / "Сучасне сакральне мистецтво. Історії та рецепція традиції"". Studia Ucrainica Varsoviensia, № 11 (4 грудня 2023): 221–25. http://dx.doi.org/10.31338/2299-7237suv.11.15.

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The review highlights the topics and issues of the International scientific conference held on December 6, 2021 in the online format between Warsaw and Lviv. The initiators of the conference were researchers of icon painting and practicing artists, participants of the plein airs in Nowy Sącz (Poland), interested in analytical rethinking of the modern religious art. The speakers focused on the history and prospects of the development of sacred art in Ukraine and Poland at the present stage. The conference demonstrated the importance of studying the historical sources of religious art and rethin

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Arya, Rina. "Neglected Place of Religion in Contemporary Western Art." Fieldwork in Religion 6, no. 1 (January 20, 2012): 27–46. http://dx.doi.org/10.1558/firn.v6i1.27.

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In this article I am going to examine some of the artwork of the American video artist Bill Viola to demonstrate the experiences of the religious to which it can give rise. Viola’s work is a meditation on the central questions and issues in life, which include: why are we here? Where are we going? And what it feels to be alive. His work is intensive and engages the intellectual, emotional and sensory aspects of our being. Contemporary art is a hitherto neglected arena of fieldwork in religious studies. Equally, religion is disregarded in critical debates on contemporary art, and regarded as pa

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Wall Jaudon, T. "The Compiler's Art: Hannah Adams, the Dictionary of All Religions, and the Religious World." American Literary History 26, no. 1 (January 1, 2014): 28–41. http://dx.doi.org/10.1093/alh/ajt061.

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Zatsepina, Nataly, Yaroslava Bondarchuk, Mariana Studnytska, Ivan Tsykhuliak, and Stepan Pisyo. "The potential of personality culture in religious art." Multidisciplinary Reviews 7 (June 10, 2024): 2024spe031. http://dx.doi.org/10.31893/multirev.2024spe031.

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Abstract (sommario):

Religious art, a profound expression of human spirituality and ideals, shapes distinctive aesthetic dimensions through the historical interplay between religion and artists. As one of humanity’s oldest and most pervasive forms of spiritual consciousness and world understanding, religion plays a pivotal role in shaping the spiritual realm of individuals. This article delves into the dual function of religious art: it serves religious worship while preserving aesthetic value. The significance of this issue is underscored by the attention it has garnered from contemporary national and internation

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Hogan, Cynthia A. "The Crucifix and the Art Gallery: An Odyssey from Religious Material Culture to Fine Art." Religions 12, no. 7 (July 15, 2021): 537. http://dx.doi.org/10.3390/rel12070537.

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Abstract (sommario):

This article focuses the epistemological processes through which a thirteenth-century Spanish Crucifix in less than pristine condition transformed from an obscure rural Catholic devotional into an art commodity and celebrated work of medieval art now exhibited at the Memorial Art Gallery of the University of Rochester (MAG) in Rochester, New York. By situating the Spanish Crucifix within the nascent art historical epistemology and museum movement in the late eighteenth to early twentieth century, this article offers a case study in how religious material culture becomes embedded in capitalisti

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Krasnova, Anna L. "Historiography of Greek Religious Engravings." Observatory of Culture 19, no. 3 (July 5, 2022): 256–65. http://dx.doi.org/10.25281/2072-3156-2022-19-3-256-265.

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Abstract (sommario):

The article presents an overview of the literature on the history of the study of Greek religious engravings. For the first time, there is collected information about the Greek engravings, from the first mentions of them by travelers, to scientific works — monographs, articles, catalogs of collections and exhibitions dedicated to this rare phenomenon of mass religious culture of the 19th century, which has received insufficient attention, especially in Russian literature. This kind of art is quite fully represented in Russian collections, but it remains known only to a narrow circle of special

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Mubaroq, Fendry Abdul, Sapriya Sapriya, and Sri Wahyuni Tanzil. "Preservation of Cultural Values and Religious Character Through the Art of Gembyung Art." JURNAL CIVICUS 21, no. 1 (April 25, 2022): 33–40. http://dx.doi.org/10.17509/civicus.v21i1.45597.

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Abstract (sommario):

The cultural diversity that is owned by the Indonesian nation is a beautiful thing to be maintained and preserved so that it has an important role in building good relations in the progress of the nation. As a good citizen, one must maintain and preserve every culture that belongs to the Indonesian state. One of the cultures that Indonesia has is the Gembyung culture, which originates from Sumedang, West Java. In this study, researchers used a qualitative approach with the case study method. The participants in this study were the Sumedang Regency heirloom group with data collection techniques

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Fitriah, Laila, Evadila Evadila, Idawati Idawati, and Nussy Anggraini. "Implementasi Nilai-Nilai Religius dalam Musik Gambus Melayu Riau." Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik 4, no. 2 (December 26, 2022): 104–14. http://dx.doi.org/10.24036/musikolastika.v4i2.96.

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Abstract (sommario):

The development of science and technological progress as it currently has such a large impact on character values, religious values, social values, customs and value systems that exist in society. This situation has a negative impact on the younger generation due to not being able to respond properly. The application of religious values is the main capital in dealing with the negative impacts of technological progress. Through art education with Gambus art media, religious values can be realized for the younger generation. This study aims to explain the religious values that exist in the

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