International audience ; Cultural policies started in the early 1980s contain several sections for reinserting French Fine Arts in the international scene: support for artists, the development of an institutional market, the reform of Fine Arts schools, all with the intention to decentralize. These policies deeply change the ways of recognizing value by giving preference to 'discursive art' over 'works-objects' in the institutional market. Fine Arts schools echo this change. Alongside local, commercial networks for selling art (networks turned toward private demand and lacking much cultural legitimacy), an institutional network has been set up that is turned toward public demand but whose cultural legitimacy does not ensure that French Fine Arts will find a place on the international scene. ; Il faut analyser les réformes des Écoles des beaux-arts comme une tentative de réinsertion de la production plastique française sur la scène internationale. S'adressant à la demande publique dans le cadre de réseaux institutionnels, la production née de ces réformes donne le primat à un « art discursif » qui ne trouve pas ses débouchés hors du marché administré.
The article mainly discusses the historical development process of Chinese piano. Taking He Luting's piano music as an example, it expounds the integration and application of Chinese culture and Western piano art from the aspects of musical form, mode and harmony.
The author considers historical trends in the development of project technologies in the arts. Various project and artistic solutions are analysed with the focus on various historical periods and styles, from the Ancient East to the Modern Age. An emphasis is placed on the era itself, which required a new approach to the organisation of theatrical enterprises and the performance production principles. The article also reveals the specifics of projects as a type of the human creative activity and defines the role of the project method as a system of unique and clearly defined actions aimed at obtaining specific results in a multifunctional environment within a specified period and within the allocated resources. The author shows that they are characterised by a deep mutual integration of the artistic and creative principle and the development of information technologies. The article contains various examples of the implementation of projects from the beginning of civilisation up to the twentieth century when art management appears as a form of arrangement of the theatrical business, and a combined company becomes possible. The author emphasises the role of the Russian Seasons by S. P. Diaghilev in creating conditions for the development of unique professional and artistic experience in Russia and other countries. Development of special knowledge and dialectics of research of project strategies in the twentieth century imply increasing importance of knowledge derived from the historical past, which can improve the competitiveness of performances, as well as of other creative works in the contemporary art market.
This article is devoted to the study of cultural, historical, and socio-aesthetic connotations of the vocal art of the Middle Kingdom. It is said that the process of development of vocal music in Chinese culture can be divided into three stages. The conclusion is made about the prospects for the inclusion of Chinese vocal and performing culture in the international global musical space.
The specificity of the process of professional training and formation of future teachers of fine arts is due to the direction of art and pedagogical education, the peculiarities of communication with art, approaches to the use of its educational potential. Therefore, in determination of the principles of professional development of teachers of fine arts, the problem of theoretical and methodological understanding of the nature and content of decorative and applied arts in the preparation and professional development is actualized. On the one hand, this applies to how the artistic and aesthetic consciousness of the future teacher will be formed, and on the other - on what basis this teacher will educate his or her students. In accordance with the theoretical aspect of the formation of artistic and pedagogical competence of future teachers of fine arts in the process of studying of decorative and applied arts, a research was conducted. It made it possible to analyze the content, forms, methods and conditions of formation of artistic and pedagogical competence of future artists-teachers. Diagnostic research tools have been developed, which make it possible to identify the level of formation of the main structural components of artistic and pedagogical competence of future teachers of fine arts. The research showed an insufficient level of formation of artistic and pedagogical competence of future teachers of fine arts, which is characterized by a lack of thoroughness and systemness of knowledge in decorative and applied arts, by insufficient development of the emotional and sensual sphere of students and reproductive readiness for professional and creative activities.
Abstract Before Christianity appeared the religious State in Egypt and the Roman world was witnessing many mixed religions [ like the Egyptian, Greek, and Roman religions] also Judaism, which moved to Egypt at the beginning of the Ptolemaic period, beside the Ruler cult, which went on until the Roman period. This mixture of religious and political concepts had its effect on the Egyptian people, as they lost their sense of spiritual Faith, Justice and moral Values, which they inherited from their Ancestors of the Pharaohs. Religion has become a commodity or weapon in the hands of the colonizers. Colonizers Rulers sometimes utilized religion to approach and tolerate the Egyptian people, and other times as a Policy to erase the Roots of Ancient Egyptian Religion. By the advent of Christianity and the coming of Saint Mark to Alexandria, to spread the Teachings of the Christian religions. The Egyptians found in Christianity their Sanctuary from the Abhorrent Roman rule, especially since it carries and advocates the same Principles and Values that they had inherited from their Ancestors. As a result, the Romans began persecuting Christians and assaulted them, until the Christian religion was fully recognized during the reign of the emperor Theodosius I 391 AD. This has given us a popular Art coming from the Egyptian people. It expresses the religious Character of their Time, away from the concept of official or international Art, and it became clear on frescoes, Wall Paintings, and Icons, which were the most important Products of the Christian Art. keywords: Coptic, Christ, Saint Mark, Oman Persecution, Monasticism, Heresy, Popular Art. [Ar] قبل ظهور المسيحية كانت الحالة الدينية فى مصر والعالم الرومانى تشهد كماً من الأديان المختلطة (المصرية والأغريقية والرومانية) بجانب اليهودية التى انتقلت إلى مصر مع بداية الحكم البطلمى إلى جانب عبادة الأمبراطور فى الفترة الرومانية. كان لهذا الأختلاط فى المفاهيم الدينية والسياسية أثره فى أن فقد المصرى إحساسه بالعقيدة الروحانية والعدل والقيم الأخلاقية التى ورثها عن أجداده الفراعنة وأصبح الدين سلعة أو سلاحاً فى أيدى المستعمرين يستخدمونه تارة فى التقرب والتسامح للشعب المصرى وتارة أخرى كسياسة لمحو جذور ديانته القديمة. ومع ظهور المسيحية وقدوم القديس مرقس الى الإسكندرية لنشر تعاليم الدين المسيحى الذى وجد فيه المصريون ملاذهم من الحكم الرومانى البغيض خاصة أنه يحمل وينادى بنفس المبادىء والقيم التى ورثوها من أجدادهم. ونتيجة لذلك بدأ الرومان فى إضطهاد المسيحيين والبطش بهم إلى أن تحقق للمسيحيين الأعتراف الكامل بديانتهم فى عهد الأمبراطور ثيودوسيوس الأول عام 391 ميلادية مما أفرز فناً شعبياً خالصاً نابعاً من الشعب المصرى ويعبر عن الشخصية الدينية فى هذا الوقت بعيداً عن مفهوم الفن الرسمى أو العالمى وظهر ذلك واضحاً فى الرسومات الجدارية والأيقونات التى كانت من أهم نتاج الفن القبطى.
"By the time of his death in 1904, critics, arts reformers, and government officials were near universal in their praise of Art Nouveau designer Emile Galle (1846-1904), whose works they described as the essence of French design. Many even went so far as to argue that the artist's creations could reinvigorate France's fading arts industries and help restore its economic prosperity by defining a modern style to represent the nation. For fin-de-siecle viewers, Galle's works constituted powerful reflections on the idea of national belonging, modernity, and the role of the arts in political engagement. While existing scholarship has largely focused on the artist's innovative technical processes, a close analysis of Galle's works brings to light the surprisingly complex ways in which his fragile creations were imbricated in the political turmoil that characterized fin-de-siecle France. Examining Galle's works inspired by Japanese art, his patriotically inflected designs for the Universal Exposition of 1889, his artistic manifesto in support of Dreyfus created in 1900, and finally, his late works that explore the concept of evolution, this book reveals how Galle returns again and again to the question of national identity as the central issue in his work. "--Provided by publisher.
