Historical Dynamics of Developing Decorative and Applied Arts: Culturological Aspects
In: Kul'tura Ukraïny: zbirnyk naukovych prac', Band 0, Heft 64
ISSN: 2522-1140
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In: Kul'tura Ukraïny: zbirnyk naukovych prac', Band 0, Heft 64
ISSN: 2522-1140
In: Observatorija kul'tury: Observatory of culture, Band 20, Heft 4, S. 430-444
ISSN: 2588-0047
The article examines the historical and cultural aspects of the processes of formation of artistic tradition in Russian decorative and applied arts and folk crafts from the XI to the middle of the XV century. Using the example of outstanding pieces of various types and directions of decorative art, the main periods and stages of the formation of the general stylistics of the masters' creativity and the ways of spreading similar artistic and figurative solutions are determined. The examples given by the author touch upon issues directly related to the processes of integration of Russian traditional crafts and decorative art with the creativity of Byzantium, Scandinavia, Central Europe and the culture of the peoples of the European part of Russia, which were subjected to the expansion of the Northern Slavic tribes. The author defines the development of the Russian artistic tradition as the active introduction of individual elements and figurative solutions of various sources into the basic Slavic culture, based on the preserved monuments of architecture, art and printed writing. The research is based on the works of archaeologists, art historians and artists, which are fundamental works on the history and theory of decorative and applied arts (A.N. Kirpichnikova, M.A. Orlova, B.A. Rybakov, etc.). A comparative analysis of the current state of certain types of Russian decorative and applied arts, traditional and folk crafts, taking into account the influence of technological transformations on authentic techniques and materials. The author's conclusions are based on many years of experience in studying decorative and applied arts as a factor in the development of professional competencies of students of art universities and institutions of additional education in the process of becoming independent masters and artists.
In: Visnyk Nacionalʹnoi͏̈ akademii͏̈ kerivnych kadriv kulʹtury i mystectv: National Academy of Managerial Staff of Culture and Arts herald, Heft 1
ISSN: 2409-0506
The purpose of the article is to research and analyse the development of marketing technologies in the fine art market from the ancient times to the beginning of the 21st century. The research methodology consists in the application of comparative, empirical, and theoretical methods. This methodological approach allows analysis of the formation process and the history of the development of fine art marketing, conducting a research of marketing processes during the promotion of works of art on the art market at different periods of human history. The scientific novelty consists in expanding ideas about the fine art market. The article explores for the first time marketing processes on the art market from the ancient times to the beginning of the 21st century. The article analyses for the first time the problems that were formed and overcome during the history of the emergence and development of marketing in the field of culture and art. Besides, for the first time, the theoretical foundations of fine art marketing and the ways of their practical implementation are analysed. Conclusions. The conducted analysis allowed us to determine that even before the emergence of the modern art market as an element of the general capitalist market, the movement of works of fine art already thousands of years ago, in the ancient times contained elements of marketing approaches and technologies. This movement was caused by the processes of sale and purchasing, exchanging, and collecting works of art. In particular, we are talking about the precursors of marketing approaches and technologies aimed at a kind of satisfaction of the demand for works of fine art in society; organisation of classification and collection of works of fine art; examination of their quality and originality; determining the methods of works of art promotion in society. All these methods were already available at that time. In general, we can talk about the existence before the emergence of the modern art market of works of fine art, the so-called «wild market», which in a certain way "regulated" the processes of the movement of works of art in society.
Key words: art marketing, art market, works of art «wild market», marketing technologies.
In: Studia Orientalne, Band 24, Heft 4, S. 115-124
The article discusses the Talysh national culture and its decorative-applied art. The author dwells on issues connected with the Talysh people's history and the Talysh language's peculiarities, on the history of the study of Talysh culture and decorative-applied art. It is pointed out that the decorative-applied art of the Talysh people is rich, original, and quite imitative. The author enumerates the world museums where samples of Talysh decorative-applied art are exhibited. The author also pointed out the spheres of handicrafts in which Talysh craftsmen stood out. So, Talysh craftsmen were brilliantly proficient in carpet weaving (including pile and pileless carpets, hesirs and buriya), decorating swords and daggers, embroidery, wood-carving, stone-carving, and many others. Besides, the Talysh traditions in other spheres of art are also mentioned. For instance, everyday dishes, articles made from clay, various items, utensils of everyday and ritual purpose, and artistic ceramics are also mentioned in the article. The author points out that all items made by Talysh craftsmen were always in great demand, but large-scale production did not mean degrading their quality. Talyshes were jewellers of the highest level and created very interesting products, real masterpieces. It is not occasional that samples of Talysh decorative-applied art are considered a very interesting cultural phenomenon. So, the materials discovered during archaeological excavations and their comparison with modern products prove that rich traditions of Talysh decorative-applied art are saved, are continued nowadays and are enriched by new achievements.
In: Kul'tura Ukraïny: zbirnyk naukovych prac', Band 0, Heft 66
ISSN: 2522-1140
In: Caucasus journal of social sciences, Band 16, Heft 1, S. 29-45
The paper "From Ruins to the Decorative and Applied Arts Museum" reflects the complicated path passed by the outstanding monument, a pseudo-gothic style - mezzanine - "New Cavalry House"-
designed by the architect of German origin - Albert Zaltzmann. Based on scientific research, the work presents content and functional loading possibilities for the new Decorative Applied Arts Museum building and its outer space. One of the main goals is to replace the Russian narrative with European content.
The European-style architecture Museum, located in the centre of the popular Georgian Spa resort Borjomi, with displayed decorative and applied arts collections belonging to the royal family, will be interesting for all visitors. Accordingly, it will be in demand and profitable. It has been noted that the museum is of an extraordinary, unusual nature, and it stands out from the rest of the similar museum institutions in Georgia thanks to the peculiar architecture, content, and collections displayed here.
The paper describes the mission of the future museum, its content, and the vital role it has to play in the context of educational and economic development, promoting the region and the whole country.
In: International Journal for Crime, Justice and Social Democracy, Band 3, Heft 1, S. 16-34
ISSN: 2202-8005
This article synthesises diverse material to discuss both state use of the arts for the purposes of controlling prisoners and the broader public, and the use made of the arts by prisoners and portions of the broader public as tools of resistance to penal states. The article proceeds with an analysis of the politics surrounding and underpinning the philosophy, formation, operation, effectiveness, and research evaluation of arts-in-prisons programmes in the contemporary Anglo-American world. It argues that arts-in-prisons programmes and pertinent evaluation research are often employed as means to a variety of latent ignoble ends, with 'decorative justice' – the function of masking the injustices and painful nature of imprisonment behind claims of fairness, benevolence and care – chief amongst these ends.
In: Observatorija kul'tury: Observatory of culture, Band 20, Heft 5, S. 486-496
ISSN: 2588-0047
The article is devoted to the construction of the concept of "textile as a type of decorative and applied arts" in Russian art history. An accurate and fully formulated definition helps to build a coherent scientific theory. The need to develop a theory of textiles is long overdue, due to its significant role in the life of society. The difficulties of definitions of textiles as an object of research are related to its interdisciplinary nature and the need to take into account all qualitative characteristics. In the course of the work we analyzed groups of domestic and translated bibliographic sources: reference editions, works of theorists and historians of decorative and applied arts and art textiles. It has been revealed that domestic publications have not yet formulated a universal concept of textile, which would reflect its essential qualities. The methodological argumentation, with the help of which definitions are constructed, has not yet been applied to textiles as a type of decorative and applied arts. In order to form a universal concept, we propose to turn to the proven methodological tools of the method of two-level triadic decoding of categories of the theory of dynamic information systems, which has already shown its heuristics in different fields of knowledge. Identification, comprehension and structuring of fundamental aspects of textile as a kind of decorative and applied arts in the course of consistent application of this method allowed us to formulate the following definition: textile as a kind of decorative and applied arts in the format of dynamic information system is an object or a set of objects of a certain purpose (utilitarian, symbolic, decorative), made of fiber (natural, artificial, synthetic) by means of technology (manual, industrial). The full definition of the category expands and deepens the formal-logical definition that existed earlier in the scientific literature. The present study allowed not only to construct a conceptual apparatus, but also to identify the main categories of the definition, to designate the elements and subsystems of the phenomenon for a more detailed study and formation of the theory of textiles.
In: Larq Journal for Philosophy, Linguistics and Social Sciences, Band 2, Heft 50, S. 643-360
ISSN: 1999-5601
The design of Contemporary theaters are very vital in simulating the producer vision, decorative design, play text, and viewers.
Most of contemporary theaters designers in Kurdistan Region and Iraq in general have no clear understanding to the modern theatrical decorative design. In this paper, the authors highlighted the different types of schools of arts and its influence on the theatrical decorative design.
The research approach used analytical descriptive method to fulfill the outcomes of the research. The authors investigated the different theatrical design in KGR and Iraq; those designs are not related to any schools of decorative theatrical design. The research introduced clear comparison between different schools of theatrical decorative design in the implementation of colors, unit's distribution on the stage, play text, producer vision.
The outcome of the research is to uncover the theoretical and practical aspects of schools of arts which is implemented the theatrical decorative design. This work can benefit researchers, students, academics and theatrical designers regionally and globally.
In: Journal of Middle East women's studies: JMEWS ; the official publication of the Association for Middle East Women's Studies, Band 16, Heft 3, S. 326-328
ISSN: 1558-9579
In: Griot: Revista de Filosofia, Band 18, Heft 2, S. 198-216
This article discusses a philosophical perspective the relationship between fine arts Division proposed by Kant and Hegel. Aims to clarify the approaches and distances between the Division of fine arts presented by philosophers, pointing out their similarities and differences. Basing your analysis on 'The Critic of Judgement of 1790 and Aesthetics Courses' (1820-21), respectively prepared by Immanuel Kant and Friedrich Hegel. Performs a comparative analysis between the Division of Kantian and Hegelian fine arts. Features initially the Division of fine arts on Kantian perspective, addressing the concept of beautiful art, your classification and your hierarchy, according to the philosopher of Königsberg. Then, the Division of the arts according to Hegel, introducing the concept of your beautiful, artistic forms of symbolic art, classical and romantic, exposing and analyzing also the private Arts according to the philosopher of Stuttgart. Concludes that, despite the differences between the two analyses on the Division of fine arts, such as the defense of Hegel in beautiful artistic relationship and of Kant to the beautiful natural, the Hegelian claim that there is a science of the beautiful while the Kantian conception is that there is no science of the be it, for example, featured philosophers agree, among other things, that poetry occupies the highest place in the hierarchy of the fine arts, being the more spiritual and free them.
In: Ukrai͏̈noznavstvo, Band 0, Heft 1(74), S. 169-179
ISSN: 2413-7103
In: Women's studies quarterly: WSQ, Band 48, Heft 1-2, S. 45-59
ISSN: 1934-1520
In: Obščestvo: filosofija, istorija, kulʹtura = Society : philosophy, history, culture, Heft 1
ISSN: 2223-6449
The study considers the historical and cultural situation of the Stavropol Territory in 1950s–1970s. The analysis of the influence of ideas and policy of socialism on the development of trends in paintings of regional artists has been performed from a historical perspective. The historical and cultural approaches serve as a methodological background of the study. The relevance of evaluating the pieces of socialist realism art is theoretically substantiated. The study reveals the peculiarities of reflecting the events of 1950s–1970s in the artistic culture of the Stavropol Territory. The collections of Stavropol museums served the example for identifying the historical context and main ideas of artistic paintings, in which local artists depicted the regional history. It is concluded that the essence of the basic aesthetic principle of the considered time period was artistic communication. The scientific novelty of the study is to apply a historical approach in the analysis of artistic museum collections. The results of the research can be used when studying the history of the Stavropol territory during the Soviet period. They can also be applied in higher and secondary institutions providing education in fine arts when developing special courses on the history of fine arts in the Stavropol Territory.
In: Voprosy istorii: VI = Studies in history, Band 2023, Heft 10-1, S. 146-153
Taking the export porcelain in the Ming and Qing dynasties (l6th-19th centuries) as an example, this article analyzes the aesthetic implications of the decorative art design of Eastern and Western porcelain from the perspective of decorative art design.