INTERNATIONAL JOURNAL OF ART AND ART HISTORY最新文献

{"title":"Reflection of Femininity in Tang Furniture: Chairs and Tables","authors":"L. Abouali, Jianlin Ni, J. Kaner","doi":"10.15640/ijaah.v7n2a5","DOIUrl":"https://doi.org/10.15640/ijaah.v7n2a5","url":null,"abstract":"This research reviews the Tang dynasty chairs and tables (structure and design patterns) used by Tang court women that are depicted in contemporary visual art of that time. With the help of surviving extant paintings, this topic covers the wooden chairs and tables designed for women, and examine how the pieces were used in daily life of Tang women. This topic is essential, as the so called „Golden age of China‟ the Tang dynasty, was one of the most significant periods in defining the hierarchy of women‟s social status. As Tang women became bolder members of society, in addition to the mat and low-level furniture, new forms of high-level chairs and tables were introduced for women that became important pieces raising the status in the lives of high-ranking women. These pieces became inseparable part of Chinese women since Tang dynasty. During Tangdynasty, this new piece of furniture structure was also a part of China‟s growth under this dynasty and was influenced by the forms found in skeletal architectural structures. The paintings selected for study in this research show high-ranking Tang women using their traditional furniture and the new types of high-level seats and tables mostly in palace gatherings.","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124803392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cultural, Artistic, Physical, Medical and Physiological Aspects Fuseli's Mad Kate","authors":"R. Scharf","doi":"10.15640/ijaah.v7n2p2","DOIUrl":"https://doi.org/10.15640/ijaah.v7n2p2","url":null,"abstract":"The portrait of Mad Kate has an uncomfortable and emotional effect on its spectators that are forced to confront with her direct gaze. To heighten this effect, Kate was depicted facing a stormy sea lit by flickering bizarre brown shades of light. Mad Kate is a masterpiece drawn by the English Swiss born artist Henry Fuseli. The interpretation of his Mad Kate was made as a dissent against the ferocious treatment of lunatics by society and particularly the treatment of madwomen. Kate was regarded as insane by the contemporary society, because she was painted about thirty years before exophthalmos with goiter was discovered by the Western medicine. Kate was not crazy, but a visual imaging of thyrotoxic with Graves ophthalmopathy. This work is multidisciplinary, as it integrates remote disciplines such as; art, history, culture, psychology, medicine, evolutionary-biology and neurobiology (each discipline/chapter is the prelude to its successor). Furthermore, by the use of these tools I have managed to provide an insight into the various motifs and the scientific knowledge that Fuseli (who was regarded as a Renaissance man by his contemporaries) skillfully managed to incorporate in the depiction of Mad Kate.","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123396247","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ornaments on Candi Bajang Ratu in The Trowulan Culture Conservation Site","authors":"Widiana Kepakisan, Ciptadi Trimarianto","doi":"10.15640/ijaah.v7n2p3","DOIUrl":"https://doi.org/10.15640/ijaah.v7n2p3","url":null,"abstract":"The aim of this study is to explore the reasons why candi were built, based on the ornamental and decorative elements found on those in the Trowulan cultural heritage area. This research uses field research techniques to observe the detail on cultural heritage objects, in the form of the ornamental and decorative items carved on or attached to the object. Scientific methods such as anthropology and history are also employed. The results of the study found that each temple (candi) has different functions according to the carvings and other decorative elements attached to the structure. A previous expert opinion states that Candi Bajang Ratu is a burial place; the results of investigations into the ornamental and decorative elements on this candi indicate that Candi Bajang Ratu was built out of respect to Raja (King) Jayanegara, a figure from the Majapahit kingdom.","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131179435","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Liminal Figures and Infinities: Edward Hopper as Magic Realism","authors":"M. Motoc","doi":"10.15640/ijaah.v9n1a2","DOIUrl":"https://doi.org/10.15640/ijaah.v9n1a2","url":null,"abstract":"","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121818169","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Bridging the Gap between Modern and Contemporary Arab Art and Arab People","authors":"D. Lutfi","doi":"10.15640/ijaah.v7n1a2","DOIUrl":"https://doi.org/10.15640/ijaah.v7n1a2","url":null,"abstract":"The purpose of this paper is to emphasize the lack of exposure Arabs have to modern and contemporary art that is being created in their region specifically, and to underline the factors that contribute to Arab people’s disjuncture from artistic production in their respective countries. Additionally, the paper will also highlight the ways in which Arabs may begin to gain awareness and knowledge about the artistic production that is taking place within their own societies, especially modern and contemporary art, which also needs support within K-12 and university educational institutions, and in the public sphere. It is imperative that art criticism, art history, and art education are reinforced and incorporated as a way of closely looking at Arab art critically, and understanding the dynamics of Arab societies and cultures through visual, written, and verbal communication. I recommend that change could take place gradually by familiarizing societies with Arab art through education, scholarship on modern and contemporary Arab art, and establishing art-viewing spaces that serve as platforms for dialogues and discourses on Arab art.","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"623 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128147424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Rational Space of Art Pietro Lingeri and the Installations of Lisa Borgiani","authors":"A. Colombo","doi":"10.15640/ijaah.v7n1a4","DOIUrl":"https://doi.org/10.15640/ijaah.v7n1a4","url":null,"abstract":"This essay aims to present some original experiences in the relationships between Art and Architecture, thanks to lightweight exhibition designs that add a new element to temporary and sustainable use of modern architectures, even as part of a potential restoration. We revisit the history of the Italian Rationalism, with particular attention to its origins in Lombardy and the school of Como through the work of Pietro Lingeri. Lisa Borgiani, a contemporary artist, approaches these examples of the architectures of the 30s, with a series of lightweight and reversible installations that utilize an existing industrial material – a nylon net – in a completely different context, kick starting a new reflection on the rational space of art, outlining new potential approaches to the sustainable and reversible use of modern architectures. This contribution suggests a new potential way to temporarily use architectural and urban spaces while waiting for their complete restoration, giving them a new function once the original one has gone. The Rationalist Architecture in Italy “È nato un nuovo spirito” (A new spirit is born). In 1926, from the pages of \"Rassegna Italiana\", the Gruppo 7 – a team of architects from the Politecnico of Milan, including Luigi Figini e Gino Pollini, Guido Frette, Sebastiano Larco, Carlo Enrico Rava, Giuseppe Terragni and Ubaldo Castagnoli, who would be replaced the following year by Adalberto Libera – quote Le Corbusier and founded the Italian Rationalism. The aesthetics of new materials – concrete, iron, glass and glass blocks – originated in Milan, often considered the most European city, where there were a number of forward-thinking industrialist customers open to new ideas. Architecture should be “no longer individual”, subjective to the single “architect-artist”, but had to go back to logic and rationality, following the ideas and methods of the Movimento moderno, from Le Corbusier to Walter Gropius and Ludwig Mies van der Rohe. The entire architectonical language had to change – in Italy after the great Eclectism of the „800s and the Art Noveau, the Futurism failed to leave a mark – through a revolutionary spirit. This lead to the fascination with Fascism, which remembered the classic models and used them as cultural roots. In 1928, the Gruppo 7 and the entire rationalist movement went to Rome to participate to the first Esposizione Italiana of Architettura Razionale – sponsored by the group leader, Adalberto Libera – to legitimize their work as the Architettura di Stato riconosciuta ufficialmente dal regime Fascista (State Architecture Officially Recognized by the Fascist Regime). This led to the foundation of the MIAR (Movimento Italiano per l‟Architettura Razionale; Italian Movement for Rational Architecture) and the following debates found their way into “Casabella” (thanks to Giuseppe Pagano and Edoardo Persico) and “Quadrante” (directed by Pier Maria Bardi and Massimo Bontempelli). The Lombardy Experience, Between Milan ","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123349902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Shadow of Your Smile: Xu Yong’s Portraits and the History of Portraiture East and West","authors":"P. Karetzky","doi":"10.15640/ijaah.v9n2a1","DOIUrl":"https://doi.org/10.15640/ijaah.v9n2a1","url":null,"abstract":"This article discusses Xu Yong‘s experimentation with the camera both as a recorder of events and as a medium for personal expression. Early works document modern life in China like the destruction of old Beijing or the events in Tiananmen Square. But trained as an engineer, Xu Yong explored the function of the camera and re-engineered the lens reducing its performance to only capturing light. Then he made portraits of his friends and others. These abstracted images reveal something essential about the subjects, especially when contrasted with traditional portraiture in China and the West, as he is heir to both traditions.","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"118 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121742519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Zakaria Ali’s Principle as a Method of Analysis in Uncovering the Elements of Malaysian Culture, Based on Chuah Thean Teng Batik Painting","authors":"Shazani Shamsuddeen, W. S. Andriana","doi":"10.15640/ijaah.v9n2a3","DOIUrl":"https://doi.org/10.15640/ijaah.v9n2a3","url":null,"abstract":"Art appreciation is a process of observation to perceive, understand, enjoy, and interpret the values (meanings) contained in an object of art or work of art related to physical qualities (forms) that cultivate the urge to observe, appreciate, evaluate, as well as to delight. Art criticism and visual analysis were taught in school for students to understand the concept of art appreciation. The purpose of this paper is to assess Malay cultural elements in the context of Malaysian visual art as manifested by Chuah Thean Teng in a dissemination of his cultural ideas based on a theory posited by Zakaria Ali. The Theory of Malay Aesthetics is the concept of beauty in art based on Malay ideology in the context of visual arts. Zakaria Ali is one of the scholars that came out with the novel concept of Malay Aesthetic. Aesthetics is a part of philosophy that deals with the analysis of concepts and the resolution of issues that occur while interpreting an aesthetic object. Aesthetics also refers to the knowledge gained from analysing a work of art. The Malays‟ artistic objects often emphasise beauty that focuses on materials and techniques. Hence, to decipher the content analysis in identifying the Malays‟ cultural elements on the chosen artwork samples, an observational method was carried out for this paper. The artwork entitled “Breast Feeding” was made to immortalise the 10th anniversary of the World Alliance for Breastfeeding Action (WABA) in helping to protect, promote, and support breastfeeding.","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126486361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Stained Glass Workshop Heritage in Portugal with more than 100 Years","authors":"Teresa Almeida, Emma Lochery","doi":"10.15640/ijaah.v9n1a1","DOIUrl":"https://doi.org/10.15640/ijaah.v9n1a1","url":null,"abstract":"","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131345540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A New Art History of Australian Aboriginal Art","authors":"Dr Vanessa Russ","doi":"10.15640/ijaah.v8n1a4","DOIUrl":"https://doi.org/10.15640/ijaah.v8n1a4","url":null,"abstract":"This paper aims to contribute to the debate around a New Art History and advocate for further research on Australian Aboriginal art through the Ronald M. and Catherine H. Berndt Collection at The University of Western Australia. The gaps in research and the location of Australia as a colony within this discourse, includes the ongoing problem of inclusion of Aboriginal art within an Australian, and by extension, European art history. Even after extensive study, exhibitions and anthologies on the topic, Aboriginal art remains a parallel history, with the discourse around its inclusion unresolved. The intention behind placing Aboriginal and Asian art in focus seeks new ideas through a control such as a single collection. The fact that the Berndt Collection includes both Aboriginal and Asian art, as well as a detailed social anthropological study of the colonial impact including acculturation and assimilation on Indigenous societies across Australia and Asia, makes this a significant study that offers an opportunity to rewrite art history and expand the discourse. This paper explores the value of research on art and art history from outside a known position, into the unknown. It advocates for research on Australian Aboriginal and Asian art as a hypothesis for discovering new theory and thus contributing to the discourse. Through the Ronald M. and Catherine H. Berndt Collection at the University of Western Australia, it is proposed that new ways of thinking about Aboriginal art within a regional study may expand the field of theory and add to Aboriginal art history into the future. The Berndts‟ collected widely across Aboriginal Australia and into Asia and their collections have added value due to their work as social anthropologist in expanding knowledge on the art and culture in Australia and by extension through their work in Asia which remains relatively unknown. Here colonisation was a primary driver for their research with art","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134414078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}