INTERNATIONAL JOURNAL OF ART AND ART HISTORY最新文献

{"title":"The Lord and the Allegories of The Lady with the Unicorn","authors":"","doi":"10.15640/ijaah.v8n2a4","DOIUrl":"https://doi.org/10.15640/ijaah.v8n2a4","url":null,"abstract":"","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"64 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":"124846502","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 Development of Roman Military Costume on English Church Monuments","authors":"Clive J Easter","doi":"10.15640/ijaah.v8n1a3","DOIUrl":"https://doi.org/10.15640/ijaah.v8n1a3","url":null,"abstract":"This paper considers the development of the portrayal of Roman military costume on English church monuments of the seventeenth and eighteenth centuries. The uses of such costume were rooted in the wider European Renaissance, the effects of which were felt in England from the early sixteenth century. Later Elizabethan and early Jacobean literature employed a wide variety of classical references, the culmination of which were the masques performed for the Jacobean and Caroline Courts which were the ultimate expression of classical ideas and ideals. The early seventeenth century saw the tentative uses of Roman military costume for commemorative sculpture but it was not until the post Restoration period that such costume became commonplace on the memorials of the social elites. The political significance of this dress is further explored as are the corresponding moral and civic associations. The paper concludes with the idea that by the mid eighteenth century such a costume style had become an anachronism and no longer appropriate for the monuments of the gentry.","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"30 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":"122116561","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":"Historical Perception of Visual Art Forms in Anlo Traditional Marriage Rites in Ghana","authors":"Godwin Gbadagba, A. K. Kemevor, Prosper Kwaku Asiedu","doi":"10.15640/ijaah.v8n1a7","DOIUrl":"https://doi.org/10.15640/ijaah.v8n1a7","url":null,"abstract":"In this study, an attempt was made to evaluate the symbolic relevance of visual art forms in Anlo traditional marriage rites in Ghana. The study population consisted of Custodians: Chiefs, Elders and married couples in Anloga and Keta. Through a non-probability sampling technique, precisely purposive technique, a sample size of twenty (20) respondents were chosen; thus, a chief, three elders and sixteen married couples. A multi approach data collection technique was employed which included observation, interview and focus group discussion for data collection. The study showed that marriage is a very important rite among the Anlo people, and every stage of the marriage process has visual effects which are symbolic.The philosophies and concepts behind these visual art forms become the norms and ethics which bind the society. Similarly, the society is taught to make art forms not just for their aesthetics but also as a way of preserving the culture of the people. The study recommended that inhabitants of Anlo should be educated on the importance of these artifacts. Besides, the preservation of cultural heritage should be the responsibility of every member of the society.","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"30 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":"129856549","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 Cultural Jordanian \"Shammagh\" in the Context of Contemporary Product Design","authors":"Fadwa Barakat","doi":"10.15640/IJAAH.V7N1A1","DOIUrl":"https://doi.org/10.15640/IJAAH.V7N1A1","url":null,"abstract":"Each country has a symbol that defines its specifications within the law or the constitution, an example of which is the flag being the emblem of state. However, the Jordanian Shammagh is a national symbol adopted historically by customs and traditions, especially after being worn by the Jordanian forces in 1930.Since then, it has become a source for cultural, historical and emotional connections, for example pride, albeit that it is only distinguished by its red color. The absence of products, though, actually having the pattern of the Shammagh symbol is quite noticeable. This lack of reliable, consistent and up-to-date data is problematic in creating an ongoing Jordanian Identity. A key objective of this paper is to offer discussion on using qualitative methods. This study, therefore, intends to develop a contemporary design-related ethos based on grounded insights from participants' fieldwork and using examples of product design to enhance their quality for the future and posterity.","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"123 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":"134286706","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":"Illumination of the AdiGranth: A Stylistic & Aesthetic Analysis","authors":"Manavpreet Kaur Arora","doi":"10.15640/IJAAH.V7N1A3","DOIUrl":"https://doi.org/10.15640/IJAAH.V7N1A3","url":null,"abstract":"AdiGranth can be defined as a manuscript that comprises of the primal text of the sacred Guru Granth Sahib . Numerous illuminated copies of the divine text came into existence with the growing popularity of Sikh faith and patronage. This research is intended towards identifying popular design motifs that have defined the style of Sikh visual vocabulary and establish their textual context with reference to the AdiGranth . Visual analyses of some of the illuminated folios reveal that the design disposition and inspiration correlates with the compositions of the holy text. The article includes necessary transliterations and translations where required. The scope of this study is to provide the printed versions with the design vocabulary that are distinctly Sikh.","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"37 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":"115479281","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 Black Image in the English Gaze: Depictions of Blackness in English Art","authors":"T. Frazier","doi":"10.15640/ijaah.v7n2a4","DOIUrl":"https://doi.org/10.15640/ijaah.v7n2a4","url":null,"abstract":"This paper analyzes English art to view the black experience in the eighteenth-century. English painters placed black people into their portraits in various stations of life throughout the period. The fashioning and placement of black people in English art renders for the reader some interpretation how English artists used the black body in their paintings. These images of blacks emerged from the imaginations of white artists; thusly these portraits and prints are not from the black perspective of English society, but a reflection of white attitudes. Therefore, a certain caution exists in any interpretation of the paintings. The inference about the implications of the paintings develops from the gaze of white artists. This paper suggests that an interpretation through English art does reveal something about the status of black people and shed light on satirical explanations of race and sex in eighteenth-century England.","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"13 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":"132001707","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":"Details and Expression. Giovanni Morelli’s Model and Aby Warburg’s “Types” in Connection with Experimental Psychology during the 19th century","authors":"Eleonora Del Riccio","doi":"10.15640/ijaah.v8n1a5","DOIUrl":"https://doi.org/10.15640/ijaah.v8n1a5","url":null,"abstract":"This essay aims to build a comparison between Giovanni Morelli (1816-1891), one of the founders of the concept of authorship in the 19 th century, and Aby Warburg (1866-1929), to whom we attribute the origin of iconology. In particular, the article is focused on one of the first works written by Warburg during his youth and concerns the Masolino and Masaccio frescoes in the Brancacci Chapel, Church of Santa Maria del Carmine (Florence, Italy). This essay shows, indeed, that the same cultural background that inspired Morelli in the elaboration of his method can be found in Warburg, even though the outcomes reached, especially on the long run by this latter, were far away from connoisseurship and authorship. Nevertheless, both Morelli and Warburg were persuaded of the importance to build a “science of art”, meaning a reliable knowledge distant from pure aesthetic speculations.","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"6 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":"121653318","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":"Hiding in Plain Sight: A Profile of Artistic Purpose in Velazquez’s Las Meninas Or: The Artist as Creator King","authors":"Thomas E. Boudreau","doi":"10.15640/ijaah.v7n2p1","DOIUrl":"https://doi.org/10.15640/ijaah.v7n2p1","url":null,"abstract":"Though Diego Velazquez‘s masterpiece Las Meninas is one of the most celebrated paintings in the modern world, its full meaning is still considered somewhat of a mystery. In view of this, the authors of this essay, two experienced law enforcement profilers, employ criminal profiling analysis and techniques to examine the actual evidence in plain sight within the painting as a whole. Much commentary has been written about the skills of the artist, and various eras and styles of art or the proportions in the painting; yet, this is not simply a painting about the artist and his manifold subjects portrayed in a specific era; the evidence within the painting points us in a rather new and unique direction, providing us with a ―plausible rival hypothesis‖ about the artistic purpose in the painting. In essence, Velazquez is creating and paying deep homage to the new royal court and power of artistic creation; in turn, he is honoring the almost divine-like powers of new royalty, the artist as Creator–King. As such, we as spectators are also participants and the critical subjects and audience, in this new ROYAL COURT OF ART, as portrayed in this extraordinary painting by the Artist King, Diego Velazquez. Methodologies: Criminal Profiling, Link Analysis, Multiplex Methodology Critical Words: Velazquez, Las Meninas, Picasso, Spanish Art, Full Ground, Integral Inquiry Authors’ Preface: Profilers As Artists. The authors of this essay are consultants or profilers of varied experience for law enforcement agencies as well as being amateur artists. In view of this, they have both shared a fascination with self-portraits of artists, especially those consisting of a painting of the artist in his or her own studio—as in Vermeer‘s The Art of Painting.2 In the enclosed essay, the authors have developed a summary profile-study of Diego Velazquez‘s Las Meninas which hangs in the Museo del Prado located in almost the center of in Madrid, Spain, the homeland that gave it such an auspicious birth.3 Uniqueness is often overlooked by scholars, eager to situate singular events or even creations in a theoretical and thus generalized context, but never by law enforcement investigators. As such, the painting Las Meninas is the primary scene to be investigated, not of an illustrious example of Baroque period art, but first and foremost, as a unique creation. As such, our perspective is that of investigators searching for or looking at the evidence in plain sight, not simply as witnesses or appreciative spectators. Furthermore, the evidence in a superior realist painting (or crime scene) is often profoundly interrelated and interdependent; yet, such subtle interplay is often lost on spectators who cannot get beyond their own prejudices, stereotypes or shibboleths to see theradical uniqueness of life or art. 1 Interdisciplinary Professor, Salisbury University; Andrei Ibid is a semi-retired Law Enforcement Profiler and amateur artist. 2 We will not engage in the ongoing debate of whet","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"124 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":"126167813","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":"Ibrahim Mahama’s Immersive Taxidermies at Play — An Epitaph from a Living-Dead","authors":"K. Seid’ou","doi":"10.15640/ijaah.v8n1a6","DOIUrl":"https://doi.org/10.15640/ijaah.v8n1a6","url":null,"abstract":"","PeriodicalId":149648,"journal":{"name":"INTERNATIONAL JOURNAL OF ART AND ART HISTORY","volume":"25 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":"132628947","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":"Their story: Carnival, Women, Sexuality and Sex in the Caribbean","authors":"Shivaughn Hem-Lee-Forsyth","doi":"10.15640/ijaah.v7n1a5","DOIUrl":"https://doi.org/10.15640/ijaah.v7n1a5","url":null,"abstract":"Carnival is an annual festivity held in most of the Caribbean islands. Carnival has been described as the festival of “colour, revelry, gay abandon [ment]...when sexual inhibitions are lowered. The „mas‟ has also become very much a world festival” (Gilkes, 2003, ¶ 1). Caribbean Carnivals‟ hypnotism attracts countless tourists worldwide. Apart from the economic gains derived from tourism, the powerful message that has spread universally is that „Carnival is the greatest show on earth.‟ The complex historical web from which Carnival has been constructed has led to its rich diversity in terms of its significance and events. Trinidad has long been hailed as the mecca of Carnival.The National Library and Information System Authority [NALIS] (2009) claims that Carnival is the country‟s most important celebration. Smaller islands, such as Grenada, have been picking up momentum with regard tothe magnitude of their respective Carnivals.","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":"133843947","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}