Art of the Orient最新文献_第9页

The Abhaya Gesture in Indian Art. Visual Means to Invoke Divine Protection 印度艺术中的Abhaya手势。视觉手段调用神圣的保护

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto202201

Agnieszka Staszczyk

引用次数: 0

Imaging the Divine. The Depiction of Gods and Deified Beings in Illustrations of Kalpasūtra Manuscripts from Western India 想象神。西印度Kalpasūtra手抄本插图中神与神化人物的描绘

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto202203

P. Krüger

引用次数: 0

Tkanina z Mashanu (Chiny, V–III w. p.n.e.) a celtycki system ornamentalny Tkanina z Mashanu(中国，V-III w.p.n.e)一种观赏植物系统

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201203

Ryszarda Bulas

引用次数: 0

Balkarian professional fine arts 巴尔干专业美术

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201311

Zhaukhar M. Appayeva

{"title":"Balkarian professional fine arts","authors":"Zhaukhar M. Appayeva","doi":"10.15804/aoto201311","DOIUrl":"https://doi.org/10.15804/aoto201311","url":null,"abstract":"Until the 1920s, the artistic culture of the Balkars had developed naturally and endogenously. The absence of the fine arts was understood in terms of Islam. Actually, the reasons for this phenomenon are much more deeply rooted and are connected with the specifics of the artistic philosophy of the Balkars. Brought up on other traditions and artistic values, this particular ethnic group were neither psychologically nor aesthetically prepared for any new perceptions or unusual forms of creativity. Fine arts were not connected with their cultural requirements but had been spread by the Soviets in days of the Cultural Revolution1) (1920-1930s) and later. New forms of art clashed with the centuries-old way of life of the mountaineers and therefore the abrupt withdrawal pains of centuries of traditions could not be overcome in just a short space of time. Meanwhile, this task was considered by the Bolsheviks* 2) to be extremely impor tant as, in their opinion, art should serve the political and ideological goals of the state leaders. However, despite all efforts made by the authorities to familiarize the locals with the fine arts, they reacted conservatively and for several decades remained alien to it. So, the realization of this plan extended over four long decades. It is quite natural that the creation of works of art is impossible without a professional staff of artists. So, at the same time there was the problem of their education. The government of Kabardino-Balkaria tried to solve it during the 20s; however, the indigenous people remained indifferent to this undertak","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"5 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":"121898622","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}

引用次数: 0

Between mind and soul – pustaha manuscripts in Batak society. Concerning the collections of Batak manuscripts – part I 心灵与灵魂之间——巴塔克社会的普斯塔哈手稿。关于巴塔克手稿的收藏-第一部分

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto202209

Zuzanna Rozwadowska

引用次数: 0

Świadectwa obecności artystycznej Imperium Osmańskiego na Węgrzech

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201214

E. Marcinkowska

{"title":"Świadectwa obecności artystycznej Imperium Osmańskiego na Węgrzech","authors":"E. Marcinkowska","doi":"10.15804/aoto201214","DOIUrl":"https://doi.org/10.15804/aoto201214","url":null,"abstract":"Taking Ottoman art into consideration, attention has been being paid to the greatest cultural centres and the most noteworthy Turkish constructions, which were built on the territory of the present Republic of Turkey. Although it has been forgotten that during the Middle Ages and the Modern Period the influence of the Ottoman Empire reached much farther, artistic evidence can be found even in Central Europe. On the continent of Europe, the Ottoman borders covered the whole of the Balkans, the northern cost of The Black Sea, most of Hungary and a part of Poland. These areas constituted merely buildings in these territories, it is necessary to narrow one’s area of interests. In the face of innovativeness and the lack of sufficient references providing essential information about Ottoman works of art located in the territory of Europe, I had to choose the country which, in 2008, was going to be my research journey destination. Owing to its geographical and cultural proximity, I limited my choice to the territory of Catholic Central Europe. Specifically, I visited Hungary which was occupied for 158 years and the region of Podolia (27 years). During the Ottoman reign over these areas, the era of the greatest development of might and art of the Ottoman Empire took place (16th and 17th century). In addition to this, the subject of this article is not only connected with showing works of art resulting from the Osmanian Empire’s activities but also to try to investigate their artistic value against the constructions created in the territory of the “actual” Empire.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"357 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":"123191316","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}

引用次数: 0

The combination of Chinese and Western influences on Chinese modern ink painting with Lin Fengmian, Zhang Ding and Wu Guanzhong as Examples 以林风眠、张鼎、吴冠中为例，谈中西结合对中国现代水墨画的影响

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201309

Chen Chiyu

引用次数: 0

Development of the Russian School of Art in the context of emigration to China in the first half of the 20th century 20世纪上半叶移民中国的背景下俄罗斯艺术学派的发展

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201308

T. Lebedeva

{"title":"Development of the Russian School of Art in the context of emigration to China in the first half of the 20th century","authors":"T. Lebedeva","doi":"10.15804/aoto201308","DOIUrl":"https://doi.org/10.15804/aoto201308","url":null,"abstract":"The art of emigres to the Far East (i.e. China) has been studied less in comparison with European emigration. China was not a main centre for emigre art (more precisely, it was its periphery). Artists did not tend to come to China; they went there due to some particular circumstances. Among them there were no outstanding or prominent people who defined the future of art. They were professionals of the second class or, even more likely, of the third class. According to data from various sources^ about 130 Russian emigrants worked professionally in the sphere of the fine arts in China during 1920-1948. Two main centres were the focal point of the Russian artists: Harbin and Shang hai. (Some Russian artists also lived in Hong Kong, Beijing, Tianjin, but in these Chinese cities the activity of the Russian diaspora wasn’t so widespread). About half of the Russian artist-emigres living in China received a standard education in art. Twenty-five people studied in the best schools of Russia: Petersburg Academy of Arts, Moscow School of Painting, Sculpturing and Architecture and Stroganov School of Industrial and Applied Arts. Ten people studied art at the School of Industrial and Applied Arts of Yekaterinburg, Chita and other","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"17 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":"126333911","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}

引用次数: 1

Pagans in East Asia in early modern Dutch sources 近代早期荷兰文献中东亚的异教徒

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201406

Maciej Tybus

{"title":"Pagans in East Asia in early modern Dutch sources","authors":"Maciej Tybus","doi":"10.15804/aoto201406","DOIUrl":"https://doi.org/10.15804/aoto201406","url":null,"abstract":"he contacts between paganism and Christianity have, since antiquity constituted by far one of the main pivots in intercultural relations. The discussion on pagans and foreign peoples introduced into European culture by Aristotle has served as a basis for the discourse developed in the following centuries. According to the Greek philosopher, the human soul is a form struggling with the limits of matter to realise its potential. Thus he proved that the souls of white people have fully achieved their goal, while in the case of black people and Indians their souls had to face greater obstacles. His thoughts have been fundamental for the Medieval scholastic such as represented by Thomas Aquinas and later on developed by the Renaissance humanists. These issues became even more important in the era of great geographical discoveries and the discussion on the problem whether the Indians actually have a soul or not, being a basis for the way of treating the natives encountered in the New World.1) Therefore the development of colonialism and foreign trade in the early modern period was always associated with the contemporary religious debate, providing arguments and bringing intercultural relations to a new level. The aim of this paper is to present the attitude of the Dutch East India Company (VOC) towards the various groups and nations in East Asia commonly referred to as “pagans”, expressed in the 16t and 17t c. A special reference will be made to the written sources and artistic depictions created at that time which convey the most significant notions concerning foreign peoples.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"2016 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":"127418878","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}

引用次数: 0

Empowering women through theater in Indonesia 在印尼通过戏剧赋予女性权力

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201312

M. Lis

引用次数: 0