Arts最新文献_第7页

Freeport as a Hub in the Art Market: Shanghai Art Freeport 作为艺术市场枢纽的自由港：上海艺术自由港

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Arts Pub Date : 2024-05-31 DOI: 10.3390/arts13030100

Fanyu Zhang

{"title":"Freeport as a Hub in the Art Market: Shanghai Art Freeport","authors":"Fanyu Zhang","doi":"10.3390/arts13030100","DOIUrl":"https://doi.org/10.3390/arts13030100","url":null,"abstract":"With the soaring interest in art as an alternative investment approach and an asset class, there has been a remarkable rise in the volume of artwork transactions globally. However, trading in the art market differs from the traditional financial market; the cost of taxes, logistics, storage, and other transaction services is enormous for collectors, stimulating the emergence of related businesses, such as warehousing, bonded exhibitions, and art financial services. As an exceptional area serving the offshore economy, art freeports have become an essential venue for art trading and a ‘one-stop-shop’ centre that converges all art market participants. This article critically analyses the current literature and conducts empirical research on Shanghai FTZ International Culture Investment and Development Co., Ltd. (FTZART). It can be concluded that the current research on art freeports is limited and excludes FTZART from those that specialise in storing artworks, overlooking its potential influence in the Asian market. The art freeport has distinctive features that differ from traditional freeport models, and the context, business model, and operations of FTZART match these characteristics. Therefore, as a hub in the art market, the global art freeport agenda should not overlook FTZART, and it is essential to complement this gap in knowledge.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"12 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141183009","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

Leaving the “Discomfort” Zone: The Correlation between Politics and New Artistic Practices at the Beginning of the 19th Dynasty 走出 "不适 "地带：十九世纪初政治与新艺术实践之间的关联

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Arts Pub Date : 2024-05-30 DOI: 10.3390/arts13030098

Gema Menéndez

{"title":"Leaving the “Discomfort” Zone: The Correlation between Politics and New Artistic Practices at the Beginning of the 19th Dynasty","authors":"Gema Menéndez","doi":"10.3390/arts13030098","DOIUrl":"https://doi.org/10.3390/arts13030098","url":null,"abstract":"At the end of the Amarna Period, a process of political and religious restoration began. This attempt at recovery went beyond the strictly official, as the Egyptian society seemed to demand a moral reparation. It was a much-needed change that would encompass all aspects of society and it was imperative that the changes be visible. It is for this reason that visual art would be one of the main means of communication. The artistic image was the propaganda necessary to reconstruct historical memory and religious sentiment. This was most evident in the early years of the 19th dynasty, when, in addition, the need to legitimize the new royal lineage was reflected in private tombs. The Egyptian artist used art to visually consolidate these changes, and the owner of the tomb was keen to do so. This article aims to analyze the artistic changes, mainly in the private sphere, that occurred in funerary art in opposition to the religious changes that had been made during the Amarna Period and that were most evident from the reign of Horemheb until the first half of the reign of Ramesses II. Politics and art intermingled at a time when reconstructing the past and the relationship with divinity was an urgent necessity.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"41 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141177842","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

Dialogues between Past and Present? Modern Art, Contemporary Art Practice, and Ancient Egypt in the Museum 过去与现在的对话？博物馆中的现代艺术、当代艺术实践和古埃及

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Arts Pub Date : 2024-05-30 DOI: 10.3390/arts13030099

Alice Stevenson

{"title":"Dialogues between Past and Present? Modern Art, Contemporary Art Practice, and Ancient Egypt in the Museum","authors":"Alice Stevenson","doi":"10.3390/arts13030099","DOIUrl":"https://doi.org/10.3390/arts13030099","url":null,"abstract":"Whenever twentieth-century modern art or new contemporary artworks are included amongst displays of ancient Egypt, press statements often assert that such juxtapositions are ‘surprising’, ‘innovative’, and ‘fresh’, celebrating the external perspective they bring to such collections. But contemporary art’s relationship with museums and other disciplines needs to be understood in a longer-term perspective. Pairings of twentieth- and twenty-first-century artistic works with objects of antiquity is an activity that has been undertaken for more than a century in what has been a relatively long period of mutually reinforcing influences between modern/contemporary art, museum display, the art market, and Egyptian heritage. Together, they have decontextualised ancient Egyptian culture and shaped the language and perspectives of scholars, curators, and artists. In this paper, rather than considering how artists have been inspired by ancient Egypt, I will give a few examples of how more recent art practices from the late nineteenth century onwards have impacted the language and discourse of Egyptology and its museum representation. Then, using more recent artist engagements with the British Museum, I argue for greater interdisciplinary dialogues between artists and Egyptologists, as both take more critical stances towards research that recontextualises the power and agency of collections, representation, and knowledge production.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"58 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141177843","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

Modernist Antagonisms and Material Reciprocities: Chase-Riboud’s Albino 现代主义对立与物质互惠：Chase-Riboud 的《白化病

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Arts Pub Date : 2024-05-29 DOI: 10.3390/arts13030097

Elyse Speaks

引用次数: 0

Royal Tamga Signs and Their Significance for the Epigraphic Culture of the Bosporan Kingdom 塔姆加皇家标志及其对波斯波罗王国书信文化的意义

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Arts Pub Date : 2024-05-27 DOI: 10.3390/arts13030095

Michał Halamus

引用次数: 0

Escaping from Confinement: Hell Imagery in the Shōjuraigōji Rokudō-e Scrolls 逃离禁锢：正仓院六道绘卷》中的地狱意象

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Arts Pub Date : 2024-05-24 DOI: 10.3390/arts13030094

Zhenru Zhou

{"title":"Escaping from Confinement: Hell Imagery in the Shōjuraigōji Rokudō-e Scrolls","authors":"Zhenru Zhou","doi":"10.3390/arts13030094","DOIUrl":"https://doi.org/10.3390/arts13030094","url":null,"abstract":"This article explores the pictorial representation of the Buddhist hell in Kamakura (1185–1333) Japan, with a focus on a mid-thirteenth century rokudō-e, or Pictures of the Six Realms, preserved at Shōjuraigōji Temple. The examination revolves around how these scroll paintings convey messages of salvation by representing the symbolic architecture of the hell realm, the lowest level within the six realms. By scrutinizing the visual representation of hell landscapes in four hell scrolls in the Shōjuraigōji set, the study unveils the architectural symbolism of boundaries and pathways. A visual analysis of two hell-tearing narrative scrolls further reveals that the key iconography involves the destruction of the architectural symbols of hell. Through tracing the concurrent processes of constructing and destroying the imaginary space of hell, the study demonstrates that the conceptual and visual construction of hell is coupled with an equally pronounced intent for hell-tearing. Lastly, based on the visuality of the hell-escaping narratives, the medium of hanging scrolls, and the centrality of an Enma scroll within the Shōjuraigōji set, the author proposes a spatial arrangement of this set of fifteen scrolls that could systematically convey the visual massage of “escaping from suffering in the six courses”.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"18 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141091885","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 Affective Byzantine Book: Reflections on Aesthetics of Gospel Lectionaries 有情感的拜占庭书籍：对福音书选读本美学的思考

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Arts Pub Date : 2024-05-22 DOI: 10.3390/arts13030092

Joseph R. Kopta

引用次数: 0

Images as a Hint to the Other World: The Use of Images as Mediators in Medieval and Early Modern Societies 图像提示另一个世界：在中世纪和现代早期社会中使用图像作为媒介

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Arts Pub Date : 2024-05-22 DOI: 10.3390/arts13030093

Roger Ferrer-Ventosa

{"title":"Images as a Hint to the Other World: The Use of Images as Mediators in Medieval and Early Modern Societies","authors":"Roger Ferrer-Ventosa","doi":"10.3390/arts13030093","DOIUrl":"https://doi.org/10.3390/arts13030093","url":null,"abstract":"The Middle Ages and Early Modern periods saw the interpretation of reality through symbols, connecting the natural world to the divine using symbolic thinking and images. The idea of a correspondence between the human and universal macrocosm was prominent in various fields such as medicine, philosophy, and religion. Symbolism played a crucial role in approaching divine matters, with symbols serving as a means of direct presence and embodiment. Plato’s influence on Neoplatonist and Hermetic thinkers emphasized the role of dreams and eidola (images) for interpreting the divine. Contemplation of art and nature was an epistemological tool, seeking hidden cosmic harmony and understanding. Christianity embraced worshiping images as representations of the divine, granting believers a way to understand religious concepts. Icons were considered mirrors reflecting the spiritual and divine aspects. The medieval concept of speculum books as mirrors containing all knowledge offered instructional and subjective insights on various subjects. Speculum humanae salvationis illuminated books demonstrated the interplay between the Old and New Testaments, influencing artists like Rogier van der Weyden.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"51 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141079422","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

In Place of a Missing Place 代替缺失的地方

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Arts Pub Date : 2024-05-20 DOI: 10.3390/arts13030091

Noam Segal

{"title":"In Place of a Missing Place","authors":"Noam Segal","doi":"10.3390/arts13030091","DOIUrl":"https://doi.org/10.3390/arts13030091","url":null,"abstract":"This essay reflects on works chosen from the Sonnenfeld Collection at the Katzen Gallery at American University in Washington, DC—it originally accompanied an exhibition at that gallery in early 2021—to comment on the observations of several generations of Israeli artists on the land and its meaning for the culture and politics of Israel’s coming into existence and evolution during the first 70 years of its existence. Beginning with a pair of photographs of pioneers in the land in the fifteen years before statehood—and conceptually re-purposed by a contemporary Israeli artist in 2008—and moving through decade after decade of engagement with the landscape of Israel in both figurative and abstract modes, with and without humans present within these contexts, veering from brightly colored to virtually colorless images, including paintings and photographs, the essay traces a distance between earlier assertions of presence and the gradual emergence of questions regarding presence, absence, and identity. Israel, in its internal development, is both visually and thus verbally interwoven with the issue of its external relationship with its immediate neighbors and to the shifts between what comprises “internal” and “external”—”this” and “other”—as the context has metamorphosized from the 1930s to the 1950s to 1967 to 1993 to 2000 and to the present.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"48 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141069232","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

Symbolist Androgyny: On the Origins of a Proto-Queer Vision 象征主义的雌雄同体关于原同性恋愿景的起源

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Arts Pub Date : 2024-05-20 DOI: 10.3390/arts13030090

Damien F. Delille

引用次数: 0