Palamar, I., & Moldovan, S.-S. (2023). Art connection in the metaverse or online space. Visual arts painting and performance. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 8, 23-30. Ostrava: Tuculart Edition, European Institute for Innovation Development.

DOI: 10.47451/art2023-05-03 ----- Author's Certificate 1 ----- Author's Certificate 2

Abstract:

Art is one of the most influential and powerful ways of conveying ideas and emotions. Art is found in people’s homes, in galleries, museums, and elsewhere. Artists have many ways to connect with their audiences; they can paint, sculpt, write poetry and drama, and create music and dance. In shaping the minds of others, the way an artist chooses to communicate is crucial. We use art to express ourselves uniquely, and it is an essential part of our world. Each art form has advantages and disadvantages. Connecting the different mediums and the audience of different cultures may be a challenging task. In this article we will try to set up a methodology of building bridges and engage to a more wired society both in the real space as well in the metaverse. The process of connection is a form of expression, an exteriorizing of an inner content. The case studies in the article, which are part of the visual arts field, discuss both the process and the content of arts-based research. The study purpose is the identification of different media connections from virtual space to physical space. It is our hope that through the creation of new connections, we can enrich the field of visual arts. The authors find that different people with very different cultural influences of a particular medium arrive at highly congruent systems by overlapping layers of memory, of transgenerational genetic, empirical and emotional heritage. To realize this, it is necessary to delve into this topic and explore the phenomenon in all its actualization.

Keywords:

visual arts, metaverse, online space, art connection, performance, arte vizuale, metaverse, spaţiu online, conexiune artistică, performanţă.

Article Index

Voloshina, L. A. (2023). Chaos and harmony in nature and art as the origin of beauty. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 8, 7-22. Ostrava: Tuculart Edition, European Institute for Innovation Development.

DOI: 10.47451/art2023-05-02 ----- Author's Certificate

Abstract:

The relevance of the topic “beauty” is inexhaustible. In this article, it is considered as the unity of two opposites – chaos and harmony. This unity is the basis on which art is built, as an activity inextricably linked with beauty. The study subject was these two concepts, and the study object is the entire aesthetic thought from ancient times, considering beauty as a combination of chaos and harmony. The study purpose was to show how this idea of the unity of two opposites, embedded in the structure of the universe, is the main driving force of any creative activity. Human culture is considered at the same time as a process aimed at harmonizing chaos, and art as an opportunity to give this process expressive forms. In the study, along with the philosophical and aesthetic methodology, methods of other sciences such as hermeneutical, axiological, existential-phenomenological, semiotic, and psychological were applied. When writing the study, there were used a wide range of sources: works of ancient thinkers Hesiod, the pre-Socratics, Plato, Pythagoras, Aristotle, Russian aesthetic and psychological thought of A.F. Losev, V.S. Solovyov, N.A. Berdyaev, Yu.N. Lotman, Yu.B. Borev, L.S. Vygotsky, works of Russian and foreign scientists, including A.V. Voloshinov, Yu.V. Taboyakova, B. Mandelbrot, H.-O. Paytgen, P.H. Richter, N.T. Rymar, G. P. Menchikov, studies in the field of ornament art of V.V. Ivanov, V.N. Toporov, V. Gruzdev, K. Buher, and T.V. Kolchev. The author concludes that the unity of chaos and harmony is represented in art as a natural reality in which opportunity and action are combined. In this strange dyad is the basis of what we call creativity. And all this is contained in the universe, as a certain formula by which the beauty of the world and the beauty of art are built.

Keywords:

chaos, harmony, archetype, ornament, beauty, fractal, myth, artistic image, symbol, хаос, гармония, архетип, орнамент, красота, фрактал, миф, художественный образ, символ.

Article Index

Mamedova, U. (2023). The role of translated works in the repertory policy of the Azerbaijan State Theatre of Young Spectators (1930-1970s). Culture and Arts in the Context of World Cultural Heritage. Klironomy, 8, 31-39. Ostrava: Tuculart Edition, European Institute for Innovation Development.

DOI: 10.47451/art2023-05-01 ----- Author's Certificate

Abstract:

The relevance of the study of this topic lies in the fact that foreign dramaturgy has always been in the center of attention of the Azerbaijani theater. This interest also applied to the Theater of Young Spectators. The directors of this theater often turned to the works of foreign playwrights to show the Azerbaijani audience the culture, lifestyle, national drama of other countries. From the 1930s to the 70s, the works of many famous world playwrights were staged: Y. Shakespeare, A. Pushkin, N. Gogol, N. Ostrovsky, I. Stock, Yu. Chaplygin, etc. It is true that the creative path of the Theatre of Young Spectators has always been the research object of national theater studies. However, the works of foreign playwrights included in the repertoire of the theater were not studied separately as a study subject. The study subject was foreign dramaturgy included in the repertoire of the Azerbaijan State Theatre of Young Spectators. The study object was the 1930s-1970s repertoire of the Azerbaijan State Theater of Young Spectators. The study purpose was to study the role of translated works in the repertory policy of the Azerbaijan State Theater of Young Spectators (1930s-1970s). To achieve the study purpose and solve the tasks, such scientific methods were used as historical-chronological, comparative, typological. The study used scientific works and articles of such Azerbaijani researchers as Z. Aghayev, N. Babayev, B. Boquslavski, İ. Karimov, C. Mammadov, İ. Novruzov, İ. Zamanli, I. Karimov, I. Ragimli, and K. Abdullayev. The article talks about performances based on translated works on the stage of the Azerbaijan State Young Spectators Theatre in the 1930s-70s. The author tries to show the reasons for giving a special place to the works of Russian-Soviet dramatists among the translated works included in the repertoire of the theater, and to explain the influence of the time on literature. The author noted that the plays written by Russian dramatists during the mentioned period were received with interest on the stage of Azerbaijan, associates this with the fact that these plays resonate with the time in terms of theme, ideas and style, their adequacy to the taste and psychological perception of the Azerbaijani audience, the compatibility of the principles of humanism, internationalism and equality in these stage works with national values.

Keywords:

Azerbaijani theater, theater of youth spactators, foreign dramaturgy, director, play, idea, genre, problem, time, азербайджанский театр, театр юного зрителя, зарубежная драматургия, режиссер, спектакль, идея, жанр, проблема, время.

Article Index

Agayeva, M. R. (2023). Central Asian playwrights’ works on the Azerbaijani stage. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 7, 16-25. Ostrava: Tuculart Edition, European Institute for Innovation Development.

DOI: 10.47451/art2023-03-02 ----- Author's Certificate

Abstract:

It is a historical tradition of the Azerbaijani theater to refer to translated works, to show examples of world drama, works of neighboring nations. Central Asian playwrights’ woks (Fitrat’s (Abduarif Rashidov) “Indian Inventors”) have been staged on the stage of the Azerbaijani theater since the mid-1920s. Central Asian playwrights’ works contributed to bring our peoples closer and develop cultural relationships besides enriching the repertoire of Azerbaijani theaters. The subjects of these works introduced people to the culture, art and moral norms of other nations. Works on different themes were staged in different theaters in different years, on the theme of land: “Indian inventors” by Uzbek playwright Fitrat (Abduarif Rashidov) was staged at the Azerbaijan State Academic National Drama Theater, “Silk Patterns” by Uzbek writer A. Gahhar (“In the New Land”) at the Ganja State Drama Theater, “Mother Earth” by Kyrgyz writer Ch. Aitmatov at the Nakhchivan Theater, “Mankurt” based on the novel “The Day Lasts More Than a Hundred Years” at the Azerbaijan State Pantomime Theater, “Socrates’s Remembrance Night” by Chinghiz Aitmatov and M. Shahanov at the Sumgayit State Musical Theater (“Trial on Donkey Skin”), “Pienbald Dog Running on the Seashore” by Chingiz Aitmatov at the Azerbaijan State Theater of Young Spectators, on the theme of morality: “Family Honour”, “Who is to Blame” by Turkmen writer H. Mukhtarov at the Azerbaijan State Academic National Drama Theater (“Family of God”), “The Ascent on Mt. Fuji” by Chinghiz Aitmatov and K. Mammadjanov at the Azerbaijan State Theater of Young Spectators, “Jamila” by Chinghiz Aitmatov at the Azerbaijan State Academic Musical Theater. These works, which deal with the current problems of the time, have found a stage solution in accordance with the requirements of today in different directorial structures. The author concludes that Central Asian authors’ works staged at the Azerbaijani theaters were welcomed by theatergoers and had a positive impact on the formation of their audience ideological and aesthetic taste along with the positive and negative features.

Keywords:

Central Asia, playwright, Uzbek, Kyrgyz, theater, land, spirituality, work, play, Средняя Азия, драматург, узбек, киргиз, театр, земля, духовность, произведение, спектакль.

Article Index

Gaşpar, L. (2023). Elements of the Romanian mythical space in advertising. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 7, 7-15. Ostrava: Tuculart Edition, European Institute for Innovation Development. (In Romanian)

DOI: 10.47451/art2023-03-01 ----- Author's Certificate

Abstract:

For design, the myth is a source that creators turn to in order to translate into everyday life those ideas that we have genetically implanted in us and to which we feel a call or to which we refer at certain times. The myth is for every society an identity known by the vast majority, which is why it is used in design either to repeat the primordial acts of the ancestors unconsciously, or consciously to make connections between the newly created object and the mythological one, which is it ensures credibility, security and success, and, in addition to these, an emotion coming from a more or less profound experience. In order to achieve the research goal and solve the tasks set, the authors conducted quantitative studies and comparative studies concerning the main characteristics of the myth, taking several primitive myths and observing their search in modern times through their use in the advertising sphere. The research used the works of researchers Mircea Eliade, George Călinescu, Mădălina Moraru, Romulus Vulcănescu, Doina Graur. The author notes that turning to the myth in advertising, echoes of the world are vaguely preserved, which can have reverberation among the audience, and thus the impulse to buy is determined by proximity to the world a long time ago, when the heroes of the first great exploits lived in the paradise world of a fairy tale, in which good wins and after the created chaos returns to a state of balance and harmony. The product can be considered as a replacement for fantastic weapons or companions with magical functions that, together with the hero, lead to victory in the final stage or battle. The product, maybe for the client, represents the magic from fairy tales that makes the world of beginnings so attractive and seductive.

Keywords:

mythology, archetype, advertising, heroes in advertising, design, contemporary art, mitologie, arhetip, publicitate, eroii în publicitate, design, artă contemporană.

Article Index

Voloshina, L. A. (2023). The body as a source of beauty: on the problem of perception of a work of art. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 7, 26-41. Ostrava: Tuculart Edition, European Institute for Innovation Development.

DOI: 10.47451/art2023-02-01 ----- Author's Certificate

Abstract:

The study is devoted to the topic of the human body beauty, which is relevant at all times. Human beauty is an eternal and favorite topic – art, aesthetics, and psychology. It is presented in sciences as a limitless field, accommodating the entire rich history of thinking about beauty as a complex phenomenon combining physics and metaphysics, logical and irrational, conscious and subconscious, including the unconscious. Today, turning to the topic of physicality is a natural reaction to the events taking place, and the changes caused by them in our attitude to the body. Our body loses the necessary connection with the living natural environment, which has always been healing for it. The author presents an individual experience of the works of art based on the recipient’s internal resources: cognitive, perceptual, intellectual. The study purpose was to apply this experience in existential psychotherapy. The study object was fine art, represented by the works of artists of different eras and trends. The study subject was the image of the human body in the artists’ works, presented explicitly or indirectly. To achieve the purpose and solve the tasks, formal-logical, hermeneutical, axiological, phenomenological, semiotic, religious-philosophical, and psychological methods were used. The author used the works of thinkers of different eras, which consider the topic of corporeality: representatives of religious philosophy and the Russian art studies school. As a result of the study, the author concludes that fine art is a full-fledged source of aesthetic knowledge, and can offer us in artistic, often symbolic forms the most important information about human nature. This information is contained in the picture as a unity of the conscious, subconscious and unconscious.

Keywords:

human body, beauty of the body, aesthetics of perception, old age in art, existential psychology, nude, человеческое тело, красота телесного, эстетика восприятия, старость в искусстве, экзистенциальная психология, ню.

Article Index

Kasheva, A. (2023). Computer-aided Moorish geometric design and patterns. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 7, 42-50. Ostrava: Tuculart Edition, European Institute for Innovation Development.

DOI: 10.47451/art2023-01-01 ----- Author's Certificate

Abstract:

Humans have been striving to decorate their surroundings with various visual elements, such as shapes, textures, and symbols, since ancient times. A lot of times the inspiration for these patterns and textures came from nature, which has always motivated people to create aesthetically pleasing patterns. Geometry assists us to comprehend and reproduce numerous patterns found in nature. Hence, producing geometric patterns has been an integral part of art and ornamental interior design. Exploring a design process for recreating ornamental patterns has led to the development of software for generating Moorish patterns using computer-aided tools. The generated geometric patterns are two-dimensional elements, and could be transformed into three-dimensional objects before they can be used in numerous aspects in interior and architectural design. Thus, combining a two-dimensional pattern with a three-dimensional graphical software, adding extra features and functions to it, provides a powerful tool for artists and designers. The Moorish geometric patterns, renowned for their intricate interlacing and strongly geometric designs, have a long history embedded in multiple cultures. Nevertheless, modern-day computer software has been utilized to incorporate Moorish geometric design into the process of creating interior design- furniture and even in architecture planning and building structures. Computer-aided Moorish geometric design and patterns can influence the manner in which designers and architects create their work. This research traces some of the historical backdrop of Moorish style, the posthumous dynamic of the development of geometric patterns, the advances in PC programming that empower its utilization, and the potential applications of this correlation. The study object was geometric patterns as a form of decoration in architecture and design in the context of geometry and form creating with the purpose of aesthetic search. The study subject was the creation of geometric patterns and the ways possible to make this process faster and more efficient in the work of today’s designer and architects. The study purpose was to investigate the source of making geometric design patterns, in terms of employing them in decorating interior spaces and in architecture in general by a brief exploration in historical samples. By inspecting an example of how PC helped Moorish geometric designs can be used in the process of designing interior places or in architecture planning, this exploration will show how innovation can be utilized to produce works of art and design. The last section concludes by summarizing the main aspects of this work and explaining points for further improvements.

Keywords:

Moorish architecture, Taprats, software integration, geometric patterns, 3ds MAX modelling, design, object modelling, Adobe Photoshop, мавританска архитектура, софтуерна интеграция, геометрични модели, 3ds MAX моделиране, дизайн, обектно моделиране.

Article Index

Kalmykova, M. S. (2022). Features of the technique of “multilayered painting” based on a comparative analysis of the qualifying works of students of the Department of Decorative Painting of the Higher School of Folk Arts. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 6, 15-22. Ostrava: Tuculart Edition, European Institute for Innovation Development.

DOI: 10.47451/art2022-11-01 ----- Author's Certificate

Abstract:

The appearance of lacquer painting on metal, the birthplace of which is Nizhny Tagil, refers to the conditional date of 1746. This type of traditional arts and crafts originated in the Urals. Mining painting acquired stable features of the established craft. Houses and their interior decoration, wooden dishes and other kitchen utensils, chests and tin things were decorated with elegant paintings. Since the mid-18th century, lacquer saucers and trays have been in demand. Later, there is a division into complex multilayered and simple swoop painting. The article analyses the qualifying works performed by students studied under higher education programmes in the technique of Nizhny Tagil multilayered painting. The focus is on the system of traditional and innovative artistic and technical techniques for the decorative design of works, mainly furniture items. The research uses methods of descriptive and formal stylistic analysis of works of art. The characteristic artistic-stylistic, compositional and technological features of the Nizhny Tagil painting are considered. An attempt is made to identify the common features inherent in the Nizhny Tagil multilayered painting, as well as the distinctive features of the works of artists. To achieve this purpose, monographic publications and scientific articles of Russian researchers in folk art were used.

Keywords:

puppet theatre, parody, animation theatre, carnivals, Romanian animation theatre, teatru de păpuşi, parodie, teatru de animaţie, carnavalesc, teatrul de animaţie românesc.

Article Index

Stanciu, D. (2022). Parody in the Romanian animation theater. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 6, 7-14. Ostrava: Tuculart Edition, European Institute for Innovation Development.

DOI: 10.47451/art2022-09-01 ----- Author's Certificate

Abstract:

The article refers to the presence of parody in the animation theater in our country. In the introductory part, the author talks about Mihail Bahtin’s concept of carnival culture, a category that also includes parody, a manifestation of the critical spirit, specific to animation theater of all times (Bahtin, 1974). The parody is inherent in the animation theater which, through its specific means, through the representation of the characters with puppets or marionets, makes a literary work written with “serious intentions” become ridiculous and funny. The parody ridicules both the “serious” themes and the mannerisms and ancient representation procedures in theater and opera, the grandiose style of play of some actors or opera soloists, etc. The article reviews some hypostases of parody in the drama of the genre, giving examples from the writings of Mihai Eminescu, George Călinescu, I.L. Caragiale, Vasile Alecsandri and some contemporary authors, as well as from the shows are based on the principle of parody.

Keywords:

puppet theatre, parody, animation theatre, carnivals, Romanian animation theatre, teatru de păpuşi, parodie, teatru de animaţie, carnavalesc, teatrul de animaţie românesc.

Article Index

Gaiţă, A., & Mixich, L. (2022). Photography and Sociality. Between Banfi and the Selfie. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 5, 62-68. Ostrava: Tuculart Edition.

DOI: 10.47451/art2022-05-07 ----- Author's Certificate 1 ----- Author's Certificate 2

Abstract:

The main purpose of this article is to analyse the relationship between photography and sociality. Since its beginnings, the photographical language was in close proximity to society and therefore was able to depict significant aspects of the everyday life through images. In contemporary times, the photographical image developed new variables and nuances that will be analysed in this article. The relationship with social issues changed in the last decades, especially considering the advent of the social media. Because of it, the photographical image went through different transformations and it obtained new socio-psychological nuances. In the first section of the article, the analysis is broader and more philosophical, aiming to capture the nature of photography and its relation to contemporary society but also to solitude. The works of Antonio Banfi are quite relevant here and especially his concept of “sociality” related to aesthetics. Afterwards, in the second section of this article, the author will focus on a narrower analysis, applied to the selfie and to how this type of image constructs the virtual identity of its users. The focus will be placed both on the psychological and sociological aspects.

Keywords:

photography, sociality, transdisciplinary, aesthetics, art, selfie, social-media, Antonio Banfi, solitude, fotografie, socialitate, transdisciplinar, estetică, artă, selfie, social-media, solitudine.

Article Index

Burduloi, M. O. (2022). American Choral Music. Historical and Stylistic Aspects. Culture and Arts in the Context of world Cultural Heritage. Klironomy, 5, 52-61. Ostrava: Tuculart Edition.

DOI: 10.47451/art2022-05-06 ----- Author's Certificate

Abstract:

Speaking about the American choral music, conductor Kathy Romey observed that “our choral inheritance reflects a kaleidoscope of cultural and religious roots which gave birth to an astonishing melting pot” of musical and individual voices. The “American” choral music can be observed from two geographic perspectives – the United States and North America – which include works of composers from Canada, the United States, Puerto Rico, and Mexico. In both contexts, “specific American” choral music is extremely varied, flexible, and in a continuous change. It could take the form of a hymn of Shakers, of a song of Native Americans, a Moravian hymn, a spiritual Negro, of a song from the divine service of Judaic Sabbath, of a lullaby, a civil war marching, a Mexican salsa dance, a gospel hymn, an Asian artistic song, Broadway music, blues, a cowboy ballad or a European folk song. All these and much more are part of our collective culture – a diverse and rich tradition of many peoples, which expresses itself through a multitude of musical styles and genres.”

Keywords:

American choral music, choral musical styles, choral musical genres, musical influences, musical tradition, muzică corală americană, stiluri muzicale corale, genuri muzicale corale, influenţe muzicale, tradiţie muzicală.

Article Index

Palamar, I., & Moldovan, S.-S. (2022). Cyclicity in creation: from drawing to memory, from memory to drawing. Culture and Arts in the Context of world Cultural Heritage. Klironomy, 5, 44-51. Ostrava: Tuculart Edition.

DOI: 10.47451/art2022-05-05 ----- Author's Certificate 1 ----- Author's Certificate 2

Article Index

Marghidan, E., Vieriu, M., & Loghin, R. S. (2022). From Mosaic to Pixel in Textile Art. Culture and Arts in the Context of world Cultural Heritage. Klironomy, 5, 36-43. Ostrava: Tuculart Edition.(in Romanian) [De la mozaic la pixel în Arta Textilă]

DOI: 10.47451/art2022-05-04 ----- Author's Certificate 1 ----- Author's Certificate 2 ----- Author's Certificate 3

Abstract:

Due to technology and how the woven or knitted textile surfaces are created, they can be reduced to a graphical representation of modular, often square modular geometric grids. Thus thought, any decorative composition resembles the mosaic technique in which for the construction of the image it is reduced to a structure of units of the same size but of different colours or textures. Historically, the patchwork illustrates the technique of textile mosaic and makes the transition between classical, manual or mechanical techniques and contemporary digital art. Pixel art and the compositions of NFT works are based on a similar concept, creating the work from tiny independent images, which are chromatically modular correlated.

Keywords:

textile art, textile design, patchwork, textile collage, digital, pixel, mosaic, contemporary art, NFT, artă textilă, design textil, patchwork, colaj textil, digital, pixel, mozaic, artă contemporană.

Article Index

Stanciu, D. (2022). The Beginnings of the Cult Puppet Theatre in Romania. Culture and Arts in the Context of world Cultural Heritage. Klironomy, 5, 27-35. Ostrava: Tuculart Edition.(in Romanian) [Începuturile teatrului de animaţie cult din România]

DOI: 10.47451/art2022-05-03 -------- Author's Certificate

Abstract:

The Romanian puppet theatre had many forms of tradition, which appeared as a result of many intercultural influences. The ucrainean vertep influenced the marionnette tradition of vicleim, the influence of turkish karagöz is present in the satirical theatre from 18th century, Punch and Judy and Kasperle are similar with the romanian Vasilache, a.s.o. Many of these popular traditions survived until the middle of the 20th century. However, at the beginning of the 20th century, a modern form of puppetry art was born, as in the other countries from Europe. This fenomenon occured especially as a result of the influence of the cech and austrian marionette theatres. In this moment were founded some marionnette theatres in Romania, as repertory and art theatres. This article is about that important moment of the foundation of the modern animation theatre.

Keywords:

marionnette, puppet theatre, animation theatre, repertory theatre, cech influences, marionete, teatru de papuşi, teatru de animaţie, teatru de repertoriu, influenţe cehe.

Article Index

Puia, D.-M. (2022). The escape of Chekhov’s characters through religion. Culture and Arts in the Context of world Cultural Heritage. Klironomy, 5, 18-26. Ostrava: Tuculart Edition.

DOI: 10.47451/art2022-05-02 -------- Author's Certificate

Abstract:

In a study that involves the interpretation of such complex characters as those in the sphere of Russian writing, I inevitably reached issues like faith, soul, religion, suffering and aspirations. Considering that mysticism underlies the Russian soul, I tried to understand the human dimension of the characters from Chekhov’s plays, Three sisters, Uncle Vanya, The Cherry Orchard and The Seagull. Thus, I analysed the abyssal Slavic soul through the ideas of Russian mystical school and its representatives, Paul Evdokimov and Nikolai Berdiaev, starting from the image of Christ in Russian thinking. „The soul of the Russian man is directed to the Kingdom of God, but yields easily to temptations, imitations, and illusions, and easily falls into the power of the kingdom of darkness” (Berdiaev, 1995:203). For Chekhov, one must be faithful or go in search of faith, otherwise his life will be deserted. This study is intended for those interested in russian dramatic characters and their search for faith.

Keywords:

Chekhov, Christ, philosophy, religion, love, sacrifice, Cehov, Hristos, filosofie, religie, iubire, sacrificiu.

Article Index

Soreanu, C. (2022). The culture of visuals and the visuals of culture. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 5, 7-17. Ostrava: Tuculart Edition.

DOI: 10.47451/art2022-05-01 -------- Author's Certificate

Abstract:

This article offers the premises for an analytical reflection on how we look at images today, while questioning the role they have in our understanding of contemporary culture. We will discuss different visual culture aspects based on relevant case studies from advertising, branding, journalism, and art, arguing that the image is prevalent in today’s media culture, with our perception shaped by its structural lecturing rules (in the detriment of other content formats). Since contemporary culture is constantly and arbitrarily build on a subjective and consciousness perspective, we are witnessing on the cultural identity definition of our existence through image-reading patterns, text-looking solutions, and video-lecturing directions, as a multimodal subjective information-processing reaction to the spectacle of this intense digitalization of the society.

Keywords:

visual communication, visual culture, media, visual arts, text and image, social media, comunicare vizuală, cultura vizuală, media, arte vizuale, text şi imagine, social media

Article Index

Mixich, L. (2022). Exploration of Time in Jeff Wall’s Photography. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 4, 82-88. Ostrava: Tuculart Edition.

DOI: 10.47451/art2022-02-02 -------- Author's Certificate

Abstract:

Conceptual photography, since the 1960’s, has developed a different approach to photographing than any other photographical genre. Its main focus was on the concept behind the image, on its idea. However, my aim, in this article, is to analyze a variation of conceptual photography, more precisely the narrative one, its history and aesthetics, but also how it was explored by Jeff Wall (b. 1946) and how the Canadian artist approached and integrated time in his photographs. The main purpose of this article is to understand Jeff Wall’s place in the history of staged photography and to understand how he developed a creative type of visual narration and its relationship to time. This aspect will be seen in relation to the idea of fiction because the imaginary narration is closely linked with the progression of time. Also, this analysis could be particularly relevant in the context of photographical studies because it focuses on an aspect that has quite psychological and aesthetical depth but it is not present in the field of artistic academic research, namely the connection between fiction and photography. It can also be seen trans- and interdisciplinary.

Keywords:

conceptual art, conceptual photography, Jeff Wall, time, fiction, tableau, narrative photography, staged photography, ambiguity, transdisciplinary, interdisciplinary; artă conceptuală, fotografie conceptuală, Jeff Wall, timp, ficţiune, tablou fotografic, fotografie narativă, fotografie regizată, fotografie construită, ambiguitate, transdisciplinaritate, interdisciplinaritate.

Article Index

Buradzhiev, K. (2022). Bulgarian musical folklore in the creativity of the composer Ivan Spasov. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 4, 75-81. Ostrava: Tuculart Edition. (in Bulgarian)

DOI: 10.47451/art2022-02-01 -------- Author's Certificate

Abstract:

The national folklore wealth of Bulgaria is great. Today, the Institute of Musicology at the Bulgarian Academy of Sciences stores more than 260,000 Bulgarian folk songs, about 30,000 folk melodies, over 4,000 dance instrumental melodies, about 6,000 filmed folk dances and customs accompanied by music, the Bulgarian National Radio has recordings with Bulgarian folk music, of which 3,000 titles are authentic, unprocessed music, etc. An analysis of the works of Bulgarian composers clearly outlines their different approach in their work with Bulgarian musical folklore. Their activity, in its entirety, has significantly contributed to the development of processing and original music based on folklore. Each of the examined composers outlines his own path in the development of the genre, giving a new direction to the young composers. The study object is folklore in songwriting by the composer Ivan Spasov. The study purpose is to research some of the folklore-based songs and their significance for the development of choral art in Bulgaria. The main methods used in the study are comparative analysis and synthesis. Approach them in a theoretical-cognitive, analytical aspect, the basis of the price of synthesis between poetry and music.

Keywords:

composers, musical folklore, compositional technique, songs for choir, композитори, музикален фолклор, козпозиционна техника, песни за хор.

Article Index

Popa, I. A. (2021). Graffiti: Public art movement. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 3, 120-135. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2021-10-006 -------- Author's Certificate

Abstract:

Art has its own distinct way of being and should not be confused with manifestations of imagination, such as propaganda or controversy. Graffiti is generally considered to be a social, cultural, political as well as a textual practice. It is a unique platform, where the speakers are unconstrained to express their ideologies, personal or social problems. Also, graffiti has been and will always be a form of political protest, of propaganda, because it is about claiming the street, doing what you want, not obeying the social rules and not following the directions issued by the art market. Freedom of expression in art means the absence of any additional rules. To aim the study purpose, the author used theoretical and empirical methods such as comparative, descriptive, content analysis and inductive. In the study course, the author used the materials of the works of modern experts in the field of art and graffiti such as J. Anthony, Julius, U. Eco, N. Ganz, E.H. Gombrich, E. Levinas, R. Palmer, A. Rorimer, Y. Yerznkyan, G. Gasparyan, and G.C. Stovers.

Keywords:

graffiti, mural, painting, artist, colours.

Article Index

Saad, S. Kh. (2021). The Human Voice as a Genius Instrument to be trained. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 3, 7-44. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2021-10-005 -------- Author's Certificate

Abstract:

The professionalism of the Voice is the ability to control the human voice in order to activate and use it with all its expressive and influential capabilities. Voice control means learning it through analysis and theoretical and scientific analysis, and then installing it with the desired or proposed template from the student and analyst to give him the best cases in expression. This means submission to the state of training and practice of human voice with all its various data and points of performance, and, thus, the establishment of a methodology and schedule suitable for a professional purpose, scientifically applied (Scientifique – pratique) or inborn (Naturel – experimental). The former shortens the time devoted to professionalism, while the latter takes longer to increase productivity and remains free from the analysis and science that the former includes. Academic experience today has confirmed that each scientific phenomenon creates its own science and knowledge and becomes open for teaching at the university and specializes in its work and professionalism. And when knowledge precedes what is known about it, it reduces time and reduces the difficulties of confrontation. Therefore, the professionalism of its first type (scientific and applied) became the prerogative of science, its institutes and universities, without discarding the second type (innate – experienced). The two together is the best goal, and if we prefer between them, then our choice is based on the first according to scientific preference.

Keywords:

voice, human voice, practice, speech, voice expression, academic voice, natural voice, diction, phonetic, oratory, singing.

Article Index

Zaitseva, V., & Buihasheva, A. (2021). Ukrainian book design: ways of formation and development. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 3, 108-119. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2021-10-004 -------- EOI: 10.11249/art2021-10-004 -------- Author's Certificate -------- Author's Certificate

Abstract:

In the Ukrainian graphic art development of the 20th century as a whole and specific art events and artistic works, a constant interaction of international and national, general and specific, modern and traditional is traced. The development of the new graphic art was especially influenced by the revaluation of the aesthetic qualities of national art. The research purpose is to study the development of the directions of Ukrainian book art, the formation of new creative features in the European cultural space. The research methodology consists of the general scientific methods application (analysis and synthesis, induction and deduction) and methods of art history (comparative, typological, descriptive). The scientific novelty lies in the study of book design, which has always been significant in Ukrainian art. Today, we have many fine works in the genre of book illustrations. These works reflected both the history of Ukrainian literature, the history of the national graphic art, as well as the history of cultural progress of Ukraine in general. Thus, book design is an extremely fruitful object of study, an intersection points in which the complicated process of the interaction of social, political, spiritual, cultural and artistic and aesthetic factors is underway. The Ukrainian graphic art of those days reflected different all-European trends, e.g., modernism, symbolism, neo-primitivism, futurism, cubism, expressionism, constructivism, realism, surrealism, Art Deco, neoclassicism. The originality of the artistic language emerged through the use of traditional motifs and vanguard image creation tools.

Keywords:

research, culture, illustration, images, book, art, national traditions.

Article Index

Staneva, T. (2021). Fundamentals of dance training in the system of secondary education in Varna. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 3, 150-165. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ. (in Bulgarian)

DOI: 10.47451/art2021-10-003 -------- Author's Certificate

Abstract:

This article examines the foundation as well as the current conditions of dance education in the system of secondary education in Varna. The city is an international cultural center and is the first non- principal city to implement vocational ballet education. In 1964, the world’s first international ballet competition was held in Varna, which has granted the city a historic place in the thousands of years of cultural history of the world. The main source of information on the highly effective pedagogical practices of Galina and Stefan Yordanovi is an in-depth analysis of data collected from periodical press in the period 1965-1985. Their views on the development of dance training and methodology are covered mostly by local journalists in Varna. The focus of this paper is Stefan Yordanov’s extremely valuable article on vocational ballet education in Varna, published in Narodno Delo. In an attempt to reconstruct the history of art dance education in Varna with the authenticity of the shared ideas, these materials can serve as sources for an essential part of the yet unwritten history. This work is part of an overall study on teaching dance as art in secondary education in Bulgaria.

Keywords:

dance, education, ballet, training, choreography, dance art.

Article Index

Kayryakova, K. (2021). Тhe concert as a form of presenting Bulgarian dance art on the basis of folklore. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 3, 136-149. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ. (in Bulgarian)

DOI: 10.47451/art2021-10-002 -------- Author's Certificate

Abstract:

The challenges facing the performing folk art today are different, but perhaps the biggest among them is the form of its presentacion. Bulgarian folk dance has always enjoyed great interest. Over the years, the audience demand has been constantly growing, which necessitates the need to focus on the quality of its performance in response to the spiritual and cultural needs of the audience. The object of this research is the concert as a form of presenting Bulgarian dance art on the basis of folklore. The purpose of the submitted work is to analyse the specific features of the concert as a form of presenting Bulgarian dance art on the basis of folklore; to highlight the leading role of the director in the whole course; from the ideological conception to the realisation of the art programme. This purpose also includes the tasks related to its realisation, to be precise, the interpretation of a concert and performance as a subject of the director’s strategy; following the process of scenario creating and showing up the special features of the performance, introducing the stage folklore art; the special role of the director regarding the complete art product- from the beginning to the end. The topic leads to a wide analysis, which is not possible to be presented in one report. That is why, the expression of the whole idea is limitted and analysing only the concerts, the contents of the music and dance on the basis of the Bulgarian folklore.

Keywords:

folklore, dance art, concert, performance, director.

Article Index

Buradzhiev, K. (2021). Rumen Sirakov – the master of the “poor piano”. The performing technique of Rumen Sirakov. Culture and Arts in the Context of World Cultural Heritage. Klironomy, 3, 91-107. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2021-10-001 -------- Author's Certificate

Abstract:

The problems related to the cultural heritage, in particular to the Bulgarian musical folklore, excite a large part of the scientists in Bulgaria. The performing art of the masters of folk instruments has been the subject of constant interest and research since the beginning of the XX century in Bulgaria. In this case the unique performing art of one of the best tambourine performers in Bulgaria is presented. Rumen Sirakov is an emblem of the most perfect playing of the Bulgarian tambourine. He is defined as the ancestor of the national performing style of playing. His instrumental legacy is enormous. His compositions are a clear proof of his exceptional talent. Created on the basis of a number of folk songs, enriched with his improvisations, they become classic tambourine pieces. Rumen Sirakov's performing art is highly valued not only in Bulgaria, but also far beyond its borders. His connoisseurs are the world-famous manager Joe Boyd, George Harrison, Eric Clapton, Kate Bush.

Keywords:

Bulgarian folklore, cultural heritage, musical performance, pedagogic practice.

Article Index

Voloshina, L. A. (2021). Sense of art (from the experience of perceptions of art). Cultural Heritage in the Context of Social Development. Klironomy, 2, 88-136. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2021-05-002 -------- Author's Certificate

Abstract:

The research is devoted to a specific human ability, which the author calls “the sense of art”. It is presented in detail what components of art (in this case, painting) affect the viewer, falling into the sphere of his sensuality. The sense of art is aimed at developing the spiritual life of a person. The connection of this feeling with creative individuality, with traditional folk culture, is shown. In this research, the author, concludes that this feeling is inherent only in a person, the ability to perceive reality given in artistic images. This is an individual creative process of emotional and intellectual, rational and transcendent cognition of reality through the objects of artistic creativity.

Keywords:

sense of art, individuality, archetype, artistic image, perception, tradition, sensibility, aesthetic cognition.

Article Index

Popa, I. A. (2021). Net art-fine art: progressive versus destructive. Cultural Heritage in the Context of Social Development. Klironomy, 1, 150-162. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2021-05-001 -------- Author's Certificate

Abstract:

The mankind has always been in search of improving its technological discoveries; as a result, culture and tradition were strongly influenced by this progress. Is there art without technique and science? There is. But as far as it is that we can make art without technique, so true is that technique improves art and even help it to develop itself. Technique generalizes, it can deny the irreductible particular cases and forms. The digitalization has made progress and can go beyond the rules that art has already been using. By introducing digital technologies in the field of making art and also selling it, we need a guidance to make it clear what kind of practices are beneficent for those who are parts of the huge mechanism of the artistic world: artists, collectors, curators, art critics, art historians and last but not least for the art loving public.

Keywords:

digital, progressive, fine art, technologies, artists.

Article Index

Darie, B. (2021). The Art of Acting: intercrossing borders between science and art. Cultural Heritage in the Context of Social Development. Klironomy, 1, 138-149. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2021-04-004 -------- Author's Certificate

Abstract:

The article aims to present professor’s Ion Cojar method regarding the methodology of approaching the actor`s art from the point of view of the teaches who form future actors that are well trained, reaching both theoretical and practical dimensions. The purpose of the paper is to outline the fact that the art of acting is not something done by instinct or guided by emotions and spontaneous reactions, but, behind the scenes, lies a well-developed method, tested across many generations of students that combines psychology, aesthetics, critical thinking and acting practices. Blending old and new methods, creating a link between what was tested and what can be used in the future, the techniques used in the process of training the student from The National University of Theatre and Film “I.L. Caragiale” proved to be relevant in creating professionals that can operate in the artistic and scientific fields. In today`s context, there has to be a shift of paradigm in the way people see the art of theatre, that can no longer be treated only from the aesthetic point of view. Acting methods can be used in the educational process and in raising the well-being of future generation by combining them with work models that make appeal to scientific data, offering to the future actor a larger domain to explore and develop.

Keywords:

acting, psychology, self, scientific knowledge, methods, theatre.

Article Index

Sida, C., & Moldovan, S.-S. (2021). Cyclicity in creation: from abstraction to figurative, from figurative to abstract. Cultural Heritage in the Context of Social Development. Klironomy, 1, 127-137. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2021-04-003 -------- Author's Certificate 1 -------- Author's Certificate 2

Abstract:

The paramount focus of this article shall be on painting, mainly that of contemporary artists, but apprehending back to their modern predecessors without which some of the aforementioned contemporary painting figurative/abstract would have been inconceivable. The research of the identification of some directions in painting, both in the creative process and in the educational one, is a difficult objective to achieve. The hierarchy and classification of some tendencies, as plastic formulas, represents a challenge only if we consider that any artist crosses over, during his artistic career, several stages of creation. At the same time, the present research aims to bring to attention one of the most significant examples of relating the topicality of artistic creation, with amplifying and renewing the horizon of artistic higher education. These aspects are always, or should be integrated in the teaching of each artist who teaches in art higher education institutions. The authors’ cases are important because they can reveal different aspects of the creation process that on one hand can start with abstraction and find the figurative in it, and on the other hand it can have its roots in reality, a reality that is reduced in simple abstract forms by the process of abstraction. Both cases have interdisciplinary aspects from psychology, philosophy and are related with other aspects of human activity such as memory, imagination, abstraction.

Keywords:

painting, avantgarde, contemporary painting, ready-made, assemblage, object painting, art theory, dadaism, neo dadaism.

Article Index

Cretiu, A.-E. (2021). Politeness and the Art Criticism Discourse. Cultural Heritage in the Context of Social Development. Klironomy, 1, 163-180. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2021-04-002 -------- Author's Certificate

Abstract:

Art criticism usually manifests itself in such written genre-texts as art reviews. When producing such a text, the critic finds himself/herself in a position of the interface between the general public and the artist, and, consequently, between the general public and the work of art. While, on the one hand, the critic has to remain true to his/her role as a guide to mediating understanding and appreciation of the works of art by the audiences, meanwhile bringing efficient/effective suggestions for the artists, on the other, the critic also needs to be a master of good writing in the use of the most effective discourse strategies. These include the application of the most relevant politeness principles for the sake of perpetuating good communication throughout the art world. The present study aims to discern the mechanisms of utilizing those principles in art criticism, in direct relationship to how works of art are (negatively) evaluated by the critics, who may balance between remaining polite and becoming utterly/straightly impolite, for the sake of truth.

Keywords:

art, art criticism, the pragmatics of politeness, discourse strategies.

Article Index

Soreanu, C. (2021). Artistic strategies in Oliviero Toscani’s advertising. Cultural Heritage in the Context of Social Development. Klironomy, 1, 181-208. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2021-04-001 -------- Author's Certificate

Abstract:

In this article, we will discuss how contemporary advertising becomes the territory where various artistic expressions contribute in a complementary way to the constitution of the meaning of a work. The case study will approach the activity of Oliviero Toscani, and his two decades of collaboration with Benetton materialized in memorable advertising campaigns that rewrote the visual history of contemporary advertising. We will analyze how photographic media provides advertising with one of the most consistent expressive resources, based on the realism of the image, the endless possibilities in managing the visual composition, the premises of reproducibility and, last but not least, the appetite of an audience eager for the technological image. Also, we will try to discuss the creative premises and mechanisms that characterize Toscani’s creation, the reading conditions of his advertising works, as well as how his creative strategies combine the expressiveness of the technological precision of press photography, and the appropriation strategies specific to artistic postmodernity.

Keywords:

advertising, Benetton, media, Oliviero Toscani, photography, postmodern.

Article Index

Buychik, A. & Tomanek, A. (2020). The influence of postmodernism on the evolution of art in the 21st century. 21st century: history and modernity of art. European Scientific e-Journal, 4, 50-63. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2020-12-005 ---------- Certificate ---------- Certificate

Abstract:

In the modern world, a person is surrounded by an endless stream of data, which is often difficult to control. However, whether explicitly or implicitly, this flow has an impact on us: through advertising images, products in stores, the Internet and television. So, this leaves a huge imprint on our worldview and perception of the world not only at the everyday level but also at the level of perception of modern art. The article provides a comparative analysis of the influence of postmodernism ideas and philosophy on the transformation of 21st century art from the point of view of the formation of positive and negative trends in the development of modern art. The authors conclude that postmodernism, combined with changes in global politics aimed at constant information pressure and depersonalization of the individual, so transforms art that its latest forms and trends can destroy the very classical concept of art, which is designed to reflect the individualism and versatility of man. Technological evolution as a result of the philosophy of postmodernism is ready both to develop art at a new level and to destroy its purpose.
V dnešním světě člověka obklopuje nekonečný proud dat, který je často obtížné kontrolovat. Nicméně, explicitně nebo implicitně, tento proud nás ovlivňuje: prostřednictvím reklamních obrázků, zboží v obchodech, internetu a televize. To tedy přináší obrovský otisk našeho pohledu na svět a vnímání světa nejen na domácí úrovni, ale i na úrovni vnímání současného umění. V článku je provedena srovnávací analýza vlivu idejí a filozofie postmodernismu na transformaci umění 21 století z hlediska formování pozitivních a negativních trendů ve vývoji moderního umění. Autoři k závěru, že postmodernismus se v kombinaci se změnami ve světové politice, zaměřeným na trvalé informační tlak a обезличивание osobnosti, tak transformuje umění, že jeho nejnovější formy a trendy, které mohou zničit samotnou klasickou koncepci umění, která si klade za cíl odrážet individualismus a mnohostrannost člověka. Technologický vývoj v důsledku filozofie postmodernismu je připraven jak rozvíjet umění na nové úrovni, tak zničit jeho účel.

Keywords:

postmodernism, art, transformation, evolution, Nietzsche, Groys, Heidegger, Krauss, Benhabib; postmodernismus, umění, transformace, evoluce.

Article's Index

Lebedev, S. V. (2020). The problem of ethnic identity in the modern world: how the “national spirit” manifests itself in folk art. 21st century: history and modernity of art. European Scientific e-Journal, 4, 4-14. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2020-12-004 ---------- Certificate

Abstract:

The article is devoted to the problem of preserving Russian ethnic identity. In the era of globalization, the identity of many countries is experiencing a crisis. A manifestation of national identity is the traditional folk art of an ethnic group. It is in him that what is called the spirit of the people is manifested. In modern conditions in Russia, it is not only necessary to preserve the Russian culture, but also to raise it to a new height. To achieve this, it is necessary to change the curricula of schools and universities, which can help the experience of teaching a course on historical ethnology of Russia to the students of the Higher School of Folk Arts. The author concludes that Historical Ethnology of Russia in combination with the disciplines of History and Philosophy allows preparing a highly qualified art critic, who is ready and able to solve the tasks that his professional activity sets him.
Статья посвящена проблеме сохранения русской этнической идентичности. В эпоху глобализации идентичность многих стран переживает кризис. Проявлением национальной идентичности является опирающееся на традиции народное искусство этноса. Именно в нем проявляется то, что называется духом народа. В современных условиях в России не только необходимо сохранить русскую культуру, но и поднять на новую высоту. Что бы этого добиться, необходимы изменения учебных программ школ и вузов, в чём может помочь опыт преподавания курса, посвященного исторической этнологии России, студентам ВШНИ. Автор приходит к выводу, что историческая этнология России в сочетании с дисциплинами истории и философии позволяет подготовить высококвалифицированного искусствоведа, готового и способного решать задачи, которые ставит перед ним его профессиональная деятельность.

Keywords:

identity, globalization, ethnos, folk art; идентичность, глобализация, этнос, народное искусство.

Article's Index

Voloshina, L. A. (2020). Sense of art (the experience of perceiving a work of art). 21st century: history and modernity of art. European Scientific e-Journal, 4, 15-49. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ. (In Russian)

DOI: 10.47451/art2020-12-003 ---------- Certificate

Abstract:

The article is devoted to a special human ability, which is called by the author “the sense of art”. This feeling is presented as the ability to perceive art, as a way of aesthetic cognition. It shows how art (in this case – painting) affects the viewer, his feelings. The connection of the sense of art with the individuality of the person, with the traditional folk culture is shown. The author concludes that the perception of art is a spiritual activity of a person. Perceiving its pictorial forms, we include all our senses, but this is only the first stage of aesthetic cognition. The sense of art is deeply individual. The more developed the individuality, the deeper it is. That's when mutual enrichment takes place. Art becomes for a person not only a form of emotional enjoyment, but also a form of cognition. Everyone has their own unique knowledge of reality. There is also some disunity, alienation of a person, but art can eliminate this disunity.
Статья посвящена особой способности человека, которая названа автором «чувством искусства». Данное чувство представлено как способность восприятия произведений искусства, как способ познания действительности эстетическим путём. Подробно представлено, какие составляющие искусства (в данном случае – живописи) воздействуют на зрителя, попадая в сферу его чувственности. Показана связь чувства искусства с индивидуальностью человека, с традиционной народной культурой. Автор делает вывод, что восприятие искусства – это духовная деятельность человека. Воспринимая изобразительные его виды, мы включаем все наши чувства, но это, только первый этап эстетического познания. Чувство искусства глубоко индивидуально. Чем более развита индивидуальность, тем оно глубже. Вот тогда и происходит взаимообогащение. Искусство становится для человека не только формой эмоционального наслаждения, но и формой познания. Каждый имеет своё уникальное познание реальности. В этом кроется и некоторая разобщенность, отчужденность человека, но искусство может устранять эту разобщенность.

Keywords:

sense of art, individuality, artistic image, perception, tradition, sensibility, aesthetic cognition; чувство искусства, индивидуальность, художественный образ, восприятие, традиция, чувственность, эстетическое познание

Article's Index

Naydenova, M. (2020). Glass art objects – between fine and applied art. 21st century: history and modernity of art. European Scientific e-Journal, 4, 91-98. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2020-12-002 ---------- Certificate

Abstract:

The article describes the interrelationships that emerged between art, crafts, technology and design, in the period from the second half of the 19th century to the present day. Attention is paid to the classification of a work and the delineation of the category ‘Object’. The object of this research is contemporary art in the context of its classification as fine and applied in the period from the second half of the 19th century to the present day. Our attention will be focused on the glass material as a means of expression. The task of the research is to trace the metamorphoses that fine and applied art goes through and to what extent this is determined by the context in which the work lives.
Статията описва взаимовръзките, възникнали между изкуството, занаятите, технологиите и дизайна, през периода от втората половина на 19 век до наши дни. Обръща се внимание на класификацията на произведение и очертаването на категорията „Обект“. Обект на това изследване е съвременното изкуство в контекста на класифицирането му като изящно и приложено в периода от втората половина на 19 век до наши дни. Вниманието ни ще бъде насочено към стъкления материал като изразно средство. Задачата на изследването е да проследи метаморфозите, през които преминава изобразителното и приложното изкуство и до каква степен това се определя от контекста, в който произведението живее.

Keywords:

Fine art, applied art, art objects, glass art, contemporary art, изящно изкуство, приложно изкуство, художествени обекти, художествено стъкло, съвременно изкуство.

Article's Index

Adina, J. (2020). Contemporary ceramics art and its transgressive side. 21st century: history and modernity of art. European Scientific e-Journal, 4, 77-83. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2020-12-001 ---------- Certificate

Abstract:

This paper’s author proposes a discussion on the ranking of ceramics as art, a few aspects in regards to Ceramic Art’s inclusion in Contemporary Art context. The researcher is calling into question the shallow division between Decorative and Major Arts, a century after the distinction disappeared. Respectively, the art object made with ceramic material, in the general context of Contemporary Art and a few ways of manifestations of this art that leads toward permanent transgressive dimensions of artistic ceramic. The author concludes that Ceramic Art’s Transgressive character emerges out of its operative mobility, moving from organic to geometric or from ornamental to sculptural, its late 1960s evolution being decisively situated towards an expressive original with technicalities and unprecedented formal mixtures.
Acest articol îşi propune o discuție despre statutul ceramicii ca manifestare artistică, câteva aspecte ce privesc incluziunea artei ceramice în contextul artei contemporane. Vom pune sub semnul întrebării modul superficial de a separa încă artele – Arte Decorative şi Arte Majore, după un secol de la renunțarea acestor granițe. Respectiv, obiectul de artă realizat în material ceramic într-un context general al artei contemporane şi câteva moduri de manifestare ale acesteia ce conduc într-o permanentă dimensiune transgresivă ale artei ceramice. Autorul concluzionează că caracterul transgresiv al ceramicii se desprinde din mobilitatea operativă a acesteia, trecând de la organic la geometric sau de la ornamental la sculptural, evoluția sa de la sfârșitul anilor 1960 fiind poziționată decisiv spre un original expresiv, cu tehnicalități și amestecuri formale inedite.

Keywords:

Ceramics, art, transgression, contemporary, major, decorative, ceramică, artă, transgresiv, contemporan, majoră, decorativă.

Article's Index

Popa, I. A. (2020). Similarities in iconographic art between rural churches from Transylvania in the 17th century and Caesarea of Cappadocia. 21st century: history and modernity of art. European Scientific e-Journal, 4, 116-130. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2020-11-005 ---------- Certificate

Abstract:

The idea of the speech, goes round the importance of byzantine art inside Transylvanian orthodox culture, in the 17th century. The Göreme monastic Complex of Caesarea of Cappadocia has a considerable list of churches with relevant importance in Byzantine iconography. The popular character of this type of art developed on the walls of these architectural jewels manifests itself in the left-handed, but expressive and with such great spontaneity drawing: also with predilection for narration that lends many elements from the illustration of the Apocryphes, which were born from people’s inclination to very detailed stories. This byzantine style we have had for centuries and which is tight to our Christian roots, was cultivated in Wallachia and Moldova and Transylvania in the 14th and 15th centuries and the post-byzantine style in Wallachia in the 15th and 16th centuries. There are similarities between churches raised in the 17th century in Transylvania and the ones from Caesarea of Cappadocia. We refer mainly to the iconographic painting of the Hunedorian churches.
Lucrarea face referire la importanţa artei bizantine în cultura ortodoxă a secolului XVII în Transilvania. Complexul monahal de la Goreme deţine o listă considerabilă de biserici de o mare relevanţă pentru iconografia bizantină. Stilul popular, naiv dar deosebit de expresiv, spontaneitatea liniei şi aplecarea spre narațiune, s au născut din dorința oamenilor de a spune povestea cât mai în detaliu. Stilul bizantin e strâns legat de rădăcinile noastre creştine şi a apărut în Ţara Românească şi Moldova în secolele 14 şi 15 iar stilul post-bizantin în Țara Românească în sec 15 si 16. Sunt similitudini între bisericile de sec 17 în Transilvania şi cele din Caesarea Cappadociei. Ne referim în principal la pictura din bisericile hunedorene.

Keywords:

line, colour, church, byzantine, Transylvania, linie culoare biserica, bizantin.

Article's Index

Boldasu, R. (2020). Theatre Semiotics in the 21st century. 21st century: history and modernity of art. European Scientific e-Journal, 4, 63-74. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2020-11-004 ---------- Certificate

Abstract:

The role of the actor has been in continuous change across time. Therefore, the teaching paradigm needs to be transformed in order to meet the 21st century needs and interests. Theatre is not only an aesthetic tool in contemporary society but also an instrument in transmitting social, political and cultural information. The body of the actor contains within itself a system of verbal and non-verbal communication mechanisms that one must master in order to create dialogue across the globe. The author concludes that in the contemporary world, countless systems of communication are integrated which are subject to interpretation. Spoken language can be interpreted differently by people from different cultural contexts; that is why, through the training proposed in the present research, the actor can communicate and interact freely, without fear of being misunderstood through body language.
Rolul actorului s-a schimbat de-a lungul timpului. Astfel paradigma de predare trebuie de asemenea să se transforme pentru a întâlni nevoile și interesele propuse de secolul al XXI-lea. În societatea contemporană, teatrul nu este doar un instrument estetic ci un vector în transmiterea mesajelor sociale, politice și culturale. În corpul actorului sunt conținute mecanisme de comunicare atât verbale cât și nonverbale pe care acesta trebuie să le stăpânească cu măiestrie pentru a crea un dialog global. Autorul ajunge la concluzia că în lumea modernă există nenumărate sisteme integrate de comunicații care sunt supuse interpretării. Limbajul vorbit poate fi interpretat în moduri diferite de către oameni din contexte culturale diferite; Acesta este motivul pentru care, datorită învățăturii oferite în acest studiu, actorul poate comunica și interacționa liber fără teama de a nu fi înțeles greșit de limbajul corpului.

Keywords:

theatre, art, acting communication, embodiment, physical, training, gesture, language, system, culture, expressivity, human dynamics, teatru, artă, actorie, comunicare, corporalizare, fizic, antrenament, gest, limbaj, sistem, cultură, expresivitate, dinamica umană.

Article's Index

Prvanova, A. I. (2020). The Creative Center of Kalofer Lace: motivation and development. 21st century: history and modernity of art. European Scientific e-Journal, 4, 75-90. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ. (In Bulgarian)

DOI: 10.47451/art2020-11-003 ---------- Certificate

Abstract:

Creative Center of Kalofer Lace presents and promotes the only Bulgarian national style in the production of shuttle lace. It is a unique place that performs its functions daily and year-round, combining archival, exhibition, organizational, coordination, educational and commercial activities since its opening in 2018. The center contributes to the increased awareness of the connection of Kalofer lace with European shuttle art, historical accents and specific details that characterize its authenticity. The author concludes that cyberspace and online technology are the natural and mandatory path to the general public. Therefore, one of the goals of the project is to create a platform based on the Internet and including an information site, a digital archive of models, basic video tutorials, an online store, a virtual walk in the TCCD.

Keywords:

creative center, Kalofer lace, Kalofer, shuttle lace.

Article's Index

Luneva, I. (2020). Creating a museum space for the preservation of contemporary art of fashion on the example of Italy. 21st century: history and modernity of art. European Scientific e-Journal, 4, 75-90. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI: 10.47451/art2020-11-002 ---------- Certificate

Abstract:

This article is dedicated to fashionable exhibitions and museum-type corporate art institutions, which are one of the characteristic features of the museum system and one of the most successful development strategies. These can be items of decorative and applied art that reject the usual commercial space and want to occupy a place not just in a museum, but definitely exhibit next to artworks. To understand this problem and the stages of the process of establishing and developing a fashion museum, you need to analyze the experience of the world’s leading museums located in the main fashion centres. The purpose of the study was to analyze the status of the Italian Fashion Institute as one of the world’s largest fashion centres. The author concludes that every year there is an increasing interest in studying the history of costume, and there are prerequisites for creating exhibitions and museums dedicated not only to the history of costume but also to modern fashion in general. The example of Italy’s experience, which many people associate with one of the world’s fashion centres, was considered in order to reflect on modern exhibition activities.

Keywords:

fashion museum, contemporary Italian fashion, museology, costume, foreign experience, modern art, fashion archives, cultural heritage, ICOM.

Article's Index

Pisancheva, B. (2020). Models in Lace. Eurasia: current issues of cultural heritage. European Scientific e-Journal, 3, 87-106. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI:10.47451/art2020-11-001 ---------- Certificate

Abstract:

In the past, lacemaking was a craft practiced by thousands of lacemakers who produced material for decorating the clothes and homes of wealthy aristocrats. Nowadays, the making of lace is defined as an applied art. The article interprets the making bobbin lace through the Theory of Models. Selected details from the technological process of creating the different types and styles of the final products illustrate the idea of following a model while transferring meaning from one field of art into another. The author concludes that the representation of lacemaking as a model of technological processes, of lace items, and a community of people who practice this handcraft, could contribute to the preservation of this part of the immaterial cultural heritage of humanity.

Keywords:

cultural technologies, model theory, social practices, bobbin lace, safeguarding tradition, fashion, contemporary interpretations.

Article's Index

Zhang Biyun. (2020). Chinese Culture in Traditional Clothing-By Taking Cheongsam for Example. Eurasia: current issues of cultural heritage. European Scientific e-Journal, 3, 37-50. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI:10.47451/art2020-10-001> ---------- Certificate

Abstract:

Every country has its own unique culture. For China, a country with a long history and a separate cultural system, the traditional clothing can best reflect its cultural characteristics of different periods. For example, cheongsam, as a product of the most turbulent period in Chinese history, has established its unshakable status with its unique beauty, and has become a symbol of unique oriental charm. In this paper, we will interpret the unique Chinese cultural deposits contained in the development history of cheongsam. The author concludes that the classic cheongsam style can show the female beauty moderately, without showing the chest, waist, hip and legs exaggeratedly, and give expression to the introverted, self-confident and simple temperament of Orientals in a simple and natural style. Compared with the protruding chest and back of western dresses, the magical charm of cheongsam lies in the display of the waist and hip curves, so people with a longer waist look more attractive when wearing cheongsam, which just conceals the shortcomings of the lower hip line of eastern women.

Keywords:

cheongsam, style, traditional culture.

Article's Index

Zhang Biyun. (2020). Art on Chinese Xuan Paper. Current Issues of Cultural Heritage in 2020. European Scientific e-Journal, 1, 67-91. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI:10.47451/art2020-09-001 ---------- Certificate

Abstract:

The formal beauty of Chinese paintings mainly lies in the peculiar material, the special brush and ink effect, the unique painting pattern, the poetry, calligraphy, painting and seal cutting, the mounting style, the composition and the technique and style of the painter. The author reveals the features of ink effect, the unique painting pattern, the poetry, calligraphy, painting and seal cutting, the mounting style, the composition and the technique and style of the painter of beauty of Chinese paintings through making contact with Chinese Xuan paper and ink because Chinese ink painting, boasting a history of more than a thousand years, represents the wisdom and talents of Chinese people. The author concludes that Chinese painting culture has a long history and boasts extensive and profound features. While it faces various problems in inheritance and dissemination in the new era.

Keywords:

Chinese paintings, Chinese Xuan paper, Chinese Xuan ink, calligraphy, seal cutting, Chinese ink painting.

Article's Index

Lebedev, S. V. (2020). Opportunities for the development of Russian folk art in the 21st century. Current Issues of Cultural Heritage in 2020. European Scientific e-Journal, 1, 5-23. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI:10.47451/art2020-08-003 ---------- Certificate

Abstract:

Folk art, including Russian folk art, existed and developed throughout the 20th century and continues to exist in the 21st century. Russian traditional art is well-known in the world. When in any country of the world, a local resident is asked what the word ‘Russia’ is associated with, then usually in response along with frosts, bears, vodka, Troika, samovar, balalaika and the Kalashnikov, it is also called such concepts as ‘Palekh’, ‘Gzhel’, and ‘Khokhloma’. The reason for this is the peculiarity of the existence of folk art, based on the traditions of the ethnic group. The author concludes that Russian traditional applied art having survived all the troubles and misfortunes, continues to exist. At the same time, traditional art directly affects the ‘high’ art of the nation.

Keywords:

folk art, tradition, folk, traditional art, handicrafts, art industry, Higher School of Folk Arts.

Article's Index

Luneva, I. (2020). Problems of style in modern fashion art on the example of Ianis Chamalidy’s creativity. Current Issues of Cultural Heritage in 2020. European Scientific e-Journal, 1, 47-66. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI:10.47451/art2020-08-002 ---------- Certificate

Abstract:

The article is devoted to the problems of modern Russian fashion on the example of the creative work of St Petersburg designer Ianis Chamalidi. Who is now a prominent participant in the modern art process in the field of fashion? Many magazine articles have been written about the work of this famous St Petersburg designer. Ianis Chamalidi is actively involved in creative projects. He cooperates with the State Hermitage Museum, where many of his works are kept in the collection. The author concludes that St Petersburg designers are in a situation where they have to compete not only with representatives of the world fashion, but also with the fashion of the capital city. Nevertheless, graduates of the Leningrad – St Petersburg School of costume design often remain loyal to their city, forming a unique style of St Petersburg fashion. In this sense, the example of Ianis Chamalidi’s work is a perfect illustration of how the transition period of the 1990s saw the emergence of modern Russian fashion under the new economic situation.

Keywords:

Russian fashion, fashion designers, Petersburg designers, fashion theory, Ianis Chamalidi, fashion house, collection, style, creativity, modern fashion.

Article's Index

Nachev, D. A. (2020) Multi-faceted creativity of artists of one city. Current Issues of Cultural Heritage in 2020. European Scientific e-Journal, 1, 24-46. Hlučín-Bobrovníky: “Anisiia Tomanek” OSVČ.

DOI:10.47451/art2020-08-001 ---------- Certificate

Abstract:

The study of the topic provides an opportunity to get acquainted with another important phenomenon in Russian art, which received the concept of severe style and developed in the 1960s. The research considers the evolution and development of the genres of still life and landscape, their interpenetration in the works of artists. It also considers the diversity of creativity, different artists united by one city. Special attention is paid to the work of Leningrad artists. The artists of the Leningrad school of painting, characterized by certainty professional and moral criteria and as a result, caution against innovations. The study analyzes the creativity of such artists as A. Yakovlev, Y. Krestovsky, E. Moiseenko, O. Khorosheva, A. Lytkin, and others.

Keywords:

art, painting, painter, still life, landscape, artists of the Leningrad school of painting, A. Yakovlev, Y. Krestovsky, E. Moiseenko, O. Khorosheva, A. Lytkin.

Article's Index