Search

The first millennium BCE was pivotal for the environment and for human societies in Central and Eastern Eurasia because transformations accelerated and altered natural and cultural landscapes to hitherto unknown dimensions. Among the major driving forces was the increasing use of horse riding, which extended range of movement significantly and led to the development of cavalry units as a part of large armies. Empires with enormous outreach and gravitational pull formed and disintegrated in close dependence. The wide spread of military technologies demonstrates their bonds, though mostly in the form of metal objects due to the inherent survivability of their materials. Equipment and protective clothing of organic material, albeit produced in large numbers and thus an economic and environmental factor, are rarely preserved. In Yanghai cemetery site, Turfan, the remains of one leather scale armour were discovered. In this study, the results of the AMS radiocarbon dating as well as the construction details of the Yanghai find are presented and compared with a contemporary armour of unknown origin in the Metropolitan Museum of Art New York (MET) and with finds and depictions from the Near East, the adjacent northern steppe areas and the territory of China. The armour, datable to 786–543 cal BCE (95% probability), was originally made of about 5444 smaller scales and 140 larger scales, which, together with leather laces and lining, had a total weight of ca. 4–5 kg. Our reconstruction demonstrates that it can be donned quickly and without the help of another person by wrapping the left part around the back, tying it to the right part under the right arm and fastening with thongs crosswise over the back to laces at the opposite hip parts. Fitting different statures, it is a light and highly efficient defensive garment. In age, construction details and aesthetic appearance it resembles the MET armour. The stylistic similarities but constructional differences suggest that the two armours were intended as outfits for distinct units of the same army, i.e. light cavalry and heavy infantry, respectively. As such a high level of standardization of military equipment during the 7th century BCE is only known for the Neo-Assyrian military forces, we suggest that the place of manufacture of both armours was the Neo-Assyrian Empire. If this supposition is correct, then the Yanghai armour is one of the rare actual proofs of West-East technology transfer across the Eurasian continent during the first half of the first millennium BCE, when social and economic transformation accelerated.

La costa oriental de Quintana Roo conforma una región que ha sido definida por un estilo arquitectónico y escultórico peculiar el cual prosperó durante el periodo Posclásico las construcciones presentan variantes como son: mampostería con bóvedas o techos planos de morillos son construcciones sencillas de una cámara o varias desplantando de basamentos, plataformas o de zócalos bajos. La decoración se reduce al uso de molduras en la parte superior de las fachadas, así como nichos sencillos o decorados en el friso. Todo lo anterior provoca que la arquitectura en la región sea muy homogénea y en ocasiones monótona. Es evidente la existencia de influencias estilísticas y rasgos de diversa procedencia, varios elementos son considerados como de carácter mexicano, rasgos tales como: vestíbulos columnados, columnas con figuras esculpidas, columnas serpentiformes, basamentos en talud de los templos, estructuras circulares, la verticalidad de los remates de las alfardas. Se puede apreciar la utilización de otros elementos estilísticos como el desplome intencional y la curvatura de los paramentos, las cubiertas adinteladas, la utilización de molduras decorativas y el uso del dintel rehundido que, junto con los rasgos mencionado antes, en una asociación lograda, conducen a un estilo peculiar y definido.

Due to the publication of the novel by Umberto Eco The name of the rose, the historical novel changed in style and narrative and these changes made possible for the genre to have a better reception among the readers. The resulting success produced an increase in the production of the historical novel and a change in the readers as it was aimed to a more general public. The article analyses the keys of this success and the influence this novel had on other genre works published in Spain in the last decades.

Review of: The Cinema of Paolo Sorrentino: Commitment to Style, Russell J. A. Kilbourn (2020)New York: Columbia University Press, 231 pp.,ISBN 978-0-23118-993-4, p/bk, $30.00

Russia was proud of Russkoye Bogatstvo (Russian Wealth) magazine for a long while. It was among the most reputable and influential periodicals in the country. Not only had many Russians known of the magazine, but they were also its dedicated readers. On the one hand, the interest in Russkoye Bogatstvo could have been justified by the excellent selection of its authors among the best Russian writers and scientists. On the other hand, its publishers were Russias most famous critics, publicists, and outstanding literary figures recognized in the cultural and scientific circles. The magazine publications stood out due to their excellent style and availability for people of various social levels: both educated readers and those without profound knowledge of literature, science, and arts. The readers pool included older and experienced people and very young students. Later, the name of the magazine became a symbol of the great intellectual wealth of Russia.

The issues of rhythm and metre in prose of 1960-1970s reflect the experiments of young writers not only within the form. The search for new genres and ways of expressing new content are diverse. The article deals with literary works by Boris Leonidovich Rachmanin, the author of poetry collections, stories, screenwriter, who boldly created a new internal form of his works using both possibilities of meter and rhythm in his prose, which was different from the works of his predecessors in the Silver Age or those who worked in the Russian diaspora. The analysis of works A Letter, The Action Takes Place on the Other Planet and others shows the functional potential of special rhythm and melody of prose in the individual style of the writer and also outlines semasiological approaches in the analysis of a literary work in general. Comparison of literary works by B. Rachmanin with the works by A. Bely or I.A. Bunin as his predecessors and Yustinas Martsinkevichus as his contemporary author gives an idea of the tradition Rachmanin inherited and the cultural style of the epoch in which the writer worked.

James Joyce’s Ulysses has had a profound impact on the Argentine literary imagination, renewing and redefining style, language, and narrative technique, as part of an expansive legacy that kicked off with Borges’s early reception of Ulysses and fragmentary translation of ‘Penelope’ in 1925 and gained increasing momentum throughout the twentieth century, peaking with the stylistic fireworks ignited by Cortázar’s experimental novel Rayuela (Hopscotch) in 1963. Yet this impact, I suggest, raises not only stylistic but also ideological questions, as well as problematic issues of canonicity and literary genealogies. In this essay, I engage with one of the most significant works of the Argentine Joycean tradition: Juan Filloy’s modernist masterpiece Caterva (1937), a work which I define here as a ‘Ulyssean’ novel. In what follows, I insert Caterva within the long arc of Argentina’s Joycean novelistic tradition in a reading that destabilises previous critical narratives from which it had been erased, while mapping out new transnational affiliations with Joyce. My claim is that Joyce’s and Filloy’s modernist novels intersect stylistically and ideologically through their use of rhetorical devices emulating the movement of trains and trams as quintessential symbols of modernity, but in a manner that foregrounds British imperialism as the engine powering infrastructure projects in Ireland and Argentina respectively within the intricate global networks of Empire.

The aim of this paper is to analyze and elucidate Nietzsche’s early definition of culture in Untimely Meditations. In Nietzsche’s early work the concept of culture refers to a shared world, and his idea of culture is concerned with the question of how the shared world is formed. I argue that in his early ideas in relation to this question, Nietzsche believes language and art are significant as the basis for a shared world, and this is reflected in his definition of culture as ‘unity of artistic style in all the expressions of the life of a people’. It is my argument that language is the common basis for a shared world of a people, and art is what shapes the shared world, giving it form or style, and making it richer. Resumo: O objetivo deste trabalho é analisar e elucidar a definição inicial de Nietzsche sobre cultura, em Considerações Extemporâneas. Nos trabalhos iniciais de Nietzsche, o conceito de cultura se refere a um mundo compartilhado e a sua ideia de cultura é relacionada com a questão de como o mundo compartilhado é formado. Argumenta-se que, em suas ideias iniciais em relação a essa questão, Nietzsche acredita que a linguagem e a arte são significativas como a base para um mundo compartilhado, e isso está refletido na sua definição de cultura como unidade de estilo artístico, em todas as expressões da vida de um povo. Este é o argumento expresso no artigo, de que a linguagem é a base comum para um mundo compartilhado de um povo, e a arte é o que molda o mundo compartilhado, dando-lhe forma ou estilo e tornando-o mais rico.

This article analyzes the views of representatives of the scientific community on ancient Chinese landscape painting, emphasis is mainly placed on views that concern the spiritual qualities of landscape painting, as well as rethinking concepts that ignore the significance of sensual perception. Landscape painting is usually considered as a spiritual work of Taoism: landscape painting developed from Taoist thought, Taoist philosophy determined the identity of the artistic style and the inherent spirit of landscape painting. Moreover, some researchers even believe that bodily contemplation of landscape painting means setting the very original nature of mountains and waters, and the "knowledge of the truth" is a spiritual process that is more blocked by the human capacity for sensual perception. Some of the scientists completely deny the possibility and truth of sensual perception of physical objects in landscape painting. The author of this article believes that the spiritual component of landscape painting lurks precisely in the value of sensual perception, and bodily contemplation of mountains and waters is impossible without the participation of the body, clear confirmation of which we find in the ancient Chinese theory of arts. Ancient Chinese works of art traditionally had a close connection with sensual perception through bodily contemplation. This process is not simply about capturing object information, but when the subject takes an active part in the vision of the object, when the subject gives feedback to the object, and through acquiring the object its meaning is transmitted. Only through bodily contemplation, the individual can fully feel the artistic value of landscape painting, and Taoist philosophy thus gains a real existence in landscape painting, becoming a kind of emotional thinking.

This ‘farewell editorial’ looks back at a ten-year period of serving as founding editor-in-chief of EIST. It shares some personal experiences as well as thoughts about content and style.

Through his life as a pupil in his early years and the transformation into a Fauve (wild beast), Henri Matisse learnt that he must forgo the traditional techniques of the masters and understand art in his own way. He first replaced the color scheme in his paintings with purer colors and clearer outlines of color ranges; in his later life, he devoted himself to two-dimensional coloring and finally to two-dimensional paper cut-outs. Therewith, a unique style brought forth by Henri Matisse took shape, ushering the diversification of the drawing medium. Since then, paintings are no more confined to rigid classicism, which only explores the relationship between colors in sketch-based three-dimensional spaces, but a reflection of the painters’ scrutiny of the nature of painting.

The collection of the National Museum in Krakow includes over ninety walking sticks from different parts of Europe, Asia and Africa, dated from the 18th century to the second half of the 20th century. Most are kept in the Department of Decorative Arts, Material Culture and Militaria, in the collection of which artefacts manufactured in Spain constitute a relatively small percent. Therefore, from this group it is worth presenting two walking sticks, previously unpublished, connected with the culture and art of the Iberian peninsula. The staffs described in this article represent two categories. The first of them is an elegant clothing accessory carried by a man who took care of his appearance. A note in the documentation of the donation indicates the cane had once belonged to Lucjan Siemieński (1807–1877), a Polish poet. Although its handle was made in Eibar or Toledo, as a whole the cane might have been made and used outside Spanish borders. Regardless of the how and where the cane was bought by Siemieński, it seems it can be dated to the third quarter of the 19th century. The second of the staffs, linked more with the local folklore, provides information about the place where it was made. The inscription visible on the bottom ferrule suggests the staff was made in 1881 in Saint-Jean de-Luz, a town on the Atlantic coast in the Nouvelle-Aquitaine region, France, several kilometres from the border with Spain, a part of the Basque province of Labourd (Lapurdi). Both the construction and decoration signify that is a makila (makhila), a cane characteristic of the Basque men’s costume.

Clark Edward Cunningham (1934-2020), professor emeritus at the University of Illinois (USA), pioneered the subfields of medical anthropology and biomedicine in Southeast Asia during the 1960s and 1970s. Cunningham’s contributions to the anthropology of Thailand and Indonesia on health, social structure, symbolism, and houses, emerged from decades of fieldwork. His exemplary teaching and research influences endure. Beyond biographical details and personal reflections by two former students (Lorraine V. Aragon and Susan O. Long), this two-part Memoriam essay highlights the foresight and insights of Cunningham’s 1970 Social Science and Medicine article titled “Thai Injection Doctors: Antibiotic Mediators.” Despite its brevity and twentieth-century style, the main points of this essay about a popular and semi-illicit mode of biomedical healing that entered the rural Thai marketplace hold up well fifty years after its publication. Clark Edward Cunningham (1934-2020), professeur émérite de l’université de l’Illinois (États-Unis), a été le pionnier dans les domaines de l’anthropologie médicale et de la biomédecine en Asie du Sud-Est dans les années 1960 et 1970. Les contributions de C. Cunningham à l’anthropologie de la Thaïlande et de l’Indonésie sur les questions de santé, la structure sociale, le symbolisme et l’habitat, sont le fruit de décennies de travail sur le terrain. Ses influences exemplaires en matière d’enseignement et de recherche perdurent. Au-delà des détails biographiques et des réflexions personnelles de deux anciennes étudiantes (Lorraine V. Aragon et Susan O. Long), cette note commémorative scindée en deux parties met en lumière la clairvoyance et la perspicacité de l’article que publia C. Cunningham en 1970 dans la revue Social Science and Medicine intitulé “Thai Injection Doctors: Antibiotic Mediators”. Malgré le caractère bref et le style propre au xxe siècle de cet article, les points principaux portant sur un mode de guérison biomédicale populaire et semi-illicite qui a fait son entrée sur le marché rural thaïlandais sont toujours d’actualité cinquante ans après sa publication.

With the further development of the social economy, people pay more attention to spiritual and cultural needs. As the main place of people’s daily life, the family is very important to the creation of its cultural atmosphere. In fact, China has fully entered the era of interior decoration, and people are paying more and more attention to decorative effects and the comfort and individual characteristics of decoration. Therefore, it is of practical significance to develop the application of decorative art in interior space design. However, the transfer effect of current interior decoration art design tends to be artistic, which leads to image distortion, and image content transfer errors are easy to occur in the process of transfer. The application of image style transfer in interior decoration art can effectively solve such problems. This paper analyzes the basic theory of image style transfer through image style transfer technology, Gram matrix, and Poisson image editing technology and designs images from several aspects such as image segmentation, content loss, enhanced style loss, and Poisson image editing constrained image spatial gradient. The application process of style transfer in interior decoration art realizes the application of image style transfer in interior decoration art. The experimental results show that the application of image style transmission in interior decoration art design can effectively avoid the contents of the interior decoration errors and distortions and has a good style transfer effect.

La localización de una reproducción fotográfica del diseño original del monumento de Semana Santa de la catedral de Oviedo (en paradero desconocido desde 1924) nos permite trazar la historia de este desaparecido altar de perspectiva y bastidores pintados. Concebido por el pintor madrileño Francisco Ortega Delgado en 1732 y consagrado en 1740, fue destruido en 1903. La investigación desvela otros datos desconocidos, como la participación del pintor madrileño Juan Delgado en 1731 y el diseño de un altar gótico en 1903 para reemplazarlo.

The construction of railways in Russia, as well as throughout the world, contributed to the emergence of numerous new areas of social life, including stimulating the emergence of previously unknown new sectors of the economy. On the basis of a historical review, the mission of the railways in improving the Russian society is considered, the spheres of influence on public life, aesthetic education and enrichment of the appearance of the landscape, the development of the sphere of enlightenment and education, missionary work, and service are listed. Examples of solving the problem of long-distance year-round communication, regardless of the climate, main communication across the vastness of Russia, the creation of a special tradition of transportation, which determined the still living everyday style of life of Russian railways, are given.Having spawned a new tradition of messages, people have created a different system of relationships with the world. The railway has played a leading role in this and has a long and honorable history, it is a great chronicle of heroism, labor, scientific thought and culture.The study is devoted to the initial stage of development of railways and aspects of their impact on the life of Russians. The following will describe the historical events that predetermined the current state of domestic railways in the context of the everyday life of compatriots.

Natural phenomena, especially climate change, are increasingly worrying lately. Graphic art can be used to express concern for the environment in response to climate change. The creation of this graphic art work uses the concept of the earth's creation stimulus. The creative methods used include: experimentation, contemplation, and formation. Abstract Expressionism was chosen as the style of personal expression in the creation of this work. The creative technique used is high printing technique with used plywood media. The results of the creation process show that the visualization of the concept of the earth's creative stimulus produces the forms of circles and lines. These forms are the main motif in the creation of graphic art with the stimulation of this earth's creativity

This paper explores the general characteristics of the aesthetics of life. Our approach will be in thinking about the aesthetics of life as a domain independent from the realms of ethics and morality. This thesis discusses some of the theoretical debates around those concepts. The notion of ‘pleasure’ in those practices will be discussed as the one that gives shape to ‘the art of life’. Pleasure also makes it possible for a person to perform these practices for a long period of time; what we call the ‘life-long character of the aestheticization of life’. However, this effort endeavors to demonstrate another central theme of this style of life; the individual/social character of those practices is the one that exemplifies ‘the art of life’. Thinking simultaneously about ‘oneself’ and the ‘other’ is the main concept that helps us the most to appreciate these practices. These debates are elaborated further in some case studies that have been researched between 2016 and 2019. These are real examples of peoples’ lived experiences who, in different ways, try to give meaning to their lives by turning their existence into a work of art.

The background of the research conducted by Richard Siwu stems from the events of the Western colonial period to countries in Asia and Africa. Previously, Siwu wanted to divide this era into two periods: the colonial era and the post-colonial era. The colonial era meant the expansion of western civilization into Africa and Asia. While the post-colonial era where the end of Western domination and the birth of new nations in Africa and Asia. In colonial times, most of the countries in Asia and Africa were colonies of European nations and were politically under the control of the West. Awareness of nationalism only grew when the influence of modernization brought by Western colonialism to Africa and Asia created a form of resistance to the West which eventually gave birth to new countries. At that time there was an assumption that Christianity was a Western religion because it came along with the expansion of the West into Asia and Africa. However, the awareness of nationalism at that time encouraged the churches in Asia in particular to break away from the domination of the Western churches and also indigenize the churches in Asia with a local style. Does the end of colonialism end the mission of the church? The answer is no because from the beginning Christianity was a missionary religion read Matthew 28:19. So, this research will analyze Protestant views in Asia regarding mission from 1910 to 1991. This research shows that after the colonial era they were polarized in two main streams: ecumenical and evangelical.

Globalization and widespread active introduction of architectural forms, techniques, materials and building technologies pose a problem of finding regional identity, particularity and uniqueness of the style in architecture. Consideration of history and traditions of regional architecture is one of the ways to reveal this identity and uniqueness. Wooden architecture is traditional for Siberia. It has hardly evolved stylistically since the 1920s. Studying stylistic formation in wooden architecture of Siberia in the late 19th – early 20th centuries, including modern, will help to identify the peculiarities of the local style and culture. The style can be considered from the point of view of philosophy of architecture and art as a unique manifestation of regional culture, as one of the ways to create (recreate) cultural identity, particularity and uniqueness, and as a source of information on a variety of techniques and forms of wooden architecture in Siberia.

El estilo de pintura renacentista refleja todo tipo de principios, enfoques y comprensión del diseño plástico como un carácter estándar de las características históricas, políticas, religiosas, culturales y económicas de esa época. Al deshacerse de un tipo de perspectiva estricta y puramente centrada en la iglesia, los artistas del Renacimiento prácticamente comienzan a mirar la naturaleza, la ciencia, la literatura, la filosofía y, obviamente, la anatomía humana en un conjunto de mentes diferente. Una descripción razonable, equilibrada, científica y lógica de la vida humana lleva a los pintores a centrarse más en las partes del cuerpo humano. Aparte de los rostros de las figuras, las manos se convierten en partes esenciales del cuerpo para sujetar un espejo al universo interior de las figuras. Se incluyeron dentro del programa iconográfico tal que reflejaban las emociones y contemplaciones de la figura, y la conexión entre figuras y objetos. En este estudio, un examen a través de varias pinturas renacentistas arrojará luz sobre cómo los pintores como Giotto, Da Vinci, Michelangelo, Francesca y más utilizaron la representación de las manos como un aparato y como un lenguaje de sus propósitos creativos. Así, se manifestará una iconografía de manos en la pintura renacentista. Renaissance style of painting reflects all types of plastic design principles, approaches and understanding as a standard character of historical, political, religious, cultural, and economic features of that era. Disposing of unadulterated strict and church focused kind of perspective, Renaissance artists practically start to look on nature, science, literature, philosophy, and obviously human anatomy in a different set of minds. Reasonable, balanced, scientific and logical portrayal of human life leads painters to focus closer on pieces of the human body. Aside from the faces of the figures, hands become essential body parts to hold a mirror to the interior universe of the figures. They were included within the iconographic program such mirrored the emotions and contemplations of the figure, and the connection among figures and objects. In this study, an examination through various Renaissance paintings will shed light on how the painters like Giotto, Da Vinci, Michelangelo, Francesca, and more utilized the portrayal of hands as an apparatus and as a language of their creative purposes. Thusly, an iconography of hands in Renaissance painting will be manifested.

La imaginería procesional ha experimentado en las últimas décadas una evolución estética que ha sido ya puesta de manifiesto por diversos investigadores expertos en la materia. La intención de este artículo es profundizar en sus orígenes tanto desde un punto de vista geográfico como conceptual, para seguir indagando acerca de un nuevo estilo con proyección internacional. La antropología que hay detrás del fenómeno cultural y religioso de la Semana Santa tiene su reflejo en la manera en la que un determinado grupo de imagineros entendieron la escultura sacra, generando un estilo que ha terminado por fraguar gracias al surgimiento de una escuela con nombre propio. Si bien esta nueva imaginería ha sido ya objeto de algunos estudios que han intentado ofrecer una explicación formal y conceptual, se antoja necesaria una revisión estilística y antropológica para aportar nuevos argumentos. Todo ello mediante el análisis formal de la obra de los protagonistas de dicha tendencia, así como de su concepto de imaginería y la generación de artistas implicados. In recent decades, processional imagery has undergone an aesthetic evolution that has already been demonstrated by various researchers who are experts in the field. The intention of this article is to delve into its origins both from a geographical and conceptual point of view, to further investigate a new style with international projection. The anthropology behind the cultural and religious phenomenon of Holy Week has its reflection in the way in which a certain group of imagers understood sacred sculpture, generating a style that has ended up forging thanks to the emergence of a school with its own name. Although this new imagery has already been the subject of some studies that have tried to offer a formal and conceptual explanation, a stylistic and anthropological review seems necessary to provide new arguments. All this through the formal analysis of the work of the protagonists of this trend, as well as their concept of imagery and the generation of artists involved.

This paper discusses the graphic design of sheet music covers for popular songs by Wladyslaw Szpilman, focusing on various decoration patterns and design trends as well as on the evolution of the design of Polish popular sheet music covers. A selection from a large body of Szpilman’s sheet music is investigated, published before World War II by privatively-owned or cooperative publishers such as Nowa Scena, Arct’s Music Publishing House (Wydawnictwo Muzyczne Arcta), E. Kuthan’s Publishing House (Wydawnictwo E. Kuthana), and Ton, which, after 1945, were displaced by state-owned businesses. The author discusses different decoration styles typical for different periods, e.g. the publicity style, the bordure-vignette style, the lettering-typographic style, and the poster style, exploring the complexities of the processes of ideologizing the role of art (e.g. the different ways of illustrating Socialist Realist period songs for individual customers and for musical groups; Czytelnik’s modest and graphically uniform publications). After World War II, Szpilman was among the proponents of the idea of creating a newspaper-type popular music series, which would keep abreast of the times by publishing music sheets for currently popular songs. At the same time, covers for Szpilman’s sheet music were designed by eminent graphic designers working for the Polish Music Publishing House (Polskie Wydawnictwo Muzyczne): W. Skulicz, J. Bruchnalski, A. Darowski, A. Kowalski, K. Wojtanowicz, and J. Kurkiewicz, among others. After examining a wide variety of sheet music covers, the author identified a number of publishing practices (such as creating a series or a sheet music collection), noticing an aesthetic evolution of cover design for particular publishers and over time (e.g. in the way music for children and adolescents was illustrated), and a migration of modern graphic motifs from other musical genres, such as Sonorism.

Art Nouveau, which shows various original and local qualities in every country where it appears, has existed in Austria under the name of "Secession Style". With the desire to implement their new ideas, Secession artists left the Austrian Artists’ Society and founded the Association of Visual Artists Vienna Secession in 1897 under the leadership of Gustav Klimt. Between 1898-1905, they organized 23 exhibitions presenting the pioneers of International Modernism and the innovations they wanted to implement to art lovers from Vienna. The 14th Exhibition of the Association, held between April 15 and June 27, 1902, was held as a tribute to the Composer Ludwig Van Beethoven. Held on the 75th anniversary of Beethoven's death, the exhibition revealed the Secession artists' vision of the inclusive synthesis of art. Curated by Josef Hoffmann, the exhibition in which twenty-one artists worked together. At the center of the exhibition Beethoven statue by Max Klinger was located, while Gustav Klimt's Beethoven Frieze, which covers the three walls in the hall, was one of the most important works of the exhibition. Besides these works; There were works by Alfred Roller, Adolf Bohm, Ferdinand Andri and other artists. The purpose of the exhibition was to unite different branches of art such as architecture, painting, sculpture and music under a common theme and to create a "total work of art" from the mutual interaction of all these works. In this study; the concept of "Gesamtkunstwerk" meaning "total work of art" and how this concept was embodied in the 14th Secession Exhibition are evaluated.

The 1990s is usually seen as the decade in which action heroines with advanced fighting skills and/or superpowers became a widespread and enduring presence in American telefantasy (science fiction ...

Carlin-type gold deposits in northern Nevada are inferred to overlie concealed late Eocene plutons, which are increasingly thought to have provided magmatic input to the meteoric water-dominated fluids from which the gold was precipitated. The Larderello, Monte Amiata, and Latera geothermal systems in the Northern Apennines of southern Tuscany and northern Latium, central Italy, may represent Pliocene to present-day analogues because of their demonstrated association with subsurface plutons and jasperoid-hosted antimony-gold mineralization. The plutons, which at depths of >5–7 km remain at least partially molten, continue to supply heat and magmatic fluids to the meteoric water-dominated geothermal systems. Formerly mined antimony deposits of Pliocene or younger age are exposed on the peripheries of the CO2 ± H2S-emitting geothermal systems, and antimony sulfides are still actively precipitating. Stibnite and submicroscopic gold in disseminated pyrite, along with Au/Ag of

Art in the twentieth century was associated with all aspects of life between cultural, intellectual and social, with the end of the nineteenth century and the beginning of the twentieth century, which witnessed a great revolutionary transformation in science, industry and technology And Art Nouveau appeared, which is an art that combines fine arts and applied arts without mimicking nature, but translating it into expressive lines and spaces to enrich the decorative aspect in a realistic way. And The name of this style is due to the huge exhibition that was held in Paris in 1925 AD, which was called the International Exhibition of Modern Decorative and Industrial Arts. The Art Deco style came to respond to Art Nouveau designs and to avoid the overuse of flowing and organic lines overlapping, and then benefited from the values of geometric lines in ancient eastern civilizations. The Art Deco style is considered the last type of models with a distinctive value. and It is an important and very fruitful part in the history of applied arts. However in many aspects it is an extension of the Art Nouveau style, but its emphasis is more on Geometriy Values and achieving a balance between art and industry to produce designs that are compatible with quantitative production. Research problem : The problem of the study is represented in the following questions:- How to reach design solutions for the printing textile commentator by taking advantage of the integration of Organic And Geometriy Values with both the elements and decorations of Art Nouveau and Art Deco It carries distinctive aesthetic values? How to benefit from the combination of manual and modern methods in the design and application processes that increase the enrichment in the design It carries distinctive aesthetic values In Wall Hanging Textile Printing ? Significance : It is represented in the artistic study of two types of arts that enriched applied art from the end of the nineteenth century until the beginning of the twentieth century, and enriching the Arab library in arts with technical and analytical studies . Creating a hanging printed fabric derived from the organic and geometric values in both the decorations of the schools of modern art and art deco, to get rich carrying contemporary aesthetic values in the printed fabric. Objectives : The research Objectives to benefit from the technical analytical study of models of the decorations of the School of Art Nouveau and Art Deco and the possibility of combining them to create contemporary textile hanging that enrich the field of textile printing and to conduct experiments to integrate design and application manually, as well as modern methods in design and implementation. Methodology : Technical Analytical Approach: Through distinctive models from the works of the Art Nouveau School and Art Deco, as well as through the analytical study of the innovative designs of the two schools, as well as the innovative designs of mixing the elements of the two schools. Experimental approach: It is evident in the experiments of innovative designs derived from the motifs of the Art Nouveau and Art Deco Results : Technological development in the field of plastic art has helped to develop human thought and to increase the imagination of the creative designer in creating and inventing different and diverse designs. The researcher presented a set of innovative plastic solutions for each of the elements of Art Nouveau and Art Deco, and also presented Fine solutions to integrate each of their elements. The researcher also found the use of modern technology methods in processing shapes and units, as well as in creating designs that save time and effort and give an opportunity to study different solutions for design. Some computer applications were made use of on Art Nouveau and Art Deco as a design input to create printed textile pendants. It was applied to new art and decorative art to create a group of artistic works that achieve value and fine, aesthetic and contemporary arts. The researcher created a set of designs, two of them inspired by Art Nouveau motifs, two designs inspired by Art Deco motifs, and two designs inspired by merging each of them together and implementing them as contemporary typographical textile hangings and proposing the hypothetical employment of them.

This paper introduces an analytic study on the occurrence of the mamluk style on religious monuments of the Muhammad Ali dynasty while covering the reasons for this phenomenon. The research also analyzes the most focal and obvious mamluk artistic as well as architectural features that were employed on religious establishments of the Muhammad Ali dynasty. The study found out that the location of these monuments played a vital role in the appearance of mamluk features as the architect tried to maintain harmony in the area without changing its style. Another reason was the founder’s tendency to apply the traditional style of the mamluks rather than borrow foreign features, in spite of the great European renaissance at the time of Muhammad Ali and his successors. The study also revealed that the founder also played a great role in the mamlukisation of the religious buildings in the time of Muhammad Ali's dynasty.

In this article, the authors explore the popular animation Nezha (2019), examining the idea that it typifies the ‘national style’. Expanding the work of other scholars who have demonstrated the changeability of the ‘national style’, here they examine this notion in regard to the way in which Nezha (2019) represents ‘Chineseness’ at this particular socio-political moment. Methodologically, they focus their analysis largely upon the film’s narrative and aesthetics, drawing on a number of reviews as counterpoints for the way in which it was interpreted to situate it in popular discourses. The authors argue that Nezha (2019) presents a national image in which traditions and modernity are interwoven, and the focus upon the ‘technological’ – its digitality – constitutes a refiguring of animation in China as symbolic of modernity. Narratively and aesthetically mediating between the past and the present, Nezha (2019) embodies a ‘national style’ which is on one hand hybrid in its inter/nationality, but also culturally delimited in terms of which cultural heritages are held up as emblematic of the nation.

The increasing consolidation of the modern entertainment industry by a small clique of multinational streaming giants is the next step in the "standardization of style" in mass-consumed art. The work of Pier Paolo Pasolini can help remind us of what we're missing.

The Abraham Accords signed in September 2020 between Israel and the United Arab Emirates and Bahrain was followed by ties between Israel and the African states of Sudan and Morocco. These were all unique with the common link and timing apparently only the broker American President Donald Trump’s re-election campaign. Looking deeper reveals another common element that is a shift in regional strategic dynamics both at ideological and strategic fronts. This prompts revisiting the Nasser style Pan-Arab and Pan-African ideologies in the context of the current unfolding situation. A primary finding is that government-to-government negotiations to establish multi-lateral forum based on ideological movements rarely achieve this and even when they do such forum tend to debate rather than act. Only with popular and grassroots support can ideological movements bring change and achieve objectives. Such lessons applied to the Abraham Accords, that is a different style of Pan-Arabism and Pan-Africanism, but also top–down at its origins, might lead to an evolution of a different kind of domestic and regional ambiance. The structure of the article is to provide definitions, then discuss the role of leaders, the distinct differences in geography and demography, revisit Nasser style Pan-Africanism, revisit Nasser style Pan-Arabism, and discuss the Qaddafi continuum of the Nasser style ideologies. The academic contributions giving new insight to Africa are the examination of the role of individual leaders and hegemonic leadership, and the shifts and evolution of ideologies where outcomes are not necessarily the desired ones or enduring.

Love of the homeland is an innate instinct on which the human being was created. It is not strange that the individual loves his country in which he was born and raised and feels nostalgic for it when he/she leaves it to another state, so that is proof of the close relationship and the sincerity of belonging. Pamuk's passion for Istanbul is remarkable, and he is vitalist in portraying it in his literature. Mostly, all of Pamuk's novel plots are settled in Istanbul, but Pamuk's autobiographical novel Istanbul: Memories and The City gives much more about Pamuk's feelings towards his native city. It is devoted to both his memories from his childhood and Istanbul as a city and its meaning in his life as a writer. The book is composed of memories and emotions that have shaped his life forever. As a skillful painter, Pamuk's concepts and perspectives of Istanbul are unique. He composes that there was no Ottoman painting that can undoubtedly oblige our visual tastes because we have been educated to view things in an alternate Western style. He is attracted to Antoine Melling, the eighteen-century painter, who "viewed the city as an Istanbuli, however, painted it as a reasonable looked at Westerner" (Pamuk, Istanbul: Memories and the City, 67). This paper will attempt to outline and discuss the significant status of Istanbul in Orhan Pamuk's writing, how he represents his close connection with it, and how he made Istanbul the story field of his novels. It also will focus on the importance of the geographical location of Istanbul as the center of the bridge of different cultures, religions, and ethnicities, which leads to conflict or coexistence.

Andalusian literature is still a great legacy of Islamic civilization in modern times. The discussion of Andalusian literature is still an exciting topic in the Arab literary scene in the modern era. There are many great legacies of Arabic literature that have not been widely studied by academics in Indonesia, especially Arabic literature reviewers. One of the Andalusian literary figures is Ibn Zaidun. Even the fame of Ibn Zaidun in Andaluasi to get the nickname Buhtury from the West. This paper tries to review Andalusian Arabic literature in general and, in particular, the literary tradition of Ibn Zaidun with the background of Andalusian civilization. Using a literature review approach, this paper explains the socio-cultural background of Ibn Zaidun in building a tradition of Arabic literature in the West (Andalusia). This paper shows the significant role of Ibn Zaidun in building an Arabic literary tradition with a local Andalusian style. This literary tradition is even recognized as having a literary quality that is not inferior to Arabic literature in Arab civilization.

This study aims to describe the function and style of the mural by Arnis Muhammad. Mural as art in public space, which means that the space for movement and the target audience for the audience and audience is the general public. As a two-dimensional work of art, mural is also inseparable from style. Visually, the style in a work of art is the selection of objects, techniques, colors, and environmental conditions, time, era, and environmental conditions in which an artist creates his work. The population in this research is that all of Arnis Muhammad's mural works for the 2017-2019 period are 51 works. In this study the authors took samples using purposive sampling technique. The reason for taking samples is the number of mural works that still exist and are still intact. There are 10 mural works in the research location. In this case, the writer examines these mural works based on their function and style. The method used in this research is descriptive qualitative method. The function of the mural by Arnis Muhammad is a personal function as a reflection of the resonance of the environment in which he lives. Social function, as a form of concern for the environment and the surrounding community in everyday life. Physical function, as an aesthetic value enhancer and the various ways the general public use it. Arnis Muhammad's murals tend to have a surreal and decorative style.

The poetry of the First World War bears poignant testimony to the unprecedented tragedies of human destructiveness. It has been the subject of numerous studies that looked at it from diverse perspectives, drawing from various contemporary psychological, historical, and literary theories. The present study can be regarded as yet another contribution to the existing picture of this rich and enduring field where literature and history are explored alongside. Informed by the emerging field of digital literary studies, this article aims to revisit the war experience through a computational analysis of the poetry of the Great War and explore how soldier-poets conveyed their emotions in the face of traumatic war experience. We adopted a top-down corpus-driven approach that moved from key semantic domains to lexical items and then to their collocates. First, we detected the key semantic domains of the genre through a corpus tool, Wmatrix. ‘Anatomy and physiology’, ‘religion and the supernatural’, and ‘senses’ were identified as the key semantic domains in our corpus. The unusual abundance of binaries led us to group and treat these lexical items as a separate category: ‘binary oppositions’. In the second phase of the research, we analysed these key semantic domains to foreground the frequent lexical items under each domain and explored the surrounding context of those items through their collocational networks exploiting another corpus tool, Lancsbox. Finally, we further investigated the frequent items and corresponding concordance lines to identify the common stylistic features in the Great War Poetry.

The theme of war and peace is one of humankind’s eternal problems and one of the most relevant topics in art at all times. On the 75th anniversary of the Victory in the Great Patriotic War (1941—1945), the author’s research interest is focused on one of the rare works in terms of its power of influence, which tears the mask off the apologetics of war, uncompromisingly and honestly telling about the human price for the military madness. That is B. Britten’s “War Requiem”.The presented experience of art historical analysis is intended to explicate the intertextual connections of the work with a number of texts (verbal and mainly musical) inscribed in a wide socio-historical and artistic context of both the past and contemporary works of the English musician. This way of reading the opus allows to trace the role of dialogue with the European and national tradition in the birth of B. Britten’s text, which is original, innovative in style, highly outstanding in its artistic and civil-ethical merits. With the identification of intertextual inclusions — literary, ideological-shaped, story, genre, musical-lexical, intonational, and those at the level of musical thematism (from the works of Mozart, Berlioz, Tchaikovsky, Shostakovich) — a number of new opportunities appear: to strengthen the emotional experiences of the recipient; to deepen the understanding of the meaning of both individual sections of the requiem and its general concept; to expand the content field of interpretations of the musical score; to ensure that cultural traditions are inexhaustible for relevant art creativity; and finally, to specify our ideas about Britten’s expressed humanist and anti-militarian aspirations, which were dictated not so much by the external reasons (the relevance of the topic during the Cold War, the Requiem’s being ordered for the opening of the cathedral in Coventry), but by his deep sufferings for the fate of the world and humanity. In general, according to the author, the analysis practically confirms the idea that semiosis — the process of interpreting signs and generating meanings in art (including music) — is unlimited, and can cease only with the termination of the existence of the culture itself.

The article examines the drawings and watercolors by the artist Nikolay Nikolayevich Karazin (1842—1908), based on the materials of the Amu Darya and Samara expeditions of 1874 and 1879. The paper aims at reviewing the graphic series “Amu Darya Scientific Expedition”, published in the magazine “Niva” in 1874—1875, and a series of watercolor portraits made during the Samara expedition, in comparison with the pencil portraits by Vasily Vasilyevich Vereshchagin (1842—1904) in the album of photographs “Russian Turkestan”, published in 1874. This collection of artworks has not previously been the subject of a special art history study. Their examination introduces into the field of specialists’ view a significant stage of Nikolay Karazin’s creative path. The relevance of the article, in view of the investigations of recent years, lies in the representation of the image of an artist-traveler, a draftsman during expeditions in the second half of the 19th century.The study of the first series is based on the nature and national types of the Amu Darya delta. The analysis of individual examples of journal graphics is accompanied by a description of some of the author’s simultaneous graphic originals, as well as works of other artists interested in Central Asian ethnography. The article uses a comparative methodological principle, with the analysis of fragments of N.N. Karazin’s literary works — travel essays with a pronounced ethnographic component.The artist’s series of watercolors based on the Samara expedition also presents several images of the ethnotypes of Russian Turkestan, a region of Central Asia in its western part. As a result, there are identified the similarities and differences in the artistic methods and manners, as well as the conditions of creative work, of the two artists — Nikolay Karazin and Vasily Vereshchagin. The analysis is carried out using a comparative method and a socio-historical background.The Amu Darya and Samara graphic cycles represent N.N. Karazin as a mature creator who intuitively used the means of the approaching new time and modern style. At the same time, he did not leave the boundaries of the literary and artistic genre “voyage pittoresque”, overall successfully combining realistic tendencies with the vision of a romantic.

En este trabajo se analiza el arte rupestre de la Laguna Miramar, ubicada en el municipio de Ocosingo, Chiapas, y se compara con manifestaciones similares en el área con el fin de refinar una tipología regional de estilos y pigmentos. El registro detallado de las pinturas y petrograbados se hizo con fotografía, DStrech y dibujo. Se propone asociar estilos y pinturas cercanos a cuerpos de agua a los periodos Preclásico Tardío, Postclásico e Histórico/Colonial. Igualmente se revisan los trabajos sobre arte rupestre en Chiapas, y particularmente en la Selva Lacandona. El esquema propuesto articula el estudio descriptivo para realizar interpretaciones respecto a temas como religión, paisaje y peregrinaciones.

In the late nineteenth and early twentieth centuries, the style of Ottoman textiles underwent a remarkable shift. This study examines this shift through the case of the Hereke Imperial Factory, a s...

The article analyzes the specifics of Arnold Schoenberg's creative method. Attention is paid to the periodization of his work. Schoenberg was not the first composer, who invents the dodecaphonic technique, but he gave it a complete and logical expression. The arrival of the dodecaphonic system was not a certain experiment or coincidence. It is part of a natural process that resulted from the gradual transformation of the composer's worldview. The composer in some works that belong to the late period of creativity, tried combining elements of different styles, without striving to adhere to a single style. This factor further confirms the thesis that in the foreground for Schoenberg, was the artistic truth and authenticity of the statement. A. Schoenberg is convinced that only a composer who has a large auditory baggage can turn to the dodecaphonic method, because the use of dodecaphony introduces many restrictions. It is determined that the exclusive role of Schoenberg is to form a school whose representatives worked in a single direction. Among his students, it is worth mentioning, in addition to A. Webern and A. Berg, also Ernst Kshenek, Egon Welles, Hans Eisler, Stefania Turkevich. The formation of dodecaphonic technique, its design within the activities of representatives of the Novoviden school, occured simultaneously with the work of other composers. It is emphasized that the technique of twelve sounds was introduced at the same time by by the Ukrainian composer Yu. Golyshev. The leading importance of dodecaphonic technique for further academic art is emphasized. The systematic activity - theoretical, compositional and teaching of A. Schoenberg, allowed the dodecaphonic technique to become a model that other creators have already "tried" at their own discretion. The dodecaphonic technique used by many composers of the Western European tradition, as well as by Ukrainian artists, in particular V. Silvestrov, L. Grabovsky and Yu. Ishchenko.

Located at one of Iran’s busiest intersections, the Vali Asr billboard has been a key venue for projecting and promoting the regime messaging of the Islamic Republic since 2015. With its unique ability to frequently change its images, unlike the more traditional painted murals populating Iran’s urban landscape, the Vali Asr billboard has the capacity to convey a wide-range of regime messages tailor-made for a variety of domestic and international events, whether foreseen or unforeseen, from national holidays to the outbreak of Covid-19. This article assesses how the Vali Asr billboard’s unique features and design style allow it to present a mix of ‘hard’ and ‘soft’ propaganda and succeed in attracting public engagement with its images. Through a close analysis of the assassination of Islamic Revolutionary Guard Corps (IRGC) commander Qassem Suleimani (d. 2020), a series of murals unveiled during the holy month of Muharram in 2020, and a controversy around the 2018 World Cup, the article argues that the Vali Asr billboard is a unique communicative medium and potent tool for regime cultural producers in Iran’s twenty-first century media landscape. [ABSTRACT FROM AUTHOR] Copyright of Visual Studies is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The term "avant-garde" (from French meaning "pioneer") is traditionally used to describe any artist, group, or style considered to be significantly ahead of the majority in their technique, subject, or practice. This is a very vague definition because there is no clear consensus as to whether an artist is ahead of his time or what is meant by being advanced. In other words, being avant-garde involves exploring new artistic methods or trying new techniques to produce good art. The idea of the avant-garde traditionally depends on two interpretations. On the one hand, it is seen as inextricably linked with a radical social or political program so that extreme art becomes the vehicle of extreme social and political activity. On the other hand, avant-garde art has been a pure stylistic field of experience, free from any social concerns. This article analyzes how the avant-garde has been theorized in the last years of the twentieth century. First of all, it is to question how the theorizing of the avant-garde both affects our understanding of certain works of art, and how it affects aesthetics in a broader sense, and to explain the theory of the avantgarde according to Peter Burger's thoughts.

At present, with the rapid development of the global economy and improvement of people’s life quality, demands for products are not only limited to the pursuit of practical functions. Instead, people also pursue certain ornamental values besides practical functions. Individualization also becomes an indispensable part. People’s sight enjoying demands cannot be satisfied by many conventional designs anymore. People start paying attention to the uniqueness of products. To this end, brand owners should help enhance the uniqueness of brand product design by some external resources, so as to attract more consumers. Each artist has their own typical artistic style and features. By cooperating with brands, they can bring unique artistic styles to products as well as artistic elements to improve the brand image. Therefore, more and more brands have extracted different artistic elements of artists and embody them in product design in recent years. Integration of these elements and brand design has brought great artistic effects, and the creative and innovative products motivate people’s purchase intention. In the essay, with an introduction to an American modern artist Daniel Arsham and his artistic style, namely fictional archaeological artistic style, the era background of cooperation between art and modern brands as well as their mutual integration forms are described. In the end, the research focuses on how Daniel combined fictional archaeological artistic style with different modern brands in the design and how he added modern technologies to diversify product forms.

The paper explores the architecture of King Philip II royal residence. El Escorial monastery palace represents a system of art treasures of the Spanish Renaissance, manifested in the method of implementing the figurative absolutization of the Classical aesthetics, revealing the ideas of the magnificence of the “Roman spirit” of the Habsburg empire. By reinterpreting the legacy of the theory of architectural rules, El Escorial was the standard of classical construction in late 16th century Spain. The Christian ideas become the cement of the Empire governance. It is symbolic that the year of the completion of Trento Cathedral (1563) was also the year the construction of El Escorial had begun. The first executor of the project was the architect, philosopher, and mathematician Juan Bautista de Toledo, who studied in Rome and Naples under the masters of the Italian Renaissance. He was later replaced by Juan de Herrera, the acclaimed spokesman of the royal architectural style. The paper covers the most controversial issues: problems of the ensemble concept, their interpretations, the role of theoretical sources, biblical semantics, etc.