In Dutch vanitas imagery of Homo bulla est there is a sad child （homo） holding a scalloped shell filled with soap and water. Although the child is amused and playing with the formation of beautiful transparent wat...In Dutch vanitas imagery of Homo bulla est there is a sad child （homo） holding a scalloped shell filled with soap and water. Although the child is amused and playing with the formation of beautiful transparent water circles, his expression is mischievous and melancholic. Blooming flowers and dead trees, burning urns, and cloudy landscapes also accompany this gloomy imagery, which alludes to a warning about moral behavior. The first part of this essay deals with a brief history about the symbolism of the skull in vanitas imagery （1590-1630）. And the second part of the essay focuses on two prints by the Dutch artist and printmaker from Haarlem, Hendrick Goltzius （1558-1617）, who honored this proverb Homo bulla est in Allegory of Transience as a remembrance of the brevity of life.展开更多
Wolfgang Amadeus Mozart, one of the greatest musicians in the world, enchants people across eras with his fabulous music. Peter Shaffer, in Amadeus （2001）, depicts the mysterious life and death of this musician in a...Wolfgang Amadeus Mozart, one of the greatest musicians in the world, enchants people across eras with his fabulous music. Peter Shaffer, in Amadeus （2001）, depicts the mysterious life and death of this musician in a very different way. Instead of presenting an intelligent and refined artist, Shaffer, from the perspective of his rival, Antonio Salieri, gives us a ＂foul-mouthed, immature jackanapes＂ that shocks his audiences in the theatre. Lady Thatcher＇s displeased response after seeing the play tells the gap between Shaffer＇s Mozart and the Mozart image in most public＇s mind. However, the image of the vulgar Mozart, though a contrast to his music, lights up the uniqueness of his music at the age of Enlightenment. The paper, aims to analyze the difference in Mozart＇s music and the different Mozart character Shaffer presents in his play by drawing on Ren6 Girard＇s notion of collective violence and scapegoat mechanism. Also, the author intends to examine the playwright＇s intention and exegesis as he composes this mysterious musician in such a different way展开更多
The article is devoted to the psychoanalytic issues of the deconstruction of images of socialist ideals in Russian Sots Art--an ironic title of the artistic trend in which used a mixture signs of visual semiotics of ...The article is devoted to the psychoanalytic issues of the deconstruction of images of socialist ideals in Russian Sots Art--an ironic title of the artistic trend in which used a mixture signs of visual semiotics of ＂social realism＂ and ＂pop art＂ of the 1990-2000s. By comparing the idealization of the image of Lenin in Soviet art of the 1930-1950s with its grotesque interpretation in Sots Art works of the 1990s, it appears to be interesting to trace the functions of grotesque and caricature in the deconstruction of the canons of socialist realism. Thereupon, special interest is the role of the regression mechanism in the transformation of the ideals of socialist realism into laughable images.展开更多
In this paper, I read several literary texts, in order to demonstrate the relation between the viewing subject and the gazed object, in terms of love, illusion, and and aesthetic ecstasy. Walter Benjamin＇s untitled p...In this paper, I read several literary texts, in order to demonstrate the relation between the viewing subject and the gazed object, in terms of love, illusion, and and aesthetic ecstasy. Walter Benjamin＇s untitled poem illuminates love and blessing through artistic images, as in Giorgio de Chirico＇s painting, The Song of Love （1914）. Love in London is somehow a dream-like image--a surreal illusion of love, which stays in the viewer＇s mind as a poem of colours, representing etemity. Virginia Woolf＇s Night andDay says it better, when Mary walks into the British Museum and gazes at the Elgin Marbles, thinking how much she is in love with Ralph. John Keats＇ ＂On Seeing the Elgin Marbles＂ also depicts the way in which a gaze of love could be an eternal moment of aesthetic ecstasy .展开更多
This article draws attention to the subject of art in Levinas＇s thinking through consideration of his philosophical language, which is aided by images, metaphors, and idioms of art. The primary image that will accomp...This article draws attention to the subject of art in Levinas＇s thinking through consideration of his philosophical language, which is aided by images, metaphors, and idioms of art. The primary image that will accompany our discussion throughout this article is the image of art as shadow, which Levinas incorporates into the title of the essay which he devotes to the subject of art： ＂Reality and Its Shadow＂. Thinking about art from the perspective of Levinas means thinking about image and essence, about which is visible before us and which we cannot see, and about the different ways in which art can express itself. Levinas＇s theory of interpretation is grounded in and guided by the field of ethics and addresses the ethical aspects of interpretation. Levinas approaches the discourse of interpretation not out of na＇ivet6 but rather based on a deep understanding of the field of hermeneutics, with all its shortcomings and challenges. Thinking of hermeneutics from an ethical perspective is no mere addition to the discussion but the very crux of the matter. An attempt to understand interpretation as an act of exposing the truth encounters serious philosophical and logical difficulties, whether we are seeking to discover the intention of the artist, the intent of a specific work of art, or a hidden form within the work itself. The engagement with Levinas＇s theory of hermeneutics, however, raises a different question which is the focus of this article： Can Levinas＇s theory of interpretation be applied to the realm of artistic creation, and if so, how？ This question is sharpened by the difficulties that Levinas himself poses to his readers by designating art as the ＂shadow＂ of reality and drawing attention to the egoistic dimension of the artistic act.展开更多
The issue of cemetery planting is not yet sufficiently studied in Lithuania. Cemetery is one of the sites where people could give way to their subjective comprehension of beauty. Analysis of the cemetery planting reve...The issue of cemetery planting is not yet sufficiently studied in Lithuania. Cemetery is one of the sites where people could give way to their subjective comprehension of beauty. Analysis of the cemetery planting revealed certain noticeable features that could be ascribed to the forms of folk art. These are various objects with implied specific content or ornamented compositions. The aim of the research was to ascertain and distinguish graves characterised by specific planting features associated with plants, their layouts on graves. Analysis of the research results shows that two options form the peculiarities of grave planting： depiction of specific objects and ornamentation.We think that majority of the ornaments are made with the single purpose of decoration, and do not associate with symbolic meanings. During this research the graves decorated with planted symbolic objects and ornaments were distinguished. This phenomenon becomes more and more popular in cemeteries of Siauliai city in Lithuania.展开更多
Mr. Huang Dufeng is the master to paint landscapes, flowers, birds and people. In artistic practice, he clearly saw that in addition to using the ink to express the appearance, there exists its independence of aesthet...Mr. Huang Dufeng is the master to paint landscapes, flowers, birds and people. In artistic practice, he clearly saw that in addition to using the ink to express the appearance, there exists its independence of aesthetic nature. In addition, Mr. Huang Dufeng is aware of vital importance of the spirit manifesting in the traditional painting. He has foresight in the face of treating the mutual development of Chinese and Western painting. In the meantime to advocate learning western painting, he all along emphasize that we should flourish the specific beauty of Chinese painting. He has showed a wide range of subjects, breaking the bondage of ＂four gentlemen＂ and pioneered the art image of angelfish. By discussion on Mr. Huang Dufeng through the painting features and process of thinking, he insisted on aesthetics concept of ＂Ancient and modern, compatibility of Chinese and Western＂.展开更多
With the rapid development of China film industry, more and more people are willing to go to the cinema to feel rich film culture, at the same time for the movie has also been seen the movie characters, including clot...With the rapid development of China film industry, more and more people are willing to go to the cinema to feel rich film culture, at the same time for the movie has also been seen the movie characters, including clothing and some other relative derivatives have higher requirements. Thus the birth of film art image derivatives, with the continued rapid development of film technology and film art, film art derivatives with 3D, 4D will be the future of film art image derivatives success ＂interview＂ has become a new economic growth point China film, its development prospects are very impressive. According to market research and analyse, through the research and analysis of 3D MAX movie derivatives as an example, from the aspects of brand image positioning and design of more specific design and research of film art image derivatives, thereby to strengthen and promote the combination of film technology and art products, and ultimately promote the rapid development of film art derivatives.展开更多
As a unique artistic form of both young and old, urban sculpture art plays a finishing touch to the urban image of the new era, gradually becoming the point to enhance the overall image of modem city. For public art s...As a unique artistic form of both young and old, urban sculpture art plays a finishing touch to the urban image of the new era, gradually becoming the point to enhance the overall image of modem city. For public art sculpture gradually integrates into modem life, the attention of it is also increasing. A city needs good sculpture to heighten the atmosphere and shows cultural deposits, in the meantime, excellent urban sculpture will also greatly enhance the influence of cultural landscape and public art, effectively creating urban culture brand image and enhancing the city＇ s comprehensive charm.展开更多
In Turkey, from the second half of the nineteenth century, the shaping of an art of painting on the basis of Western understanding was realized with state support. From this period, certain art movements were seen as ...In Turkey, from the second half of the nineteenth century, the shaping of an art of painting on the basis of Western understanding was realized with state support. From this period, certain art movements were seen as the means of modernization and Westernization. Therefore, impressionism, cubism, realism, and classicism were supported by the state as a formal artistic understanding. This attitude continued until the 1940s and artists painted certain subject matters on the basis of these art movements. The main theme and subject matters were the presentations of an idealized society such as palace＇s life, attractive women in Western appearance, happy peasants, war heroes, and beautiful views from the country. In the early 1940s, significant breakup began to take place in point of the theme and the subject matter of art. Social realism began to take shape for the first time in art in Turkey. The artists of Yeniler Grubu （Newcomers Group） focused on social phenomena related disadvantaged social groups rather than an idealized society. Some artists among the 1950 generation, especially Nedim Gunsur, Nuri iyem, and Miimtaz Yener, focused on migration and social problems that occurred correspondingly in the 1960s and 1970s. This paper aims to investigate how these artists depicted and interpreted the migration and its consequences.展开更多
The paper will focus on communication through the figures of discourse. The problem of the entanglement of the visual and the semantic is discussed extensively by lean-Francois Lyotard, in his notable Discourse, Figur...The paper will focus on communication through the figures of discourse. The problem of the entanglement of the visual and the semantic is discussed extensively by lean-Francois Lyotard, in his notable Discourse, Figure, in relation to the perception and representation of space and the role and form of the sign. According to this philosopher, the figure dominates the communication process by deconstructing the text. Both the topography of the figure and art is the result of repression processes and the subsequent discharge of libidinal energy. Art in particular is a formalism of the death drive, according to Lyotard. The figure of ＂the mobled queen＂, the expression of a possible slip of the tongue in Hamlet, becomes a symbol of the distorted relationship of the visual, the semantic, the ethical, and the critical role of this in art and communication. In addition to Lyotard＇s model, the possible figures of globalization will be discussed in relation to Peter Sloterdik＇s Globes. Spheres II.展开更多
文摘In Dutch vanitas imagery of Homo bulla est there is a sad child （homo） holding a scalloped shell filled with soap and water. Although the child is amused and playing with the formation of beautiful transparent water circles, his expression is mischievous and melancholic. Blooming flowers and dead trees, burning urns, and cloudy landscapes also accompany this gloomy imagery, which alludes to a warning about moral behavior. The first part of this essay deals with a brief history about the symbolism of the skull in vanitas imagery （1590-1630）. And the second part of the essay focuses on two prints by the Dutch artist and printmaker from Haarlem, Hendrick Goltzius （1558-1617）, who honored this proverb Homo bulla est in Allegory of Transience as a remembrance of the brevity of life.
文摘Wolfgang Amadeus Mozart, one of the greatest musicians in the world, enchants people across eras with his fabulous music. Peter Shaffer, in Amadeus （2001）, depicts the mysterious life and death of this musician in a very different way. Instead of presenting an intelligent and refined artist, Shaffer, from the perspective of his rival, Antonio Salieri, gives us a ＂foul-mouthed, immature jackanapes＂ that shocks his audiences in the theatre. Lady Thatcher＇s displeased response after seeing the play tells the gap between Shaffer＇s Mozart and the Mozart image in most public＇s mind. However, the image of the vulgar Mozart, though a contrast to his music, lights up the uniqueness of his music at the age of Enlightenment. The paper, aims to analyze the difference in Mozart＇s music and the different Mozart character Shaffer presents in his play by drawing on Ren6 Girard＇s notion of collective violence and scapegoat mechanism. Also, the author intends to examine the playwright＇s intention and exegesis as he composes this mysterious musician in such a different way
文摘The article is devoted to the psychoanalytic issues of the deconstruction of images of socialist ideals in Russian Sots Art--an ironic title of the artistic trend in which used a mixture signs of visual semiotics of ＂social realism＂ and ＂pop art＂ of the 1990-2000s. By comparing the idealization of the image of Lenin in Soviet art of the 1930-1950s with its grotesque interpretation in Sots Art works of the 1990s, it appears to be interesting to trace the functions of grotesque and caricature in the deconstruction of the canons of socialist realism. Thereupon, special interest is the role of the regression mechanism in the transformation of the ideals of socialist realism into laughable images.
文摘In this paper, I read several literary texts, in order to demonstrate the relation between the viewing subject and the gazed object, in terms of love, illusion, and and aesthetic ecstasy. Walter Benjamin＇s untitled poem illuminates love and blessing through artistic images, as in Giorgio de Chirico＇s painting, The Song of Love （1914）. Love in London is somehow a dream-like image--a surreal illusion of love, which stays in the viewer＇s mind as a poem of colours, representing etemity. Virginia Woolf＇s Night andDay says it better, when Mary walks into the British Museum and gazes at the Elgin Marbles, thinking how much she is in love with Ralph. John Keats＇ ＂On Seeing the Elgin Marbles＂ also depicts the way in which a gaze of love could be an eternal moment of aesthetic ecstasy .
文摘This article draws attention to the subject of art in Levinas＇s thinking through consideration of his philosophical language, which is aided by images, metaphors, and idioms of art. The primary image that will accompany our discussion throughout this article is the image of art as shadow, which Levinas incorporates into the title of the essay which he devotes to the subject of art： ＂Reality and Its Shadow＂. Thinking about art from the perspective of Levinas means thinking about image and essence, about which is visible before us and which we cannot see, and about the different ways in which art can express itself. Levinas＇s theory of interpretation is grounded in and guided by the field of ethics and addresses the ethical aspects of interpretation. Levinas approaches the discourse of interpretation not out of na＇ivet6 but rather based on a deep understanding of the field of hermeneutics, with all its shortcomings and challenges. Thinking of hermeneutics from an ethical perspective is no mere addition to the discussion but the very crux of the matter. An attempt to understand interpretation as an act of exposing the truth encounters serious philosophical and logical difficulties, whether we are seeking to discover the intention of the artist, the intent of a specific work of art, or a hidden form within the work itself. The engagement with Levinas＇s theory of hermeneutics, however, raises a different question which is the focus of this article： Can Levinas＇s theory of interpretation be applied to the realm of artistic creation, and if so, how？ This question is sharpened by the difficulties that Levinas himself poses to his readers by designating art as the ＂shadow＂ of reality and drawing attention to the egoistic dimension of the artistic act.
文摘The issue of cemetery planting is not yet sufficiently studied in Lithuania. Cemetery is one of the sites where people could give way to their subjective comprehension of beauty. Analysis of the cemetery planting revealed certain noticeable features that could be ascribed to the forms of folk art. These are various objects with implied specific content or ornamented compositions. The aim of the research was to ascertain and distinguish graves characterised by specific planting features associated with plants, their layouts on graves. Analysis of the research results shows that two options form the peculiarities of grave planting： depiction of specific objects and ornamentation.We think that majority of the ornaments are made with the single purpose of decoration, and do not associate with symbolic meanings. During this research the graves decorated with planted symbolic objects and ornaments were distinguished. This phenomenon becomes more and more popular in cemeteries of Siauliai city in Lithuania.
文摘Mr. Huang Dufeng is the master to paint landscapes, flowers, birds and people. In artistic practice, he clearly saw that in addition to using the ink to express the appearance, there exists its independence of aesthetic nature. In addition, Mr. Huang Dufeng is aware of vital importance of the spirit manifesting in the traditional painting. He has foresight in the face of treating the mutual development of Chinese and Western painting. In the meantime to advocate learning western painting, he all along emphasize that we should flourish the specific beauty of Chinese painting. He has showed a wide range of subjects, breaking the bondage of ＂four gentlemen＂ and pioneered the art image of angelfish. By discussion on Mr. Huang Dufeng through the painting features and process of thinking, he insisted on aesthetics concept of ＂Ancient and modern, compatibility of Chinese and Western＂.
文摘With the rapid development of China film industry, more and more people are willing to go to the cinema to feel rich film culture, at the same time for the movie has also been seen the movie characters, including clothing and some other relative derivatives have higher requirements. Thus the birth of film art image derivatives, with the continued rapid development of film technology and film art, film art derivatives with 3D, 4D will be the future of film art image derivatives success ＂interview＂ has become a new economic growth point China film, its development prospects are very impressive. According to market research and analyse, through the research and analysis of 3D MAX movie derivatives as an example, from the aspects of brand image positioning and design of more specific design and research of film art image derivatives, thereby to strengthen and promote the combination of film technology and art products, and ultimately promote the rapid development of film art derivatives.
文摘As a unique artistic form of both young and old, urban sculpture art plays a finishing touch to the urban image of the new era, gradually becoming the point to enhance the overall image of modem city. For public art sculpture gradually integrates into modem life, the attention of it is also increasing. A city needs good sculpture to heighten the atmosphere and shows cultural deposits, in the meantime, excellent urban sculpture will also greatly enhance the influence of cultural landscape and public art, effectively creating urban culture brand image and enhancing the city＇ s comprehensive charm.
文摘In Turkey, from the second half of the nineteenth century, the shaping of an art of painting on the basis of Western understanding was realized with state support. From this period, certain art movements were seen as the means of modernization and Westernization. Therefore, impressionism, cubism, realism, and classicism were supported by the state as a formal artistic understanding. This attitude continued until the 1940s and artists painted certain subject matters on the basis of these art movements. The main theme and subject matters were the presentations of an idealized society such as palace＇s life, attractive women in Western appearance, happy peasants, war heroes, and beautiful views from the country. In the early 1940s, significant breakup began to take place in point of the theme and the subject matter of art. Social realism began to take shape for the first time in art in Turkey. The artists of Yeniler Grubu （Newcomers Group） focused on social phenomena related disadvantaged social groups rather than an idealized society. Some artists among the 1950 generation, especially Nedim Gunsur, Nuri iyem, and Miimtaz Yener, focused on migration and social problems that occurred correspondingly in the 1960s and 1970s. This paper aims to investigate how these artists depicted and interpreted the migration and its consequences.
文摘The paper will focus on communication through the figures of discourse. The problem of the entanglement of the visual and the semantic is discussed extensively by lean-Francois Lyotard, in his notable Discourse, Figure, in relation to the perception and representation of space and the role and form of the sign. According to this philosopher, the figure dominates the communication process by deconstructing the text. Both the topography of the figure and art is the result of repression processes and the subsequent discharge of libidinal energy. Art in particular is a formalism of the death drive, according to Lyotard. The figure of ＂the mobled queen＂, the expression of a possible slip of the tongue in Hamlet, becomes a symbol of the distorted relationship of the visual, the semantic, the ethical, and the critical role of this in art and communication. In addition to Lyotard＇s model, the possible figures of globalization will be discussed in relation to Peter Sloterdik＇s Globes. Spheres II.
