Fine Arts & Visual Studies

Becoming a Tradition: Presentation of Ti Qin Opera in Funerals in Chongyang County, China

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Li Shijie1* , Julia Chieng2 , Chan Cheong Jan3   
1,2Department of Music, Faculty of Human Ecology, Universiti Putra Malaysia. *Corresponding author.
3Center for International Affairs, Tottori University.

Rupkatha Journal, Vol. 16, Issue 2, 2024. https://doi.org/10.21659/rupkatha.v16n2.13g
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Abstract:

Ti Qin Opera, a popular local performing art in Chongyang County, Hubei Province, China, was mainly performed during the birthday celebrations of the local people and the Chinese Spring Festival to enliven the atmosphere. However, in the last two decades, Ti Qin Opera has been frequently performed at funerals, forming a new practice—the mourning ritual—which has been widely accepted by the locals and has become a tradition. In this regard, two questions arise: Why does Ti Qin Opera appear at local funerals? How did the mourning ritual become a tradition? This study applies an ethnographic approach to investigate the performance of Ti Qin Opera at funerals. The emergence of the mourning ritual in funerals is attributed to the emotional need for filial piety and the local people’s competitive mentality. The family of the deceased believes that if other families hire a Ti Qin Opera troupe to perform the mourning ritual, their family should not miss out on holding this last event for the deceased. Ti Qin Opera performers rely on their reputation and prestige accumulated over the centuries, and acceptance by the locals is a key factor in making the mourning ritual a tradition. Increased economic status among the Chongyang people and, subsequently, better financial capacity to hire Ti Qin Opera troupes further contribute to the development of the mourning ritual tradition.

Keywords: Ti Qin Opera, mourning ritual, funeral, tradition.

Conflicts of Interest: The authors declared no conflicts of interest.
Funding: No funding was received for this research.
Article History: Received: 23 February 2024. Revised: 04 June 2024. Accepted: 04 June 2024. First published: 06 June 2024.
Copyright: © 2024 by the author/s.
License: License Aesthetix Media Services, India. Distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (https://creativecommons.org/licenses/by/4.0/).
Published by: Aesthetix Media Services, India
Citation: Li, S., Chieng, J., & Chan, C. J. (2024). Becoming a Tradition: Presentation of Ti Qin Opera in Funerals in Chongyang County, China. Rupkatha Journal 16:2. https://doi.org/10.21659/rupkatha.v16n2.13g

Rupkatha Journal's Sustainable Development Goals (SDGs): Quality education (SDG 4) Gender equality (SDG 5) Decent work and economic growth (SDG 8) Reduced inequalities (SDG 10) Sustainable cities and communities (SDG 11) Climate action (SDG 13) Life on land (SDG 15) Peace, justice, and strong institutions (SDG 16)

Visual Voices: The Techniques and Emotions of Czechoslovakia’s Illustrative Masters (1979-2015)

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Hoda Zabolinezhad1* , Mitra Mokhtarpour-e-Saravi2 , Zahra Falah Mehtarlou3
1,3 Painting Department, Urmia University, Urmia, Iran. *Corresponding author.
2 Tehran Markaz of Azad University of Iran

Rupkatha Journal, Vol. 16, Issue 2, 2024. https://doi.org/10.21659/rupkatha.v16n2.06g
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Abstract:

The study aims to review the illustration methods of four top illustrators in Czechoslovakia. Its purpose is to understand their successful approaches and recognize the unique characteristics of their works, which convey personal ideas and thoughts. The study delves into the most important illustration techniques employed by these artists. The central research question seeks to uncover the expression methods and execution techniques used by these top illustrators to convey their ideas and emotions. Culture and customs play a pivotal role in an illustrator’s work. No artist can create truly ingenious works divorced from the cultural context of their hometown. Their visual language becomes a reflection of their culture, and this authenticity contributes to the value of their creations. Sensitivity to children’s perceptions of life, art, culture, and the future is essential for compassionate and impactful work. These illustrators are deeply committed to their young audience, shaping the future through their art. This research follows a fundamental descriptive-analytical approach, with data collection primarily based on library resources.

Keywords:  Children’s book illustration, Czechoslovakia, decoding, expression and executive technique in illustration, illustration.

Conflicts of Interest: The authors declared no conflicts of interest.
Funding: No funding was received for this research.
Article History: Received: 02 January 2024. Revised: 17 May 2024. Accepted: 19 May 2024. First published: 22 May 2024.
Copyright: © 2024 by the author/s.
License: License Aesthetix Media Services, India. Distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (https://creativecommons.org/licenses/by/4.0/).
Published by: Aesthetix Media Services, India
Citation: Zabolinezhad, H. & Mokhtarpour-e-Saravi, M. & Mehtarlou, Z.F. (2024). Visual Voices: The Techniques and Emotions of Czechoslovakia’s Illustrative Masters (1979-2015). Rupkatha Journal 16:2. https://doi.org/10.21659/rupkatha.v16n2.06g

Rupkatha Journal's Sustainable Development Goals (SDGs): Quality education (SDG 4) Gender equality (SDG 5) Decent work and economic growth (SDG 8) Reduced inequalities (SDG 10) Sustainable cities and communities (SDG 11) Climate action (SDG 13) Life on land (SDG 15) Peace, justice, and strong institutions (SDG 16)

The Interrelation of Art, Science, and Technology from a Cognitive Dimension: Art as a Way of Knowledge and the STEAM Methodology as the Answer

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Beatriz Escribano-Belmar 1, Raquel Caerols-Mateo 2, Reynaldo Thompson 3
1Faculty of Fine Arts, University of Salamanca
2Faculty of Information Sciences, Complutense University of Madrid
3University of Guanajuato, México
Rupkatha Journal, Vol. 15, Issue 3, 2023. https://doi.org/10.21659/rupkatha.v15n3.11
[Article History: Received: 27 December 2022. Revised: 08 August 2023. Accepted: 09 August 2023. Published: 26 August 2023]
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 Abstract

The interrelation between art and science can be understood as a dialogue that emerges from the process of knowledge construction, and consequently, it also defines the human being. The idea may be legitimated from a cognitive perspective. What if we consider this dialogue on the art/science split not as a model of knowing in itself, but as a constructed concept? Thinking as a construct, the advent of technology could have supposed an element to accentuate the divide in this dialogue, as an emerging techno-society may have deepened this separation. However, there is a need to explore the arts -and humanities- trying to find some answers to the challenges posed by the digital paradigm. For this reason, the inclusion of the letter “A” of Arts in the STEM dialogue, resulting in STEAM, is not accidental. From this approach, the entrance of the STEAM methodology into educational models is going to be addressed from the cognitive dimension of art, as a consequence of the conceptual, social, and cultural changes that give it meaning. For that purpose, the issue is addressed through the art cognitive dimension as the theoretical and conceptual foundation supporting it and that leads to the analysis of the named methodology and its contemporary necessity.

Keywords: Art; Science; Technology; Education; Cognition.
[Sustainable Development Goals: Better Education]
Citation: Escribano-Belmar,  Beatriz, Raquel Caerols-Mateo, Reynaldo Thompson. 2023. The Interrelation of Art, Science, and Technology from a Cognitive Dimension: Art as a Way of Knowledge and the STEAM Methodology as the Answer. Rupkatha Journal 15:3. https://doi.org/10.21659/rupkatha.v15n3.11 

Retrieval of Identity Layers in Persian Illustrated Lithographed Manuscripts with Religious Themes of the Qajar Era

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Mahmonir Shirazi1 & Maryam Hoseini2

1Postdoctoral Researcher, Lecturer at Alzahra University. ORCID ID: 0000-0002-4175-4912. Email: m.shirazi@alzahra.ac.ir

2Professor at Alzahra University, Department of Persian Literature, ORCID ID: 0000-0001-6778-1188. Email: drhoseini@alzahra.ac.ir

[Received 05 May 20023, modified 20 June 2023, accepted 22 June 2023, first published 24 June 2023]

Rupkatha Journal, Vol. 15, Issue 2, June 2023. https://doi.org/10.21659/rupkatha.v15n2.14
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Abstract:

This paper aims to scrutinize the identity layers in artworks of the Qajar era. Identity in art has different layers and each layer depends on different aspects. the Qajar Era is one of the culturally productive periods in Iran. It also had widespread relations with the West in different matters. Thus several identity layers in the culture and artworks can be seen in this period. The research tries to answer this question: what are the identity layers and their priorities found in the Lithographed Manuscripts with religious themes in the Qajar Era? The analysis of 10 manuscripts with various dates shows that there are four identity layers: archaism, Persian-Islamic, Western-style and Islamic-Shi? tendency in artworks of the Qajar Era and each type of artwork, some layers have more importance.

Keywords: Identity layers, Lithography, Art of the Qajar, religious Manuscript, Illustration

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Ballet in Virtual Reality: On the Problem of Synthesizing “End-to-End” Technologies and Theatrical Stage Art

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Tatiana V. Portnova
The Kosygin State University of Russia, Moscow, Russian Federation. Email: portnova_ta@bk.ru

Submitted 10 January 2022, modified 27 May 2023, accepted 17 June 2023, first published 21 June 2023

Rupkatha Journal, Vol. 15, Issue 2, June 2023. https://doi.org/10.21659/rupkatha.v15n2.12
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Abstract

The article is devoted to the study of the problem of synthesizing “end-to-end” technologies and theatrical (stage) art. The author proceeds from the fact that in the era of industrialization, a person’s perceptual practices are carried out through the prism of a new, generative reality, which, consequently, causes the transformation of the spatial-temporal model of aesthetic experience. However, the artist as the creator of a work of art, having a special sensitivity to reality, can see what may be inaccessible to his audience. The hypothesis is put forward that this ability is based on a simultaneous perception of time and space, the fundamentalization of which in the perceptual practice and aesthetic experience of the viewer is the main task of a modern artist. The verification of this hypothesis was carried out through the prism of the synthesis of virtual reality as an “end-to-end” digital technology and stage (choreographic) art, where time and space become the subject of artistic reflection. The methodological foundation of the research is based on a discursive analysis, which allows us to understand, firstly, how modern stage (choreographic) digital art offers the viewer to make a path on his own, with a “previously passed meaning” and with the help of his already existing perceptual experience; secondly, how the artist, as the creator of a work of digital art, builds and carries out a “conversation” with the viewer through the prism of the simultaneous communicative space initiated by him. The author emphasizes that a modern artist, regardless of his/her role in art, must have the skill of discursive analysis to be able to create a communicative space in which the viewer will be able to gain perceptual experience and independently “realize” the temporal-spatial mega-code, and understand the idea of the artist, regardless of how much it is hidden from the audience. In turn, the ability to discursive analysis of the viewer will allow you to collect and disperse meanings, transform them, return them to their original state and let them go back into the element of the game of signifiers, offering yourself to overcome the path in the semantic landscape of the work of theatrical (stage, choreographic) art.

Keywords: “end-to-end” technologies, theatrical art, choreographic art, virtual reality, perceptual practice, ballet, space, time.

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Factors Affecting Motivation in Learning Classical Dance: An Empirical Study

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Kateryna I. Kukhar1, Natalia V. Bilous2
1Kyiv State Ballet College, Kyiv, Ukraine. Email: kateryna_kukhar@edu-knu.com
2Branch of Museum of Kyiv History, Serge Lifar Museum, Kyiv, Ukraine. Email: bilous0712@gmail.com

Received 15 January 2022, modified 17 May 2023, accepted 20 May 2023, first published 14 June 2023.

Rupkatha Journal, Vol. 15, Issue 2, June 2023. https://doi.org/10.21659/rupkatha.v15n2.10
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Abstract

This article aims to determine the most optimal pedagogical techniques and methods for influencing students to develop motivation in teaching classical dance. The article reveals the essence of the concept of motivation and examines the factors that affect the reduction of motivation during classical dance lessons. In the empirical part of the study, the author analyzes the self-determined level of motivation of students of Kyiv State Ballet College. The authors of this article used the Behavioral Regulation in Exercise Questionnaire-2 (BREQ-2) adapted to the issue under the study, the technique for determining the level of learning motivation in students developed by Ginzburg, and the technique for diagnosing learning motives developed by Badmaeva. The study shows that the level of motivation is growing among senior college students due to the improvement of their formed competencies and an increase in responsibility for learning outcomes. It was also studied that the self-motivation to dance was stronger than demotivation among the respondents. In the final part of the study, the authors of this article suggest various approaches and techniques to increase the motivation of students, activate their creative potential, and thereby enhance the effectiveness of the educational process. The study also highlights psychological and pedagogical conditions for increasing the motivation level to succeed in teaching classical dance.

Keywords: classical dance, motivation, demotivation, pedagogical techniques, methods of influence.

 

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Scientific Discovery and the Scientist’s Gaze: Galileo’s Lunar Science and the Lacanian Theory of Art

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Hyun Sohn

College of Paideia, Sungkyul University, Republic of Korea. Email: hyksohn@sungkyul.ac.kr

Rupkatha Journal, Vol. 15, Issue 2, June 2023. https://doi.org/10.21659/rupkatha.v15n2.04
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Abstract

One dominant explanation for Galileo’s telescopic discovery of the rough and uneven surface of the moon is that he was well-versed in painting techniques such as perspective and chiaroscuro, which emphasize a realistic representation of objects. This allowed him to grasp the appearance of the moon most accurately. This paper proposes a new interpretation of the relationship between science and art through the Galilean case, which highlights the creative process rather than realistic representation as they pertain to the beneficial role of art in advancing science. Tracing the trajectory of Galileo’s telescopic observation as described in Sidereus Nuncius, the author demonstrates that what Galileo saw were simply unidentifiable spots and that the discovery of the moon’s rough surface was an inference—the key factor being a self-distancing imagination that allowed him to see, at an imaginary distance, the homogeneous relationship of the moon and the earth to the sun. The author discusses how this self-distancing imagination, which involves re-establishing the relationship of objects through light, is uniquely connected to pictorial artistic sensibility, especially through the Lacanian theory of art. Finally, the author suggests that a love for numerous partial objects, rather than for truth, constitutes the real ethical foundation of a scientist.

Keywords: Galileo Galilei, the moon, science and art, Jacques Lacan, the gaze

Article History: Submitted 01 Feb 2023, modified 05 March 2023, accepted 10 March 2023, first
published 02 June 2023

Scientific Discovery and the Scientist’s Gaze: Galileo’s Lunar Science and the Lacanian Theory of Art

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What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

Gender Equality in the Posters Designed for Covid 19 Prevention

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Ani Atsharyan1, Tatevik Paytyan2, Artashes Melikyan3 & Ashot Baghdasaryan4
1Associate Professor, National University of Architecture and Construction of Armenia, Yerevan, ORCID: 0000-0002-1450-6331. Email: ani-acharyan@mail.ru.
2Associate Professor, National University of Architecture and Construction of Armenia, Yerevan, ORCID: 0000-0001-7805-3880. Email: paytyantatevik@gmail.com.
3Professor, National University of Architecture and Construction of Armenia, Yerevan, ORCID: 0000-0001-8961-5447. Email: artashesmelikyan@rambler.ru.
4Professor, National University of Architecture and Construction of Armenia, Yerevan, ORCID: 0000-0002-5475-9659. Email: armdesignunion@yahoo.com.

Rupkatha Journal, Vol. 14, Issue 4, December, 2022. https://doi.org/10.21659/rupkatha.v14n4.27
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Abstract

Since the Covid-19 eruption in 2020 designers from all over the world started to concentrate their efforts to increase the awareness of the population through visual methods and prevent the spread of the disease. As the germ itself is invisible to the naked eye, graphic designers created an iconic visual identity 3D image of a particle, which became the widespread inspiration for future propaganda and informational posters. Furthermore, the visualization of the virus particle was not enough to influence the wide scope of people; thus, the new problem for designers became to make such posters that could reveal virus vs human “relations”, taking into account gender characteristics as well. The article consists of analytical research on gender-based graphic design’s role in the prevention of viruses throughout history. The main problem is how graphic design projects influence the decrease of the virus spread and how gender equality-cantered design contributes to it. First time in the article are presented the basic principles of poster design considered for all genders to present the serious message of the urgent prevention of the virus. In the article, the works of designers are analysed and reviewed as well. The significance of the article is emphasizing the importance of gender equality in design visualization to increase the influence of them on people’s behaviour.

Keywords: Covid-19, gender equality, pandemic, design, visual communication, poster design, signs.

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The Artistic Narrative in Times of War: NENKA project of Ukrainian Visual Artists

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Natalia Gurieva1 & Victor Manuel Reyes Espino2
1Department of Art and Enterprise, University of Guanajuato, Mexico. ORCID: 0000-0002-1366-1292. Email: n.gurieva@ugto.mx
2Department of Art and Enterprise, University of Guanajuato, Mexico. ORCID: 0000-0001-9309-6387. Email: vm.reyes@ugto.mx

Rupkatha Journal, Vol. 14, Issue 4, December, 2022. https://doi.org/10.21659/rupkatha.v14n4.08 
Abstract Full-Text PDF Issue Access

Abstract

Art is deeply linked and contributes to the fundamental axes of culture, that is, norms and standards of behavior, national traditions, principles of life and value systems. During periods of social crisis, art is one of the most vulnerable components, but at the same time a powerful catalyst for creative processes, as well as an expressive vehicle for a critical view of the current situation. Particularly in times of war, artistic expression is presented with a powerful life-giving potential and allows to accurately express the enormous emotional tension of people, whose lives have been disrupted by death, pain, and destruction. This is the case of Ukrainian artists who, through visual exploration, build a complex narrative that seeks to interpret and express the pain and hope of what happened in their native country and which, since 2014, has been experiencing the ravages of war.

Keywords: Ukraine, Artist community, Contemporary image, Art to highlight Ukraine War.

Mapping Caste Violence in the Domestic Front: Representation of the Caste Questions in Contemporary Malayalam Cinema

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V.K. Karthika
Assistant Professor, Department of Humanities and Social Sciences, National Institute of Technology Tiruchirappalli (NIT Trichy). OCID: 0000-0002-6335-1153. Email: vkkarthika@nitt.edu

Rupkatha Journal, Vol. 14, Issue 4, December, 2022. https://doi.org/10.21659/rupkatha.v14n4.03 
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Abstract

Conservative modes of representation of the Dalit lives and the caste questions in Malayalam cinema used to adhere to the stereotypical portrayal of caste-based violence as a tool to evoke pity, fear or laughter. However, recent movies emphasise the revolt of the subaltern both in personal and public domains of discourse. This paper attempts to analyse two recent Malayalam films, Puzhu (the Worm) and Malayankunju (The Malaya Child) released in 2022 that blatantly deal with caste-based violence operational in the domestic sphere. The critique is based on two major questions: how do caste identity and caste-based violence function in the domestic interiors and in what ways do the dominant patriarchal discourses complicate the subjective positioning of women within and outside the household?  The study identifies various elements that contribute to the construction of subjectivity of the Dalit and discusses the issues embedded in caste pride leading to catastrophe at the home-front through ostracisation and excision (either through murder or through mutilation) processes of those ones who do not conform to the dictated norms of casteists. Within the theoretical framework of structural and cultural violence, the paper analyses how caste-based violence and gender-based violence are types of structural violence, and discusses the legitimation of it sanctioned by various cultural elements.

[Keywords: Caste Questions, Caste Violence, Malayalam Cinema]

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