Fine Arts & Visual Studies - Page 2

Contemporary Art in Applied Dimensions: A Reflective Review of Art as Therapeutic Process

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223 views

Oscar López

Master of Arts, University of Guanajuato. Email: oskr_caleb@hotmail.com

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.62

Abstract

A common perception about contemporary art is the perception that it excludes a majority of people as being its legitimate viewers or judges, by virtue of the fact that it contains exclusive or encrypted messages. A small, privileged group of experts grant value, acceptance and endow public popularity of such works for the market and media. In this research we seek to provide an insight into a cluster of contemporary abstract art forms and show how such art forms anticipate closer and more common sensory and hermeneutic experience. Art like that of Hamish Fulton is built on experiences that enables us to connect with them, thereby redefining the concepts and ideas of these arts through an alternative phenomenological experience of their methods and processes of making art. Fulton’s art is based on a visual translation of his experiences of healing walks through mountainous terrain. We may build a personal, general methodology of interpretation by building personal synergistic links with the methods of creation – that could in turn generate therapeutic effects both in the viewer or in the interpreter of such art, through self-reflection and re-construction of the concepts proposed in the framing. Likewise, we will reflect briefly on art therapeutic projects that we studied for patients with ADHD. We analyze the expressions and suggest a method of therapeutic art creation based on similar processes as in Fulton.

Keywords: Contemporary art, experientiality, hermeneutics, method, phenomenological therapy

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The Paradigm of Transmediation: An analytical reading of the dynamics of comic strip translation with reference to select Nonte Fonte panels

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224 views

Dr. Archita Gupta

Post Graduate Teacher in English, Henry Derozio Academy, Directorate of Secondary Education,Government of Tripura.

ORCID ID:0000-0001-6030-141x. Email: architagupta82@gmail.com

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.52 

Abstract

The present study focuses on the translation of a pure Bengali vernacular strip Nonte Fonte in English and to colour and its reception across the Bengali reading and speaking populace especially of Tripura, a North Eastern state of which the researcher is a part.  At the same time this paper also highlights the way in which an apparently innocent comic strip such as Nonte Fonte showcases and disseminates, naturalizes and legitimizes stereotypes that represent negative codification of the cultural ‘Other’ (the inhabitant of Orissa relocated to Kolkata for work for instance) through its image /illustration medium and how the target reader internalizes it. Attempt has also been made to locate how market forces and the demand of English readership/target culture influence the translated product/text, thus pertaining to  Bassnet’s (2007) concept of  cultural capital which  can be loosely defined as that which is necessary for an individual to belong to the ‘right circle’ in the society (p.19). Translation helps a culture to come closer to the ‘cultural capital’ of the other. The concept of cultural capital is most pertinent to the power relation, concept of hierarchy and negotiation involved in translation in this context. Cultural capital here is not the Source Text (ST), but the Western canon of English language and English readership (global readership in English in this context that would generally define itself as a summation of the Bengali (with or without Bengali reading competence, but with English reading competence) and non- Bengali but English reading domains in India and the rest of the English reading world). However as has been pointed out later in this paper, the publisher tends to contain and restrict the consumption of his product- the text thus translated, within a supposed niche of target readership, the Bengali children. The paper also interrogates the impracticality of such a proposition.

Keywords: Image, translation, codification,  transmediation, reader-response.

Optical Versus Cognitive Perspective: Study of Indian Folk Paintings

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198 views

Sunil Lohar

Ph.D. Scholar and Lecturer at Centre For Exact Humanities, International Institute of Information Technology, Hyderabad, India. Email: sunil.lohar@research.iiit.ac.in, sunil.iiith@gmail.com. ORCID id: 0000-0003-3972-7728

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.40  

Abstract

Is painting space fundamentally perspectival? In the European Renaissance (14th to the 17th century), the painting space was thought of as having an interior of perspective where one could place an object. It took many years after the Renaissance for European art to come out of this optical or geometrical perspective and realise that the space of painting is fundamentally non-perspectival. Historically in Europe, impressionists (1860) painters are the ones who tried to break away from this optical or single-point perspective and create paintings according to ‘lived perspective’. Optical perspective is one of the visual dogmas which are believed till today; thus, it is tough to appreciate non-perspectival paintings. This paper aims to give technical reasons why painting space is fundamentally not perspectival; the first section of the paper will deal with the question ‘what kind of space is painting space?’, and in the second section, we will compare method of photograph and drawing to find the differences between mechanism of camera and human perception . In the last section of the paper we will use Indian folk paintings, to demonstrate how cognitive or alternative/multiple perspectives open new possibilities in painting space.

Keywords: Perspective, Optical, Cognitive, Space, Imagination, folk, Shape and Stroke.

Decoding the Impact of the Srirama Panchali on Baranagar Temples Facades: The Driving Force behind Terracotta Artisans’ Narrativization of Ramayana Events

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225 views

Dr. Bikas Karmakar

Assistant Professor, Government College of Art & Craft Calcutta. Email: bikaskarmakar@gmail.com, https://orcid.org/0000-0001-7045-8744

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.39 

Abstract

Valmiki Ramayana is one of the most popular, universally read, and widely circulated literary works. The poets of different languages in India ornamented Valmiki’s Sanskrit Ramayana with the vibrancy of their own indigenous languages and cultures. A significant number of such versions trace their roots to Bengal. The epic was first translated into the Bengali language by the great poet Krittibas Ojha. Its influences and popularity have been such as to justify it being called the Bible of the people of Bengal. Its intense undiminished popularity among the populace has also left an indelible impression on the artisans of Bengal and their creations in different eras. The study primarily aims to investigate the Ramayana narratives that have been found on the facades of the temples of Baranagar in Murshidabad, West Bengal, India. The intention is to trace the impact of Krittibas’s Srirama Panchali on the portrayals of the Ramayana episodes. The formal method of Art History has been employed to provide an in-depth description of the formal elements that have been incorporated by the artisans. Besides, a detailed critical inspection of the concerned portrayals has been complemented with literary references to get a lucid understanding of the intended issues.

Keywords: Valmiki’s Ramayana, Krittibas’s Srirama Panchali, narrative art, terracotta temple’s facade, Baranagar, Murshidabad

Creative Vision and Creative Arts: Significations and Metaphors of Keys in Alex Idoko’s Symbolist Arts

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201 views

Ekenechukwu A. Anikpe1, Ndubuisi Nnanna2, Adebowale O. Adeogun3 & Emeka Aniago4

1 Lecturer, Dept. of Fine & Applied Arts, University of Nigeria, Nsukka, Nigeria

2Lecturer, Dept. of Theatre & Film Studies, University of Nigeria, Nsukka, Nigeria

3Senior Lecturer, Music, University of Nigeria, Nsukka, Nigeria

4Senior Lecturer, Theatre & Film Studies, University of Nigeria, Nsukka, Nigeria

ORCID: 0000-0003-3194-1463. Email: emekaaniago@gmail.com

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.38

Abstract

Artistic symbols in many ways act as complimentary narrative tools that elevate and define the message from the artist, which can help to generate efficacious consciousness and mood aggregation in the beholders. The purpose of this study is to deepen the appreciation of the embedded significances of keys as symbolic objects in selected symbolist art by Alex Idoko which represents variously, mystical attributions and significations as understood within different worldviews. Through the application of interpretive discuss approach in relating relevant concepts of symbolism, the study elucidates on the symbolical, mythological, mystical and metaphorical denotations and attributions of chains, padlock and keys in line with Victor Turner’s concept of operational, exegetical and positional meanings. In the end, we observe that the selected work by Idoko subsume deep and dense creative vision projecting deliberate effort in using art as a means of sharing cultural ideas, mystifying aesthetics, propelling curiosity, and mood/emotion intensity.

Keywords: Alex Idoko, art, Igbo, keys, metaphors, mystical, padlocks

Embroidery and Textiles: A Novel Perspective on Women Artists’ Art Practice

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344 views

Sunanda Rani1 , Prof. Dong Jining2, Dhaneshwar Shah3

1PhD Scholar, School of Art & Design, Wuhan University of Technology, Wuhan, China. Email: sunandaartist@yahoo.co.in

2Professor, School of Art & Design, Wuhan University of Technology, Wuhan, China. Email: 1662917685@qq.com

3PhD Scholar, School of Art & Design, Wuhan University of Technology, Wuhan, China. Email: dhaneshwar005@yahoo.co.in

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.37

Abstract

The manuscript focuses on the autobiographical artistic practice of women artists and feminist expression in visual art, particularly those women artists who use embroidery and textiles as mediums, techniques, processes, styles, subjects, and themes. Women artists often use a variety of unique materials and techniques to create artwork which are primarily related to them and show a feminist identity. The research explores the mediums, tools and techniques applied by women artists in their artworks and the reasons behind choosing that particular medium and methods. In addition, women artists when, where, and how these diverse creation strategies have been adopted and developed over time are examined and analysed with the help of earlier literature, articles, research papers, art exhibitions, and artworks created by women artists. This manuscript discusses the chronological development of embroidery and textiles in the context of women’s art practice, the efforts and achievements of the “Feminist Art Movement” and the cause and concept of “Entangled: Threads & Making”, a contemporary woman artist art exhibition at Turner. Embroidery and textiles are associated with women’s art practice; women artists used embroidery, needlework, and textiles as a powerful symbolic medium of expression and resistance against the male-dominated art society. They began to use feminist expressions, forms, and materials to present their new characteristics. Women artists use embroidery, textiles and needlework as feminist traditional materials and techniques, and continue to struggle to blend them with other new contemporary mediums.

 Keywords: Art, Feminism, Women, Gender, Embroidery, Textiles, Autobiographical Practice

Effect of Egyptian Culture on the Design of Jewelry (Cultural Design Based on Ancient Egyptian Patterns)

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290 views

Eman Ramadan 1, 2 and YuWu 1

1School of Art and Design, Wuhan University of Technology, Wuhan, China. E-mail: eman.salah@fsed.bu.edu.eg

2Department of art education, college of specific education, Benha university, Egypt. ORCID: 0000-0002-1567-7386. E-mail/ yuwu1981@gmail.com.

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.36

Abstract

We are now living in an era in which modern media and advanced technology, including satellites, satellite channels, and the information network, are intensifying, all of which are working to dissolve cultural subjectivity and remove popular legacies to replace them with Western cultural values ??and behavior patterns. Hence, the Egyptian researcher sees the necessity of reviving contemporary inspired, where every civilization in history has its own culture and pattern which always reflects civilization and expresses their lives and beliefs. Herein, we will mention about the ancient Egyptian civilization, in northeastern Africa that dates from the 4th millennium BCE. It has many achievements, which preserved in its art and monuments. It holds a fascination that continues to grow as archaeological finds expose its secrets. This article focuses on ancient Egyptian culture through the patterns of their beliefs, and how did these patterns affect the designs of the jewelry, and how we can benefit from these patterns in the creation of innovative designs. Here, we focused on the Egyptian pattern because of its great importance in ancient Egypt. Besides, its distinctive shapes enable us to create new modern designs for this era.

Keywords: Patterns, Egyptian culture, Cultural product, Jewelry design.

Semiotic Analysis of Petroglyph «Ancient Turks and the Mother Goddess Umay/Umai»

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262 views

Tatiev E.E.1, Yesim G.2, Sarkulova M.S.3, Mukataeva A. A.4 & Tatieva M. E.5

1Doctoral student at the Eurasian National University named after L. N. Gumilyov, St. Satpayev 2, Nur-Sultan, 010008, Republic of Kazakhstan E-mail: ertisuly82@mail.ru https://orcid.org/0000-0001-6368-1251

2Doctor of Philosophy, Professor of the Eurasian National University named after L. N. Gumilyov, St. Satpayev 2, Nur-Sultan, 010008, Republic of Kazakhstan Email: garifollaesim@mail.ru https://orcid.org/0000-0003-4001-9235

3Candidate of Philosophical Sciences, Associate Professor of the Eurasian National University. L. N. Gumilyov, St. Satpayev 2, Nur-Sultan, 010008, Republic of Kazakhstan Email: manifa.s@mail.ru https://orcid.org/0000-0002-5992-2814

4Candidate of Philosophical Sciences, Associate Professor of the “Shakarim Semey University”, St. Glinka, 20 “a”, Semey, 071412, Republic of Kazakhstan Email: aizat720804@mail.ru https://orcid.org/0000-0001-9046-9256

5Master of the “ShakarimSemey University”, st. Glinka, 20 “a”, Semey, 071412, Republic of Kazakhstan Email: tatieva_me@mail.ru https://orcid.org/0000-0003-2365-8123

Volume 13, Number 3, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n3.42

PlumX Metrics

Abstract

The study of historical artifacts from a scientific point of view is acknowledged in the literature. A clear understanding of our historical roots is connected with the study of cultural heritage from empirical and especially quantitative bases of research already done by scholars like Rudenko (1927) and Gavrilova (1965). Yet, another important method of studying historical material objects is semiotic analysis, which allow studying prehistorical visual culture artifacts as a system of signs, which may be deciphered, and related to deducible meaning and sense in the context of ethnographic, cultural and specifically semiotic references which bear on location, identification and understanding of such material. Our research in this article is dedicated to a study of certain visual material artifacts from the geographical region of the Eastern Altai. In particular, we study petroglyphs on a boulder that was discovered during the excavations of the Kudyrge burial ground near the Chulyshman River, which according to some sources belong to the Turkic culture of the early period, and have recently begun to arouse the interest of scientists. Various empirical methods have been used to explore the stone monument (statue) called “Kudyrginsky plot”. Some of the techniques as those of pioneering research scholars like Rudenko and Gavrilova, include archaeological, historical, historical-chronological, historical-comparativemethods, as well as approaches including analysis and synthesis of the obtained data. In turn we supplement the existing methodological approaches with a semiotic-ethnographic analysis of the information available on the “Kudyrginsky plot”. We argue that semiotic analysis of ancient artifacts, following methods established by Reday (2019) and Martel (2020), can offer adequate information for the understanding of a rich historical heritage sight like the Kudyrginskyplot.

Keywords: Altai, Central Asia, Petroglyph, Semiotics, Tengri, Visual Artifact Augmentation

Reflections of Society in Art: Contributions of Michael Soi’s Politics Paintings to Socio-Political Debates in Africa

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Chijioke Onuora1, Krydz Ikwuemesi2, Chukwuemeka Okpara3 & Emeka Aniago4

1Senior Lecturer, Dept. of Fine & Applied Arts, University of Nigeria, Nsukka, Nigeria

2Associate Professor, Dept. of Fine & Applied Arts, University of Nigeria, Nsukka, Nigeria

3Senior Lecturer, Dept. of Fine & Applied Arts, University of Nigeria, Nsukka, Nigeria

4Senior Lecturer, Dept. of Theatre & Film Studies, University of Nigeria, Nsukka, Nigeria

ORCID id 0000-0003-3194-1463. Email: emekaaniago@gmail.com

 Volume 13, Number 1, 2021 I Full Text PDF
DOI: 10.21659/rupkatha.v13n1.08
Reflections of Society in Art: Contributions of Michael Soi’s Politics Paintings to Socio-Political Debates in Africa

Abstract

The purpose of this study is to extend scholarly reading of the contributions of Michael Soi’s politics paintings to social debates as a means of deepening our understanding of the complex relationship between art and politics. Thus, this study assesses relevant variables indicating how Soi’s selected paintings are effectively his means of projecting his views about his experiences, expectations, dreams, fears and reservations concerning his society’s socio-political realities. In an attempt at analyzing the functionality and aesthetic significances of Soi’s paintings, this study discusses relevant perspectives from individuals on politics paintings particularly how they can propel meaningful debates. Therefore, to gather relevant information on people’s responses to this kind of painting, we utilized viewer response approach and follow-up interviews. More so, we applied interpretive analysis in assessing the paintings (as metaphors depicting social realities), the collated responses (as means of espousing more on the concepts of cognitive process mechanisms), and relevant literature (as a means of assessing the trajectories of scholarly views on this subject). In the end, we observe that Soi’s politics paintings are efficacious medium of communication and that each individual viewer of these paintings produces responses that are similar or dissimilar but not exact because their subsisting ideological, political and philosophical inclinations are not exactly the same.

Keywords: Africa, art, cognition, efficacy, Michael Soi, politics painting

Regional Branding: Transfers Medium Dance into Visual Identity in Ponorogo Image Construction

306 views

Agus Budi Setyawan¹, Nanik Sri Prihatini², Sri Rochana W.³, Didit Widiatmoko Soewardikoen4

1Faculty of Design and Creative Arts, Mercu Buana University, Jakarta, Indonesia. Email: budi.setyawan@mercubuana.ac.id. ORCID id: 0000-0001-7829-5433

2Postgraduate Program, Institut Seni Indonesia (ISI), Surakarta, Indonesia. Email: nanik@isi-ska.ac.id. ORCID id: 0000-0002-1272-002x

3Postgraduate Program, Institut Seni Indonesia (ISI), Surakarta, Indonesia. Email: rochana@isi-ska.ac.id. ORCID id: 0000-0003-0256-2958

4Faculty of the Creative Industry, Telkom University, Bandung, Indonesia. Email: diditwidiatmoko@telkomuniversity.ac.id. ORCID id: 0000-0002-1272-7026

 Volume 13, Number 1, 2021 I Full Text PDF
DOI: 10.21659/rupkatha.v13n1.07
Regional Branding: Transfers Medium Dance into Visual Identity in Ponorogo Image Construction

Abstract

This article discusses how the people of Ponorogo, East Java, Indonesia, designed a visual identity as a representation of Reyog dance to build up a regional image through a series of branding communication activities. This study uses a qualitative paradigm with a case study approach. The data was collected through in-depth interviews, participatory observation, and document investigation. All data collected were analyzed using an interactive model. The results showed that the five characters of the Reyog dancer were represented as a visual identity for Ponorogo branding through the process of media transferring using photography, illustration, and sculpture techniques. Reyog’s visual identity with motion characteristics is implemented in each channel of branding communication media through primary, secondary, and tertiary communication approaches. Other local governments can use these research results as a model to build up a regional image through dance media.

Keywords: Regional Branding, Visual Identity, Reyog, Ponorogo, Indonesia.

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