The article analyzes the creative practices of the well-known Russian textile artist and teacher Elizaveta Yuryevna Manerova, who lives and works in Yekaterinburg. As one of the founders of the Ural ...textile school, she plays an important role in the artistic and educational environment of the city. Special attention in the text is paid to the origins and conditions of the formation of the artist's creative personality in the 1970s and 1980s, the nature of the figurative structure of her textile series and individual works created in various techniques in the 1990s and 2010s. The influence of materials and technologies used by Elizaveta Manerova on the visual features of her paintings and textile works is specially noted. Consideration is given to her pedagogical activity, experiences in organizing art exhibitions, in particular, the Ural Triennial of Decorative Art (2016-2019), which is significant for the development of Russian art culture
In the sphere of intellectual property law, the plurivalence of the legal protection of designs develops a unique path, which gathers in a creative bouquet various legal values: design, work of ...applied art, three-dimensional trademark and, exceptionally, patent. The odyssey of designs took shape predominantly from the shore of originality towards that of novelty and individual character, without abandoning the dual legal nature. The intrigue of legal and jurisprudential elements of the aesthetic and industrial facets of this object, lead the author, but also the future holder, either towards a convergent cumulus of protection or towards a divergent creative one. The legal framework of the trip is defined within the limits of a registration procedure or in its absence.
Dumitru Peicev (19.05.1943–18.12.2023), a renowned figure in the field of fine art in the Republic of Moldova, professionally evolved during the 1960s, inspired by the traditions of the French and ...Romanian schools of painting from the late 19th to early 20th centuries. A significant influence on his artistic conceptions and aesthetic visions was played by master Mihail Grecu, one of the founders of the national school of painting, with whom Dumitru Peicev had a warm and fruitful collaboration. Throughout his artistic career, he manifested himself as a talented painter of thematic compositions, genre scenes, landscapes, still life, and portraits. Dumitru Peicev’s paintings are housed in the collections of the National Art Museum of Moldova, the Museum of Fine Arts in Razgrad, Bulgaria, the Art Museum in Ţelingrad, Kazakhstan, and in numerous private collections. A significant number of his works have been donated to the „Dumitru Peicev” Art Gallery in the city of Taraclia. Through his original creations, Dumitru Peicev contributed to the enrichment of the national cultural heritage, shaping a new chapter in the history of contemporary fine arts.
Материальная культура Великого Новгорода XIII–XIV вв. демонстрирует ярко выраженное влияние восточных изобразительных традиций, привнесенных новыми контактами с обширным художественным миром Золотой ...Орды. Наряду с массовыми вещами встречаются выдающиеся произведения прикладного искусства, к числу которых относится лотосовидная накладка с изображением дракона из Неревского раскопа. Этот образ находит ряд аналогий среди находок золотоордынских городов. Основная проблема, рассматриваемая в статье, заключается в анализе происхождения этого образа. Искусство Золотой Орды формировалось под сильным влиянием Китая, что находит отражение в ряде предметов, декорированных изображениями драконов, имеющих узнаваемую стилистику и иконографию. Новгородский дракон, равно как и круг аналогичных ему изображений, не находит абсолютных аналогий среди золотоордынских произведений, сформированных искусством династии Юань, демонстрируя гибридную природу образа.
When the borderline cases of art occur in non-art categories, the debate of artistic status arises not only with regard to the individual cases but also with regard to the category to which they ...belong. The identity of the individual case tends to be defined in connection to the category it belongs to. It tends to formulate that, if the individual case is art, then the entire category is also art, and if the category is not art, then the individual case is also not art. Such a view inevitably hampers the artistic status of works arising from the non-art categories. This article argues that the individual cases and their belonging categories need not be strictly interlocking and that they could possess multiple identities depending on the context that they are present. Thus the point shifts from whether the case is or is not art in its absolute sense to ‘when’ is it art.
The material culture of Veliky Novgorod of XIII–XIV centuries shows a pronounced influence of Eastern fine art, brought by new contacts with the vast art world of the Golden Horde. Along with ...mass-scale artefacts distinguished artistic objects come across. One of them is the horn lotus-shaped applique with a dragon image from the Nerevsky site in Veliky Novgorod. This image has a number of stylistic analogies among archaeological artefacts of Golden Horde cities. The main problem of the article deals with the analysis of the origin of this image. The Golden Horde art was formed by strong influence of China. This process was reflected in some artistic objects, which were decorated with dragon images with typical style and iconography. Veliky Novgorod dragon, like other similar images, doesn’t find absolute analogies among the Golden Horde items, inspired by the Yuan Dynasty. These features demonstrate the hybrid nature of the artistic image from Veliky Novgorod.
The article is devoted to the study of the history of the emergence and development of additive technologies in world artistic ceramics. The article analyzes information on the history of the ...emergence of additive technologies. The principle of operation of 3D printing equipment, features of its use, the most common areas of use and materials used in 3D printing have been considered. An analysis of the specifics of the technical characteristics of 3D printers and technologies for 3D printing with ceramic masses has been shown that the use of ceramic materials as raw materials for 3D printing is a progressive trend due to the emergence of the possibility of forming ceramic objects and products that are practically indestructible reproduction and replication using traditional methods. In this article, the authors have been analyzed the advantages and disadvantages of manufacturing ceramic products by 3D printing. It has been established that the main difference between the production of three-dimensional plastic or metal elements and ceramic elements is the main feature of the ceramic manufacturing technology, namely that the printout is not a ceramic product before firing in the oven, that is, without firing, it is simply an element printed from clay materials (that is, such a printout before firing is called the "green part" – an unprocessed element). Currently, there are no 3D printers that can immediately produce ready-made ceramic products, all elements printed from ceramic materials require drying and firing. But, despite this nuance, printers that print with clay materials are called ceramic 3D printers. As 3D printing can accurately realize the creative thinking of artists and designers, 3D printing technology is increasingly used in the creation of ceramic products and contemporary ceramic works. The authors of the article emphasize that three-dimensional printing with clay provides ceramists with completely new opportunities for creating ceramic products with a complex configuration, texture, etc. Ceramic artists from all over the world are already actively using this technology in their work. Therefore, part of the study is devoted to examples of the use of 3D printing technology in world artistic ceramics, as well as to the description and analysis of the most interesting achievements in this direction of creativity, according to the authors.
This paper deals with the Japanese collection of Růžena Trnožková who lived in Japan in 1918 and collected the Japanese and Chinese objects. In 1936, she donated her collection, which consisted of ...almost 250 items, to the Náprstek Museum. The collection includes objects mainly made during the 19th and in the beginning of the 20th century and represents goods typically collected by the Europeans. The article also provides a little biographic information about her and her husband Vojtěch.
When the borderline cases of art occur in non-art categories, the debate of artistic status arises not only with regard to the individual cases but also with regard to the category to which they ...belong. The identity of the individual case tends to be defined in connection to the category it belongs to. It tends to formulate that, if the individual case is art, then the entire category is also art, and if the category is not art, then the individual case is also not art. Such a view inevitably hampers the artistic status of works arising from the non-art categories. This article argues that the individual cases and their belonging categories need not be strictly interlocking and that they could possess multiple identities depending on the context that they are present. Thus the point shifts from whether the case is or is not art in its absolute sense to ‘when’ is it art.
