Australian Indigenous people promote their culture and country in the context of tourism in a variety of ways but the specific impact of Indigenous fine art in tourism is seldom examined. Indigenous people in Australia run tourism businesses, act as cultural guides, and publish literature that help disseminate Indigenous perspectives of place, homeland, and cultural knowledge. Governments and public and private arts organisations support these perspectives through exposure of Indigenous fine art events and activities. This exposure simultaneously advances Australia’s international cultural diplomacy, trade, and tourism interests. The quantitative impact of Indigenous fine arts (or any art) on tourism is difficult to assess beyond exhibition attendance and arts sales figures. Tourism surveys on the impact of fine arts are rare and often necessarily limited in scope. It is nevertheless useful to consider how the quite pervasive visual presence of Australian Indigenous art provides a framework of ideas for visitors about relationships between Australian Indigenous people and place. This research adopts a theoretical model of ‘performing cultural landscapes’ to examine how Australian Indigenous art might condition tourists towards Indigenous perspectives of people and place. This is quite different to traditional art historical hermeneutics that considers the meaning of artwork. I argue instead that in the context of cultural tourism, Australian Indigenous art does not convey specific meaning so much as it presents a relational model of cultural landscape that helps condition tourists towards a public realm of understanding Indigenous peoples’ relationship to place. This relational mode of seeing involves a complex psychological and semiotic framework of inalienable signification, visual storytelling, and reconciliation politics that situates tourists as ‘invited guests’. Particular contexts of seeing under discussion include the visibility of reconciliation politics, the remote art centre network, and Australia’s urban galleries.
{"title":"Inalienable Signs and Invited Guests: Australian Indigenous Art and Cultural Tourism","authors":"S. Butler","doi":"10.3390/arts8040161","DOIUrl":"https://doi.org/10.3390/arts8040161","url":null,"abstract":"Australian Indigenous people promote their culture and country in the context of tourism in a variety of ways but the specific impact of Indigenous fine art in tourism is seldom examined. Indigenous people in Australia run tourism businesses, act as cultural guides, and publish literature that help disseminate Indigenous perspectives of place, homeland, and cultural knowledge. Governments and public and private arts organisations support these perspectives through exposure of Indigenous fine art events and activities. This exposure simultaneously advances Australia’s international cultural diplomacy, trade, and tourism interests. The quantitative impact of Indigenous fine arts (or any art) on tourism is difficult to assess beyond exhibition attendance and arts sales figures. Tourism surveys on the impact of fine arts are rare and often necessarily limited in scope. It is nevertheless useful to consider how the quite pervasive visual presence of Australian Indigenous art provides a framework of ideas for visitors about relationships between Australian Indigenous people and place. This research adopts a theoretical model of ‘performing cultural landscapes’ to examine how Australian Indigenous art might condition tourists towards Indigenous perspectives of people and place. This is quite different to traditional art historical hermeneutics that considers the meaning of artwork. I argue instead that in the context of cultural tourism, Australian Indigenous art does not convey specific meaning so much as it presents a relational model of cultural landscape that helps condition tourists towards a public realm of understanding Indigenous peoples’ relationship to place. This relational mode of seeing involves a complex psychological and semiotic framework of inalienable signification, visual storytelling, and reconciliation politics that situates tourists as ‘invited guests’. Particular contexts of seeing under discussion include the visibility of reconciliation politics, the remote art centre network, and Australia’s urban galleries.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126514945","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 2016, the Smithsonian’s National Museum of the American Indian (NMAI) and the Poeh Cultural Center, owned and operated by the Pueblo of Pojoaque in New Mexico, begin work on a loan of 100 ceramics in NMAI’s collections to the Poeh Cultural Center. Making loans to other institutions is regular practice for NMAI. In making loans to tribal museums and cultural centers, a loan can take on cultural and spiritual significance, which was the case for the Poeh Cultural Center and the community members it supports and represents. This article addresses the importance of connecting Native peoples with museum collections, which has the potential to contribute to community well-being, by featuring the partnership between NMAI and the Poeh Cultural Center.
{"title":"A Pathway Home: Connecting Museum Collections with Native Communities","authors":"Cynthia Chavez Lamar","doi":"10.3390/arts8040154","DOIUrl":"https://doi.org/10.3390/arts8040154","url":null,"abstract":"In 2016, the Smithsonian’s National Museum of the American Indian (NMAI) and the Poeh Cultural Center, owned and operated by the Pueblo of Pojoaque in New Mexico, begin work on a loan of 100 ceramics in NMAI’s collections to the Poeh Cultural Center. Making loans to other institutions is regular practice for NMAI. In making loans to tribal museums and cultural centers, a loan can take on cultural and spiritual significance, which was the case for the Poeh Cultural Center and the community members it supports and represents. This article addresses the importance of connecting Native peoples with museum collections, which has the potential to contribute to community well-being, by featuring the partnership between NMAI and the Poeh Cultural Center.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125275478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The decline of commercial letterpress printing and technological advances in industry were major influential factors with respect to the establishment of independent small presses in the United Kingdom (UK). Although unlike work from commercial, private or fine press printers, utilisation of the letterpress process embedded a phenomenological approach to artist-led publishing where physicality and experience of using the letterpress process was reflected within the practice of making artists’ books and printed matter. Major concepts and inclusion of tools, equipment, technologies and studio methods used in historical small publishing practice can be considered in relation to today’s practitioners making letterpress-printed artists’ books to understand how skills are learnt and developed to support the evolution of a reflexive approach within contemporary practice.
{"title":"Visceral Language: A Phenomenological Approach to Contemporary Letterpress-Printed Artist’s Book Practice in the UK","authors":"A. Butler","doi":"10.3390/arts8040151","DOIUrl":"https://doi.org/10.3390/arts8040151","url":null,"abstract":"The decline of commercial letterpress printing and technological advances in industry were major influential factors with respect to the establishment of independent small presses in the United Kingdom (UK). Although unlike work from commercial, private or fine press printers, utilisation of the letterpress process embedded a phenomenological approach to artist-led publishing where physicality and experience of using the letterpress process was reflected within the practice of making artists’ books and printed matter. Major concepts and inclusion of tools, equipment, technologies and studio methods used in historical small publishing practice can be considered in relation to today’s practitioners making letterpress-printed artists’ books to understand how skills are learnt and developed to support the evolution of a reflexive approach within contemporary practice.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117223737","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Maarit Salolainen, Anna-Mari Leppisaari, K. Niinimäki
The focus of this research is on the experiences of a new fashion pedagogy linked to textile studios at Aalto University, School of Arts, Design and Architecture, in Espoo, Finland. Rich practice-based research and skilled use of materials and textile techniques are elements of transforming fashion design implemented through studio-based pedagogy. Effective learning is constructed by adding tacit and haptic knowledge of textiles into fashion expression. Furthermore, while textile design combines elements from aesthetic creativity with technical skills, this knowledge, textile thinking, can form a new grounding for fashion design. Through reflective learning, practically oriented and theoretical knowledge can be combined, and hands-on studio pedagogy has established the platform for this type of learning. Fashion students’ textile studies extend to woven fabrics and jacquards as well as knits, embroideries, prints, and other finishing techniques and aim to teach them about industrial manufacturing and provide them with an understanding of industrial processes and requirements. This research observes this transformation process of fashion expression through textile thinking based on observations, teachers’ reflections, and student interviews. Further, the learning outcomes have been reflected against the transformation of the curriculum to provide understanding for this development process.
{"title":"Transforming Fashion Expression through Textile Thinking","authors":"Maarit Salolainen, Anna-Mari Leppisaari, K. Niinimäki","doi":"10.3390/ARTS8010003","DOIUrl":"https://doi.org/10.3390/ARTS8010003","url":null,"abstract":"The focus of this research is on the experiences of a new fashion pedagogy linked to textile studios at Aalto University, School of Arts, Design and Architecture, in Espoo, Finland. Rich practice-based research and skilled use of materials and textile techniques are elements of transforming fashion design implemented through studio-based pedagogy. Effective learning is constructed by adding tacit and haptic knowledge of textiles into fashion expression. Furthermore, while textile design combines elements from aesthetic creativity with technical skills, this knowledge, textile thinking, can form a new grounding for fashion design. Through reflective learning, practically oriented and theoretical knowledge can be combined, and hands-on studio pedagogy has established the platform for this type of learning. Fashion students’ textile studies extend to woven fabrics and jacquards as well as knits, embroideries, prints, and other finishing techniques and aim to teach them about industrial manufacturing and provide them with an understanding of industrial processes and requirements. This research observes this transformation process of fashion expression through textile thinking based on observations, teachers’ reflections, and student interviews. Further, the learning outcomes have been reflected against the transformation of the curriculum to provide understanding for this development process.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124929562","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Western ‘discovery’ of Japanese cinema in the 1950s prompted scholars to articulate essentialist visions understanding its singularities as a result of its isolation from the rest of the world and its close links to local aesthetic and philosophical traditions. Recent approaches however, have evidenced the limitations of this paradigm of ‘national cinema’. Higson (1989) opened a critical discussion on the existing consumption, text and production-based approaches to this concept. This article draws on Higson´s contribution and calls into question traditional theorising of Japanese film as a national cinema. Contradictions are illustrated by assessing the other side of the ‘discovery’ of Japanese cinema: certain gendaigeki works that succeeded at the domestic box office while jidaigeki burst into European film festivals. The Taiyōzoku and subsequent Mukokuseki Action films created a new postwar iconography by adapting codes of representation from Hollywood youth and western films. This article does not attempt to deny the uniqueness of this film culture, but rather seeks to highlight the need to reformulate the paradigm of national cinema in the Japanese case, and illustrate the sense in which it was created from outside, failing to recognise its reach transnational intertextuality.
{"title":"Introduction. The Misleading Discovery of Japanese National Cinema","authors":"Centeno Martín, P. Marcos","doi":"10.3390/ARTS7040087","DOIUrl":"https://doi.org/10.3390/ARTS7040087","url":null,"abstract":"The Western ‘discovery’ of Japanese cinema in the 1950s prompted scholars to articulate essentialist visions understanding its singularities as a result of its isolation from the rest of the world and its close links to local aesthetic and philosophical traditions. Recent approaches however, have evidenced the limitations of this paradigm of ‘national cinema’. Higson (1989) opened a critical discussion on the existing consumption, text and production-based approaches to this concept. This article draws on Higson´s contribution and calls into question traditional theorising of Japanese film as a national cinema. Contradictions are illustrated by assessing the other side of the ‘discovery’ of Japanese cinema: certain gendaigeki works that succeeded at the domestic box office while jidaigeki burst into European film festivals. The Taiyōzoku and subsequent Mukokuseki Action films created a new postwar iconography by adapting codes of representation from Hollywood youth and western films. This article does not attempt to deny the uniqueness of this film culture, but rather seeks to highlight the need to reformulate the paradigm of national cinema in the Japanese case, and illustrate the sense in which it was created from outside, failing to recognise its reach transnational intertextuality.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117144330","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Between the late 1980s and early 1990s, interest in the cyberpunk genre peaked in the Western world, perhaps most evidently when Terminator 2: Judgment Day became the highest-grossing film of 1991. It has been argued that the translation of Katsuhiro Ōtomo’s manga Akira into several European languages at just that time (into English beginning in 1988, into French, Italian, and Spanish beginning in 1990, and into German beginning in 1991) was no coincidence. In hindsight, cyberpunk tropes are easily identified in Akira to the extent that it is nowadays widely regarded as a classic cyberpunk comic. But has this always been the case? When Akira was first published in America and Europe, did readers see it as part of a wave of cyberpunk fiction? Did they draw the connections to previous works of the cyberpunk genre across different media that today seem obvious? In this paper, magazine reviews of Akira in English and German from the time when it first came out in these languages will be analysed in order to gauge the past readers’ genre awareness. The attribution of the cyberpunk label to Akira competed with others such as the post-apocalyptic, or science fiction in general. Alternatively, Akira was sometimes regarded as an exceptional, novel work that transcended genre boundaries. In contrast, reviewers of the Akira anime adaptation, which was released at roughly the same time as the manga in the West (1989 in Germany and the United States), more readily drew comparisons to other cyberpunk films such as Blade Runner.
{"title":"Has Akira Always Been a Cyberpunk Comic","authors":"M. D. L. Iglesia","doi":"10.3390/ARTS7030032","DOIUrl":"https://doi.org/10.3390/ARTS7030032","url":null,"abstract":"Between the late 1980s and early 1990s, interest in the cyberpunk genre peaked in the Western world, perhaps most evidently when Terminator 2: Judgment Day became the highest-grossing film of 1991. It has been argued that the translation of Katsuhiro Ōtomo’s manga Akira into several European languages at just that time (into English beginning in 1988, into French, Italian, and Spanish beginning in 1990, and into German beginning in 1991) was no coincidence. In hindsight, cyberpunk tropes are easily identified in Akira to the extent that it is nowadays widely regarded as a classic cyberpunk comic. But has this always been the case? When Akira was first published in America and Europe, did readers see it as part of a wave of cyberpunk fiction? Did they draw the connections to previous works of the cyberpunk genre across different media that today seem obvious? In this paper, magazine reviews of Akira in English and German from the time when it first came out in these languages will be analysed in order to gauge the past readers’ genre awareness. The attribution of the cyberpunk label to Akira competed with others such as the post-apocalyptic, or science fiction in general. Alternatively, Akira was sometimes regarded as an exceptional, novel work that transcended genre boundaries. In contrast, reviewers of the Akira anime adaptation, which was released at roughly the same time as the manga in the West (1989 in Germany and the United States), more readily drew comparisons to other cyberpunk films such as Blade Runner.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127348718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-01DOI: 10.31566/ARTS.2018145135
Halil Cenk Beyhan
Gecmisten bu yana, sanat dallarinda bir urun ortaya koyabilmek, soz konusu alana ait arac ve gerecleri kullanmaya yonelik belli bir teknigin icrasi ile mumkun olabilmistir. Bu nedenle teknigin bilimsel duzlemde ele alinmasi ve gelistirilmesini hedefleyen “teknoloji” sanatsal uretime ait kosullarin bir parcasidir. Bununla beraber sanat alanindaki teknik yenilikler salt sanat dalinin ozgul arac ve gereclerinden kaynaklanmayip cagin diger teknolojik gelismelerinden de payini almistir. Ozellikle Ronesans’tan itibaren pek cok “yardimci teknoloji” sanatcilar tarafindan kullanilmistir. Izdusumu ve perspektif makinalari, “camera obcura”, “camera lucida”, sanatsal ve endustriyel cogaltim teknikleri, fotograf, sinema, televizyon, fax, fotokopi, bilgisayar, uc boyutlu sekillendiriciler ve kitlesel iletisim teknolojileri gunumuze dogru ilerleyen surecte sanata hem estetik kavramlar acisindan hem de uretim ortamina getirdigi yenilikler ile etkide bulunmustur. Ancak, teknolojik gelismelerin sanatsal acidan yorumlanmasi ve bir anlamda donusturulmesi, sanatin estetik, teknik ve kavramsal boyutlari acisindan onem tasiyan bir sorunsali olmaya devam etmektedir
{"title":"TEKNOLOJİ VE SANAT","authors":"Halil Cenk Beyhan","doi":"10.31566/ARTS.2018145135","DOIUrl":"https://doi.org/10.31566/ARTS.2018145135","url":null,"abstract":"Gecmisten bu yana, sanat dallarinda bir urun ortaya koyabilmek, soz konusu alana ait arac ve gerecleri kullanmaya yonelik belli bir teknigin icrasi ile mumkun olabilmistir. Bu nedenle teknigin bilimsel duzlemde ele alinmasi ve gelistirilmesini hedefleyen “teknoloji” sanatsal uretime ait kosullarin bir parcasidir. Bununla beraber sanat alanindaki teknik yenilikler salt sanat dalinin ozgul arac ve gereclerinden kaynaklanmayip cagin diger teknolojik gelismelerinden de payini almistir. Ozellikle Ronesans’tan itibaren pek cok “yardimci teknoloji” sanatcilar tarafindan kullanilmistir. Izdusumu ve perspektif makinalari, “camera obcura”, “camera lucida”, sanatsal ve endustriyel cogaltim teknikleri, fotograf, sinema, televizyon, fax, fotokopi, bilgisayar, uc boyutlu sekillendiriciler ve kitlesel iletisim teknolojileri gunumuze dogru ilerleyen surecte sanata hem estetik kavramlar acisindan hem de uretim ortamina getirdigi yenilikler ile etkide bulunmustur. Ancak, teknolojik gelismelerin sanatsal acidan yorumlanmasi ve bir anlamda donusturulmesi, sanatin estetik, teknik ve kavramsal boyutlari acisindan onem tasiyan bir sorunsali olmaya devam etmektedir","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125633887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-01DOI: 10.31566/ARTS.2018145136
Serenay Şahin
21. yy teknolojileri yasamlarimizin her alanina nufus etmis, yasam bicimlerimizi donusturmustur. Reklam sektoru bu donusumun onemli aktorlerindendir. Sanat ise donusum karsisinda ortaya cikan yeni kavramlari mercegi altina almis ve yeni teknolojileri sanat aracina donusturmustur. Bu makale reklam sektorunun ve sanatin 21. Yuzyil teknolojilerini nasil kullandigina ve bireyle nasil bir etkilesime girdiklerine odaklanmistir
{"title":"21. YÜZYIL TEKNOLOJİLERİYLE ETKİLEŞİM: SANAT - REKLAM – BİREY","authors":"Serenay Şahin","doi":"10.31566/ARTS.2018145136","DOIUrl":"https://doi.org/10.31566/ARTS.2018145136","url":null,"abstract":"21. yy teknolojileri yasamlarimizin her alanina nufus etmis, yasam bicimlerimizi donusturmustur. Reklam sektoru bu donusumun onemli aktorlerindendir. Sanat ise donusum karsisinda ortaya cikan yeni kavramlari mercegi altina almis ve yeni teknolojileri sanat aracina donusturmustur. Bu makale reklam sektorunun ve sanatin 21. Yuzyil teknolojilerini nasil kullandigina ve bireyle nasil bir etkilesime girdiklerine odaklanmistir","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126490178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-01DOI: 10.31566/ARTS.2018145138
Ayşe Balyemez
Seramik malzeme, insan eliyle kullanilmaya baslandigi donemden gunumuze dek kesintisiz olarak kulturun bir parcasi olmustur. Bu kulturun icinde, gunluk yasam ihtiyaclarina cevap veren yeme-icme ve saklama kaplari yaninda inanca yonelik kullanimlar da dikkat cekicidir. Tarihin kimi donemlerinde kulturel bir deger olarak one cikan seramikler, kimi zaman ise baska malzemelerin golgesinde kalmistir. Seramik malzemenin gelisim surecleri dikkatle incelendiginde, donemi icinde deger kazanmis malzemelerin seramik ile taklitlerinin uretildigi gorulmektedir. Bu seramiklerin kimisi taklit ettigi malzemeye benzemesi disinda herhangi bir degere sahip degilken, kimisi ise taklit ettigi malzemenin degerinin otesine gecip seramik uretim gelenekleri icinde koklu yerler edinmis ve ozgun renk kimlikleri olusturmustur. Eski Tunc cagi siyah astarli seramikleri, Misir pastasi, lajvardina ve seladon sirlar bu orneklerin en onemlilerindendir. Bu calismada, taklit amaciyla uretilmis seramiklerdeki renk kimlikleri ele alinacak ve bunlarin malzeme kulturune olan katkilari degerlendirilecektir
{"title":"SERAMİKTE MALZEME TAKLİDİ GELENEĞİ VE RENK","authors":"Ayşe Balyemez","doi":"10.31566/ARTS.2018145138","DOIUrl":"https://doi.org/10.31566/ARTS.2018145138","url":null,"abstract":"Seramik malzeme, insan eliyle kullanilmaya baslandigi donemden gunumuze dek kesintisiz olarak kulturun bir parcasi olmustur. Bu kulturun icinde, gunluk yasam ihtiyaclarina cevap veren yeme-icme ve saklama kaplari yaninda inanca yonelik kullanimlar da dikkat cekicidir. Tarihin kimi donemlerinde kulturel bir deger olarak one cikan seramikler, kimi zaman ise baska malzemelerin golgesinde kalmistir. Seramik malzemenin gelisim surecleri dikkatle incelendiginde, donemi icinde deger kazanmis malzemelerin seramik ile taklitlerinin uretildigi gorulmektedir. Bu seramiklerin kimisi taklit ettigi malzemeye benzemesi disinda herhangi bir degere sahip degilken, kimisi ise taklit ettigi malzemenin degerinin otesine gecip seramik uretim gelenekleri icinde koklu yerler edinmis ve ozgun renk kimlikleri olusturmustur. Eski Tunc cagi siyah astarli seramikleri, Misir pastasi, lajvardina ve seladon sirlar bu orneklerin en onemlilerindendir. Bu calismada, taklit amaciyla uretilmis seramiklerdeki renk kimlikleri ele alinacak ve bunlarin malzeme kulturune olan katkilari degerlendirilecektir","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124405845","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-01DOI: 10.31566/ARTS.2018145137
Yıldız Güner
Netsuke, Japon sanatinin geleneksel formlarindan biridir. Giyim aksesuari olarak islevsel bir nitelik tasir, cok elemanli bir kompozisyonun parcasidir. Tek basina kucuk heykel olarak nitelendirilebilir. Farkli malzemelerle ve farkli konularda uretilmistir. Hafif ve eglenceli anlatimi Edo Donemi sanatinin Ukiyo dusuncesini yansitir. Kucuk boyutu ve ince isciligi ile dikkat cekmektedir. Makalenin amaci bu minyatur heykel gelenegini tanitmak ve netsuke araciligi ile heykelde boyut sorununa dikkat cekmektir. Metinde yer alan gorseller Londra Victoria and Albert Muzesi koleksiyonundan orneklerdir.
{"title":"KÜÇÜK GÜZELDİR: NETSUKE","authors":"Yıldız Güner","doi":"10.31566/ARTS.2018145137","DOIUrl":"https://doi.org/10.31566/ARTS.2018145137","url":null,"abstract":"Netsuke, Japon sanatinin geleneksel formlarindan biridir. Giyim aksesuari olarak islevsel bir nitelik tasir, cok elemanli bir kompozisyonun parcasidir. Tek basina kucuk heykel olarak nitelendirilebilir. Farkli malzemelerle ve farkli konularda uretilmistir. Hafif ve eglenceli anlatimi Edo Donemi sanatinin Ukiyo dusuncesini yansitir. Kucuk boyutu ve ince isciligi ile dikkat cekmektedir. Makalenin amaci bu minyatur heykel gelenegini tanitmak ve netsuke araciligi ile heykelde boyut sorununa dikkat cekmektir. Metinde yer alan gorseller Londra Victoria and Albert Muzesi koleksiyonundan orneklerdir.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114877545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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