Traditional Arts Research Papers - Academia.edu (original) (raw)

Abstract: This article examines the involvement of senior citizens in the traditional arts in Japan. In these arts, elderly practitioners command respect from their audi-ences and students for their long years of training and experience. They are vener-ated as the repositories of embodied knowledge and skill. In contrast, youthful and middle-aged practitioners are considered “works in progress ” who must continue to perfect their skills to approximate their elderly counterparts. Drawing on case studies of senior citizens who join classes in the traditional arts of Noh chanting and dance and calligraphy, we explore the ways in which the traditional arts give senior citizens a new horizon for growing and striving into later life. We theorize that the promise of mastery in very old age has special appeal to retirees in Japan. Through various certification processes, many are able to work their way up to attain leadership roles in old age. This growth possibility serves as a counter for...

- by Katrina Moore
- •
- Aging, Multidisciplinary, Traditional Arts

Traditional Indian Architecture continues to evoke emotions, sentiments and imaginative responses, in much the same manner, as our engrossing and enduring stories. With an aim to understand the abstract notions of architectural placemaking by exploring parallels with the more easily perceivable concepts of storytelling, Ajit Rao of Samaskaara conducted a collaborative workshop with the School of Interior Design (SID), CEPT Campus, Ahmedabad and The Maharana of Mewar Charitable Foundation (MMCF), Udaipur in November 2007. This is a report elaborating the research, methodology and the resulting student work of the same.

- by Ajit Rao
- •
- Indian Philosophy, Architecture, Storytelling, Traditional Arts

Considering the role of four national organisations, Museums Galleries Scotland, Historic Environment Scotland, Creative Scotland and TRACS (Traditional Arts & Culture Scotland) in developing Intangible Cultural Heritage Safeguarding and... more

- by Steve Byrne
- •
- Folklore, Scottish Studies, Storytelling, Intangible cultural heritage

This article offers an interpretation of the wayang kulit (Malay shadow play) as a type of traditional art, in which the art forms are conceived within the broader cosmology derived from religious tradition. To this end, it focuses on three aspects of the play, namely, the rituals, mythology and symbolism in the setting to uncover their meanings and how these relate to the tradition in which it was conceived. As the play predates Islam and was immersed in animistic and Hindu-Buddhist milieu, it underwent reinterpretation to accommodate the coming of Islam and in fact was utilised to convey Islamic message by building on the people's pre-Islamic beliefs, thereby offering an instance of intercultural dialogue through art.

- by Tengku Ahmad Hazri
- •
- Performance Art, Islamic Art, Islamic Studies, Islam

Mudiyettu: a traditional ritual theatre of Kerala arouses compelling emotions like fear, terror and finally bliss in the hearts of every spectator. This art cum ritual narrates the legend of Bhadrakali and Darika, popular all over Kerala combines the local and Brahmanical influences, the oral and written, therefore it is a like a palimpsest and a hidden treasure displaying the local ethos of the region yet symbolic of the exquisite arts of India. I have discussed in the paper the performance, legend and ritual of Mudiyettu. Similarly its gendered dimension as it emphasizes on the danger of female sexuality which needs to be placated has been discussed. The ecological aspects of Mudiyettu involve the fertility of the earth, the importance of kavu or the sacred grove and the belief in Bhadrakali as a fever goddess. The paper also incorporates similarities of Mudiyettu with other theatrical traditions like the Artaudian Theatre of Cruelty. The dance of the goddess is provocative, powerful and passionate which gives us insights into the theatre, art and myth of India.

- by Michelle Loh
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- Cultural Policy, E Marketing, Singapore, Chinese Language and Culture

Extended audio visuals in the form of film and television are popular; Scroll paintings are another form of entertainment that combines audio and visual media. It is a lovely custom to combine the singing version of the story with the painted images. These include the phad paintings of Rajasthan, the patachitra of Orissa, the rails or pattuvas of Bengal, and the little-known Telangana Scrolls-Cheriyal paintings. They were painted by local artists and used by the Minstrel Picture Showmen in various villages of Telangana. It is a tradition, deeply religious in its premises and embedded in the caste system of the region. The painted scrolls of Telangana illustrate the myths about the origin of a particular caste and the heroic deeds of one of its legendary heroes. The stories are mainly from the vast legends of India like the Mahabharata, Ramayana, legends, local folklore and the daily village life activities. Nakashis work in a very wide and impressive artistic medium and they serve a very diverse clientele. They work in wood, cloth, cement, clay, cow dung, paper mache, and produce auxiliary structures, bride boxes, wooden masks, temple murals, portable shrines, dolls, dolls, panel paintings and scroll paintings. Previously, these scrolls and figures were used to tell the story; now they are used to decorate the walls in homes. Today artists are painting some modern themes with the occasional effort of artistic institutions and encouragement.

- by Pavani Nune
- •
- Waste Management, Water Management, Traditional Arts

Firozabad is the largest producer of glass bangles in the world.
The tradition of bangle making in Firozabad provides a great
opportunity to the people of the city to work in their hometown, and
for me to know the culture of diverse India and know about the art
and craft of bangle making from its making to its decoration. Also
one I am become closely witness of the marvelous art which lies
behind the bangle making inside the factory and thus truly making
Firozabad “The Glass City of India”.

- by MOHD KASHIF
- •
- Architecture, Architectural History, Traditional Crafts, Environmental Sustainability
- by Yudha Andana Prawira
- •
- Traditional Arts

Sanat eğitimi, asırlar içinde tecrübe edilerek genel kabul görmüş birtakım alıştırmaların tekrarıyla başlayıp basitten karmaşığa doğru ilerleyen bir seyir izler. Hat eğitiminde bu safhalar müfredât ve mürekkebât meşkleri olarak vasıflandırılır. Talebenin bir hoca rehberliğindeki bu talim serüvenine temeşşuk denir. Temeşşuk tamâma erdiğinde hocanın tavsiyesiyle, eski üstadların bilinen bir terkîbi taklîden yazılır. Daha sonra, talebenin taklîden yazmaya muvaffak olduğu bu yazının altına kendi hocası tarafından icâzet metni ile bir veya iki hat üstadı tarafından tasdîk ibâresi yazılır. Dolayısıyla bir hat talebesinin icâzet alabilmek için kendine has bir terkîb yani yeni bir tasarım yapmasına gerek yoktur. Hat sanatında, icâzet aldıktan sonra da taklîd ve tanzîr kabilinden eserler verilmesi gelenek hâlini almıştır. Eslâfın terkiplerini aynen yazmak taklîd, kısmen değiştirerek yazmak ise tanzîr olarak vasıflandırılabilir. Bir hattat için bu yolda eserler vermek başka bazı sanatlarda olduğu gibi istihfaf gerekçesi olmayıp bilakis takdir ve iltifat sebebi olabilir. Hat sanatı tarihi, bu evsaftaki sayısız eserle doludur. Hâmid Aytaç da yeni terkipler yapmak konusunda son derece mâhir ve velût bir sanatkâr olmakla birlikte, kendinden önceki hattatlar gibi, taklîd ve tanzîr mahiyetinde eserler de vermiştir. Zira taklîd, hattatın acziyetini değil kudretini gösteren bir meziyettir. Tanzîr ise tıpkı divan şiirinde, mûsikîde ve sâir sanatlarda olduğu gibi köklü bir geleneğin yaşatılmasına matûfen eser vermektir. Bu tebliğde, Hattat Hâmid Aytaç’ın taklîd ve tanzîr geleneği meyanında vermiş olduğu eserler tetkik edilecektir.

- by Fatih Özkafa
- •
- Aesthetics, Art History, Art Theory, Islamic Art

Materi Laju Reaksi disampaikan pada peserta didik jenjang SMA kelas XI semester ganjil. RPP ini mengacu pada kurikulum 2013 yang telah disahkan oleh pemerintah.

- by Najmia Rahma
- •
- Traditional Arts

Islamic calligraphy includes many traditions within itself. The tradition of
Ijazatnamah and signature (ketebe), which is the subject of the end of the one-to-one education (temeşşuk) process, are the basic structures that ensures the essence of this art and its aesthetic beauty and the traditions it contains. The written certificates of various Ijazats that given are not only certificates of graduation, they are also documents that shed light on precious masterpieces and the history of Islamic calligraphy. In this study, which deals with the tradition of Ijazatnamah and calligrapher signatures, documents found in the archives of important institutions such as Topkapı Palace Museum, Süleymaniye Library, Museum of Turkish and Islamic Arts have been compiled and examined. In addition, the aim of this study is to determine the signature species in islamic calligraphy.

- by Afra Soyuer
- •
- Fine Arts, Traditional Arts, Caligraphy, Islamic caligraphy

Karya Adiluhung Pendorong Ekonomi Lestari: Menguak Spiritualitas dan Simbolisme dibalik Seni Tenun Ikat Pewarna Alam Sumba Timur, is a report resulting from a participatory study with a group of 'tenun ikat' artisans from the Kambera sub-district in East Sumba, Indonesia, to understand the process of making, and the spiritual meaning behind all the different symbols of the various motifs used. The study gives an insight into how the symbols have evolved over time from pre-colonial days to this day.

- by Chandra Kirana
- •
- Ethnobotany, Ethnography, Traditional Ecological Knowledge, Traditional textiles

Despite being one of the most influential forms of Japanese Buddhism, the Pure Land tradition, and notably its impact on the development of Japanese cultural history, has often been overlooked outside Japan. Taking into account recent scholarship on orientalism and occidentalism, this book, written from the perspective of the Study of Religions, provides an analysis of the impact that the Pure Land tradition, in particular Shin Buddhism, has exerted on mainstream forms of artistic expression (especially visual arts, literature and the tea ceremony) in modern and contemporary Japan.

- by Elisabetta Porcu
- •
- Buddhism, Aesthetics, Japanese Buddhism, Zen Buddhism
- by Samuel Bendeck Sotillos
- •
- Religion, Metaphysics, Art History, Islamic Philosophy
- by Dr Winojith Sanjeewa
- •
- Religion, Sociology, Economics, Tourism Studies
- by Fabrice Duvinage
- •
- Indian Art, Traditional Arts

In this new and revised edition of Chartres and the Birth of the Cathedral, the reader is guided as a pilgrim through the noble sanctuary that is Chartres and the lofty intellectual and spiritual ambiance that conceived the marvel that is Gothic architecture. The art historian and philosopher of religion Titus Burckhardt (1908–1984), who explores Chartres in all its glory with us in this book, was one of the twentieth century’s most renowned experts on sacred art. Medieval Christianity, on the foundation of its metaphysical, psychological, and cosmological principles, understood the human being to be a “little world” (microcosmos) consisting of spirit/intellect, soul, and body, which is at the heart of the spheres of the “big world” (macrocosmos). The medieval world understood that there is a hidden geometric “governing pattern” that harmoniously unites the seen and unseen realms of reality. This transpersonal knowledge is both discriminative and unitive, allowing for the discernment of the eternal essences of forms without confusing them. This vision creates a much more expansive view of what it means to be human and of the theophanic nature of the cosmos.

- by Samuel Bendeck Sotillos
- •
- Religion, Christianity, Cultural Studies, Art History

Geleneğin çatık kaşlı din anlayışı, sanatı estetik bir güzellik olarak ortaya koymayı tevhid ve vahdet karşıtı bir unsur gibi görmüş, ancak buna antitez olarak içerisinde ahlaki önermeleri ve değerleri barındıran estetik ürün ortaya koyacak bir teori de üretememiştir. Temelinde korkular ve yasaklar yatan bir bakış, dünyaya ve gerçekliğe dair alandan ideale dair bir eser çıkaramamıştır. Geldiğimiz noktada İslam Sanatı dediğimiz olgu, belirli el sanatlarına hapsedilmiştir. Elle tutulur, gözle görülür bir düşünce ortaya koyamamasının yanında bugün modern çağın sanat yorumlamalarına, sinemaya, müziğe ve görsel sanatlara da nasıl yaklaşmamız gerektiği üzerine söz söyleyememektedir. Bunun temel nedenleri arasında estetik ve etik dengenin doğru bir düzlem üzerine inşa edilememesinin, geleneğin dogmatik yasak ve korkularını aşarak kavramsal yeni bir teori ortaya koyulamamasının, sanatı olması gereken kavramlar üzerinde değerlendirilememesinin payı tartışılamayacak kadar büyüktür.

The designer from urban India has a very responsible and significant role to play in the revival of this country’s traditional arts and crafts. In my professional journey covering diverse medias of expression and communication, I had soon found myself in this fascinating world of traditional design expressions. Each time my design skills were called upon to contribute in this area, I have had to journey through numerous doubts and confusions in an attempt to understand and discover the true nature of such a role. This quest for appropriate answers has been a very revealing and inspiring experience. I wish to share with the readers this ongoing personal evolution as a designer through a brief account of my own relevant work in this field.

- by Ajit Rao
- •
- Indian Philosophy, Traditional Arts, Indian Crafts

The following study intends to present the basic, historical and procedural principles of the traditional Tibetan painting, thangka. This objective is justified by the lack of studies in Portuguese on the subject. Although it is noticeable nowadays an expansion of Asian studies in Brazil, in confluence with a growing approach and interest in Eastern culture in contemporary society; this dissertation, by field research, literature and history, wishes to investigate, explain and expose the deep and specific scope of the symbolic, sacred and traditional in Tibetan painting. Believing that the recognition of the arts and non eurocentric aesthetic theories corroborate the cognition and production of the invaluable human cultural diversity.

- by Vinicius De Assis
- •
- Training, Traditional Crafts, Traditional Arts, Craftsmanship

Text was finished in 2003. Paintings are done in oil and acryl, and were finished in 2004.

- by Christiane Clados
- •
- Archaeology, Knowledge Management, Architecture, Visualization

Özet- Doğayı taklit etmek (mimesis), sanatçı ile alımlayıcı arasında bir duygu aktarım mekanizması olmak gibi sanatın özüne dair tartışmalar devam ede dursun, sanat; sanatçı ile sanatçı arasındaki etki zinciriyle beraber süregider. Üstelik bu ilke, Cennet’ten Esma’yı öğrenerek gelen Hz. Adem’e, dolayısıyla eskiye, geçmişten gelene ulu bir gözlükle bakan Doğu (İslam) toplumlarında da, sanatçının edimini İlahî yaratıcılığa meydan okumak olarak gören Batı (Hristiyan) toplumlarında da aynıdır. Otodidaktizmin en önemli başvuru kaynağı, sanatçıların daha evvelki sanat eserleri üzerine yaptığı gözlemlerdir ki bu evrensel metod, sanat eserlerinin zaman içerisindeki seyrinde en etkin belirleyicidir. 20. yüzyıl bidayetinin dâhî Türk müzik sanatçısı Tanburî Cemil Bey’in, icrasıyla kendi kuşağının ve sonraki nesillerin sanatçılarını etkilediği malumdur. Yaşadığı devrin yenilik-perver ruhuyla Türk müziğinde birçok hareketin ilki olmak kaderini yaşayan Cemil Bey, ortaya koyduğu besteleriyle, bu alanda etkilendiği isimleri bildirirken Türk müziği besteciliğinde öteden beri var olan nazirelerin modern bir yorumunu da yapmıştır. Bu hususta yalnız değildir; dönem, saz müziğinden, şarkılara birçok nazire örnekleriyle doludur.
Abstract- The art imitates the nature (mimesis), the art is a mechanism that transfers of emotions between the artist and the receptor... etc. The discussions on the essence of art continue as an endless argue. By the way, the art continues with the chain of interaction between the artist and the artist. Moreover, this principle is the same in Eastern (Islamic) societies who look a respecting eyes to the past because of belief that Adam came from Paradise by learning Esma and in Western (Christian) societies who saw the creativity act of the artist as a challenge to the God. As a very common and old method the observations of the artists on the artworks from the past is so determinant about the road of artworks in the future time in addition, it is also the most significant reference point of the autodidacism. It is known that the genius Turkish music artist Tanburî Cemil Bey of the early 20th century has influenced the artists of his own generation and subsequent generations. Cemil Bey, who lived his destiny to be the first of many movements in Turkish music with the innovator spirit of his period, announcing of the names he was influenced in this field with his compositions. On the other hand he made made a modern interpretation of the Nazire that exists have been in Turkish music composition for a long time. He is not alone in this regard because the period is full of many Nazire examples from instrumental music to songs.

The creative impulses of a culture give rise to a rich world of myths, legends and folklore- stories of gods and goddesses, heroes and heroines and other mythological themes. The colourful world of the traditional arts and crafts is a further manifestation of this world. Thus they are in essence mediums of communication- storytellers carrying forward the voice of a culture. In our modern-day world of rampant materialistic preoccupations there is an urgent need for these voices to be strengthened and heard. One of the ways of doing this is by bringing these diverse mediums together to explore a collective voice. 'Diverse Mediums, Collective Voice: Exploring Interdisciplinary Connections' is a workshop module developed by Ajit Rao to address these issues.

- by Ajit Rao
- •
- Art History, Traditional Arts, Revival of Indian Crafts

Serving to the purpose of making the life easier and more qualified, science and technology have begun
to directly affect the life, culture and art perception of humanity, particularly after the industrialization, and
sometimes caused to extinction or alteration of various traditional values. Although today’s technology
comes forward thanks to its advantageous features such as minimizing the manufacture costs and therefore
economically increasing the preference of the products, the situation of that the handicrafts produced by
using traditional methods are about to vanish is also attributed to the reasons based on technology.
Albeit there are some efforts in terms of preserving the art and traditional manufacture, there seems to be
a very little improvement in this context due to both the obstacles encountered in training new masters and
the distanced stance of new generation to culture. In the present study, art tile production techniques were
assessed in context of evaluating the possible changes occurred parallel to the technological developments
and also by considering the current production conditions of Kütahya art tiles which are one of the most
significant products of traditional Turkish handicrafts.

- by Murat Beyazıt and +1
- •
- Materials Science, Art History, Performing Arts, Architecture

Türk Dünyasında Dericilik Sanatı 2. Uluslararası Sempozyum Bildirileri. Kazan, 19-20 Eylül 2014 Доклады II. Международного симпозиума «Художественная обработка кожи у тюркских народов» Казань, 19-20 сентября 2014 года Proceedings of the... more

Türk Dünyasında Dericilik Sanatı
2. Uluslararası Sempozyum Bildirileri.
Kazan, 19-20 Eylül 2014
Доклады II. Международного симпозиума
«Художественная обработка кожи у тюркских
народов»
Казань, 19-20 сентября 2014 года
Proceedings of the 2nd International Symposium on
Leathercraft in the Turkic World
Kazan, 19-20 September 2014

- by Liliya Sattarova
- •
- Decorative Arts, Turkic Speaking Peoples, Traditional Arts, Turkic Studies

This paper introduces a new field of study - systematic geomusicology. I start by summarizing the correspondences between the properties of physical objects and the attributes of music structures. Then I present the evidence that cross-modality constitutes the characteristic trait of music that distinguishes it from other auditory stimuli. Cross-modal ties of music are inherently related to musical emotions by connecting the affective states associated with real-life objects, their properties and functions with the affective states triggered by music. The capacity of music to prime and entrain secures the effective conversion of environmental typology into schemes of tonal organization. Once such conversion is adopted by a community of music-users, music acquires the mnemonic role by conserving cognitive schemes crucial for survival and well-being of an individual and a society at large, acting as a driving force in the organization of important non-musical activities. The process of natural selection of the most effective cognitive strategies is implemented in an ongoing feedback loop between the "auditory objects" of music and the physical objects of perceptual reality. This paper outlines the ethnomusicological evidence for the existence of such feedback between the tonal organization of music and 6 non-musical domains: composition in traditional art, strategies of drawing from life, sketching maps, environmental topography, and methods of navigation and orientation in space. The ethnographic data focuses on indigenous cultures of Northeastern Eurasia (the Urals, Siberia, Chukotka and the Russian Far East). The Nenets culture is selected as a paradigm of the prehistoric music because of its relatively strong isolation from external influences, excellent conservation and close similarity in lifestyle to the well-known cultures of the Last Glacial Period. Six above-listed aspects of the Nenets culture are compared to those of neighboring ethnicities of Khanty, Komi and more distant Chukchi in regard to their differences in environmental topography and sustenance strategies. Their cross-comparison demonstrates for each of these cultures the close similarity between the dominant scheme of tonal organization, the strategy of way-finding, and the method of spatial organization in pictorial representation of perceptual reality. At the same time, the inter-cultural differences can be traced to the geographic characteristics of the surrounding habitat. Based on the findings, I propose a new model of genesis of music from the "landscape aesthetics" and present the institute of "personal song" that is shared by all four analyzed ethnicities as a critical link between the inherent territoriality of animal communication and the abstract nature of human music as we know it today.

- by Aleksey Nikolsky
- •
- Cartography, Music Theory, Ethnomusicology, Synaesthesia

":چکیده
در ابتدای این مقاله سعی شده است تا به تعریفی دقیق از خمره سفالی از نظر ادبی، لغوی، فنی و همچنین از منظر کارشناسان صنایع دستی آورده شود. سپس انواع تکنیک‌های ساخت خمره‌های سفالی و تزیینات آنها شرح داده شده است. همچنین با استناد به نگاره‌های شرقی به جا مانده و همچنین نقاشی‌های غربی به اختصار و با مثال‌های موردی به ذکر موارد استفاده از این ظرف در اعصار مختلف پرداخته شده است.
در ادامه تلاش شده است تا با استفاده از قابلیت‌های موجود در این ظروف کهن موارد استفاده امروزی جهت حفظ آنها در محیط زندگی ذکر شود. از آنجا که برخی از این ظروف به لحاظ تاریخی ارزش چندانی ندارند و مربوط به دوره‌های قاجار و پهلوی هستند، حفظ آنها در موزه‌ها ضرورتی نداشته و بهتر است برای جلوگیری از نابودیشان آنها را به نحوی در محیط‌های مختلف زندگی به کار بست. از جمله می‌توان آنها را به عنوان شئ تاریخی - هنری در موزه‌های متناسب با آن‌ها از جمله موزه آب، موزه دفینه، حمام موزه‌ها، باغ موزه‌ها، خانه موزه‌های قدیمی، موزه عصارخانه‌ها، موزه‌های مردم شناسی و یا حتی در باغ‌ها و باغچه‌های خانگی مورد استفاده قرار داد تا به احیاء آنها در محیط زندگی کمک کرد و از نابودی قسمتی از میراث فرهنگی خود جلوگیری کنیم.
واژگان کليدی: خمرة سفالی، موزه، طراحی داخلی، باغ‌آرایی، شئ تزئینی"

- by Amir Rajaei Baghsorkhi
- •
- Archaeology, Architecture, Museum Studies, Pottery (Archaeology)

‘Art Arcane’ a group display that showcases the diversity of Pakistani art in the contemporary scenario collaboration of twenty-two emerging and prolific artists, who are working in diverse artistic genre mediums and concepts, reveals the current situation of the development of art by Pakistani artist from acknowledged art institutes. The artists have used a novel, innovative and varied techniques for the execution of their thought process and ideas. The show divulges painting, sculpture, calligraphy, installation, video installation, mix media, photography and print as media of art.

- by Shumaila Islam
- •
- Contemporary Art, Traditional Arts, Art Exhibitions, Contemporary Pakistani art