Whether we are aware of the fact or not, we come into contact with some form of art or other every day – when we read a book, listen to music or admire a painting. Read moreĪrt has accompanied people on their path since time immemorial. The author of the article concludes that it was only the hard work and diligence of Maksimov's students which enabled a quick response of the Academy of Arts to the necessity of educating a new type of Chinese artist which was, from beginning of the 1980s, to dictate reform and a policy of openness. Maksimov's students' works presented at the exhibition of graduates of his course, allows one to conclude that a the artist's pedagogical activities had a special historical significance for China. The consistent process of realism's influence in Chinese art is also considered in the context of the educational activities of such significant artists of this school as Xu Beihong, Wu Zuoren and others. With a particularly logical and effective method of teaching oil painting, he made a significant contribution to the development of Chinese artists' systemic approach to realism. Particular attention is paid here to the Soviet artist K.
conditions for the systematic development of realistic painting techniques. Soviet masters were invited to China to establish courses, creating. Numerous representatives of artistic figures during this period came to China from the Soviet Union and the socialist countries of Eastern Europe. This article analyses a new period in the methods of teaching the fine arts in China at the Central Academy of Fine Arts which, in the mid-twentieth century, began to intensify. Consequently, the exemplified hermeneutic reading of Rembrandt's painting can be understood as an exemplification of how such interpretative approach could be relevant for all art that is based on literary subjects and not just for Biblical art. These two means have immense semantic potential to express different aspects of biblical subject. position and orientation, that Rembrandt has been a true master of. In the main focus of the analysis are the two formal means of expression, i.e. The author shows that the true complexity of Rembrandt's painting can only be appreciated by analysing formal aspects of Rembrandt's artistic articulation and not only by understanding how he used standardised iconographic symbols.
How the Bible could be "read" in biblical painting not through images and standardised symbols alone but through shapes and their compositional and spatial relations? And how such formal relations can inform the semantic potential of articulated biblical subject matter? In the article the author explores the stated hermeneutical problem by comparatively analysing the Biblical Parable of the Prodigal Son and one of the most renowned artworks on that subject, Rembrandt's painting The Return of the Prodigal Son.
Therefore, the article investigates the problem of formal analytical understanding of interaction between the Bible and visual arts. The other way is to understand formally how the biblical subject matter is articulated by an artist as a complex art composition on different levels of visual language - that is in colour, shape, composition and space. However, symbolic iconographic reading is only one possible way in interpreting biblical artworks. iconographic symbols has formed that serves as the hermeneutical standard for interpreting biblical art. Namely, over the centuries a lexicon of standardised. In the past, there has been a lot of research in relation to that problem, however, most of it is art historical in nature, and most interpretations focus on interpreting and understanding iconographic nature of biblical artworks. In the article the author explores how the Bible could be hermeneutically "read" in biblical paintings.
0 kommentar(er)
