Abstract:The paper analyses a self-cognitive experience performed by Kazakh contemporary art, led by globalisation tendencies, in search of its place in the world. Two decades of independence have become the basis for a new cultural space, where Kazakhstan sees itself both as the most western of Oriental countries and the most oriental of Western ones. Current lifestyles in Kazakh society, as well as the chosen political and economic vectors, considerably affect artistic consciousness, defining boundaries between ethno-cultural identity and the mainstream, which dictates its own terms and conditions. The present study focuses on art. In our opinion, it is the most illustrative area of visual creativity, which, faster than any other, reacts to each change in social mentality. The world reflected in a picture of one artist could reflect the world of the whole nation. Now the most interesting and important questions for Kazakhstan's citizens focus on this problem. These are the same questions that can be found in the title of an emblematic painting by Paul Gauguin: Where do we come from? What are we? Where are we going?
In this article, the Kazakh women's casual costume is considered as an important element of ethnic culture, an indicator of cultural development, lifestyle and thoughts of society and an individual. The concept of the research is determined by understanding the worldview foundations expressed in a logically coherent typology and style of national costume, which can become the core of the spiritual modernization of modern society. Traditional culture, in particular national costume, has been the subject of many studies in the field of education, but this potential is still almost inexhaustible for the education and development of the young people thinking culture. As a unique example of the material and spiritual well-being of the Kazakh people, the costume harmoniously combines not only information and communication, aesthetic, ideological, semiotic, axiological, but also educational functions, while maintaining practical usefulness, utility, convenience, which have been polished for centuries. In addition, as the personification of the indissoluble ties of a person with the surrounding world, the folk costume has invaluable opportunities to study the culture of other people, which is necessary for the formation of mutual tolerance.
Alternative approaches to overcome diastasis of damaged peripheral nerves. A review article
This article describes such modern formats of literary and graphic genres as manga and comics (including ranobe, manhwa, and manhua). Graphic novels are currently relevant all over the world, especially among young people. Graphic novels of this type are actively promoted in the mass media and pop culture. These picture books received the attention and adaptation not only of small film studios and book publishers, but also of the cinematic giant – Hollywood. Due to the interest of the younger generation in the format of comics, this genre can be used to promote ethnocultural traditions in the education and education of the younger generation with an orientation on the national characteristics of the country and the values of Kazakh art and culture. Such an axiological dialogue of the culture of near and far ethnic systems will certainly contribute to the development of interest in national heritage, since the conversation will be conducted in an accessible language of images and in the original presentation using modern graphic formats and genres.
Due to the historical and artistic features of the text of the Old Testament, illustrating its books has always been a difficult task, and this problem is particularly acute in Russia at the present. In the absence of high-quality series of illustrations by modern Russian authors, publishers resort to using the works by European and American artists, as well as works by Russian masters of past centuries, which leads to incorrect interpretation of the text by readers. The only experience in creating a full-fledged cycle of illustrations by a domestic author, which has become widespread and is used as a model up to the present day, are the works of an artist of the 19th century. A. A. Agin. However, the time of creation of these works and the academic training of the author affected the historical accuracy of the details of some images and the phenotype of the characters. As for the illustration of the Old Testament as a whole, the issue of distortion of spiritual and edifying meanings in illustrations of Old Testament events, as well as the problem of historical and cultural unreliability of the image, is considered using the example of the most characteristic scenes from the Pentateuch of Moses. The two most common stories in the illustrated Bibles that have been misinterpreted in the mind of general reader are the worship of the cast calf at Mount Sinai and the meeting of Eliezer and Rebekah. In some cases, not only the compositional features of the illustration, but also its color scheme, become a problem for understanding the Holy Text. Which is the case with children's Bibles, widely published in Russia in the 90s. 20 century, the meaning of Joseph's multi-colored clothes is almost completely lost. The author considers the issue of distortion of spiritual and edifying meanings in the illustrations of Old Testament events, as well as the problem of historical and cultural unreliability of the image on the example of the most common or characteristic subjects from the Pentateuch of Moses. The creation of modern illustrations to the Old Testament in Russia is an important task that needs to be solved in the joint large-scale work of theologians, historians, cultural scientists, philologists and artists.
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