Traditional Arts

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...

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.

La pintura en el Perú se remonta a la época prehispánica, en la que se utilizaban distintos soportes y colorantes de origen mineral, vegetal y animal. Con la llegada de los españoles, se produce la propagación de la pintura y otras artes con una nueva temática de carácter religioso católico, además se introducen materiales y técnicas novedosas para los artistas americanos. Por su parte la época virreinal, caracterizada por su catolicismo, se inundó de imágenes religiosas, las cuales se superpusieron a las deidades e iconografía anteriores en medio de un gran sincretismo. Durante estas diferentes épocas y hasta la actualidad, no menos importante ha sido la pintura de carácter costumbrista.

Con este artículo, Sirley Ríos Acuña, llama la atención acerca de la importancia de la pintura popular del Perú, en tanto expresión plástica, e intenta rescatar del olvido a pintores que fueron destacados en su momento. Abarca un análisis de la pintura popular en Ayacucho y las tradicionales Tablas de Sarhua, el arte pictórico del Cusco y finalmente la producción amazónica, en particular de la comunidad Shipibo-Conibo.

GLASS-BEADS IN THE TRADITIONAL UKRAINIAN GARMENTS (the typology issue)

This article is dedicated to the typological sorting of the components of traditional Ukrainian folk garments, made with the use of glass-beads. Such components represent a separate functional type of glass-beads artwork. In turn, they are subdivided in four functional subtypes: filigrees, head ware, garments and accessories. Each of the types, representing the functional subtypes is described. The typological sorting, suggested in the article, creates terminological grounds for further research on the local varieties of traditional Ukrainian folk glass-beads artwork.
Keywords: traditions, glass-beads, garments, decor, adornment, typology.

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 Collecting in Scotland.

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.

ARTISTIC BEADWORK IN UKRAINIAN FOLK ART: ORIGIN AND TRADITION DEVELOPMENT.

This paper researches the origin and establishment of the artistic beadwork tradition in Ukraine. The ancient artistic practice is first and foremost connected with the manufacture of super imposed adornments and arments decorating; moreover, manufacture of the churchware and household items. The knowledge of the longlasting genesis of the beadwork on the historical territory of Ukraine is the starting point for econstruction of the tradition of national Ukrainian garments ecorating in XIX—XX centuries.
Keywords: beadwork, garments, decoration, adornment.

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.

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.

"Los ceramistas tradicionales del Perú, a la tecnología prehispánica, incorporaron durante la Colonia técnicas.

En la costa norte Simbilá y Chulucanas se ponen en práctica el paleteado, el uso de labradoras y el negativo. Cajamarca era una importante región de producción, queda en la memoria la elaboración de la pallama con reminiscencias de las vasijas vidriadas del S. XVIII.

En Ayacucho sobresale el distrito de Quinua donde se continúan elaborando las iglesias de techo. En esta región fue reconocido con un estilo propio el ceramista Leoncio Tineo Ochoa.

En Puno, en Santiago de Pupuja y Pucará hay la producción de chuas o chuwas que son platos vidriados, los famosos “Toritos de Pucará”, las apajatas o jarras matrimoniales y las limitatas, incalimitas o botellas ornamentales.

En Cusco, que desde la Colonia generó talleres artesanales de cerámica vidriada y en la primera mitad del S. XIX se impulsó en el ámbito campesino la elaboración de objetos bruñidos sin vidriar y de color rojizo. En la Amazonía está la cerámica de los Shipibo-Conibo, que se caracteriza por su decoración llamado kené y por una pasta muy fina.
"

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”.

El artículo presenta una breve historia de la panadería tradicional en el Perú destacando en el siglo XX las variantes regionales de pan según sus denominaciones, tamaños, formas, sabores, consistencias y significados van de acuerdo con los gustos y costumbres de la clientela local.

Se explica sobre las expresiones plásticas vinculadas a la producción panadera según su carácter duradero y efímero. Como expresiones duraderas se consignan las bateas de madera de formas alargadas y circulares. En la plástica efímera se encuentran los diversos tipos de pan con formas heredadas y otras creadas, que reciben diferentes denominaciones. De este grupo resaltan por sus formas artísticas y escultóricas las famosas t´anta wawas, que adquieren un significado vital dentro y fuera del contexto de las festividades y son consideradas objetos mágico-religiosos y de propiciación.

Se trata de valorar una tradición plástica vigente hasta nuestros días y que todavía no ha merecido un estudio profundo.

Olena Fedorchuk. On glass-beads in decor of traditional folk clothes of Bukovinians: typological peculiarities (expeditions on problemsof art at 2007 and 2008)

In the paper are considered glass-beads ornamentations anddecorated with glass-beads components of traditional folk clothes from Bukovinian Podillia and Bukovinian Hutzul land. This study is based upon materials collected by theauthor during scientific expeditions on problems of art at 2007 and 2008.
Key-words Decor, glass-beads, ornamentations, traditional folk clothes.

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.

Yurtdışı Müzelerde Desenli Kazan Derisinin Örnekleri

Ünlü Tatar çizmeleri ve desenli Kazan derisinden yapılan diğer ürünler
19.yüzyılın tâ başında hem Rusya’da hem de yurtdışında koleksiyonların objesi
olmuştur. Çeşitli yurtdışı koleksiyonlarında korunan Desenli Kazan derisinin örnekleri
bu derinin süslemesi, teknik- stilistik özellikleri ve çeşitleri ile ilgili mevcut bilgilerini
önemli ölçüde tamamlamaktadır. Yazar, yurtdışı ihtisas ve sanat müzelerin (Almanya
Deri Müzesi (Deutsches Ledermuseum, Offenbach), The Bata Shoe Museum
(Toronto), Metropolitan Müzesi v.d.) koleksiyonlarını kullanarak analiz yapmaktadır.

Образцы казанской узорной кожи в зарубежных музеях

Знаменитые татарские сапожки и другие изделия ичижного промыс-
ла уже в начале XX в. стали предметом коллекционирования как в Рос-
сии, так и за ее пределами. Образцы казанской узорной кожи, хранящиеся
в различных зарубежных собраниях, значительно дополняют имеющиеся
данные о ее орнаментальном строе, технико-стилистических особенностях
и ассортименте. Автором привлечен обширный материал зарубежных му-
зеев специального и художественного профиля – Немецкого музея кожи
(Deutsches Ledermuseum, Оффенбах), Музея обуви Батя (The Bata Shoe
Museum, Торонто), Музея Метрополитен и других.

The Kazan Patterned Leather in Foreign Collections

Famous Tatar boots and other products of Kazan ichigi leathercraft become
collectible in Russia and abroad since the early 20th century. Patterned Tatar boots
takes place in various foreign collections, significantly complete the existing data on
its ornamental system, technical and stylistic features and range. Author attracted
extensive material from foreign Art and Leathercraft museums such as Deutsches
Ledermuseum, The Bata Shoe Museum, Metropolitan Museum of Art etc.

La vestimenta surge como una necesidad de protección y abrigo. Con el tiempo se convierte en un elemento identitario entre los grupos huma¬nos.

La trayectoria histórica de la vestimenta en el Perú tiene larga data. En la época prehispánica existieron diferentes vestimentas según el status, género, edad, etc. Entre los Incas destacó dentro del vestido femenino: acsu o anacu, lliclla, chumpi y tupus. La vestimenta masculina común fue el uncu.

En los inicios de la Colonia la vestimenta indígena se mantuvo vigente a pesar de las prohibiciones de su uso. Por el contrario se produjo un mes¬tizaje, con la conjunción de tradiciones indígenas y occidentales.

La actual vestimenta tradicional es mestiza y algunas prendas de vestir tradicionales son consideradas como símbolos de identidad en muchas regiones. Tal es el caso de los wankas del valle del Mantaro que toman como referencia de distinción y orgullo a la kutuncha, mujer indígena vestida con el traje autóctono, el anaku, pero modificado, llamado kotón. Este traje es una especie de túnica negra sin mangas que se complementa con otras piezas de origen prehispánico y europeo: el wathraku (faja), la lliclla (manta), el chusi (mantón), la shucupa (especie de tocado), la wetsha (vincha), el anaco (especie de mandil), las manguillas bordadas, la pollera, blonda o fustán, pañal de carnaval y el ticpe (prendedor). En conjunto esta vestimenta resulta emblemática y es asumida como un símbolo de identidad wanka.

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.

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.

La cestería en el Perú data de tiempos precolombinos y es en la actualidad una actividad bastante extendida a lo largo de la costa peruana.

El presente artículo nos presenta un amplio panorama, de la producción de tejidos en fibra vegetal, en Santa Rosa de Chontay. La elaboración de cestas en ese lugar, está estrechamente relacionada a la producción de canastas de uso doméstico, tradicionales esteras y las ancestrales trampas para recolectar camarones.

El río Lurín juega un papel importante en la geografía de Santa Rosa de Chontay, en las actividades realizadas por sus habitantes y en su producción artesanal. En los márgenes del río crecen el carrizo y la caña brava, materias primas que los hábiles pobladores han sabido aprovechar, con gran ingenio, en la elaboración de cestas para diversos usos.

Le courant de pensée métaphysique et universaliste initié par René Guénon (1886-1951) a influencé, jusqu’à nos jours, plusieurs penseurs, qui ont postulé l’idée d’un art traditionnel, fondé sur une tradition symbolique, une esthétique canonique et une créativité ritualisée et initiatique. Le Français Luc Benoist (1893-1980), ancien conservateur du musée des Beaux-Arts de Nantes, synthétisa une vision guénonienne de l’art dans les années 1930, et le Cinghalais Ananda K. Coomaraswamy (1877-1947), conservateur dans les années 1930-1940 au Musée des Beaux-Arts de Boston, associa étroitement, dans une perspective philosophique, l’art, le symbolisme et la métaphysique. À leur suite, deux auteurs majeurs ont poursuivi, étendu ou refondé une « pensée traditionnelle » sur l’art. Fondateur et maître d’une confrérie soufie en Europe, Frithjof Schuon (1907-1998) a publié une œuvre importante de spiritualité et de métaphysique, et se consacra également à la poésie et à la peinture, dans laquelle il a surtout illustré des thèmes relatifs aux Indiens d’Amérique du Nord et à l’idée d’une Féminité céleste et universelle. Initié au soufisme et grand connaisseur du Maroc, Titus Burckhardt (1908-1984) écrivit sur les « principes et méthodes de l’art sacré » ainsi que sur l’art islamique, influençant dans les années 1970 plusieurs travaux dédiés à une interprétation soufie et philosophique de l’architecture, de la calligraphie et des décors islamiques.

Diversement influencés par le romantisme et le postimpressionnisme, comme par l’orientalisme et les courants ésotériques du XIXe et du début du XXe siècle, ces auteurs sont plus ou moins isolés dans le panorama contemporain des idées, bien qu’ils aient eu une influence souterraine considérable sur nombre d’intellectuels, d’écrivains et d’artistes, de René Daumal à Raymond Queneau, d’André Breton à John Tavener, d’Albert Gleizes à Maurice Béjart. Plusieurs de leurs thèses – sur le symbolisme des arts prémodernes, l’interprétation soufie des arts islamiques ou la critique spirituelle de l’art post-médiéval – se trouvent également au cœur des débats contemporains sur le dialogue / conflit des civilisations, l’herméneutique des arts, la fonction de l’esthétique, le contenu du symbole, le regard sur l’Autre. Jusqu’à présent, les théories traditionalistes de l’art n’avaient fait l’objet que d’études fragmentaires et dispersées : le présent ouvrage comble une lacune, en offrant un panorama critique complet des théories traditionnelles de l’art, des thèses de René Guénon aux métaphysiciens de l’art islamique, d’Ananda K. Coomaraswamy, pionnier reconnu des études indiennes, aux peintures et poèmes de Frithjof Schuon.

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.

Traditional arts, which are considered fundamental components of cultural memory within society, will be a primary focus of this thesis as we examine the preservation and adaptation of these forms in the modern world. Through examination of woodblock printing techniques and interviews with practitioners and experts in the field, this study aims to demonstrate the importance of preserving and passing on the tradition of woodblock printing, particularly within the context of Anatolian culture.

In this vein, a central aspect of the study will be an awareness exhibition emphasizing the significance of the master-apprentice relationship in the preservation and evolution of woodblock printing. The exhibition will showcase a progression from traditional techniques and materials such as wooden molds to contemporary interpretations, and will include a combination of physical artifacts and multimedia elements such as videos and photographs to demonstrate various applications.

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Toplumun kültürel hafızasını oluşturan yapı taşlarından birisi olarak kabul edilen geleneksel sanatların, yeni dünya düzeni içindeki yeri ve uyum sağlamak için uğradığı dejenerasyonu çalışmanın ana problemlerinden birisi olacaktır. Bu süreç yazılı kaynakların yanı sıra, yazmacılık sanatı ile uğraşan kişilerle ve yazmacılık atölyelerine yapılan ziyaret ve yürütücüleriyle görüşmelerle ortaya konulmaya çalışılacaktır. Anadolu’da önemli bir yere sahip olan yazmacılık sanatının, bizden sonraki nesillere aktarılıp sürdürülmesi, bu konuda oluşturulacak farkındalıkla doğru orantılı olacaktır.

Bu bağlamda “ahşap kalıplar” dan modern yorumlara kadar uzanan ve  “usta çırak” ilişkisinin önemi üzerine bir farkındalık sergisi düşünülmektedir. Sergide, gelenekselden moderne bir akış içinde usta-çırak ilişkisi, kalıplar, yazmalar, destimaller ve modern örnekler tematik bir düzenleme ile yer alacaktır. Sergi, ayrıca uygulama örneklerinin gösterildiği bir video ve  fotoğraflarla desteklenecektir.

Die Kazaner Ornament-Leder
Ornamentierte Lederstiefel waren bei den Wolga-Tataren im Laufe von
vielen Jahrhunderten die populärste Art des traditionellen Handwerks. Schon
die Vorahnen der Tataren – die Wolga-Bulgaren – beschäftigten sich mit der
Herstellung der farbigen Saffianleder und der weichen Juphtleder, die in
vielen Ländern als Bulgary bekannt war. Die archeologischen Funde bestätigen
die Angaben der mittelalterlichen arabischen Historiker über die hohe
Entwicklung der Lederherstellung in der Hauptstadt der Wolga-Bulgaren.
Im Mittelalter trugen die reichen russischen Bojaren die geschmückten
tatarischen Stiefel sehr gern. Die Russen nannten sie Itschigi.
Seit dem 18. Jahrhundert wurde in Kazan, der Hauptstadt des
Gouvernements im Osten Russlands, das Nähen solcher Schuhen zur
industriellen Herstellung. Im 19. – Anfang des 20. Jahrhunderts importierten
die Kazaner Kaufmänner Hundert Tausende “asiatische Schuhe” nach Europa
und den islamischen Osten.
Bis heute blieben die Besonderheiten der tatarischen nationalen Schuhe –
Polychromie, Schnitt mit Ornamenten und die unikale Naht selbst erhalten.
Seit der zweiten Hälfte des 20. Jahrhunderts wurden diese Elemente zu Grunde
der eigenartigen tatarischen angewandten Kunst – der Kazaner Ledermosaik
– gelegt.

The Patterned Leather of Kazan

Making of inlaid leather footwear is one of the most ancient traditional
handicrafts of Kazan Tatars. Leather-dressing was highly developed in the
times of Volga Boulgaria already. This is proved by numerous archaeological
finds on the territories of ancient settlements: workshops of leather-dressers,
remains of uppers and instruments.
We don’t know yet when the technique of leather mosaics and the seam
later known as «Kazan», or «Tatar», or «Kazan stitched-in work» became
used while making traditional footwear. The oldest ones that are kept in
museums of Russia are dated end of 18th – beginning of 19th century.
The handicraft of traditional Kazan patterned boots developed in
numerous suburbs of Kazan and villages outside Kazan during 18th-19th
century. The footwear was made not only in Kazan, but also in other
settlements of Tatars: in the cities of Central Asia, West Siberia, in Kasimov
and Orenburg.

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.

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.

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.

El Instituto Oaxaqueño de las Artesanías (IOA), es el organismo estatal que se encarga de la promoción de la actividad artesanal en el Estado de Oaxaca.  Recibe financiamiento del Fondo Nacional para el Fomento de las Artesanías (FONART).  Actualmente, este instituto emplea una herramienta que evalúa a las creaciones artesanales para que puedan acceder a los apoyos: la Matriz de Diferenciación entre Artesanía y Manualidad. Este trabajo plantea que esta Matriz es resultado de la compleja relación que se construyó entre el estado mexicano surgido de la Revolución Mexicana y las creaciones artísticas indígenas. Relación que puede seguirse en las ideas expresadas por personalidades como Gerardo Murillo (Dr. Atl), Manuel Gamio o Alfonso Caso, así como de las acciones que se propusieron en el Primer Congreso Indigenista Interamericano, celebrado en Pátzcuaro, Michoacán, en el año de 1940.

The Instituto Oaxaqueño de las Artesanías (IOA), is the state agency in charge of the promotion of artisan activity in the State of Oaxaca. Receives financing from the Fondo Nacional para el Fomento de las Artesanías (FONART). Currently, this institute uses a tool that evaluates the artisan creations so that they can access the support: the Matriz de Diferenciación entre Artesanía y Manualidad. This paper argues that this tool is the result of the complex relationship that was built between the Mexican state that emerged from the Mexican Revolution and indigenous artistic creations. This relationship can be followed in the ideas expressed by personalities such as Gerardo Murillo (Dr. Atl), Manuel Gamio or Alfonso Caso, as well as the actions proposed at the Primer Congreso Indigenista Interamericano, held in Pátzcuaro, Michoacán, in 1940.

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.

Книга представляет собой каталог выставки, проходившей в Казанском Кремле в апреле 2013 года. Каталог содержит статьи об искусстве каллиграфии, миниатюры, тезхиба и эбру. На турецком, русском и английском языках.

Идея и координация проекта - Лилия Саттарова (Казань), Кемаль Кахраман (Стамбул).
Перевод на русский язык - Лилия Саттарова

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

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.

":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"

‘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.