Authors:Christophe Schinckus Abstract: This essay investigates the possibility of flatness in painting through the lens of readymade. In this perspective, the concept of flatness is questioned through its physical reduction as a white canvas. Through a creative gesture without leaving a mark, the artist invites viewers to think about the beginning and the end of painting. In other words, viewers can perceive something where they cannot directly see something. Because all untouched canvases are achromatic industrial sculpture composed by a high number of tiny asperities and a complex variation of shadows, they can actually not be considered as the phenomenalization of flatness. This claim is supported by several images illustrating the fractality of flatless canvas. In this context, this article analyzes the perceptive dimension of canvas as readymade by switching the focus of observers from painted elements (what is painted) to the painting ones (what composed the painted elements). In such context, this paper discusses the perception of untouched canvases as an experience of the flatness referring to the beginning and the end of painting. PubDate: 2020-08-08 DOI: 10.18533/journal.v9i7.1944 Issue No:Vol. 9, No. 7 (2020)
Authors:Xiaoqin Zhou, Haji Baharudin bin Haji Mohd Arus Abstract: Wu Shujuan was a Chinese female painter working in the tradition of the masters, whose works were predicated upon the ideological framework of Confucianism and yet managed to incorporate the heterogeneity of the emerging modern China. She broke into the genre of the male preserve of observational landscape painting and introduced Chinese art to the world’s art collectors, utilising new innovations in quality printing. This article makes an estimate as to where the balance lies between Wu as a moderniser and innovator and Wu as a traditionalist and conservative. In engaging in this study I employ a methodology based on analyses of: gender roles; the nature of the Chinese gentry; the resonance of Confucian norms and values; the emergence of a Chinese bourgeoisie and the consequent growth of the art market; and the emergence of modernity in the discourse of the emergent Republic of China. I conclude that Wu Shujuan was cultural reformist who sought changes within the existing framework of norms and values that were integral to the Chinese gentry’s way of life. PubDate: 2020-07-30 DOI: 10.18533/journal.v9i7.1945 Issue No:Vol. 9, No. 7 (2020)
Authors:Charles Adu-Boachie, Mawuli Kwasi Agbodza, Samuel Baah Kissi, Ann Abbam Adjaye Abstract: Landmarks are essential geographical features that give easy identification to a specific location. Although landmarks serve very important purpose, most of these landmarks could only been seen at the site they are found. These landmarks can be made handy as souvenir items which will intend advertise and showcase the beauty of these landmarks. The Kwame Nkrumah University of Science and Technology has a wide array of souvenirs already available for purchase and distribution. However most of them lack originality and a deeper sense of connection to the prestigious university. These souvenir items can be produced using the Asante casting technique depicting the various landmarks in KNUST. This research is qualitative and employs studio base research design for the execution of the project. It was found that during periods of increase in rainfall, P.O.P. moulds serve as the best investment material because it dries and hardens quickly. Also, the addition of sand to the mould material (P.O.P.) cost efficient and durable. It is recommended that, technology such drones can be used to capture bird’s view of very large landmarks to improve designs and also to come up with detailed designs within a short period of time, three dimensional computer aided software can be used. PubDate: 2020-07-29 DOI: 10.18533/journal.v9i7.1784 Issue No:Vol. 9, No. 7 (2020)
Authors:ChanJuan Tu Abstract: This study was carried out to investigate the history of Chinese character grid design. Still, it seldom involves the understanding and use of the grid in the Chinese context, that is, the information transmission of Chinese characters. There is little research on the grid design of Chinese information applied to multimedia. This research aims to conduct the cross-disciplinary, diachronic study and qualitative research with ethnography. Moreover, examining the history of the use and recognition of grids in design, and its relationship with visual design in different ages and historical transitions in China. Besides, this research outlines the unique change track of grid design consciousness in the context of Chinese visual communication and information transmission and the historical and cultural enlightenment from the perspective of cultural exchange and comparison between China and foreign countries. Question: Is there the “grid” concept in art and design of Chinese tradition' What are they' Use historical research methods to explore which traditional Chinese culture is related to the grid. PubDate: 2020-07-29 DOI: 10.18533/journal.v9i7.1941 Issue No:Vol. 9, No. 7 (2020)
Authors:Arief Rahman Mahmoud, Sudarsono sudarsono, Abdul Rachmad Budiono, Imam Koeswahyono Pages: 01 - 10 Abstract: The Notarial Statutes (UUJN) state that the Notary Public is a "public official" but does not explain in detail the number of public officials, so that it does not occur in multi-year. Based on the problem of government function theory, that is, the function of the Notary Society as a public official. There are many legal products that are notoriously specific, such as the Notification of the Cooperative (NPАK) in the form of a narrowing of the authority of the general public. With the narrowing of the authority of the Notary, even the function of the Notary is not effective. The purpose of this research is to find out and formulate legal reform reforms about the notification of the authority of the Notary Public as a general stakeholder in the making of an authentic. This research is a normative legal research with a legal, conceptual and historical approach. The results of the study indicate that the legal arrangement of the Notification of the Government's authority as a general stakeholder in the making of authentic items needs to be reformed. For that it is necessary to re-formulated the article that governs the notary authority as General officer, contained in the law of the notary office to return the notary office as a only general official authorized to make the deed authentic. PubDate: 2020-07-20 DOI: 10.18533/journal.v9i7.1936 Issue No:Vol. 9, No. 7 (2020)
Authors:Cecilia Durojaye Pages: 11 - 19 Abstract: Numerous drum ensembles characterize the music landscape in Nigeria. The dùndún of the Yorùbá, however, provides a unique exemplar for the understanding of indigenous art forms in Nigeria in general and the Yorùbá culture in particular. Given the significant role of the drum among the Yoruba, the paper gives a detailed introductory insight into the dùndún tradition with a specific focus on the definition and origin, the dùndún ensemble formation as well as the musical and socio-cultural functions of the drum. The paper aims to contribute to the preservation and appreciation of indigenous music and musical instruments. PubDate: 2020-07-20 DOI: 10.18533/journal.v9i7.1902 Issue No:Vol. 9, No. 7 (2020)
Authors:Wen Xing First page: 20 Abstract: Artists ever since pre-historical period have been creating artworks by breaking dimensional limitations. Such creative artistic efforts could be either constructive or deconstructive. Different from the previous dimensional innovations in art history, installation painting, as a new genre of art, successfully integrates two-dimensional painting and three-dimensional installations. From the perspectives of art-historical, cultural, and mathematical studies, the present project delineates how “installation painting” is not just a combination of “installations” and “painting.” As the first study of installation painting, this article summarizes the basic categories of installation painting by analyzing representative works and the artistic approaches associated with them. It is argued that installation painting is more than a simple combination of installations and painting, and that the intellectual exchanges and interactions between variant dimensions as well as those between the reviewer and the artwork create and continue to recreate the concerned installation painting. Through a case study of Tian Xing’s recent works, this project not only defines installation painting but also illustrates its basic approaches and cosmological implications, thus facilitates and promotes both the theoretical study and the artistic creations of installation painting. PubDate: 2020-07-20 DOI: 10.18533/journal.v9i7.1932 Issue No:Vol. 9, No. 7 (2020)
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