BURYATIA.ORG    САЙТ БУРЯТСКОГО НАРОДА



  Закрыть
Логотип buryatia.org
Обратная связь    Правила сайта    Размещение рекламы

Форум


communicationz D. /// or all about visual culture
На страницу Пред.  1, 2, 3, 4, 5, 6, 7, 8, 9  След.
 
Начать новую тему   Ответить на тему    Список форумов Сайт бурятского народа -> Олониитын соёл
  Предыдущая тема :: Следующая тема  
Автор Сообщение
dGalsan
тэнгэри


Зарегистрирован: Feb 12, 2004
Сообщения: 10453
Откуда: mw
СообщениеДобавлено: 07.02.06, 11:43 +0000     Ответить с цитатой

интересный сайт производителей уличной одежды

http://www.mambo.com.au/mambo.html
Вернуться к началу
Посмотреть профиль Отправить личное сообщение Посетить сайт автора
dGalsan
тэнгэри


Зарегистрирован: Feb 12, 2004
Сообщения: 10453
Откуда: mw
СообщениеДобавлено: 07.02.06, 12:50 +0000     Ответить с цитатой

весьма свежий французский иллюстратор -

http://www.maudguely.com/maud/illustrations.htm
Вернуться к началу
Посмотреть профиль Отправить личное сообщение Посетить сайт автора
dGalsan
тэнгэри


Зарегистрирован: Feb 12, 2004
Сообщения: 10453
Откуда: mw
СообщениеДобавлено: 15.02.06, 08:40 +0000     Ответить с цитатой

а вот прикольная историческая подборка реклам первых компьютеров. весьма поучительно ;))


http://www.1000bit.net/adverts.asp
Вернуться к началу
Посмотреть профиль Отправить личное сообщение Посетить сайт автора
tri_tabuna
принцесса цирка


Зарегистрирован: Jan 21, 2004
Сообщения: 7489
СообщениеДобавлено: 15.02.06, 11:57 +0000     Ответить с цитатой

http://news8.thdo.bbc.co.uk/hi/russian/entertainment/newsid_4716000/4716464.stm
_________________
мой сайт
Вернуться к началу
Посмотреть профиль Отправить личное сообщение Отправить e-mail Посетить сайт автора
dGalsan
тэнгэри


Зарегистрирован: Feb 12, 2004
Сообщения: 10453
Откуда: mw
СообщениеДобавлено: 22.02.06, 10:42 +0000     Ответить с цитатой

не совсем в тему, но интересно, как тайваньцы продвигают монгольские темы (имхо, здесь торчат уши небезызвестной тибето-монгольской комиссии) -



Nomad (кочевник, странник, бродяга)

Тема

– Кочевой образ жизни самодостаточен, он следует за приливами моря и стремится к краю горизонта. Этот дух находиться в согласии с бесконечной креативностью дизайнера. / Nomadism is self-sustainable, follows the drift of tide and the fringe of the horizon. Such a spirit is in consensus with the infinite creativity of designer, which can be demonstrated through the ultimate challenge of design.

– В современной жизни, кочевник не просто перемещается с места на место, он делает это с глубоким пониманием. В обществе, где каждый день проживается в невозможном ритме, так что порой становится трудно дышать, лекарством для снятия напряжения может стать духовный nomadism. / In contemporary life, a nomad does not merely migrate by distance but does so with a deeper appreciation. In a society where daily life is lived at an impossible pace that makes it almost difficult to breathe, succumbing to a spiritual nomadism is likely to be the best remedy to release pressure.

– Развитие коммуникаций и технологий изменили миграционную схему (структуру), а так же внесли изменения в современные принципы работы. Возрастаущее разнообразие жизни породило новый тип кочевника, который приходит с разных дорог жизни и из разных культурных происхождений. Эти новые рабочие путешествуют и работают по всему миру в разных часовых поясах, иногда вопреки своей воле по экономическим, политическим причинам, или по соображениям удобства. / The advancement of communication and technology has revised the migration pattern as well as altered modern working habits. The incremental diversity of life has generated a new emerging nomad, who come from various walks of life and across various culture backgrounds. These new types of workers work and travel around the world in different time zones, sometimes against their volition, due to economical, political or convenience reasons.

– С коммерческой точки зрения, появившееся кочевническое поведение создало большие возможности для рынка с высокой мобильностью и персональностью или даже spiritually derailed perceptual products. Каждый итог - это результат вдохновения дизайнера. / From the commercial perspective, the emerging nomad behavior has created a whole new horizon for the market with highly mobile and personalized or even spiritually derailed perceptual products. Every outcome represents the result of the designer's inspiration.

– Сейчас образовался новый тип кочевника, который стремится к источнику энергии. Люди сгруппировались в непосредственной близости от источников энергии, хотя они все живут по разному. Зависимость от источников энегрии имеет ощутимое влияние на дизайн товаров.

– Задача дизайнеров – прикоснуться к теме конкурса "Nomad", со своим индивидуальным видением темы. Создать сценарий, эпизод или опыт в жизни. Для удовлетворения многочисленных жизненных запросов, и для утверждения ценности дизайна. / The objective is to have designers touch the theme of this competition Nomad, with each individual perception to create a scenario, an episode, or an experience of life. To satisfy the many demands of life, and to confirm the value of design.

Кто может участвовать:

– К участию в конкурсе допускаются дизайнеры из Тайваня и зарубежных стран, учителя и студенты дизайнерских школ и freelance дизайнеры.
– Конкурсанты могут участвовать индивидуально или группами
– Количество присылаемых работ не ограничено

Тема проекта

Футуристический промышленный дизайн на тему "Nomad" (кочевник, странник, бродяга)

Даты и время

Конец регистрации on-line – 1 марта 2006
Окончание подачи работ для предварительного отбора – 10 марта 2006
Предварительный отбор – 20 марта 2006
Окончание подачи прототипов – 18 мая 2006
Окончательный отбор – май 2006
Церемония награждения и выставка – 26-29 мая 2006 (выставка будет проходить одновременно с выставкой Молодых Дизайнеров 2006)

Регистрационный взнос

Регистрация бесплатная

Процедура участия:

– регистрация online
Сроки регистрации: 16 января - 1 марта, регистрация после этого срока будет недействительна

– способ регистрации
зайдите на сайт http://www.boco.com.tw/competition и заполните регистрационную форму on-line,
загрузите 1 дизайн-иллюстрацию в цвете (Format: jpeg, 640X453 pixels, 72dpi resolution),
после успешной регистрации, на ваш электронный адрес придет письмо с подтверждением и регистрационным номером

Подача работ:

– для предварительного отбора конкурсанты должны предоставить дизайн-иллюстрации в Taiwan Design Center до 10 марта,
– дизайн-иллюстрации должны быть А3 формата (420х297мм) paper board с описанием (максимум 3 paper board),
– пожалуйста, укажите регистрационный номер и пронумеруйте каждую paper board в правом нижнем углу (конкурсанты могут скачать label format с сайта http://www.boco.com.tw/competition/,
– конкурсанты должны отправить работы в Taiwan Design Center до 10 марта по адресу:
Taiwan Design Center
Selection Committee of 2006 Taiwan International Design Competition
3F., Bldg.G, 3-1 Park Street, Nangang Taipei 115, Taiwan
– подтверждением, того что организаторы получили вашу работу, будет публикация регистрационного номера на сайте конкурса

– для окончательного отбора (финалистам сообщат по e-mail о подаче работ) финалисты должны представить прототип реального или масштабированного размера,
– организаторы конкурса субсидируют изготовление прототипов для финалистов в категориях "Honorable mention" и "Final entrant" на сумму NT$ 16,000 (net),
– CD с работами: 3 цветные фото прототипа (210х270мм, 300 dpi), конкурсанты могут описать свои проекты и записать победную речь (victory speech) на CD (каждое фильм должен быть не больше 3 мин. В формате mpeg/swf/mov/avi), описание работы на английском (в формате doc/txt, 300-500 слов), 1 фото конкурсанта (210х270мм, 300 dpi),
– окончание подачи работ для окончательного отбора – прототип, CD и дизайн-иллюстрации должны быть отправлены в Taiwan Design Center до 18 мая по почте или переданы лично по адресу:
Taiwan Design Center
Selection Committee of 2006 Taiwan International Design Competition
3F., Bldg.G, 3-1 Park Street, Nangang Taipei 115, Taiwan

Процедура отбора

Процедура отбора разделена на предварительную и окончательную стадии:
– на предварительной стадии рассматриваются иллюстрации, присланные конкурсантами. Жюри выберет 30 финалистов.
– на суд жюри для окончательного отбора конкурсанты должны представить прототипы, иллюстрации и пояснения

Критерии отбора

В критериях отбора делается упор на инновацию, превосходящую параметры уже существующих товаров, на четкое выражение темы конкурса и демонстрацию того, что работа осознанно разработана в соответствии с определенными принципами (правилами)
Креативность – 50%, эстетика – 20%, законченность (завершенность) дизайна – 20%, презентация дизайна – 10%

Состав жюри

Предварительный отбор:
Michael Young, промышленный дизайнер/ Великобритания,
Mark Stocker, арт-директор Ddg/ США,
Georg Todtenbie, главный дизайнер Cre8-Designstudio/ Германия,
Rosalie Huang, дизайнер одежды/ Тайвань,
IShun Lin, главный дизайнер и Managing Director of U2id Design House/ Тайвань,
Wei Hsiung Chan, главный редактор журнала Bnext/ Тайвань

Окончательный отбор:
список жюри будет опубликован на сайте организаторов конкурса

Награды

Золото 1 победитель/ NT$500,000 и сертификат
Серебро 1 победитель/ NT$200,000 и сертификат
Бронза 1 победитель/ NT$100,000 и сертификат
Philips Award 1 победитель/ NT$100,000 и сертификат
Tsann Kuen Award 1 победитель/ NT$100,000 и сертификат
Honorable Mention 15 победителей/ NT$100,00 и сертификат
10 Final Entrants / сертификат
Список победителей будет вывешен на сайте и оглашен прессе

Условия

для участников
– все работы должны быть сделаны конкурсантами и не должны посягать на интеллектуальные права других людей – организаторы не несут за это ответственность,
– организаторы рекомендуют конкурсантам зарегистрировать свои работы в компетентных государственных органах перед регистрацией в конкурсе,
– присланные проекты не будут возвращены, организаторы оставляют за собой право уничтожить или оставить такие работы по своему усмотрению,
– конкурсанты должны предоставить информацию о своих работах для выставки и официальных публикаций,
– во избежание длительной процедуры растомаживания и задержки в транспортировке, все иностранные конкурсанты должны указать стоимость предмета меньше 50 долларов США,
– проекты конкурсантов должны быть застрахованы, особенно, на случай кражи, пожара, поломки и других повреждений;

для победителей
– в целях рекламы организаторам предоставляются права на использование (including but not limited to reproduce, Publicrecitation, Public broadcast, Public presentation, Public transmission, Distribution, Public display, Publication, Public release) the works of the participants entering the final competition in different formats, including but not limited to Video/CD recordings, catalogues, photos, publications, and exhibitions.
– победители (и их работы) должны сотрудничать с организаторами в соответственных мероприятиях в течение года, после объявления победителя,
– денежные призы будут выданы без вычета налогов, но налог на годовой доход (income tax) будет вычтен из всех денежных призов, в соответствии с постановлениями правительства (иностранные победители заплатят 20% налог на годовой доход),
– присланные проекты не будут возвращены, организаторы оставляют за собой право уничтожить или оставить такие работы по своему усмотрению.

Причины для дисквалификации

В случае, если награжденная работа окажется плагиатом или каким-то образом нарушит авторские права других людей, организаторы оставляют за собой право дисквалифицировать награжденных победителей и вернуть себе их награды и сертификаты.

Контакты

Секритариат Тайваньского международного конкурса дизайна 2006
Taiwan Design Center (TDC)
3F., Bldg.G, 3-1 Park Street, Nangang Taipei 115, Taiwan
T: 886-2-2655-8199 ext.180 F:886-2-2655-8228

Сайт организаторов http://www.boco.com.tw/2006competition/english/theme.html


цитируется по:
http://www.designet.ru/events/competition/?id=3436
Вернуться к началу
Посмотреть профиль Отправить личное сообщение Посетить сайт автора
dGalsan
тэнгэри


Зарегистрирован: Feb 12, 2004
Сообщения: 10453
Откуда: mw
СообщениеДобавлено: 01.03.06, 10:03 +0000     Ответить с цитатой

интересно,
какие песни у этой группы?

http://www.botanicadeljibaro.com/
прикольное оформление и бэкграунды
Вернуться к началу
Посмотреть профиль Отправить личное сообщение Посетить сайт автора
dGalsan
тэнгэри


Зарегистрирован: Feb 12, 2004
Сообщения: 10453
Откуда: mw
СообщениеДобавлено: 01.03.06, 11:09 +0000     Ответить с цитатой

еще из монголии темка (копирую сюда текст, т.к. опасаюсь, что потом там текст будет недоступен) -

Монгольская каллиграфия в современном искусстве

http://ubpost.mongolnews.mn/virtualmongolia/mongoliatraveler/calligraphy.htm



Mongolian Calligraphy in Contemporary Art
By Gerald Marchewka
The UB Post Feature Writer.

At the present time Mongolian calligraphy a very important form of indigenous art is still relatively rare. More recently however this artwork has become a bit more prevalent as a small number of artists have become increasingly involved in the creation of this work. A comprehensive description of the nature and significance of this art has however yet to be made available to both the Mongolian people at home and interested people abroad as well.
As part of an effort to rectify this situation, Kh. Lkhamsuren, a local art critic, is helping to fill this void as she recently attempted to integrate some historical perspectives on the nature of Mongolia’s art both past and present. She refers to Ts. Dorjpalam’s artwork, and in particular, “ Mongolian Language” “as an important painting that survived Mongolia’s vaunted socialist period. With unadorned but evocative traditional script, featuring the poetry of the eminent poet Byambiin Renchin, this work represents the unique quality and nature of traditional Mongolian culture. The rich expressive language, written in a highly formalized stoic form, really makes the quality of our Mongolian experience come alive. Like music to the ear our language is the wisdom of our culture”, says Lkhamsuren.
This painting is however important not only for its aesthetic value. It represents an artists’ ability to create work in the face of political opposition, if only tacitly. In judgment of this work, Lkhamsuren says “ this painting is a true example of the resilient spirit of the Mongolian people. It is a very touching work that is symbolic of the natural beauty that exists within our traditional language”.
It is however quite ironic that as this painting has received some attention in recent years it has only now received some critical acclaim. Lkhamsuren says “ it is a work of art that reflects an important period in Mongolian history. We can see that by comparing various historical periods the current social milieu for artists is now relatively open. Certainly this was not the case during the socialist period”.

A brief history of Mongolian art

In a concise description of the extended history of Mongolian art, a framework for understanding Mongolia’s contemporary art scene, Ts. Uranchimeg, an art historian, indicates that the nations’ work can be divided into five distinct periods of time. They include Ancient Art in Mongolia, from the Upper Paleolithic Period (40,000-1200 years ago), the Art of the Steppes Empire (third century B.C to first century A.D.), the Art of the Mongol Empire (1206-1368), Buddhist Art of Mongolia, Art of the 19th Century, and Art of the 20th Century.
The Ancient Art of Mongolia, the first period from which we draw this development, is now commonly associated with a bounty of rock drawings that were found throughout the country. Drawings were found carved and painted on rocks, as well as cliffs and mountains. Depictions of animals, hunting scenes and chariots were also prevalent within these carvings and paintings.
These images are however not realistic. Uranchimeg describes them as a meditation of an ancient people. They are quite frankly a series of fascinating images that depict a vision of the world by the earliest people in Mongolian history.
The proceeding period, the Art of the Steppes Empire was created by the Huns or Hsiung Nu. This art was created in the third century B.C., and it lasted until the first century A.D.
In this era animals were often used as subjects in artwork. Felt carpets for example containing animals images were typically fashioned with a superlative quality. The artwork often contained expressive movements of fighting beasts, reflecting considerable knowledge of both the nature and behavior of these creatures.
The succeeding empires of the Sianbi (Shien-pi) and Jujan (Jujuan) in comparison left no traces of art at all. But each succeeding state had a script of its own. These scripts were routinely carved upon wooden blocks.
The Sianbi were master craftsmen in both leather and wood. The Jujuan were accomplished artisans with iron, leather, ceramic and wood. Of considerable interest is the fact that the Sianbi had an orchestra with 80 instruments and their own national hymn, which was played at the start and end of epic battles. Both groups of people constructed temples for worship as well.
By the middle of the sixth century the Turkic Empire was firmly established as its people defeated the Jujuan. The emperor was for the first time given the title Khaan and the empire was named Khaganate. The steppe nomad Turks were the first to create a phonetic script within this region, and a large number of monuments were created at this time as well. Among the most noted monuments were statues of the “stone men”. The “stone men” represent Turkic warriors usually standing in a long robe, holding a cup filled with fire, the other hand gripping the handle of a knife.
In addition to the “stone men”, important burial sites of Turkic leaders can be found in several areas of Mongolia. These include statues with Turkic writing, of buried people, and of animals. The burial sites were organized as whole complexes with buildings, temples and numerous sculptures.
In 740 however the Turks were defeated and succeeded by the Uighurs. The Uighurs a semi-nomadic people, who in addition to their cattle breeding activities had highly prosperous agricultural and trade businesses, most notably, lucrative trading markets along the legendary Silk Road.
Uighur cities were important cultural centers too. They contained temples and palaces ornamented with elaborately painted frescoes on subjects that ranged from everyday life to Buddhist themes. Uighur mural paintings have been preserved, and along with sculpture, and arts and crafts, they are known as the masterpieces of Central Asian art.
It is interesting to note that the Uighurs had an alphabet-based script that was subsequently adopted by Mongolians during the Mongol Empire. It is the traditional Mongolian script that is still used today. And as a tribute to these developments, there are still memorial monuments with Uighur writing, representative of the highly developed culture of this period.
But like the preceding empires, the Uighur Empire also fell, in this particular case to the Khitans in 840. The Khitans were also a semi-nomadic people. They produced two types of scripts. One bore no resemblance to any other script in Asia, the other shared similarities to Chinese writing.
The Khitans created a range of art including literature, architecture, music and dance. Landscapes, portraits and genre paintings were created within their predominant era of influence. Poetry and travel diaries also existed. And districts of commerce, craftsmanship and travelers were also established.
To their demise however, between 1115-1118 the Jurjens, a vassal tribe rebelled, occupying 50 Khitan towns. In 1118, the entire Khitan Empire collapsed from the attacks of the Jurjens.
But in 1206, as fate would have it, a man named Temuujin united all of the Mongolian tribes. He was subsequently pronounced Chinngis Khaan, the Great Khaan of Mongolia. This led to a military conquest that resulted in the largest Empire in human history. The Mongolian people then played an important role in facilitating the exchange of ideas in arts and culture, between both Asia and Europe.
As part of his reign and lasting influence, Chinngis Khaan chose Kharhorum as the capital city of the great Mongol Empire. Built by his son and successor, Ugudei, the city was located by four gates. The eastern gate was adjacent to a market in cereals and corn, the western gate, sheep and goats, the southern gate, bulls and carts, and the northern gate, near horses.
In Kharhorum, the renowned capital city, the Khan resided in a grand palace called “Tumen Amgalan” or “ten thousand times tranquility”. It was built of bricks and had three main doors with sixty-four columns. Thousands of people could sometimes be seen in the palace, situated in a city that contained Buddhist temples, mosques and a church. But perhaps the most significant surviving artwork of this period is the portraits of Mongolian Khaans and their wives. Made in the thirteenth century these portraits illustrate the impact of Khitan painting, and are purportedly the creation of Kara Khosun, a Mongolian artist who worked in the court.
In comparison, the art of the Middle Ages was purely Buddhist. Buddhism was introduced to Mongolia several times via the Silk Road, with the Uighurs and during the Mongol Empire as well. It was however only in the sixteenth century that Altaan Khaan converted to Lamaism. Shortly thereafter it was adopted as the national religion of Mongolia as Altan Khaan, granted the title Dalai Lama to Sodnomjamtso, the most eminent monk of Tibet.
In 1586 the first Lamaist monastery was built on the remains of Kharhorum. This trend continued until the twentieth century as numerous monasteries were built throughout the country. These temples were built in Chinese and Tibetan styles along with a model based on the traditional Mongolian ger and tent.
The medieval period was also the time of Mongolia’s most prominent artist, Zanabazar. Born in 1635, a descendant of Chinngis Khan, at the age of 5 he was given the religious title Unduur Gegeen. And at the age of 14 he studied in Tibet, where the Dalai Lama recognized him as a first Khutuktu, or reincarnation of Bogd Jebzundamba. Upon returning to Mongolia he began building temples and monasteries, only to become the first Khutuktu of Mongolia, called Bogd Gegeen.
Among his considerable talents Zanabazar was known for his sculpture. Zanabazar’s works reveal his deep knowledge about the iconic proportions of a human body in both Tibetan and Indian philosophy. His statues amaze viewers with their perfect proportion and symmetry. A beautiful oval face, a straight nose, a small slightly open mouth, and eyes in deep meditation, became the classical features of a deity in Buddhist sculpture.
In the 19th century much of the development in Mongolian art was based in Urga, a main city in Mongolia. Much like Kharhorum, Urga, now known as Ulaanbaatar, became the meeting place for artists and craftsmen of the highest quality. Within this period, tangka paintings were the most pervasive style of art, created with different techniques such as nagtan, martan and gartan.
As all artists and educated people were monks during this period of time, Tangka paintings were considered a means of expressing one’s spirituality within a traditional Buddhist framework. To start a tangka, the artist awoke at dawn, cleansed his body, and by reading the prayers of a particular deity, purified his soul. The artist then made the first brushstrokes at the hour of good luck and fortune.
By the dawn of the 20th century however, Mongolia’s Buddhist artwork was becoming increasingly secular. Familiarity with European portraits, and internal changes within the Buddhist community began to have far reaching affects. All of this was apparent in the artwork of B. Sharav, a monk, who became one of the era’s most influential artists.
Nicknamed Marzan, which literally means funny, he began to dabble in a variety of styles that were clearly outside the proscribed areas of convention. Sharav became associated with genre painting, the emergence of European style portraits, graphic art, and posters. Some of his work even served as visual propaganda for the communist revolution.
By the 1940’s, approximately two decades after the establishment of the People’s Republic of Mongolia, Soviet style socialist realism became the dominant style of art. Art depicting the lives of herders and workers, reflecting socialist values became the preferred style of art. The lines were clearly drawn. And any attempts to challenge the boundaries with other interpretive descriptions could elicit harsh rebukes from select individuals in official circles.
But by the late 1960’s the fawning embers of discontent began to burn with more than just a little intensity. On July 20, 1968, “The First Exhibition of Young Painters” opened in the Exhibition Hall of the Union of Mongolian Artists. The Mongolian government immediately shut down the exhibition, labeling the artwork “the art of capitalists”. Both the participants and the Chairman of the UMA suffered strict punishments from the Communist Party as a result of this artwork.

Politics and painting

In reference to the socialist period, Ch. Jamyangsuren, a specialist on Mongolian language and culture at the Mongolian National University seemed a bit reluctant to comment on the impact of Marxist ideology on Mongolian art. Jamyangsuren did however emphasize that although Mongolian script had been listed as the official writing of the Mongolian people during the founding of the constitution of the Peoples Republic of Mongolia, it was only two short decades thereafter, that Russian based Cyrillic became dominant. With this in mind, it is hard to believe that Mongolians like Jamyansuren, who share a significant pride in their nations language and culture, would not be more than a little dismayed at the affects of recent history.
And while Jamyangsuren may have chosen not to point the finger at specific individuals who affected the nations politics, and culture, he was quite willing to discuss some of the purported consequences of a flawed educational policy that has continued to have a lasting impact until this day. In a critique of the current state of education, Jamyangsuren says “many Mogolian people between 40-60 years of age seem to have some disdain for the nation’s traditional script. This may stem from their own personal insecurities, as relatively few of these people are adept in using this writing. This undoubtedly causes embarrassment, as they must maintain a degree of superiority over their students to maintain their fragile egos”.
“Among Mongolia’s young students however there has been some progress. The nation’s traditional script has now become a part of contemporary classrooms. But this modest revival, as pleasing as it may be, still falls far short of what it should be”.
In a critique of the nations policy on language and culture, Jamyangsuren says “ few students are receiving the type of rigorous training that would allow students to develop an in depth understanding of their language and culture. The traditional script, language, and literature are surely the best teacher”.
“Sadly at the onset of our democratic movement several parliament members made pledges to advance the use of traditional script, only to retract their promises at a later point in time. And many members of the local community now argue that because of international trends, and the impact of globalization, learning traditional script has become impractical. But clearly efforts should be made to preserve our traditional culture and make the necessary adaptations to allow our writing to flourish during the 21st century”.

On the merit of an ancient art form

When Jamyangsuren speaks of Mongolian calligraphy his love of the art form really becomes quite apparent. In a moment of self-revelation Jamyansuren said, “ I am really just a slave to the brush. I consider it an artistic endeavor for the scientific development of spiritual culture”.
“As it is an abstract art of line and space, it allows the artist to develop new creative images from within a traditional format. And from a personal perspective I can say that it provides the opportunity for the Mongolian artist to overcome the devastating effects of poverty. It creates feelings of nostalgia. It reaffirms the basic Mongolian identity. And it conjures images of our ancestors. Perhaps there is no other art form that has such a dramatic affect upon the human spirit and soul”.
“Some of my teachers have called Mongolian calligraphy an art in paradise. It is a mental process that produces great happiness and a profound depth of consciousness. You become so absorbed in the entire creative process your spirit becomes released. It is the ultimate freedom”.
“Mongolian calligraphy promotes language development, philosophical thought and critical thinking. It has also been known to reduce stress, promote feelings of wellness and provide deep relaxation. In my opinion it is the basic essence of our nomadic civilization.”

A new Mongolian calligraphy

Arguably one of the most gifted contemporary artists to create paintings with Mongolian calligraphy is D. Battumur. Two of Battumur’s most recent paintings, Mountain and Ovoo are examples of a new style of Mongolian calligraphy. Both are fresh illustrations of the innate spirituality that thrives in aspects of traditional Mongolian culture.
In “Mountain” thick protruding characters that appear to be pregnant with meaning are cast amidst a white background. Battumur has referred to the whiteness as snow in the sky. The image of the mountain cast amidst both the snow and sky was created to produce feelings of harmony between heaven and earth.
In “Ovoo”, Battumur once again forms a spiritual communion with nature. As the ovoo is a mound of stones constructed atop a mountain, it is believed that by adding stones to this convex shaped hillock, good fortune will come and physical ailments fade. Battumur has undoubtedly chosen the ovoo as a topic for his art as it is not only a symbol for luck. It is a lasting representation of ancient traditions that exist within Mongolia to this day.

Traditional images

When we consider traditional images in Mongolian calligraphy it is difficult to not to connect this art form with a range of issues related to the modernization of Mongolia. Mongolian calligraphy is by its very nature an ancient form of art. As a result artists who create calligraphy will inevitably convey messages about the relationship between this traditional art form and the changes that are occurring within the greater society. The affects of modernization are undoubtedly a recurring theme.
If we consider the artwork of Battumur for example, we find that the images in his work are deeply rooted in an ancient Mongolian psychology. Yet they have emerged from within a contemporary social context. This contrast provides the art with a depth that may often be a missing element in other forms of artwork at the present time.
In a simple yet eloquent description of the source of this depth, that belies his informal friendly down to earth style, Battumur has indicated that the inspiration for his work is derived from both the natural elements and his family. He indicated that it is essential that his ink be mixed with water taken from a pure river stream. And it is also important that the work be created in resonance with the rising sun.
As he pondered upon the impact of significant others upon his art, Battumur cites the importance of his grandmother. He said that as he was first introduced to Mongolian script as a high school student, it was his grandmother who inculcated a sense of discipline to allow him to master this language. He also cites the significance of Vladislav Smirnov, an influential art teacher at the Stroganov Institute in Moscow where he was a student of graphic arts.

Venerating the past

It is reasonable to conclude that Battumur represents a new generation in Mongolian artwork. As an artist he is youthful and exuberant, yet at the same time, mature. He combines images of the past with a fresh new vision that is unrestrained, creative and thoughtful.
In a recent painting simply called “I”, Battumur makes a bold dynamic statement about the assertion of the self. Battumur is not an artist to be bound by tradition. He has simply developed a new means to forge his own creative niche in the Mongolian art world by reinterpreting the traditions of the past.
“Battumur says when I create my art I feel I am in control of my own destiny. At the same time I am deeply involved in our cultural traditions. It is the greatest feeling.”
“As I progress as an artist I hope to continue to find new ways to express myself. I just want to give proper respect and honor to my ancestors, as other Mongolian artists would do. Mongolian calligraphy is such an important art form. I just think of it as a vital, vivid depiction of my mother tongue. Nothing could be more important, could it? ”

Sources

Uranchimeg, Ts., Modern Paintings of Mongolia: Its Origin up to Today. Published and organized by the Mongolian Nation Modern Art Gallery, Zanabazar, Museum of Fine Art and the Union of Mongolian Artists, (2002).
Вернуться к началу
Посмотреть профиль Отправить личное сообщение Посетить сайт автора
Понарошкина
ходо байгша


Зарегистрирован: Jul 06, 2004
Сообщения: 335
СообщениеДобавлено: 04.03.06, 08:10 +0000     Ответить с цитатой

смотрите, как придумали: http://www.desireepalmen.nl/images.php
_________________
ложь, флудёж и провокация
Вернуться к началу
Посмотреть профиль Отправить личное сообщение
tri_tabuna
принцесса цирка


Зарегистрирован: Jan 21, 2004
Сообщения: 7489
СообщениеДобавлено: 04.03.06, 13:17 +0000     Ответить с цитатой

три высших достижения британского дизайна
http://news.bbc.co.uk/hi/russian/uk/newsid_4769000/4769342.stm
_________________
мой сайт
Вернуться к началу
Посмотреть профиль Отправить личное сообщение Отправить e-mail Посетить сайт автора
tri_tabuna
принцесса цирка


Зарегистрирован: Jan 21, 2004
Сообщения: 7489
СообщениеДобавлено: 24.03.06, 07:11 +0000     Ответить с цитатой

http://www.sostav.ru/news/2006/03/24/fest1

графические и текстовые работы в защиту байкала
_________________
мой сайт
Вернуться к началу
Посмотреть профиль Отправить личное сообщение Отправить e-mail Посетить сайт автора
dGalsan
тэнгэри


Зарегистрирован: Feb 12, 2004
Сообщения: 10453
Откуда: mw
СообщениеДобавлено: 30.03.06, 15:08 +0000     Ответить с цитатой

http://www.khulsey.com/main_english.html

- зубодробительные технические иллюстрации. оказывается, одну иллюстрацию можно делать 960 часов:

http://www.khulsey.com/empress_main.html

.
Вернуться к началу
Посмотреть профиль Отправить личное сообщение Посетить сайт автора
dGalsan
тэнгэри


Зарегистрирован: Feb 12, 2004
Сообщения: 10453
Откуда: mw
СообщениеДобавлено: 31.03.06, 10:04 +0000     Ответить с цитатой

http://www.ndc.co.jp/hara/home_e/muji2003/index.html#

очень серьезный креативный директор по имени Kenya Hara во главе токийской команды MUJI делает отличные вижуалы пространства и предметов. Интересный опыт работы с плоскостью степного пространства - просто завораживает энергетика статичного пространства:





Работы 2003 года
Вернуться к началу
Посмотреть профиль Отправить личное сообщение Посетить сайт автора
dGalsan
тэнгэри


Зарегистрирован: Feb 12, 2004
Сообщения: 10453
Откуда: mw
СообщениеДобавлено: 06.04.06, 09:15 +0000     Ответить с цитатой

http://www.sil.si.edu/ondisplay/czechbooks/explore.htm

интересные чешские обложки 1920-30 гг.
Вернуться к началу
Посмотреть профиль Отправить личное сообщение Посетить сайт автора
dGalsan
тэнгэри


Зарегистрирован: Feb 12, 2004
Сообщения: 10453
Откуда: mw
СообщениеДобавлено: 06.04.06, 10:20 +0000     Ответить с цитатой

к недавней дискуссии об актуальности бурят-монгольского культурного наследия -
(привожу на примере художественной традиции буряад-зураг):

вот сканированный оригинал - исходник, взятый из книги "Buryat pattern in Lubsan Dorziev's works", Moscow, Ulan-Ude, "Nyutag" 1992:



А вот векторизация (трассировка) элемента этого орнамента средствами Adobe Illustrator CS2 -



Есть разница в ощущениях?
Есть. То, что сделано в Илле, кажется более современным, хотя суть рисунка не изменена никак. Т.е. актуальность всего бурят-монгольского наследия очевидна. Только на таком оригинальном материале можно добиться своего собственного языка - того, что так востребованно в сегодняшнем культурном пространстве.
Наверное, это задача уже нашего поколения - перевести традиционное наследие посредством современного инструментария в новое время. Это должно быть задачей Нового Ренессанса, наверное (если так можно выразиться).
Вернуться к началу
Посмотреть профиль Отправить личное сообщение Посетить сайт автора
Tohuchar
мүнхэ


Зарегистрирован: Jul 23, 2003
Сообщения: 3200
Откуда: Москва
СообщениеДобавлено: 12.04.06, 16:44 +0000     Ответить с цитатой

Очень неплохие работы
http://mi3ch.livejournal.com/532069.html
http://mi3ch.livejournal.com/622327.html
http://mi3ch.livejournal.com/698368.html
_________________
тот, кто ошибается предпоследним - выигрывает
Вернуться к началу
Посмотреть профиль Отправить личное сообщение Отправить e-mail Посетить сайт автора ICQ Number
Показать сообщения:   
Начать новую тему   Ответить на тему    Список форумов Сайт бурятского народа -> Олониитын соёл Часовой пояс: GMT - 3
На страницу Пред.  1, 2, 3, 4, 5, 6, 7, 8, 9  След.
Страница 5 из 9

Поставить закладку
Версия для печати (вся тема целиком, трафик!)

 
Перейти:  
Вы не можете начинать темы
Вы не можете отвечать на сообщения
Вы не можете редактировать свои сообщения
Вы не можете удалять свои сообщения
Вы не можете голосовать в опросах
soyol.ru - всё о культуре и искусстве Бурятии




Рейтинг@Mail.ru