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The article discusses the history of art depicting rural European environments and social customs since the Middle Ages. Regional differences in urban and rural society's relationship with art are explored, "rural space" is defined, and depictions of rural spaces and lifestyles in art are examined. The lack of art created by artists from rural backgrounds is described, works by artists including Ambrogio Lorenzetti, the Limbourg brothers, and Pieter Bruegel the Elder are analyzed, and the history of public opinion of art depicting rural themes is discussed.

The article focuses on the rock arts produced by the hunter-gatherers and farmers in Chile's semi arid north. It says that the hunter-gatherers create rock arts within residential space for small groups while the farmers used petroglyphs in supra-familiar spaces. It states that the art works reflect the social life of the pre-Hispanic communities.

Music, playing instruments and performing rituals are bodily activities and as such they can be studied stressing their corporeal features. Music and sounds are usually essential elements in rites, and bodies play an essential role in bringing together music and rituals. We explore these issues focusing on Punic terracotta figurines playing musical instruments recovered from the island of Ibiza (fifth to third centuries bc). [ABSTRACT FROM PUBLISHER]

An essay is presented which discusses the works of the modernist Irish stained glass artist and illustrator Harry Clarke. Particular focus is given to examining Clarke's ecclesiastical stained glass work's relationship with modernism. The role that Clarke played in the Arts and Crafts movement in early 20th century Ireland is discussed. The influence of Irish traditions on Clarke's work is also discussed.

This paper looks at a group of photographs entitled Qajar Series (1998) by artist Shadi Ghadirian. Ghadirian recreates sets to look like those used in photographic portraits taken during the late nineteenth and early twentieth century of the Qajar dynasty period and dresses her female sitters in costumes reminiscent of clothes from the era. The artist also integrates contemporary objects that do not fit within the historical setting created for the camera. This essay examines how the artist uses performance to stage this anachronism and think critically about temporal discourses and their links to the categories of modernity and tradition. [ABSTRACT FROM PUBLISHER]

A literary criticism of the book "Fantômes" by Jérôme Meizoz and Zivo is presented. It outlines the depiction of ghosts in art, with particular attention given to ghosts in the literature, and ghosts in paintings. Themes discussed include manners and costumes in art, literary style, and scenography.

The article offers the author's view on terminological problems related to the digital reproduction of the painting "Le Nozze di Cana" by Paolo Vernese. He mentions that the reproduction is difficult to determine by common terminological categories including the terms original, prototype and authenticity. He notes that the gradual inability of the terms specify the same aspect within cultural tradition. He also points out that it underscores the need to search for a conceptual arsenal suitable for the definition and presentation of new concepts in art history.

The article discusses the ways in which American visual culture and sculpture illustrated 19th century views on marriage. It describes decorative prints, fashion plates, and illustrations demonstrating romantic ideals. It notes the idea of feminine submission in the marble sculpture "The Greek Slave" by the artist Hiram Powers and its influence on marriage norms. The article describes the relationship between 19th century American art and issues related to gender and socioeconomic class. The article also discusses the legal and social definitions of marriage, the rise of communal societies and polygamy, and the founding of the Church of Jesus Christ of Latter-Day Saints.

The article discusses modern Western manners and customs surrounding the placing of hands in pockets, or elsewhere in the clothing, as depicted in art. The central example discussed is the 1900 full-length portrait by U.S. artist Thomas Eakins of the physician Louis N. Kenton, titled "The Thinker," showing the subject with his hands in his pockets. This gesture was traditionally regarded as impolite, and Eakins's work is seen as marking a change in custom and social perceptions of masculinity and respectability. Numerous other works of art from ancient times to the 20th century, with a focus on the modern period, are discussed in relation to this topic.

This article deals with two novels by the Irish writer Colum McCann: Songdogs and This Side of Brightness. Reading the narratives of both texts through the work of anthropologist Victor Turner, the essay reveals how McCann's characters undergo processes of liminal experience, which occasion structural changes in their familial relationships and in their individual identity. Turner's work primarily focused on the ritual behaviours of tribal groups and how liminality was used as a physical means toward spiritual ends; I diagnose similar dynamics in McCann's two literary fictions. [ABSTRACT FROM AUTHOR]

The article provides some notes on sacrifice, shamanism and the artifact. Sacrifice takes on the natural process of dissolution to achieve its own ritual task which turns fatality into necessity with purpose that requires and creates its engines of life for inescapable awareness. Dream consciousness is one of the main connection between the realism of the wild and the dead in non-literate societies, as well as escapes the condition of the will which brings a mixture of fear and wonder. In shamanism, the transportation of the sacrificial model on animistic plane does not alter its basic term, but allows a suspension of violence.

The article provides information on the artistic style of painter Brice Marden. According to the author, Marden embraces the world of Presocratic cosmogony because of his search of the language of nature wherein his paintings show exposed space as an untainted medium where transformation of things are taking into account. It also illuminates the active valence of silence regarding metaphysics which pave the way for the correct technique of art presentation. In addition, color is shown in essential actions and its weight will change into a character and resembles the real thing it conveys.

The author reflects on the theory of art and aesthetics. He states that aesthetic carries out a task comparable to the manner with which the manifestation that audiences invest of the will to act finalizes and influences their moral sphere which discerns a limitation between speculation and production. He stresses that the manners chosen by philosophers need to be reconsidered to assert its implicit quality. He adds that it is impossible to associate overcoming achievement with metaphysics.

An essay that focuses on the tradition of truck decoration in Pakistan is presented. The purpose of the article is to present and analyze the data about art developments in the country and present the tradition of this art as an important form with a particular set of significations. The author analyzes their syntax, symptoms and signification and examines the signs that elicit these responses. He also tries to clarify the creation of visual object as a corporate enterprise in which the truck designer shares with the driver who is the primary audience.

The article outlines how and why Islamic art was replaced by Western art between the end of the 19th and the beginning of the 20th century in Islamic countries. In Egypt, change in art production came from the emergence of Christian communities in Greater Syria. Another contributing factor was the explosion of nationalism and the building of new identities after the post World War II independence of most states in Islamic countries. It also examines the relation of early calligraphy withthe Islamic heritage.

The article discusses the history and developments of Persianate painting. Art historical narratives about Persianate painting hold that the tradition spanned three centuries. It defines what Persianate painting is, as well as the salient visual features and problems raised by art critics on Persianate painting that have been skipped over the years. It also notes that contrasts remain in the study of Persianate painting and points out that the most obvious value of the comic book for exposing the logic of Persianate painting lies in its combination of image and world and in its size and format.

This article assembles and comments on some of the diverse information concerning the impact, direct, and indirect on the motifs and ideas found in art in Latin America. It also addresses the question of how it may be that motifs and ideas created in one culture may appear and be used in another culture, whether consciously or unconsciously. It also adds that this is tackled because the question of Islam's impact raises the more general issue of how cultural products created in one culture may be transferred to and adapted in another.

The article explores the Native American aesthetics through the Native American Church meeting which is an ancient peyote spiritual tradition. With its integration of various elements of artistic expression, the cultural context of the peyote ceremony gives the researchers an approach to the major issues of Native American aesthetics. The art of Native American peyote culture illustrates that artistic appreciation cannot easily be separated from the spiritual dimension which represents culture. Other example of Native American cultures is the Bela Coola headdress frontlet and its sisaokh ceremonial complex which suggests that indigenous art cannot be isolated from religion.

The article focuses on the works of noted Spanish photographer José Ortiz-Echagüe referencing his "Lino de Duelo" photographic documentary series. It relates that Ortiz-Echagüe is usually referred to as the best internationally known Spanish photographer of all time and was the leader of the photographic community in Madrid. Moreover, it adds that Ortiz-Echagüe is most noted for his dual use of the photographic medium being at the same time a pictorialist and documentarian and whose works reflect a substantive record of the indigenous Spanish tradition. Furthermore, the article highlights on the photographer's most famous work, the "Lino de Duelo," depicting a massive three-quarter figure dressed in a dark suit, cape, and hat.

The article discusses the historical background of the leather puppetry otherwise known as "tolubommalata" in Andhra Pradesh, India. Accordingly, the leather puppetry was once presented by indigenous Telugu folk artists called "ata gollalu" or cowherds players, who belong to the Jangama and Balija castes. The performance of puppetry draws from the epics and local legend with raucous humor and wisecracks about current events. Performers usually memorized the scripts and are mostly wandering troupes because they wander for nine months in a year from village to village giving performances.