The Experts below are selected from a list of 279 Experts worldwide ranked by ideXlab platform

O S Sovetova - One of the best experts on this subject based on the ideXlab platform.

Shu Wan-ni - One of the best experts on this subject based on the ideXlab platform.

  • Consciousness of freedom is the thought fountain-head of Primitive Art and religion——The origin of mankind , Art and religion
    Journal of Chongqing College of Education, 2009
    Co-Authors: Shu Wan-ni
    Abstract:

    The origin and evolution of mankind depend on the emergence and gradual progress of ideology.The origin of Art showed that Primitive men began to be aware of and affirm the nature of freedom.Affirming freedom implicated the desire to propel freedom forward.The acquirement of consciousness and desire was basic factor that made our animal ancestors become mankind.By analyzing the origin of mankind,Art and religion,this paper also probes into the thought fountain-head of human consciousness of mankind nature..

  • A conscious human nature is the ideological basis for social harmony
    Journal of Chongqing College of Education, 2008
    Co-Authors: Shu Wan-ni
    Abstract:

    The whole world created by human beings is the product of human consciousness.The progress of the consciousness of the people is the fundamental progress of human society.We recognize that matter turns into consciousness and that consciousness is produced by the understanding of matter,but what we want to know is the law of consciousness development.StArting with human self-confirmative consciousness expressed by Primitive Art,we seek the self-consciousness of the essence of human freedom to surpass the egoism by instinct in order to analyze the ideological basis of harmonious society construction based on ideological process of human beings to rationally control self-behaviors and on human liberation theory of Marxism.

Rsha Director - One of the best experts on this subject based on the ideXlab platform.

Oscar Moro Abadía - One of the best experts on this subject based on the ideXlab platform.

  • The Reception of Palaeolithic Art at the Turn of the Twentieth Century: Between Archaeology and Art History
    The Journal of Art Historiography, 2015
    Co-Authors: Oscar Moro Abadía
    Abstract:

    If I am asked to define any further what I mean by 'the Primitive' I must refer the reader to the pages of this book, which will show that the term was associated in its time with early Greek vases, with quattrocento painting and with tribal Art.1These words by Ernst Gombrich summarize some of the main meanings associated with the term 'Primitive' in the field of Art history. In its original sense, the word refers to a movement of taste that, in the story of Art, runs parallel to the progress towards naturalism. According to Gombrich, while Art history may be described as the story of how 'the Artist got better and better in the imitation of nature',2 there have been a number of Artistic movements that have called for a deliberate abandonment of classical standards.3 This 'preference for the Primitive' has been expressed in 'the revulsion from that very perfection that Art had been said to aim at'.4 During the last years of the nineteenth century, the theory of evolution 'gave a new meaning to the term 'Primitive' which [...] came to denote the beginnings of human civilization'.5 As a result of this development, the term 'Primitive Art' was incorporated into Art historians' vocabulary to refer to a set of non-Western Arts coming from Africa, America and Oceania.6 At the beginning of the twentieth century, 'Primitive Art' was used interchangeably with terms such as 'savage Art', 'tribal Art' and 'Art negre'.7 Since then, the label has been intensively criticized for being ethnocentric and depreciatory.8 However, as happens with other technical concepts, 'Primitive Art' has become so familiar that it seems too late to look for an alternative now.The story of 'Primitive Art' began in the nineteenth century when carvings, masks and figures from Africa, Asia and Oceania came to be displayed in Europe and North America. While similar objects had arrived in Western countries since the sixteenth century, it was only in the decades after 1850 that they were systematically arranged and exhibited in museums such as the Peabody Museum of Archaeology and Ethnology at Harvard (created in 1866), the Museum fur Volkerkunde in Berlin (1873), and the Musee d'Ethnographie du Trocadero in Paris (1878).9 This Artwork was considered 'Primitive' in a twofold sense. In the first place, it was the product of 'Primitive' societies, i.e. those groups of people that, according to the stages of development postulated by cultural evolutionism, were typically regarded as the less 'developed' societies. In this setting, 'modern savages' were supposed to throw light on the Primitive beginnings of humankind. In the second place, Art history was conceived in terms of a constant progress towards the mastery of nature. Therefore, Artwork was graded from simple and conceptual images to highly realistic representations. In this setting, images from tribal Art, which were not executed according to the laws of naturalism, were graded at the bottom of the ladder of Artistic skill. This definition of 'Primitive Art' significantly enlarged in the years around 1860 when Eduard LArtet and Henry Christy discovered a number of carvings and statuettes associated with human implements in the caves of Dordogne.10 In a couple of decades, hundreds of similar pieces were recovered in the archaeological sites of Southern France and Northern Spain.11 In the same years, Marcelino Sanz de Sautuola published a pamphlet on Altamira's paintings.12 While cave Art was not authenticated until the turn of the twentieth century, these archaeological discoveries confirmed the existence of a new kind of Art: Palaeolithic Art. Archaeologists, anthropologists and Art historians immediately equated the recently discovered prehistoric Artwork with 'savage' and 'tribal' Art. Their analogy was straightforward: prehistoric people resembled modern 'tribal' people in their technology and in their customs; hence their Art was expected to be like that of modern 'savages'. In a short period of time, tribal Art and Palaeolithic Art became two sides of the same coin: Primitive Art. …

  • Towards a genealogy of the concept of Paleolithic mobiliary Art
    Journal of Anthropological Research, 2004
    Co-Authors: Oscar Moro Abadía, Manuel R. González Morales
    Abstract:

    Analyses of Paleolithic Art have often presupposed the existence of two distinct and indisputable categories: parietal Art (or cave Art) and mobiliary Art (or portable Art). We question this distinction. In this Article, we analyze the concept of "Paleolithic mobiliary Art"--a term which not only refers to the size and portability of the Art that it intends to describe, but which also is implicitly shaped by the different meanings and connotations of the late nineteenth-century definition of Primitive Art.

R.h.a. Corbey - One of the best experts on this subject based on the ideXlab platform.

  • Introduction : European Encounters with “Primitive Art” during the Late Nineteenth Century
    The Journal of Art Historiography, 2015
    Co-Authors: Van W.j.l.m. Damme, R.h.a. Corbey
    Abstract:

    The late nineteenth century witnessed Europe's engagement with Art from outside the West on an unprecedented scale. From the mid-nineteenth century on, various developments brought these Arts to the attention of ever broadening circles. Intensified trade, missionary activities and colonialism, together with improved means of transport and communication, resulted in foreign Art works being shown in so-called ethnological museums and World Fairs, for instance, as well as being published and examined in a variety of books and journals. In the course of the second half of the nineteenth-century decorative Arts from outside Europe also began to influence European designers, while during the early decades of the twentieth century sculpture from Africa, Oceania and Native America would lead to the phenomenon of Artistic 'primitivism' among Europe's modernist avant-garde.Rather than focusing on the influences that non-European Arts exerted on Artistic expression in the West, this special issue of the Journal of Art Historiography directs its attention to the reception of these Arts in European scholarship and museums at the end of the nineteenth century and the beginning of the twentieth century. Emphasis is placed on the reception of the Art forms which Europeans commonly designated as 'Primitive', with special attention going to the understudied period prior to 1905. Specifically, since the term 'Primitive Art' was on occasion applied so broadly during the period under consideration - to denote all Art forms outside the canon of Western 'classical' Art - we will be concerned with that which was described as Kunst der Naturvolker, the 'Art of natural peoples' in German. This term predominantly refers to visual Art forms created for local, often ritual use in regions of the world which Western powers were colonizing, pArticularly in Africa, Oceania and Native America.How were these Art forms from small-scale societies outside the West interpreted and evaluated by European Art historians, and how did they affect the development of Art history as an academic discipline? What role did these Art forms play within the fast-growing field of anthropology? How did the newly-founded ethnological museums present them to the public? How did any awareness of this Art influence archaeologists who were in the process of discovering and interpreting the European Palaeolithic visual expression? More generally, within which ideological and theoretical frameworks did the European scholars of the time engage with 'Primitive Art'? Where did these frameworks hail from, and how did they evolve in response to intellectual and socio-political developments of the time?In this introduction, we will first explain how and why these questions are addressed in the following contributions. Next we will sketch how, within a context of rapid imperialist expansion of European nation states, tens of thousands of objects from overseas reached Europe, where they provoked the kind of reflection and research under consideration in this special issue.Pre-modernist Artistic recognition of objects from small-scale societiesThis present publication originates in a conference held at Tilburg University (the Netherlands) on 13 and 14 January 2014 which was attended by speakers from Germany, Switzerland, Belgium and the Netherlands. It was organized within the context of an extraordinary chair for the anthropology of Art and aesthetics endowed between 2010 and 2014 to the above University by the Treub Foundation for Scientific Research in the Tropics. Wilfried van Damme, the co-editor of this special issue, held the chair. The Treub Foundation also generously financed this conference, together with the Philosophy DepArtment of Tilburg University's School of Humanities, to which the co-organizer and co-editor Raymond Corbey is attached.The conference was originally meant to follow a narrow and revisionist theme. Its initial focus was the virtually unacknowledged scholarly reception of sculptural objects from Africa and Oceania as Art during the decades preceding the so-called discovery of 'Primitive Art' by European modernists in the early twentieth century. …