THE NARRATIVE NATURE OF EARLY EUROPEAN LANDSCAPE PAINTING AND ITS PHILOSOPHICAL FOUNDATIONS
This study offers a scene-by-scene translation of the works of nineteenth-century experts Julius Maák, Frantiek Kaván, and Antonn Slavek. The mid-twentieth century photographs of the eskomoravská vrchovina (Bohemian-Moravian highlands) by Josef Jambor were used for a comprehensive comparative invest...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
University of Innsbruck in cooperation with the John Hick Centre for Philosophy of Religion at the University of Birmingham
2023
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| In: |
European journal for philosophy of religion
Year: 2023, Volume: 15, Issue: 1, Pages: 131-143 |
| Further subjects: | B
Art of Philosophy
B Landscape Art B European Landscape B Aesthetic Philosophy |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Summary: | This study offers a scene-by-scene translation of the works of nineteenth-century experts Julius Maák, Frantiek Kaván, and Antonn Slavek. The mid-twentieth century photographs of the eskomoravská vrchovina (Bohemian-Moravian highlands) by Josef Jambor were used for a comprehensive comparative investigation at the territory level. The relationship between Landscape painting and national and cultural identity will be investigated. The artistic depiction of the landscape has profoundly impacted the establishment of cultural identities in both China and Europe. In China, landscape depiction has a thousand-year history, but in Europe, it has only lately emerged. Shan Shui (landscape art) has always existed. Style- and function-wise, it has changed little since the Song era. Landscape depictions have profoundly impacted the development of social and public character throughout Europe. Identities and informing consumers about their country of origin. Here, Holland, England, Norway, Finland, and China are analyzed to demonstrate how landscape depictions contributed to the formation of their respective nations. Advocates of a particular conception of Chinese culture have had a limited political impact in China, in contrast to the United States. In Europe, landscape art has been developed in several situations, including to express support for various causes, national identity determination, and nationalism. This study intends to use painting as an interpretative tool to demonstrate how our interpretation of a scene has evolved over time. Fine arts faculties require a greater emphasis on the quality and amount of philosophy training, as well as its methodology, under the scope of "art philosophy." In arts education, various procedures and strategies must be utilized, and students must be capable of analyzing and comprehending works of art through multiple lenses. This study examines the contemporary experience of the panorama from historical, political, social, cultural, and aesthetic viewpoints. It contains various levels of significance, as opposed to just referring to gardens and agricultural areas or the Kantian conception of landscape as a distinct category within the field of visual arts. As a result of industrialization, the discovery of new places, and advancements in science, botany, and geography, the landscape began to change in the nineteenth century. In addition to scientific, cultural, and social improvements, the 20th century saw the incorporation of immaterial components. It has become a social construct as an expression of thoughts, memories, imagination, and emotions. As opposed to a static and seen work, the panorama is today understood as an interdisciplinary and collaborative creation. Comparing maps and photographs of the same websites during different time intervals is a common way of determining landscape change. Landscape paintings, which have a lengthy and renowned history in the Czech Republic, can also be rented in this manner. |
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| Contains: | Enthalten in: European journal for philosophy of religion
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| Persistent identifiers: | DOI: 10.24204/ejpr.2021.3838 |