CONTUR - International Journal of Art and Design

Un artist Ã®ntre tradiÅ£ie, modernitate ÅŸi atitudine recuperatoare: Elena Stoinescu

2013-06-01T15:42:50+03:00

Analyzing the latest creations of sculptor Elena Stoinescu, this study confronts the sources of inspiration behind artistic creation and the final profile of her world of shapes in the works exhibited at the Art Gallery â€œDeltaâ€ in the exhibition suggestively entitled â€œRootsâ€.
It is about, on one hand, the peasant fabrics and about Romanian traditional rugs (as material, work technique, textures, stylistic aspects, colors and motifs), absorbed by the artist in her work, and on the other side about the range of impulses coming from the European modern tapestry, especially from the French.
The summary of means and techniques Elena Stoinescu is operating with, the suggestion of a message with â€œecoâ€ accents, tradition upgrading , recovering the idea of harmony of the contemporary man with nature, with the environment, with the natural materials (wool, flax, hemp, leather .), which is transmitted through these works, are due to the artist ability to understand the spiritual horizon (the stylistic matrix) in which she was formed, her â€œrootsâ€, and in the same time to her ability to tune with the benchmark names of Romanian culture: Blaga Bernea, Eliade, who boosted her horizon with new values, enriching it.

Ecologie sau consum

2013-06-01T15:42:51+03:00

Â O perspectivÄƒ criticÄƒ asupra rolului design-ului Ã®n ciclul de viaÈ›Äƒ al produselor de consum

ImplicaÅ£ii ecologice Ã®n designul textil

2013-06-01T15:42:51+03:00

The present study aims to analyze the relationship that exists between the textile desing and environment. This is visible both on the theoretical level and on the practical one. On the former, the relationship is justified through definition as well as through concepts of beauty, harmony and order. On the latter, the relationship of art with environmental thinking comes out of elements existing in Romanian popular art. In this respect, we have studied the natural way used for obtaining the textile threads and colours.

Motivele Ornamentale

2013-06-01T15:42:51+03:00

The Primordial Tradition is â€œScience par excellenceâ€ or â€œsacred knowledge in its entirety,â€ revealed at the beginning of time. Different traditions and forms of traditional nature are generated by the imperative of adaptation of the Primordial Tradition to the mentality of a people or nation within it, namely the adaptation required by the circumstances of place, time and as a result of periodicities. The traditions of the various peoples cover a unique doctrine, which is basically the generator and obviously their substance and we talk here about the Primordial Tradition.
The originality of the Romanian creation and indigenous origin of certain mythological-symbolic forms and signs, of our ancestors were generated by creative grace and numerous elements of culture have thus been passed down over generations. Therefore, our popular culture is a field that offers many items that sit under the sign of national heritages. Folk art, keeps over time the conservative behavior with a special character, together with a rich dowry of vestiges of the past, this providing numerous testimonies of some items passed over, from those who were from generations on the land lived by our ancestors Thracians, Dacians and later by Romanians.
The Romanian folk art has a particular sense of measure, of moderation, giving modest but elegant at the same time objects a rig that we call classic, helping to create a balance of shapes and colors, rarely encountered in the folk art of other Nations. These symbol signs, being over twelve thousand years old, have the quality of having opened the prospect of a great civilization, being even today present in the fabrics, sewings, gates, etc., continuing its existence.
The researcher, C. Sandu Aldea, studied these ornamental signs and his conclusion mentioned the fact that these signs made an alphabet, a symbol resembling the first writings, which used art, so that to capture this first stage of writing in Romania. Today, much of their meaning has been lost, but they have been used in the process of the former spellings, it is important that these ornamental motifs, which are still preserved, recounting symbolically in an ancient language, since the world. There have been influences from Banat, Moldova, Germany Russia and from other areas, then choosing in carpets, towels and others, numerous motifs, which, at one point are geometrized.

TradiÅ£ia, Fundamentul ExprimÄƒrilor Noastre

2013-06-01T15:42:51+03:00

The traditions are an experienced informational system, which has as purpose the transfer of knowledge and a tradition is a practice, a habit, a history that has been stored and transmitted from generation to generation without the need for a written system as foundation and often they are assumed to be ancient invariable and deeply important.
The idea of tradition is important in philosophy. The 20th century and the contemporary Western philosophy is often divided between â€œanalyticâ€ tradition, an English-speaking dominant and Scandinavian countries and the â€œcontinentalâ€ tradition dominant in the German and the European romantic area. In archaeology a tradition refers to a set of cultures or industries that seem to grow from one to the other, within a certain period of time. Using the tools of the Romanian folk art techniques and traditional carpentry techniques, for example, one can reconstruct the religious building or the traditional living spaces. We can thus observe carefully, the features of creation of the anonymous artist sensitive soul, transposed into the world of the story, music and dance, a world of tradition, carried further up in our contemporary life through hard work and passion, to those who have studied it with the necessary interest. The art being a total activity, within which the mystical factor, the belief in the neighbor, but also the concept and interest values, in order to carry out in a real manner the work, are of prime importance, therefore the idea that the artistic temperament is a type of filter and accomplishment, exactly for the identification of the idiotype, which generates the work of art. All languages are represented by symbols, through his work, â€œOn Interpretation,â€ Aristotle conveys the idea that spoken words are the symbols of mental experience and written words are symbols of spoken words.

EvoluÈ›ia; De La Om La NaturÄƒ

2013-06-01T15:42:51+03:00

Arta ambientalÄƒ

2013-06-01T15:42:51+03:00

ArhitecturÄƒ, arheologie È™i identitate

2013-06-01T15:42:51+03:00

The present study tries to set a holistic point of view as a response to a set of phenomena happening nowadays in Romania, generated by the massive migration from rural areas to cities and towns which leads to a sad, slow dilution of the vernacular, of its authenticity. All of this is heading towards identity loss and cultural disorientation. On the other hand, architecture has always been a mirror which reflects trends and mentalities, but it can also become a tool of interdisciplinary thinking for integrated strategies which could save the cultural heritage hidden in the rural areas. Learning means having one eye looking toward future and the other turning towards history, identifying opportunities and trying to avoid mistakes by understanding and explaining the past. Todayâ€™s cities and towns once were mere villages; archaeological artifacts of today are just architecture in transformation. So how can these separate facts and conclusions come together in a logical statement and, ideally, a coherent strategy to enhance the value of deserted rural areas in Romania and to make them functional and sustainable?
The paper has two main sections: firstly, a few theoretical guidelines are set; secondly, a case study is presented, in order to illustrate a possible approach to complexly analyzing of a given site, in order to identify the real prerequisites for an efficient strategy for its revival. Finally, there are no conclusions, only pseudo-conclusions, because the goal is not to give recipes, but to raise questions and, perhaps, to call for a vision whose starting point are the immense existing values of the forgotten places.