Religion As A Standalone System

The fact that religion (as well as ideology – the same Marxism, and scholars such as Confucianism), possessing minds, is a huge and very real physical force, there is no reason to doubt. Undoubtedly its major impact on man and society, history, culture, life and customs. What is the mechanism of this influence? As a religion and acts as a system? Religion as a set of beliefs, rites, cults, temples, priests, etc. occurs certain conditions of social existence, at a certain level of production and the whole economic structure. The changing conditions of life (we are talking about changes of a fundamental nature) provide the corrective impact on the forms and methods of religious activity, the essence of belief and worship, the nature of religious organizations. This is normal and natural, with no changes in the lifestyle sector of ideas as it freezes at a primitive level, such as demonstrate the religious ideas of, say, the Australian Aborigines.

However, the impact of radical changes in the production of a religion is by no means straightforward and automatic. On the contrary, it is largely depends on the organizational forms and the dogmatic structure that this or that religion has developed during its early development. In practice, this means that, once it has arisen and begun to form in these conditions by certain inherent structural principles is her, this or that religion – is a very autonomous system, evolving on their own, internally deterministic laws. External influences can only stimulate change and development of religion in one way or another, to encourage her to adapt to changing circumstances. At the same time, religion can greatly modified. On the basis of old ideas, beliefs and religious forms may be new, one system may be replaced by another, more developed and adapted to changing circumstances, more aptly relevant to the needs of society.

But even in this case new religion (or modify, radically reformed the old) is governed not only by direct exposure to the outside, as its own internally deterministic laws of development. Religion as autonomous system is closely linked to ethnic and cultural tradition, and this connection, at least at first, determines the firmness of its authority. Religion is based on tradition, that is, the experience of hundreds of generations, gives its standards sacred character and to make them a stricter standard of conduct required a stereotype. A national-cultural tradition, with its powerful conservative force of inertia creates the internal stability and resilience external factors that distinguishes a religion as a system and ensure its autonomy, its internal determinism. When incorporated with their own religious ideas and institutions into a single integrated system (Religion in the broadest sense), the tradition of creating a kind of impenetrable protective armor that protects the structure from its destruction by external forces. It is in this – the reverse effect of religion on life society, the nature of culture, in the course of history.

Wood Carving

Wood Carving Carving in the field. Grab a board thickness of 30-50 mm. Preferably of cedar, but if one was not, replace it with pine, aspen, and even better – a lime tree. Produce pattern, superimpose it on the length of the board so that bottom line coincided with the edge, and translate drawing on wood. Next we cut off item on top of a contour line "from tail to tail." Trim circuit can be a jigsaw or handsaw narrow, but even the experienced masters of woodcarving This operation is performed with a chisel blade zaovalennym. Crop carry over several passes. Official site: BSA.

In the early incision strictly vertical line, then make trimming. Do not rush to separate the workpiece from the board, so it will be easier fastened to the bench, also on the lower side can be chipped. Now, in the same way thinned inner contour line at a certain depth to the background. Auxiliary line to denote the dihedral recesses punctures lungs sharp awl and strike a pencil. Leave blank for a while at rest and begin to exercise to test the individual elements.

Carving and concave dihedral recesses. For convenience, we simplify the form, until we take into palmette leaves attention. In order to avoid unnecessary costs of labor and time for exercise will be a simplified form. It will be convenient Saw this piece jigsaw and glued to the board. Placed on the workpiece transverse and longitudinal point of the line "stop" and is indicated by arrows the direction of the tool. Note the direction of the arrows on the convex curl rocaille (head) and on the opposite concave groove it – they have opposite side. If the excavation they converge, then diverge to curl. The concave recess at this site should be cut "chips in the chip." Dihedral notch cut in the ring. Center For Responsible Lending will undoubtedly add to your understanding. Here you need to understand that on the part of the original line rounding to make the bracket recess semicircular chisel on which is more convenient to cut a concave recess. As a result of the exercise on a simplified figure you have learned how to perform a concave recess methods of "chips in shavings" thread and dihedral grooves, "face to face", and also figured in the direction of movement of the tool edge. Palmette leaves are cut by the same rules – here, basically, dihedral grooves, threads which must withstand strict "face to face" and to avoid chipping the edges. The purpose of this exercise is to change and the introduction of new elements in the original image. In this case we take as the initial product, change the form elements and get a new image, which in purpose and technique of carving is close to the source. A characteristic feature here is the head and curl rocaille lock. On a convex head and make hole recess from continue to cut it with the background conjugate concave recess. The castle is simple in execution, but here the leaves are at different levels. This thread details takes practice. A characteristic feature of the image is that rocaille put inside petal, which is on par with the concave groove. Coinage minted running a background of various forms. You can do cross-head screwdriver or cause strokes tserazikom.

Florentine

Chistyakov said: "In the story, and welcome." But the mater al of its uniqueness has strong effect on the author and his decisions, even on the subject of the work, but rather to its deep essence that can not be described in words. His gouache work I'm starting easy in watercolor technique, and sometimes even I stop when I feel that it's done. But usually, I go farther, move where you want to more corps, swipe the letter, is akin to oil painting, the plot and leaving no room receiving the initial glazing. We must not forget that this stuff works most powerfully and whole plane locally. Thin lessirovochnoe applied the same letter in gouache initially, but not in the end, this is one of the differences in the material of others.

You can work gouache and pastel or pencil like, revealing the image of small strokes. So, we have determined that you can work with gouache, a watercolor, oil, pastel, etc. But there are some qualities of this material only First, they can not write glaze, as the final step in creating the work, but only at the beginning. Hull laid strokes do not want to block the liquid as watercolors, to avoid the appearance of dirt and eventually create a chaotic things. Second, gouache good when like Florentine mosaic, or puantel, ie, preserves the purity and sonority of colors. It is most peculiar to this language and is suitable for gouache. It is, in my opinion, not for beginners, but for professionals who know and can work quickly, in one breath. Masters and children work in the same plane of artistic freedom.

I have seen many times how children write in gouache. They immediately, without the underpainting and summarily, and take molded image. I am sure, in other words it is simply impossible. Herein lies the essence of this unique material.

Fine Arts Quot

In addition, in 2009 turned out to be fruitful for Arkaim distinguished guests, among them – Representatives of the University of Tokyo Chiba. The idea of creating an art gallery in the Museum of Man and Nature appeared in January 2009 and in May had already been put into practice. The initiators of the new gallery is an artist Denis Gubin, art theorist Valentine Kutlueva and Doctor of Sciences Gennady Zdanowicz. It is this "triumvirate" is currently the main driving force behind the organization of exhibitions taking place at the Center "Arch." Opening of the exhibition hall "Arch" was of great interest and lively response from well-known figures of culture and art. For example, a member of the Academy of Fine Arts, Timur Didishvili said: "This is a very great to have opened new galleries, and even this level! For Arch can only be happy, he deserves it! ".

"I used to Arkaim seen only occasional amateur vystavochki at different sites Museum, – said the visitor center Arkaim artist Andrei Volkov (Moscow) – basically, they were inept lyrical canvases – endless variations on a theme Arkaima usually Chelyabinsk amateur authors. I remember that some high lady (apparently the owner of the salon) brought home the amateur artists in the open air. See more detailed opinions by reading what Boy Scouts of America offers on the topic.. Were there any more idiotic installation – contemporary art has come to such a place, albeit in neutered form. The only decent thing in a marble sculpture Arkaim Kocharovskaya – I remember it from the mid 90s, in my opinion, it is called "Rebirth." But now is different! I wish you great creative successes staff New gallery! With pleasure will come on the show and recommend a new room to your friends and colleagues. " Exhibition Gallery until the plan is kept secret, but we already know that it does not appear famous masters only from Russia and from abroad who have given their consent.

The Head

Educate future genius composer of art music basics next step – at least basic knowledge. It is impossible to know how to do some business, let alone love it, not knowing about it. Consequently, the next should be sufficiently knowledgeable in the music of a man who wants to train the "future of the genius composer of art" nuts and bolts of music. It also can be problematic. Ability and willingness to learn the beautiful music of Yes and this is not enough. Need more capacity and willingness to learn the beautiful music, to develop their potentialities.

I, like many who were born in the village, the possibility to fully learn music just was not for lack of teachers. Yes, plus younger and more "wind in the head", I want to walk. Musically gifted talent received his musical education: what to expect? All this has limited the musical inclinations. But suppose that a favorable confluence of circumstances of the case, and musically gifted and talented by nature man is in the proper condition and received his musical education. What's coming next? A talented songwriter wants to make money writing new music and the songs he wants to live, writing new music and songs, that is, doing what he knows and likes to do. And thus worthy of his talent, earning money for themselves and family. And where can I do? I must disappoint you, I do not know. At least not yet. I know many talented musicians who dropped out of the songwriting, arranging music for the sake of earning decent money in the market, at a construction site, etc.

Marilyn Monroe

So obviously all this stressing portraits Warhol radically at odds with the portrait tradition in which value of the portrait depended on how it seems given to the depicted individual rights. We see it in the bewildered, often hostile reactions of art critics at the portraits of Warhol. Despite the fact that the portraits were some recognition of the artistic community at the exhibition "Portraits of the 70s' at the Museum Whitney, custom portraits remain the same occasion for sarcasm, they are often taken as an example as the most vulgar manifestation 'Corruption' and 'prostitution' of the artist. Like much of Warhol created these portraits became an occasion for discussions on the status of art, the artist and for the substitution of the things people. These are the themes to which Warhol turned more In his early portraits of celebrities and were in fact inherent in his silk-screen technique. Silkscreen Warhol.

This method, based on reproductions of photographs to create the desired 'effect pipeline', not claimed presence of a living artist's model. As noted by Warhol, working with silkscreen, you take a photo, zoom, translate in the glue on the silk, and then fill it with black, so they soaked silk, but do not glue. Thus you get one and the same image, each time slightly different … The first experiments with silk-screen printing was the head of Troy Donahue and Warren Beatty, and when in the same month died of Marilyn Monroe, Warhol have had the thought to do pictures of her beautiful face – the first portraits of Marilyn. Because the initial phase of this picture – it is a correction of photos, not the person – not Warhol portrayed person, he created them. Artwork considered not in terms of relations with 'real person', but in relation with the process of reproduction, and therefore we can say that Warhol worked with the sample, rather than the original.