Drawing On Tradition

  drawing on tradition: Drawing on Tradition Jolyon Baraka Thomas, 2012-09-30 Manga and anime (illustrated serial novels and animated films) are highly influential Japanese entertainment media that boast tremendous domestic consumption as well as worldwide distribution and an international audience. Drawing on Tradition examines religious aspects of the culture of manga and anime production and consumption through a methodological synthesis of narrative and visual analysis, history, and ethnography. Rather than merely describing the incidence of religions such as Buddhism or Shinto in these media, Jolyon Baraka Thomas shows that authors and audiences create and re-create “religious frames of mind” through their imaginative and ritualized interactions with illustrated worlds. Manga and anime therefore not only contribute to familiarity with traditional religious doctrines and imagery, but also allow authors, directors, and audiences to modify and elaborate upon such traditional tropes, sometimes creating hitherto unforeseen religious ideas and practices. The book takes play seriously by highlighting these recursive relationships between recreation and religion, emphasizing throughout the double sense of play as entertainment and play as adulteration (i.e., the whimsical or parodic representation of religious figures, doctrines, and imagery). Building on recent developments in academic studies of manga and anime—as well as on recent advances in the study of religion as related to art and film—Thomas demonstrates that the specific aesthetic qualities and industrial dispositions of manga and anime invite practices of rendition and reception that can and do influence the ways that religious institutions and lay authors have attempted to captivate new audiences. Drawing on Tradition will appeal to both the dilettante and the specialist: Fans and self-professed otaku will find an engaging academic perspective on often overlooked facets of the media and culture of manga and anime, while scholars and students of religion will discover a fresh approach to the complicated relationships between religion and visual media, religion and quotidian practice, and the putative differences between “traditional” and “new” religions.
  drawing on tradition: Drawing on Tradition Jolyon Baraka Thomas, 2012-10-31 Manga and anime (illustrated serial novels and animated films) are highly influential Japanese entertainment media that boast tremendous domestic consumption as well as worldwide distribution and an international audience. Drawing on Tradition examines religious aspects of the culture of manga and anime production and consumption through a methodological synthesis of narrative and visual analysis, history, and ethnography. Rather than merely describing the incidence of religions such as Buddhism or Shinto in these media, Jolyon Baraka Thomas shows that authors and audiences create and re-create “religious frames of mind” through their imaginative and ritualized interactions with illustrated worlds. Manga and anime therefore not only contribute to familiarity with traditional religious doctrines and imagery, but also allow authors, directors, and audiences to modify and elaborate upon such traditional tropes, sometimes creating hitherto unforeseen religious ideas and practices. The book takes play seriously by highlighting these recursive relationships between recreation and religion, emphasizing throughout the double sense of play as entertainment and play as adulteration (i.e., the whimsical or parodic representation of religious figures, doctrines, and imagery). Building on recent developments in academic studies of manga and anime—as well as on recent advances in the study of religion as related to art and film—Thomas demonstrates that the specific aesthetic qualities and industrial dispositions of manga and anime invite practices of rendition and reception that can and do influence the ways that religious institutions and lay authors have attempted to captivate new audiences. Drawing on Tradition will appeal to both the dilettante and the specialist: Fans and self-professed otaku will find an engaging academic perspective on often overlooked facets of the media and culture of manga and anime, while scholars and students of religion will discover a fresh approach to the complicated relationships between religion and visual media, religion and quotidian practice, and the putative differences between “traditional” and “new” religions.
  drawing on tradition: The Artist's Complete Guide to Figure Drawing Anthony Ryder, 2014-03-02 Many of us want to learn “how to draw.” But as artist Anthony Ryder explains, it’s much more important to learn what to draw. In other words, to observe and draw what we actually see, rather than what we think we see. When it comes to drawing the human figure, this means letting go of learned ideas and expectation of what the figure should look like. It means carefully observing the interplay of form and light, shape and line, that combine to create the actual appearance of human form. In The Artist’s Complete Guide to Figure Drawing, amateur and experienced artists alike are guided toward this new way of seeing and drawing the figure with a three-step drawing method. The book’s progressive course starts with the block-in, an exercise in seeing and establishing the figure’s shape. It then build to the contour, a refined line drawing that represents the figure’s silhouette. The last step is tonal work on the inside of the contour, when light and shadow are shaped to create the illusion of form. Separate chapters explore topics critical to the method: gesture, which expresses a sense of living energy to the figure; light, which largely determines how we see the model; and form, which conveys the figure’s volume and mass. Examples, step-by-steps, and special “tips” offer helpful hints and practical guidance throughout. Lavishly illustrated with the author’s stunning artwork, The Artist’s Complete Guide to Figure Drawing combines solid instruction with thoughtful meditations on the art of drawing, to both instruct and inspire artists of all levels.
  drawing on tradition: Drawing on Culture Dave Kobrenski, 2019-12-15 In Drawing on Culture, artist and ethnomusicologist Dave Kobrenski explores traditional cultures from around the world. West Africa is the first in the series and consists of more than 30 artworks done on location while traveling through villages along the Niger River in Guinée. Through detailed field drawings accompanied by his own notes, Kobrenski provides a glimpse into the lives and culture of a people maintaining their ancient traditions, even as the modern world encroaches.
  drawing on tradition: Buddhist Art Coloring Book 2 Robert Beer, 2016-02-16 Sacred art presented as coloring templates for contemplation and creativity—stunning and detailed artwork from the Tibetan Buddhist tradition. Drawing on his brush paintings in The Encyclopedia of Tibetan Symbols and Motifs and other works, Robert Beer has selected 50 images meant to be used as templates for coloring. The book features figures spanning centuries of the tradition, including spiritual adventurers, rebellious saints, and enlightened Tantric masters. The detailed artwork is elegant and meaningful—drawing on Buddhist teachings to give each piece greater depth.
  drawing on tradition: The Cross in Tradition, History, and Art William Wood Seymour, 1898 This work discusses the cross throughout history, from prehistoric times to modern day. Found within are chapters entitled: cross before the Christian Era and in prehistoric times; types of the cross; early form and use of the cross; legends of the cross; true cross and its traditionary history; title of the cross; doctrinal teaching of the crucifixion; cross and crucifix in early Christian art; various types of crosses; varieties of the cross; objects with the cross on them; sign of the cross; Puritan objections to the cross; and miscellaneous crosses.--B & N.
  drawing on tradition: Picasso's Drawings, 1890-1921 Susan Grace Galassi, Marilyn McCully, 2011 A fresh perspective on the importance of Picasso's drawing practice and how he used his materials and graphic techniques to reinterpret past traditions and invigorate his art
  drawing on tradition: Drawing Shortcuts Jim Leggitt, 2015-06-12 The updated edition of a contemporary approach to merging traditional hand drawing methods with 2-dimensional and 3-dimensional digital visualization tools. Jim Leggitt?s Drawing Shortcuts shows how communicating with hand drawings combined with digital technology can be ingeniously simple, and this new edition makes an already popular technique even better. Completely expanded with new chapters and a wealth of supporting images, this Second Edition presents practical techniques for improving drawing efficiency and effectiveness by combining traditional hand drawing methods with the latest digital technology, including 3-D modeling with SketchUp. This book?s step-by-step approach will sharpen and streamline your techniques whether you draw for pleasure, school or your design profession. Easy-to-follow instructions cover every aspect from the basics of drawing?such as composition, color, shading, hatching, and perspective?up to the most current technologies Incorporates Google SketchUp, Google Earth, computer generated renderings, digital scanners and printers Features new visuals from accomplished drawing experts Special new ?Gallery? section highlights the creative process with step-by-step examples of drawings Complete coverage of the ?Overlay and Trace Method,? ?Simple Composite Method,? ?Advanced Composite Method,? and ?Digital Hybrid Drawings? New matrices show alternative drawing techniques for specific visual effects such as Linework and Shading, Selecting the Right Views, Perspectives and Paraline Drawings, Drawing Detail, Camera Lenses, and Drawing Tools Generously enriched with detailed process drawings, examples, and more than 500 full-color images, Drawing Shortcuts, Second Edition will have you creating top-quality drawings faster and more effectively.
  drawing on tradition: Tradition in the Frame Konstantinos Kalantzis, 2019-08-09 An ethnographic study of a Greek island community’s culture in the face of modern times. Sfakians on the island of Crete are known for their distinctive dress and appearance, fierce ruggedness, and devotion to traditional ways. Konstantinos Kalantzis explores how Sfakians live with the burdens and pleasures of maintaining these expectations of exoticism for themselves, for their fellow Greeks, and for tourists. Sfakian performance of masculine tradition has become even more meaningful for Greeks looking to reimagine their nation’s global standing in the wake of stringent financial regulation, and for non-Greek tourists yearning for rootedness and escape from the post-industrial north. Through fine-grained ethnography that pays special attention to photography, Tradition in the Frame explores the ambivalence of a society expected to conform to outsiders’ perception of the traditional even as it strives to enact its own vision of tradition. From the bodily reenactment of historical photographs to the unpredictable, emotionally-charged uses of postcards and commercial labels, the book unpacks the question of power and asymmetry but also uncovers other political possibilities that are nested in visual culture and experiences of tradition and the past. Kalantzis explores the crossroads of cultural performance and social imagination where the frame is both empowerment and subjection. “In this original, beautifully written, and often moving monograph, Konstantinos Kalantzis has produced a lasting contribution to the anthropological study of contemporary Europe. Drawing on extensive fieldwork, Tradition in the Frame explores with exquisite detail a number of timely themes—the social life of photographs, conflicting tourist and local images of Crete, the performance of gender stereotypes, and the complex tension between tradition and modernity. The author’s ability to view the world through the eyes of natives and foreigners, and to deconstruct visual signs and symbols, is nothing short of stunning. For anyone interested in Europe and the Mediterranean world today, this richly documented and theoretically sophisticated volume is a must read.” —Stanley Brandes “Tradition in the Frame is a richly innovative ethnography focusing on the visual dimensions of modern Cretan mythmaking, and especially on the material reproduction and negotiation of time-honored stereotypes of warrior masculinity. Writing of a society that has largely shifted its economy from shepherding to tourism, Kalantzis incisively demonstrates how the realities of commercial exploitation and socio-political change re-frame familiar images of a society at once proudly central to the symbolism of national identity and yet also still reluctant to accept the merest hint of intrusive authority.” —Michael Herzfeld
  drawing on tradition: In-Between: Architectural Drawing and Imaginative Knowledge in Islamic and Western Traditions Hooman Koliji, 2016-03-09 Contemporary technical architectural drawings, in establishing a direct relationship between the drawing and its object, tend to privilege the visible physical world at the expense of the invisible intangible ideas and concepts, including that of the designer’s imagination. As a result, drawing may become a utilitarian tool for documentation, devoid of any meaningful value in terms of a kind of knowledge that could potentially link the visible and invisible. This book argues that design drawings should be recognized as intermediaries, mediating between the world of ideas and the world of things, spanning the intangible and tangible. The notion of the 'Imaginal' as an intermediary between the invisible and visible is discussed, showing how architectural drawings lend themselves to this notion by performing as creative agents contributing not only to the physical world but also penetrating the realm of concepts. The book argues that this 'in-between' quality to architectural drawing is essential and that it is critical to perceive drawings as subtle bodies that hold physical attributes (for example, form, proportion, color), highly evocative, yet with no matter. Focusing on Islamic geometric architectural drawings, both historical and contemporary, it draws on key philosophical and conceptual notions of imagination from the Islamic tradition as these relate to the creative act. In doing so, this book not only makes important insights into the design process and act of architectural representation, but more broadly it adds to debates on philosophies of the imagination, linking both Western and Islamic traditions.
  drawing on tradition: I Swear I Saw This Michael Taussig, 2011-10-20 I Swear I Saw This records visionary anthropologist Michael Taussig’s reflections on the fieldwork notebooks he kept through forty years of travels in Colombia. Taking as a starting point a drawing he made in Medellin in 2006—as well as its caption, “I swear I saw this”—Taussig considers the fieldwork notebook as a type of modernist literature and the place where writers and other creators first work out the imaginative logic of discovery. Notebooks mix the raw material of observation with reverie, juxtaposed, in Taussig’s case, with drawings, watercolors, and newspaper cuttings, which blend the inner and outer worlds in a fashion reminiscent of Brion Gysin and William Burroughs’s surreal cut-up technique. Focusing on the small details and observations that are lost when writers convert their notes into finished pieces, Taussig calls for new ways of seeing and using the notebook as form. Memory emerges as a central motif in I Swear I Saw This as he explores his penchant to inscribe new recollections in the margins or directly over the original entries days or weeks after an event. This palimpsest of afterthoughts leads to ruminations on Freud’s analysis of dreams, Proust’s thoughts on the involuntary workings of memory, and Benjamin’s theories of history—fieldwork, Taussig writes, provokes childhood memories with startling ease. I Swear I Saw This exhibits Taussig’s characteristic verve and intellectual audacity, here combined with a revelatory sense of intimacy. He writes, “drawing is thus a depicting, a hauling, an unraveling, and being impelled toward something or somebody.” Readers will exult in joining Taussig once again as he follows the threads of a tangled skein of inspired associations.
  drawing on tradition: Djoliba Crossing Dave Kobrenski, 2013-11-12 Take a journey into the heart of West Africa... Artist, musician, and author Dave Kobrenski takes the reader on a musical and visual journey up the Djoliba river in Guinea to explore ancient music traditions, as well as to understand the challenges that face a country balancing between the world of its ancient traditions and the frontier of modern ideals and influences. Dozens of original paintings and drawings accompany vivid first-hand accounts of the music, culture, and people of Guinea, while scores of rhythm notations make this a unique and valuable resource for musicians, educators, and travel enthusiasts alike. From the author's preface: Part travelogue, part sketchbook, this is a book about glimpsing in the everyday dust of existence the potential for rich and meaningful expressions of being in the world; of seeing that beyond the tattered common cloth of life hangs a veil of mystery infused with magic and wonder.
  drawing on tradition: Drawing Sir Peter Cook, 2014-05-28 Drawing The Motive Force of Architecture Focusing on the creative and inventive significance of drawing for architecture, this book by one of its greatest proponents, Peter Cook, is an established classic. It exudes Cook’s delight and his wide-ranging, catholic tastes for the architectural. Readers are provided with perceptive insights at every turn. The book features some of the greatest and most intriguing drawings by architects, ranging from Frank Lloyd Wright, William Heath Robinson, Le Corbusier and Otto Wagner to Frank Gehry, Zaha Hadid, Coop Himmelb(l)au, Arata Isozaki, Eric Owen Moss, Bernard Tschumi and Lebbeus Woods; as well as key works by Cook and other members of the original Archigram group. For this new edition, Cook provides a substantial new chapter that charts the speed at which the trajectory of drawing is moving. It reflects the increasing sophistication of available software and also the ways in which ‘hand drawing’ and the ‘digital’ are being eclipsed by new hybrids – injecting drawing with a fresh momentum. These ‘crossovers’ provide a whole new territory as attempts are made to release drawing from the boundaries of a solitary moment, a single-viewing position or a single referential language. Featuring the likes of Toyo Ito, Perry Kulper, Izaskun Chinchilla, Kenny Kinugasa-Tsui, Ali Rahim, John Berglund and Lorène Faure, it leads to fascinating insights into the effect that medium has upon intention and definition of an idea or a place. Is a pencil drawing more attuned to a certain architecture than an ink drawing, or is a particular colour evocative of a certain atmosphere? In a world where a Maya® drawing is creatively contributing something different from a Rhinoceros® drawing, there is much to demand of future techniques.
  drawing on tradition: Tradition and Transition in East Africa P. H. Gulliver, 1969
  drawing on tradition: The Value of Drawing Instruction in the Visual Arts and Across Curricula Seymour Simmons III, 2021-03-29 By applying philosophical and historical perspectives to drawing instruction, this volume demonstrates how diverse teaching methods contribute to cognitive and holistic development applicable within and beyond the visual arts. Offering a new perspective on the art and science of drawing, this text reveals the often-unrecognized benefits that drawing can have on the human mind, and thus argues for the importance of drawing instruction despite, and even due to contemporary digitalization. Given the predominance of visual information and digital media, visual thinking in and through drawing may be an essential skill for the future. As such, the book counters recent declines in drawing instruction to propose five Paradigms for teaching drawing – as design, as seeing, as experience and experiment, as expression, and as a visual language – with exemplary curricula for pre-K12 art and general education, pre-professional programs across the visual arts, and continuing education. With the aid of instructional examples, this volume dispels the misconception of drawing as a talent reserved for the artistically gifted and posits it as a teachable skill that can be learned by all. This text will be of primary interest to researchers, scholars, and doctoral students with interests in drawing theory and practice, cognition in the arts, positive psychology, creativity theory, as well as the philosophy and history of arts education. Aligning with contemporary trends such as Design Thinking, STEAM, and Graphicacy, the text will also have appeal to visual arts educators at all levels, and other educators involved in arts integration.
  drawing on tradition: Understanding Architecture Through Drawing Brian Edwards, 2008-08-20 This second edition is fully revised and updated and includes new chapters on sustainability, history and archaeology, designing through drawing and drawing in architectural practice. The book introduces design and graphic techniques aimed to help designers increase their understanding of buildings and places through drawing. For many, the camera has replaced the sketchbook, but here the author argues that freehand drawing as a means of analyzing and understanding buildings develops visual sensitivity and awareness of design. By combining design theory with practical lessons in drawing, Understanding Architecture Through Drawing encourages the use of the sketchbook as a creative and critical tool. The book is highly illustrated and is an essential manual on freehand drawing techniques for students of architecture, landscape architecture, town and country planning and urban design.
  drawing on tradition: Dakini's Warm Breath Judith Simmer-Brown, 2002-12-10 A fresh interpretation of the dakini—a Tibetan Buddhist symbol of the feminine—that will appeal to practitioners interested in goddess worship, female spirituality, and Tantric Buddhism The primary emblem of the feminine in Tibetan Buddhism is the dakini, or “sky-dancer,” a semi-wrathful spirit-woman who manifests in visions, dreams, and meditation experiences. Western scholars and interpreters of the dakini, influenced by Jungian psychology and feminist goddess theology, have shaped a contemporary critique of Tibetan Buddhism in which the dakini is seen as a psychological “shadow,” a feminine savior, or an objectified product of patriarchal fantasy. According to Judith Simmer-Brown—who writes from the point of view of an experienced practitioner of Tibetan Buddhism—such interpretations are inadequate. In the spiritual journey of the meditator, Simmer-Brown demonstrates, the dakini symbolizes levels of personal realization: the sacredness of the body, both female and male; the profound meeting point of body and mind in meditation; the visionary realm of ritual practice; and the empty, spacious qualities of mind itself. When the meditator encounters the dakini, living spiritual experience is activated in a nonconceptual manner by her direct gaze, her radiant body, and her compassionate revelation of reality. Grounded in the author's personal encounter with the dakini, this unique study will appeal to both male and female spiritual seekers interested in goddess worship, women's spirituality, and the tantric tradition.
  drawing on tradition: Thinking About Drawing Simon Grennan, 2022-03-10 This accessible book explains the significance of relationships between the body and the mark, visual imitation, drawing and writing and visual storytelling, providing a simple guide to these key ideas. For millennia drawing has been conceived as an exploratory activity, mediating between the vision of the drafter and what they are drawing. Drawing reveals hidden relationships, directs attention, scrutinises the material world and provides plans for further action. The book unpacks the key ideas that have shaped the rich, complex and foundational activity of drawing. It presents an unexpected, engaging and authoritative range of illustrated examples of drawings made by culturally and historically diverse people for different purposes, with different media, in widely different times and situations. Educator, author and artist Simon Grennan builds together concepts to create a complete guide to ideas about drawing.
  drawing on tradition: Jesus and the Shamanic Tradition of Same-Sex Love Will Roscoe, 2013 Originally published by Suspect Thoughts Press, 2004; Updated by the author and re-released by Lethe Press, 2013.
  drawing on tradition: The Blessing of Waters and Epiphany Nicholas E. Denysenko, 2016-03-23 This book examines the historical development of the blessing of waters and its theology in the East, with an emphasis on the Byzantine tradition. Exploring how Eastern Christians have sought these waters as a source of healing, purification, and communion with God, Denysenko unpacks their euchology and ritual context. The history and theology of the blessing of waters on Epiphany is informative for contemporary theologians, historians, pastors and students. Offering important insights into how Christians renew Baptism in receiving the blessed waters, this book also proposes new perspectives for theologizing Christian stewardship of ecology in the modern era based on a patristic liturgical synthesis. Denysenko presents an alternative framework for understanding the activity of the Trinity, enabling readers to encounter a vision of how participants encounter God in and after ritual.
  drawing on tradition: Making a Mark Andrew Meirion Jones, Marta Díaz-Guardamino, 2019-03-31 The visual imagery of Neolithic Britain and Ireland is spectacular. While the imagery of passage tombs, such as Knowth and Newgrange, are well known the rich imagery on decorated portable artefacts is less well understood. How does the visual imagery found on decorated portable artefacts compare with other Neolithic imagery, such as passage tomb art and rock art? How do decorated portable artefacts relate chronologically to other examples of Neolithic imagery? Using cutting edge digital imaging techniques, the Making a Mark project examined Neolithic decorated portable artefacts of chalk, stone, bone, antler, and wood from three key regions: southern England and East Anglia; the Irish Sea region (Wales, the Isle of Man and eastern Ireland); and Northeast Scotland and Orkney. Digital analysis revealed, for the first time, the prevalence of practices of erasure and reworking amongst a host of decorated portable artefacts, changing our understanding of these enigmatic artefacts. Rather than mark making being a peripheral activity, we can now appreciate the central importance of mark making to the formation of Neolithic communities across Britain and Ireland. The volume visually documents and discusses the contexts of the decorated portable artefacts from each region, discusses the significance and chronology of practices of erasure and reworking, and compares these practices with those found in other Neolithic contexts, such as passage tomb art, rock art and pottery decoration. A contribution from Antonia Thomas also discusses the settlement art and mortuary art of Orkney, while Ian Dawson and Louisa Minkin contribute with a discussion of the collaborative fine art practices established during the project.
  drawing on tradition: Senses of Tradition John E. Thiel, 2000 John Thiel attempts to counter this tendency toward ecclesiastical fundamentalism by proposing an interpretive schema for tradition analogous to the four senses of scripture.--BOOK JACKET.
  drawing on tradition: Finishes in the Ethnic Tradition Suzanne Baizerman, Karen Searle, 1978
  drawing on tradition: A Companion to Contemporary Drawing Kelly Chorpening, Rebecca Fortnum, 2020-11-10 The first university-level textbook on the power, condition, and expanse of contemporary fine art drawing A Companion to Contemporary Drawing explores how 20th and 21st century artists have used drawing to understand and comment on the world. Presenting contributions by both theorists and practitioners, this unique textbook considers the place, space, and history of drawing and explores shifts in attitudes towards its practice over the years. Twenty-seven essays discuss how drawing emerges from the mind of the artist to question and reflect upon what they see, feel, and experience. This book discusses key themes in contemporary drawing practice, addresses the working conditions and context of artists, and considers a wide range of personal, social, and political considerations that influence artistic choices. Topics include the politics of eroticism in South American drawing, anti-capitalist drawing from Eastern Europe, drawing and conceptual art, feminist drawing, and exhibitions that have put drawing practices at the centre of contemporary art. This textbook: Demonstrates ways contemporary issues and concerns are addressed through drawing Reveals how drawing is used to make powerful social and political statements Situates works by contemporary practitioners within the context of their historical moment Explores how contemporary art practices utilize drawing as both process and finished artifact Shows how concepts of observation, representation, and audience have changed dramatically in the digital era Establishes drawing as a mode of thought Part of the acclaimed Wiley Blackwell Companions to Art History series, A Companion to Contemporary Drawing is a valuable text for students of fine art, art history, and curating, and for practitioners working within contemporary fine art practice.
  drawing on tradition: The Geometry of Creation Robert Bork, 2016-12-05 The flowering of Gothic architecture depended to a striking extent on the use of drawing as a tool of design. By drawing precise blueprints with simple tools such as the compass and straightedge, Gothic draftsmen were able to develop a linearized architecture of unprecedented complexity and sophistication. Examination of their surviving drawings can provide valuable and remarkably intimate information about the Gothic design process. Gothic drawings include compass pricks, uninked construction lines, and other telltale traces of the draftsman's geometrically based working method. The proportions of the drawings, moreover, are those actually intended by the designer, uncompromised by errors introduced in the construction process. All of these features make these drawings ideal subjects for the study of Gothic design practice, but their geometry has to date received little systematic attention. This book offers a new perspective on Gothic architectural creativity. It shows, in a series of rigorous geometrical case studies, how Gothic design evolved over time, in two senses: in the hours of the draftsman's labor, and across the centuries of the late Middle Ages. In each case study, a series of computer graphics show in unprecedented detail how a medieval designer could have developed his architectural concept step by step, using only basic geometrical operations. Taken together, these analyses demonstrate both remarkable methodological continuity across the Gothic era, and the progressive development of new and sophisticated permutations on venerable design themes. This rich tradition ultimately gave way in the Renaissance not because of any inherent problem with Gothic architecture, but because the visual language of Classicism appealed more directly to the pretensions of Humanist princes than the more abstract geometrical order of Gothic design, as the book's final chapter demonstrates.
  drawing on tradition: Titian's Icons Christopher J. Nygren, 2020-05-27 Titian, one of the most successful painters of the Italian Renaissance, was credited by his contemporaries with painting a miracle-working image, the San Rocco Christ Carrying the Cross. Taking this unusual circumstance as a point of departure, Christopher J. Nygren revisits the scope and impact of Titian's life's work. Nygren shows how, motivated by his status as the creator of a miracle-working object, Titian played an active and essential role in reorienting the long tradition of Christian icons over the course of the sixteenth century. Drawing attention to Titian's unique status as a painter whose work was viewed as a conduit of divine grace, Nygren shows clearly how the artist appropriated, deployed, and reconfigured Christian icon painting. Specifically, he tracks how Titian continually readjusted his art to fit the shifting contours of religious and political reformations, and how these changes shaped Titian's conception of what made a devotionally efficacious image. The strategies that were successful in, say, 1516 were discarded by the 1540s, when his approach to icon painting underwent a radical revision. Therefore, this book not only tracks the career of one of the most important artists in the tradition of Western painting but also brings to light new information about how divergent agendas of religious, political, and artistic reform interacted over the long arc of the sixteenth century. Original and erudite, this book represents an important reassessment of Titan's approach to devotional subject matter. It will appeal to students and specialists, as well as art aficionados interested in Titian and in religious painting.
  drawing on tradition: Posterity Rocco Rubini, 2022-01-18 Reading a range of Italian works, Rubini considers the active transmittal of traditions through generations of writers and thinkers. Rocco Rubini studies the motives and literary forms in the making of a “tradition,” not understood narrowly, as the conservative, stubborn preservation of received conventions, values, and institutions, but instead as the deliberate effort on the part of writers to transmit a reformulated past across generations. Leveraging Italian thinkers from Petrarch to Gramsci, with stops at prominent humanists in between—including Giambattista Vico, Carlo Goldoni, Francesco De Sanctis, and Benedetto Croce—Rubini gives us an innovative lens through which to view an Italian intellectual tradition that is at once premodern and modern, a legacy that does not depend on a date or a single masterpiece, but instead requires the reader to parse an expanse of writings to uncover deeper transhistorical continuities that span six hundred years. Whether reading work from the fourteenth century, or from the 1930s, Rubini elucidates the interplay of creation and the reception underlying the enactment of tradition, the practice of retrieving and conserving, and the revivification of shared themes and intentions that connect thinkers across time. Building on his award-winning book, The Other Renaissance, this will prove a valuable contribution for intellectual historians, literary scholars, and those invested in the continuing humanist legacy.
  drawing on tradition: Art in the Time of Colony Khadija von Zinnenburg Carroll, 2016-12-05 It is often assumed that the verbal and visual languages of Indigenous people had little influence upon the classification of scientific, legal, and artistic objects in the metropolises and museums of nineteenth-century colonial powers. However colonized locals did more than merely collect material for interested colonizers. In developing the concept of anachronism for the analysis of colonial material this book writes the complex biographies for five key objects that exemplify, embody, and refract the tensions of nineteenth-century history. Through an analysis of particular language notations and drawings hidden in colonial documents and a reexamination of cross-cultural communication, the book writes biographies for five objects that exemplify the tensions of nineteenth-century history. The author also draws on fieldwork done in communities today, such as the group of Koorie women whose re-enactments of tradition illustrate the first chapter’s potted history of indigenous mediums and debates. The second case study explores British colonial history through the biography of the proclamation boards produced under George Arthur (1784-1854), Governor of British Honduras, Tasmania, British Columbia, and India. The third case study looks at the maps of the German explorer of indigenous taxonomy Wilhelm von Blandowski (1822-1878), and the fourth looks at a multi-authored encyclopaedia in which Blandowski had taken into account indigenous knowledge such as that in the work of Kwat-Kwat artist Yakaduna, whose hundreds of drawings (1862-1901) are the material basis for the fifth and final case study. Through these three characters’ histories Art in the Time of Colony demonstrates the political importance of material culture by using objects to revisit the much-contested nineteenth-century colonial period, in which the colonial nations as a cultural and legal-political system were brought into being.
  drawing on tradition: History of Mathematics in Africa: 1986-1999 Paulus Gerdes, Ahmed Djebbar, 2011
  drawing on tradition: Oral Tradition and Written Record in Classical Athens Rosalind Thomas, 1989-03-09 Despite its written literature, ancient Greece was in many ways an oral society. The first significant attempt to study the implications of this view stresses the coexistence of literacy and oral tradition and examines their character and interaction.
  drawing on tradition: Drawing Lessons from the Great Masters Robert Beverly Hale, 2014-03-11 A book whose sales have not diminished but rather increased dramatically since its publication 45 years ago, this bestselling classic is the ultimate manual of drawing taught by the late Robert Beverly Hale, who’s famed lectures and classes at New York City’s Art Student League captivated artists and art educators from around the world. Faithfully producing and methodically analyzing 100 master drawings—including works of Michelangelo, Leonardo da Vinci, Rodin, Goya, and Rembrandt among others—Hale shows how these artists tackled basic problems such as line, light and planes, mass, position and thrust, and anatomy. With detailed analytical captions and diagrams, every lesson is clearly delineated and illustrated. Throughout, also, is commentary that sheds light on the creative process of drawing and offers deep insight into the unsurpassed achievements of the masters.
  drawing on tradition: Drawings from Angola Paulus Gerdes, 2007 For children from age 8 to 14. Drawings from Angola present an introduction to an African story telling tradition. The tales are illustrated with marvelous drawings made in the sand. The book conveys the stories of the stork and the leopard, the hunter and the dog, the rooster and the fox, and others. It explains how to execute the drawings. The reader is invited to draw tortoises, antelopes, lions, and other animals. The activities proposed throughout the book invite the reader to experiment and to explore the 'rhythm' and symmetry of the illustrations. Surprising results will be playfully obtained, such as in arithmetic, a way to calculate quickly the sum of a sequence of odd numbers. Children will live the beautiful mathematics of the Angolan sanddrawings. Answers to the activities are provided. The book can be used both in classrooms and at home.
  drawing on tradition: Greek Vase-Painting and the Origins of Visual Humour Alexandre G. Mitchell, 2009-08-24 This book is a comprehensive study of visual humour in ancient Greece, with special emphasis on works created in Athens and Boeotia. Alexandre G. Mitchell brings an interdisciplinary approach to this topic, combining theories and methods of art history, archaeology and classics with the anthropology of humour, and thereby establishing new ways of looking at art and visual humour in particular. Understanding what visual humour was to the ancients and how it functioned as a tool of social cohesion is only one facet of this study. Mitchell also focuses on the social truths that his study of humour unveils: democracy and freedom of expression; politics and religion; Greek vases and trends in fashion; market-driven production; proper and improper behaviour; popular versus elite culture; carnival in situ; and the place of women, foreigners, workers and labourers within the Greek city. Richly illustrated with more than 140 drawings and photographs, this study amply documents the comic representations that formed an important part of ancient Greek visual language from the sixth to the fourth centuries BC.
  drawing on tradition: Picturing Technology in China Peter J. Golas, 2014-12-01 Although the history of technological and scientific illustrations is a well-established field in the West, scholarship on the much longer Chinese experience is still undeveloped. This work by Peter Golas is a short, illustrated overview tracing the subject to pre-Han inscriptions but focusing mainly on the Song, Yuan, Ming, and Qing dynasties. His main theme is that technological drawings developed in a different way in China from in the West largely because they were made by artists rather than by specialist illustrators or practitioners of technology. He examines the techniques of these artists, their use of painting, woodblock prints and the book, and what their drawings reveal about changing technology in agriculture, industry, architecture, astronomical, military, and other spheres. The text is elegantly written, and the images, about 100 in all, are carefully chosen. This is likely to appeal to both scholars and general readers.
  drawing on tradition: International Handbook of Mathematics Education Alan J. Bishop, 1996 This Handbook presents an overview and analysis of the international `state-of-the-field' of mathematics education at the end of the 20th century. The more than 150 authors, editors and chapter reviewers involved in its production come from a range of countries and cultures. They have created a book of 36 original chapters in four sections, surveying the variety of practices, and the range of disciplinary interconnections, which characterise the field today, and providing perspectives on the study of mathematics education for the 21st century. It is first and foremost a reference work, and will appeal to anyone seeking up-to-date knowledge about the main developments in mathematics education. These will include teachers, student teachers and student researchers starting out on a serious study of the subject, as well as experienced researchers, teacher educators, educational policy-makers and curriculum developers who need to be aware of the latest areas of knowledge development.
  drawing on tradition: History of Mathematics in Africa: 2000-2011 Paulus Gerdes, Ahmed Djebbar, 2011
  drawing on tradition: Persian Drawings in the Metropolitan Museum of Art Metropolitan Museum of Art (New York, N.Y.), Marie Lukens Swietochowski, Sussan Babaie, 1989
  drawing on tradition: Drawing Distinctions Patrick Maynard, 2018-07-05 If our procedure is to work steadily in the direction of drawing as fine art, rather than (as we so often find) beginning from examples of such art, where shall we begin? One attractive possibility is to begin at the beginning—not the beginning in prehistory, which is already wonderful art, but with our personal beginnings as children. From there it will be the ambitious project of this book to investigate 'the course of drawing,' from the first marks children make to the greatest graphic arts of different cultures.—from the IntroductionPatrick Maynard surveys the rich and varied practices of drawing, from the earliest markings on cave walls to the complex technical schematics that make the modern world possible, from cartoons and the first efforts of preschoolers to the works of skilled draftspeople and the greatest artists, East and West.Despite, or perhaps because of, its ubiquity, drawing as such has provoked remarkably little philosophical reflection. Nonphilosophical writing on the topic tends to be divided between specialties such as art history and mechanics. In this engagingly written and well-illustrated book, Maynard reveals the interconnections and developments that unite this fundamental autonomous human activity in all its diversity. Informed by close discussion of work in art history, art criticism, cognitive and developmental psychology, and aesthetics, Drawing Distinctions presents a theoretically sophisticated yet approachable argument that will improve comprehension and appreciation of drawing in its many forms, uses, and meanings.
  drawing on tradition: Drawing and Painting John Matthews, 2003-04-22 The author questions inherited wisdom about children's development in visual representation and explains different models of development in visual expression.
  drawing on tradition: Exquisite Corpse Michael Sorkin, 1991 'Exquisite Corpse' was a game played by the surrealists in which someone drew on a piece of paper, folded it and passed it to the next person to draw on until, finally, the sheet was opened to reveal a calculated yet random composition. In this entertaining and provocative book, Michael Sorkin suggests that cities are similarly assembled by many players acting with varying autonomy in a complicit framework. An unfolding terrain of invention, the city is also a means of accommodating disparity, of contextualizing sometimes startling juxtapositions. Sorkin's aim is to widen the debate about the creation of buildings beyond the immediate issues of technology and design. He discusses the politics and culture of architecture with daring, often devastating, observations about the institutions and personalities who have dominated the profession over the past decade. Their preoccupation with the empty style of 'beach houses and Disneyland' has consistently trivialized the full constructive scope of contemporary architecture's possibilities. Sorkin's interventions range from the development scandals of New York where 'skyscrapers stand at the intersection between grid and greed', through the deconstructivist architectural culture of Los Angeles, to the work and ideas of architects, developers and critics such as Alvar Aalto, Norman Foster, Paul Goldberger, Michael Graves, Coop Himmelblau, Philip Johnson, Leon Krier, Frank Lloyd Wright, Richard Rogers, Carlo Scarpa, James Stirling, Donald Trump, Tom Wolfe and Lebbeus Woods. Throughout Sorkin combines stinging polemic with a powerful call for a rebirth of architecture that is visionary and experimental--a recuperated 'dreamy science'
Sketchpad - Draw, Create, Share!
Sketchpad: Free online drawing application for all ages. Create digital artwork to share online and export to popular image formats JPEG, PNG, SVG, and PDF.

Sketchpad 5.1 - Draw, Create, Share!
Sketchpad: Free online drawing application for all ages. Create digital artwork to share online and export to popular image formats JPEG, PNG, SVG, and PDF. Drop files here!

Draw, Create, Share! - Sketchpad
Sketchpad: Free online drawing application for all ages. Create digital artwork to share online and export to popular image formats JPEG, PNG, SVG, and PDF.

Sketch.IO - The Maker of Sketchpad
Sketchpad is available online and for download on PC and Mac. Whether you're working on a school poster or brainstorming your next comic book character, Sketchpad makes it easy to …

Sketch Mobile—Multi-touch drawing in HTML5.
Sketch Mobile is a drawing tool that takes advantage of the new capabilities presented in modern mobile browsers; including multi-touch, the accelerometer, and the gyroscope; providing a fun …

Sketchpad App – Sketch.IO
18 Brushes. Create cool strokes with the Tile, Mirror, Crayon, and Calligraphy brushes. Decorate your artwork using hundreds of high quality stamps.

Sketchpad - ¡Dibuja, Crea, Comparte!
Sketchpad: aplicación de dibujo online gratuita para todas las edades. Crea ilustraciones digitales para compartir en línea y expórtalas a los formatos de imágenes más populares JPEG, PNG, …

Sketchpad – rysuj, twórz, udostępniaj!
Sketchpad: darmowa aplikacja do rysowania online dla wszystkich grup wiekowych. Twórz cyfrowe dzieła sztuki, które możesz udostępniać online i eksportować do popularnych …

Sketchpad - Desenhe, Crie, Compartilhe!
Sketchpad: aplicativo de desenho gratuito on-line para todas as idades. Crie obras de arte digitais para compartilhar on-line e exporte-as para os formatos populares de imagens JPEG, PNG, …

Sketchpad——绘画、创作、分享！
Sketchpad：面向各年龄段用户的免费在线绘图应用。创作数字美术作品，并在线分享或导出为流行的图片格式，例如JPEG、PNG、SVG和PDF。

Sketchpad - Draw, Create, Share!
Sketchpad: Free online drawing application for all ages. Create digital artwork to share online and export to popular image formats JPEG, PNG, SVG, and PDF.

Sketchpad 5.1 - Draw, Create, Share!
Sketchpad: Free online drawing application for all ages. Create digital artwork to share online and export to popular image formats JPEG, PNG, SVG, and PDF. Drop files here!

Draw, Create, Share! - Sketchpad
Sketchpad: Free online drawing application for all ages. Create digital artwork to share online and export to popular image formats JPEG, PNG, SVG, and PDF.

Sketch.IO - The Maker of Sketchpad
Sketchpad is available online and for download on PC and Mac. Whether you're working on a school poster or brainstorming your next comic book character, Sketchpad …

Sketch Mobile—Multi-touch drawing in HTML5.
Sketch Mobile is a drawing tool that takes advantage of the new capabilities presented in modern mobile browsers; including multi-touch, the accelerometer, and the …