human figure
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Created in the 1580s and owned by the Amsterdam merchant Jacob Rauwaert, the three paintings by Cornelis van Haarlem considered in this article add an important dimension to the artist’s focus on the human figure by underscoring how the animal played an equally important part in Cornelis’s practice. Seen together, the paintings exhibit the attention to both human and animal bodies that Karel Van Mander encouraged artists to pursue. Yet, the hierarchy of human over animal indicated by Van Mander’s writings is, I argue, subverted by the particularly violent iconographies of Cornelis’s paintings. Suggesting human fallibility and a potential breakdown in the natural order, the paintings can be seen as reflecting the social conditions permeating life in the Netherlands during the Dutch Revolt. This article concludes by speculating how a dialectic of violence, one that encouraged beholders to recognise a relativity of viewpoints, may have served the paintings’ first owner.

Recently, body maps have increasingly been used to identify patterns in respect of the location of the physical sensations elicited by emotions. However, in addition to understanding how emotions are topographically manifest in the body, it is important to add a temporal aspect to deepen the interoceptive study of emotions. Therefore, the present study sought to explore the first perceived sensation. The study sample comprised a group of mindfulness practitioners (n=34) and a group of non-practitioners (n=64) to analyze if there was any difference in their perceptions of emotion. Participants were instructed to evoke five basic emotions (fear, disgust, anger, sadness, joy), and as soon as they became aware of where they felt the emotions start to emerge, were instructed to interrupt the observation and to indicate the region in a diagram of a human figure. Overall, the groups did not differ in the body regions identified for each emotion. Cochran's Q-test showed that the main regions mentioned were the head and the chest. In the case of disgust, the neck, rather than the chest, along with the lower part of the head were the most cited. The most cited regions corresponded to those identified in other studies of body topography as perceived with the greatest increase in activity in response to emotional stimuli. Regarding interoceptive awareness, the independent t-test verified that the mindfulness group scored significantly higher in all subscales of the Brazilian Portuguese version of the 37-item Multidimensional Assessment of Interoceptive Awareness questionnaire compared to the non-mindfulness group.

Recently, body maps have increasingly been used to identify patterns in respect of the location of the physical sensations elicited by emotions. However, in addition to understanding how emotions are topographically manifest in the body, it is important to add a temporal aspect to deepen the interoceptive study of emotions. Therefore, the present study sought to explore the first perceived sensation. The study sample comprised a group of mindfulness practitioners (n=34) and a group of non-practitioners (n=64) to analyze if there was any difference in their perceptions of emotion. Participants were instructed to evoke five basic emotions (fear, disgust, anger, sadness, joy), and as soon as they became aware of where they felt the emotions start to emerge, were instructed to interrupt the observation and to indicate the region in a diagram of a human figure. Overall, the groups did not differ in the body regions identified for each emotion. Cochran's Q-test showed that the main regions mentioned were the head and the chest. In the case of disgust, the neck, rather than the chest, along with the lower part of the head were the most cited. The most cited regions corresponded to those identified in other studies of body topography as perceived with the greatest increase in activity in response to emotional stimuli. Regarding interoceptive awareness, the independent t-test verified that the mindfulness group scored significantly higher in all subscales of the Brazilian Portuguese version of the 37-item Multidimensional Assessment of Interoceptive Awareness questionnaire compared to the non-mindfulness group.

Masks in Documents (1929-1930), an illustrated magazine The masks in Documents should be read in a broad context, which goes beyond the columns of the journal to also embrace the birth of ethnology in France, the surrealist neighborhood but also the years to come, which will hardly see the development of ideas sketched in the magazine. At the same time, the presence of the masks highlights the disparate character of the journal itself, where the more or less ethnological texts devoted to the masks of traditional societies respond to much less academic articles in which the mask slips in the direction of the strange and monstrous. This allows to deconstruct Western aesthetics and, first and foremost, the human figure as its most codified and, therefore, most untouchable expression. The mask can even be considered as the embodiment of the concept of disparity which seems to govern the counter-aesthetic of the journal. Finally, the mask is emblematic of the internal gap in the journal, that between ethnologists and poets, or between academicism and subversion.

Цель статьи — познакомить реставраторов и исследователей с традиционными и современными методами реставрации буддийской живописи на холсте, c оборудованием и материалами, которые применяются в лаборатории научной реставрации восточной живописи Государственного Эрмитажа. Актуальность данной работы продиктована развитием реставрационной практики буддийской живописи в последние десятилетия. В исследовании показано, как появление новых высокотехнологичных материалов, оборудования и методов исследования памятников позволяет реставратору более эффективно работать с ними. Также в данной работе показаны результаты изучения и исследования двух тангка. Комплексное исследование тангка, проведенное силами специалистов научно-исследовательских лабораторий, позволило правильно выбрать методики реставрации. Кроме этого, в работе приводятся краткие исторические сведения об иконографии и технологии создания тангка. В статье проводится анализ реставрационных методик и их выбора, рассматриваются этические проблемы, связанные с допустимой степенью вмешательства в структуру памятника. На примере сравнения подходов к реставрации двух буддийских тангка, реставрированных в разные годы (тангка «Образ буддийский Дорджэ Лэкпа» в 2018 году и тангка «Махакала синий шестирукий, трехглазый, стоящий на слоне с человеческой фигурой» в 2021 году), описаны различные методики. Анализ проведенных реставрационных мероприятий включает в себя описание проведенных исследований памятников до реставрации и методов отчистки поверхности, укрепления красочного слоя, восполнения грунта, выравнивания основы и восполнения утрат красочного слоя. В статье показана практическая значимость и результативность применения различных материалов, оборудования и методов реставрации буддийской живописи. Обобщены результаты реставрации обоих памятников. The aim of the article is to acquaint restorers and researchers of Buddhist painting on canvas with traditional restoration methods combined with modern equipment and materials that are used in the Laboratory of Scientific Restoration of Oriental Painting of the State Hermitage Museum. The relevance of this work is dictated by the development restoration practice of Buddhist painting in recent decades. It is shown in the study how the emergence of new high-tech materials, equipment and methods of studying monuments allows the restorer to work with them more effectively. Also in this paper, the results of the study and study of two thangkas are shown. Comprehensive the thangka study conducted by the specialists of research laboratories made it possible to choose the right restoration techniques. In addition, a brief work of historical information about the iconography and technology of creating a thangka is provided. The restoration techniques and their choices are analyzed in the article. Also the ethical problems related to the permissible degree of interference in the structure of the monument are examined. Using the example of comparing approaches to the restoration of two Buddhist thangkas restored in different years: the “Dorje Lakpa Buddhist Image” thangka in 2018, and the “Mahakala blue, 6-handed, 3-eyed, standing on an elephant with a human figure” thangka in 2021, various techniques are described. The analysis of the restoration measures carried out includes a description of the studies carried out on the monuments before the restoration, and methods of cleaning the surface, strengthening the paint layer, replenishing the soil, leveling the base and replenishing the losses of the paint layer. The article shows the practical significance and effectiveness of the use of various materials, equipment and methods of restoration of Buddhist painting. In conclusion, the results of the restoration of both monuments are summarized.

Moderation is the attitude of being in the middle that must be owned by a Muslim, especially Muslims in Indonesia who live amid pluralism. Problems in Indonesia related to intolerant behavior are mainly caused by the lack of moderate attitudes, especially Muslims. Islam should be a pioneer in implementing this reasonable behavior as the majority religion. The research describes some moderate behaviors exemplified by the Prophet Muhammad (SAW) during his life as a role model for Muslims. This research is qualitative descriptive research with a literature study method. The results showed that the moderate behavior of the Prophet Muhammad was reflected in his behavior when Surah al-Kafirun was revealed, his tolerance towards other religions, and his wisdom in solving the problem of laying the Black Stone. He is moderate in doing worship, not excessive. He also sleeps, breaks his fast, gets married, and orders people to pray in a new state that the values of moderate behavior from the exemplary human figure of the Prophet Muhammad (SAW) can be applied in overcoming the challenges of a pluralistic life to create a sense of unity.

<p>The bearded snake is an unusual motif that appears in a variety of contexts and media throughout the Classical world. It is used in Greek, Etruscan, Roman, and Egyptian art and literature. This thesis addresses the Greek use of the bearded snake. The beard of the snake, much like the beard of a human figure, varies in terms of its size, shape, and level of detailing. It may be a simple single line or a series of long, clearly defined hairs. The use of this human feature on serpents has received minimal attention. When the motif is discussed it is generally only considered in terms of its use in one context, such as on depictions of Zeus Meilichios or on the Lakonian hero reliefs. The aim of this thesis is to discuss the use of the bearded snake in the most common contexts in which it may occur in order to provide a better understanding of the meaning of this unusual motif. Such contexts include anguiform deities, pure serpents, hybrid creatures, and attributes of monsters and deities.  Two of the more influential explanations of the use of the beard are those by Aelian, from the third century AD, and Jane Harrison, from 1903. These interpretations consider the bearded snake in slightly different terms. Where Aelian believes the beard to indicate a male serpent, Harrison considers the feature to be a means through which the snake is implied to be an anthropomorphic deity. Chapter One provides the background interpretations of the snake and the beard as distinct motifs. The findings from this chapter will form the basis for the interpretations given in Chapters Two and Three. Chapter Two considers the flaws of Aelian’s explanation of the beard as an indicator of gender, by looking at the use of the beard in the context of divine and monstrous women such as Medusa and Athena. Chapter Three addresses Harrison’s anthropomorphic argument, by considering both anguiform and non-anguiform figures. This will provide a wider range of contexts than either Aelian or Harrison discuss. In doing so, I intend to consider the meaning of the bearded snake using a considerably larger range of sources, in order to give the best possible explanation for this unusual motif.</p>

<p>The bearded snake is an unusual motif that appears in a variety of contexts and media throughout the Classical world. It is used in Greek, Etruscan, Roman, and Egyptian art and literature. This thesis addresses the Greek use of the bearded snake. The beard of the snake, much like the beard of a human figure, varies in terms of its size, shape, and level of detailing. It may be a simple single line or a series of long, clearly defined hairs. The use of this human feature on serpents has received minimal attention. When the motif is discussed it is generally only considered in terms of its use in one context, such as on depictions of Zeus Meilichios or on the Lakonian hero reliefs. The aim of this thesis is to discuss the use of the bearded snake in the most common contexts in which it may occur in order to provide a better understanding of the meaning of this unusual motif. Such contexts include anguiform deities, pure serpents, hybrid creatures, and attributes of monsters and deities.  Two of the more influential explanations of the use of the beard are those by Aelian, from the third century AD, and Jane Harrison, from 1903. These interpretations consider the bearded snake in slightly different terms. Where Aelian believes the beard to indicate a male serpent, Harrison considers the feature to be a means through which the snake is implied to be an anthropomorphic deity. Chapter One provides the background interpretations of the snake and the beard as distinct motifs. The findings from this chapter will form the basis for the interpretations given in Chapters Two and Three. Chapter Two considers the flaws of Aelian’s explanation of the beard as an indicator of gender, by looking at the use of the beard in the context of divine and monstrous women such as Medusa and Athena. Chapter Three addresses Harrison’s anthropomorphic argument, by considering both anguiform and non-anguiform figures. This will provide a wider range of contexts than either Aelian or Harrison discuss. In doing so, I intend to consider the meaning of the bearded snake using a considerably larger range of sources, in order to give the best possible explanation for this unusual motif.</p>

<p>Prior research evaluating the effect of Human Figure Diagrams (HFDs) on the nature of children’s recall of touch related information has yield mixed findings. We examined the nature of information elicited by 9-11 year old children (n=55) following participation in a scripted event that incorporated instances of physical contact/touch. We examined the amount and accuracy of information reported under the following conditions; with the aid of a HFD, a photograph of the child, or verbal prompts only. Children presented with HDFs or photographs reported significantly more information following an exhaustive verbal interview, than children provided with verbal prompts only. The accuracy of reports was high overall and did not differ significantly by condition. When children were asked focussed questions about instances of both true and false touch that was not reported during the verbal interview, the accuracy of their accounts reduced significantly compared to phases of the interview that were predominantly child-led. This suggests that visual aids may be safe to use to clarify/elaborate on already reported information, at least with this age group. Specific questions about instances of unreported touch should be avoided.</p>