Atenuarea disconfortului articular: cele mai bune creme, geluri, plasturi și tehnici naturale pentru inflamația articulațiilor

Atenuarea disconfortului articular: cele mai bune creme, geluri, plasturi și tehnici naturale pentru inflamația articulațiilor

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Economii de costuri de accesibilitate pentru medicamentele asociate

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Durerile articulare pot apărea oriunde în corp. Și puteți avea disconfort articular pentru o serie de factori diferiți, de la osteoartrita și artrita gută până la stres și entorse tipice. În ciuda motivului, disconfortul articular poate fi neplăcut și turbulent pentru viața și activitatea obișnuită. Asta îi lasă pe mulți oameni în căutarea unei ameliorări rapide a durerilor articulare.

Medicamentele antiinflamatoare nesteroidiene dentare (AINS) funcționează bine pentru durerile articulare, dar au efecte adverse. Acestea agravează frecvent mucoasa celulară a stomacului și pot fi dificile pentru rinichi.Citit bonengem unguent Comanda site-ul Din fericire, dacă aveți disconfort articular, există diverse alte opțiuni pe care le puteți lua în considerare. Loțiunile și petele topice pot fi, de asemenea, alternative fără riscuri și eficiente pentru disconfortul inflamator al articulațiilor.

Ce funcționează cel mai bine pentru ameliorarea durerilor articulare?

Există o serie de alternative diferite disponibile pentru ameliorarea disconfortului articular. Să’Consultați mai atent câteva dintre tratamentele pentru disconfort articular care au tendința de a funcționa cel mai bine.

1. Diclofenac

Diclofenacul este un AINS care vine în mai multe tipuri topice. Este’este folosit frecvent pentru durerile osoase, articulare și musculare. Versiunile topice ale diclofenacului pot fi găsite în trei tipuri.

2. Lidocaina

Lidocaina este un plasture anestezic. Acest lucru indică faptul că oferă o atenuare temporară a disconfortului locației în care este’s folosit. Acest medicament este disponibil pe bază de rețetă și OTC- variind doar în rezistența lor.

Patch-urile OTC sunt în mod normal mult mai ieftine decât plasturii cu lidocaină 5%. Dar este posibil să intenționați să comparați costurile ambelor rezistență la spot, cu și fără rețetă. S-ar putea să aveți și capacitatea de a reduce plasturii de 4% dacă aveți o rețetă, în ciuda faptului că’nu este necesar.

3. Vitamine și suplimente

Informațiile despre vitamine și suplimente pentru disconfortul inflamator al articulațiilor sunt combinate. Pentru fiecare studiu de cercetare care dezvăluie renovarea disconfortului, există’este încă unul care nu dezvăluie niciun impact. Acestea fiind susținute, mulți indivizi raportează atenuarea disconfortului articular folosind suplimente. Câteva dintre cele mai utilizate vitamine și suplimente pentru disconfortul articulațiilor sunt:

4. Atenuare naturală

Există numeroase tehnici naturale de ameliorare a durerilor articulare pe care unii oameni le consideră utile. Unul dintre cele mai uzuale tratamente naturiste pentru disconfortul articular consta in:

5. Lotiuni pentru inflamarea articulatiilor

Durerile articulare OTC pot fi practic la fel de eficiente ca medicamentele orale. Au avantajul de a fi folosiți direct pe site-ul de disconfort articular, așa că se pun’nu acționează în întregul corp. Dacă disconfortul dumneavoastră este ușor și local, aceasta ar putea fi o alternativă bună pe care să o încercați.

Loțiunile obișnuite pentru inflamarea articulațiilor OTC includ:

Posted: April 3, 2025 11:26 am


According to Agung Rai

“The concept of taksu is important to the Balinese, in fact to any artist. I do not think one can simply plan to paint a beautiful painting, a perfect painting.”

The issue of taksu is also one of honesty, for the artist and the viewer. An artist will follow his heart or instinct, and will not care what other people think. A painting that has a magic does not need to be elaborated upon, the painting alone speaks.

A work of art that is difficult to describe in words has to be seen with the eyes and a heart that is open and not influenced by the name of the painter. In this honesty, there is a purity in the connection between the viewer and the viewed.

As a through discussion of Balinese and Indonesian arts is beyond the scope of this catalogue, the reader is referred to the books listed in the bibliography. The following descriptions of painters styles are intended as a brief introduction to the paintings in the catalogue, which were selected using several criteria. Each is what Agung Rai considers to be an exceptional work by a particular artist, is a singular example of a given period, school or style, and contributes to a broader understanding of the development of Balinese and Indonesian paintng. The Pita Maha artist society was established in 1936 by Cokorda Gde Agung Sukawati, a royal patron of the arts in Ubud, and two European artists, the Dutch painter Rudolf Bonnet, and Walter Spies, a German. The society’s stated purpose was to support artists and craftsmen work in various media and style, who were encouraged to experiment with Western materials and theories of anatomy, and perspective.
The society sought to ensure high quality works from its members, and exhibitions of the finest works were held in Indonesia and abroad. The society ceased to be active after the onset of World War II. Paintings by several Pita Maha members are included in the catalogue, among them; Ida Bagus Made noted especially for his paintings of Balinese religious and mystical themes; and Anak Agung Gde Raka Turas, whose underwater seascapes have been an inspiration for many younger painters.

Painters from the village of Batuan, south of Ubud, have been known since the 1930s for their dense, immensely detailed paintings of Balinese ceremonies, daily life, and increasingly, “modern” Bali. In the past the artists used tempera paints; since the introduction of Western artists materials, watercolors and acrylics have become popular. The paintings are produced by applying many thin layers of paint to a shaded ink drawing. The palette tends to be dark, and the composition crowded, with innumerable details and a somewhat flattened perspective. Batuan painters represented in the catalogue are Ida Bagus Widja, whose paintings of Balinese scenes encompass the sacred as well as the mundane; and I Wayan Bendi whose paintings of the collision of Balinese and Western cultures abound in entertaining, sharply observed vignettes.

In the early 1960s,Arie Smit, a Dutch-born painter, began inviting he children of Penestanan, Ubud, to come and experiment with bright oil paints in his Ubud studio. The eventually developed the Young Artists style, distinguished by the used of brilliant colors, a graphic quality in which shadow and perspective play little part, and focus on scenes and activities from every day life in Bali. I Ketut Tagen is the only Young Artist in the catalogue; he explores new ways of rendering scenes of Balinese life while remaining grounded in the Young Artists strong sense of color and design.

The painters called “academic artists” from Bali and other parts of Indonesia are, in fact, a diverse group almost all of whom share the experience of having received training at Indonesian or foreign institutes of fine arts. A number of artists who come of age before Indonesian independence was declared in 1945 never had formal instruction at art academies, but studied painting on their own. Many of them eventually become instructors at Indonesian institutions. A number of younger academic artists in the catalogue studied with the older painters whose work appears here as well. In Bali the role of the art academy is relatively minor, while in Java academic paintings is more highly developed than any indigenous or traditional styles. The academic painters have mastered Western techniques, and have studied the different modern art movements in the West; their works is often influenced by surrealism, pointillism, cubism, or abstract expressionism. Painters in Indonesia are trying to establish a clear nation of what “modern Indonesian art” is, and turn to Indonesian cultural themes for subject matter. The range of styles is extensive Among the artists are Affandi, a West Javanese whose expressionistic renderings of Balinese scenes are internationally known; Dullah, a Central Javanese recognized for his realist paintings; Nyoman Gunarsa, a Balinese who creates distinctively Balinese expressionist paintings with traditional shadow puppet motifs; Made Wianta, whose abstract pointillism sets him apart from other Indonesian painters.

Since the late 1920s, Bali has attracted Western artists as short and long term residents. Most were formally trained at European academies, and their paintings reflect many Western artistic traditions. Some of these artists have played instrumental roles in the development of Balinese painting over the years, through their support and encouragement of local artist. The contributions of Rudolf Bonnet and Arie Smit have already been mentioned. Among other European artists whose particular visions of Bali continue to be admired are Willem Gerrad Hofker, whose paintings of Balinese in traditional dress are skillfully rendered studies of drapery, light and shadow; Carel Lodewijk Dake, Jr., whose moody paintings of temples capture the atmosphere of Balinese sacred spaces; and Adrien Jean Le Mayeur, known for his languid portraits of Balinese women.

Agung Rai feels that

Art is very private matter. It depends on what is displayed, and the spiritual connection between the work and the person looking at it. People have their own opinions, they may or may not agree with my perceptions.

He would like to encourage visitors to learn about Balinese and Indonesian art, ant to allow themselves to establish the “purity in the connection” that he describes. He hopes that his collection will de considered a resource to be actively studied, rather than simply passively appreciated, and that it will be enjoyed by artists, scholars, visitors, students, and schoolchildren from Indonesia as well as from abroad.

Abby C. Ruddick, Phd
“SELECTED PAINTINGS FROM THE COLLECTION OF THE AGUNG RAI FINE ART GALLERY”


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