"The Message of Protest”: Artistic Expressions of Punk / Hardcore Subculture Ideas

Author(s): Reda Šatuniene / Language(s): English / Issue: 1/2008

Nekomerciālā panku / hārdkora subkultūra izveidojās no britu pankiem un amerikāņu hārkora 20. gadsimta septiņdesmito un astoņdesmito gadu mijā. Galvenās panku / hārdkora subkultūras iezīmes iemieso pankroka brīvības, kritiskās domas un vienlīdzības principus. Lietuvā daudzas jauniešu subkultūru paražas ienāca pēc valsts neatkarības atjaunošanas 1990. gadā. Raksts pievērš uzmanību nekomerciālās panku / hārdkora subkultūras idejām un vērtībām, kādas ietvertas lietuviešu trafaretu mākslā. Raksta empīriskais materiāls ir savākts, pateicoties atbilstošai metodoloģijai un kvalitatīvam (etnogrāfiskam) lauka pētījumam, kas veikts 2005.-2007. gadā. Raksta autore secina, ka panku / hārdkora subkultūras idejas - protestēšana pret "Sistēmu", ekonomisko un politisko uzkundzēšanos, patērētājfilozofiju, konformismu un starptautiskajām aliansēm - izpaužas trafaretu mākslā. Tā atklāj globālās un vietējās sociālās, politiskās un ekonomiskās aktualitātes.

"Музикалната естрада продължава да живее в културната памет на българите"

Интервю с Розмари Стателова за новата й книга 'Естрада и социализъм: проблясъци'

Author(s): Zhana Popova / Language(s): Bulgarian / Issue: 5/2019

Interview with Rosemary Statelova about her new book „Estrada and Socialism: Glimpses“

100 години професионален оперетен театър в България. Постановъчно-изпълнителски опит и репертоарни тежнения

Author(s): Rumyana Karakostova / Language(s): English,Bulgarian / Issue: 4/2018

This paper intends to sum up, from a contemporary critical perspective, the cultural significance of various periods of the centenary history of Bulgaria’s professional operetta theatre, focusing on the social function, the institutional and aesthetic physiognomy of Sofia-based leading private operetta companies in the interwar period and its only genre-profiled National Musical Theatre as their direct successor, which this season marked its seventieth anniversary. The main problematised assumption is that the marked trends in the repertoire polices, stage and performing practices in the centenary development of operetta art on Bulgaria’s professional stage can only be correctly brought forth on the basis of a scientifically objective, rationalised both by the dynamism of historical events and the respective shifts in the sociocultural paradigm and the topical critical reflection.

17. VE 18. YÜZYILDA FLAMAN RESİM SANATINDA AVCILIK NATÜRMORTLARI

Author(s): Onur Karaalioglu / Language(s): Turkish / Issue: 48/2018

With the enlightenment process triggered by the Renaissance movement in Europe, the rebellions against the feudal system and the dogmatism of the church became widespread with Protestantism and accompanying Kalvinism, and the process of renunciation of church from the worldly affairs was accelerated. While rapidly developing trade in the Netherlands provide the emergence of new rich people, the feudal system gradually left its place to the free market lords. The religious, economic and social changes that shaped the 17th century Holland also influenced the field of art and the artist has been obliged to turn to non-religious issues by strictly forbidding the portrayals of the places of worship where the artists provide for their lives with the portrayal of sacred scenes. While the increase in the number of capital powers who want to embellish their own private space expands the repertoire of the artists, still-lifes that seems like independent of all kinds of intangible judgments has gained a great popularity in the 17th century Holland. The hunting still-lifes that emerges in an environment where the bourgeoisie invests in artisans and traces of the natural beauty of the Netherlands has also turned into a demonstration of social status as a species where the messages take place about wealth and life views of the orderer. The hunting still-lifes which turned into a show of power that threatens its opponents with its rich content, act as a mediator heralding of the salvation of the Hereafter, moving from the attitude of Christianity blessing the richness.

21. YÜZYILDA GİYİLEBİLİR SANATIN ÖNCÜ MODA TASARIMCILARI

Author(s): Nursen Geyik Degerli / Language(s): Turkish / Issue: 51/2018

Clothing came out as a result of human being’s struggle to protect himself physically against varying conditions of nature. Wearing took shape by traditions till 16th century and affected by new fashion movements created by mid-class society dominating social events during 17th century. Brit, Charles Frederick Worth (1825-1895), was “the first fashion designer” who changed the rules of tailoring and opened his own fashion house in Paris to sell his designs during 19th century. He claims that “his hand-made belly stitch worths a valuable oil painting” and reflects his signature to his designs those express his passion and art. “Artwear” or “Wearable Art” was first pronounced in 1970’s, and then positioned in fashion and art platforms during 80s. In this article; interactions in between fashion and art, fashion designers influenced by art movements during last century and wearable art works of fashion designers of 21st century are analysed. Fashion designers of 21st century are pushing the boundaries of creativity to generate variety of wearable art designs by binding technology transformation and handcrafting. It is a strong sign and evidence that wearables may be art works and we started to see them in art galleries or exhibitions.

A 18. dinasztia idején épült thébai vályogtégla szentély rekonstrukciós kísérletei

Author(s): Zoltán Imre Fábián / Language(s): Hungarian / Issue: 4/2012

A small mortuary chapel built of mud bricks was exposed in 2008 by the Hungarian Archaeological Mission in Thebes, on the south slope of the el-Khokha hillock. Paintings in a rather good state of preservation as well as several further fragments came to light during the excavation. They represent some characteristic thematic groups typical of 18th Dynasty rock cut mortuary monuments. Especially two groups offer a good chance for the reconstruction and the examination of basic principles of the decoration program, namely, a series of offering bearers and the scenes of beer brewers. On the basis of the reconstruction of painted elements, further conclusions can also be drawn regarding the architectural features of the chapel.

A Diptych of Spiritual Maladies in Cinema: From Nostalgia (Andrei Tarkovsky) to Melancholy (Lars von Trier)

Author(s): Ruxandra Cesereanu / Language(s): English / Issue: 1/2019

This essay aims to assemble (palimpsestically) the visions of several art creators on melancholia and nostalgia. It also undertakes a brief foray into the history of art and film by reference to several influential names: Andrei Rublev, Gian Lorenzo Bernini, Albrecht Dürer, John Everett Millais, Andrei Tarkovsky and Lars von Trier. Moreover, it examines one of Andrei Rublev’s prominent works, The Holy Trinity, and Dürer’s Melencolia I (1514), a remarkable engraving from a visual and intellectual point of view. In cinema, the option for the visions of two directors (despite their differences of style, ideas and generations) is linked to the core representation of nostalgia and melancholia in Tarkovsky’s film, Nostalgia (1983), adjacent also to The Sacrifice (1986), and in Lars von Trier’s Melancholia (2011). The analysis proposed in this essay resorts to the ancient philosophical conception on melancholy, as well as to the interpretations on this theme provided by modern scholars, such as Sigmund Freud, Fritz Saxl, Erwin Panofsky, and Raymond Klibansky. The same goes for nostalgia, even though this a pre-modern concept.

A Forgotten Manuscript from the Slavonic Collection in the Russian National Library

Един забравен ръкопис от славянската сбирка на Руската национална библиотека

Author(s): Elissaveta Moussakova / Language(s): English,Bulgarian / Issue: 1/2018

Until recently the Gospel manuscript from the Russian National Library in St Petersburg, MS Q.п.І.3, now dated to the mid-14th century, was almost not known. It was found that its teratological headpiece on f. 85r is similar to a headpiece in the Four Gospels NBKM 1356 of about the same period. The compositions, though stemming from a common prototype, differ in their details. Being found in manuscripts of obviously different origin, they bring forth a number of issues such as the attribution of the two South Slavonic Tetraevangelia, their interdependence and relations with manuscripts and centres where the model patterns were used and copied in three 17th-century illuminated Gospels.

A fóti plébániatemplom építészeti szerkezetének, szobrászati és díszítő elemeinek kapcsolatai

Author(s): Anna Tüskés / Language(s): Hungarian / Issue: 3/2017

Architectural Structures, Sculptural and Decorative Elements of the Parish Church in Fót An orientalising style with arabesque elements began to spread in European and North African architecture in the second quarter of the 19th century. The Parish Church of Fót – one of the major works of the romantic historicism in round-arch style (Rundbogenstil) in Hungary, commissioned by István Károlyi and built between 1845–1855 – shows this influence. The planning and execution testify to inspirations from the Western European Romanesque cathedrals in the structure. The painted and sculpted geometric and floral decorations are closely connected to Arabic and European Romanesque ornamental motifs.

A Group of Reliefs from the Mramba Village (the Republic of Abkhazia): To the Question of Dating

Author(s): Ekaterina Endoltseva / Language(s): English / Issue: 1/2019

Article deals with a group of reliefs from the church in Mramba village. Their were dated by the paleochristian period. New findings of the last ten years permit to adjust this version. They can be now referred to the Medieval period (10 – 11 century).

A műalkotások értékbecslése a toszkán reneszánsz művészetben. Stimák és lodók

Author(s): Manga Pattantyús / Language(s): Hungarian / Issue: 2/2016

Among the written sources of Italian Renaissance art, a substantial number of contracts have survived. From them we can tell that the honoraria for commissioned works of art could be paid to the artist in a variety of ways. Not in every instance was the honorarium a specific sum decided upon when the contract was written; the two parties – artist and client – sometimes agreed that the fee would be determined by means of a valuation. In such cases, the valuation would be made after the work was completed. The practice of setting prices through valuation was quite customary in this period for both private and corporate commissions. The valuations were performed by specially-appointed experts, who were themselves artists in the majority of cases. Their number was regulated by the statutes of the guilds. In general there were two valuers, but there could be more; in any event, the two parties – artist and client – had to be represented equally. We are less well-informed about the criteria by which the valuations were carried out, but we do know that it was not, primarily, an aesthetic judgment; rather, it was a quantitative and qualitative assessment of how well the expectations and provisions set forth in the contract had been met. The documents that record valuations of this kind are known by the terms stima and lodo.

A Parallel between the Art of Carving in Sculpture Masterpieces and the Carving Technique of Approaching Ski Turning

Author(s): Camelia Plastoi,Ion Popescu-Bradiceni,Adrian Pica / Language(s): English / Issue: 3/2019

Constantin Brâncuşi brought the art of wood sculpting to its highest peaks. His technique is that of a master at work, turning wood into amazingly beautiful and yet modern shapes. His knowledge of the different textures of wood and its qualities enabled him to create organic sculptors that transcende modernity. His art combines the philosophy of life with that of the material. Brâncuşi provides fine arts with authenticity, force and sacredness. He searched and found the ideal shape, the psychedelic proportions and the Olympian equilibrium. The shape of the carving whose, is and will remain a human ennoble art performance, building unmatched value and the final result. In skiing, the carving is a technique to cornering furthers what an ideal installments and perfect balance. With every movement outlines a special symbolic cornering, overtaken and its level of personalized training.

A Portuguese Salver in Sofia

Едно португалско блюдо в София

Author(s): Georgi Parpulov / Language(s): English,Bulgarian / Issue: 1/2018

Inv. No. 3339 in the collection of the National Archaeological Museum (Sofia) is a dish, or salver, made of parcel-gilt silver with chased relief decoration and an embedded enamelled roundel. Close parallels with other vessels of the same type show that this salver was produced in Portugal and dates from the second half of the fifteenth century. It is one of the earliest known examples of wild men imagery in Portuguese silverware.

A Preliminary Study of a Rare Fibula Type (The So Called Altmark Fibulae) from the La Těne Cemetery of Csepel

Author(s): Attila Horváth M. / Language(s): English / Issue: SUPPL./2019

V roku 1870 boli odkryté pozostatky viacerých keltských hrobov na lokalite Bécsi domb v Šoproni. V druhom hrobe bol, okrem náramkov a páru spôn s dračou hlavičkou, objavený nový typ spony so samostrelovým vinutím a terčovitou pätkou. Lajos Márton v rokoch 1933 - 1934 pomenoval tento nový nález ako spona typu Altmark. Ilona Hunyady neskôr spomenula tieto nálezy vo svojej práci v roku 1944 a stanovila, že pravdepodobne súvisia s múnsingenským typom spôn a ich výskyt môže byť datovaný do 4. storočia pred Kr. Miklós Szabó sa tiež zmienil o týchto sponách v roku 2005. V roku 1996 prezentovala Erzsébet Jerem typ Altmark ako možnú paralelu k sponám s otvoreným vinutím, ktoré boli objavené na včasnolaténskom pohrebisku Neufeld an der Leitha v Burgenlande. Tieto spony spolu s ďalšími predmetmi datovala do LT A. Žiadna ďalšia analógia tohto typu nebola z územia Maďarska dosiaľ známa. Preto je veľkým prekvapením nález štyroch spôn typu Altmark, ktoré boli počas rokov 2004 a 2006 objavené na pohrebisku z LT B - C v Csepeli. Jeden z týchto nálezov bol dokonca retiazkou spojený so sponou s dračou hlavičkou.

A székely falusi társadalom közösségi színtere

Népházak, szövetkezeti házak

Author(s): Petra Balaton / Language(s): Hungarian / Issue: 2/2012

The Minister of Agriculture, Ignác Darányi (1895–1903 and 1906–1910) inaugurated a uniform economic development programme, the so-called aid actions, to supply the underdeveloped regions with governmental support aiming at the whole mountain range of the Carpathian Mountains. The secondary level specialised institutes obtaining regular tasks by the 1910’s, wanted to eliminate the underdeveloped economic methods by their wide development programmes, thus created social security and peace for the nationalities.. The Székely (Transsylvanian) development programme of the economy between 1902 and 1914 created important artefacts, the so-called folk houses (cooperative houses), in close relationship with the social organisation, the development of the smallholder circles and the network of the cooperatives. About the quarter of the more than 70 buildings were planned by Ede Thoroczkai Wigand (1870–1945), one of the most important figures of the Hungarian architecture, prominent architect and artist of the Hungarian Art Nouveau. The network of the institutes working for the modernisation of the villages and the development of the countryside also played an important role in maintaining the architectural features of the countryside.

A török kérdés a XV. században Róma egyik közterén

Az elpusztult Mátyás-lovaskép megrendelésének lehetséges alternatívái

Author(s): Manga Pattantyús / Language(s): Hungarian / Issue: 2/2011

Nel centro storico di Roma, in piazza di Campo dei Fiori, esiste ancor oggi un palazzo sulla cui facciata, che dà sulla Cancelleria, un affresco rappresentante Mattia Corvino su cavallo venne dipinto nel secolo XV. Dell’immagine fecero menzione anche più testimoni, tra di loro il famoso collezionista, Paolo Giovio. Sebbene il Giovio non avesse affermato che l’affresco veniva dipinto da Andrea Mantegna, dovute di certo anche alle sue righe, la rappresentazione più tardi veniva attribuita all’artista padovano. L’affresco venne distrutto nei secoli XVII o XVIII, ma ce l’ha tramandato una copia d’acquarello trovatasi in un codice Barberiano custodito nella Biblioteca Apostolica Vaticana. Nel saggio l’autrice cerca di trovare le possibili connessioni tra il programma pittorico con il luogo. Ha l’intenzione dimostrare ciò che la prima metà del regno di Mattia Corvino fu l’epoca in cui poteva essere richiesta per la commissione di una rappresentazione di questo argomento sia da parte ungherese che quella romana. Secondo l’autrice il palazzo cardinalizio che esistette prima sul posto dell’edificio della Cancelleria e il suo primo residente, il cardinale Lodovico Trevisano, cardinale camerlengo e capo della flotta papale si debba – diretta o indirettamente – mettere in relazione con la commissione dell’affresco. Sia perché il Trevisano partecipando personalmente nella lotta di Belgrado (Nándorfehérvár) diede particolare importanza alla difesa della Chiesa contro gli infedeli, sia perché anche le sue relazioni personali che lui manteneva con più persone del primo umanesimo come Francesco Barbaro, Francesco Filelfo o Guarino Veronese, avessero potuto volgere la sua attenzione agli umanisti ungheresi e all’Ungheria.

A Turn to Fratres Minores. The Franciscans in 13th-century Lesser Poland and the patronage of Duke Boleslaus the Chaste

Author(s): Piotr Pajor / Language(s): English / Issue: Special/2015

The time around the middle of the thirteenth century was a period of popularization of the mendicant orders in the whole of Central Europe including Lesser Poland, which was one of the duchies existing after the feudal fragmentation of Poland. The Franciscans in particular, who arrived in Cracow during the apostolic mission led by the Saxon province, were quickly taken under the patronage of Duke Boleslaus the Chaste, who founded a church as his mausoleum in Cracow, although his predecessors were buried in Cracow Cathedral. The duke also founded cloisters in Nowy Korczyn and Zawichost; his sister, Salomea, became the first Polish St. Clara’s nun; his wife, Kunegund of Hungary, as a widow established and joined the convent in Stary Sącz. In this way Franciscans became the most important order, protected by the local ducal family. The same process took place in other Polish provinces and had significant consequences. For instance, in Silesia the local branch of the Piast dynasty was strongly connected with the Cistercians, but Duke Henry the Pious and his heirs of the Wrocław throne were buried in Franciscan churches. This turn to the Mendicants in the Piast dukes’ patronage seems to be much more complex than in, for example, Bohemia. In Lesser Poland this phenomena is even more visible because of some extraordinary examples, such as the central—Greek cross—plan of the Franciscan church in Cracow or the relocation of the first Clarissan cloister from Zawichost to the isolated site near the former castle of Scala. Comparative analysis of the role of the Franciscan cloisters in Boleslaus the Chaste's patronage and propaganda will be the main subject of the paper.

ABJECT (İĞRENÇ) BEDEN OLARAK RUSALKA: SLAV DENİZKIZLARININ EDEBİ VE SANATSAL TEMSİLLERİ

Author(s): Duygu Özakin / Language(s): Turkish / Issue: 25/2019

Positivist thought that defines female body as an unpredictable, overflowing the boundaries area of liquids and fluids, reproduces and consolidates the beliefs of the mythical system that is claimed to be located on the opposite side. Among these beliefs, the ones associated with the water, fluidity, humidity, darkness, lubricity of the feminine uncanny powers are reflected on the traditional and modern art works aesthetically, they were subjected to a taming by the transformative power of representation in art. One of these uncanny powers, rusalkas correspond to mermaids in Slavic mythology. They are the spirits of the untimely dead women, objects of fear but at the same time considered as symbols of fertility by virtue of their feminine nature. According to the belief, rusalkas kill male victims by drowning them to water; however, during the Rusalka Week, when they landed, they bring moisture and efficiency to the soil. This study aims to analyze the pushing of the female body to the periphery through post-structuralist theorist Julia Kristeva’s abject conceptualization. In the study, a Butlerian interpretation of the concept has been used in which being abject, overcoming its corporal definitions, gradually means being the other of society and related literary / artistic representations have been evaluated in this axis.

Abstrakcija ir įsijautimas W. Worringerio menotyros koncepcijoje

Author(s): Antanas Andrijauskas / Language(s): Lithuanian / Issue: 38/2004

In this article the art criticism theory of the influential German art historian Wilhelm Worringer (1881-1965) is considered. The main attention is focussed on the origin of the concepts of abstraction and empathy and on the methodology of their application. The anti-classical attitudes and rejection of Eurocenristic stereotypes in the analysis and assessment of pieces of art are concisely presented. The relatedness of Worringer’s theory to psychological aesthetics and to A. Riegl’s and K. Fiedler’s ideas is shown. Special attention is paid to the historical classification of art into primitive, classical and Eastern.

Adalékok Pázmány Péter ikonográfiájához

Author(s): Anna Tüskés / Language(s): Hungarian / Issue: 3/2014

Addenda to the Artistic Representations of Péter Pázmány Despite the vast research on historical iconography, little is known about the representations of Péter Pázmány. The overall image that emerges from previous literature is to be enhanced and elaborated on: since Lajos Vayer’s 1935 survey many studies adressed the problem partially, but comprehensive analysis is still missing. This study is the presentation of four hitherto unknown representations from the 17th–20th centuries: three oil paintings and a sepia painting. Their iconography attests to the constant change of Pázmány’s image in the eyes of posterity. In addition to permanent elements one can find many innovations in composition as well as in the use of motifs.