Monumentul funerar transilvan între Renaşterea târzie şi neoclasicism

Author(s): Nicolae Sabău / Language(s): Romanian Issue: 5-6/2004

Studiul încearcă în premieră o prezentare sintetică comparativă a reprezentării morții pe monumentul funerar din Transilvania, atât din perspectiva evoluției unei sensibilități în fața morții, de la Renaşterea târzie, trecând prin baroc la neoclassicism, dar şi dintr-o perspectivă comparată. Autorul analizează definirea, organizarea şi redefinirea unui discurs plastic față de moarte în mediul romano-catolic, luteran, calvin, unitarian şi ortodox, în această Transilvanie multietnică şi pluriconfesională. Plastica funerară transilvăneană din perioada cercetată oferă mărturia unor perspective schimbătoare în percepția momentului final şi ireversibil al trecerii omeneşti în „lumea de dincolo”. Partitura înțelegerii, înregistrând cu sensibilitate curentele artistico-literare ale timpului, starea de „seninătate” a anticilor, preluată de umanismul renascentist, dar şi starea de criză, tensiune şi ambiguitate proprie barocului, rezultată dintr-o existență aflată sub semnul contradicției interioare, a instabilității, a incertitudinii, a efemerului, a metamorfozei, în fapt, a tot ceea ce e legat de existența individului pe pământ.

A kolozsvári Marianum Római Katolikus Leánynevelő Intézet épülete

Author(s): Zsófia Gál / Language(s): Hungarian Issue: X-XI/2016

This article deals with the Romano Catholic Institute for girls (also known as ”Marianum”), in a historical, architectural perspective. The building of the Romano Catholic Institute for girls ”Marianum” from Cluj-Napoca (Kolozsvár) is a significant example of the school buildings erected in the second part of the dualist period. It was founded thanks to some favorable terms. On one hand, the need for new middle-level educational institutes for girls, emerged from the ministerial decree of Gyula Wlassics, which allowed women to enroll to universities. On the other hand, the cause of the education of women found a devoted upholder in the person of the parson József Hirschler. Due to his refined artistry and economic sense, Hirschler managed to assure all the needed material and spiritual resources. The volume of the building was masterfully adapted to the oblong plot, creating a symmetric and modern structure. The building has met both sanitarily and technically all the expectations of the period. When shaping the building, and articulating the special structure, there was a great emphasis on functionality, respectively on ensuring the natural lightning and ventilation of the classrooms. These favorable conditions were completed with a modern ventilation- and heating systems. The backyard was shaped as a playground − that in the winter could be converted into a skating rink − and on the elevation there was a filagory. It’s individual character was given by the mixture between the religious and the woman’s institutes specificities. These two special ingredients required some specific rooms, that one could not find in other educational institutions in the city: the spacious kitchen, necessary for the household classes, which had to be roomy enough to receive a whole classroom, the multifunctional room, that was both gymnasium, assembly hall and a chapel for the pupils, respectively a separate chapel for the nuns. The furniture was of a great value, fulfilling the needs of a high standard and comfortable education. Hübner, who was not widely known in Transylvania, was most probably helped by his father-in-law, Ignác Alpár a star-architect of the time, to receive the commissioning. The school complex is one of the latest works of Hübner. The modernity and the openness towards the new architectural trends set on a solid historicist ground that defines the architects oeuvre is characteristic for this building as well. The style of the facades and of the interior details fits in the conservative art nouveau stream defined by the Árpád-bath from Székesfehérvár and by the tenement house from Üllői street 119, Budapest. In this period, his individual art nouveau style was already tangible through the ornamentation that reinterpreted in a creative manner the architectural decoration of the historicism. Hübner applied decorative and clear solutions using simple materials like brick and plaster. The over-all impression of this facades is reserved and elegant, due to the extensive use of the brick a bit somber, the classical frame being filled with a modern content. Even though both the interior and exterior decoration could give us the impression of a vast a decorative program that refers clearly to the function of the building, the evident parallels with the tenement house from the Üllői street (owl decorations), disclaims this kind of interpretation.

Polipticul și devoțiunea euharistică în Transilvania Evului mediu târziu

Author(s): Maria Crăciun / Language(s): Romanian Issue: 7/2005

Studiul de față își propune să elucideze rolul polipticului în context devoțional şi ritual, limitând discuția la cultul trupului lui Iisus, aşa cum se manifestă acesta în Transilvania evului mediu târziu. Prezumția de la care am plecat este aceea că un act devoțional este posibil într-un context cultural specific, care îl conturează, dar care, în acelaşi timp, este structurat de el prin semnifìcația simbolică, ceremonial şi ritual. Studiul îşi propune să descifreze, pe de o parte, rolul polipticului ca focus devoțional în relație directă cu altarul, pe care îl decorează, iar pe de alta inserarea acestuia într-un complex ceremonial şi ritual pe parcursul anului liturgic. Studiul are în vedere spațiul public, pe de o parte, contextul liturgic şi cel paraliturgic, care coexistă în spațiul sacru, iar, în a1 doilea rând, spațiul privat, rolul jucat de retablu în pietatea personală a credinciosului. Cercetarea a fost structurată pe mai multe niveluri, evoluând între dihotomiile public-privat şi comunitar-individual în devoțiunea focalizată în jurul retablului. Ea s-a concentrat asupra încadrării retablului în spațiul sacru şi a modalităților în care acesta din urmă a fost restructurat prin prezența acestui artefact. Investigația noastră s-a concentrat şi asupra încadrării retablului în timp, inserarea lui în ritmurile anului liturgic şi sesizarea locului ocupat de poliptic în experiența religioasă a laicilor, în pietatea personală şi comunitară a congregației. Această abordare permite analizarea retablului ca un vehicul ce facilitează o comunicare în ambele sensuri între cler şi laicat, studiul propunându-şi să investigheze modul în care structura şi funcția artefactului sunt adaptate atât cerințelor laicilor cât și ale clericilor. Cadrul acestei investigații î1 constituie, pe de o parte, apariția şi evoluția unei sărbători special dedicate sacramentului, care exacerbează şi complementează sensurile cotidiene ale liturghiei, iar, pe de altă parte, apariția şi evoluția retablului în mobilierul liturgic al bisericii. Ne-am concentrat în primul rând atenția asupra evoluției liturghiei şi asupra conturării unui cult distinct al sacramentului. Investigația sugerează că structura anului liturgic a suportat modificări impuse de culte locale sau de un sistem de observanțe locale ale unor culte universale, care s-au dezvoltat nu numai în conformitate cu stipulațiile ierarhiei ecleziastice, ci şi în funcție de solicitările laicilor.

Gojko Čelebić, Barok Crne Gore

Author(s): Saša Brajović / Language(s): Serbian Issue: 1/2015

THERMAE VARADIENSES … ANNO DOMINI 1892

Author(s): Nicolae Sabău / Language(s): Romanian Issue: 1/2019

Therme Varadienses... after the Years 1892. The present study is based on the consistent Report of a specialized expertise written in 2008, aimed at obtaining the approval of D.J.C.C.P.N. Oradea for the reconversion of the plot and of certain pavilions (No. 1, No. 3, Băile Vechi), that once serviced Băile Termale Felix (municipality of Sânmărtin, Bihor County), buildings currently in a precarious state of preservation. The mentioned building complex had not been inscribed in the Historical Monuments Lists of 2004 and 2010. The author of the article turns again to a topic that benefits from a rich specialized literature based on historical-documentary researches in Latin, Romanian, Hungarian, French, and German. The present research contributes to the topic by mapping and providing detailed descriptions of these spa resort architectural objectives. The thermal baths located in the proximity of the city of Oradea have attracted numerous people over the centuries through both the positive therapeutic results and the natural environment, the surrounding geographic context that is truly picturesque. Some specialists argue that the baths had been known and used ever since the Roman Era (based on archaeological field walks, the discovery of coins issued by Faustina Junior and of Roman funerary stelae subsequently included in the construction of the future Elisabeth Spa). The resort was then mentioned on maps dated to the middle of the thirteenth century and subsequently on documents dated to the time of Ladislas IV King of Hungary when the settlement of Haieu became the property of the Roman-Catholic Bishopric of Oradea. A document issued by the papal curia during the time of Innocent VII (1405) recorded expresis verbis the thermal springs, deciding that „all pilgrims traveling to pray at the Chapel of the Baths of Oradea” (Haieu) „be forgiven of their sins”. Between the fifteenth and the twentieth centuries, various humanists, geographers, missionaries, foreign travelers, scientists, medics, chemists, constructor engineers, architects, landholders etc. mentioned the spa of the Catholic Bishopric of Oradea [Janus Pannonius (1465), Nicolae Olahus (1536), Antonio Possevino (1583), G. P. Campani (1584), Ștefan Szántó also called Arator (1587), G. A. Magini (1596), Conrad Jakob Hildebrandt (1658), Luigi Ferdinando Marsigli (after 1698) etc.]. The study also mentions the first works dedicated to chemical analyses, to the hydrochemical, radioisotope-related and hydrogeological properties of the thermal waters, starting with Francisc Gebb’s 1731 „Gemina investigatio thermalum Episcopalium Magno-Varadensium”, Stephanus Hathvani’s 1777 „Therme Varadienses”, and the texts of Frederic Grosz in 1842, Carol Hauer in 1860, and Prof. Lengyel Bela, Prof. Dr. Spacu, and Dr. Dick in 1922-1923. The thermal springs of Felix became known in the Principality of Transylvania starting with the seventeenth century. Still, progress in the management of the place is due to the Premonstratensian Monastic Order. In 1711 Felix Helcher, one of the administrators, a friar from the cloister of Klosterbruck (in Moravia), canon of the abbey in Sânmărtin, erected a wooden building aimed at valorizing the thermal waters of the site. The author of the study presents in details the development and the progress of the spa resort’s constructions between the eighteenth and the twentieth century, with special emphasis on the pavilions and the baths in 1892.

CADRUL ARHITECTURAL ÎN PICTURA FLAMANDĂ DIN PRIMA JUMĂTATE A SECOLULUI AL XV-LEA

Author(s): Leonard Vartic / Language(s): Romanian Issue: 1/2019

The Architectural Environment in the Flemish Painting of the 15th Century. The space described by the Flemish painters in the 15th century gathers visual documents of the architectural environment of the time. The visual details are collated on biblical illustrations, in a specific representation of the historical and geographical data. The most interesting characteristic of the visual representations in the artistic creations of the epoch is the interaction of the sacred and profane spaces. This characteristic is analysed in the works of three outstanding creators: Master of Flemalle, Jan van Eyck and Rogier van der Weyden.

„Bizanţ după Bizanţ” în pictura Europei răsăritene

Author(s): Mihaela Proca / Language(s): Romanian Issue: 19/2012

Even after the fall of Constantinople, the Orthodox world culture in the Balkans and Russian territories continued to be dominated by the authority of the Eastern patriarchal church. The religious painting of the 16th and 17th centuries is determined by the last Byzantine period, the Paleologue Renaissance, and was created by itinerant painters, whose skill was defined primarily by observing the traditional canons of iconography. Western influences in theme and style of icon painters can be detected, in a first stage, in peripheral areas of the former empire, Crete and Venice, Byzantine conservatism proving receptive to renewals of Italian Renaissance. The 18th century is characterized by a so-called Balkan painting without nationality, with a strong popular aspect, due to permanent contacts between the ethnic Orthodox, subject to the same conditions of subordination to the Ottomans. Gradually, by the end of the century, under pressure from Catholic circles in western and northern areas of Orthodox culture began to be assimilated elements of baroque repertoire of the urban centers that were subsequently imposed by the authority of painting academies.

Moineştiul lui Ştefan Luchian

Author(s): Vasile Iscu-Lăcătușu / Language(s): Romanian Issue: 5/2016

Since 1902, a ruthless disease tried to darken the existence of Stefan Luchian. Gheorghe Marinescu illustrious neurologist recommended him baths in spas: Techirghiol, Govora, Brebu, Moineşti. The last trip to Moinesti with pathetic landscapes conquered him from the outset. From the first days of arrival, the painter has settled in, quickly with locals and with the same love, approached the picturesque places as you would have known forever. Surrounded by brilliant scenery here was possessed by an urge to transpose on canvas burner all at once, as the images could be tended to flee. Land forms area Moinesti are more attractive than anywhere else, giving him inspiration based on strong feelings, allowing him to penetrate the mysteries of these places trimmed of beauty. Contact with local lands opened a decisive phase in defining personal style, synthesis of the original color and led to the culmination of his artistic career.

PRILOG PROUČAVANJU ILUMINACIJE EVANĐELJA DIVOŠA TIHORADIĆA

Author(s): Ema Mazrak / Language(s): Serbian Issue: 7/2019

U tekstu se u kratkim crtama predstavljaju dosadašnja istraživanja Evanđelja Divoša Tihoradića (Cetinjska manastirska riznica, br. 323), jednog od najznačajnijih iluminiranih rukopisa nastalih u srednjovjekovnoj Bosni, a zatim se njegov oslik dovodi u vezu s grčkim Praksapostolom pohranjenim u Nacionalnoj biblioteci u Atini (Kat. 8, Cod 149). André Grabar je prvi uočio likovne poveznice Praksapostola s Kopitarevim evanđeljem, Vojislav Đurić vezu sa Manojlovim i Divoševim, a u ovoj komparativnoj analizi s Divoševim evanđeljem i drugim rukopisima srednjovjekovne Bosne, ustanovljeno je kako dobar broj likovnih rješenja podudaran, odnosno rađen po istim ili sličnim predlošcima.

SEMIOTIKA I ISTORIJA UMETNOSTI

Author(s): Mieke Bal,Brajson Norman / Language(s): Serbian Issue: 1/2001

Bazično uverenje semiotike — teorije i upotrebe znaka — je antirealističko. I sama kultura sačinjena je od znakova (od kojih svaki zastupa nešto što nije on sam), a ljudi koji je naseljavaju bave se dokučivanjem smisla i značenja ovih znakova. Srž semiotičke teorije leži u definisanju faktora uključenih u proces proizvođenja i interpretiranja znakova, kao i u razvijanju konceptualnih sredstava za razumevanje ovog procesa koji se permanentno odvija u različitim arenama kulturnih aktivnosti. Umetnost predstavlja jednu od njih te je očigledno da semiotika može da doprinese njenom proučavanju.

IMPORTANȚA TEHNOLOGIEI ÎN CERCETAREA, CONSERVAREA ȘI RESTAURAREA TABLOURILOR LUI NICOLAE GRIGORESCU DIN COLECȚIA MUZEULUI DE ARTĂ IAȘI

Author(s): Daniela Salajan / Language(s): Romanian Issue: 1-2/2019

Scientific research of art works in general, using modern techniques, is essential for the propper unfolding of the conservation and restoration processes. Technique makes available a series of methods, which help us expand our field of perception and, in particular, the potency of our eyes. Internal and external ailments of the art work, the irreversible process of aging and subsequent intervention and its implications are analized, and the complex documentary material has the purpose of firstly determining the practical measures for stopping the degradation processes, and then restoring the image as close to the original as possible, or to put it more briefly, setting a safe diagnosis conditions a correct treatment. Also, results of the investigation can contribute to the dating of an object and the verification of its authenticity. From the 46 paintings signed by the great Romanian painter Nicolae Grigorescu that are part of the Iași Museum of Art’s patrimony, 12 oil paintings, with canvas prop or wooden pannel, have been chosen for this study. With the help of technology available at the Iași Center for Research, Conservation and Restoration of the National Patrimony, using new, noninvasive methods, a series of physico-chemical investigations took place, which highlight the painter’s work technique, the painting’s state of conservation and the pigments used. Thus, images have been aquired, following multispectral investigations, done by sources of light with different wavelenghts of the electromagnetic spectrum. Analysis of anorganic pigments has been done in situ, using X-ray fluorescence spectometry and Raman spectrometry.

ARCUIRE PESTE TIMP – ISTORIA ARTEI ACTORULUI (PARTEA I)

Author(s): Alexandru Vlad / Language(s): Romanian Issue: 1-2/2019

Not much is known about the history of the evolution of acting. Sure, we have a clue: it all started in Ancient Greece and it become one of the most loved forms of art. But still, what we know a lot more about is the history of theatre – which is something completely different. The development of the art of acting over the past few thousand years is nothing more but a merry-go-round; a continuous moving strip with ups and downs. Acting underwent dramatic changes and not only that, but what we see today happening on a theatre stage, was not acceptable, was not possible, was not even considered acting 200 years ago. Buckle up. This is how actors used to work.

ARCUIRE PESTE TIMP. ISTORIA ARTEI ACTORULUI (partea a II-a)

Author(s): Alexandru Vlad / Language(s): Romanian Issue: 2/2019

Not much is known about the history of the evolution of acting. Sure, we have some clues: it all started in Ancient Greece and it became one of the most loved forms of art. But still, what we know a lot more about is the history of theatre – which is something completely different. The development of the art of acting over the past few thousand years is nothing more but a merry-go-round; a continuous moving strip with ups and downs. Acting underwent dramatic changes and not only that, but what we see today happening on a theatre stage, was not acceptable, was not possible, was not even considered acting 200 years ago. Buckle up. This is how actors used to work.

Gyermekjelenetek a hellenisztikus görög szobrászatban

Author(s): Renátó Támba / Language(s): Hungarian Issue: 1/2019

In this paper, I attempt to provide a cross-section of the representations of children in Hellenistic Greek sculpture with the aim of pointing out ideological and socio-historical motives through the methodological means of iconography in the historiography of childhood that express the then-emerging image of man, and flow through works of art, as well as specific patterns of understanding of the child that are noticeable in those artworks. During the research, ideological, socio-historical, artistic and aspects of childhood historiography were equally taken into account, therefore it was first and foremost necessary to determine the historical frameworks relevant to the topic of this paper. The aim of the research is to provide a comprehensive picture of the representation of the child in the given era, at the same time pointing at the iconographic and iconological meanings seen in the works, then to point out the ideological meanings hidden in the works as well as the cultural references, since these works go beyond the subject of childhood to reflect questions of the time open to existential issues, and ultimately follow the path of ethical relativism.

Franc Ksaver Falkoner – budimski barokni slikar

Author(s): Mirjana Repanić Braun / Language(s): Serbian Issue: 2/2019

Žužana, KORHEC PAP: Franciscus Falkoner pictor Budensis (Falkoner Xaver Ferenc budai festő / Budimski slikar Franc Ksaver Falkoner / Francis Xavier Falconer, painter from Buda). Gradski muzej Subotica, 2017

Falkoner Xavér Ferenc – a budai barokk festő

Author(s): Mirjana Repanić Braun / Language(s): Hungarian Issue: 2/2019

KORHECZ PAPP Zsuzsanna: Franciscus Falconer pictor Budensis. Szabadkai Városi Múzeum, Szabadka, 2017

Crveni plamen cinobera (od ikonopisaca do ikonoznalaca)

Author(s): Draginja Ramadanski / Language(s): Serbian Issue: 2/2019

George RUZSA: Icon Researchers and Icon Research in the Soviet Union in the First Half of the 20th Century. Sziklatemplom Pálos Fogadóközpont, Budapest, 2018

A cinóber piros lángja (az ikonfestőktől az ikonszakértőkig)

Author(s): Draginja Ramadanski / Language(s): Hungarian Issue: 2/2019

George RUZSA: Icon Researchers and Icon Research in the Soviet Union in the First Half of the 20th Century. Sziklatemplom Pálos Fogadóközpont, Budapest, 2018

Bizantyńsko-ruskie sceny Naigrawania w kolegiacie w Wiślicy oraz w kaplicy Świętej Trójcy na Zamku Królewskim w Lublinie w świetle aktualnych badań i interpretacji

Author(s): Dominika Grabiec / Language(s): Polish Issue: 2/2020

This article discusses the Byzantine scenes of the Mocking of Jesus, including musical motifs, found in the Holy Trinity Chapel at Lublin’s Royal Castle and the Collegiate Church of the Nativity of the Blessed Virgin Mary in Wiślica. These scenes belong to an iconographic tradition which is much older than previously thought, dating back to at least the early twelfth century. They are peripheral and rather late examples of that tradition, including unusual musical motifs, probably taken from local culture. Like many other such scenes, they belong to sets of paintings funded by monarchs and rulers in major religious centres – in this case, by Władysław Jagiełło, King of Poland. To date, these scenes have been interpreted most often in a literal way as exceptionally brutal and humiliating images of the deafening and mocking of Christ by musicians. However, in the light of new hypotheses, we should take into account rather their symbolic and theological dimensions. The biblical context of the Mocking of Jesus points to the significance of the coronation ceremony for a proper understanding of this scene, the description of which in the Gospel has a dual meaning: the literal meaning of a scornful parody of a true homage to the king, and a symbolic dimension as the moment when Christ’s true royalty is revealed. The composition of the scenes, with their imperial accents and musical motifs, allows us to emphasise this dual character and the distinct allusions to the coronation and acclamation of Christ as King of the Jews and the Messiah.

Un epitrahil cu portretul lui Ștefan cel Mare regăsit în colecțiile Muzeului Bizantin și Creștin din Atena

Author(s): Lidia Cotovanu / Language(s): Romanian Issue: 1/2019

In 2005, in “Analele Putnei”, Ștefan S. Gorovei raised the question of an epitrachelion, now lost, called “from Pătrăuți”. Besides its ancientness and artistic qualities, the piece was important because it had, in its lower part, the portraits of Stephen the Great and of his wife, Maria Voichița, accompanied by their names embroidered in Greek. Stephen the Great donated the epitrachelion to his foundation in Pătrăuți in 1493. Based on indices provided by the late Petre Ș. Năsturel, the author was able to trace in the collections of the Byzantine and Christian Museum in Athens an epitrachelion that, albeit different from the Pătrăuți one, carries the identical portraits of Stephen the Great and Maria Voichița. The aim of the paper is to describe and present to the academic community this completely unknown epitrachelion related to Stephen the Great, which was forgotten among the cultural heritage items of the Byzantine Museum in Athens.