Paul Hindemith: Unterweisung im Tonsatz

Author(s): Janka Kubandová / Language(s): Slovak Issue: 1/2011

Paul Hindemith (1895 – 1963) is one of the most impressive representatives of 20th century German music. In the late 1930s he wrote an extensive musical-theoretical text Unterweisung im Tonsatz (1937 – 1970). In this text he presents a detailed proposal for a new system of organisation of music, proceeding from his own compositional technique which was tonal, focused on a tonal centre, but non-diatonic, i.e. using all the twelve tones of the chromatic scale without being bound to the diatonic scale foundation. While there are a number of contentious passages in Hindemith’s musical-theoretical text, for the study and analysis of his work it is indispensable to acquaint oneself also with the principles of this theory

Lisztovské fantazie

Author(s): Vlasta Reittererová / Language(s): Czech Issue: 2/2011

Význam Johanna Nepomuka Hummela pre genézu štýlu „romantickej“ hudby

Author(s): Markéta Štefková / Language(s): Slovak Issue: 2/2010

Th e study aims to draw attention to specifi c stylistic features of the work of Johann Nepomuk Hummel, which is generally thought to be characterised by a certain anachronism, or a onesided concentration on virtuosity and brilliance. Along with many compositions which correspond to the standard level of contemporary musical thinking and are dominated by virtuoso piano-playing, Hummel also composed a number of works which go beyond this stylistic level, due to their innovative quality and originality in harmony, texture, form and content. Th ese works had an important infl uence on Beethoven, Chopin, Schumann, Schubert and Liszt. When considering Hummel’s work one needs to distinguish between the compositional line of the contemporary standard and his supreme works, which are among the supreme opuses in European musical literature.

Tapiserie z wyprawy ślubnej królowej Bony Sforzy d’Aragona

Author(s): Agnieszka Bender / Language(s): Polish Issue: 4/2021

Queen Bona Sforza d’Aragona, who came to the Kingdom of Poland from Bari in Italy in 1518, brought a handsome dowry, as described by Giuliano Passero. Among the large number of expensive items were tapestries – the “panni di razza”, which was a series of eight tapestries portraying the Works of Mercy and four door curtains (portieres). The aim of this article is to supplement the current knowledge about these tapestries by drawing conclusions from studies by Italian authors on the subject matter and their new interpretations, which were previously unknown in Polish literature. Based upon all currently available source information, namely works by Giuliano Passero, Colantonio Carmignano, Antonio Beatillo, Giovanni Battista Pacichelli and Giulio Petroni, we can infer that Bona donated four of the eight tapestries from the Works of Mercy, which had been made with great mastery, to the Basilica of Saint Nicholas in Bari, probably because she considered the church to be a suitable place to preserve them. She also chose this particular church because she had a special devotion to its saint. The tapestries were placed in the basilica between 1520 and 1557. These fabrics were probably in the Bari church’s collection until the end of the 17th century. Presumably, this series, as well as Bona’s four portieres, have not survived to this day.

Projekty Giovanniego Battisty Gisleniego dla warszawskiej jurydyki Leszczyńskich w zbiorach drezdeńskich

Author(s): Alina Barczyk / Language(s): Polish Issue: 4/2021

The collection of the Staatliche Kunstsammlungen Dresden includes designs by Giovanni Battista Gisleni for the Warsaw jurydyka of Bogusław Leszczyński, dated 1650–1655. Leszno (Nowe Leszno), established under the Kulm (Chełmno) Law in 1648, was the first secular jurydyka in Warsaw. This article presents the architectural forms of individual buildings, as proposed by Gisleni. The town hall was designed as a two-storey brick building on a rectangular plan with an avant-corps on the axis. Of particular interest are two versions of the wooden hospital of the Brothers Hospitallers of John of God, who were brought from Kraków by the founder of Leszno. It is worth noting that Gisleni also designed Bogusław Leszczyński’s residence, which was built facing Rymarska Street. The layout of the buildings in Nowe Leszno strongly influenced the urban development of this part of Warsaw. The designs discussed in the article both document the history of the jurydyka and testify to Bogusław Leszczyński’s ambitions.

Ignacio Domeyko y las bellas artes

Author(s): Marcela Drien,Fernando Guzmán / Language(s): Spanish Issue: 4/2021

The Polish scientist Ignacy Domeyko made his name in historiography primarily as the founder of mineralogy in Chile, as one of the reformers of the Chilean National Institute, and as the successor to Andres Bello as rector of the Universidad de Chile. The aim of this study is to analyse Domeyko’s connections with art, which have been hitherto poorly researched. This area of his activity, which was permanently linked to Chile since 1838, was reflected primarily in his drawings, interest in art and collection of works of art, as well as in his efforts to promote artistic education in Chile and his views on the function of art in social life.

Antoni Brosz’s Collection of Ex-libris

Author(s): Agnieszka Fluda-Krokos / Language(s): English Issue: 4/2021

Ex-libris or bookplates, as markers of ownership, are an expression of the bibliophilic interests of the owners of book collections, and of the special care taken of each marked volume. For centuries, they have fulfilled their basic function, namely, to indicate that the volume belonged to a particular person, but over time they have also become an object of collection. Ex-libris peeled off the insides of covers, ones custom-made to be exchanged, individual markers, and whole collections exhibited at auctions and in antique shops have all lost their original function in order to enrich those collections centred on these small markers of ownership. One of the largest private collections in Poland was gathered by Antoni Brosz (1910-1978) – a Kraków bibliophile, collector and translator. Over the course of about 40 years, he accumulated a collection of about 20,000 ex-libris, as well as a rich selection of books on the topic. In 1980, his collection of almost 16,000 marks by both Polish and foreign authors and owners was donated to the Jagiellonian Library. Apart from information about the collection, this article also includes a proposal for its development and description.

Priča o Rut

Author(s): Jean-François Lyotard / Language(s): Serbian Issue: 7/1997

(Iz: The Lyotard Reader, priredio Andrew Benjamin, Basil Blackwell, Oxford 1989, str. 250-264)

Kritičko-meditativni humorist

Author(s): Radomir Konstantinović / Language(s): Serbian Issue: 8-9/1998

A székelyudvarhelyi unitárius templom, Pákei Lajos építész egyik kiváló alkotása

Author(s): Beáta Bordás / Language(s): Hungarian Issue: 1/2021

In order to commemorate 100 years from the passing of the renowned Transylvanian architect Lajos Pákei (1853–1921), this study presents one of his greatest accomplishments, the Unitarian church from Székelyudvarhely, focusing on the description of the newly discovered original plans drawn by the architect himself, but also analysing the role of this building in Pákei’s oeuvre. During his career, Pákei projected more than a hundred buildings (among them, high-priority public buildings) and several funeral monuments or sculptural decorations, becoming the most important Hungarian architect from Kolozsvár (Cluj-Napoca) at the last quarter of the 19th century and around the turn of the 20th century. One of his main professional interests was finding the ideal layout and style for the newly built Unitarian churches, resulting in seven churches which were constructed according to Pákei’s plans and seven others remaining only on paper. In addition to these, he also projected the Roman-Catholic parish church from Dicsőszentmárton (Târnăveni), and – presumably – three other Unitarian churches. This long string of Unitarian churches starts from the first project for the monumental church in Bölön (Belin) dating from 1891, and finishes in 1917, with the plans for the church from Brassó (Brașov). The Unitarian parish from Székelyudvarhely (Odorheiu Secuiesc) was established only in 1872, and following a long preparation period, the small community decided to build a church only in 1891. After two failed attempts to project and construct the church, in 1901 the Unitarian Church commissioned Pákei to draw the plans for an imposing building. In April 1902 he finalised the design, and miraculously, the original folder containing all the floor plans and drawings for the facades survived, being rediscovered last year during the church’s renovation. Based on this plans the study describes the architectural features of this building, which was erected between 1906–1908 by a local constructor, Benjámin Fekete. The church’s layout resembles the initial plan for the church from Bölön (Belin) (1891), combining the central and longitudinal plan, but after this building, Pákei started to design churches with central plan. For the main façade of the church from Székelyudvarhely (Odorheiu Secuiesc), Pákei merged elements of the Italian Renaissance and Classical Greek architecture, resulting in an imposing and balanced outlook, which harmonises well with the simplified interior.

Техне – ars – creatio

Author(s): Davor Džalto / Language(s): Serbian Issue: 2/2011

In this study the author discusses our modern, western concept of “art” and its genesis. The discussion shows how technе, ars and creatio, as ancient Greek and Roman concepts, were used in the eighteenth century to construct the idea of “art” which we still use today. The author also analyzes the idea of “creativity,” as one of the most important features of “art,” from a Biblical perspective, pointing to its theological and Judeo-Christian roots.

LO STORICISMO NELLA PITTURA, MUSICA E POESIA: IL CASO DELLA DIVINA COMEDIA, LA BELLA DAMA SENZA PIETÀ E MAZEPPA L’EROE

Author(s): Ouafa Brinis / Language(s): Italian Issue: 02/2021

This article, intended to highlight how the painting of the nineteenth century, had an important place both in the literary and in the historical and political environment ; this appears from the fact that artists have left us a large amount of works, that is offered to the public to raise awareness with paintings of different subjects, which often had a patriotic and political background. The aim of this analysis is to recognize the essential elements of a painting : perspective, theatricality, even in the physiognomic aspect, the environment, and the techniques used by these artists, which fully reveal their abilities, applying all these elements in the visual language of each composition.

A note on sasanian-buddhist object of Gyeongju National Museum

Author(s): Daryoosh Akbarzadeh / Language(s): English Issue: 24/2020

Although Korean and late Sasanian texts are silent about mutual relations, archaeological evidences provide a different perspective. This paper deals with an object known at Gyeongju National Museum of the Republic of Korea. The loop was discovered in Bunhwangsa Buddhist Temple in Geun-jik (Gyeongju) region in 2001. Gyeongju’s loop includes a round form made of clay, with a pearly chain (running) in the border and two birds (ducks most probably) appearing in the center of the motif while they are trying to hold a stalk of a herb. Many scholarly works have been published about it and interpreted it as the ‘tree of life.’The author believes that this herb (as distinct from a plant) is a sacred lotus. In fact, the birds try to hold it in their beaks. So, an expert creator of the object used known Sasanian artistic elements on the one hand and combined them with a famous Buddhist element on the other hand. It ispossible the creator attempted to immortalize his work with this sacred lotus: in a Buddhist temple, only such an element was allowed to be introduced.

KEMANIN AYRILMAZ PARÇASI ÇENELİĞİN TARİHSEL GELİŞİMİ VE ANATOMİK AÇIDAN ETKİLERİ

Author(s): Ayşegül UÇAR,Gamze Elif Tanınmış / Language(s): Turkish Issue: 1/2021

Person who plays a musical instrument should know the history of the instrument, should acknowledge the instrument and also should be acquainted with the development process of the instrument in order to achieve the accordance with the instrument. Another important factor for sustaining the perfect accordance is choosing the instrument pursuant to the physical charecteristic of the person playing the instrument. As violin is not a footed instrument it usually forces body to move beyond the natural posture. Chinrest is a crucial extension for the person to play the violin comfortably, concordantly and balanced. By the help of a chinrest apparatus person who plays the violin can fix the violin between the chin and shoulder easily which leads to a easier and more accurate control on the fingerboard with left hand After chosing the violin with respect to the physical accordance deciding the chinrest according to the face and neck structure not only enables the person to play the violin technically accurate but also prevents possible health problems. This article aims to explain the history of chinrest, anatomical impacts of chinrest and the importance of choosing the suitable chinrest. Document review and literature review methods were used for the purpose of obtaining data of this qualitative research.

KİTSCH ÜRÜNLERİNİN SANATSAL KAYGI TAŞIMAMASININ NEDENLERİ

Author(s): Bayram Dedeoğlu / Language(s): Turkish Issue: 57/2021

The concept of Kitsch is a concept that has grown in Europe's production mechanism and the change of production Systematics. In the new capitalist structure, It is spread the idea that every object should have a price, creating a way of life for sale and money. İnstrumental in gaining the necessary momentum in the new transformation was influence of the Industrial Revolution on all areas. Kitsch art is a non-aesthetic work aimed at relieving the visual thirst formed by societies away from intellectual knowledge towards art. Even if Kitsch products differ in form according to each taste, they are always the same in terms of integrity. Kitsch products, where there is no institutional knowledge of art, are constructed according to the same logic, though their subjects are different. No Kitsch product has a content philosophically. Kitsch is an anti-intellectual construct. The art phenomenon is not adequately perceived in Kitsch products. Kitsch products appear in front of a wide audience with all their deceptive colors to make sales. Kitsch products, which manage to impress large audiences with formal visuals, create their work by repeating the usual forms constantly. Kitsch doesn't just belong to a particular community. Most are in societies. Kitsch and art are like two opposing beliefs, art feeds on a deep philosophy, while Kitsch feeds on a simpler and more superficial understanding. So it can be clearly seen that Kitsch products have no artistic concern.

HEYKEL SANATINDA ALÇI-POLYESTER DÖKÜM TEKNİKLERİ

Author(s): Mehmet Kemal İçden / Language(s): Turkish Issue: 57/2021

Sculpture art forms an integrity within itself in mass and volumetric sense in the period from the first age to the present in the classical sense. Likewise, the art of sculpture made progress by developing itself further with concepts such as mass, volume, emptiness, fullness, light and shadow, which were revealed in the medieval and baroque period. Especially the separation of the sculpture, which was created with classical materials, with different phenomena with the formation process (clay, mud, marble, wood, bronze, etc.) began to express itself as a separate definition with casting processes as well as molding with materials. In this study, mold making processes, which are indispensable of sculpture art, will be examined by using two different casting techniques from sculptures that have been molded. In this context, it is observed that gypsum mold and polyester mold technologies continue to be used today with the developments and changes that they have undergone from the past to the present. To summarize, within the scope of this study, detailed processes related to casting the work whose mold was taken over classical sculpture technology were explained.

Jason Moran’s Staged: Improvisational Blurring and the Boundaries of Conceptual Art

Author(s): Tracy McMullen / Language(s): English Issue: 3/2019

I examine jazz pianist Jason Moran’s conceptual artwork, Staged (2015/18), in order to interrogate the intersection between improvisation and contemporary art. Enlisting and expanding upon George Lewis’s coinage and theorization of Afrological and Eurological practices, I outline discourses that have coded improvisation as embedded in tradition, the “known,” and history, and conceptual art (as a form of “contemporary art”) as free from these. Staged brings these discourses into collision and offers new directions for contemporary art through its jazz improvisatory sensibility.

In Praise of a Strategic Beauty. Mario Perniola’s Aesthetics between Stoicism, the Baroque and the Avant-Gardes

Author(s): Enea Bianchi / Language(s): English Issue: 4/2020

Several scholars (Bartoloni 2019, Bukdahl 2017, Vogt 2019) focused on Mario Perniola’s perspective on art, post-human sexuality and political theory. Yet little has been written on the philosophical and literary sources—specifically Stoicism, the Baroque and the Avant-Gardes—which influenced his standpoint. The objective of this paper is to develop Perniola’s conception of a strategically oriented beauty, which implies a connection between the aesthetic element and the political-effectual one.

Cykly šprýmovných obrázků

Author(s): Pavel Kořínek / Language(s): Czech Issue: 52/2020

Most Czech comic strips (or cartoon series) appeared in the 20th century on the pages of various kinds of periodicals. They were traditionally to be found in occasional or regular, one-off or periodical newspaper and magazine serializations, and the cartoon series was, at least initially, perceived primarily as a magazine (or out-and-out journalistic) genre. From 1911, at the latest, when the Vilímek publishing house issued two large-format albums called Humoru kvítky pro hodné dítky (Jolly Little Flowers for Good Children), publishing platforms for more extensive one-off specialized publications began to appear at the same time. These were anthologies or collections of cartoon series, and (a little later) in more substantial book form, which premiered comic strips of both domestic and foreign provenance. This paper traces the early development and changes in these separate publication formats, focusing on the printing of cartoon series outside the context of periodicals. It records the advertising and self-defence strategies adopted by publishers and promoters when presenting and advertising non-traditional, ‘unsettled’ types of content (it thematizes, for example, the discrepancy between the formal changes and stated age inscription) and captures the gradual type differentiation of these formats (sets, collections, translation albums, and original, previously unprinted, extensive comic book works). It also addresses the rather fragmentary period critical reflection on the emerging forms of publication.

Sculptura ca lumină

Author(s): Iulia Iordan,Bogdan Rata / Language(s): Romanian Issue: 8/2021